Volume 30 Issue 2 | October & November 2024

THE ART OF THE ARC ( 1 )

THE ART OF THE ARC ( 1 ) emotional arc of the poetry was chosen in a way to keep things varied throughout the concert. In past Apocryphonia concerts, I have played with splitting up sonatas between other works, or switching the order of the movements in order to achieve a desired effect based on the concert’s overarching musical narrative. Also this season we’re doing our second iteration of our Cabinet of Curiosities concert in June, which takes several multi-movement musical works and completely randomizes them on the night of the show. I find that especially fun because it highlights musical contrasts in a way only complete randomization could do. SAM GAETZ ALEXANDER CAPPELLAZZO Diapente Vocal Quintet, clockwise from back left: Peter Koniers, countertenor; Martin Gomes, bass; Jonathan Stuchbery, tenor & plucked strings; Jane Fingler, soprano; Alexander Cappellazzo, tenor (1) Alexander Cappellazzo: Apocryphonia Alexander Cappellazzo Q1: One particular work? Our upcoming Amor Con Fortuna: Songs of 16th Century Spain concert on October 15th has this piece by Mateo Flecha the Elder called El Fuego. It’s this tenplus minute song from a genre during the 16th Century called an ‘ensalada’ (salad). Essentially, they’re these epic, long disaster stories set to different little tunes that culminate with the day being saved by the appearance of the Virgin Mary or some angels, and perhaps some sort of raucous celebration afterwards. In this specific case everything is on fire (the aforementioned fuego) until it is not, and then a fellow named Joan plays the bagpipes while people sing praises to the Virgin. The music shifts here and there from these frantic rhythms to more “church-like” motet sections as the story progresses; the word painting is quite spectacular! Interestingly enough, since the ensalada genre is a mish–mash of smaller works of music, there’s a sort of chaotic continuity to the overall musical journey even while the textual narrative is relatively straightforward. There are no reprises of past material, and the musical styles shift depending on the text, so as a listener the whole beginning~middle~end cycle is slightly refuted by not knowing what exactly is next to come. Q2: The concert as a whole? This is the most exciting part about concert curation; creating something brand new from the sum of its parts. I wonder what would happen if you gave two different people the same music to program; how different would those two concerts feel depending on their order? Each Apocryphonia concert featuring Renaissance vocal quintet, Diapente, is programmed by a different member of the quintet; “Amor Con Fortuna” is the creation of our lutenist/tenor Jonathan Stuchbery. I know he took a particular effort in programming this concert to have both the poetic texts and the musical styles have a sort of continuity to them as the concert progresses. Specifically, he took an interest in the linguistic shift occurring in Spain at that time, so the concert reflects both a linguistic and musical evolution of thought. Beyond that, the Q3: Shaping the season? The joy of vocal/chamber programmation is that unlike larger scale works like symphonies or operas you get to play with different combinations. I take multiple factors into consideration when programming a full season: time period, nationality, instrumentation, etc. The big thing is making sure the year feels varied and that no two concerts are too similar or too close to each other. I am a fan of creating narratives through programming; each concert has a story to tell, literally or conceptually. How that relates to the overall season is a bit more abstract however; my overarching aim is that if someone came to every show in the season they would feel like they saw something unique each time. Tenor Alexander Cappellazzo is Diapente and Apocryphonia’s founding artistic director. Amor Con Fortuna plays at the Heliconian Hall October 15 at 7:30pm. THE ART OF THE ARC ( 2 ) (2) Wonny Song: Mooredale Series Benedetto Lupo Wonny Song Q1: The opening work? In our upcoming Mooredale Series program, pianist Benedetto Lupo will take us on a captivating journey through Nino Rota’s 15 Preludi. Each piece is imbued with its own distinct character and mood, together crafting an evolving narrative that flows through a range of tempos and emotions. We begin with the vibrant “Allegro molto,” transition through contrasting feelings – such as the introspective “Andante sostenuto ed espressivo,” and culminate in the vigorous “Allegro robusto,” creating a satisfying narrative arc. In contrast, Aleksandr Scriabin’s 24 Preludi, Op.11 presents a fascinating departure from traditional storytelling. While showcasing a wide COURTESY ORFORD MUSIC CARLO COFANO 10 | October & November 2024 thewholenote.com

