QUODLIBET EUGENE KASH A LIFE IN ART On November 20 the International Resource Centre for Performing Artists and the Royal Conservatory of Music are celebrating the 90th birthday of one of Canada's most distinguished musicians, Eugene Kash, with a concert at the Ettore Mazzoleni Concert Hall. Kash, as well as some of his colleagues and former students, will perform. ·Although he was born and raised in. Toronto, Eugene Kash is connected through his teachers with the now long gone world of pre First World War European musical culture. He began violin lessons in Toronto at . the age of five with Moishe Spielman, a klezmer violinist from Eastern Europe. After only six months Spielman, recognizing the talent of his young protege, took him to Luigi von Kunits, a remarkable violinist and the conductor of the Toronto. Symphony Orch.estra. He studied with von Kunits for ten years, receiving from him a solid grounding in the art of the violin. · ~b~e.r 180 ~idtqres in foll colour . •Architectural detail of leading To+onto churches •Complete stop lists organs, including Roy Thomso Hall & Convocation Hall •Many historical & technical details and a glossary of terms. A pHblirntion of the Royal Canadian College of Organists Toronto Centre Order from: Norma Brubacher by Allan Pulker 15 Naylon Street, Maple, Ontario L6A 1R8 Phone/fax: 905-832-1600 Web: http://www.iprimus.ca/-chubb/rcco/ Von Kuh.its grew up in Vienna, studied violin with Otakar Sevcik, (pr." Shevchik) composition with Anton Bruckner, and mu~ic history with Eduard Hanslick. At the age of eleven Von Kunits was asked by Johannes Brahms to play the second violin part in one of the com- . poser's quartets, and in 1891 at the age of twenty-one he performed one of his own compositions, a violin concerto with the Vienna Philharm
"How.do you get to Carnegie Hall? Practise, practise, practise!" Then, thoughtfully he went on to say, "Making music is a lifetime study. We must always consider the necessity of a sound preparation, based on all the technique we can develop in order to transmit the essence of the music to reach the audience's hearts· and minds. Every time you go back ,to a work you want to be able to find something else that will bring you closer to the essence of the composition." Thankyou; Eugene. You may have grown up with. the best the past had to offer, but you are most definitely Hving in the present. MUSIC TORONTO: ART IN LIFE In February 2001 our cover story was pianist, Dang Thai Son, who would perform that month for the Women's Musical Club. I was at that concert, and, like everyone there, was. most impressed, not only by his technique, but also, exactly as Eugene Kash emphasized, by the way it brought to life the romantic repertoire he performed. When I noticed that he would be playing this ·month for Music Toronto. on a program with the Quatuor Arthur the progmmmihg until three years ~eblanc , I found myself wondering from now, she can book them for if Music Toronto general manager, that time and then move on to the Jennifer Taylor had scouted him out next on the list. at that 2001 concert. This in tum led The best thing about Music Tome to wonder just how she puts to- ronto's process, according to Taylor, gether. a series as varied and far-reach- is that it works. She is able to book· ing as Music Toronto's always is, a season that her board of directors, including (taking this season as an subscribers and single·ticket buyers example) both well-known names like are enthusiastic abo!,lt, on the basis the Tokyo and Emerson Quartets and of in1peccable artistic opinion, with a less well~known names, like violist, minimum of red tape and protocol. Laura Wilcox, and f)1ezzo-soprano, I did ask her specifically about the Krisztina Szaj:J6 (WholeNote cover · upcoming (Nov. 28) concert by the story, December 2001). · Quatuor Arthur Leblanc with pian- "The process is a lot more infor- ist, Dang Thai Son. Did chamber ma! than it looks on paper" was her music advisor, Maitin Beaver, have opening conunent. Music Toronto's to butt heads across the Atlantic with fonnal process, she went on to say, piano advisor, David Owen Norris, is built around what she describes over this one? "No, nqt at all!" she as a "revolvil).g prioricy list," of about chuckled. (Nor had she heard Dang one hundred artists and ensembles Thai Son at the Women's Musical compiled by Ms. Taylor and the ar- Club concert referred to above.) tistic advisors and updated every "They [the Arthur Leblanc] proyear. The list is a place where the posed this program to us. I heard advisors' input, which usually ar- them first about ten years ago, and rives periodically by, phone, fax or sinde then they have played for l!S e-mail, can be registered and retained. three times." She went on to explain To some extent, toe, input also that while they are Quartet-in-resicomes in from some of 'the artists dence at the University of Moncton, and ensembles themselves. The list a relatively small centre, they are one gives the general manager the flex- of the best quartets in Canada, and ibility she needs: when a particular one that she is proud to bring to the artist or ensemble can't be p.art of Toronto audience. Toronto Philharmonia Kerry Stratton, Conductor "Last Night at the Proms" Thursday, Nov. 14 at 8 pm , Toronto Symphony Bernard Labadie, Conductor Russell Braun, baritone Mozart: Symphony No 39 in E-flat Major, K.543 Mozart: Symphony No 41 in C Major, K.551, "Jupiter" Thursday, Nov. 24at3pm . 75 - . 75 MUSICAL INSTRUMENT EXPERTS, MAKERS AND DEALERS SINCE 1890 Visit our newly expanded Bloor Street location for even greater selection o( rhe world's great Pianos, Fine String Instruments, PrintI'v1usic and Children's Ivfusic Specialties R house of e n mus I c y 210 BLOOR ST. WEST 416.961.3111 (fust W. of Avenue Rd., C ity Parking in Rear) www.remenyi.com Novem er 1 - December 7 2002 www.thewholenote.com H '.
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