Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
The latter’s humour is
The latter’s humour is topped by a tastefully tongue-in cheek Miss Chatelaine (k.d. lang) in tango rhythm with amusing string slides, all dissolving into fairy dust at the end… But the true elixir of this disc’s arranging by under-billed Pellett is in the eloquence of River (Joni Mitchell) and the Celtic sound of If You Could Read My Mind (Gordon Lightfoot). And leader/violinist David Adams, violinist Danielle Sametz, violist Christopher Buckley and cellist Sonja Adams certainly surpass the mere “unplugged hits” world here! A sound world bathed in long non-vibrato tones, harmonics and emotionally text-conscious melody-playing, here seems to be an ideal realized by players and arranger alike. Roger Knox I’ll Be Seeing You Andrea Koziol; Bill Brennan Independent AK-BB-01 (andreaandbill.com) !! I’ll Be Seeing You, a sharp selection from the jazz songbook, features Toronto vocalist Andrea Koziol and Newfoundland pianist Bill Brennan. They cover 13 of some of the bestknown standards – sprinkled with their own songs – with nimble interpretative panache and sure musical taste. Toronto A-listermusicians Andrew Downing on bass and cello and guitarist Joel Schwartz provide a firm foundation, plus a sympathetic harmonic and melodic framework. Koziol’s interpretations are assured and tone perfect. I was stuck by her attentiveness to the lyrical meaning of the intro verse in older songs like Fly Me to the Moon. In Stevie Wonder’s strutting funky Tell Me Something Good she purrs, growls and ghosts her tone in several amazing ways. Is she perhaps channeling her inner Chaka Khan? Koziol and Brennan generously share the musical spotlight, reminding us that their friendship reaches back several decades. That generosity of spirit extends to Schwartz. He gets a lovely sustained-tone lyrical electric guitar solo in Randy Newman’s moody, thoughtful ballad I Think It’s Going to Rain Today. Brennan’s piano work avoids cliché while nailing the feel of ballad, gospel, funk or up-tempo swing. He weaves unhurried, protracted extensions to songs like Tea for Two, moving far afield from harmonic home base, and provides exciting melodic and harmonic twists to Annie Ross’ vocalese classic Twisted. I’ll Be Seeing You launched with concerts in Ontario and Newfoundland this summer. Judging from the glow emanating from this album I look forward to hearing Koziol and Brennan live in the near future. Andrew Timar In A Landscape California Guitar Trio; Montreal Guitar Trio Independent (mg3.ca) !! Among small chamber groups, the combination of two, three or even four guitars is not all that uncommon. So what about six guitars? Surely a guitar sextet is a little out of the ordinary, yet that’s what we have here on this disc, titled In a Landscape, featuring the combined forces of the California and Montreal Guitar Trios. While both ensembles have long-established reputations in their own right, the decision to perform together as a single group evolved from a chance meeting at an Oregon music conference ten years ago and since then, they haven’t looked back. Just as the combination of six guitars may be a little unusual, so is the music they present on this recording. Indeed, the musicians have always shared a determination to “push the boundaries” with respect to repertoire, and this philosophy is evident in the alltoo-brief 40-minute program. Opening with the rhythmic New Horizons by MGT member Glenn Lévesque, it’s clear that these musicians enjoy playing together – what a warm and satisfying sound they produce! Flashy virtuosity for its own sake is decidedly absent – instead what we hear is sensitive and well-crafted interplay among the performers. Furthermore, the eclectic program is a remarkable study in contrasts. Arrangements of Radiohead’s Weird Fishes and David Bowie’s Space Oddity with vocals by ensemble members are juxtaposed with the moody and mysterious title track by John Cage (as arranged by Sébastien Dufour) while the mercurial Magneto – composed by Dufour – is an infectious essay in Latino brilliance. For such a comparatively short program, In a Landscape covers a lot of ground, and does so with solid musicianship – mixed with some good-natured humour – throughout. This CD is an attractive landscape indeed, one that leaves the listener wanting more. Richard Haskell A New Day Gordon Sheard and Sinal Aberto Independent GSM003 (gordonsheard.ca) !! As a selfdescribed “Brazilian music freak,” it’s no surprise that Toronto jazz musician, educator and ethnomusicologist, Gord Sheard, has a group dedicated to playing Brazilian style music, Sinal Aberto. The name translates as “open