Views
8 months ago

Volume 25 Issue 4 - December 2019 / January 2020

  • Text
  • Faculty
  • Performing
  • Musical
  • Arts
  • Jazz
  • Theatre
  • Symphony
  • December
  • January
  • Toronto
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!

Beat by Beat | Classical

Beat by Beat | Classical & Beyond Looking Ahead to 2020 PAUL ENNIS Seong-Jin Cho, the 25-year-old South Korean winner of the 2015 Chopin Competition in Warsaw, is a polished performer whose life changed as a result of his Warsaw triumph. From playing 20 to 30 concerts a year, he went to 80 to 90; and, thankfully, no longer needed to participate in competitions. Because of The WholeNote’s production schedule, I missed his sold-out Koerner Hall recital on October 26, 2018, so I’m looking forward to his upcoming TSO appearance January 8, 9 and 11 in Beethoven’s revolutionary Piano Concerto No.4 conducted by Sir Andrew Davis. Some critics have called Cho’s playing “poetic,” something he discussed on the British blog, Where Cherries Ripen, published on October 1, 2019. “What others say about my performances may accurately reflect some aspects of my playing style, but I cannot say I ever intend to sound ‘poetic’. If I may put it differently, there are times when I receive bad reviews, but I never intend to play badly. I think an instrumentalist’s unique sound is like the human voice. Everyone has a unique voice given to them, regardless of their intentions. For example, a tenor can never be a bass. Of course, I can force myself to perform wearing my heart on my sleeve, but this would not change who I fundamentally am. Everyone has a natural way of performing, and I play in my given way. I think audiences have been able to sense that personality.” In the same interview, he also had interesting things to say about how he approaches playing a concerto with an orchestra, commenting on how most ideas are in the score already, so it is important to carefully study the score. “In my performances, what is most crucial is to be confident. That confidence, in my opinion, comes from the certainty that I know the score more than anyone else. Sitting between the orchestra and the audience, I must be ready to say, ‘I know this score much more than all of you.’ For this to happen, I have to carefully learn the score. For instance, if some dynamics markings are not taken into account because one wants to be different, such creativity should not come out from instinctive feelings. One should be able to explain why such liberties were taken, because one has ideally thought through one’s decisions before.” With this in mind, he says that before performances, rather than practise, he prefers to read the score again. “During performances, I don’t think much, as what I envisioned is fully internalised in my body and hands.” That being said, he also admitted that he gets particularly nervous and pressured when playing with a conductor who knows the piano well. Signed by the prestigious Deutsche Grammophon yellow label after his Chopin triumph, he’s already released three CDs, the latest of which, Debussy, garnered wide acclaim. The Guardian wrote that Cho “brings his understated, coiled-spring pianism to Debussy, and his playing is as riveting as ever.” In another interview, Cho told The Cross-Eyed Pianist (November 2018) that the most important influence on his musical life was meeting great musicians, “people like Myung-Whun Chung, Radu Lupu, Krystian Zimerman, Mikhail Pletnev, Alfred Brendel, Murray Perahia and many others … I learned a lot even while having a conversation with them.” And he revealed that taking part in competitions may have been the greatest challenges of his career so far. “I wanted to play for audiences across the world and I thought winning the competition was the easiest way to reach that goal,” he said. “And it was true. The Chopin Competition gave me a lot of opportunities, but I’m still against competitions. Many great musicians like Arcadi Volodos or Piotr Anderszewski didn’t win any competitions. The competition kills the musical idea, imagination and freedom. I felt so free after I Seong-Jin Cho won the Chopin Competition because I realized that I don’t have to do this kind of thing anymore.” One rarely hears such candour expressed by an up-and-coming performer. Two more must-see TSO programs Acclaimed French pianist, the prolific Jean-Efflam Bavouzet, brings his wide-ranging musical compass to bear on Mozart’s first major piano concerto, the “Jeunehomme” K271, when he joins Bernard Labadie and the TSO, January 22, 23, and 26. Bavouzet is currently immersed in a Mozart concert project and Labadie is an expert on the composer; their confluence augurs well for a delightful concert, made Cathedral Bluffs SYMPHONY ORCHESTRA Norman Reintamm Artistic Director/Principal Martin Macdonald Guest Conductor Saturday February 8, 2020 8 pm DVOŘÁK & GERSHWIN Weinzweig: Red Ear of Corn Suite Gershwin: Rhapsody in Blue with pianist Brett Kingsbury Dvořák: Symphony No. 5 in F major TICKETS: from ( student/senior; children under 12 are free) ORDER ONLINE cathedralbluffs.com BY PHONE 416.879.5566 P.C. Ho Theatre 5183 Sheppard Ave East subscription (1 block east of Markham Rd), Scarborough cathedralbluffs.com | 416.879.5566 concert 4 36 | December 2019January 2020 thewholenote.com © HARALD HOFFMANN

