Volume 17 Issue 1 - September 2011

NEXT CONCERTBaroque Orchestra and Chamber ChoirJeanne Lamon, Music Director | Ivars Taurins, Director, Chamber Choir11.12Concert SeasonA regalseasonopener!Music Fit for a KingWed Sept 21 at 7pmThurs Sept 22, Fri Sept 23,SatSept24at8pmSunSept25at3:30pmTrinity-St. Paul’s CentreDirected by Jeanne LamonVisit the baroque courts of Poland,Sweden, England, France, Germany,Spain, Russia and Austria with theTafelmusik Baroque Orchestra.A magnificent concert of musicfor courtly celebrations.Sponsored byCOMING SOONGlorious Bach& ZelenkaDorothee MieldsFri Oct 14, Sat Oct 15 at 8pmSun Oct 16 at 3:30pmWed Oct 19 at 7pmThurs Oct 20 at 8pmTrinity-St. Paul’s CentreDirected by Ivars TaurinsDorothee Mields, sopranoMatthew White, countertenorAndrew Mahon, baritoneTafelmusik Chamber Choirand Orchestra“The Missa votiva is nothing less than a lost masterpiece.”JAMES MANHEIM, ALLMUSIC.COMGlorious choral music by two sublime mastersof the baroque: Zelenka’s vibrant Missa votiva,and Bach’s joyous motet Singet dem Herrn einneues Lied (Sing unto the Lord a new song).Oct15&19supported byLyndaHamiltonOct 20sponsored byPhoto of Dresden Frauenkirche ceiling by BaccharusTicketsOnSaleSept6Tickets: 416.964.6337 | tafelmusik.orgSmartphone users: m.tafelmusik.orgSeason Presenting Sponsor

PICK5& SAVEPICK 5 CONCERTS At Trinity-St. Paul’s Centre 427 Bloor Street WestMusic Fit for a KingWed, Sept 21 at 7pmThurs-Sat, Sept 22-24 at 8pmSunSept25at3:30pmGlorious Bachand ZelenkaFri-Sat, Oct 14-15 at 8pmSun Oct 16 at 3:30pmWed Oct 19 at 7pmThurs Oct 20 at 8pmMozart and FriendsThurs-Sat, Nov 10-12 at 8pmSun Nov 13 at 3:30pmBaroque Splendour:The Golden Age of DresdenAlfredo Bernardini,Guest Director and Oboe SoloistThurs-Sat, Dec 1-3 at 8pmSunDec4at3:30pmHouse of DreamsConceived, scripted, andprogrammedbyAlisonMackayNarrated by Blair WilliamsWedFeb8at7pmThurs-Sat, Feb 9-11 at 8pmSun Feb 12 at 3:30pmVirtuoso VivaldiMarion Verbruggen, recorderThurs-Sat,Feb 23-25 at 8pmSun Feb 26 at 3:30pmChoral SpectacularCelebrating 30 Years ofthe Tafelmusik Chamber ChoirThurs-Sat,March 29-31 at 8pmSun April 1 at 3:30pmBach and the ViolinRachel Podger, Guest Directorand Violin SoloistWed, May 2 at 7pmThurs-Sat, May 3-5 at 8pmSunMay6at3:30pmPick 5 Concerts &call 416.964.6337Or buy singletickets onlinebeginning Sept. 6tafelmusik.org3@KOERNERTHE TELUS CENTRE FOR PERFORMANCEHALLATAND LEARNING, THE ROYAL CONSERVATORYNEWSERIESHANDEL MESSIAH Dec 14-17HANDEL HERCULES Jan 19-22BEETHOVEN EROICA May 24-27Buy all 3 for as little as $115(discounts for 65+/30 and under)Call 416.408.0208 rcmusic.caWe gratefully acknowledge the followingpartners for their support:Season Presenting SponsorBaroque Orchestra and Chamber ChoirJeanne Lamon, Music Director | Ivars Taurins, Director, Chamber Choir

Mariinsky OrchestraValery Gergiev, conductorAlexander Toradze, pianoFri Oct 21, 8pm Roy Thomson HallStravinsky: Firebird Suite (1919 version)Prokofiev: Piano Concerto No. 3Shostakovich: Symphony No. 1The legendary Mariinsky Orchestra ofSt. Petersburg, established over 200 yearsago, is “a perfectly balanced, impeccablyblended virtuoso instrument.”Artistic powerhouse Valery Gergiev andhis illustrious ensemble, who have touredthe world to sold-out houses and standingovations, return to Toronto for one nightonly to perform a spectacular programof Russian masterworks.Sponsored byCreative: EndeavourTICKETS ONLINEroythomson.comBY PHONE416-872-4255

Volume 17 No 1 | September 1 – October 7, 2011FOR OPENERS6. Fable Manners | DAVID PERLMANFEATURES8. Robert Carsen: The Way I Direct | PAMELA MARGLESBEAT BY BEAT14. Classical & Beyond | SHARNA SEARLE18. In With the New | DAVID PERLMAN21. Early Music | SIMONE DESILETS23. Choral Scene | BENJAMIN STEIN26. World View | ANDREW TIMAR28. On Opera | CHRISTOPHER HOILE30. Jazz Notes | JIM GALLOWAY32. Bandstand | JACK MACQUARRIE47. Jazz in the Clubs | ORI DAGANLISTINGS34. A | Concerts in the GTA43. B | Beyond the GTA46. C | In the Clubs (Mostly Jazz)49. D | The ETCeterasMUSICAL LIFE12. We Are All Music’s Children | MJ BUELL58. Bookshelf | PAMELA MARGLESDISCOVERIES: RECORDINGS REVIEWED59. Editor’s Corner | DAVID OLDS60. Vocal60. Classical & Beyond62. Strings Attached | TERRY ROBBINS62. Modern & Contemporary64. Jazz & Improvised Music65. It’s our Jazz | GEOFF CHAPMAN66. Something in the Air: Guelph Jazz Festival 2011 | KEN WAXMAN68. Old Wine, New Bottles | BRUCE SURTEESMORE6. Contact Information & Deadlines33. Index of Advertisers54. Classified AdsIn This IssueACD2 2168In memory ofBruce Haynes(1942-2011)In memory of the Canadian oboistBruce Hayneswho recently passed away, ATMA isre-issuing François Couperin’sConcerts royaux,which was first released in 1999.Haynes is accompanied bySusie Napper on viola da gamba andArthur Haas on harpsichord.Bruce Haynes was one of the pioneersof the 20th-century renaissance ofBaroque wind instruments.For the past 50 years he was anindefatigable explorer of historicalmusical performance as a musician,instrument maker,professor, and researcher.DOWNLOAD DIRECTLY ATATMACLASSIQUE.COMSelect ATMA titles now on saleGLENN BUHRpage 18WARREN VACHÉpage 30OFRA HARNOYpage 12September 1–October 7, 2011 thewholenote.com 5

FOR OPENERS / DAVID PERLMANFable MannersJust about everyone I know has, somewhere tucked away insidetheir brain, some version of the fable of the grasshopper and theant. You know the one: the grasshopper spends the warm monthssinging away, while the ants (and even sometimes the uncles) worklike the dickens, planting, reaping, harvesting. Come the winter theshivering grasshopper, dying of hunger, asks for food and instead getsthe moral of the story rammed down its throat.Growing up, I had a talent for standing storieson their head, like the one in the bible aboutthe bratty kid with the slingshot picking on thebig lumpy guy with the thyroid problem. But Idon’t think it ever occurred to me to questionthat the angels were on the side of the ants, andthe grasshopper got what he (or more often she,especially in the paintings) deserved.So, it’s a fable that’s always been particularlytough on me, especially at this time of year. Hereat The WholeNote, you see, we’ve just put out acombined July/August issue instead of the habitual one a month. Wetook a whole two weeks off — a veritable binge of idleness … taintedalmost from day one with the certainty that, as for the grasshopper,there would be a deadly reckoning somewhere up ahead.It’s always tough to enjoy the gentle slipping of summer into fall whenone has a chronic case of G.A.S. (grasshopper apprehension syndrome).But it’s ten times worse at a historic moment like this when, as happensfrom time to time, it’s the ants that are in government at almostevery political level. There they go in their ugly black limo carapaces,quivering in anticipation at the thought of all the tongue lashings theywill get to deliver once the legislature or house or hall reconvenes inthe fall; looking forward to taking down a peg ortwo the indigent and the artists — all those whodon’t know what “real” work is.It’s time I think to stand this story on its headtoo. In my new ending the ant waggles its antennaeat the grasshopper and makes its speech about“Idleness bringing want,” and how “To work todayis to eat tomorrow.” And the grasshopper saysto the ant, in the vernacular, “F**k off and die,dude. Here I spend the whole goddamn summerplaying my mandola so you have music to workto, and now you tell me to go get a job!?”So all hail the pickers and players and singers, slip-sliding your wayfrom summer to fall, rejuiced and rejuvenated and ready to roll! Restassured, there’s an extra seat at the just society’s table for anyone whocan sing for their supper as sweetly as you-all do. And may all yourseats be full of bums.—David Perlman, publisher@thewholenote.comSN BIANCAThe WholeNote The Toronto Concert-Goer’s GuideVOLUME 17 NO 1 | SEPTEMBER 1 – OCTOBER 7, 2011720 Bathurst St, Suite 503, Toronto ON M5S 2R4MAIN TELEPHONE 416-323-2232FAX 416-603-4791SWITCHBOARD & GENERAL INQUIRIES Ext 21Chairman of the BoardAllan Pulkerdirectors@thewholenote.comPublisher/Editor In Chief | David Perlmanpublisher@thewholenote.comCD Editor | David Oldsdiscoveries@thewholenote.comEvent Advertising/MembershipKaren Ages | members@thewholenote.comAdvertising/Production Support/OperationsJack Buell | adart@thewholenote.comListings TeamSharna Searle | Listings Editorlistings@thewholenote.comOri Dagan | Jazz Listings, The ETCeterasjazz@thewholenote.com, etc@thewholenote.comWebsiteBryson Winchester | systems@thewholenote.comCirculation, Display Stands & SubscriptionsChris Malcolm | circulation@thewholenote.comPatrick Slimmon | patrick@thewholenote.comTHANKS TO THIS MONTH’S CONTRIBUTORSCover PhotoDan RestBeat ColumnsBANDSTAND | Jack MacQuarrieBOOKSHELF | Pamela MarglesCLASSICAL & BEYOND | Sharna SearleCHORAL SCENE | Benjamin SteinDISCOVERIES | David OldsEARLY MUSIC | Simone DesiletsIN THE CLUBS | Ori DaganIN WITH THE NEW | David PerlmanJAZZ NOTES| Jim GallowayMUSICAL LIFE | mJ buellOPERA | Christopher HoileWORLD MUSIC | Andrew TimarFeaturesPamela MarglesCD ReviewersGeoff Chapman, Janos Gardonyi, James Harley,Richard Haskell, Tiina Kiik, Roger Knox,John Laroque, Peter Kristian Mose, Cathy Riches,Terry Robbins, Michael Schwartz, Bruce Surtees,Robert Tomas, Ken Waxman, Dianne WellsProofreadingKaren Ages, Ori Dagan, Sharna SearleListingsOri Dagan, Sharna SearleLayout & DesignBrian Cartwright (cover), Uno RamatSUBSCRIPTIONS $30 per year + HST (10 issues)www.thewholenote.comUpcoming Dates & DeadlinesFree Event Listings Deadline6pm Thursday September 15Display Ad Reservations Deadline6pm Thursday September 15Advertising Materials Due6pm Saturday September 17Publication DateFriday September 30Next issue, Volume 17 No 2covers October 1 to November 7, 2011WholeNote Media Inc. accepts no responsibilityor liability for claims made for any product orservice reported on or advertised in this issue.Printed in CanadaCouto Printing & Publishing ServicesCirculation StatementSeptember 2011: 30,000 printed & distributed.Canadian Publication ProductSales Agreement 1263846ISSN 14888-8785 WHOLENOTEPublications Mail Agreement #40026682Return undeliverable Canadian addresses to:WholeNote Media Inc.503–720 Bathurst StreetToronto ON M5S 2R4COPYRIGHT © 2011 WHOLENOTE MEDIA INC6 thewholenote.comSeptember 1–October 7, 2011

THE FILM MUSIC OFPHILIP GLASSSaturday, September 17, 2011 - 8pmThe Glenn Gould Studio, 250 Front St. W.with the Manitoba Chamber Orchestrafeaturing Anne Manson, conductorMichael Riesman, pianoPhilip GlassThe Manitoba Chamber Orchestra performs PhilipGlassThe Hours and Dracula.Also on the program: Glass’s Symphony no. 3.SONG OF THE EARTHThursday, October 6, 2011 - 8pmThe Glenn Gould Studio, 250 Front St. W.with the NUMUS Chamber Orchestrafeaturing Sarah Slean, mezzo-sopranoAdam Luther, tenorKimberly Barber, mezzo-sopranoThe Penderecki String QuartetProgramme:Das Lied von der Erde by Gustav MahlerRed Sea (Song of the Earth) by Glenn BuhrSarah Slean joins the NUMUS Chamber Orchestrato perform Glenn Buhr’s new song cycle about oursuffering earth. The orchestra also performs theSchönberg arrangement of Mahler’s masterpiecewith Kimberly Barber, mezzo-soprano and AdamLuther, tenor. Paul Pulford conducts.Sarah SleanGustav MahlerTo order tickets:NUMUS Concerts:

Robert Carsen: The Way I DirectPAMELA MARGLESAmerican mezzo-soprano Susan Graham in the 2006 Lyric Opera of Chicago production of Iphigenia in Tauris. Below: Robert Carsen.When robert carsen came to Toronto last spring todirect Gluck’s Orfeo ed Euridice for the Canadianin his home town in almost 20 years. In 1992 he haddirected the world premiere of Harry Somers’ Mario andthe Magician for the COC. At that point, he was alreadybeing recognized as one of the most imaginative and excitingdirectors around. Today he is one of the busiest — lastyear alone he worked on 21 new productions and revivals.I spoke with Carsen backstage at the Four Seasons Centrefor the Performing Arts a few days before the opening ofOrfeo ed Euridice. Though his work is controversial, he does not revealany desire to confound or outrage anyone, least of all his audiences.Instead he seems intensely concerned about being understood.Orfeo ed Euridice was a huge hit in Toronto. At the two performancesI attended, the audience stood up and cheered at the end. Performancessold out, and it went on to win two Dora awards. But Carsen was alreadywell aware of what a powerful production he was bringing to Toronto,had been revived elsewhere a number of times.Carsen was born in Toronto in 1954 and lived here until he was 20,and Paris. But his ties to Toronto remain strong, since he still has closefamily here. Though his mother died a few years ago, his father, artspatron Walter Carsen, is, at 98, remarkably active.When I ask whether Toronto was a good place for him to grow up,he says without hesitation, “Yes, it was. It all started here for me — allthing,were in Toronto. So it was formative. I was lucky because myparents loved different art forms, so my brother and I were exposed toto not have to go to bed early. But I remember almost everything I sawwhen I was little, all the operas at the COC, all the theatre.”It was clear to him from an early age that he wanted to be an actor.“I became obsessed with the theatre.” Carsen went to Upper Canada“At UCC I was in all the plays and musicals I could get into.In those days, because it was a boys’ school, the boys playedboth male and female roles. So I played Katisha in TheMikado, and Archibald Grosvenor when we did Patience.”It turned out there was a lot to learn from playing both.Carsen then went to York University to study theatre.“But one day I suddenly had an epiphany — I realized thatI had to not be doing this. It was my one brave action, toget up in the middle of an exam at York University, putmy papers in the bin, go home and tell my mother I wasknew absolutely nobody. But I wanted to immerse myself completelyin the world of theatre, and I wanted conservatory training as an actor.So I left the next day.”Six years ago, both Carsen and his father, who is beloved in theToronto arts community for his wide-ranging philanthropic support,were awarded honorary doctorates by York University. “I had to pointout in my thank-you speech that in fact what York University hadtaught me was that I didn’t want to stay in Canada getting a liberalarts education, which was educating me to be able to do somethingelse when being an actor doesn’t work out.”After two years of training to be an actor at the Bristol Old Vic, oneof his teachers said he thought Carsen had the makings of a director.in fact he was saying, ‘I think you’re actually a director — how yourmind works, and the way you contribute to what everyone else is doing.’That got me thinking.”So he started looking for work as an assistant director. “Maybebecause it was a little disappointing not to be acting, I thought I wouldstart in a parallel domain. I worked as an unpaid assistant at the SpoletoFestival and then at Covent Garden.”at the COC as assistant director on Tristan und Isolde. “But the persontwo shows for him at the Guelph Spring Festival, The Lighthouse byPeter Maxwell Davies, with the young and very brilliant Ben Heppner,and Benjamin Britten’s The Prodigal Son.”8 thewholenote.comSeptember 1–October 7, 2011

When Brian Dickie took over the COC, Carsen directed twoproductions, Katya Kabanová and Mario and the Magician.“Brian had known me when I was an assistant director atGlyndebourne.” But after Richard Bradshaw replaced Dickieas head of the COC, Carsen was never invited back. Why, hedoesn’t know, especially since Bradshaw had been the conductorfor Carsen’s two COC productions.“I had at times made suggestions to Richard, particularly abouthad designed the Ringin the cycle, Das Reingold.) “Since Michael and I are both fromToronto, and we’ve done well over 20 productions together, weboth thought how nice it would be to bring various productionsof ours here. But it never happened.”Alexander Neef invited Carsen here soon after he took overthe COC following Bradshaw’s untimely death. Neef had seenCarsen’s work frequently at the Paris Opera, where Neef hadbeen casting director. “When Alexander started talking to meabout projects, he told me he wanted to bring my two Gluckproductions here. I thought that was great, so I didn’t inquire whyhe chose those. Then later I discovered that the COC had neverdone anything by Gluck. I was amazed — and delighted, becauseOrfeo ed Euridice is one of the most important works in all of theIphigeniain Tauris is Gluck’s masterpiece. It’s a fabulous, fantastic opera,one of my favourites.” So the pairing of the two operas makes akind of mini-cycle, he points out. “I call it a bi-cycle.”Just as these two works are radically different, so are hisproductions of them, though he uses the same design team forthink that the same people had done them.”When I ask Carsen what distinguishes his stagings as his work,he says, “If I had to answer, it would be that not one resembles thenext one. To me they are all different, depending on what the worksthemselves are like.”Carson’s work is often categorized as regietheater (director’s theatre)because, like most other European-based directors working today, hetends to stage operas in time periods and locales that are differentfrom what the score indicates or from how they are traditionally done.The production of Orfeo ed Euridice that was staged at the FourSeasons Centre was set on a barren hill with a pit in front. Orfeo worea business suit, Euridice a simple unadorned dress. But any descriptionof the setting hardly does justice to the beauty and emotional impact ofthe production. Carsen used meaningful details of staging to illuminatehis overall concept, and created a show that was both intellectuallycoherent and incredibly moving.Carsen’s staging of Il Trovatore, one of his most controversial, is setKatya Kabanová,one of his most exquisite, takes place on a series of movable docks setManonLescaut is set in a shopping mall, providing a fair comment on the titlecharacter, while Tosca and Capriccio take place in theatres. His mostCandidea chorus of dancing politicos, wearing masks to represent then-currentworld leaders like Bush, Putin and Berlusconi and dressed in boxerCandidehe rewrote the libretto — though not, he emphasizes, the lyrics. Sincethe libretto had always been problematic, and had already been rewritten,he was able to obtain the approval of the estate of the composer,It’s evident that Carsen pays careful attention to the music, somethingone can’t always assume with directors. “I’m passionate about music,and I care deeply about the score in doing an opera — otherwise there’sno point for me in directing opera. The music completely shapes howthe piece is told. The way you feel the work emotionally is conveyedby the music.” Having studied piano for many years, he reads thescores, and never lets his stagings obstruct the music … well, almostdramatic effect, it inevitably turns out that he is actually illuminatingROBERT KUSELGREAT CHAMBER MUSIC DOWNTOWNOpening Night of our 40th seasonTHE TOKYO QUARTETwith MARKUS GROH, pianistand a new work fromComposer Adviser Jeffrey RyanThursday, September 15 at 8 pmMARKUS GROH in recitalSchumann, Chopin, BrahmsTuesday, September 20 at 8 pmCanadianHeritageatPatrimoinecanadienwww.music-toronto.com416-366-7723 1-800-708-6754order online at www.stlc.comSeptember 1–October 7, 2011 thewholenote.com 9

WAYNESTRONGMANMANAGINGARTISTICDIRECTORSTUDIO PASSESON SALE NOW$115NEW OPERAHST INCLUDEDSINGLETICKETSROGER D. MOORETHE JOHN MCKELLARCHARITABLE FOUNDATIONYou can find us on2011 / 2012 CREATIVEDEVELOPMENT SEASONPresented at Theatre PasseMuraille Main Space:OPERA BRIEFSSeptember 23 & 24, 2011 7:30pmErnest Balmer Studio,Distillery Historic District:PUB OPERASNovember 10, 11 & 12, 2011DAVID BROCK, LIBRETTISTGARETH WILLIAMS, COMPOSERTHE TAPESTRY SONGBOOKJanuary 28, 2012NEW OPERA SHOWCASEMarch 2012The Enslavement and Liberation of(WORKSHOP CONT’D)OKSANA G.June 2012COLLEEN MURPHY, LIBRETTISTAARON GERVAIS, COMPOSERPURCHASE ONLINE ATtapestrynewopera.comOR CALL416.537.6066 x222$30 PUB OPERAS$25 ALL OTHER PERFORMANCESVisit tapestrynewopera.com for updates on the2011/2012 Season and to follow our current works in developmentPhoto of Marcus Nance by Brian Mosoff www.brianmosoff.comthe music. As an example he mentions how, when Renée Fleming startssinging the extended aria Ah, mio cor in his production of Alcina withstage in a dark corner with her back to the audience. You can barelysee her, but you can certainly hear her. As the lights gradually comeup, she moves forward. It’s very effective — and moving.Carsen handles a broad range of repertoire. Earlier in his career heSunset Boulevard andThe Beautiful Game. A show that he wrote and directed 20 years ago,Buffalo Bill’s Wild West Show, is still playing at Disneyland Paris. He hastrilogy, plenty of Strauss, bel canto (except for Rossini, the only composerwho doesn’t“The way I direct, I feel like I’m thecamera … I want the audience tofollow the story in a certain way.”interest him), someBritten, including astylish MidsummerNight’s Dream, anda strong showing inbaroque opera, especially in his 10 productions with the masterfulWilliam Christie. His production of The Sound of Music in Paris thisyear is heading to the Marinsky in St. Petersburg. He has also done anumber of contemporary operas. Next year for the Geneva Opera, hedirects a new opera by French composer Philippe Fenelon for the celebrationof the 300th anniversary of the birth of Jean-Jacques Rousseau.He is already booked to return to the COC — a revival of his exquisiteproduction of Dialogues des Carmélitesfor an upcoming season.As versatile as Carsen’s repertoire is, so too is his ability to handlevarious aspects of a project, such as lighting, which he co-designswith lighting designer Peter Van Praet. For his upcoming productionof Britten’s Turn of the Screw at the Theater an der Wien in Vienna,he’ll be not only directing and co-designing the lighting, but, for theCarsen’s interest in the visual arts has recently led him to design artexhibitions, so far just in Paris, about Marie Antoinette and CharlesGarnier, architect of the old Paris opera house, the splendid PalaisGarnier. His next exhibition, “Bohèmes,” will explore how artists duringthe past 500 years have treated the theme of gypsies. At one pointhe had been in discussion with the Art Gallery of Ontario to designtheir recent show on artists and the theatre, though unfortunately thatfell through.What makes him decide to accept a project? “If it is interesting andI think I can contribute to it, and if I’m able to make it work, then it’ssomething that is nice to do.”What would make him not accept? “You can’t really say it likethat — that isn’t how it works. Sometimes I think, ‘Well, I don’t thinkI’m going to be able to make an interesting piece of theatre in collaborationwith that conductor, because he’s only going to come forthe last week,’ or whatever, and so I might not want to do that job. Orsometimes singers might already be cast and you think they are notgoing to work out — but that’s not so often, I have to say. If the castingis still underway, it’s normal for a director to say what he sees — andof course not just sees, but hears. But if a singer has already been cast,and I don’t think it’s going to work, I would never dream of saying,“There are so many other factors. But whether the theatre is large orsmall is not one of them. Of course it’s great to work at big companiesBut I also love to work with smaller theatres like the Flemish Opera inAntwerp and Ghent, where I’ve done more productions than anywhere,and Opera du Rhin in Strasbourg. With smaller theatres you don’t havethe same pressures. The large theatres tend to do so much repertoirethat you don’t have as much time with the artists, especially if they arevery big stars, or on the stage because you have to share it with theballet and everything else that’s going on in these houses.”He pauses, then says, “But for me there’s only one theatre in theworld anyways, and that’s the theatre I’m working in. Each artisticcreation seems unbelievably important when you are working on it —a matter of life and death.”continued on page 7010 thewholenote.comSeptember 1–October 7, 2011

