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Volume 8 Issue 6 - March 2003

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•Complete st0p.lis:t

•Complete st0p.lis:t organs; including R Hall & Convocation Hall •Many historical & technical details and a glossary of terms. A publication of the Royal Canadian College of Organists Toronto Centre Order from: Norma Brubacher· 15 Naylon Street, Maple, Ontario Ii6A 1R8 Phone/fax: 905-832-1600 Web: http:/./www.iprimus.ca/-chubb/rcco/ Organs of Toronto . Alan Jackson & James· Bailey 176 pp, sewn, paper lSBN: 0-9689713-0-x ·s45.oo PLUSSHlPPlNC & HANDLING Supported by a grant from The Trilliorn Foundation "I rejoice [in this book], as will anyone who loves organs and knows what an important part they have played, and continue to play, in the life of the city." john Fraser, ft om the P1 d11et· : l~i~____,f~•~t9~.~t~4~t~~L~CA~.t~V~~~•R~1'~--11 by Colin Eatock · The StC1r System January 22, 2003: Last week I was only the finest soloists they'd never involved in a discussion at the Uni- heard of? versity of Toronto about the prdb- Two things occur to me. First, the !ems faced by Canada's orchestras. TSO would save money. Like the A retiied professor suggested that economics of professional sports, the· orchestras' financial problems are in economics of classical music are part due to the exorbitant fees · wildly skewed in favour of big charged by star soloists. At the time, names. If the TSO simply deleted the I pointed out that Canadian orchestras Argeriches, Vengerovs and Perlmans have virtually no say in the fees that from its programming - replacing the great and famous demand for them with un-famous soloists at a their services. ("Do you want to hear fraction of the cost- they would free Jessye Norman, or don't ¥OU?" up much-needed cash. Second, the were, I believe, my exact words.) quality of concerts would not neces- Today, I met the professor again sarily suffer. The musical world is at a press conference, and took ad- · not a just place, and many excellent vantage of thy opportunity ,to further musicians fail to achieve celebrity for discuss this issue. He explained that, reasons that have nothing to do with when 1we last spoke, he wasn't talent. There are relatively unknown suggesting that the TSO should be virtuosi out there who are every bit expected to somehow coax high- as good as the stars. profil~ artists to Toronto at a fraction February l l: In a chance meeting of their~ fees - but rather that with a local pianist - someone who such solOISUi should perhaps n?t be has performed with the TSO in the . engaged at all. I came away with a t 1 raised th ti. • "What diffi . 1 kin pas - e ques on. . erent view.- or, at east, as g a would happen if the TSO stopped diffihaperentifquesthe tlTon: Whatto S woulhd engaging big-name solois~?" "It pen oron ymp ony ·g11 be bl firs " h Qrchestra made it known that hence- ffil t ~'pro em at t, · e forth audiences could expect to hear suggests. But they could put the

money they saved back into the ship sales, and give a boost to the orchestra. And if they could maintain stature of the orchestra. excellent musical standards, they'd Forrester readily acknowledges soon be in a financial position where that some lesser-known artists, such they could afford the stars again." as pianist Stewart Goodyear, ~do February 18: I drop in on the TSO's very well at the box office - but the website to see who's playing next bottom line is that there's "a huge year, and find a fulsome number of public demand" for celebrity musicians. He also points out that for the big international names: Emanuel A:x., Evgeny Kissin, Yo-Yo Ma, Gil last couple of years the orchestra Shaham, Orristian Tetzlaff, and even hasn't had a music director, and this Midori. has led to an increased reliance on soloists to sell tickets - something he February 21: I phone Mike Forrester, the TSO's Director of Marketing. Peter Oundjian officially takes over. hopes will change when conductor He confirms that famous soloists are ·At the TSO's January press conference, when Oundjian was an­ indeed expensive, weighing heavily on the finances of concerts. "If we're nounced as the new Music Director, not paying huge fees to a soloist, we ·Chairman Bob Rae was asked about might need to sell about 55 % of the the orchestra's finances "They're seats to break even. But with a big great," he replied, with Tony-thename, you need to sell maybe 80% Tiger enthusiasm. But it shouldn't be of the house. It's a big spread." forgotten that the TSO's recovery So why not withdraw from the was, in part, built on a "voluntary" star system? Forrester isn'~ unsympathetic to this suggestion, but he ex­ As well, during the crisis of2001, 23 % wage cut taken by the players. presses doubts that such a policy there was much talk of fundamentally would work. "Artists of international re-~ the way the orchestra is stature bring a sharpness to the orchestra itself. The players want to of expensive stars - who may earn run. Maybe re-thinking the m:essity perform with the front ranking people." He explains that stars drive up a TSO player does in a year - might as much from a single engagement as subscription sales, and also sponsor- be a good place to.start. Colin Eatock (eatock@thewlwlenote.com) is a Toronto-based composer who freouentlv writes about music for The Globe and Mail andfor other publications h Music! Working in partnership with L'Atelier Grigorian, Ontario's most · . respected retailer of Jazz and Classical music, the U of T Bookstore has a wide selection of music including Jazz, Ciassical, Opera, Roots Music, Soundtracks, Pop and more. Visit the 2nd floor of the Bookstore where you'll find a pleasant · atmosphere, over 20 listening stations and regular label sales featuring discounted music from specific labels. University of Toronto Bookstore 214 College St., Toronto (416) 978-7907 for more information www.uoftbookstore.com .. II sm~.cho as John Wayne, and he sings with a virile tone < > bpttoin of his range and confident coloratura. White Jhfcountertenor voice sound natural and heroic" The Globe and Mail,. Canada . ·J\iso available: Tafelmusik, A Baroque Feast (AN 2 9811) .. - ., ..... •'" . :.:·· For rnore intormation about new releases: journal@analekta.com ·C::. :;· I 9 mm 4fa{~anadYI www.thewholenote.com - -- 9

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020
Volume 26 Issue 3 - November 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
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
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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
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Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

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Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)