Volume 9 Issue 6 - March 2004

• • ? EVE~EGOYAN THE

• • ? EVE~EGOYAN THE ART Of TOUCHING THE KEYBOARD A playful exploration of various approaches to touch at the pia.no Friday, Ma.rch 26, 2004 at 8PM 9Je,nn Gould Studio, Canadian Broadcasting Centre · · Front Street West /; Tickets: 416~205-555.5 Some answers to your 3 questions: (1) I am a harpsichordist, a rare but not endangered species in Toronto. My main interest is in orchestral continua playing, and I've , been a member of Tafelmusik since 1980. I occasionally have time to do a little chamber music-making with. frientls and colleagues.'! often play harpsichord concertos with Tafelmusik. My "signature piece" is Bach Brande)1burg Concert0 no. 5, which i first performed on harpsichord at age 15 with the London Symphony Youth Orchestra. I work behind the scenes at Tafelmusik as Assistant to the Music Director, Librarian and Programme Editor. The last few years I have devoted a lot of my time and energy to my role as Artistic Coordinator of the Tafelmusik Baroque Summer Institute. I am married to Tafelmusik Chamber Choir directodvars Taurins, and have two teenage daughters. . (2) My life this week: at the keyboards, I'm playing organ this week in a series of concerts of 17th-century English composers with the Tafelmusik Orchestra & Chamber Choir. The concert is a fabulous mix of chamber music, theatre pieces' and sacred anthems. Guest director for the concert is British harpsichordist Richard Egarr, a very imaginative musician with tremendous enthusiasm for this music. I am also rehearsing and recording sonatas by Charles MacLean for flute and harpsichord with Alison Melville, as part of a CD she is preparing of Scottish baroque'ffiusic. teaching: my class in Historical Performance Practice (Keyboard) at the Glenn Gould School is studying Bach's Goldberg Variations this week. The piece never fails to inspire. at the desf first draft of the detailed rehearsal schedule for Tafelmusik's 04/05 season.is due at the end of the week. The deadline . for applications for the Tafelmusik Baroque Summer Institute is 6 weeks away. I'm working on a draft sche,dul'e and am putting together ideas for lectures, workshops, concert repertoire, etcetera. The next Tafelmusik house programmes - with guest cellist Anner Bylsma.:___ is due at the printers next week, so I. have some writing d·eadlines to meet. · And I've just received the last few manuscript variations for Tafelmusik's Follia project (25 variations on the "Follia" theme by various composers and performers, commissioned in honour of Tafelmusik's 25th anniversary) - I have to set the scores and parts on computer. (3) In the longer term I imagine doing more of the same, and I hope you'll still find me on the Tafelmusik stag~ for several years to come. I look forward to reaching the point in my life when I have the time and space to start each day playing one or two Bach Preludes and Fugues. I haven't yet decided whether that should be before or after breakfast. CHARLOTTE N EDIGER CONJ INUES . "refreshing, innovative, creative and original" . RICK PHILLIPS. SOUND ADVICE, CBC RADIO "the committed, bold artist of every composer's dreams .. ROBERT HARRIS, GLOBE AND MAIL ·a performer whose powers of listening cast a hypnotic spell over her audiences, opening their own ears-and hearts-to repertoire that's conventionally considered 'a f:iard sell' .. TAMARA BERNSTEIN. NATIONAL POST PfEASE VISIT EVE'S WEBSIT,E AT: WW,,W.INTERLOG.COM/-EMU • Canada·Council Consell des Arts © for the Arts du Canada torontdartsbouncil · cec.radig_9,f,'o l\n 11,m·s 11n,gt11 b otly e>f !IHI Cily cl Toronto J hewoceit 1$ p1esentOOw11h lhtgt>.ne10U$a~s1slilnce of The Carma Cruool for tlleAtls. The Toronto AllsCrund. NOW ~hJaline, and(,TVtinenia-... Thrs , '. concttt w1tlberec.otdtd Kli lale, b!i.il'.ta~:t by "Two N~ lloo1s~w1th hosl lauy lake and· in Performance" with ht'IS! fu< htsen: bothMtBCR3dlJ Two. M A RCH 1 - A PR IL 7 2004 WWW.THEWHOLENO TE.COM 9