spectrum of emotions, many of these preludes, like Preludes No.4 and No.18, tend to feel more episodic or fragmented. Rather than adhering to a clear progression, they capture fleeting moments of expression, offering an intriguing contrast to Rota’s cohesive narrative. This approach reflects a broader understanding of musical storytelling, where the absence of a defined arc can evoke a unique emotional experience, inviting the audience to engage in a more impressionistic way Q2: The concert as a whole? Starting the concert with Rota’s preludes sets a tone of accessibility and elegance, offering a light and engaging introduction. As the program shifts into Scriabin’s preludes, the atmosphere deepens, becoming more reflective, intense and emotionally rich, which heightens the listener’s involvement. This order works effectively because it creates a natural progression, both emotionally and technically, allowing the concert to gradually build toward Scriabin’s profound, almost mystical sound world. From a practical viewpoint, this structure benefits the performer as well. Rota’s preludes, while musically expressive, are less demanding compared to Scriabin’s. This makes them an excellent way to ease into the performance before tackling Scriabin’s more challenging and emotionally charged pieces. The flow of the concert feels organic, with the music growing in complexity and emotional weight. In essence, pairing Rota’s and Scriabin’s preludes offers a wellrounded journey that moves from neoclassical simplicity and grace to the Romantic intensity and depth of Scriabin’s music. Q3: Shaping the season? Looking at the season as a whole, a clear guiding principle emerges: a blend of innovation, tradition, and cross-cultural dialogue. The concert series emphasizes diversity in programming, both in terms of repertoire and instrumental combinations, creating a season that spans multiple musical worlds and styles. The overarching principle is one of balance between contrast and cohesion. Each concert creates its own emotional and stylistic narrative while contributing to a larger season-long exploration of different musical traditions and emotional arcs. Across the season, the audience is taken on a journey through different musical landscapes, from classical and neoclassical to Romantic, contemporary and Latin American influences. The programming invites listeners to experience both the familiar and the new in an engaging, progressive arc. Wonny Song is Mooredale Concerts’ Artistic Director. Benedetto Lupo, piano is at Walter Hall, University of Toronto, on October 20, at 3:15pm. (3) Jean-Sébastien Vallée: Toronto Mendelssohn Choir Jean -Sébastien Vallée THE ART OF THE ARC ( 3 ) Q1: The opening work? Our upcoming concert, The Love Affair, illustrates how an entire program can be a carefully constructed arc, guiding the audience through different aspects of love, all tied together by the theme of dance. We begin with Brahms’ Liebeslieder Walzer, which sets a light, joyful tone with its charming waltzes. This serves as the “beginning” of the concert’s emotional journey, evoking the simplicity of romantic love. Brahms’ Drei Quartette then deepens the narrative, moving into more contemplative and introspective territory, adding complexity to the emotional arc. After the intermission, the program shifts with Aaron Manswell’s Poverty. This piece stands in stark contrast to the romanticism of Brahms, introducing a modern, socially conscious reflection on different forms of poverty—spiritual, social, mental, health, and economic. Opening with a reference to Matthew 11:28, the piece uses double entendres to explore how poverty manifests in more abstract ways, like loneliness and feelings of inadequacy. Musically, Poverty draws from Romantic Classical, Gospel and R&B influences, and its slow, unhurried tempo invites the audience to sit with its emotional and social message. Finally, the program culminates with Martín Palmeri’s Misa a Buenos Aires (Misatango), where the sacred meets the secular in a fusion of liturgical music and tango. The use of the bandoneon in this work adds a uniquely passionate and sensuous texture, bringing the intensity of the tango to life. This final piece serves as the emotional climax of the evening, merging love, faith and dance in a powerful conclusion. Overall, The Love Affair as a concert creates its own arc, taking the audience on a journey from lighthearted romance to deeper, more Aaron Manswell is the TMC’s 2024/25 Composer-in-Residence. The program supports innovation in choral music and nurtures Canadian talent. ENSEMBLE FAENZA Un Bestiaire Fabuleux, a Tribute to Jean de La Fontaine Ancient Music OCTOBER 17, 8 PM SPADINA THEATRE Tickets available online at www.alliance-francaise.ca thewholenote.com October & November 2024| 11