QUARTETS $323, $294JERUSALEMQUARTETTh. Oct. 132011 ~ 2012 Subscription SeriesGRYPHON TRIOTh. Nov. 1740thAnniversary SeasonGREAT CHAMBER MUSIC DOWNTOWNTOKYO QUARTETTh. Sept. 15withMARCUS GROHpianistLAFAYETTEQUARTETTh. Jan. 19TOKYOQUARTETTh. Mar. 15PIANO $206, $188LISEDE LA SALLETu. Nov. 8MARCUS GROHTu. Sept 20LOUISEBESSETTETu. Dec. 6QUATUORBOZZINITh. Apr 5ST. LAWRENCEQUARTETTh. Dec. 1ARTEMISQUARTETTh. May 3RICHARDGOODETu. Mar. 6MARC-ANDRÉHAMELINTu.Mar.27DISCOVERY $55, including HSTLESLIE NEWMAN, flutist, withERICA GOODMAN,harpistTh. Jan.12VÉRONIQUE MATHIEU, violinistwith pianistANDRÉE-ANNE PERRAS-FORTINTh. Mar. 22WALLIS GIUNTA, mezzo sopranowith STEVEN PHILCOX, pianistTh. Mar. 1atSubscriptions on sale now. Single tickets on sale Sept. 6416-366-7723 1-800-708-6754order online at www.stlc.comlCanadian PatrimoineHeritage canadien

Expect something different...GRAMMY Lifetime Achievement Award WinnersJuilliardString Quartet“A fluid, high-energy performance...the difference between a polished walkthroughand a thoughtful interpretation.”(The New York Times)Juilliard String Quartet is the definitiveclassical quartet in North America whohave consistently demonstrated thestrength of their interpretations, purityof melodic line, contrapuntal exactitudeand structural clarity.Joseph Lin (violin), Joel Krosnick (cello),Ronald Copes (violin), Samuel Rhodes(viola), present two intimate programswhich include Haydn’s “Quartet in GMajor, Op. 54, No. 1”, Elliot Carter’s“Quartet No. 5”*, Donald Martino’s“Quartet No. 5”** and Beethoven’s“Quartet in B-flat Major, Op. 130with Grosse Fuge”.Wednesday, March 28Markham Theatre**Markham, ON, 905-305-7469www.markhamtheatre.caTORONTORTSCOUNC ILFriday, March 30Centre for the Arts, Brock University*St. Catharines, ON, 1-866-617-3257www.Arts.BrockU.caWe Are All Music’s ChildrenSeptember’s ChildOfra HarnoyWhat would you say now to the Ofra inthe childhood photo of you we published inThe WholeNote last month?Fasten your seatbelt, it's going to be awild ride!Ofra harnoy was born in Hadera, Israelplayed the piano and her father playedthe violin. They travelled a lot during herchildhood: Harnoy lived in Israel, France,England and then Canada. She attendedan alternative independent high school inCanada called Aisp, which allowed her totour while being in school. She studiedwith her father, Vladimir Orloff and withWilliam Pleeth, and later participated inmaster classes with Mstislav Rostropovich,Pierre Fournier and Jacqueline du Pré.Harnoy’s solo debut with The Boyd NeelOrchestra (at 10) was followed by soloengagements with the Toronto and MontrealSymphony Orchestras. At 17 she wasthe youngest ever to win an InternationalConcert Artists Guild award, followed byconcerto and recital debuts in Carnegie Hall.In 1983 she was named Young Musician ofthe Year by Musical America magazine. Shewas 18 years old, and the “wild ride” wasalready well underway.About a decade ago, in the midst of avigorous international career, with her nameon dozens of highly-regarded recordings,Ofra Harnoy gave up performing in public.On September 25th at Toronto’s WalterHall she will make her long-awaited returnto the Toronto stage for the opening ofMooredale Concerts season.What do you think of when you look at thatchildhood photo?Now looking at this picture, it looksalmost exactly like my daughter!I don’t actually remember it being takenbut it brings back strong memories ofplaying piano trios with my parents in ourliving room …continued on page 5712 thewholenote.comSeptember 1–October 7, 2011

“A Feast for the Earsand the Eyes!”- Classical 96.3FMGIDON KREMER TRIOFriday, October 14, 2011 8pmKoerner HallWorld-renowned Latvianviolinist Gidon Kremer andhis trio perform works by Bachand Shostakovich alongsidea new work celebratingcomposer Sofia Gubaidulina’s80th birthday.ARC ENSEMBLESunday, September 11, 2011 4pmMazzoleni Concert HallThe twice Grammy-nominatedARC Ensemble (Artists ofThe Royal Conservatory)performs Finzi, Mendelssohn,Ben-Haim, and Elgar with“passion, polish and vitality.”(The New York Times)THE ENGLISH CONCERTFriday, October 21, 2011 8pm Koerner HallOne of the finest Baroque orchestras in the world makesits Toronto debut with a performance that includes worksby Purcell, Telemann, and Vivaldi, under artistic leadershipof harpsichordist Harry Bicket.SMITHSONIAN CHAMBERPLAYERS & FRIENDSWITH RUSSELL BRAUNSaturday, October 22, 2011 8pmKoerner HallBaritone Russell Braun andan ensemble of virtuosi artistshonour the centenary of Mahler’sdeath with Das Lied von der Erdeand Kindertotenlieder.SUSAN HOEPPNERAND SIMON WYNBERGSunday, October 23, 2011 2pmMazzoleni Concert Hall“An expressive and articulateflutist” (The Washington Post)Susan Hoeppner and guitaristSimon Wynberg present worksby Marin Marais, Toru Takemitsu,Robert Beaser, and Astor Piazzolla.ROYAL CONSERVATORYORCHESTRA CONDUCTEDBY JOHANNES DEBUSFriday, October 28, 2011 8pmKoerner HallJohannes Debus conducts theRCO and pianist Connie Kim-Shengin a performance of Little Suite byLutosawski, Piano Concerto No. 2by Rachmaninov, and Symphony No. 8by Dvoák.TICKETS ON SALE NOW! rcmusic.ca 416.408.0208273 Bloor St. W. (Bloor & Avenue Road) TorontoSeptember 1–October 7, 2011 thewholenote.com 13

Beat by Beat / Classical & BeyondSummer On, Fall InSHARNA SEARLEFinally, you say, the fall concert season has arrived! No morelovely, warm, breezy … windblown, rain-drenched, too-hot/too-cold, outdoor venues, right? Time to put away your festivalfolding chairs, straw hats and sunscreen and head for the comfort ofthe concert hall. Not so fast. There remain a few summer series andfestivals “in the game,” reminding us, in the words of Yogi Berrathat, “It ain’t over ’til it’s over.” However, for those of you itchingto put away your daypack of festival gear, do not despair; there’s aseasons, ready to lure you inside.FALL FLYERSMooredale Concerts’ September 25 season opener at Walter Hallwill be a milestone moment in Canadian music history. It willmark the return of celebrated cellist Ofra Harnoy to the concertstage after a 10-year hiatus. For The WholeNote’s “On the Road”project, Mooredale’s artistic director, Anton Kuerti, himself aneminent pianist, told us this when asked about his plans beyond thesummer: “I will perform at the opening Mooredale Concert … withthe extraordinary cellist Ofra Harnoy, who has not performed inCanada for about 10 years, and whom I have long admired but neverplayed with.” Now is his chance. At 3:15pm, Harnoy will begin theprogramme with Bach’s Unaccompanied Cello Suite No.3in C Major. Kuerti will then join her in a performance ofBeethoven’s Cello Sonata in A Major Op.69 and César Franck’sCello Sonata. Earlier, at 1:15pm, Harnoy and Kuerti will offer an5 to 15 year olds. Welcome back Ofra!In contrast to Harnoy’s 10-year sabbatical, distinguished actorChristopher Plummer has continued to grace the stage, non-stop,when the Toronto Symphony Orchestra opens its season with aHenry V, onSeptember 22.Music Toronto marks the beginning of its 40th season onSeptember 15 with the Tokyo String Quartet and pianist MarkusGroh performing works by Brahms, Debussy and a world premiereby MT composer advisor Jeffrey Ryan; (and then, cannily, invitesGroh back for a solo recital on September 20).the Kitchener-Waterloo Chamber Music Society’s opening concerton September 4. KWCMS begins its jam-packed season with pianistonly does KWCMS produce eight concerts in September, alone; itpresents over 70 a year! And they’re held in the KWCMS MusicRoom — a large room in a private home in Waterloo, with an 1887Toronto Music Garden.GERA DILLON14 thewholenote.comSeptember 1–October 7, 2011

Sunday September 25, 2011Introduction 7 15 • Concert 8 pmOpening Gala Concert at Glenn Gould Studio • 250 Front St. WestJoseph Macerollo and Ina Henning accordionsAccordes quartet • Gregory Oh piano • Ryan Scott solo percussionXin Wang soprano • NMC Ensemble • Robert Aitken directionAnn Southam (Canada 1937–2010) Quintet for piano and strings (1986) NAndrew Staniland (Canada 1977) Pentagrams: 5 Pieces for 2 accordions (2010) NAlice Ping Yee Ho (Hong Kong/Canada 1960) Ballade for An Ancient Warrior (2011) NNicolaus A. Huber (Germany 1939) Auf Flügeln der Harfe for accordion (1985)Hope Lee (Taiwan/Canada 1953) Secret of the Seven Stars (2011) N World premiere | N NMC commission AN INCOMPARABLE OPERA SEASONcoc.ca 416-363-8231Rachel Harnisch, Love from Afar, Vlaamse Opera, 2010. Photo: Annemie Augustijns. Creative: EndeavourSUBSCRIPTIONS FROM $130ON SALE NOWRIGOLETTOVERDIA FLORENTINE TRAGEDY/GIANNI SCHICCHIZEMLINSKY/PUCCINITHE TALES OF HOFFMANNOFFENBACHLOVE FROM AFARSAARIAHOSEMELEHANDELTOSCAPUCCINIIPHIGENIA IN TAURISGLUCKSeptember 1–October 7, 2011 thewholenote.com 15

Steinway. Is there a nicer way to hear chamber music?of the Canadian Opera Company’s 2011/12 Free Concert Series, onSeptember 27, artists of the COC Orchestra will perform music byDebussy, Mozart and Puccini, in a tribute to their late, great andamphitheatre that bears his name.SUMMER REFRAINAnd now back to summer. The one series that braves the elements inSeptember is Summer Music in the Garden, hosting its 12th seasonin the enchanting Toronto Music Garden. The series winds up withthree concerts in September; there’s one on the 8th, followed by twocellist, Kate Bennett Haynes, performing Bach’s UnaccompaniedCello Suite No.1 in G Major, the piece that was the inspiration forthe design of the Toronto Music Garden! (www.harbourfrontcentre.com/thewaterfront/parks/musicgarden.cfm)Music Mondays has four concerts on offer this month, indowntown Toronto’s acoustically superb Church of the Holy Trinity,bringing their extended 20th anniversary season to a close onand Angela Park, piano, perform works by Debussy, Shostakovichand Bizet.The following summer festivals serve up an impressive array ofchamber music and all three take place beyond the GTA, where thesound of music festivals in September!For its 10-day event (September 23 to October 2), Barrie’sColours of Music has assembled outstanding recitalists and chambermusicians in ensembles ranging from duos to orchestras. A fewhighlights: the Ames Piano Quartet plays works by Saint-Saëns,Valerie Tryon will tackle Milhaud, Brahms and Schumann onTryon and Sinfonia Toronto in works by Turina, Vaughan Williams,for more.With the “dream team” of artistic director/violinist Mark Fewerand guest directors, cellist Roman Borys and clarinetist JamesCampbell, programming this year’s SweetWater Music Festival, youAnnalee Patipatanakoon and pianist John Novacek, and others, toperform works by Dohnanyi, Schulhoff, Messiaen, Bach, Mozart,Tchaikovsky, Turina and Cam Wilson’s A Tribute to 20th CenturyJazz Violin.Over in Picton, the Prince Edward County Music FestivalSokolovic as composer-in residence. On September 23, at the Oenoto catch SweetWater’s Fewer, again, this time with the SuperNovaString Quartet, playing Ravel’s String Quartet and Beethoven’sString Quartet Op. 59 No.3; another SuperNova member, recentlynamed TSO concertmaster, Jonathan Crow, will also be inof the COC orchestra, will join the ubiquitous Fewer and his othertwo SuperNova mates, violist Douglas McNabney and cellist DenisePiano Quintet in A Major.Clearly, there is much from which to choose in these latter daysof summer and early days of autumn. Can’t decide? Here’s a suggestion:Drop everything, right now, hang a “GONE FISHIN’” signMusic’s concert of the same name. It includes works by Gershwin.With any luck, maybe they’ll play Summertime.Sharna Searle trained as a musician and lawyer, practised a lotmore piano than law and is Listings Editor on The WholeNoteteam. She can be contacted at classicalbeyond@thewholenote.com.16 thewholenote.comSeptember 1–October 7, 2011

Artistic Directors: Stephen Ralls and Bruce Ubukata30Years Celebrating the Art of SongThe 30th Anniversary GalaSunday, February 19, 2:30 pmKoerner Hall, TELUS Centre forPerformance and Learning,273 Bloor Street West, Toronto8Sixteen of our starriest singers joinus to celebrate:Colin Ainsworth, Benjamin Butterfield,Michael Colvin, Tyler Duncan,Gerald Finley, Gillian Keith,Shannon Mercer, Nathalie Paulin,Susan Platts, Brett Polegato,Catherine Robbin, Lauren Segal,Krisztina Szabó, Giles Tomkins,Monica Whicher, Lawrence WilifordVisit rcmusic.ca or call 416.408.0208(after September 19)The 30th Anniversary Sunday SeriesOctober 16: Clair de lune (songs of Gabriel Fauré)November 27: The Great Comet (Franz Liszt at 200)March 18: Schubert and the EsterházysApril 29: A Country House Weekend (an English idyll)All concerts at 2:30 pm in Walter Hall, Edward Johnson Building,80 Queen’s ParkVisit aldeburghconnection.org or call 416.735.7982September 1–October 7, 2011 thewholenote.com 17

Beat by Beat / In With the NewA Good Glass House?DAVID PERLMANOver the past 15community taking a wider and wider detour around the 11days (September 8–18) during which the Toronto InternationalFilm Festival is the biggest circus in town. Some sneak in ahead,which runs noon till 10pm, Saturday September 3 at Yonge/DundasSquare. (We’ll be there!) But after that, with one notable exception,it’s mostly bits of this and that until New Music Concerts’ OpeningGala on September 25. After which it’s into October before someof the other local heavyweights like Soundstreams and Esprit kickinto action.The notable exception is Kitchener-Waterloo based presenterNUMUS Concerts, which rolls into town September 17 — the daybefore TIFF folds its tents — with a Glenn Gould Studio concertmusic of Philip Glass.Founded in the mid-80s by composer Peter Hatch, NUMUS hasbecome a catchword in Kitchener-Waterloo, where the organizationis associated with contemporary music productions, occasionally onthe wild side, like Jeremy Bell’s production — Nude Show — a fewyears ago. “The poster for that concert,” says current artistic director,composer Glenn Buhr, “showed composer Omar Daniel shirtlessand hanging upside down from a trapeze pole while he manipulatedsome electronics. That was our all time best seller.”Toronto audiencesmay also remember theirGlenn Buhr.more recent “Battle ofthe Bands” concert lastJanuary at the MusicGallery. “I curated thatshow,” says Buhr, “and itfeatured my progressivejazz/blues ensemble theEbony Tower Trio (RichBrown, electric bass,Daniel Roy, drums, andmyself on piano) doingbattle with the PendereckiString Quartet. The ideawas to contrast contemporarymusic with roots in old Europe alongside new music withroots in the blues and jazz traditions of North America. I think it’sstill there on CBC’s Concerts on Demand.”I joked with Buhr about invading Toronto during TIFF. The plan,I suggested, was a) crazy like a fox, b) just plain crazy, or c) a strokeof genius. But he refused to rise to the bait.“NUMUS is a presenter as well as a producer,” he said, “soI’m always looking for projects to buy in to our season. I was approachedby the Manitoba Chamber Orchestra about the Philip Glassprogram. I was particularly interested in the new Piano ConcertoTheHours. Riesman has been playing those Philip Glass arpeggios forquite a while and has developed a formidable technique.”“So my answer is neither. It’s pure accident. The MCO wanted totour this material in preparation for a recording and was lookingfor a presenter. The fee was so reasonable that we decided topresent them in Toronto and Guelph as well as Kitchener-Waterloo.The overlap with TIFF is serendipity; this was the only possibledate for the MCO. I have no idea if TIFF will work in our favouror otherwise.”to the Glenn Gould Studio within this issue’s listings period. The18 thewholenote.comSeptember 1–October 7, 2011

Fall in for September Songs ...We invite you to join us for our13th Anniversary and our first everautumn celebration ofThe Ken PageMemorial TrustAnnual Fundraising Galaand Swinging Jazz Partypresented by JAZZ.FM91 ‘Canada’s Premiere Jazz Station’and taking place for a third year in the historic charm ofThe Old Mill Inn, 21 Old Mill Road, TorontoUnder the musical direction ofJim Galloway and hosted by Masterof Ceremonies, Ted O’Reilly, we aredelighted to welcome both newand returning friends:Thursday, September 15th, 20115:00 to 11:00 p.m.USA: George Masso, trombone,Houston Person, saxophone, Allan Vaché, clarinet,Warren Vaché, cornet.Canada: Guido Basso, trumpet/flugelhorn,Jim Galloway, saxophone, Laurie Bower, trombone,Terry Clarke, drums, Alastair Kay, trombone,John MacLeod, trumpet, Reg Schwager, guitar,John Sherwood, piano, Neil Swainson, bass,Kevin Turcotte, trumpet.…supporting Ja z & Jazz Artists across Canada…Relax and enjoy the fine cuisine for which The Old Mill Inn isrenowned with a full course dinner created for your diningpleasure... featured wines by Vincor Canada... valuable RafflePrizes... and non-stop entertainment provided by some of thegreatest musicians on the International Jazz Party circuit...5.00 p.m. Doors Open5.00 - 6.00 p.m. Complimentary Sparkling AutumnCocktail Reception generously sponsoredby Vincor Canada with live music bya string trio featuring violinist, Drew Jurecka6.00 p.m. Gala Dinner and Swinging Jazz PartyCash Bar7.00 p.m. Grand Raffle Prize Draws10.00 p.m. Special Donor Draws10.15 - 11.00 p.m. Grand FinaleTickets are $170 (substantially tax deductible)Reserve by calling Anne Page at 416-515-0200or e-mail anne@kenpagememorialtrust.comMake cheques payable to:The Ken Page Memorial Trust55 Charles Street West, Suite 3104Toronto ON M5S 2W9A service charge will apply forcredit card payments.Charitable Registration No. 87276 8106 RR0001September 1–October 7, 2011 thewholenote.com 19

“Song of the Earth,” it was presentedAugust 10, 2010, at Walter Hall — oneas artistic director of Toronto SummerMusic. It paired a new commission,Song of the Earth, by Buhr himself, withMahler’s master work. “Yes. I vowedto repeat that program if I was giventhe opportunity,” says Buhr, “because Ifelt that it could be curated a bit differently— by ending with the contemporarywork and beginning with the Mahler.Also, we’ve hired popular songstressSarah Slean to sing, and also record mywork. I’m more interested in contemporary singing styles than I amin European classical singing, and I’ve worked with Sarah before.She was soloist in my third symphony (a choral symphony). Herpresence on stage, and also the Margaret Sweatman libretto — whichalludes to the Gulf of Mexico oil disaster in 2010 — puts the Mahlermasterpiece into a more contemporary context. The new work is stilla ‘Song of the Earth,’ but it poetically underlines our more currentconcerns.” You can read more about NUMUS at www.numus.on.ca.OTHER TIFF TAMERSThough it’s fun to think of NUMUS as the only new music mousebrave enough to bell the TIFF cat, I don’t want to overstate thecase. There is new music throughout the middle of the month, ifyou pick your spots. Sunday September 11, the Music Gallery’sPop Avant series presents Esmerine with guest Muh-he-con. MusicToronto’s Thursday September 15 season opener (the Tokyo StringQuartet with Markus Groh, piano) features a world premiere of anew work by Music Toronto’s composer advisor Jeff Ryan. Andon September 18, Contact Contemporary Music presents “Walk onWater,” at Gallery 345, with WallaceHalladay, saxophone, Mary-KatherineFinch, cello, Ryan Scott, percussion andAllison Wiebe, piano.Once the curtain falls on TIFF, thepace picks up: Friday September 23Tapestry New Opera’s “Opera Briefs”gets under way at the Theatre PasseMuraille Main Space, with new worksHeliconian Club presents Emily, TheWay You Are, a one-woman opera celebratingthe life and work of Emily Carr,with music by Jana Skarecky and libretto by Di Brandt.The following day, Sunday September 25, will see many of usback at the Glenn Gould for the opening gala concert of New MusicConcerts’ 41st season — a concert titled “Secret of the Seven Stars”that will showcase not only NMC’s stellar players, but a numinousconstellation of Canadian composers and works.Friday September 30 and Saturday October 1 bring two concertsby AIM Toronto in their “Interface Series” at Gallery 345, featuringSylvie Courvoisier, piano and composer.To close, it would be remiss of me not to mention several out oftown festivals that not only extend the summer well into September,but pay more attention to new music than one might expect. TheAna Sokolovic as composer-in-residence; and Barrie’s Colours ofMusic, September 23 to October 2, has the forward looking AmesQuartet on board, and several other notably adventurous programson display.Sarah Slean.David Perlman can be reached at publisher@thewholenote.com.IVAN OTISBACK TO LESSONS AND STUDIOSPECIALS FOR TEACHERS AND STUDENTS!PIANISTS - WE’VE GOT THE REPERTOIRE YOU NEED!Teachers - register for our private studio discounts andstay tuned for exciting changes in ourPrint Music Department.Korg 88-key electricpianos starting at only$589.00TMFull selection of “newer used”woodwinds & brass starting atonly $199.00Student level Stentor SolidTop 4/4 Violins withdeluxe case/bow startingat $209!415 Queen St, West, Torontostore: (416) 593-8888www.stevesmusic.comeducational@stevesmusic.comFEATURINGMICHAEL GORDON & TIM BRADY (COMPOSERS IN RESIDENCE) | OVAL | TIM HECKERLEE RANALDO & LEAH SINGER | BUKE & GASS | LORI FREEDMANMANTRA PERCUSSION | CONTACT | GLOBAL CITIES ENSEMBLEwww.musicgallery.org20 thewholenote.comSeptember 1–October 7, 2011

