Volume 5 Issue 1 - September 1999

Classics Wednesday,

Classics Wednesday, November 24, 1999 Tuesday, March 7, 2000 Tuesday, April4, 2000 Chamber Tuesday, December 7, 1999 Tuesday, February 29, 2000 Friday, April 7, 2000 All Bach Friday, February 4, 2000 Tuesday, March 28, 2000 Tuesday, April18, 2000 Angela Hewitt: Bach Tuesday, November 9, 1999 Tuesday, February 22, 2000 presents the 1999-2000 season: COC Gala/Michael Schade/Russell Braun La Pieta/Angele Dubeau/Rivka Golani Joanne Kolomyjec/Janina Fialkowska Chantal Juillet/Antonio Lysy!Pascal Roge Triskelion and Andre Laplante II Giardino Armonico Tafelmusik Chamber Choir/Ivars Taurins Concerto Koln and Ludwig Semerjian Joshua Rifkin and the Bach Ensemble Well-Tempered Clavier: Book I Well-Tempered Clavier: Book II On each evening, Angela Hewitt performs a complete book of Bach's Well-Tempered Clavier, beginning at 7 p.m. There will be an hour's intermission between the first and second part of each book. Spend the intermission enjoying our complimentary hot and cold hors d'oeuvres. Cash bar. Celebrate Tuesday, October 19, 1999 Tuesday, November 2, 1999 Tuesday, January 25,2000 Voices Tuesday, October 26, 1999 Tuesday, December 14, 1999 Tuesday, February 8, 2000 Studio Jazz Saturday, March 4, 2000 Saturday, March 11, 2000 Saturday, March 18, 2000 La Bottine Souriante Johnny Favourite Swing Orchestra The Burns Musical Society/Kevin McMillan Patricia O'Callaghan Shirley Eikhard Carol Weisman The John Handy Quartet Gary Burton and the Dave Young Trio Randy Weston's African Rhythms All concerts (except the Angela Hewitt: Bach series) begin at 8:00p.m. All concerts take place at Glenn Gould Studio, CBC Broadcasting Centre, 250 Front Street West, Toronto. OnStage programme host: Eric Friesen SERIES SUBSCRIPTIONS (available until September 15, 1999): .00, .50 Seniors/Students SINGLE TICKETS (on sale beginning September 22, 1999): .00 per ticket (.00 for the Angela Hewitt: Bach series) Glenn Gould Studio Box Office open Monday - Friday 11 a.m. to 6 p.m. & 2 hours prior to performance TELEPHONE (416) 205-5555/ FAX (416) 205-5551/ E-mail: ggstix@toronto.cbc.ca esc. radiQ)NE JJtJ•m. AID lOlLI CBC.radi~ flJOASSICS. AND IEYDNnl PEROS INCORPORATED Is there a composer whom he particularly admires? Not really. It's the masterpieces, he says, regardless of who composed them, that are an inspiration. The true artists, whose music honestly reflects who they were, thereby reflecting humanity, are the composers that Peros admires. The music of J.S. Bach, for example, "is not Baroque, it's Bach, it transcends time and place." Bach, he points out, wrote for specific occasions, not to reflect his own time, and therefore his music has a timeless quality. Contemporary music written intentionally to reflect the discordant and ugly qualities of our time in history is not music, therefore, it's philosophy, according to Peros. His compositional heroes of the twentieth century are, accordingly, cut from a different cloth from those whose work is promoted in many university curricula. Erich Korngold, he points out, was, according to Richard Strauss, a fully mature composer at the age of twelve, meaning he was one of the greatest prodigies in the history of music. The English composer, Havergal Brian, who had to wait until he was eighty-five years old to hear his two-hour long "Gothic Symphony" performed, was in Peros' estimation a great composer whom the twentieth century has almost completely overlooked. He also greatly admires Scriabin's music for being atonal but beautiful. "I believe in total chromatic freedom" comments Peros, " but it has to be controlled - that's what mastery is." Atonality as prescribed by Arnold Schoenberg's system was, according to Peros, devised to compensate for Schoenberg's lack of mastery; the course of a piece of music written according to the dictates of Schoenbergian serialism is determined by arbitrary rules rather than "the will of the music." "Mastery of an art" he says, "is to make it do what you want it to do - actually I even think it's sort of having control of letting it go where it wants to go - you just sort of guide it there." PEROS I MOTETS I listened to a recording of Peros' twenty motets, the same ones that will be performed on September 24. He wrote the motets, he says, because he wanted to write some

choral music and he loved the polyphonic choral music of the sixteenth century, the music of composers like Lassus, Tallis and Gesualdo. He wanted to translate their principles to the twenty-first century and incorporate his own chromatic/harmonic approach. These pieces are polyphonic and each part is very independent. Sometimes a voice . will make an unexpected chromatic shift that at the same time seems very logical and very energizing. Above all, Peros' music is beautiful. It is beautiful, however, without being sentimental, saccharine or trite, embracing the whole contemporary human . experience, not just J ' 217 Danforth Ave. (Between Chester &Broa!Mew) (416) 406·1641 New and Used Classical and Jazz COs Sheet Music, Reeds, Strings, Gifts and Gifl Certificates ·Trade-ins Accepted A:i~~ fil .'¥ -.~ ~ .~/ ·::. ..... '\ 't' J) ·t~Y IIIIHI PHOTOGRAPHY the evil or the potential of humanity, but both. The music of these twenty motets, all settings of texts from the Psalms, reflects a contemporary sensibility, no mere imitation of bygone work, but something fresh and new. Peros is convinced that W71en proof of liability insurance is required for public gatherhzgs. Single event or annual coverage is available. William B. Mather Insurance Ltd. lloyd's Correspondent r.t (416) 214-2421 Fnx.' (416) 214-4843 1-888-708-6667 COUPON TO DINE AT PATRIS RESTAURANT ® One Meal Free. Maximum discoonl vakJe up to .00 with this coupon. Coupon from 4:00pm Pasta · Seafood · Steaks· Salads Greek Cuisine · Summer Patio 888 DANFORTH AVE. 3 blocks East of Pape at Jones 466-1967 we are on the eve of a cultural renaissance; his musical actions speak louder than words: 100% involved in the life of his community; equally passionately committed to creating music of enduring beauty. In the final analysis it is the music that counts and Peros' music will certainly be heard: by audiences at choral concerts across the country. I have no doubt they will embrace it enthusiastically. Before then, those of us who live in or near Toronto will have the opportunity to hear the world premiere of his motets on September 24. FznesT Q_ualrry Hand C1UlfTtd Vwlins. Vzolas & Cellos call fOJt appourrmerr Phone/Fax 416 533 5844 e-mail:sarabton@interlog.com http:/ /www.interlog.com/-sarabton/ PROMOTIONAL PHOTOS Headshots Groups Orchestras CD I Cassette Artwork I Photography ISI