signal” or “green light” and is a play on a Chico Buarque album called Sinal Fechado (closed signal/red light) made during an oppressive political time in Brazil (of which they’ve had many). So artistic freedom is the overarching sensibility for Sinal Aberto, and it shows in this beautiful collection of songs. With a level of musicianship you’d expect from the top players in the country – Mark Kelso on drums and George Koller on bass, Sheard on piano – the band deftly blends jazz and Brazilian sounds (plus a few R&B and Afro-Caribbean elements) for a sound all their own. A New Day is mostly original songs written by Sheard with lyrics by Rio de Janeiro-native Luanda Jones, who features prominently on the album as the singer, too. The album opens on a hopeful note with Samba de Primavera which, fittingly, speaks of being free and open to new experiences. (All of the songs are sung in Portuguese and many of them are helpfully translated to English in the CD booklet.) I love the energy and Jones’ virtuosic vocal gymnastics on Forrocatu, which combines Northern Brazilian forro and maracatu rhythms at top speed and is somewhat reminiscent, to these ears anyway, of the great composer, Hermeto Pascoal. The beautiful and poetic title song, Mais um Dia, is another standout track. Bossa nova fans won’t be disappointed as the band has imaginatively covered a couple of classics, including a soul-tinged version of my favourite, Dindi. The album is available from CD Baby: store. cdbaby.com/cd/gordonsheardsinalaberto. Cathy Riches Spinning in the Wheel Projeto Arcomusical National Sawdust Tracks NS-028 (nationalsawdust.org) ! ! Projeto Arcomusical is “a world music sextet reimagining the Afro- Brazilian berimbau through unique and powerful chamber music.” Spinning in the Wheel is the second album by this Decalb, Illinois-based sextet co-founded by American composers, percussionists and berimbau-ists Gregory Beyer and Alexis C. Lamb. A member of the musical bow family found around the world, the Brazilian berimbau is an essential accompaniment of capoeira, the Afro-Brazilian martial art combining elements of dance, acrobatics and instrumental and vocal music. At first glance a simple instrument, the berimbau has at least six distinct parts. It includes a wooden bow and steel string, a beater to strike the string with, a small stone or coin pressed against the string to change the pitch, a gourd-like shell secured to the berimbau amplifying/ modulating the string in conjunction with the 72 | September2019 thewholenote.com
player’s body, and a small rattle held in the stick hand. Using all these sound modifiers the berimbau is capable of a large range of expression, especially when several musicians are involved. Arcomusical’s six berimbaus allow the production of an extended number of tones making possible extended-range melodies, harmonies and spatial effects. In only a few years it has toured widely and commissioned over 30 new scores. Chief among them is Roda (2016) by American composer Elliot Cole. An engaging and impressive four-movement, 20-minute work, it’s the most substantial musical statement on Spinning in the Wheel. I was initially drawn to the novelty of Arcomusical’s instrumentation, but after just a few minutes of listening to Spinning in the Wheel I found its music clearly conceived and passionately performed. Andrew Timar Something in the Air Adapting Poetry to Jazz and Vice Versa KEN WAXMAN Although the sentiment conjured up by the phrase, “poetry and jazz,” is one of scruffy beatniks intoning verse to the accompaniment of a stoned bongo player, the intersection of poetry and improvised music has a longer history. As far back as the 1920s poets like Langston Hughes integrated jazz energy into their work and subsequent interaction involved whole groups of literary and musical types, with notable instances in San Francisco, Liverpool and Vancouver up until the present day. Some of the discs here extend the idea of sounds complementing words, while others work on the more difficult task of integrating both elements. A particularly fascinating instance of this is Readings Gileya Revisited (Leo CD LR 856 leorecords.com). On it, Russian-born, Cologne-based pianist Simon Nabatov has created musical settings for poems from members of the Gilya group, a Russian Futurist movement that thrived just before, and for a time, after the Russian Revolution. The pianist’s associates are Germans, reedist Frank Gratkowski and electronics master, Marcus Schmickler, American drummer Gerry Hemingway and most importantly, Dutch vocalist Jaap Blonk. While Schmickler’s skills are used sparingly, as on the penultimate track where granular synthesis and processing