Schola LaunchSIMONE DESILETSAnd so a new season begins. From late summer’s vantagepoint, I can already see a huge range of early music activitiesshaping up in the coming year, from Scaramella’s “Hit andRun” in November, featuring triple harp and clown among otherthings, to the Royal Conservatory’s presentation of French sopranistcountertenorPhilippe Jaroussky with Cleveland’s baroque orchestraApollo’s Fire, also in November; to Tafelmusik’s period performanceof Beethoven’s Eroica Symphony in May; to Nadina Mackieevents of the present month.SCHOLA MAGDALENAA small ensembleof six women’svoices, expressiveand pure in intonation,produces anethereal sound nottoo often heard inconcert. ScholaMagdalena is justsuch an ensemble,founded in 2007and based inToronto. You canhear them twice inMagdalena. Not pictured: Gillian Howard.the coming month, as they’ll be launching a new CD at their homevenue of the Church of St. Mary Magdalene and then performing atBarrie’s Colours of Music.The group’s director, Stephanie Martin, is organist and directorof three choirs at St. Mary Magdalene, director of Pax ChristiChorale and a professor at York University. Interested in knowingwhat prompted her to add yet another ensemble to her very busylife, I asked her to talk a bit about Schola Magdalena’s formationand its projects.Schola Magdalena gives her great satisfaction, she told me, “becauseit is a democratic group. My other ensembles require a leader/be an undue burden on the leader. I enjoy solving musical problemswith Schola Magdalena since we work as peers. Everyone is a leader;everyone is a follower … Six voices allow us to sing early polyphonywhich is often three parts; that gives us a nice balance of two voiceson each part … Coming up with our interpretation takes a while,but we arrive at an interpretation we all like. It’s a great model forproblem solving.”Regarding plans for the future: “We’d like to tour back to Quebecwhere many of our French-speaking supporters are. We’ve includednotes and translations in French in the CD booklet because weoften sing to French-Canadian audiences — often Roman Catholicchurch choirs, who have a deep connection to Gregorian chant. Wesix children!”And as for that above-mentioned CD, titled Virgo Splendens, itincludes “quite a bit of Hildegard, some wonderful early Englishchants which we still use in our liturgy at St. Mary Magdalene.There are also fragments from a mass by Dufay. One importantelement is the recording of the four “Marian anthems” that are sungthroughout the liturgical year.”Both the CD launch on September 24 and the Barrie concerton October 1 feature a selection of the above repertoire. AndEarly MusicInnMontgomery’s InnSeptember 1–October 7, 2011 thewholenote.com 21

esides the beauty of the music on this disc, you’ll treasure it alsofor its cover: a reproduction of a beautiful icon — Madonna andChild — lurking obscurely in the Church of St. Mary Magdalene.annual luncheonOctober 23, 2011, 12:00 pmfeaturingMary Lou FallisMississaugua Golf & Country ClubReservations: 905-278-7059mcsluncheon@gmail.comin support of The Compass Food BankSaturday, November 5, 2011, 7:30 pmFirst United Church, MississaugaMessiah G F Handel “MCS Tradition of Joy”Sunday, November 27, 2011, 3:00 pmSt. Patrick’s Catholic Church, Mississaugamcs-on.ca or 905-278-7059A RANDOM MENTION OF OTHERS:Two concerts highlighting English music for voices occur this month:Royal” presents anthems from the time of Charles II — music byBritannia” — madrigals, motets and bar songs from the times ofHenry VIII all the way to George I’s reign.From September 21 to 25, you can hear music for courtlycelebrations at the baroque courts of Poland, Sweden, England,France, Germany, Spain, Russia and Austria, presented byTafelmusik Baroque Orchestra.On September 10 in Waterloo: Nota Bene Baroque holds a“Fundraising Extravaganza” to celebrate its 10th Anniversary Seasonand the launching of its new name, with mini-concerts, Baroqueinspiredrefreshments, an instrument petting zoo, and guest,baroque dancer Daniel Gariepy.At the Toronto Music Garden: On September 8, you can letdusk fall over you joyfully, as baroque cellist Kate Bennett Haynesinaugurates a cycle of Bach’s Six Suites for Unaccompanied Cellowith Suite No.1 in G Major. On September 18, the VesuviusEnsemble closes the season with “I canti a Maria — Music for theMadonna,” passionate traditional songs to the Madonna from someof the many sanctuaries in the region of Naples.There’s more! Do peruse The WholeNote’s listings to discover allthat’s out there.Simone Desilets is a long-time contributor to The WholeNote inseveral capacities who plays the viola da gamba.She can be contacted at earlymusic@thewholenote.com.22 thewholenote.comSeptember 1–October 7, 2011

DOMINIC LIPINSKI, WPA POOL/GETTY IMAGESRoyal sing song.Royal RantBENJAMIN STEINSurveying the first group of concerts out of the gate this fall,I notice that three of them have a royal theme.Considering the degree to which Western choral music isintertwined with the history of European royalty, this kind of thememight be considered obvious, even uninventive. But the degree towhich pretty much the entire world raptly followed the latest Houseof Windsor wedding last April (followed by the new couple’s tour ofCanada) gives these concerts an added resonance. It makes us enjoyanew not only the thoroughly inventive music of the master composersthat found employment at royal courts, but raises questions as towhat the meaning of royalty is at the beginning of a new century.For some, the very existence of a British royal family is worsethan an anachronism in a democratic world — it is an insult tothe idea of human equality, a desecration to the memory of thelegions of innocent people that perished over the centuries throughroyal exploitation, neglect, intrigue and war. To others, it is afun diversion, well worth the generous stipend paid to the royalfamily. Canadian writer Robertson Davies saw modern royalty inarchetypical terms — a connection to a collective past that combineshistorical reality with myth and legend.What does this mean in terms of music? The English royal courtwas a fecund ground for composers and performers well into the18th century. The resurgence that began with Elgar and culminatedwith Britten continues strongly with the work of Tavener. A strongargument can also be made against the received wisdom that Britishmusic died in the 19th century; modern church musicians continuePETER MAHONSales Representative416-322-8000pmahon@trebnet.comwww.petermahon.comSeptember 1–October 7, 2011 thewholenote.com 23

LYDIA ADAMS . Conductor & Artistic Director2011/12SEASONThe Armed Man: A Mass for PeaceNovember 12, 2011 at 8:00pm . Metropolitan United ChurchThe Amadeus Choir and the Hannaford Street Silver Band presentKarl Jenkins’ masterwork The Armed Man: A Mass for Peace.Glorious Sounds of the SeasonDecember 17, 2011 at 7:30pm . Yorkminster Park Baptist ChurchCelebrate the 25th anniversary of our Seasonal Song-WritingCompetition. Featuring the winning compositions with otherholiday favourites. Special guests The Bach Children’s Chorus.The Sealed AngelFebruary 3, 2012 at 8:00pm . Koerner HallRodion Shchedrin's hypnotic choral opera The Sealed Angel isone of the most important Russian works of the 20th century.Performed by Toronto's Elmer Iseler Singers and the AmadeusChoir and featuring ProArteDanza.Music of the SpheresApril 21, 2012 at 8:00pm . Ontario Science CentreJoin us as we celebrate Dr. Roberta Bondar’s 20th anniversary offlight in space. The Amadeus Choir and Elmer Iseler Singerscombine their voices for a stunning presentation of two worldpremieres by Lydia Adams and Jason Jestadt.SUBSCRIBE NOW AND SAVE!www.amadeuschoir.com . 416-446-0188“Music of the English Chapels Royal,” with verse anthems byparticular sub-species of choral composition in which full chorusesalternate with solo passages. English composers of the Reformationfound both contemplative and dramatic elements inherent in thisform and the challenge for choirs is to execute them in a mannerwhich avoids the monochromatic sound that is the bane of churchmusic performance.The Cantemus Singers is a relatively new Toronto choir,conducted by Michael Erdman. They specialize in secular musicof the Renaissance, though for their “Rule Britannia” concerton September 24 and 25 they will be performing sacred worksby Taverner and Gibbons as well as secular music by familiarElizabethan composers. They will also be performing roundsby Purcell, fun and rowdy works that are most enjoyable in alive setting.From September 21 to 25, Tafelmusik Baroque Orchestra andChamber Choir perform “Music Fit for a King.” This concerttakes a pan-national approach to regality, showcasing music thatFrederick the Great, who wrote at a time when we prized royalty fortheir artistic talent rather than their polo skills or their shapelinessin a bikini.One historical source reports that Frederick the Great receiveda standing ovation from the audience every time a composition ofhis was performed. This seems entirely plausible to me. What criticwould dare risk royal censure by remaining seated? Still, the sourcein which I found this information is a comic book published in the1970s, so I can’t vouch for its accuracy with complete certainty.As the makeup of Canadian society changes and our connection toour British Commonwealth past becomes increasingly remote, willwe see less of concerts with a royal theme? In the meantime, whatNoel Edison ARTISTIC DIRECTOR11/12seasonA Night of BrahmsWednesday November 9, 2011KOERNER HALLFestival of CarolsWednesday December 7, 2011YORKMINSTER PARKBAPTIST CHURCHHandel’s Messiah with the TSOWednesday December 14, 2011ROY THOMSON HALLSacred Music for a Sacred SpaceGood Friday, April 6, 2012ST. PAUL’S BASILICABelshazzar’s FeastWednesday May 23, 2012KOERNER HALLPHOTOGRAPHY FRANK NAGY GRAPHIC DESIGN ROSSIGNOL & ASSOCIATESTMC and Festival Orchestra performMozart in Koerner Hall, Telus Centre forPerformance and Learning, May 2011Subscriptions from only $123BoxOffice 416-598-0422, x24 www.tmchoir.org24 thewholenote.comSeptember 1–October 7, 2011

explains our ongoingfascination with therecent royal marriage?Was it simply part of ourPeople Magazine-fueledgeneral preoccupationwith those we considerrare and glamorous? Or,watching the union ofwhat may be our futureking and queen, did weenact a connection withour ancestors — peasants,for the vastmajority of us — thatapproached somethingprimal and ancient?Canadian writer mentioned above who was by no means uncriticalof either royalty or privilege, but who also had a keen eye for thehypocrisy that can underpin even the best of modern egalitarianintentions. In High Spirits, his wonderful, humorous collectionof ghost stories, Robertson Davies describes a meeting betweenhimself and the spirit of one of the current English queen’s mostillustrious ancestors:“I am a democrat. All my family have been persons of peasantby the labour of their hands. I acknowledge no one my superior ongrounds of a more fortunate destiny, a favoured birth. I did whatany such man would do when confronted by Queen Victoria; I fellimmediately to my knees.”Ben Stein is a Toronto tenor and theorbist. He can becontacted at choralscene@thewholenote.com.GREG TJEPKEMAPax Christi Chorale25 TH AnniversarySeason2011-2012Pax Christi Chorale: Stephanie Martin, Artistic DirectorDaniel Norman: Assistant ConductorPax Christi Youth Choir: Lynn Janes, ConductorBruce Kirkpatrick Hill: AccompanistSALIERI - MASS IN D-MAJORSunday, October 23, 2011 – 3:00 pmPre-concert chat at 2:15 pmGrace Church on-the-Hill, 300 Lonsdale Rd., TorontoWith orchestra and soloists:Melanie Conly, sopranoNina Scott-Stoddart, mezzo-sopranoGraham Thomson, tenorBenjamin Covey, baritoneBRITTEN - SAINT NICOLASSaturday, December 3, 2011 – 7:30 pmSunday, December 4, 2011 – 3:00 pmGrace Church on-the-Hill, 300 Lonsdale Rd., TorontoWith orchestra and special guests:James McLean, tenorHavergal College girls’ choirBruce Ubukata & Stephen Ralls, duo pianists ofThe Aldeburgh ConnectionCanadian Children’s Opera Chorus boy soloistsELGAR - THE KINGDOMSunday, May 6, 2012 – 3:00 pmKoerner Hall, TELUS Centre for Performance and Learning273 Bloor Street West, TorontoWith orchestra and soloists:Shannon Mercer, sopranoKrisztina Szabó, mezzo-sopranoKeith Klassen, tenorSpecial guest British baritone Roderick WilliamsTHE CHILDREN’S MESSIAHSaturday, December 10, 2011 – 4:00 pm – 5:00 pmChurch of Saint Mary Magdalene, 477 Manning Ave, TorontoPay what you can at the door.To order single or subscription tickets, call (416) 491-8542.For more information or to audition for Pax Christi Chorale orYouth Choir, visit our website at www.paxchristichorale.orgSeptember 1–October 7, 2011 thewholenote.com 25

Aloha, CNEANDREW TIMARSeptember has come around again, yet many of us are eager tosqueeze as much summer as possible out of this swing seasonmonth. While the fall concert season in the past has typicallybegun this month, in recent years it seems the lines between summerAn example of this is the CNE. This quintessential end-of summercelebration for generations of Ontarians has for decades been theCanadian National Exhibition, affectionately known as the “Ex.”Founded in 1879, this year it continues until September 5. Those ofus who associate it with fond childhood fairground memories mayhave missed the news that thesedays, in addition to the midway,fair food and pavilions, the Exhosts more than 80 performancesof music and dance fromaround the world. The concertsmounted on the Transat HolidaysInternational Stage located in HallB of the Direct Energy Centrefeature both local and visitingacts. In the words of the CNE,their programming “representsCanada’s vibrant cultural mosaic.”The majority of the concertstake place in August but I founda few this month, which are of in-On Saturday, September 3 ata music and dance troupe, willtake you on a tour of Polynesianculture. Their repertoire includesthe Hawaiian hula along withits ancient chants, the magic poidances of New Zealand and thedrum-driven performance arts ofTahiti (the otea), Fiji and Samoa.I’ve experienced some of theseperformances on their home turfand when done with skill and passion they leave tacky Hollywoodand TV stereotypes in the sand. There has long been a special placein my heart for this music and dance — a longing that only the islandspirit of alohaand I’ll be sure to dip into it on this occasion.On Sunday September 4 at 3pm, “Tango Soul” on the Transat Holidays International Stage. They willbe dancing the Argentine tango to the virtuosic and emotive musicwhich bonds so completely with this archetypal couple dance that it’sGuitar, Piano, Drums, Bass, Voice,Violin, Cello, Mandolin, Uke, and more.Music lessons for all ages, stages and styles.Professional instructors make learning fun.Convenient lesson times for busy families.Affordable Instrument Rentals.No Registration Fees.26 thewholenote.comSeptember 1–October 7, 2011

impossible to determine which accompanies which. Tango is a thrillto watch, only exceeded by the thrill experienced by those performing.Frank disclosure: I fall into the former armchair category.features the music, dance and food of 20 different Spanish-speakingcountries, and boasts over 300 local and international performers.Over the years the Fiesta has quietly garnered a reputation as one ofthe best-organized ethnic festivals in Toronto.Hafez Nazeri, among Iran’syounger generation of composers,is currently based in Toronto. His“Rumi Symphony Project,” based onbard, is marking its Canadian debutat the Sony Centre for the PerformingArts on September 10. The projecthas received glowing reviews fromleading American dailies. HafezNazeri will perform alongside aninternational ensemble of musiciansincluding his father, the noted vocalistShahram Nazeri. The concert willalso feature theworld premiere ofnew compositionspairing the classicalmusic of Iran andthe West, from hisupcoming albumon Sony Classical.The composer aimsto create a newFrom left clockwise: Faye and Bryant Lopez; these two distinctcultures andHafez Nazeri at the Sony Centre.their musics.called “Andalusia to Toronto” launches at the Royal Conservatory’sKoerner Hall. This concert, presented in partnership with SmallWorld Music, mixes traditional and jazz-accented Arabic, Jewish andAfro-Cuban music, each of which celebrates roots on the IberianPeninsula. Some of Toronto’s leading exponents of these genresBassam Bishara, vocals and oud; Michal Cohen, vocals; AmandaMartinez, vocals; Hilario Durán, piano; Aleksandar Gajic, violin;Roberto Occhipinti, double bass; Jamie Haddad, percussion; andRoula Said, dance and voice.My bet is that this outstanding group of musicians will take theiraudience on a thought-provoking and exhilarating multi-culturalmentally prepare for the crisp fall weather coming all too soon.Andrew Timar is a Toronto musician and music writer.He can be contacted at worldmusic@thewholenote.com.Canada’s Bechstein Selection CentreYoung Chang Piano GalleryWorld Class Repairsto all musical instrumentswith pianist Serouj KradjianOctober 21, 8 pm“A soprano voicethat combineslyricism withremarkabledramatic instincts”~ Timepresents171 Town Centre Blvd., Markham, ON10 Via Renzo Drive, Richmond Hill(east side of Leslie St., just north of Major Mackenzie Dr.)905.770.52221.800.463.3000cosmomusic.caSeptember 1–October 7, 2011 thewholenote.com 27

Guillermo Silva-Marin, General DirectorDISCOVER THE SOUND!DISCOVER THE VOICE!A Thrilling Voyage of Discovery!L’ACCORDÉONISTE:LATIN HEAT!A collaboration of superstar mezzo-sopranoKimberly Barber, pianist Peter Tiefenbach,percussionist Carol Bauman and excitingyoung accordionist Mary-Lou Vetere.October 2 at 2:30 p.m.LES HUGUENOTSGIACOMO MEYERBEERMichael Rose, Music Director and PianistLaura Whalen, Edgar Ernesto Ramírez,Alain Coulombe, Iasmina PatacaNovember 27 at 2:30 p.m.OBERTOGIUSEPPE VERDIAlison d’Amato, Music Director and PianistGiles Tomkins, Joni Henson,Michèle Bogdanowicz, Romulo DelgadoMarch 4 at 2:30 p.m.DIE FREUNDEVON SALAMANKAFRANZ SCHUBERTKevin Mallon, Music Director and ConductorJames McLean, Michael CiufoToronto Chamber OrchestraApril 1 at 2:30 p.m.Robert Cooper, C.M. and theOpera in Concert ChorusSubscribe and Save up to 30%416-366-7723 or 1-800-708-6754www.operainconcert.comAt a GlanceCHRISTOPHER HOILESo far over 35productions havebeen announced forthe 2011/12 opera season.Since so many of theseare Toronto premieresor unfamiliar repertoirethis looks to be quite anexciting season.The CanadianOpera Company hasseveral fascinating offerings.The fall seasonopens with Gluck’sIphigénie en Tauride(1779) starring SusanGraham — the world’sforemost Iphigénie.The production, runningSeptember 22 toOctober 15, continuesRobert Carsen’s series ofinterpretations of Gluckthat began last seasonwith his highly acclaimedOrfeo ed Euridice.February brings theCanadian premiere ofLove from Afar (L’Amourde loin) (2000) byFinnish composer Kaija Saariaho. Thiscontinues COC General Director AlexanderNeef’s plan to include a contemporary worktime the COC has staged a work by a femalecomposer. In April, the COC will mount AFlorentine Tragedyby Alexander Zemlinsky, on a double billwith Puccini’s Gianni Schicchi. And in May,Semele(1744) by George Frideric Handel. For moreinformation visit www.coc.ca.Opera Atelier’s season premieres a newproduction of Mozart’s Don Giovanni,October 29, and remounts Jean-BaptisteArmidein 2005. Toronto has to count itself as veryspoiled to have a second chance to see anopera like Armide. In January, Opera AtelierCo-Artistic Director Marshall Pynkoskiwill direct a concert production of Handel’soratorio Hercules (1744) with Tafelmusikat Koerner Hall. For more see www.operaatelier.com and www.tafelmusik.org.Toronto Operetta Theatre charts newKálmán’s Die Csárdásfürstin (1915), inlate December. The TOT has presentedother Kálmán works but strangely notThe Gypsy Princess (as it is known inEnglish), even though it’s regarded as oneof the pinnacles of“Silver Age” Vienneseoperetta. In Februaryprofessional staging ofJohn Beckwith’s operaTaptoo!, an opera with aWar of 1812 theme givenits world premiere by theUniversity of TorontoOpera Division in2003. Toronto MasqueTheatre coincidentallywill stage another operaby Beckwith, also to alibretto by James Reaney,Crazy to Kill (1989),earlier in November.For more informationsee www.torontooperetta.com and www.torontomasquetheatre.com.Normally, the doublebill of Mascagni’sCavalleria RusticanaPagliacci (1892) wouldnot count as unusual,except that the COC laststaged this traditionalcompany has yoked one or the other tovarious parts of Puccini’s Il Trittico (1918).This season, those who would like to “Cavand Pag” together have three choices:for September 10 to 17; Opera Belcantopresents them October 19 and 21; and OperaHamilton has them on April 21 and 23. Seewww.operalyra.ca, www.operabelcanto.netand http://operahamilton.ca for more.The tradition of presenting operas inconcert has immeasurably widened ourknowledge of works now rarely staged. Thisyear two companies offer some especiallyunusual items. Opera in Concert has plannedGiacomo Meyerbeer’s once-popular LesHuguenotsOberto (1839) for March 4 and forApril 1, Franz Schubert’s virtually unknownDie Freunde von Salamanka (written in 1815but not performed until 1928). Meanwhile,Opera by Request has scheduled Handel’sOrlando (1733) for October 21, Massenet’sHérodiade (1881) for November 4 andGiancarlo Menotti’s The Saint of BleeckerStreetmore information at www.operainconcert.com and www.operabyrequest.ca.Tapestry New Opera has three unusualofferings. Its season opener, “Opera Briefs,”First time around: TenorKeith Klassen and sopranoCarla Huhtanen in Oksana G.,March 2006.28 thewholenote.comSeptember 1–October 7, 2011MICHAEL COOPER

www.operabelcanto.netSeptember 1–October 7, 2011 thewholenote.com 29

Zarzuela GoldThe GypsyPrincess Taptoo! The BedolfeFoundation HMS Pinafore gives us exciting newworks from the Composerand 24, at Theatre PasseMuraille. In November,it presents Pub Operasby Gareth Williams thatpremiered in Glasgow inJuly earlier this year. Thelibretto (by David Brock)is based on the stories ofthe patrons of Sloan’s Bar,Glasgow’s oldest pub, thathas played host to the citizens’betrothals, weddings,christenings and wakes.Then in June 2012, it willThe Enslavement and Liberation of OksanaG. by Aaron Gervais and Colleen Murphy,excerpts of which have been tantalizingaudiences for several seasons now. Seeawww.tapestrynewopera.com for more.Those with a taste for ground-breakingnew operas will have much to cheer them.On February 2, Soundstreams will presentSOUND JUDGEMENTWith the Toronto International FilmFestival coming up I thought itwould be good timing to have a lookIt would seem that even back in 1927there was some confusion about whatconstitutes jazz. Why else would they havecalled the movie The JazzSinger when its star, AlJolson — certainly a greatentertainer — was no morea jazz singer than W.C.Fields was a spokesman forthe temperance movement.But long before that, aless well-known fact is thatthe group known as TheOriginal Dixieland JazzBand showed up in a rareThe GoodFor Nothing. It was, ofcourse, a silent movie sothe ODJB could be seenbut not heard; but pianistEubie Blake and singerNoble Sissle made someexperimental short soundThe remarkable videocollection At The JazzBand Ball (Yazoo Video)Composer Kaija Saariaho.The Sealed Angel (1988) aliturgical work by Russiancomposer Rodion Shchedrinthat will be staged atKoerner Hall as choralopera with choreographyby the combined forces ofthe Elmer Iseler Singersand the Amadeus Choir.See www.soundstreams.cafor more.The 2011/12 seasonends with a bang withthe Canadian premiere ofPhilip Glass’s seminal 20thcenturyopera Einstein atthe Beachproduction of the work in 20 years, will befrom June 8 to 17. More information willbecome available. www.luminato.com.Christopher Hoile is a Toronto-basedwriter on opera and theatre. He can becontacted at opera@thewholenote.com.Lights, Camera, JazzJIM GALLOWAYAmerican jazz greatWarren Vaché.has some of the best clips of the 1925–1933of the period is Paul Whiteman’s The KingOf Jazz. There is a short sequence showingviolinist Joe Venuti and guitarist EddieAlso worth looking for is the pioneering1929 black movie Hallelujah which in one30 thewholenote.comSeptember 1–October 7, 2011MAARIT KYTÖHARJUCOURTESY OF WARREN VACHÉ

nightclub segment features Curtis Mosby’s Blue Blowers on hadpurchased a Panoram machine, a full 1,889 soundies were released.Add to this number the jukebox shorts made by the producers ofother presentation systems and the number of shorts is well over2,000. It is the most complete audiovisual picture available ofpopular music in the 1940s. Obviously a sound investment.jukebox device was developedGordon Keith Woodard andtaverns. In fact, over the nextfew years close to 30 projectionon the market.Along with television cameSnader telescriptions in 1950,music videos. They were aroundfor three or four years and all ofthe top jazz/pop/country starsmade these three and four minutemulti-cameras and live mics. Noplaybacks or lip-syncing!The Jazz Singer (1927).Moving into the 40s, Hollywood gave us Birth of the Blues (1941)which features the Jack Teagarden band; Cabin in the Sky (1943)Stormy WeatherBojangles, Cab Calloway, Fats Waller and the Nicholas Brothers.In the 50s along came the bio-pic: Young Man with a Horn (1950),loosely based on the life of Bix Beiderbecke; The Glenn Miller Story(1953); The “Benny Goodman Story (1955); The Five Pennies (1959),The Gene Krupa Story (1959).people to jazz.Somewhat closer to reality were The Gig (1985) with WarrenVaché, Round MidnightBird (1987).of this fascinating topic, but mention should be made of a few ofThe Last of the Blue Devils, afeature-length portrait of Kansas City’s old-time jazzmen made byBruce Ricker, who died in May of this year; and a couple by TorontoBIX (1981) and Time Is All You’veGot for Best Documentary. Nowadays, there is a vast amount of jazzavailable on the internet. All you need is time.Mention of The Gig and Warren Vaché gives me a natural lead-into the fact that Vaché and an all-star line-up of Canadian and USmusicians will be in Toronto for The Ken Page Memorial TrustGala on September 15. The KPMT supports Canadian jazz and jazzmusicians with an emphasis on education. It will be held again atof The WholeNote. Please check it out and I’ll hope to see you therefor this worthy cause.Jim Galloway is a saxophonist, band leader andformer artistic director of Toronto Downtown Jazz. Hecan be contacted at jazznotes@thewholenote.com.at St. Philip’s Anglican Church | EtobicokevespersA casual, relaxing hour of prayer andgreat music with the city’s finest musicians Sunday, September 11, 4:00 pmMariachi | Mexico Amigo Band Sunday, September 25, 4:00 pmKlezmer | the Yiddish Swingtet Sunday, October 2, 4:00 pmJazz | Lara Solnicki Quartet withPat LaBarbera, Reg Schwager,+ Neil Swainson Sunday, October 16, 4:00 pmJazz | Laura Fernandez Quartet Sunday, October 30, 4:00 pmJazz | Kate Schutt Sunday, November 13, 4:00 pmJazz | Jorge Lopez Trio Sunday, November 27, 4:00 pmJazz | Mike Murley Quartet Sunday, December 11, 4:00 pmJazz | Graham Howes QuartetSt. Philip’s Anglican Church | Etobicoke25 St. Phillips Road (near Royal York & Dixon)September 1–October 7, 2011 thewholenote.com 31

