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Volume 5 Issue 2 - October 1999

  • Text
  • Toronto
  • October
  • Theatre
  • Choir
  • Symphony
  • Orchestra
  • Arts
  • Concerts
  • Musical
  • November

Autumn is almost upon

Autumn is almost upon us, and the 1999-2000 Toronto new music season is rapidly coming to the boil. Several concerts in October into the "not to be missed" category. SABAT AND CLARKE The violin/piano duo of Marc Sabat and Stephen Clarke continues their fascinating series of recitals at the Ettore Mazzoleni Concert Hall on October 8. These two have become recognized for their committed interpretations of contemporary music, as well as for explorations of lesser known and challenging works. This concert features Matteo Fargion's "Janet Topp" (revised version, 1998); Christopher Butterfield's "Four Short Pieces for Violin and Piano" (1999); Christian Wolff's "Pebbles" (1999); and Galina Ustvolskaya's "Duet" for violin and piano (1964). The first three pieces on the programme are world premieres, and the Butterfield and Wolff were commissioned by the Sabat/ Clarke Duo. Ustvolskaya's highly personal voice is gaining in international popularity, and the 25-minute duet will be an intense, exciting conclusion. ERGO ••• On October 15, the ERGO Ensemble - in association with the A.DEvantgarde: Projekte Neur Musik and The Music Gallery - presents "Stock Exchanges: Munich/Toronto". This concert follows the successful presentation of Canadian and German new works in Germany in June, and permits Toronto audiences to experience the fruits of this exchange. Six composers altogether - 3 Canadian and 3 German - will receive North American premieres of their works. Participating Canadians are: Barbara Croall ("Noodin" for two flutes), Marc Sabat ("Backyard Summer Patio" for bass clarinet, piano and percussion), and Allison Cameron ("Quartet" for flute, clarinet, piano and percussion). Their German counterparts are all part of the A.DEvantgarde association: Moritz Eggert ("Tableau" for clarinet and piano) is also a free-lance pianist, Fredrik Schwenk ("Trio" for flute, piano and percussion) teaches at the Hochschule in Augsburg, and Carl Christian Bettendorf ("Journey" for bass clarinet, piano and percussion) is studying composition. with Wolfgang Rihm in Karlsruse. Performers for this unique event include Stephen Clarke, piano; Peter Stoll, clarinet; Richard Moore, percussion; plus two European guest artists who participated in the parallel concert in Munich - Philipp Jundt (Swiz.), flute and Dorothee Binding (Ger.), flute. As an added bonus, a composers round-table discussion with the Canadian and internaby David G.H.Parsons tional guests will be held on October 16 (following day) at 4:00 PM at the-6oethe·Institut; The topic: exchanges between countries (culturaVmusical); their importance in general, and this recent exchange in particular. Barbara Croall (currently an Affilate Composer with the ISO) will moderate. "I've always believed that discussions about art in general should ~ke place outside our everyday frame of reference," remarks Croall. EsPRIT'S PLEASURES The Esprit Orchestra presents "Diverse Pleasures" October 19, the first event of its 1999/2000 season, featuring several works from their recent European tour. "In Amsterdam we did 4 separate concerts in 3 days," music director Alex Pauk states, "each with completely different repertoire, and everyone was amazed that this was feasible. Perhaps the biggest surprise was the size and warmth of the Paris audience. It can be very hard to · break into the scene in that City, and we were truly gratified by the positive feedback." Following Denis Gougeon's striking concert opener - the effervescent and lively "Primus Tempus" (1993)- the audience will be treated to Chris Paul Harman's "Procession burlesque" (1998) and Alexina Louie's Shattered Night, Shivering Stars (1997). The latter work is featured on a recent CBC Records release of the same name, entirely devoted to Louie's orchestral music [SMCD 5190]. The international content is Tiziano Manca's "Ondine" (1998), which will receive its Canadian premiere. "We performed the selected works in the young composers category at Gaudeamus," says Pauk, " and this one was especially successful. It is imaginative and charming, sensuous yet intellectual, and achieves a new sonic identity." Esprit returns to this country . for Denys Bouliane's "Du fouet et du plaisir", a striking piece ' given by Soundstreams last season, and which gets a welcome re-hearing as part of Esprit's long-standing goal to establish a true Canadian repertoire. Listeners who wish to explore Bouliane's world in advance should check out his two CDs - "La' Musique du Realisme Magique, vol. I and II [SNE 543 I 567]. DEGENERATE MUSIC? New Music Concerts exposes an intriguing piece of musical history with its first concert this season on October 31 at Premiere Dance Theatre. The composers and works featured were all suppressed by the German National Socialist Party in the 1930s, and the music comprises some important 20thcentury classics as well as lesser known repertoire: Karl Amadeus Hartmann (1905-1963), Ernest Krenek (1900-1991), Hanns Eisler (1898-1962). Kurt Weill. Only .00 per concert 1 0 months of events Over 100 eligible concerts last season Earn •earmiles" toward free tickets Great savings on CDs Passes available at the Canadian Music Centre (416) 961-6601 and the Music Gallery (416) 204-1 080