deconstruct a sample of one of the original Futurist’s recitations, and then are superseded by resounding pattering from the drummer. In another instance, on A Kiss in the Frost oscillated aviary echoes share space with Blonk’s double-tracked theatrical recitation of a Futurist poem, completed by reed buzzes and piano patterns. But the nub of creativity is most thoroughly expressed in the ways in which Blonk’s phrases plus piano-reed-and-percussion sounds interact as equals. For instance the gargles and yells that express the budding of Spring are met by hard keyboard comping and drum pops following an introduction of ethereal flute puffs. Imagist stanzas that warble and plead are extended with reed bites and press rolls on And Could You?, while harmonized keyboard tinkles and formalistic clarinet trills do as much to define the theme of Palindrome as matched nonsense syllables from Blonk. Most crucially, with the boisterous dynamics that characterize Shokretyts, composer Nabatov and the others confirm that Futurism is as much an instrumental as a vocal art. After Blonk intones “when people die they sing songs,” Gratkowski’s tenor saxophone response is almost (Stan) Getzian in its lyricism, although it’s followed by dynamic key crunches and sprays of notes from the pianist, and bass drum pounding and wild-boar-like snorts and altissimo screams from the saxophonist, until all four shout out the track title. As the players’ instruments replicate the syllables, Blonk intones them to complete the poem. Approaching the idea differently, American trio Big Tent, with pianist/vocalist Jerome Kitzke, bassist Steve Rust and percussionist Harvey Sorgen add poems by Beat forefather Lawrence Ferlinghetti among the trio’s advanced improvisations on I Am Waiting (NotTwo MW 989-2 nottwo.com). Kitzke’s low-key, tongue-in-check recitation makes clear the contemporary relevance of this sardonic mid-20th-century verse. For instance, the exaggerations turned on their head in I Am Waiting “for the rebirth of wonder” including Elvis Presley and Billy Graham changing places, are underlined with swelling bass string pumps and alternating splashing or tinkling piano chords. Meanwhile a bop fable about Christ, Sometime during Eternity, uses banjo-like twanging to signal Jesus as “real dead” and stentorian plucks to contrast his teaching with the subsequent ignoring of it by his so-called followers. Without words the trio’s improvising is also nuanced. Facing kinetic drum rolls and piano string strums on Trio in a Bottle, Rust constructs a sequence that vibrates from the bass’ scroll to its spike. Kitzke bends tones and patterns in the kinetic exposition that is Blues Afield, harmonized with the bassist’s stylized pings. Meanwhile ground bass lines and mid-range keyboard swing on Sweet for the Eternal Spring giving Sorgen space to boisterously roll out sprays of percussion power, advancing the theme rhythmically and finally calming it with paradiddles. A more difficult stanza interpretation is expressed on Pneuma’s Who Has Seen the Wind? (Songlines SGL 1629-2 songlines. com). Not only does Montreal-based vocalist Ayelet Rose Gottlieb personalize the oftentranslated (by herself) words of Japanese, Iranian and English poets, but her only accompaniment is the three clarinets of Vancouver’s François Houle and Americans, James Falzone and Michael Winograd. With one clarinetist usually playing chalumeau for continuum, Gottlieb confidently cycles through moods ranging from wistful to lighthearted, with her lyric soprano harmonized and used as much as an instrument as the woodwinds. This is particularly obvious on the suite of brief Japanese poems where a single image or mood is conveyed by the timbre of Gottlieb’s voice rather than the words. Another instance is Passing Through/Lament for Harry, honouring her deceased grandfather, where emotion is expressed by melodic warbling linked to coloratura clarinet peeps and trills. In the same way, the impressionistic title track, from a poem by Christina Rossetti, harmonizes the clarinets in a near-baroque manner. The melded timbres flutter up the scale, but not enough to detract from the poem’s gentle imagery. In contrast James Joyce’s Alone brings out emphasized melisma as Gottlieb swallows the lyrics with low tones as the clarinets move upwards. Trembling/Light is an erotic poem, but that may be masked as the response to her vocalization is thumping tongue stopping and echoes from the bass clarinet. Finally Neither You Nor I/Conversation with Ora, which she composed after the death of a close friend, is no dirge but a defiant thewholenote.com September2019 | 73
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