Have Shell Will TravelJACK MACQUARRIEAs i sit down days are getting shorter and fall is almost on the horizon.There could be a temptation to do a bit of crystal ball gazingabout what musical treats may be looming on the fall horizon. Onthe other hand, there are still several more weeks left before fallin the summer. For the most part, community orchestras take thesummer off while for most community bands, public performanceactivity increases during the summer.Having resisted the strong temptation to look at what may be onthe fall horizon, I decided to get retrospective. How has the role ofcommunity bands evolved over the past century, and, in particular,and repertoire.in the band world, parades and tattoos were a much bigger part.During the summer months our band participated in many smallare almost a thing of the past, except for major ones such those inQuebec City and Halifax. With a few notable exceptions, most communitybands today would decline any invitations to parade. Theyare “concert bands,” and many members would consider parading tobe demeaning. So! Where do they perform their summer concerts?band was a “boys’ band” as were most junior bands. As a rule, girlsdidn’t play in bands, but ours was an exception. We had two girls; itdid help a bit that their father was the bandmaster.A century ago most towns in this country had a town bandstand,most often in the style of a gazebo open on all sides. At some pointsome clever architect decided that it would be possible to focus themusic and direct the sounds towards the audience. Eureka! Thethis part of the world was opened in Cobourg in 1934. The mostprominent bandshell in Canada,the great Art Deco structureat the Canadian Nationalfeatured daily performancesby the band of Knellar Hall,The Royal Military School ofMusic. With the exception ofthe years during WWII, dailyband concerts on the shell werewere four concerts a day on the shell. Two of these were by featuredbands from around the world and two each day were by local bands.the role of the bandshell shifted to “pop culture.” This year, insteadof four band concerts a day, there are only two scheduled for theentire period of the CNE. These, by a Canadian Forces Band, arefor the opening ceremonies and on Warriors Day. Personally, thissummer I performed at two shells and attended a concert at a third.I travelled to one of the best known shells in Ontario, The OrilliaAqua Theatre.The Markham event warrants special attention. The brainchild ofMarkham Band members Peter Ottensmeyer and John Webster, theToronto32 thewholenote.comSeptember 1–October 7, 2011

“Sunday Afternoon Band Series,” referred to as “Concerts, Cakesand Coffee,” encourages people to listen to the concert and thenstroll through the older Markham Village to visit the shops, galleriesand restaurants. Full concert programs available at the shell includediscount coupons and a map showing all participating merchants.Ontario Trillium grant. From a performer’s vantage point, it was notpossible to evaluate its acoustic properties but people in the audiencespoke very favourably of the new shell.Changing technology hastransformed many aspectsof the activities of a moderncommunity band. Who couldbandshell when the Cobourgbandshell was erected? Nowmany bands not only havewebsites, they post recordingsof their current repertoireOshawa’s bandshell.so that members may practice at home by playing along with thereading skills? Alternatively, a concert that I played a week ago washow we sounded. Finally, on the technological front, the UxbridgeCommunity Concert Band is having a video documentary producedthat will focus on the preparation of a new work by local composerDon Coakley, commissioned to celebrate the band’s 20th season.I had intended to take a look at the changes in how bands presentthemselves both in terms of dress and repertoire. However, thespace limitations have caught up with me. That will be grist for themill in a future edition.DEFINITION DEPARTMENTThis month’s lesser known musical term is Placebo Domingo:a faux tenor. We invite submissions from readers.COMING EVENTSPlease see the listings section.Jack MacQuarrie plays several brass instruments andhas performed in many community ensembles. He canbe contacted at bandstand@thewholenote.com.JACK MACQUARRIEINDEX OF ADVERTISERSAldeburgh Connection 17Alexander Kats 56Amadeus Choir 24AMICI 22Amoroso 59Aradia Ensemble 37Art of Time 17ATMA 5Bel Canto Singers 54Brock University Centre for the Arts 12Bryson Winchester 55Canadian Children’s Opera Company 25Canadian Men’s Chorus 42Canadian Opera Company 15Cantemus 39Cathedral Bluffs Symphony Orchestra41Christ Church Deer Park Jazz Vespers31City of Toronto Historic Museums 21Civic Light Opera Company 29, 36Civic Light Opera Company 36Classical 96 69Colours of Music 45Cosmo Music 27DeAngelis Entertainment / U of T,Faculty of Music 39Early Childhood Music Association 52Elmer Iseler Singers 23, 42ESPRIT 71Gallery 345 36George Heinl 27Grand Salon Orchestra 56Greater Toronto Philharmonic Orchestra26Gryphon Trio 41Hannaford Street Silver Band 19Hear Toronto 58Heliconian Hall 53High Park Choirs 54I Furiosi 21Jubilate Singers 54Judy Young 54Kitchener Waterloo SymphonyOrchestra 43La Plume Moderne 56Laura McAlpine 42Leon Belov 55Liz Parker 56LIZPR 53Lockwood ARS 55Long & McQuade 26Long & McQuade / New Horizons 32Lorne Park Baptist Church 53Margot Rydall 55Markham Theatre 27Mary Lou Fallis 57Metropolitan United Church 26Mississauga Choral Society 22Mississauga Symphony 16Mooredale Concerts 40Music Gallery 20Music Mondays 34Music Toronto 9, 36, 38New Music Concerts 15, 40Nocturnes in the City 38Norm Pulker 55NUMUS 7Oakham House Choir 54Off Centre Music Salon 18Opera BelCanto of South Simcoe 29Opera in Concert 28Opera Is – Learning 49Opera Is – Travel 51Orpheus Choir 12Pasquale Bros 56Pattie Kelly 55Pax Christie Chorale 25Peter Mahon 23Philharmonic Music LTD. 56Prince Edward County Music Festival43Roland Canada 37Roy Thomson Hall & Massey Hall 4Royal Canadian College of Organists 50Royal Conservatory 13Schola Magdalena 39Sinfonia Toronto 33St Olave’s Church 40St. Philip’s Anglican Church JazzVespers 31St. Stephen in-the-Fields AnglicanChurch 53Steve’s Music Store 20Sue Crowe Connolly 55Sunrise Records 59Tafelmusik 2, 3, 38Tapestry New Opera 10The Singing Voice Studio 54The Sound Post 31Toronto Centre for the Arts 53Toronto Concert Orchestra 52Toronto Consort 29Toronto Jazz Society 19Toronto Mendelssohn Choir 24Toronto Operetta Theatre 30Toronto Philharmonia 38Toronto Symphony Orchestra 72University of Toronto Faulty of Music 35Vicki St Pierre 55Village Voices 52Viva! Youth Singers 54Women’s Musical Club of Toronto14, 40Yamaha Music School 55September 1–October 7, 2011 thewholenote.com 33

The WholeNote ListingsThe WholeNote listings are arranged in four sections this issue:A.GTA (GREATER TORONTO AREA) covers all of Torontoplus Halton, Peel, York and Durham regions(zones 1, 2, 3 and 4 on the map below).THE GTA covers many areas of SouthernB.BEYONDand 8 on the map below). In the current issue, there arePort Hope and Waterloo. Starts on page 43.C.IN THE CLUBS (MOSTLY JAZZ)is organized alphabetically by club.ETCETERAS is for galas, fundraisers, screenings,lectures, symposia, master classes, workshops andD.THEother music-related events (except performances)that may be of interest to our readers. Starts on page 49.A GENERAL WORD OF CAUTION: A phone number is provided withevery listing in The WholeNote — in fact, we won’t publish a listingwithout one. Concerts are sometimes cancelled or postponed; andartists or venues may change after listings are published. Please checkbefore you go out to a concert.HOW TO LIST: Listings in The WholeNote in the four sections aboveare a free service available, at our discretion, to eligible presenters.If you have an event, send us your information no later than the15th of the month prior to the issue or issues in which your listing iseligible to appear.Thursday September 01Canadian National ExhibitionTorontoAll-Star Big Band--Brampton Concert BandInvestorsGroup Thursday Night Concert Series: ComingHome: A Tribute to Our Veterans-Friday September 02Canadian National ExhibitionTorontoAll-Star Big Band--Hispanic FiestaHavanaExpress Latin BandFantasiaSaturday September 03Contact ContemporaryMusic. InterSections: 5th Annual NewMusic Marathon. A. Concerts in the GTA-Canadian National ExhibitionGrupoFolklorico Viva México-Canadian National ExhibitionHa---Hispanic FiestaPuente delDiabloGabriel Romero (Columbia)Sunday September 04Canadian National ExhibitionTangoSoulUPCOMING DEADLINES: The next issue covers the period fromOctober 1, 2011 to November 7, 2011. All listings for that period mustbe received by 6pm Thursday September 15.LISTINGS can be sent by e-mail to listings@thewholenote.com or byfax to 416-603-4791 or by regular mail to the address on page 6. Wedo not receive listings by phone, but you can call 416-323-2232 x27for further information.LISTINGS ZONE MAP Visit our website to see a detailed version ofthis map: www.thewholenote.com.34 thewholenote.comSeptember 1–October 7, 2011

TicketsOn SaleSEPT 910 am2011.12SEASONmasterclasses & lecturesFree admissionSir Andrew Davis conductorAnders Hillborg composerMarlena Kleinman Malas vocalistAprile Millo vocalistGary Tomlinson musicologistPeter Wiegold composer/conductornew music festivalFeaturing the music ofAnders Hillborg (Jan 22-28)operasMOZART Cosi fan tutte (Dec 1-4)POULENC La Voix Humaine &Les Mamelles de Tirésias (Mar 8-11)concertsSimón Bolívar String QuartetCanadian BrassRussell Braun baritoneDarbazi Georgian vocal ensembleFestival WindsPura Fé world music artistGryphon TrioJudy Loman harpDonny McCaslin saxophoneKirk MacDonald saxophoneNEXUS percussionSteven Philcox pianoNora Shulman fluteHenri-Paul Sicsic pianoLara St. John violinSt. Lawrence String QuartetMonica Whicher soprano2x10 piano duoNEW!Order tickets online@www.music.utoronto.caFlexiMIXPick any 4 or moreconcerts & save 20%Priced from $16!Visit our websitefor a complete list ofevents or to requesta copy of our seasonbrochure, NOTESFACULTY OF MUSICUNIVERSITY OF TORONTOEdward Johnson Building80 Queen’s Park, TorontoTicketing and box office services provided by theWeston Family Box Office at the TELUS Centre, 273 Bloor St. WestPhone order: 416-408-0208Faculty of Music website and online order:www.music.utoronto.caSeptember 1–October 7, 2011 thewholenote.com 35

Cathedral Church of St. James. TwilightRecitals. Hispanic FiestaCafé Cubano. Hispanic FiestaImbayakunas: Andeanand Latin Music. Hispanic FiestaLuis Felipe Gonzalez.Monday Sep 05Music Mondays.menco/jazzensemble. -Hispanic FiestaSol de Cuba. Hispanic FiestaMariachi Viva México.Hispanic FiestaCarlos Cruz. 345 Sorauren Avenue[Dundas/Roncesvalles]Nicolas CaloiaQuartet, Davd Berlin,Music On The Edge,Circuit Gallery:Group Photo Show, ContactContemporary Music:Wallace Halladay &Mary-Katherine Finch Aaron Keele, LynnLoftus Glazer, JohnFarah & Attila Fias,Eddie & Quincy Bullen,Sylvie Courvoisier/AIM Torontofor monthlyperformances go towww.gallery345.com/performances 416.822.9781 forreservationsModern, Classical, Jazz,Folk, WorldTuesday September 06Cathedral Church of St. James.Music at Midday: Bach Series VIII. Wednesday September 07Civic Light Opera Company. Carousel.Gallery 345Nicolas Caloia Quartet-Thursday September 08Summer Music in the GardenShortConcert: Bach at DuskCivic Light Opera Company. Carousel.Royal Conservatory. Richard Thompson,guitar. Russian Alexandrov Red Army Choirand Ensemble. In Concert. Friday September 09Civic Light Opera Company. Carousel.Saturday September 10Civic Light Opera Company. Carousel.Gallery 345Northern Lights---Shahram and Hafez NazeriRumiSymphony Project-Sunday September 11Alicier Arts Chamber Music. CaféDes Arts CD Release Concert. ---Civic Light Opera Company. Carousel.Cathedral Church of St. James. TwilightRecitals. A. Concerts in the GTARoyal Conservatory. ARC Ensemble.--Summer Music in the Garden. BelongingSt. Philip’s Anglican ChurchJazzVespers: MariachiChrist Church Deer ParkJazz Vespers:Dixie Demons.-Music GalleryPop Avant Series: Esmerine.Monday September 12Music Mondays.Angela Park, piano. Tuesday September 13Cathedral Church of St. James.Music at Midday. Wednesday September 14Yorkminster Park BaptistChurch. Noon Hour Organ Recital Series. -Civic Light Opera Company. Carousel.Thursday September 15Metropolitan United Church. Noonat Met. Northern District Public LibraryOrchardviewers:Classic Music Performance withAlison Melville.Ken Page Memorial TrustAnnualFundraising Gala and Swinging Jazz Party----Civic Light Opera Company. Carousel.Music Toronto. Tokyo String Quartetand Markus Groh, piano. --Music TORONTOTOKYO QUARTETwith MARKUS GROHpianistThursdaySept. 15 at 8 pmFriday September 16Aradia Ensemble. Music of the EnglishChapels Royal. ; -Civic Light Opera Company. Carousel.Saturday September 17Opera by Request. L’Elisir d’Amore.----Civic Light Opera Company. Carousel.Guitar Society of Toronto. RafaelAguirre, guitar. NUMUS ConcertsThe Film Musicof Philip GlassSunday September 18Civic Light Opera Company. Carousel.Cathedral Church of St. James. TwilightRecitals. Summer Music in the GardenIcanti a Maria.Nocturnes in the City. In Concert.--Contact Contemporary MusicWalkon Water36 thewholenote.comSeptember 1–October 7, 2011

Kevin Mallon PerformsSeptember 2011September 10th, 8pmLaunch of the West Side Chamber OrchestraSeason PremierAncient AirsAradia EnsembleDirector Kevin Mallon presents:September 1–October 7, 2011 thewholenote.com 37

-Monday September 19Music Mondays. Cardinal Consort ofViolsTuesday September 20Canadian Opera Company.Vocal Series: Meet the Young ArtistsA. Concerts in the GTA-University of Toronto Facultyof Music. Vocal Studies: Welcome and VocalShowcase. -York University Department ofMusic. Music at Midday. Cathedral Church of St. James.Music at Midday: Jazz Organ Works. Roland CanadaA Grand Experi-ence-Music TORONTOMARKUS GROHpianistMusicFit fora KingA regal season opener!Sept 21 – 25tafelmusik.orgBaroque Orchestra and Chamber ChoirJeanne Lamon, Music DirectorThursdaySept. 20 at 8 pmMusic Toronto. Markus Groh, piano.-Wednesday September 21Yorkminster Park BaptistChurch. Noon Hour Organ Recital Series. -Yonge-Dundas Square. TorontoTabla Ensemble. Civic Light Opera Company. Carousel.Tafelmusik. Music Fit for a King.- --Thursday September 22Canadian Opera Company.World Music Series: Mediterranean JourneyUniversity of Toronto Faculty ofMusic. Thursday at Noon: Michelle Colton,percussion. -Metropolitan United Church. Noonat Met. Canadian Opera Company. Iphigeniain Tauris. -Toronto Symphony Orchestra. ChristopherPlummer in Walton’s Henry V.--38 thewholenote.comSeptember 1–October 7, 2011

-Civic Light Opera Company. Carousel.Tafelmusik. Music Fit for a King. Friday September 23Toronto Philharmonia Orchestra.Venetian Gala Fundraiser. -Tapestry New Opera. Opera Briefs.Civic Light Opera Company. Carousel.Hart House TheatreThe Great AmericanTrailer Park MusicalTafelmusik. Music Fit for a King. Toronto Heliconian ClubEmily, TheWay You Are: A One-WomanOpera Celebratingthe Life and Work of Emily Carr-Aaron KeeleCD ReleaseSaturday September 24Civic Light Opera Company.Carousel. Cantemus Singers. Rule Britannia.-Schola Magdalena. Virgo Splendens:Medieval Music for Women’s Voices – CDLaunch Party and Concert. -Tapestry New Opera. Opera Briefs.Toronto Symphony Orchestra.Christopher Plummer in Walton’s Henry V. Esperanza Music Project. FundraisingConcert. -Hart House TheatreThe Great AmericanTrailer Park MusicalLynn Loftus GlazerIn Concert-Tafelmusik. Music Fit for a King. DeAngelis Entertainment/Universityof Toronto Faculty of MusicJohn Mac-Leod and The Rex Hotel Orchestra Present TheMusic of Rick WilkinsSunday September 25Mooredale Concerts. Music & Truf--Canadian Opera Company. Iphigeniain Tauris. Cathedral Bluffs Symphony Orchestra.Young Artists. --Eddie and Quincy BullenFather andSon: Duelling Pianos-Cantemus SingersRule Britannia--Oakville Symphony OrchestraYoung People’s Concert--September 1–October 7, 2011 thewholenote.com 39

Mooredale Concerts. Ofra Harnoy,cello and Anton Kuerti, piano. --Tafelmusik. Music Fit for a King. Cathedral Church of St. James. TwilightRecitals. St. Philip’s Anglican ChurchJazzVespers: KlezmerSt. Olave’s ChurchChoral Evensongwith the Choir of St. Peter’s, Erindale- WILLIAM BOYCEA. Concerts in the GTAChrist Church Deer Park.Jazz Vespers.SECRET OF THESEVEN STARSNEW MUSIC CONCERTSSUNDAY SEPT. 25 8 pmGLENN GOULD STUDIONew Music ConcertsOpening Gala:Secret of the Seven Stars---Monday September 26Music Mondays. Jerome Summers,CATHEDRAL BLUFFS SYMPHONY ORCHESTRASUNDAY at 2 pmSeptember 25, 2011Rotunda, ScarboroughCivic Centre150 Borough Drive, Scarborough(Ellesmere/McCowan)YOUNG ARTISTSAmy Kim pianoRomulo Delgado tenorAndrea Van Pelt pianoMozart Piano Concerto no. 23Puccini Che gelida manina | Verdi O Figli MieiMassenet Pourquoi me reveillerShostakovich Piano Concerto no. 1Chatenooga Choo Choo, The Nearness of You,Somewhere Over the RainbowReintamm “Finale to an Unwritten Ballet”** Premiere performance2011–2012NORMAN REINTAMM artistic directorSATURDAY at 7:30 pmOctober 22, 2011St. Timothy’sAnglican Church4125 Sheppard Ave E, ScarboroughNORMAN REINTAMM& FRIENDSAlexander Volkov violinEugenia Volkova violaOleg Volkov celloNorman Reintamm pianowith Carrie Gray sopranoMozart Piano Trio inG major, K 496Songs by R. Strauss,Brahms & SchumannAdmission $20 or pay what you cancathedralbluffs.com | 416.879.556640 thewholenote.comSeptember 1–October 7, 2011

piano.University of Toronto Faculty ofMusic. Chamber Music Series: Lara St. John,violin--Tuesday September 27Canadian Opera Company.Chamber Music Series: Tribute to Richard Brad-shaw--Cathedral Church of St. James.Music at Midday. Royal Conservatory. Andalusia toToronto. -- Wednesday September 28Yorkminster Park BaptistChurch. Noon Hour Organ Recital Series: OrganDuets. -Yonge-Dundas Square. The MonkeyBunch. Women’s Musical Club of TorontoMusic in the AfternoonWednesdaySeptember 28, 1.30 p.m.WEILERSTEIN TRIO &BARRY SHIFFMAN, violaWalter Hall, U. of T.Tickets $45, call 416-923-7052www.wmct.on.caWomen’s Musical Club of Toronto.Weilerstein Trio with Barry Shiffman, viola.Canadian Opera Company. Iphigeniain Tauris. Hart House TheatreThe Great AmericanTrailer Park MusicalThursday September 29Canadian Opera Company.World Music Series: The Heartbeat of Japan-University of Toronto Faculty ofMusic. Thursdays at Noon: Mozart’s Gran Partita.--Metropolitan United Church. Noonat Met. Northern District Public LibraryOrchardviewers: World of MusicCanadian Opera Company. Rigoletto.---Hart House TheatreThe Great AmericanTrailer Park MusicalToronto Symphony Orchestra.Emanuel Ax Plays Brahms. -Friday September 30Canadian Opera Company. Rigoletto.Toronto Symphony Orchestra. Exposed:Unveiling Great Music: Peter & theSymphony. -AIM TorontoInterface Series: SylvieCourvoisier, piano and composer-Hart House TheatreThe Great AmericanTrailer Park MusicalRoyal Conservatory. Royal ConservatoryOrchestra conducted by Uri Mayer withJan Lisiecki, piano. - SUNDAY, OCTOBER 2, 2011 8PMCD release concertJuno Award winning Gryphon Trio and vocalist PatriciaO’Callaghan celebrate the release of Broken Hearts &Madmen, a groundbreaking recording produced by jazzbassist Roberto Occhipinti. Featuring songs by LeonardCohen, Nick Drake, Lhasa de Sela, and Laurie Andersonalongside traditional melodies from Mexico, Argentina,and Chile, the album is global in spirit and is a hauntingexploration of the romantic soul inside us all.CD RELEASE CONCERTEvery ticket gets a Broken Hearts & Madmen CDSunday, October 2, 2011 8pmLula Lounge1585 Dundas West (Block West of Dufferin)6:30pm doors open8:00pm show$39 - online advance at www.lula.ca (incl tax and CD)$45 - at the door (incl tax and CD)$10 - students at the door (incl tax)Tickets available at www.lula.caDinner reservations guarantee seating - call 416 588 0307www.gryphontrio.comwww.gryphontrio.comSupport By:John McKellarCharitable FoundationLULA LOUNGE1585 DUNDAS WESTPatricia O’Callaghan Gryphon Trio Broken Hearts & MadmenCommunity partner:Progress PlaceSeptember 1–October 7, 2011 thewholenote.com 41