~~~~~~~~~~~~~~~ M Just before press time, Leger Hear & Now to Louie learned that Toronto-based ~~ * composer Alexina Louie has been announced as this year's ~ ~ recipient of the Jules Leger Prize for New Chamber Music. Louie was chosen for her composition "Nightfall", and as an added bonus '·' j ~b '~ s I c the Esprit Orchestra will conclude their October programme with a A A a a A A 0 performance of this prize-winning work. W W W W V W Founded in 1978, the ,500 Jules Leger Prize is the most OCTOBER1999CALENDAR prestigious award for concert music in Canada, and is jointly coordinated by The Canada Council for the Arts, the Canadian Music Centre and CBC Radio Music. Past recipients have included: R. Murray Schafer, Peter Paul Koprowski, Serge Garant, John Rea, Brian Cherney and Christos Hatzis, among others. Alexina Louie becomes the first female composer to receive this distinction in the award's 21-year history. The jury comprised of composers Harry Freedman and Rodney Sharman, plus conductor Veronique Lacroix, selected Louie's piece from a total of 56 entries in the 1999 competition. Dr. Sharman, as jury chair, described "Nightfall", composed in 1997as a commission by the I Musici de Montreal for the 25th anniversary of the Algoma Festival, as a "sensitive, evocative piece for 14 solo strings", adding that... "the composer creates an atmosphere of subtly shifting colours -a musical portrait of darkening night." Alexina Louie is among Canada's most recognized composers, and her work has been commissioned and performed widely by our leading orchestras, new music ensembles, chamber groups and soloists. She was named Composer of the Year in 1986 by the Canadian Music Council, has been recipient of a JUNO Award for best classical composition, and was presented with an Honourary Doctonite from the University of Calgary in 1997. Paul Hindeniith, and the "Suite Op. 29" (1923) for seven instruments by Arnold Schoenberg. . The latter, an exceptionally difficult piece and Schoenberg's first totally serialist chamber work, wit! be receiving its firstever Toronto performance. This programme in part recreates a 1938 Dusseldorf concert at which the National Socialist Party derided certain composers as makers of "degenerate music". (Hartmann was not on that "infamous" concert, but forbade his .music to be played under the Nazi regime. . Every piece on this programme has its own dramatic story. In the case of the Hindemith Sonata, it was scheduled for a concert in December 1936 by Gustav Scheck (flute) and Walter Gieseking (piano). The musicians arrived on the night of the performance to find the hall had bec::n closed by Goebbels himself. "One reason for this concert," says artistic director Robert Aitken, "is the interest that will be generated by the symposium on Music and Nazism planned at York University a few weeks ' prior. This event coincides with the end of Holocaust remem- · brance week. New Music Concerts is presenting works by composers who weren't actually killed but did suffer in other ways during the War." WholeNote readers who want to explore this area should read "The Twisted Muse: Musicians and Their Music in the Third Reich" (Oxford University Press) by Michael Kater. CURRENTS CANADIAN Lastly, don't forget that "Canadian Currents" continues on CJRT Radio FM 91.1 throughout the month:"A Portrait of John Weinzweig" (October 3); "Celebrating Elmer Iseler" (October 10) , with selections from the soon-to-be-released CD; "True North Festival 1998" (October 17) , an interview with artistic director Ted Dawson about recent performances in Taiwan of orchestral pieces by Steven Gellman, Ted Dawson, and Healey Willan; and then the "CJRT Fall Fundraising Campaign" (October 24 & 31) an opportunity to tune in and express support for the Canadian Currents series. David G.H. Parsons is Ontario Regional Director & Acting Head, National Library Canadian Music Centre Tel: (416) • 961-4057 Fax: (416) 961-7198 E-mail: ontario@musiccen'tre. ca Website: SATURDAY OCTOBER 2 STAVROS 1 SUNDAY OCTOBE-R 3 MOSAIC: MOVING IMAGES IN CONCERT / TUESDAY OCTOBER 5 ALLIANCE FRANtl\ISE WEDNESDAY OCTOBER 6 KATE HAMMETT-VAUGHAN QUINTET 1 THURSDAY OCTOBER 7 LAKSHMI RANGANATHAN I ASUNA KALLI 1 FRIDAY OCTOBER 8 GILLIAM & SACKS & SOUNDS 1 TUESDAY OCTOBER 12 CCMC FREE THURSDAY OCTOBER 14 MENDELSON JOE FRIDAY OCTOBER 15 STOCK EXCHANGE: MUNICH -TORONTO 1 SATURDAY OCTOBER 16 ANDY MILNE'S COSMIC DAPP THEORY / TUESDAY OCTOBER 19 CCMC FREE THURSDAY OCTOBER 21 J. DAVID LINDSAY / FRIDAY OCTOBER 22 JARED HUNTER'S HAPPY HOUSE / SATURDAY OCTOBER 23 RENO SCHEMBRI I ABSTRACT FREE TUESDAY OCTOBER 26 CCMC FREE SATURDAY OCTOBER 30 SERGIO FALUOTICO I MSG FREE www.interlog.com/-musicgal 179 RICHMOND STREET WEST•.WEST OF UNIVERSITY AVENUE•ALL PERFORMANCES BEGIN AT 8PM UNLESS INDICATED OTHERWISE•FOR TICKETS AND INFORMATION CALL 416.204.1080

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
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

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