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Volume 3 Issue 9 - June 1998

  • Text
  • Toronto
  • Symphony
  • Choir
  • Festival
  • Theatre
  • Classical
  • Orchestra
  • Arts
  • Choral
  • Singers

John McGuigan is

John McGuigan is currently the administrative secretary of the Canadian Band Association (Ontario Chapter). His main function is the editing of the quarterly magazine "Fanfare" and to maintain records and offices for the association. He also owns and operates "COMPRINT" a publishil;tg house for new Canadian music. Phone or fax (905)826-5542 music educators in Ontario. This camp features a week-long musical learning and recreational experience followed by a concert featuring everything from a: jazz ensemble to a symphony or,chestra. Faculty concerts are a delight every day at camp, Call (416)482-2475 for information and applications. Summer Camps Last month I described the advantages of summer camp experiences for young musicians and suggested that camps hoping to fill up with aspiring young musicians should let me know of thyir programs. I was gratified to receive several announcements of camp experiences coming this season. For your information I have listed some of these events. The Jazz Band Rhythm Section Institute will be hyld from July 6th to July lOth. This institute is open to performers on piano, bass, guitar and drums and features master classes, ensemble coaching and small group per~ormances. It will be held at the University of Toronto Faculty of Music arrd features faculty members Lorne Lofsky, guitar, Barry Elms, drums, Dave Young, bass and Gary Williamson, piano. At the same venue from August 17th to 21st the Canadian Brass Institute will liold the "Essentials of Brass Performance" which will include master classes ensemble co~ching and a final public performance with th~ members of the Canadian Brass and other U. ofT. brass faculty. The Canadian Brass are Yamaha Artists in Residence at U. ofT. For information and applications contact Mary Ann, Griffon, at the U. ofT. Faculty of Music (416) 978-3733. The Hollows Camp is pleased to introduce a first · season of Summer Music at The Hollows their' new program for young musicians. It will offer 40 .students ages seven to fourteen currently studying violin, cello, piano or acoustic guitar an opportunity to develop their talents and enrich their musical experience in a fun and diverse recreat\onal camp setting. The camp day will consist of musical activity, both individual and ensemble work, plus cJ.loices from many recreational activities. 'The camp period is from Aug. lOth to Aug. 15th. For information call Stephen or Janet Fine at (905) 775-2694. , The long running National Music Camp on Lake Couchiching will feature Senior and Junior sessions in Band, Strings, Broadway Music, and Jazz. This multi-inclusive camp has been active for about 30 years and provides an unequalled music and camp experience for yoting musicians taught by some of the most experienced and successful I had the delightful experience this month of attending the final series concert of the Toronto Wind Orchestra held in the Glenn Gould Studio at the CBC. T?is adven.turous concert featured new Canadian Music by Donald Coakley \ and Gary Kulesha as well as music by Igor Stravinski and ' Karel Husa. This concert showed the potential of the wind ensemble as a serious music ensemble 'to great advantage. The musicians were superb protagonists as they worked wonders with the difficult scores on their stands. A highlight for me was the new commission by Don Coakley entitled Sanies. It proved to be fun as it b,ubbled along on its unpretentious way through the varied manipulations that Mr. Coakley is so adept at creating. The musicians obviously enjoyed their romp ~nd infected the audience with their enthusiasm. Another highlight was the placement of the English Horn in the centre of the front row for the ensemble. needs of the Stravinski Concerto and the Kulesha Ensembles .. The warm glorious sound of this often neglected instrument was superbly translated by Sarah Jeffrey and, better still, it was clearly audible in this fine studio theatre. The piano work of James Parker in the Stravinski captured easily the rhythmic gyrations that · Stravinski uses so freely in his music. June 1 June 5 June 7 June8 June 13 June 16 June 16 June 25 June 26 June 28 This month's band concerts Niagara Brass - Church of the Holy Trinity Etobicoke Big Band Concert and Dance Oakville Wind Ensemble - Coronation Pk. True North Brass CD Launch CBA Cavalcade of Winds - Harbourfront Thornhill Concert Band - Mel Lastman Sq. Festival Wind Orchestra.- Ford Center North York Concert Band - Mel Lastman S·q, Mart Kenny Big Band Show - Jane Mallett Metropolitan Silver Band- Orillia Aquath. Check the listings for time, place and details TORONTO'S ONLY COMPREHENSIVE MONTHLY CLASSICAL' & CONTEMPORARY CONCERT LISTING SOURCE