Saturday October 01Beach United Church. Jazz Vespers:We Are One. -. -Canadian Opera Company. Iphigeniain Tauris. Collegium Musicum. Culture Canada.-Nuit BlancheQuintessence Handbell Ensemble.blastomaResearch. --AIM TorontoInterface Series: SylvieCourvoisier, piano and composer-Hart House TheatreThe Great AmericanTrailer Park MusicalI FuriosiJulie’s Big Adventure-Stephen Tam. Twentieth Century FluteTravels. -Toronto Symphony Orchestra.Emanuel Ax Plays Brahms. Sunday October 02Canadian Opera Company. Rigoletto.Opera in ConcertL’accordéoniste:Latin Heat-Toronto Symphony Orchestra.Emanuel Ax Plays Brahms.- Elmer Iseler SingersGloria! Soundsof Thanksgiving! --St. Philip’s Anglican ChurchJazzVespers-Gryphon TrioCD Release Concert:Broken Hearts & Madmen-Monday October 03Jazz.FM91. Sound of Toronto JazzConcert Series: It’s Impossible to Sing and Playthe BassTheatre 20. Amelia: The Girl WhoWants to Fly. Tuesday October 04Canadian Opera Company.Vocal Series. University of Toronto Faculty ofMusic. Singers and the Spoken Word. -York University Department ofMusic. Music at Midday. Canadian Opera Company. Iphigeniain Tauris. York University Department ofMusic. Faculty Concert Series. Wednesday October 05Yorkminster Park BaptistChurch. Noon Hour Organ Recital Series. Yonge-Dundas Square. The HappyPals New Orleans Party Orchestra. Canadian Opera Company. Rigoletto.University of Toronto Faculty ofMusic. Small Jazz Ensembles. -Hart House TheatreThe Great AmericanTrailer Park MusicalThursday October 06Canadian Opera Company.Vocal Series: Mélodies Françaises. -University of Toronto Faculty ofMusic. Music and Poetry. -University of Toronto Faculty ofMusic.The Romantics. --Metropolitan United Church. Noonat Met. Hart House TheatreThe Great AmericanTrailer Park MusicalNUMUS Concerts/PSQ Projects.Song of the EarthFriday October 07Canadian Opera Company. Iphigeniain Tauris. Hart House TheatreThe Great AmericanTrailer Park MusicalYork University Department ofMusic. Improv Soiree. -A POET’S LOVE in 2 Actthrough the eyes of Heine, Schumann & LysenkoLaura McAlpine mezzo-sopranoDavid Eliakis pianistHeather Davies director2011/2012an anniversary celebration ofUkrainian composerykola LysenkoOCT. 14 & 15 - 8:00 p.m.Calvin Presbyterian Church26 Delisle Avenueadmission - at door$20 regular $10 seniors/underemployedreception to follow - cds available for saleGreg Rainville, Artistic DirectorSunday, October 16 2011 at 4:00PMGlenn Gould Studio, 250 Front St. W, TorontoFeaturing the World Premiere Performance of the songcycle “A Paean of Honour” by Canadian composer, JohnLaing, settings of six poems from the World Wars.Dessert Reception by Encore CateringTickets $30416-872-4255 or online: www.canadianmenschorus.ca42 thewholenote.comSeptember 1–October 7, 2011

Sunday September 04Kitchener-Waterloo Chamber MusicSociety. Anne Louise Turgeon, piano, and Ron-Waterloo.Wednesday September 07Guelph Jazz Festival.The Rent.Guelph.Kitchener-Waterloo Chamber MusicSociety. Andrew Sords, violin, and Cheryl Duvall,piano. Waterloo. Thursday September 08Guelph Jazz FestivalDouble Bill:TILTING – The Nicolas Caloia Quartet and Pimley,Parker & Hemingway. -Guelph.Friday September 09Speak Music. Coming Home with NonieCrete, Hotcha! and Grainne. --Kitchener. Guelph Jazz FestivalMarianne TrudelSeptet. Guelph.Guelph Jazz FestivalDouble Bill:Trygve Seim and Andreas Utnem and ChristineDuncan and the Element Choir Project with WilliamParker. Guelph.Russian Alexandrov Red Army Choirand Ensemble. In Concert. Hamilton. Guelph Jazz Festival.StretchOrchestra (formerly Tallboys). Guelph.Saturday September 10Guelph Jazz Festival.TrevorWatts and Veryan Weston. Guelph.Guelph Jazz Festival.Sound One.Guelph.Guelph Jazz Festival.Jane Bunnettand KidsAbility Youth Ensemble. Guelph.Guelph Jazz Festival.Double Bill: TheNecks and Lotte Anker, Craig Taborn and GeraldCleaver. Guelph.B. Concerts Beyond the GTAGuelph Jazz Festival.Jayme Stone.Guelph.Guelph Jazz Festival.The Opposite ofEverything. Guelph.Guelph Jazz Festival.Shane Phillips:A Tribute to Gil Scott-Heron. Guelph.Guelph Jazz Festival.Mash PotatoMashers. Guelph.Guelph Jazz Festival.Double Bill:Henry Threadgill’s Zooid and Hypnotic BrassEnsemble. Guelph.Muskoka Concert Association. RyanJackson. Bracebridge. Sanderson Centre for the PerformingArts. Charlie Sizemore. Brantford. Guelph Jazz Festival.Rebel Rhythmwith Jane Bunnett. Guelph.Guelph Jazz Festival.Minotaurs.Guelph.Guelph Jazz Festival.Esmerine.Guelph.Sunday September 11Guelph Jazz Festival.CreativePRINCE EDWARD COUNTYMUSICFESTIVALSeptember 16-24, 2011The Church of St. Mary Magdaleneand two other beautiful County venuesStéphane LemelinArtistic director and pianistAna SokolovicComposer-in-residenceFor Tickets: www.countytix.ca613-471-1991 ortoll free 1-866-584-1991www.pecmusicfestival.comONTARIO ARTS COUNCILCONSEIL DES ARTS DE L’ONTARIOCollective featuring Kidd Jordan, Joel Futterman,William Parker and Alvin Fielder. -Guelph.Cuckoo’s Nest Folk ClubMuddyYork: Music of Old Ontario--LondonWednesday September 14St. Andrew’s Presbyterian Church.Wednesday Noon Concerts. -Kitchener. Kitchener-Waterloo Chamber MusicSociety. Eric Himy, piano. -Waterloo.Thursday September 15Wilfrid Laurier University.Music at Noon. -Waterloo. NUMUS ConcertsThe Film Music ofPhilip Glass--Guelph-Friday September 16Prince Edward County Music Festival.Words on Music. -Picton. SweetWater Music FestivalConcertOne-LeithNUMUS ConcertsThe Film Music ofPhilip GlassWaterloo. Saturday September 17 SweetWater Music FestivalChildren’sConcert-LeithKitchener-Waterloo SymphonyGalaConcert: Edwin and FriendsSeptember 1–October 7, 2011 thewholenote.com 43

--Kitchener-Prince Edward County Music Festival.Beethoven and the Slavs.-Picton. Jeffery Concerts. Tokyo String Quartet.London. SweetWater Music FestivalConcertTwo--Owen SoundSunday September 18SweetWater Music FestivalConcertThree--Owen SoundPrince Edward County Music Festival.Breezes on a Sunday Afternoon. -Picton. Tuesday September 20Prince Edward County Music Festival.Young Musicians in Concert. Picton. Kitchener-Waterloo Chamber MusicSociety. Mercer-Oh Trio. Waterloo. Wednesday September 21Music at St. Andrew’s. PaulGockel, organ. Barrie. St. Andrew’s Presbyterian Church.Wednesday Noon Concerts. Kitchener.Orchestra LondonCathedral Series:Bella Italia-LondonB. Concerts Beyond the GTAThursday September 22Wilfrid Laurier University.Music at Noon. Waterloo. Prince Edward County Music Festival.The Lovely Miller Maid: a multi-media presentation.Picton. Friday September 23All Canadian Jazz Festival.FridayNight Party. Port Hope.Colours of Music. American Holiday.-Barrie. Prince Edward County Music Festival.The Shape and Colour of Music.-Kitchener-Waterloo Chamber MusicSociety. Anya Alexayev, piano. Waterloo. Saturday September 24All Canadian Jazz Festival.Tenth Anniversary: Day 1. Blow Port Hope.Colours of Music. Romance in France.Barrie.-All Canadian Jazz Festival.HeadlineConcert: Aspects of Oscar. Port Hope.Colours of Music. Brahms CelebratedGerman Requiem. -Barrie.-Prince Edward County Music Festival.The Glory of Old Vienna. --Picton. Sunday September 25All Canadian Jazz Festival.TenthAnniversary: Day 2.-Port Hope.Chamber Music Hamilton. AlcanQuartet. Hamilton. Colours of Music. Balalaika Virtuoso– Russian Duo. Barrie. -Colours of Music. Soaring Strings.--Barrie. Cuckoo’s Nest Folk ClubGavinDavenport, guitar and concertina. LondonMonday September 26Colours of Music. Toy Pianos- junctQin. -Barrie. Colours of Music. Peter McGillivrayand Friends. Barrie.Colours of Music. Schubert’s Octet– The Masterpiece. -Barrie.Tuesday September 27Colours of Music. Six HandsOne Piano - junctQin. -Barrie. Cathedral Church of St. Paul. NoonOrgan Recital. London. Colours of Music. The Happy Sound.Barrie. Colours of Music. On the Upbeat.--Barrie. -Kitchener-Waterloo Chamber MusicSociety. Beethoven Complete Sonatas for Violinand Piano: Concert One. -Waterloo. Wednesday September 28Colours of Music. The StoriedHarp. Barrie. St. Andrew’s Presbyterian Church.Wednesday Noon Concerts. Kitchener. Colours of Music. The Singing Violin.-Barrie. -Colours of Music. Music on the GrandScale.-Kitchener-Waterloo Chamber MusicSociety. Beethoven Complete Sonatas for Violinand Piano: Concert Two. Waterloo. Thursday September 29Colours of Music. Barrie’s OwnMarilyn Reesor. --Barrie. Wilfrid Laurier University.Music at Noon. Waterloo. Colours of Music. Kimberly Barberand Friends. Barrie. Colours of Music. La Bohème – Puccini’sBeloved Opera in Concert. ----Barrie. Friday September 30Colours of Music. Songs MyMother Taught Me. Barrie.Colours of Music. Legendary Liszt.44 thewholenote.comSeptember 1–October 7, 2011

September 1–October 7, 2011 thewholenote.com 45

Barrie.Colours of Music. Those Distant Isles– Songs of Britain. -Barrie.Kitchener-Waterloo Chamber MusicSociety. Beethoven Complete Sonatas for Violinand Piano: Concert Three. --Waterloo.Saturday October 01Colours of Music. Schola Magdalena– Inspired Song. Barrie.Colours of Music. Gone Fishin’. Barrie. Colours of Music. Angels in Song.-. -Barrie. Sunday October 02Wilfrid Laurier University.Sing Fires of JusticeWaterloo. Colours of Music. Graceful Song.--Barrie. Colours of Music. Concerto Celebration.Barrie.Cuckoo’s Nest Folk ClubKieranHalpin. LondonMonday October 03Kitchener-Waterloo Chamber MusicSociety. Till Fellner, piano. Waterloo. Wednesday October 05St. Andrew’s Presbyterian Church.Wednesday Noon Concerts. Kitchener. B. Concerts Beyond the GTAThursday October 06Wilfrid Laurier University.Music at Noon. AlleycatzEvery Mon Salsa Night w DJ Frank Bischun,w lessonsEvery Tue Carlo Berardinucciand the Double A Jazz Swing Band,with lessons, Every Wed Swingin’ Jazz and Blues, Funky R&B w GraycefulDaddiesEvery Thu Soul, R&B and Reggae Fri and Sat Funk,Soul, Reggae, R&B, Top 40; Sep 1 Local Music is Sexy.Sep 2, 3 Lady Kane. Sep 8, 9 Sep 10 Luscious. Sep 15 Domisani Headliners.Sep 16, 17 Lady Kane. Sep 22, 23, 24 Ascension.Sep 29 Soular. Sep 30 Annex Live, TheAquila RestaurantAzure Restaurant and BarEvery Thu, Fri, Sat Dan Bodanis,Bernie Senensky and Steve Wallace.Black Swan, TheEvery Wed The Danforth Jam w JonLong and Friends.Bon Vivant RestaurantEvery Thu Bill Naphan Solo Guitar Every Fri Margaret Stowe Solo Guitar.Castro’s LoungeEvery Sun Jeremy Rouse Trio (Jazz/Roots). Every Mon Smokey Folk(Bluegrass/Rockabilly).C’est WhatSep 10, 24 Del Dako & Friends.Sep 17 Hot Five Jazzmakers.Chalkers Pub Billiards & BistroEvery Wed Girls Night OutVocalist-Friendly Jazz Jam w host Lisa Particelli Peter Hill (piano), Ross MacIntyre(bass), Norman Marshall Villeneuve (drums); Sep 17 Dave Young Quartet. Sep24 Lorne Lofsky Trio.Waterloo. Friday October 07NUMUS Concerts/PSQ Projects.Song of the EarthC. In the Clubs (Mostly Jazz)Classico Pizza & PastaEvery Thu Nate Renner, guitar. Cobourg, TheCoco Rogue Chocolate LoungeSep 16, 23, 30 Ori Dagan and MarkKieswetterCommunist’s Daughter, TheEvery Sat Gypsy Jazz w Michael Johnson& Red Rhythm: Michael Louis Johnson(trumpet/vocals) Roberto Rosenman (guitar)Terry Wilkins (bass).DeSotosEvery Thu Open Mic Jazz JamEvery Sun Brunch w Double A Jazz and GuestDominion on QueenEvery Sun Rockabilly BrunchEvery Tue Corktown Django Jam whost Wayne Nakamura.Every Wed CorktownUke Jam. Every Thu John T.Davis on B3. Every Sat RonnieHayward. Sep 9 Elmer Ferrer. Sep 10 MichaelSchatte Band. Sep 16, 17, 18 RockabillyWeekend. Sep 23 Havana to Toronto with JoaquinNunez Hidalgo. Sep 24 Downtown FunConnection. Sep 29 Myriad: Chris Donnelly Trio.Sep 30 Ori Dagan Sings the Crooners wRyan Oliver and the Cookers.Dovercourt HouseEvery Sat Saturday Night Swing: Dance featuringLive Swing Bands and dance lessons.EDOEvery Thu Guitarist Tony Quarrington Sep 1 Lynda CovelloJordan O’Connor Sep 8 SamBroverman George Koller Sep 15Sharon Smith Shelley Miller Sep22 Russell Drago Clark Johnston Sep 29 Donna Greenberg Jordan KlapmanEmmet Ray, TheSep 1 The John Wayne Swingtet. Sep 4 LinaWaterloo. Allemano’s Composer’s Collective. Sep 5 Dan VDan. Sep 7 Peter Boyd & the Mutant Duo Blues.Sep 8 Box Full of Cash. Sep 11 PRAMTrio. Sep 12 Dan V Dan. Sep 14 Mark Martyre.Sep 15 Ken Yoshioka Blues. Sep 18 TheCrossways Band. Sep 19 Dan V Dan. Sep 21Ori Dagan. Sep 22 Echo &Twang. Sep 25 TomRichards. Sep 26 Dan V Dan. Sep 28 Trace Elements.Sep 29 James Carroll & Liam Ward.Gallery Studio, TheEvery Tue Humber College Alumni/Open Mic.Every Sat The Cooking ChannelEvery Sun Birds of a Feather; FairTrade; Elizabeth Martins Quartet.Gate 403Sep 1 Liam Ward Jazz Trio; RobertaHunt Jazz & Blues Band. Sep 2 RobertDavid: Bang Howdy; Fraser Melvin BluesBand. Sep 3 Jessica Sturrup JazzBand; Andy Malette Piano Solo; MelissaBoyce Jazz & Blues Band. Sep 4 Melissa Lauren Jazz Band; Kristen Au JazzBand; Jarek Dabrowski Jazz Band. Sep5 Jordan Lazaruk Jazz Duo; VincentBertucci Jazz Band. Sep 6 Kelsey McNultyJazz Band; Richard Whiteman and JamesThompson Jazz Band. Sep 7 Zaynab WilsonJazz Band; Kurt Nielsen and RichardWhiteman Jazz Band. Sep 8 Alex SamarasJazz Band; Kevin Laliberté Jazz & FlamencoTrio. Sep 9 Bobby Hsu Jazz Band; Café Olé Latin Jazz Band. Sep 10 DamienVilleneuve Piano Solo; Bill Heffernanand Friends; Six Points Jazz Orchestra.Sep 11 Joel Diamond Jazz Duo; AjIng Fusion Jazz Band; Suitcase Sam. Sep12 Denis Schingh Solo; Jorge GavidiaBlues Band. Sep 13 Donné RobertsBand; Kurt Nielsen and Richard WhitemanJazz Band. Sep 14 Joshua Goodman JazzBand; Ilios Steryannis Jazz Trio. Sep 15Denise Leslie Jazz Band; String TheoryCollective. Sep 16 Kyla Tingley Jazz Band;Sweet Derrick Blues Band. Sep 17 Sandy Blakeley Duo; Bill Heffernanand Friends; Dennis Gaumond Blues Duo.Sep 18 Gabriel Palatchi Latin JazzBand; Grayceful Daddies; FrameworkCollective. Sep 19 Jaehoon Yoon JazzBand; Jorge Gavidia Blues Band. Sep 20Jake Koffman Jazz Band; Kurt Nielsenand Richard Whiteman Jazz Band. Sep 21Brian Cober and Aslan Gotov Blues Duo;Ken Kawashima & Bob Vespaziani; SnakeOil Johnson. Sep 22 Jacky Bouchard JazzTrio; Christopher Simmons Jazz Trio. Sep23 Denielle Bassels Jazz Band; PatrickTevlin’s New Orleans Rhythm. Sep 24 Toronto Jazz Chorus; Bill Heffernan46 thewholenote.comSeptember 1–October 7, 2011

& Friends; Donné Roberts Band. Sep 25Olga: The Gimlets; BrownmanAkoustic Jazz Trio; McGyle Madness. Sep26 Erica Romero Trio; Carol Oya JazzBand. Sep 27 Michael Keith Blues; Kurt Nielsen and Richard Whiteman Jazz Band.Sep 28 Noah Sherman Jazz Band; Sean Bellaviti Jazz Band. Sep 29 Jeff La-Rochelle Quartet; Cyndi Carleton Jazz &Swing Band. Sep 30 Tina Nodwell JazzBand; Joanna Moon Flamenco-Latino withQuebec Edge.Grossman’s TavernEvery Sat The Happy Pals matinee;Every Sun The Nationals w BrianCober: Double Slide Guitar Open Stage Jam;Every Wed Ernest Lee & Cotton Traf-Sep 3 Chloe Watkinson and the Crossroad.Sep 9 Anthony Salvatore and the Cause. Sep 10Grayceful Daddies. Sep 16 The Fullerton. Sep 17Cross Eyed Cat. Sep 23 The Swingin’ Blackjacks.Sep 24 Caution Jam. Sep 30 Frankie Foo.Harlem RestaurantEvery Mon Open Jam NightEveryFri/Sat Jazz/Blues.Sep 2 Gabriel Palatchi. Sep 3 James King Trio.Sep 9 Mike Field. Sep 10 Gibbran. Sep 16 RobertBall. Sep 17 Jill Peacock. Sep 23 ZimZum.Sep 24 Quique Escamilla. Sep 30 SoJay.Harlem Underground Restaurant /BarEvery Mon Chris Weatherstone Trio. EveryTue John Campbell. Every Thu Carl Bray.Every Fri Chris Weatherstone Trio. Every SatCarl Bray.Home Smith Bar, The - see Old MillHot House CaféEvery Sun Brunch with Jazz Zone.Hugh’s RoomSep 1 Eliza Gilkyson. Sep 2 Twist and Shout:A Tribute to the Beatles. Sep 7 J.P. Cromier &the Elliott Brothers. Sep 8 Amelia Curran. Sep9 Ron Nigrini. Sep 13 Ridley Bent. Sep 15 EricSt. Laurent Trio CD Release. Sep 16 John PrineTribute. Sep 17 Rita Chiarelli. Sep 20 Joy KillsSorrow. Sep 22 Double Bill: The RoofhoppersCD Release, The Boxcar Boys. Sep 23 MadisonViolet. Sep 24 Ramblin’ Jack Elliott. Sep 25Paul Brady. Sep 28 Triple Bill: Paul James, Jackde Keyzer and Danny Marks. Sep 29, 30 DavidFrancey CD Release.Joe Mama’sEvery Sun Nathan Hiltz & SpecialGuests.Latinada Restaurant & Jazz BarLiberty Bistro, TheEvery Tue Open Mic w Big Rude Jake. EveryWed Noah Zacharin.Lula LoungeSep 1 Le Hot Jazz: Ella Fitzgerald Tribute; TheArsenals. Sep 2 Ladies Night with Luis MarioOchoa & DJ Gio. Sep 3 Café Cubano, DJ Suave.Sep 4 Salon Noir: Dark Vaudeville. Sep 9 FridayJazz Series: Dominic Mancuso Trio. Sep10 Salsa Saturday: Son Ache. Sep 11 SalsaBrunch w Luis Mario Ochoa. Sep 12 GraceKayaCD Release. Sep 15 Access Education GuatemalaChildren`s Fund Gala with Conjunto Lacalu,guests Aviva Rajsky and Tom Bellman. See TheETCeteras (Listings Section D). Sep 17 SalsaSaturday w Conjunto Lacalu and DJ JimmySuave. Sep 18 Salsa Brunch w Luis MarioOchoa. Sep 22 Small World Music Festival:Prince Enoki`s Insect Orchestra and The LemonBucket Orkestra. Sep 23 Small World MusicFestival: Funkete. Sep 24 Salsa Saturday withCafé Cubano and DJ Suave. Sep 25 Small WorldMusic Festival: Hilario Duran, B Mundo Discos.Sep 28 Small World Music Festival: CanzoniereGrecanico Salentino. Sep 29 Small World MusicFestival: Siki Touré.Manhattan’s Music ClubGuelphMezzetta Middle Eastern RestaurantEvery Wed Momo’s BistroEvery Wed Open Mic.N’Awlins Jazz Bar and DiningEvery Tue Stacie McGregor; Every WedJimHeineman Trio; Every ThuBlues Night w GuestVocalists; Every Fri/SatAll Star Bourbon St.BandEvery SunBrooke Blackburn.Old Mill, TheThe Home Smith Bar:Every Thu .Every FriEvery SatSep2 Bob DeAngelisDanny McErlainRon Johnston Sep 3 Bruce CassidyRegSchwager-Shelly BergerSep 9 Russ LittleRob PiltchPat CollinsSep 10 Gary Benson Jon MaharajJoel HaynesSep 15 JoeSealy Sep 16 Barbra Lica RegSchwager Paul Novotny Sep17 Chase Sanborn Mark KieswetterSep 22 John Sherwood September SongsORI DAGANNEW VENUE, NEW MENU, NEW PIANO!Three years ago, Derek Houghton purchased a broken downEtobicoke building with the intention of renovating and resellingit. He changed his mind about the latter part of the plan whenbrand new venue — complete with grand piano and drum set — calledthe Gallery Studio.“I wanted to create a venue for serious artists … an art gallery slashjazz club — my two passions … I also wanted to create a setting wherejazz students and recent grads could play and where the big namescould also play, so there is more of a cross-pollination of talent,young and mature, so that the experience is less predictable … I wantto emphasize as well the entertainment aspect of jazz as much as thevery important academic aspect. I think that both are richer whenbrought together.”Recently the venue has been home to the Al Henderson/KurtMacDonald Duo, the Dave Restivo/Kelly Jefferson Quartet, MikeMurley and other greats. There is no shortage of jazz talent inthe vicinity of the Gallery Studio, especially since it is just aThe WholeNote’sthree regular bands on Sunday and a weekly open mic hosted byHumber College Alumni. www.thegallery-studio-cafe.comDerek Houghton.APPLAUSE FOR THE CAUSEThe Ken Page Memorial Trust presents its 13th annual fundraisinggala on September 15 at The Old Mill, and once again the musicdirector of this fantastic event is The WholeNote`s own JimGalloway. The wholly noteworthy lineup will prove heavenly forlovers of swing. In memory of distinguished television executiveand fervent jazz enthusiast Ken Page, this is an event well worthsupporting; since 1998, the trust fund has been strongly committedto the health of jazz by funding various initiatives year-round with afocus on education. www.kenpagememorialtrust.comIn a similar mindset, the Archie Alleyne Scholarship FundKey of Black,” September 18 at the Al Green Theatre. “This eventwill bring us back to the era when there were jam sessions at the355 every Sunday and where most of the black musicians in Torontodeveloped their careers,” says Alleyne, who will be formallyToronto Musicians’ Association at the event. “We were not welcometo perform in the mainstream entertainment mecca on Yonge Streetuntil 1944 because of discrimination.” The afternoon will featurea rare photo exhibit of subjects such as Syd Blackwood, DonSeptember 1–October 7, 2011 thewholenote.com 47