all-the-more appealing with the addition of Mozart’s most melodious and heartfelt symphony, No.40, K550. On January 31 and February 1, TSO principal cellist, Joseph Johnson, brings his consummate skill set to Dvořák’s Cello Concerto, with its contagious passion trumped only by its lyricism. Rising star – the TSO calls him “electrifying” – 31-year-old Uzbekistani conductor Aziz Shokhakimov leads the orchestra in Smetana’s indelible The Moldau from Ma Vlast and Mendelssohn’s Symphony No.3 “Scottish,” written 13 years after the composer’s extensive tour of Scotland when he was 20, and the last of his five symphonies despite its designation.The remarkable Shokhakimov, making his second appearance with the TSO, is currently the Kapellmeister at Deutsche Oper am Rhein, principal guest conductor at La Verdi Orchestra, Milan and artistic director of Tekfen Philharmonic Orchestra. Music Toronto’s appealing lineup Now in its 26th year, the much-loved Gryphon Trio has had a continuous relationship with Music Toronto since 1995, including ten years as their ensemble-in-residence from 1998. In what has become a regular lateautumn visit, the Gryphons this time (December 5) will be joined by Toronto-born international operatic bass, Robert Pomakov for a performance of Mussorgsky’s Songs and Dances of Death (arranged by Gary Kulesha). Beethoven’s delightful Kakadu Variations Op.121 opens the program which ends with Dvořák’s opulent Piano Trio No.3 in F Minor, Op.65. With a long list of critically acclaimed, award-winning performances and recordings to his name, yet another distinguished Hyperion Records artist, 60-year-old Brit, Jonathan Plowright, has been described as “one of the finest living pianists” by Gramophone magazine. For his Toronto recital debut on December 17, Plowright has chosen an appealing program comprised of Brahms’ early Ballades, Op.10, Schumann’s ever-popular Kinderszenen, Op.15, Mozart’s delightful Variations on “Ah! VOus dirai-je, Maman,” K265 and Paderewski’s rarely heard excerpts from Humoresques de Concert, Book I Op.14. Once upon a time, the first-movement Menuet was world famous; it’s still instantly recognizable today. Plowright will also give a masterclass (free and open to the public) on December 18 at 11am in Walter Hall. For their fourth concert with Music Toronto since 2001, on January 9, the Miró Quartet (winners of the Banff International String Quartet Competition in 1998) will perform a replica of the program the Kneisel Quartet performed on January 28, 1910 at the Schubert The Miró Quartet at Weill Hall performing their Kneisal Quartet program Club in St. Paul, MN. It’s part of the Miró’s Archive Project to evoke the flavour of a bygone time – the Kneisel Quartet was active from 1885 to 1917; Dvořák was a friend. Unlike concerts today, in which multimovement works are typically performed in full, the Kneisel Quartet often programmed individual movements of new and recent works. This is reflected in the 1910 program, which features selections from string quartets by their contemporaries César Franck and Reinhold Glière. Also unlike today, the quartet often devoted a portion of their programs to the cello repertoire, as evident here in Adrien-François Servais’ Fantaisie sur deux Airs Russe for cello and piano. When touring works that required additional players, the quartet was joined by local musicians. In keeping with this spirit, the Miró collaborates with a local pianist wherever they perform this program, in this case with Lydia Wong, head of U of T’s piano department. Two pillars of the repertoire fill out the bill: Mozart’s Quartet in B-flat Major, K458 “The Hunt” opens the program; Schubert’s Quartet in D Minor, D810 “Death and the Maiden” brings it to a close. To celebrate their 30th anniversary season, the scintillating St. Lawrence Quartet (founded in Toronto in 1989) has planned a special program on January 30 with each piece signifying an aspect of their musical life. For their love of Haydn, his Quartet Op.20 No.4 in D Major; for their fierce commitment to living composers, R. SPIRIT IN THE CITY Sunday Dec. 8, 1:30pm DECK THE HALLS! CAROL SING with The Metropolitan Silver Band Sunday Dec. 15, 11:00am THE CHRISTMAS PAGEANT Sunday Dec. 22, 7:00pm CANDELIGHT LESSONS & CAROLS a Toronto favourite Dec. 24, Christmas Eve 5:00PM - A COMMUNITY CHRISTMAS 11:00PM - CANDELIGHT CHRISTMAS EVE with The Metropolitan Choir The downtown church for a diverse city 56 Queen St. E. (at Church) | www.metunited.ca thewholenote.com December 2019January 2020 | 37

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 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)