... UDIOFILE BY ROBERT HANSON This crucial stage should not be rushed, so make sure the choir is ready to show off • Choral Recording A proper discussion on how to record choral groups could easily cover a year of columns. From artistic decisions to technical aspects, there are many details to consider. Rather than try to cover all the issues, let's look at a few often overlooked technical items which can make a big difference to the overall sound and help your recording .project run smoother. PRE-SESSION TIPS Before the day of the session, have a good idea of the sound you hope to capture. If at all possible, arrange to have a practise, at the same time of day you plan to do your actual recording session. Focus on the following details: a) Stand back from the choir and listen to the blend of the various sections and how they balance from left to right. Consider whether you want to hear distinct unified sections or whether you would like to disperse the sections for an overall more blended sound. b) Move back and forth in the hall to find locations where you hear a desired balance between the choir and the reverberation. Be sure how much you want to be able to hear the words of each section, and consider moving sections and/or specific voices around to achieve the balance you are looking for. c) Decide where accompanying instruments, if any, should be l in relation to the choir to get a good dynamic balance. If using an organ, you may ·have to move the whole choir forward or back for balance. And if the choir or accompanying instruments c;m not be moved, you may have to adj~st the dynamics of various passages. d) Listen to the venue with the choir silent! Are there buzzing lights, air conditioning fans, noisy pipes, children's voices from day care, office sounds, traffic noise, birds, etc.? Can any of these be avoided by making adjustments in the hall or by changing the time of day you are recording? (If the noise problems are really bad you may want to consider a different venue.) SESSION TIPS a) On the days of the recording ' have everyone wear loose comfortable clothes. Sneakers or sandals are more comfortable and less noisy than high heeled shoes or boots. Avoid corduroy, nylon or any clothes, bracelets or belts which make noise as choir members move. Make sure no one wears a watch or pager that could beep d\lring a take. b) Provide the engineer with a past recording or a recording of another choir you like. This will help in deciding how to set up. (And tell the engineer you are bringing this, so there is a machine to listen on!) c) Plan to have the choir sing a few of the numbers at the beginning of the session. This allows the engineer to hear the · balance of the choir in the hall and set up an initial sound. their voices for a while. d) Once you get the sound you want, have the choir sing the loudest piece of the entire project, allowing the engineer to set levels to tape. e) Having your own producer, familiar with the material is of great benefit-not to tell the musical director how the choir should sound, but to work with the director and the engineer to make sure the desired result is translated to tape. ST. GEORGE'S UNITED CHURCH recently completed their latest recording, directed by Peter Merrick, with John Tuttle as organist and· producer. Recording took place at St. George's United, a larger church with lush reverberation, perfectly suited to choral recordings, on a quietish street Voice Training for singers with Paul Mason (416) 495-9872 http://www.interlog.com · 1-pmason near Yonge and Eglinton. Their organ, as John Tuttle explained, is built m a baroque style, enabling John to provide the choral recording with a rich dynamic accompaniment from soft trills to powerful full bodied chords. St. George's Choir has a distinguished music tradition. In the 1960s its large Youth Continues, page 17 AUDITIONS! The Toronto Mendelssohn Choir and the Toronto Mendelssohn Youth Choir, invite all, young and old, to audition for their upcoming 1998 I 99 Season. An accompanist is provided for all applicants. r Those auditioning for the Adult Choir are asked to prepare an aria· from Mendelssohn's Elijah, those interested in auditioning for the Youth Choir are asked to prepare a piece of their choice. The Toronto Mendelssohn Choir auditions will be held June 15 - 25. Youth Choir auditions will be held on June Wand 17. To schedule an audition call: (416) 598 - 0422

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