Sep 23 Carol McCartney Chris RobinsonJohn SherwoodKieranOvers Sep 24 Mark Eisenman Neil Swainson John Sumner Sep 29 John SherwoodSep 30 TerraHazelton Nathan Hiltz JordanO’Connor The Orbit RoomSep 15. Alysha Brillinger and KristenBussandri Painted Lady, TheEvery Mon Open Mic, all genres.Pantages Martini Bar and LoungeEvery Fri Robert Scott; Every SatSolo Piano:Various artists.Pero LoungeEvery Fri African Vibe.Every Sat Archie Alleyne’s Kollage.Pilot Tavern, TheSep 3 Don Palmer Quartet. Sep 10 Pat CollinsQuartet. Sep 17 Kirk MacDonald Quartet. Sep24 Ryan Oliver CD Release Party.QuotesGaryBensonFrank WrightDuncanHopkinsDon Vickery-Sep 16 Alex Dean Sep 23 Laurie BowerSep 30 DaveCaldwell Reposado Bar & LoungeEvery Wed Spy vs. Spy vs. Sly Every Thu, FriThe Reposadists.Reservoir Lounge, TheEvery MonSophia Perlman and the VipersEvery TueTyler Yarema and his Rhythm; EveryWedBradley and the Bouncers; Every ThuDave Murphy Band. Every FriDeeDee & theDirty Martinis; Every SatTyler Yarema and hisRhythm.-. Sep 1 Alex Pangmanand her Alleycatsevery month) Sep 23 Jill Peacock.Rex Hotel Jazz & Blues Bar, The-Sep 1 Kevin Quain; Stillman/Bullock 5. Sep 2 Hogtown Syncopators;Lester McLean; Shirantha Beddage.Sep 3 Danny Marks & Friends;Chris Hunt Tentet + 2; JustinC. In the Clubs (Mostly Jazz)Bacchus; Mr. Marbles. Sep 4 Excelsior Dixieland Jazz; Dr. Nick & theRollercoasters; Tom Reynolds; Scott Marshall. Sep 5 Peter Hill Quintet;Mike Malon Jazz Orchestra: RememberingDave McMurdo. Sep 6 TrevorGiancola Trio; Classic Rex Jazz Jam.Sep 7 Worst Pop Band Ever; Doug Burrell CD Release. Sep 8 KevinQuain; Trevor Watts Trio. Sep 9 Hogtown Syncopators; Lester McLean;Andre White Sextet CD Release. Sep10 Danny Marks & Friends; Laura Hubert; The Maisies; AndreWhite Sextet CD Release. Sep 11 ExcelsiorDixieland Jazz; Club Django; Tom Reynolds; Jon Challoner; Sep 12Peter Hill Quintet; Dave Young& Terry Promane Big Band. Sep 13 Trevor Giancola Trio; Classic Rex JazzJam. Sep 14 Worst Pop Band Ever;Mike Rud Quartet. Sep 15 Kevin Quain; Mike Rud Quartet. Sep16 Hogtown Syncopators; LesterMcLean; Dan Weiss Duo. Sep 17Danny Marks & Friends; SwingShift Big Band; The Maisies; DanWeiss Duo. Sep 18 Excelsior DixielandJazz; Bob Cary Orchestra; Tom Reynolds; Ted Quinlan Trio. Sep19 Peter Hill Quintet; Jazz inthe Point. Sep 20 Trevor Giancola Trio;Classic Rex Jazz Jam. Sep 21 Worst Pop Band Ever; Maria FarhinaBand. Sep 22 Kevin Quain, PatLaBarbera and Kirk MacDonald’s Annual Tributeto John Coltrane. Sep 23 Hogtown Syncopators;Melissa Boyce; PatLaBarbera and Kirk MacDonald’s Annual Tributeto John Coltrane. Sep 24 DannyMarks & Friends; Jerome Godboo; Justin Bacchus; Pat LaBarbera andKirk MacDonald’s Annual Tribute to John Coltrane.Sep 25 Excelsior Dixieland Jazz;Freeway Dixieland; Tom ReynoldsBlue Note Series hosted by Jake Wilkinson.Sep 26 U of T Student JazzEnsembles; Justin Grey’s Monsoon.Sep 27 Trevor Giancola Trio; Classic Rex Jazz Jam. Sep 28 WorstPop Band Ever; Jonathan Kreisberg.Sep 29 Kevin Quain; JonathanKreisberg. Sep 30 Hogtown Syncopators;Lester McLean; Rick RosatoCD Release.Ristorante RomaLive Jazz Every Fri & Sat . Every SunSaint Tropez, LeStatlers on ChurchEvery Mon SINGular Sensation Open Mic wJenni Walls and Donvoan LeNabat Every TueChris Tsujiuchi; Every Wed Bram Zeidenberg;Every Thu Open Mic w Donavan LeNabat;Every Fri Julie Michels & Kevin Barrett; EverySat Alex Hopkins. Every Sun James Moyer.www.aasf.caPEACOCK STRUTS SOME SOUL!Vocalist and songwriter Jill Peacock recently relocated to Torontoafter a life-changing experience studying at Boston’s prestigiousBerklee College, where she initially enrolled as a piano major. “Ihad played classical piano all my life … but once I was there, I foundmyself more drawn to the vocal department and auditioned for atransfer … I had to work hard to keep up with students who had beensinging for a long time but I loved every minute of the challenge!”Infused with a unique sweetness, Peacock’s voice is gentle asa kitten’s meow and every bit as precious. Skilled in jazz, soul,Motown and R&B standards, she is also a promising songwriter.7–9pm on September 23. www.jillpeacock.comRUBY A GEM TO BE SURE!considerable time honing his craft in Berlin and New York Citybefore settling in Toronto a few years back, and appropriately, hisfrom around the globe, this music is energetic, intelligent and fullof energy. Augmented by two extraordinary musical forces — bassistJordan O’Connor and percussionist Michel DeQuevedo — the Ericacts. Ruby is the title of the trio’s second CD, which will be releasedat Hugh`s Room on September 15. www.ericst-laurent.comREMEMBERING TRANE (1926–1967)Jazz icon John Coltrane would have turned 85 this month, and hismusical legacy lives on with multiple tributes in Toronto. Namedafter the master, The Trane Studio in The Annex will play hostto a pair of Coltrane tributes: the Michael Arthurs Quartet onSeptember 23 and the Scott Marshall Quartet on September 24. Andas is the annual tradition at the Rex Hotel for longer than we have beenKirk MacDonald will be paying tribute to the master with a threenighter,September 23–25. www.tranestudio.com, www.therex.caOri Dagan is a Toronto-based jazz vocalist,voice actor and entertainment journalist. He canbe contacted at jazz@thewholenote.com.Ten Feet TallEvery 2nd and 4th Tue Dunstan Morey & theToronto Fingerstyle Guitar Association. EveryThu East End Jazz Jam hosted by Brendan DavisQuartet.Sep 4 Henry Heillig. Sep 10Samantha Clayton. Sep 11 SteveKoven. Sep 17 Donna Greenberg. Sep 18Kingsley Ettienne. Sep 24 BillMacLean. Sep 25 Debbie Fleming Trio.Trane StudioSep 3 Solona African Palm Wine Band.Sep 8 Andrew Damelin. Sep 9 Benjamin Amason. Sep 16 Justin Grey’sMonsoon. Sep 21 Peter Kauffman. Sep23 Coltrane Weekend: Michael ArthursQuartet. Sep 24 Coltrane Weekend: ScottMarshall Quartet. Sep 27 Luanda Jones &Baile Boom. Sep 30 Eliana Cuevas.48 thewholenote.comSeptember 1–October 7, 2011TranzacEvery Mon This is Awesome OpenMic. Every Fri The Foolish Things. -Sep 1 HoundstoothBluegrass & Oldtime. Sep 2 ExtraHappy Ghost! Sep 3 The New Heavenand the New Earth. Sep 4 Monk’s Music.Sep 6 The Rent. Sep 7 AndrewDowning & Jayme Stone: Banjo/Cello Duet. Sep8 Cletus Carlyle Bluegrass Band. Sep9 Jean Doench. Sep 10 ScottB. Sympathy. Sep 11 Lina AllemanoFour. Sep 13 Peripheral Vision. Sep 14 Stop Time. Sep 15 Shawn Clarke.Sep 16 My Home the Stars. Sep 17Nightjars CD Release. Sep 18 Composer’sWorkshop. Sep 21 St. Dirt ElementarySchool . Sep 22 Songs by Bert.Sep 23 Pat LePoidevin. Sep 24 Joe Hall. Sep 25 Steve Ward Presents.Sep 27 Drumheller. Sep 28 Horables. Sep 30 Ryan Driver Quartet.Zemra Bar & LoungeEvery Wed Open Mic and Jam.Every Fri Live Music Fridays.

D. The ETCeterasThanks to Culture Days (Sep 30, Oct 1 and 2) there are no fewerthan eight open rehearsals listed here, including one with BrainerdSee our new ETCETERA! categories below: OPEN HOUSE,OPEN JAM and OPEN REHEARSAL (thank you, Culture Days!).GALAS & FUNDRAISERSNota Bene Baroque. New Decade,New Name, Big Celebration. Waterloo. Ken Page Memorial Trust.13th Annual Fundraising Gala and Swinging JazzParty. -Access Education GuatemalaChildren`s Fund. Annual Gala. Kitchener-Waterloo Symphony.Gala Concert After Party. Kitchener.Toronto Philharmonia Orchestra.Venetian Gala Fundraiser. Archie Alleyne ScholarhipFund. 7th Annual Gala: “Syncopation: Life in theKey of Black.” --SCREENINGSToronto Opera Club. Five Murderersand Three Saints. LECTURES & SYMPOSIACanadian Opera Company.Opera Talks: Gluck’s Iphigenia in Tauris. -Opera Is. Basic Fundamentalsof Opera: “What is the Circle, the Lineand the Square?” Opera Is. Previewof Upcoming Operas. -Opera Is. Basic Fundamentalsof Opera: “Bel Canto: What is virtuosodisplay singing?” Lecture by Iain Scott. RoyalCanadSt. Olave’s ChurchPeachTea and Lively Talk: William Boyce. -Opera Is. Basic Fundamentalsof Opera: “Why is Verdi the “heart”of talian operas?” Colours of Music. Talk onMusic of the Day. -Barrie.StageToneScape. ClassicalMusic – What is it for Us?! -Canadian Opera Company.Opera Exchange: A Greek Family Reunion:Gluck’s Iphigenia in Tauris. --Heritage. September 1–October 7, 2011 thewholenote.com 49

Royal Canadian College of OrganistspresentsOrgan Skills WorkshopsSeptember 17, 2011and November 19, 2011The Toronto Centre ofthe RCCO is presenting twofull day workshops for organskills development. These areFREE “boot camp” stylesessions for new and not-sonewmusic people charged by their pastors andchurch organizations to provide organ hymnaccompaniment, service music, preludes,interludes and postludes. Hands-on instruction,playing techniques, registration (the sounds andcolours of the organ), finding appropriate musicfor every occasion, working with soloists andchoirs, employment issues, rehearsal tips, andmuch more will be presented by skilled andexperienced professional organists with teachingexperience. Participants are encouraged to bringlots of questions, and an optional hymn or shortvoluntary to play or to use as an example.The locations for each workshop are:September 17, 2011:10:00 – 3:00Richmond Hill United Church10201 Yonge StreetRichmond Hill, ON L4C 3B2(905) 884-1301Pipe Organ: Two-manual, 15-stop Casavant Frères, Opus 990November 19, 2011:10:00 – 3:00St. Clement’s Anglican Church59 Briar Hill AveToronto, ON M4R 1H8(416) 483-6664Pipe Organ: Three-manual, 46-stopCasavant Frères, Opus 1289The second session will build upon ideaspresented at the first, so please plan to attendboth sessions if possible.To register for these FREE workshops, pleasevisit our website www.rccotoronto.ca orcontact Lydia Pedersen either by phone416-236-5085 or email atlydia.pedersen@sympatico.ca. Toronto Concert Orchestra.A Little Night Music: In the Shadow of Brahms.Opera Is. Basic Fundamentalsof Opera: “Why almost everybody startswith Puccini.” . -MASTERCLASSESSinging Studio of DeborahStaiman. Masterclass. ---Colours of Music.Masterclass with Valerie Tryon, piano.Barrie. U of TorontoFaculty of Music. Master Class with Lara St.John, violin. -WORKSHOPSContact ContemporaryMusic. In C Open Workshop. -In C -CAMMAC Recorder Players’Society. Renaissance and Baroque Workshop.Toronto Early Music PlayersOrganization. Workshop coached by ScottPaterson. -Royal Canadian Collegeof Organists. Organ Skills Workshop, Part I.----CAMMAC Toronto Region.Reading for Singers and Instrumentalists. -Mo Jamal. Violin Playing andImprovisation. --D. The ETCeterasRandolph Academy of thePerforming Arts. Bathurst Street TheatreBuilding Tour and Arts Workshops. -- CAMMAC Recorder Players’Society. Renaissance and Baroque Workshop.Markham Arts Council. ModernLatin Soundscapes: Live Performances plus aWorld Beat Workshop. -Riverside Celtic College.Cultural Crossroads. -Aberfoyle.The Grand Theatre. Learna Song or Two from Hair! AquariusLet theSunshine InLondon.Kir Stefan the Serb Choir.Did You Think it Was Easy to Sing in a Choir?Kayonan Gamelan Orchestra.Balinese Music and Dance Workshop.-Roisin Caideux. FrenchFolk Songs & Stories. -Echo Women’s Choir. Performanceand Sing-Along. - Kyle MacDonald. Jazz Workshop.-Morningstar River. AboriginalCultural Session. -Paul Donat. Learning to PlayGuitar and Bass. -Shannon Thunderbird. SpiritThunder First Nations Drumming & Vocals. 50 thewholenote.comSeptember 1–October 7, 2011

-School of Music. Musical Instruction and Demonstration.Kindermusik Music & MovementClass. Music and Movement Workshop.-Pan Piper. Steelpan Workshop.-Stratford Symphony Orchestra.Orchestra Petting Zoo. Stratford.Association of ImprovisingMusicians of Toronto. Performance andDemonstration. -Joanna Moon. French WorldCafé: Interactive performance -Malhar Group. Note Ornamentationson Sitar. --Hamilton. Early Childhood Music Associationof Ontario. Music for our YoungestMusicians. -Rick Sacks. Hands OnPercussion Workshop. -Hart House. Play theDrums. -Hart House. Play the Ukulele. -Art With A Heart. MusicalPlay with Handmade Instruments. -Whitby. GIVEAWAYS-OPEN HOUSECollegium Musicum Conservatoryof Music. Open House. -Metalworks Group.Open House. ---Music & Opera AppreciationInc. Open House. -Stratford.Burlington PerformingArts Centre. The Keys to the Future CommitteeOpen House. -Burlington. Michael Johnston MusicStudio. Open House. OPEN JAMPerth Arts Connect/North Perth Arts and Culture Council.North Perth Unplugged … But Connected!Perth. Array New Music. ImprovisationalOpen Jam. Schinbein’s Music/PerthArts Connect/Hermione. Random Acts ofMusic. -Perth. September 1–October 7, 2011 thewholenote.com 51

A Little Night MusicJoin Maestro Kerry Strattonfor a weekly series of informal discussionson music & composers, with liveperformances by prominent artists.OCTOBER 3 ...In The Shadow of BrahmsThe Vienna of Brahms& his colleagues.Guests: Kornel Wolak, clarinet& Younggun Kim, piano.OCTOBER 17 ...Franz Liszt: Prophet & CharlatanThe influential bravura pianist,conductor, composer & thinker.Guest: Adam Zukiewicz performsLiszt’s Piano Sonata in B Minor.OCTOBER 24 ...The Programme Symphony:Hector Berlioz, Symphony Fantastique,Harold In Italy.Berlioz wrote for orchestra as no onebefore him had imagined.Guest: Jonathan Craig, viola.NOVEMBER 7 ...Music as Mirror:A composer speaks.Guests: Norbert Palej& Joseph Macerollo.NOVEMBER 14 ...Strauss & Vienna: The Magic of 3/4 Time.What is it about the Viennese masterthat continues to charm?Guests: Iris Rodrigues, soprano, & friends.NOVEMBER 21 ...Early 20th Century Modernism:Debussy Violin Sonata.Inspired by poetry – “I am dreaming ofcharacters who submit to life!”Guest: Corey Gemmell, violin.Art Gallery at the Toronto Centre for the Arts,7:30 pmsubscriptions $160.50,single tickets $35.25For individual tickets or subscriptionscall 416-733-0545tickets online www.ticketmaster.caa presentation ofOPEN REHEARSALEtobicoke Centennial Choir.Annual Open House Rehearsal. ----Etobicoke Philharmonic Orchestra.Passion Plus: Open Rehearsal. --Village Voices. Come SingMessiah! -Scarborough Society ofMusicians. Open Rehearsal: Wind Ensemble.-Sinfonia Toronto. Open Rehearsal.Nathaniel Dett Chorale. Singwith the Nathaniel Dett Chorale. -Mississauga Children’s Choir.Open Rehearsal. -Wellington Winds. Open Rehearsal.Waterloo. D. The ETCeterasANNOUNCEMENTSCanadian Opera Company.After School Opera Program. --North Toronto Players. StarshipPinafore: Orientation Evening. Canada Sings!/ChantonsCanada! Toronto-Riverdale. NeighbourhoodSingalong. -Royal Canadian College ofOrganists. Used Music Sale. -ETCETERA!Soundstreams. Salon 21: SeasonOpening Party. -Kingsville Arts & Culture DevelopmentAssociation. Not Quite CarnegieConcert. -Kingsville.Elmer Iseler Singers.Culture Days Celebration. 52 thewholenote.comSeptember 1–October 7, 2011

-Toronto Early MusicCentre. Early Music Fair. Perth Arts Connect/NorthPerth Arts and Culture Council. Join a Choirfor a Day! --Perth. Venue RentalStageToneScape. Let’s SingsClassical Music! ---Soundstreams. JohnCage Fontana Mix. -Look for favourite live music venues onour website map, World of The WholeNotethewholenote.comDOWNTOWNCONCERT VENUEConcert, rehearsal,seminar spaceCompetitive ratesIntimate atmosphere withwarm friendly acousticsUnobstructed versatileseating for up to 150Wedding and receptionfacilitiesFully accessibleClose to transit andparkingHistoric KensingtonChurch (circa 1858)Church of St. Stephen in-the-Fieldon College St. between Bathurst & Spadina647-638-3550/416-921-6350email ststepheninthefields@gmail.comHeliconian HallPublicity, press kits& image consultingfor performers416.544.1803www.lizpr.comSeptember 1–October 7, 2011 thewholenote.com 53

AUDITIONS / MUSICIANS WANTEDAUDITION! FOR NEW SINGERS ENSEM-BLE:-COUNTERPOINT COMMUNITY ORCHES-TRA --EXPERIENCED VOCAL JAZZ GROUP-L’ensemble vocal torontois Les voix ducœurNYCO SYMPHONY--OPEN REHEARSAL: -SIGHT-SINGINGLESSONSPrivate coaching sessionswithSheila McCoy416-574-5250smccoy@rogers.comClassified Advertising | classad@thewholenote.comPAID TENOR SECTION LEAD-WANTED Strings for Brilliantly Baroque,INSTRUCTIONARE YOU A CLOSET MUSICAL THE-ATRE PERFORMER? -CONCERT PIANIST EVE EGOYANCRAZY FOR SHOWTUNES? --FLUTE, PIANO, THEORY LESSONS:LOVE SINGING CHORAL MUSIC ----MAKING MUSIC WITH THE RECORDER.-PIANO LESSONS:PIANO LESSONSSINGING IN THE SHOWER IS YOURTHING?-ALEXANDER KATS (416) 340-1844alexander.kats@sympatico.caLooking forLady DayGrand Salon Orchestrais auditioning singersOctober 16, 2011,Toronto CentreFor The Arts, for aBillie Holiday tributemgmt@grandsalonorchestra.com647.853.005754 thewholenote.comSeptember 1–October 7, 2011

LET YOURINNER SONGBE SUNGEXPERIENCEDCHOIRDIRECTORavailable forchurch and/orcommunity choirJUDITH YOUNG416 493 6421Whole ClassicalVoice Training for all ages inall styles of SingingClassical Voice Trainingusing Yoga Postures,Alexander Technique,Mindful Meditation techniques,and Expressive MovementOn Bayview at Eglintonwww.83VOICE.com416 83 VOICE(838-6423)High Park Choirs of Torontois entering its 25 th seasonof choral excellence.Six choir divisions, ages 5–18Professional conductors and educatorsOutstanding artistry and guest artistsAUDITION and be a part ofsomething magnificent!Rehearsals 1x/2x per week in Toronto’s West EndExcellent musical trainingBuild confidence, discipline, memory skillsImprove attention span and focusFoster team and group life skillsFun, safe, non-competitive environmentCreate lasting friendshipsPerformance opportunitiesRegional and international travelSING WITH US!AUDITION THIS SEPTEMBERTo book your audition, please emailinfo@highparkchoirs.org or call 416-762-0657www.highparkchoirs.orgZimfira Poloz, Artistic DirectorPREMIERE SOURCE FOR HIGH QUALITY FOOD(416) 364-7397 www.pasqualebros.comSeptember 1–October 7, 2011 thewholenote.com 55

Classified Advertising | classad@thewholenote.comSTUDY JAZZ SINGING WITH ORI DA-GAN!-STUDY SAXOPHONE -VIOLIN SCHOOL:WISH YOU WERE SINGING?FOR SALE3 Steinway M grand pianosBLACK 2002 7ft KAWAI RX-6YOUR CLASSIFIED AD COULD BE HERE80 Acadia Avenue, Unit 309, Markham ON L3R 9V1HEINTZMAN D 6 FT GRAND PIANOAND BENCH.PIANO:SMALL DOUBLE BASSMUSICIANS AVAILABLEBARD – EARLY MUSIC DUO-SERVICESACCOUNTING AND INCOME TAX SERVICESalesViolin Viola Cello BowsRepair and RentalProfessional violin maker andString instrument rental serviceAFFORDABLE PSYCHOTHERAPY --DO YOU HAVE PRECIOUS MEMORIESPERFORMANCE ANXIETY? -VENUESARE YOU PLANNING A CONCERTPhilharmonic Music Ltd.SchoolPrivate lessons and examsViolin Viola Cello Bass905-784-2028 www.philharmoniccanada.comREHEARSE OR PERFORM IN A BRANDNEW FACILITY ---Children'sPianoLessonsFriendly, approachable -and strict!Liz Parker416.544.1803liz.parker@rogers.comQueen/BathurstComprehensive · . ResidentialSoundproo?ng SolutionsQuality Audio Recording Servicesfor Classical and Acoustic Music647 349 6467lockwood.frank@gmail.comwww.LockwoodARS.comleon 416-995-4016Margot RydallFLUTE STUDIO40 yrs RCM teacher/Sr. examiner RCMEAll Ages – All LevelsRCM Exams – Audition PreparationPerformance Coaching – Flute for Fun!www.duomusic.ca (416)463-1011margot@duomusic.ca 56 thewholenote.comSeptember 1–October 7, 2011

