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Volume 25 Issue 2 - October 2019

  • Text
  • Performing
  • Orchestra
  • Symphony
  • Musical
  • Concerts
  • Arts
  • Jazz
  • Choir
  • October
  • Toronto
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.

Judging from Shortt’s

Judging from Shortt’s bio, she’s had extensive professional experience including as a saxophonist, composer, sound designer, activist, curator, teacher, actor and producer. I asked for a few highlights. “One would certainly be my saxophone duo Stereoscope working with Robert Lemay in a number of capacities, including being presented by the 5-Penny New Music Concerts in Sudbury, Ontario, as well as performing on a new work Fragments Noirs that Robert had written for our duo. We recorded the work in partnership with poet Thierry Dimanche and SNOLAB (a neutrino lab in Northern Ontario). I don’t know if I’ll ever do anything as unique or as exciting as waking up at 5am to go into an elevator with miners two kilometres underground, having to change outfits a few times and have our saxophones and equipment go through the cleaning area called the ‘car wash’. The music we recorded is now available as an album. I’ll always treasure that experience. “I also appeared in the Atom Egoyan film Guest of Honour that premiered this year at the Venice Film Festival and had its North American premiere at TIFF on September 10, 2019. Atom invited our Dialectica Saxophone Quartet to fill out the saxophone section of the high school band as actors in the movie. We recorded the music plus spent three days filming in Hamilton dressed up as high school teenagers, which was pretty hilarious considering I’m almost 30,” she recalled. How will Shortt’s artistic practice inform her MG programming? “My work has always involved an interdisciplinary approach; I love working with artists in dance, theatre and visual arts especially. … My artistic practice is deeply rooted in my belief to push boundaries and the systemic issues that can be incredibly oppressive towards marginalized artists. The lens that covers all of the work I do incorporates equity and creating more equitable practices within my artistic practice. I come from a classical background and a world that can often be very insular and exclusionary, so that’s why I’ve broadened my artistic practice to be more of an interdisciplinary approach.” my understanding of grassroots movements, activist spaces and antihegemonic programming.” Working at the Aga Khan Museum recently, Kohli spoke of her job “supporting their diverse programming. My ultimate career highlight however (and I am just starting out) is founding The Tawoos Initiative. My co-founders, Haris Javed, Auoro Maksud and I wanted to create programming that highlights the independent, urban music that is being created in South Asia by individuals and also by groups in the South Asian diaspora.” How will her studies and artistic practices inform her MG programming? “I hope to bring the lens of decolonizing public spaces to the MG,” Kohli stated, “and to work with the existing traditions that have existed at the MG, pushing audiences even more when it comes to actively listening to what is being created by Canadian, North American and global talent. A lens of equity, particularly one where women support women, is very important in my practice….” Kohli wraps up our interview with an affirmation of music as a unifying and inclusive factor across cultures. “I hope to bring Indigenous, black and POC musicians to the forefront, focusing on each group’s or individual’s strengths, and connect them with one another through the language of music. As someone who has lived in a bunch of places growing up, with roots extending to each, I find we are able to find common ground regardless of what appearances or language may suggest.” Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. Decidedly Jazz Danceworks' passionate twist on Shakespeare from a female perspective. Pratishtha Kohli Pratishtha Kohli, Artistic Associate Pratishtha Kohli, the other new MG artistic associate, also replied to my email inquiry: “I’m really looking forward to working with David Dacks and Olivia to curate and research shows that are multidisciplinary and experimental over the next year,” she says. “I hope to learn about and contribute to every aspect of producing a show, from working with the tech team, to artist liaison, to managing day of operations for shows,” she continued. “I’m going to … put forward my vision for what 2020 at the Music Gallery should look like, working with the local community around the 918 Bathurst space and connecting the local with some cool musicians from across Canada and globally.” Kohli reflected on the impact of her current studies. “I’m near completing my master’s at OISE, U of T. Through my study in Adult Education and Community Development I have gained significant insights into equity-based learning and the importance of decolonization. As an immigrant, my self-journey of learning as well as my formal education and work in the arts have significantly impacted THURS 14 NOV 7:30PM FirstOntarioPAC.ca Maceo Parker THURS 19 DEC The Music of A Charlie Brown Christmas A Jazz Club Cabaret with The Peter Shea Trio Ft. Terry Clarke SAT 21 DEC Sing-A-long Sound of Music FRI 27 DEC Mosaïque Project FRI 24 JAN Africville Stories with Joe Sealy & Jackie Richardson SUN 9 FEB New Orleans Jazz Orchestra FRI 21 FEB 20 | October 2019 thewholenote.com

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Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)