Who is October’s Child?Already a chamber musician, butolder brother.This 3-time JUNO winning pianistgrew up on a steady diet of practise,Star Trek, practise, White Spothamburgers, practise … in a houseFind him in a lounge with somebroken hearts and madmen (nextmonth, in Toronto) and — speakingof madmen — playing someThink you know who our mysterychild is?Send your best guess tomusicschildren@thewholenote.com.address just in case your name isdrawn! Winners will be selected byrandom draw among correct replies“This is my Professor face …”(He’s already practising hisFacebook persona.) Burnaby,British Columbia, 1966.SEPTEMBER'S CHILD OFRA HARNOY continued from page 12Your earliest musicalmemory?I remember being movedto tears at the age of 2 ½when hearing the recordingof the Cimarosa oboe concerto.I can still rememberthe melody.Where did hearing music fitinto your life as a child?part of my musical trainingas a child. Either listening tomultiple recordings, goingto classical music concertsor participating in chambermusic sessions; music wasalways part of my life likeeating, breathing or sleeping.Read the full interview atthewholenote.com.CONGRATULATIONS TO OUR WINNERS! HERE’S WHAT THEY WONAllison Meistrich (Toronto) wins a pair of tickets to attend theopening of Mooredale Concerts’ 23rd season, Sept 25 (3:15pm, WalterHall): Ofra Harnoy makes her return to the Toronto concert stage withartistic director, Anton Kuerti, at the piano. This is their first-ever jointperformance and includes Bach’s Suite No. 3 for solo cello, Beethoven’s CelloSonata in A Major, Op. 69, and the Cello Sonata by César Franck.Leslie Toy (Toronto) and a young-at-heart friend will be Mooredale’sguests when Harnoy and Kuerti give a one-hour, interactive concert, atMusic & Truffles, September 25 (1:15 pm, Walter Hall). While this seriesseeks to engage younger people (ages 5–15), adults wishing to learn moreabout music-making are welcome.Joan McGorman (Ottawa) and Alison McTavish (Oakville) will be amongthe first to hear Ofra Harnoy Plays Vivaldi. This 5 CD boxed set, releasedAugust 2011, is a feast of Vivaldi concerti with The Toronto ChamberOrchestra, conductors Paul Robinson and Richard Stamp: RCA Red Labelrecordings made between 1988 and 1994. SONY 88697-88412-2Terry Lander (Toronto) and Patrick Huziak (Toronto) will receive OfraHarnoy’s Imagine: 19 Beatles classics featuring Harnoy on solo celloaccompanied at times by the Orford String Quartet or the Armin StringQuartet. These are live performances recorded at Glenn Gould Studio, FloraMcRae Auditorium, and St. Timothy’s in 1984 and 1985. SONY 68376MYLES CRAWFORD / UCCMusic’s Children thanks Linda, Liz, Christina, Katie, Steve, Robert, David, Myles.Fallis Voice StudioM ARY LOU FALLIS has a reputation as a teacher with a strong practical∂technical knowledge, musical imagination and an inspirational rapportwith her students. Ms Fallis maintains a studio in Toronto at the centrallylocated Trinity St. Paul’s Centre, 427 Bloor Street West. The classperforms recitals twice a year and has the advantage of Master Classeswith visiting artists and well known performers. An excellent professionalcollaborative pianist is available for lessons and coachings as needed.Call 416-925-6889 or email ploum@interlog.com for fees and availability.Fall term starts September 12 th 2011www.maryloufallis.comSeptember 1–October 7, 2011 thewholenote.com 57

Book ShelfPAMELA MARGLESPartita for Glenn Gould:An Inquiry into the Nature of Geniusby Georges LerouxMcGill-Queens University Press256 pages; $34.95it’s almost thirtyyears since Glenn Goulddied, yet there’s no letupin the number ofbooks written about him.This study by Georgespherwho taught at theUniversité du Québecà Montréal, is one of the best. In what helight on aspects of both Gould’s art and hislife. Ultimately he shows how inseparablethey were, since right from an early age,Gould devoted his whole life unreservedly tohis art.For all the extraordinary piano recordings,radio and television documentariesand writings Gould left us, he remainsfamous for giving up live concerts early innot abandoning anything, least of all hisaudience. Gould was searching for disembodiedmusical perfection, which he couldn’tachieve with live concerts, to share withaudiences. This means that his pioneeringradio documentaries, like the Idea of theNorth‘unequalled masterpiece’, deserve the sameconsideration as his piano recordings like thesecond Goldberg Variations.Gould’s humming, which can be clearlyheard on many of his recordings, woulddrive recording engineers, critics, conduct-another side, asking, “What is this unsettlingsong if not a message, a compassionatesignal designed to draw in to him those whoit represents Gould wanting “everyone,through him, to draw near to what is sublimein the work.”By providing philosophical underpin-is able to offer an appreciation of ThomasBernhard’s, provocative, revealing and oftenmisunderstood novel about Gould, TheLoser. Bernhard altered the facts of Gould’smade him an inspiring, visionary genius.This book is not an introduction to Glennitywith Gould’s playing. Nor is it a biography,though he does discuss events in Gould’s lifelike his love affair with Cornelia Foss.Gould’s famous description of art as a“state of wonder and serenity” resonatesthe extraordinary diaries Gould kept from1977 to 1978 — in one of the most fascinatingsections of this book — he sees Gould engulfedby anxiety. Surprisingly, these diariesdocumenting Gould’s crisis have never beenpublished in their original English, only in aFrench translation.Donald Winkler, who presents the originalFrench text in elegant and lucid English. TheEnglish version of the full title, however, ismisleading. The original subtitle, Musiqueet forme de vie,in acts and words, to view it in the contextof music as an art, and to take the measureof its generosity.” But An Inquiry into theNature of Genius describes a differentreferences is regrettable — to be unableto track down quotations not just fromfrom Wittgenstein to Robert Fulford, isfrustrating. There is, fortunately, a usefulbibliography and detailed index.Monument Eternal:The Music of Alice Coltraneby Franya J. BerkmanWesleyan University Press148 pages, photos, score excerpts;$27.95 paperin 1965, McCoyTyner left JohnColtrane’s legendaryquartet, so Coltraneasked his wife, AliceColtrane, to take overas pianist. AliceAwasan equally virtuosic, butmore meditative player.John Coltrane died two years later, but thegrumblings that she had ridden her husband’scoat-tails to success never stopped.music, musicologist Franya Berkman leadsAliceColtrane out from under the shadowof her husband and treats her as a musicianin her own right. When she met JohnColtrane she was already an accomplishedpianist and organist with her own distinctivesound. Berkman documents her early workas a church organist, gospel player, and jazzmusician, and her studies with her mentor,with John Coltrane before his early death,not just musical but spiritual as well.After John Coltrane’s death, AliceColtrane pursued her own path altogether.When she became the spiritual leader of anAshram in Southern California, she evenforged a new identity. She changed her nameto Swamini Turiyasangitananda, and concen-by Hindu and other eastern rhythms andharmonies. In bringing attention to the depthand beauty of her later devotional music,Berkman is able to show that even here AliceColtrane never strayed far from her rootsin gospel, blues, be-bop, and the classicalmusic she studied when young.Berkman’s study is considerably enrichedby the series of interviews she did withColtrane before her death in 2007. Berkmanpaints a compelling portrait of an extraordinarywoman. Fortunately Coltrane madealbums alone — providing plenty of materialfor Berkman’s thoughtful musical analyses.Alice Coltrane stopped recording andperforming in public in 1979. Then, aftera concert with her sons Ravi and OranColtrane on saxophones. It was a triumphantreturn, but the recording which resulted,Translinear Lightalbum. Berkman has produced a fascinatingand important study, showing that it’sColtrane’s years away from the jazz scene,rather than any musical shortcomings, thathave lead to her being so frequently overlooked.In fact, it’s because Berkman offerssuch a powerful defence of Coltrane’soeuvre, including the liturgical music of herlast years, that I would have welcomed moreattention to what Translinear Light accomplished,and where it pointed.Ravi Coltrane performs in KoernerHall at the Royal Conservatory of Musicon Saturday February 4, 2012 at 8.00.58 thewholenote.comSeptember 1–October 7, 2011

Editor’s CornerDAVID OLDSAbout a year ago in this columnI raved about hearing Americanstring band Joy Kills Sorrow at Hugh’sRoom and their “Darkness Sure BecomesThis City” which has since stayed inregular rotation on my stereo throughoutthe past year. Their sophomore releaseThis Unknown Science(Signature Sounds SIG 2041www.signaturesounds.com) hasrarely been far from the CDplayer since arriving on mydesk last month. Whereas theprevious outing was squarelyrooted in the “new grass” campwith its busy mandolin, banjo,bass arrangements, this newdisc incorporates that sensibilityinto a broader approachencompassing indie-rock andnew folk (the genre from whichCanadian lead singer EmmaBeaton originates). While myinitial response to the introspectiveand generally moresubdued material was disappointment,repeated listeninghas easily changed my mindhaunting new songs—in particularWhen I Grow up (… I’llget better) and the strangelydisturbing Somewhere over theAtlantic in which the protagonistdreams of plane crashesfact that she will be “sleeping —pursuingme through my days. The instrumentationon this album has expanded too, withBeaton adding cello and bass-player, chiefsong-writer Bridget Kearney, using a bowwith some frequency (and agility) and alsoadding piano and organ to the mix. This isnot to say that there are no up tempo, goodtimenumbers—One More Night is a case inpoint—and even the slow melodies are oftenlaid over fast, rhythmic accompaniments.In spite of my hankering for“more of the same” in this newrelease I congratulate theseyoung artists for the growthshown here and for not restingon their laurels.Concert Note: I’m very pleasedto say that Joy Kills Sorrowwill return to Hugh’s Roomon September 20. I’ll be therewith bells on.Joy Kills Sorrow does not havethey are none the worse forthat. But perhaps that is onereason I was so pleased toreceive, around the same timeas their new disc, That’s HowWe Run, the latest from OttawaApril Verch (Slab Town RecordsSTR11-01 www.aprilverch.com).toryto win both of Canada’schampionships, the GrandMasters and Canadian Open,is renowned as a performerof traditional Canadian music.She has branched out in this latest releasewhich was recorded in North Carolina andmastered in Colorado and here embraces themusical traditions of our neighbour to thesouth. Although there are several traditionalFlatt are represented, most of the 17 trackswere composed by April Verch in the stylesof Appalachia, the Ozarks, the Mid-Westernvocals are particularly well suited to themedium and the claw-hammer banjo accompanimenton many songs is very effective.There’s plenty to tap your toes to too, not topays tribute to the heyday of the Hot Clubof France when Reinhardt performed withStéphane Grappelli, interspersed with traditionalScottish and East Coast melodies, jigsand reels. Dwayne & Duane each contributea couple of original compositions, althoughthese too are couched in the language oftradition. Andrews’ The Chocolatier’sLament is so convincing in its Reinhardtstylings I could swear I’ve heard it before,played by the master himself. My onlyquibble with the recording is that Côté’s occasionalpizzicato accompaniments to theguitar are not very effective. That said thisis still a superior and invigorating adventureand the swing arrangement of Hank Snow’shit A Fool such as I (written by Bill Trader)makes a wonderful closer.we welcome your feedback and invitesubmissions. CDs and comments should besent to: The WholeNote, 503–720 BathurstSt., Toronto, Ontario M5S 2R4. Wealso encourage you to visit our website,www.thewholenote.comadded features including direct links to performers,composers and record labels, “buybuttons” for online shopping and additional,expanded and archival reviews.—David Olds, DISCoveries Editordiscoveries@thewholenote.comningguitarist from Newfoundland who hasdevoted his energy to developing in DjangoReinhardt’s style and technique. On his latestCD Duane Andrews is joined by violinistDwayne Côté (www.duaneandrews.ca andwww.dwaynecote.com) for an outing thatSeptember 1–October 7, 2011 thewholenote.com 59

VOCALA Lesson in LoveKate Royal; Malcolm MartineauEMI 9 48536 2No, Kate Royalis not a stage nameof the Duchess ofCambridge. It isthe real name of ayoung English soprano,whose ascentto fame has acceleratedsince one specialevening in 2004, when as an understudydin The Magic Flute at Glyndebourne FestivalOpera she got to sing Pamina when a divagot sick. Sounds like a typical operatic story,except there is nothing typical about Ms.Royal. The child of singers, she studied atthe Guildhall School and won the KathleenFerrier trophy. Her happy association withGlyndebourne continues, with great resultssuch as the recently-reviewed Don Giovanni,with Royal as Donna Elvira.Her lyric soprano seems particularly adeptat conveying emotion — her heartbrokenand confused Elvira was, well, haunting.of the year for concert performances andrather than relying on existing song cycles,she has created her own — with some greattensivecycle of songs penned by Schumann,Wolf, Schubert, Tosti, Bridge, Copland,Ravel, Fauré, Britten, Debussy and Strauss.They are artfully woven into four stagesof a woman’s life, being “Waiting,” “TheMeeting,” “The Wedding” and “Betrayal.”These phases are neatly spanned by twoversions of William Bolcom’s Waitin (sic).Royal navigates without effort throughEnglish, German and French texts, infusingeach song with her personal mark.How personal? Well, dear reader, listen toCanteloube’s “Tchut, tchut” from the Songsof the Auvergne and judge for yourself!—Robert TomasBerg – LuluLaura Aikin; Cornelia Kallisch; Alfred Muff;Peter Straka; Zurich Opera;Franz Welser-MöstArtHaus Musik 101 565Since its premierein Zurich in1937 Lulu cannotescape controversy.Granted, in 1937the subject-matterof a sociopathicprostitute was ascontroversial as itis today, but there is so much more at stakecompleted in the 1970s from Berg’s sketchesand discarded drafts. Even so, this recordingpremiere and to satisfy those, who claim thatIt is an opera with probably the mostcomplex female character in history. In partsductiontakes a deep, psychological view ofher character. She is a victim of childhoodsexual abuse, illuminated by silent vignettesprojected throughout. She also is treatedby her husbands and lovers in a proprietary,misogynistic way — illustrated by femalemannequin body parts encased in plasticDamien Hirst sculptures, the body partsexplain her coldness and at times hatred towardsothers. This approach actually works,portraying the heroine as damaged beyondrepair and thus tragic, not just loathsome.Alfred Muff deserving of a special mention),Franz Welser-Möst handles the orchestrabeautifully. Fair warning, though: given thegraphic nature of the projections, this mayLulu is not for the faint of heart.—Robert TomasSongspinJuice vocal ensembleNonclassical Recordings(www.nonclassical.co.uk)Traditional, classicaland new musicmeet head on inthe debut albumby a cappella vocaltrio Juice. Bringingart music forwardto a hip, modernsensibility, theirperformances are enjoyed from Wigmorerangementsthat are incredibly complex andvocally demanding, their delivery is crystalclear, clean and precise whether mimickingthe babbling brook in Paul Robinson’sTriadic Riddles of Water or a pointillistic,northern lights-like brilliance in ElisabethOf the Snow. With the use of breath,sighs, sonorous and dissonant harmonies,these women demonstrate how the primalresonance of the human voice has the abilityto shape (or even bend) our psyches.Downright eerie are arrangements of thetraditional English folksong Cruel Motheras well as group member Kerry Andrew’scompositions Lullaby for the Witching Hourand luna-cy. Both a sense of wonder, andfear of the tenuous relationship betweenmother and child is evoked through the useof punctuated breath and long, languoroussighs in an arrangement of Gillian Welch &T-Bone Walker’s Didn’t Leave Nobody butthe Baby. Extremes in rhythmic complexitiesSanbiki No Kasikoi Saru sounding almostlike a game of skill in which none of thethree voices trip or falter. They end off therecording with seven playful, quirky remixes;having already taken the listener to theedge, they then extend far beyond.—Dianne WellsCLASSICAL & BEYONDJadin – Quatuors à cordes, Œuvre 1Quatuor Franz JosephATMA ACD2 2610Child prodigyHyacinthe Jadinpremiered his ownpiano concerto atthe age of 13 duringthe FrenchRevolution, an eventwhich both inspiredand overshadowedhim. He composed in almost every contemporarygenre, including harpsichord andpiano pieces, revolutionary hymns, conventionalsonatas and trios and chamber musicwhen it was exclusive to the aristocracy.Quatuor Franz Joseph is certainly conventional:two violins, viola and cello. However,a largo which very soon becomes an allegrothat is tackled with relish by the quartet.The allegro and following adagio, minuetand second allegro combine to create chambermusic at its most exhilarating.Much less serious in tone are the twoother quartets, in A major and F minor.Both exemplify the conventional chambermusic of the pump room, albeit enlightenedwith the demands of the presto last movementof the A major and the folkloric qualityof the F minor’s polonaise.was by then ubiquitous. Jadin was uniqueit was almost never publicly performed andslow introductions to his symphonic works.All from a 19-year-old!We are lucky that Quatuor Franz Josephis bringing Jadin to the ATMA label; hisspirited music makes his death at 24 all themore tragic.—Michael SchwartzBeethoven – Piano Sonatas 8; 17; 23Ingrid FliterEMI 0 94573 2Beethoven’s 32 piano sonatas, with hissymphonies and string quartets are amongthe supreme achievements of civilization inthe same sphere as the work of Shakespeare,60 thewholenote.comSeptember 1–October 7, 2011

Dante andMichelangelo. Thebest pianists haverecorded them, likeSchnabel, Backhaus,Gieseking, Kempff,Rubinstein,Horowitz andRichter to name onlya few. Now a new challenger allengerbythenameofname Ingrid Fliter has arrived to add to the roster.Born in Buenos Aires and having studiedin Europe, she has already won prizes atnumerous international competitions and receivedthe prestigious Gilmore Award. Thisis her 3rd issue with EMI after two very successfulChopin recordings. Here she selectedworks that probably best suit her temperament,three of the Master’s most turbulentand passionate sonatas, all with a nickname:Pathétique, Tempest and Appassionata.She plays with great fervour, almostreckless passion, abandon, phenomenaltechnique, precision and imagination rarelyfound in other pianists. Nowhere does thiscome out better than in the performanceof Op. 57, the “Appassionata”, where thenearly deaf Beethoven with violent outburstsInterestingly, it is somewhat related to the5th Symphony. Notice the four note motivesimilar to the Fate motive that permeatesthe 1st movement of the 5th. The whirlwind,turbulent last movement where the speedand excitement just builds and builds to thebreaking point, ending with an even fasterfrantic gypsy dance coda is guaranteed tolift you out of your seat, that is if you are notalready standing.—Janos GardonyiGabriel Dupont – Les heures dolentes;La maison dans les dunesStéphane LemelinATMA ACD2 2544In this ter-pianist Stéphanestrong case for theremarkable pianomusic of Frenchcomposer GabrielDupont (1878-1914).These works amalgamate mate late romantic andimpressionist elements into a personal voicethat meaningfully conveys the composer’sstruggle with tuberculosis. Dupont wasknown in his day for operas; here too melodypours out and harmony is intriguing.The 14-piece set Les heures dolentes(Doleful Hours) is a diary from the composer’ssickbed at a spa. Particularly touchingis the charming “A Friend has Come withSome Flowers” at the work’s midpoint. Thelast four pieces suggest confrontation andresolution: “Death Grinds,” “Some ChildrenPlay in the Garden,” the truly great “WhiteNight—Hallucinations” with its terrifyingThe ten pieces of La maison dans lesdunesture,especially the sea. Water has life-givingstatus in both the playful “The Sun Plays inthe Waves” and the dissonant, surging men-delivers a tour de force of “maritime pian-to be the most spiritual piece of all, on thelevel of the “In Paradisum” from Fauré’sRequiem. Whether the pianistic challengesinging melody, pedalling dense passageswithout getting waterlogged, or achiev-Highly recommended.—Roger KnoxElgar – Piano Quintet; String QuartetPiers Lane; Goldner String QuartetHyperion CDA67857Elgar has alwaysbeen more famousfor his large-scaleorchestral and choralworks than forhis chamber music,but included amongstring quartet anda piano quintet. Both pieces were writtenover a two year period between 1918 and1919 when the aging composer was residingin a cottage in West Sussex — and bothare presented here on this Hyperion recordingby the Australian-based Goldner StringThe quartet is an appealing anachronism.After all, only six years before, Stravinsky’sRite of Spring had caused a scandal in Paris,while in Vienna, the Second Viennese Schoolwas making strides with serialism. Elgar himselfadmitted, “It is full of golden sounds … butyou must not expect anything violently chromaticor cubist.” Nonet heless, t his is elegant music,elegantly played, and the Goldners handle theintricate string writing with its subtle harmonicshifts with great precision and warmth.The more expansive piano quintet is equallyconservative, but is marked by a considerablytetare perfectly matched, treating the tempestuousopening movement with bold assurance.Similarly, the middle movement adagio isgiven the pathos and anguish it deserves, whilebrings the disc to a satisfying conclusion.Between the two chamber works are fourhitherto unrecorded solo piano pieces, twodating from the early 1930s, and all ofthem, charming examples of Elgar’s keyboardstyle. In all, this is an exemplary recordingof music written by a composer wholife — there’s hope for us all!—Richard HaskellGlenn Gould in Concert 1951–1960Glenn GouldWest Hill Radio Archives WHRA-6038The tragedy ofGlenn Gould asconcert pianist isseldom discussed.He faced cripplingperformance anxietieshe could notovercome, and aban-career in his early thirties. He then commencedto become even more famous in hissubsequent life as a combination recordingartist, CBC arts producer, music journalist,and general Toronto eccentric.Here we have the Glenn Gould most of ushours of previously unreleased recordings.All of this material is unedited, taken fromradio broadcasts or private recordings: it israw Gould, so to say, with the occasionalsmudges and wrong notes of all pianists,from an artist who in later life insisted onzealous control of his work, in his bid foredited perfection. The performances arefrom Canada, the USA, Russia, Austria, andSweden. Gould biographer Kevin Bazzanahas supplied lengthy biographical notes, inextremely small print. The release itself isCanadian/German and cryptic, except fora clear warning label: “Not available inthe USA.”A 1958 Vancouver Festival performanceof — guess what? — Bach’s GoldbergVariations opens this boxed set. The Ariadances with tremendous musicality andcontrapuntal verve. It feels more elastic andpersonal than the famous Columbia debutrelease of 1955. Variations 29 and 30 areelectric and wild, and played interwovenas one.There’s a wonderful performance of theBeethoven Second Piano Concerto withPaul Paray and the Detroit Symphony, withan aching slow movement. We tend toput Gould in a cerebral, clinical camp ofpianism: not here. With the same conductorand orchestra — on the same night, noless! — Gould then teamed up with the DSO’sconcertmaster Mischa Mischakoff andwarm performance of the Fifth BrandenburgConcerto. Gould’s long solo cadenza, writtenby Bach, is muscular and songful.Other treasures abound, including a gentlereading of Beethoven’s Sonata Op. 109 froma Vienna recital, Schoenberg’s intimate,spiky Piano Concerto with the ClevelandOrchestra, and some gorgeous Beethovenchamber music from the Stratford Festival.There’s an oddly dreary Gouldperformance of the Brahms FirstVictor Feldbrill — that then roars to life forSwedish mezzo-soprano Kerstin Meyerjoined him for Schoenberg’s song cycleSeptember 1–October 7, 2011 thewholenote.com 61

Book of the Hanging GardensVancouver Festival. She tells us in the notesthat Gould was a superb and deferentialaccompanist, who followed her “likea shadow.”Sound quality throughout these CDs isso-so, yet very present and alive. EngineerAlbert Frantz did the digital restorations: youknow right away these are dated performances,but you also feel like a time-traveller,sitting in a good seat at each concert venue.It is sad to recall that this brilliant youngToronto pianist of the 1950s could still beconcertizing today, had he lived, and had hecontinued a normal path. Gould would turn80 next year. He was a contemporary of PaulBadura-Skoda, Alfred Brendel and MarthaArgerich. But something went wrong, andGould’s retreat into the recording studiobrought a more mannered musical trajectorythat still confounds many.Strongly recommended! Order onlinefrom www.canadacd.ca ($52.99).—Peter Kristian MoseStrings AttachedTERRY ROBBINSThroughout his life, Robert Schumanntended to concentrate on one particularform of composition at a time, and in1853 he produced his only three works forviolin and orchestra, although only one — theFantasy in C minor — was premiered beforehis death 3 years later.BIS has released anoutstanding SACD of theComplete Works for Violin andOrchestra (BIS-SACD-1775)featuring Ulf Wallin with theRobert-Schumann-Philharmonieunder Frank Beermann. TheConcerto in A minor isSchumann’s own transcription ofhis 1850 Cello Concerto, and itworks remarkably well, given thetwo instruments’ differences inpitch and tone. It was premieredas recently as 1987 after a copywas found in the papers of theviolinist Joseph Joachim, towhom both the Fantasy andthe Violin Concerto in D minorwere dedicated. The Fantasy, anattractive work with a strikingcadenza, fell out of favourafter Schumann’s death, andthe D minor concerto fared nobetter, with several projectedpremieres being cancelled beforeClara Schumann and Joachimlost faith in it and decidedagainst publishing it. Joachim’sresistance was probably due to the econcerto’stechnical and musical challenges: it’s a largework with a beautiful slow movement, buthas never really established itself in thepremiered in 1937. If anything can changethat, it’s this recording. Ulf Wallin (whoalso wrote the outstanding booklet notes)uses Schumann’s original solo part, wiselychoosing to ignore the later unauthorized“corrections and alterations” apparentlyperformance, full of strength and beauty,and perfectly displaying the mix of Classicaland Romantic styles that typify the music ofthis still often misunderstood composer.CHANDOS has issued Volume 2 of theViolin Concertos of the Polish violinist andcomposer Grazyna Bacewicz (CHAN 10673),was that 20th century rarity — a world-classviolin virtuoso with compositional skills tomatch. Volume 1 featured Concertos 1, 3and 7, and this new CD completes the setwith Nos. 2 (1945), 4 (1951) and 5 (1954)and has never been performed).The three works here rangelike No.2, with its mix ofmelodic and strongly rhythmicmaterial, to the much tougher,terser world of No.5, as Polishmusic began moving away fromthe “formalist” Communistdays. All three demonstrateBacewicz’s innate understandingof the instrument, and herassured grasp of form andorchestration. The Polish-bornviolinist Joanna Kurkowicz, nowresident in the United States,is wonderful throughout, andPolish Radio Symphony Orchestraunder Lukasz Borowicz. Anabsolutely essential addition tothe 20th century violin concertorecord catalogue.Bohuslav Martinu, ArthurHonegger and Paul Hindemithlived almost exactlycontemporaneous lives, beingborn within5 years of each other in the earlyJohannes Moserperceptively notes in the booklet for hislatest CD, Cello Concertos (Hänssler CLASSICCD 93.276) they had one other thing incommon: they all consciously avoided thepath of serialism and consistently developedtheir own very individual styles. Moser’sidea of bringing their cello concertostogether in one programme is a real winner,are in the traditional three-movement formand are immediately accessible, while clearlyimbued with each composer’s individualvoice. The Martinu, from 1930, has itstimes. The Honegger is a short (15 minutes)but very effective work from the sameyear. The Hindemith, from 1940, is classicHindemith: a strong, rhythmic opening; animmediate melodic entry for the soloist; anuse of tonality; stunning orchestration. It’sa wonderful partner for the Violin Concertofrom the previous year. I’m completely ata loss to understand why Hindemith is stillregarded in some circles as a dry, theoreticalmusician — it’s a view completely at oddswith his mature orchestral works, and onecompletely destroyed by performanceslike this. Moser is outstanding throughoutthe disc. The recorded sound is warmand resonant, and the Deutsche RadioPhilharmonie and conductor ChristophPoppen are ideal partners.strings attached continues atwww.thewholenote.com.MODERN & CONTEMPORARYXenakis – Orchestral WorksOrchestre Philharmonique du Luxembourg;Arturo TamayoTimpani 5C1177(www.timpani-records.com)(1922–2001) wasa Greek composerbased in Paris, witha long relationshipto Canada: fourpremieres and manyvisits going backall that, there have been just two orchestralperformance of Jonchaies (1977), a majorwork included in this set.Over the 40-some years of his career,amazing output considering that hecomposed 100 or so other works as well.Until recently, few of the orchestral pieceswere available on disc. Thankfully, in2000, conductor Arturo Tamayo and thebegan recording these works for TimpaniRecords, a French label. Over the pastcollected in a handy box set. Of the 2362 thewholenote.comSeptember 1–October 7, 2011

works presented, only a few have beenAchorripsis (1957) for ensemble rather thanorchestra. As it is out on disc already, onewonders why it was included. That quibbleaside, this is an important collection, verywell recorded and performed. Tamayo isa great deal of contemporary music allaround Europe.Metastaseis(1954) and Pithopraktabeen available on disc through reissuesof early recordings. This new one isa revelation, not only for the pristinequality but for the assurance of the stringplayers, who now very well know how toperform the glissandi, steely non-vibrato,and other extended techniques that earliermusicians struggled with. Hiketidesis a little-known orchestral suite derivedfrom incidental music for the Aeschylustragedy The Suppliants, and is a fascinatingmixture of textural music and archaicsoundingmodal passages.The majority of the works recorded forthis set date from the 1980s and 1990s.Most are scored for full orchestra, althoughSyrmos (1959) and Shaar (1983) are forstrings alone, and Akratawinds. Two are concertante works forpiano, dazzlingly performed by the youngJapanese pianist Hiroaki Ooï: Synaphaïwritten on 10 staves, and Erikhthon (1974).The other work in this set featuring soloistsis Aïs (1980), written for the extraordinaryvoice of Spyros Sakkas, jumping betweenbaritone and falsetto. He is heard alongwith a solo percussion part ably performedby Béatrice Daudin. This work opens theset, and is truly evocative and emotionallygripping. The latest pieces included inthe set date from 1991: Roaï, Kyania andKrinoïdi. An extraordinary year! Evenmore amazing is the variety of characterand material between these works. Whilefrom ill health, it certainly does notshow in these forceful, sophisticated,beautiful works.In listening through all this music,various strands of the composer’s thoughtand expression surface; some — like theglissando textures, the layered polyrhythms,or the modal melodies harmonizedin blocks — reappear. Others appear thensubmerge, giving rise to new ideas. Theevolution from one orchestral score tothe next is quite organic, and the visceralintensity of the music remains constant.Try listening chronologically as well asfollowing the order presented on the discs.What is most apparent, in the end, isinspiration from the symphony orchestra.The important contribution he made to thegenre can start to be understood and appre-—James HarleyS. C. Eckhardt-Gramatté –The Six Piano SonatasMarc-André HamelinCentrediscs CMCCD 16611Outside Canadianmusic circles whereher legacy liveson in a prestigiousmusic competition,the colourful nameof Sophie-CarmenEckhardt-Gramatté(1899-1974) mightnot be particularly well known. Butrest assured, this woman led an equallycolourful life as performer, composerand pedagogue. Born in Moscow, sheentered the Paris Conservatory at ageeight, studying piano and violin, and wenton to a successful concert career on bothher to Barcelona, Berlin, Vienna, and1953 when her second husband FerdinandEckhardt became the director of theWinnipeg Art Gallery. There she brokenew ground as a teacher and composer,her contemporary style very much steepedin the romantic tradition. Among hercompositions are six piano sonatas, writtenbetween 1923 and 1952 — and who better toperform this technically challenging musicthan piano titan Marc-André Hamelin?This two CD Centrediscs set is a re-issueof an Altarus recording from 1991.These sonatas, covering a thirty yearperiod, display a wealth of contrastinghomage to the Baroque period — think1920s neo-classicism. Conceived as atwo-part invention, the mood is buoyantlyoptimistic, and Hamelin easily meets thetechnical demands required to bring it offconvincingly. Considerably more subjectiveis the second sonata, completed only a yearlater. In four movements, the piece aptlydescribes Eckhardt-Gramatté’s emotionalstate over a two year period, from the darkdays in Berlin during the Great War to thehusband, artist Walter Gramatté settledin Spain.The mercurial nature of these sonatas,with their ever-changing moods presentsno challenge to Hamelin. The vivaciousdeftly as the languorous Nocturne of theSonata No.4.Eckhardt-Gramatté’s music might not bestrident, while others, too deeply-rootedin late romanticism. Nevertheless, sheoccupies a unique place in 20th centurya composer who undoubtedly deserveswider recognition.—Richard HaskellMathieu Lussier – PassagesPentaedre; Louise Lessard;Claudia Schaetzle; Fraser JacksonATMA ACD2 2657Bassoonist andcomposer Mathieuitionshere featurewind instrumentsand piano in variouscombinations,some conventionaland others unusual. winds in solo and chamber music that haswon support of major performers. His worksalign with the French neoclassical woodwindtradition, and add distinctive touches. I particularlylike his Sextet for wind quintet andcontrabassoon, a concise three-movementwork in which the contrabassoon providesboth weight and wit!shows up in harmonic progressions and inthe presence of the siciliano and chaconne,for example. Also, there are popular elementsalong with the baroque; after all,repeated chord progressions in pop songscan be compared to the ground bass whichappears in the last movement of the Sextetand in Passages for bassoon and piano. Inthe White Rock Sonata syncopation providesa rhythmic spark to the earlier style.to be an expressive and technically facilebassoon soloist. I am also particularly takenwith clarinettist Martin Carpentier’s performanceof the Introduction and Sicilienne.In fact the wind soloists are all of high cali-oboe d’amore player Normand Forget, altosaxophonist Claudia Schaetzle, French horn-companiesbut periodically steers well-pacedand convincing interpretations.—Roger KnoxPRES Revisited: Józef Patkowskiin MemoriumVarious ArtistsBolt Records DUX 0812/13(www.boltrecords.pl)Fascinating inits bravado, thisset joins one CDrecordings ofimportant musiquePolish composerswith another CD ofacoustic improvisations onsonthese themesby three British and two Polish players.The result not only captures cerebralvariants of the compositions but alsoSeptember 1–October 7, 2011 thewholenote.com 63

created in the days of bulky tape recordersand thick coaxial cables.Honouring Józef Patkowski (1929-2005),co-founder of the Polish Radio ExperimentalStudio (PRES) in 1957 and its director for28 years, the original recordings revisitthe musical freedom offered by PRES duringthose Cold War years. For instanceKrzysztof Penderecki’s Psalmusvowels and consonants initially created bythe bel canto gurgles and quivering yodelsof male and female singers. John Tilbury’scontemporary piano version is more chromatic,with vibrating and strumming stringsresonating on top of basso keyboard rumbles.After the tune reaches satisfactory linearity,he shatters the mood by shrilling a lifeguard’swhistle.recording of his Dixi with cellist MikolajPalosz’s reimagining of it four decades later.Originally a tape collage, the performanceswells to forte as dissonant, processed delaysalmost visually pulsate then dissolves ingradually less audible undulations. Takingan opposite approach, Palosz’s variant mixesstrident, spiccato string squeaks at differenttempos, reaching raucous volume that soundas if the strings are being splintered as heplays and concluding with string poppingfading into dissolving shrills.Symphony. Here Tilbury, Palosz, violinistpercussionist Eddie Prévost combine to coalescestretched string glissandi, snare ratchetingand cymbal clangs plus faux-romanticpiano chording into an ever-shifting performance,which like the Polish composer’swork is both aleatory and multiphonic.—Ken WaxmanJAZZ & IMPROVISEDLive at Grossman’sJeff Healey BandConvexe ERN 28002(www.conveyorcanada.com)Phew! WottaScorcher. Thattime-honoured Brittabloid newspaperheadline neatly sumsup the inaugural releaseof the Convexeof unreleased Healeyband CDs and DVDs culled from audio andvideo archives. With power trio regulars JoeRockman on bass, drummer Tom Stephenplus on many cuts guitarist Pat Rush, theguitar and voice — establishes a blisteringpace from the start, storming through AlvinI’m Going Home and maintaining thepace with Killing Floor, one of two Howlin’Wolf classics that Healey jokes are just partof “another session of sonic torture!”Chinatown venue Grossman’s has equallyvenerable status, one reason its hosting theSunday jam sessions spawned the Healeyband in 1985.Today its blues and rock Mecca rep hasfaded, but this outing 17 years ago — oneshared with local rockers The Phantoms —is fully energized though the crowd seemsthin. The session was actually a rehearsalfor Healey’s fourth studio album “CoverTo Cover.”The Albert King hit As The Years GoPassing By shows Healey’s skills at theirbest, raw voice effortlessly locked onto thebeat then a launch of a typically aching soloon guitar — once again you’re reminded ofhow comfortable he is in blues, rock andjazz, resulting in a public appeal that wasunquenchable until his death in 2008.Vintage jukebox hit Ain’t That Just LikeA Woman gets thrusting treatment, followedmelancholic Yer Blues with passionateHealey vocal and general ensemble furysetting the mood ablaze and then it’s backto the Wolf for Who’s Been Talking withMichael Pickett’s vigorous harmonica.Robert Johnson’s Crossroads has plentyof jump, as does Elmore James’ Dust MyBroom, this chestnut all urgent wailing,pleading crescendos and bouncing beat.Then, unpredictably, comes a smartly doneextended encore with Dylan’s All Along TheWatchtower, more searing guitar work, rocklyrics and realization that a memorable hour—Geoff Chapman1910Les Doigts de l’HommeAlma ACD61412(wwww.almarecords.com)l’Homme — guitaristsOlivierKikteff, YannickAlcocer, and Benoit“Binouche” Convert,and acoustic bassistTanguy Blum — isan amazing Frenchband whose music is now available locallythanks to Alma records. Florid guitar lines,interesting solos, a great groove, and tightensemble playing means these gentlemencould even make a C major scale sound inspirationalif asked to do so!Django Reinhardt was born in 1910, thusthe name of this tribute CD. The band coversa number of the guitar legend’s tunes likeMinor Swing, interspersed with some classicnumbers like Irving Berlin’s Blue Skies, andoriginals by band member Kikteff. Eachtrack is a work of aural art. The upbeat coverof the Kern/Hammerstein song Ol’ ManRiver is a surprising success with its punchyshots and zippy tempo. Reinhardt’s Swing48 features Kikteff’s technical wizardry andConvert’s contrasting lush tonal quality intheir solo work. The chromatic melody linesof Kikteff’s Niglo 1 Waltz are reminiscent ofFrench musette accordion music, one of thetrack is a nice closing touch.The liner notes describe the band’s highregard of Django’s music. “He is a perpetualsource of inspiration and we are grateful thathis music has made its way into our livestoday.” And this exactly how I feel about—Tiina KiikMiles Davis – Live at Montreux 1973–1991Miles DavisEagle Eye Media EE391949The pleasingshock of seeing jazzgenius Miles Davisup close and personalat Montreuxin 1973 in strikingcolour — lip-lickingin splendid whitejacket, huge Afro,big shades, glittering vest, blue cravat—is matched by the misery of seeing him 18years later on the same Swiss stage — frail,old, downcast, positively drab in demeanourwith playing to match.All of which makes this DVD, drawn fromthe archives that generated a 20-CD releasein 2002, a valuable document indeed. Onthe 10 long tracks no line-up is the same, noline-up featured ever recorded in a studio,there’s no remixing, no editing,Mind you, the lead-up is odd. With roadieson stage there’s around two minutes ofsquawk. A minute later staccato trumpetthere may be a band at work. All is forgottenon soprano sax and Al Foster drumming,rumbles into action for a very lengthy improvon Ife, Miles conjuring sounds withhorn and wah-wah pedal from his recentgroundbreaking offerings on seminal albums“Bitches Brew” and “In A Silent Way,” usingnods and hand signs to instruct sidemen,dabbling on Yamaha organ and creatingethereal magic over a four-note bass riff.It’s good, enhanced by the superb, superiorvisual clarity that easily captures thesweat on the master’s face. Davis retiredfor six years in 1975 through ill-health butreturned to Montreux in 1984 dressed in asort of white sailor suit with Bob Berg onon Speak: That’s What Happened. 1985 hadsimilar personnel save for stiff-armed VinceWilburn, Davis’ nephew, on drums, quickly64 thewholenote.comSeptember 1–October 7, 2011

sax smoothie David Sanborn actually blowinghard and young guitarist Robben Fordthrashing blue notes on Jean-Pierre as themaster delivered clean, quick lines. The nextyear’s Heavy Metal Prelude was a tediousvehicle for percussionist Marilyn Mazur butalto Kenny Garrett was there and in 1989for a potent big bass punch courtesy of FoleyMcCreary and tenor Rick Margitza on Jo Jo.1990’s Hannibal had fetching, understatedDavis and raging Garrett.The gloomy 1991 takes three monthsbefore Davis’ death originated in “SketchesOf Spain” (The Pan Piper, Solea ) withover-packed stage and music collapsing intowhose constant was change and whose indeliblemark will forever be clear on bop, cooljazz, modal jazz, electric jazz, funk and jazzfusion. The disc, however, is a must-have.—Geoff ChapmanIt’s Our JazzGEOFF CHAPMANWelcome back Jane Fair andRosemary Galloway, last heardtogether nine years ago. Theirnew one — Jane Fair Rosemary GallowayQuintet – Playin’ Jane (JFRGQ-002www.rosemarygalloway.com)—has ninebriskly-pacedGalloway, fourby Fair) artfullyexecuted alongsideAllemano, pianistNancy Walkerand drummer NickFraser. Fair, a rarecommodity onrecord, is adept onsoprano and tenorsetting the moodon her spirited titletrack opener, aharbinger of bright,unusual piecespropelled by resonant nt Galloway bass andlively drums. Highlighted throughout areWalker’s thrusting solos and comping aswell as Allemano’s impassioned avant gardenotions that complement her comrades’ bopinclinations. The Thelonious Monk-inspiredGreen Roofs features intricate exchangesand potent playing by soprano and trumpet,while Circles And Lines initially echoes hisclassic Misterioso before segueing into minorblues. Elsewhere, expect the unexpected onToronto-based talent.The Heavyweights Brass Band – Don’t BringMe Down (www.heavyweightsbrassband.com).This debut disc deserves the extensiveair time it’s garnered this summer. Afterall, who can resist a contemporary groupshowcasing a sousaphone, courtesy of RobTeehan, especially if it’s not just occupyingrhythmic roles? Here’s 13 tracks, sixmostly upbeat originals alternating withMichael Jackson, Beyonce, and Stratford’sTrombonist Chris Butcher, trumpeter JonChallenor and saxman Paul Metcalfe wailto great effect over tough, battering drumstight, simple emphatic riffs abound anddespite unvarying structures, the entirelyunnecessary Cuban rapper and soulful bluessinger (and bandsmen vocals) this is a mostentertaining outing that updates vintage NewOrleans marching combos.Quebec pianistFrançois Bourassahas enjoyed a stellarthree-decadecareer yet his veteranteam alwaysplays with youthfulurgency, as youquickly gatherfrom Isolacut on FrançoisBourassa Quartet –Idiosyncrasie(Effendi FND111www.francoisbourassa.com).It’sone of the leader’sseven (of eight)compositions that showcases slick unisonever-churning bassist Guy Boisvert andstimulating drummer Philippe Melanson,followed by the long, mysteriously moodyHaiku-Darmstadt that offers clipped phrasing,seductive piano-sax dialogue and choppyodd-meter beat. Then comes a three-partsuite, among which the stirring Pressiertbests elegant balladry with the foursomeconsumed by focused urgency. The sessionguarantees both pleasure and curiosity —witness the closing Chant Du P’tit Gny.Julia Cleveland, who studied jazz atMohawk College after classical percussion atU of T, is Hogtown’s heir to a new-ishtradition of female driving drummers suchas Cindy Blackman and Susie Ibarra. Herdebut jazz record is the melodious JuliaCleveland 5uintet – Tumble, Stumble (JC52011www.juliacleveland.com), which alsoheadlines saxist Kelly Jefferson, bass RossMacIntyre, pianist Adrian Farrugia and11 tunes and charts are by Cleveland, whomore than holds her own in this wellintegratedgroup. Farrugia often steals thelimelight with smart, sometimes lavishstatements, particularly effective on electricwhich underpins everything from the chirpytitle tune to the elegiac Obbink. Malone iscool and clever, Jefferson powerfullyinventive. Going Back is a tribute to latebandleader Dave McMurdo, whotaught at Mohawk.Bernie Senenskyhas long been a majorplayer on theCanadian jazz scenebut somehow remainsundervalued,which is outrageous— he’s alwaysa fount of freshideas, an assured performer with incredibletechnique who honours jazz tradition. Thuson Senensky-Perla-Riley – Invitation (P MRecords PMR-033 www.PMRecords.com) thepianist demonstrates his mastery of melodic,harmonic and improvisational possibilities,starting with two of his own — the hard-chargingCome To Me and a potent Blues ForE.J. Six standards adorn this get-togetherwith bassist Gene Perla and drummer BenRiley, with notably subtle Senensky approachesto Old Folks and Young AndFoolish. Perla scores with his stylish Bill’sWaltz and the leader closes with a rousingBud Lines that would have the late pianolegend smiling.Interception is anew band comprisingcousins MarkoOstojic (piano) andUros Stamenkovic(drums) whoseheritage isMacedonian, bassJustin Gray, percussionistAltaf Bwana Moto Vellani andna Moto Vellani andtenor saxophonist Sal Rosselli, who oftenBarbieri. Their debut disc Timing andDistance (www.interceptionmusic.com)starts modestly but improves dramaticallywith the tune InterceptionOstojic compositions, in which the tenorstorms over heavy, tumultuous rhythm.Then it’s one of three modern jazz rarities,Phineas Newborn’s Sugar Ray, like muchhere a vehicle for Rosselli to range widelybefore the pianist shows off his imaginativeindependence. Nomad wobbles beforeRosselli tears into double-time over thrustinggrooves, then Ostojic counters with moreshrewd notions. The album impresses, ifSeptember 1–October 7, 2011 thewholenote.com 65

Something in the Air | Guelph Jazz Festival 2011Ahighlight of the international calendar,the Guelph Jazz Festival (GJF),September 7 to 11, has maintained itsappeal to both the adventurous and the curiousover 18 years. It has done so mixingeducational symposia with populist outdoorconcerts, featuring performers ranging fromestablished masters to experimenters fromall over the world. For example, AmericanHenry Threadgillappears at the River Run Centre onSeptember 10 with his Zooid quintet. A frequentGJF visitor bassist William Parker isfeatured in at least four ensembles; twicewith Toronto vocalist Christine Duncan’sElement Choir Project on September 9 at St.George’s Anglican Church and September 10at the outdoor Jazz Tent; on September 11 aspart of an all-star quartet in Co-operatorsHall; and in the same spot on September 8,with pianist Paul Plimley and drummerGerry Hemingway. Sharing the bill isTilting, a quartet led by Montreal bassistNicolas Caloia. Meanwhile Danish saxophonistLotte Anker is part of an afternoon performanceSeptember 10 at Co-operators Hallwith two Americans, pianist Craig Tabornand drummer Gerald Cleaver.Supplely slinky,bouncingly rhythmicand unmistakableoriginal, Zooid’sThis Brings Us ToVolume II (PiRecordings PI 36www.pirecordings.com) clearlydelineates Threadgill’s compositional smartsexpressed by the band. Many of the tracksdepend on the contrasts engendered bylicks with the snorts from Jose Davila’sgutbucket trombone or surging tuba pluscross-sticking and rolls from drummer ElliotHumberto Kavee. The most characteristictrack is Polymorph, with a sardonic melodythat suggests Kurt Weill’s Berlin period.Here Threadgill’s astringent saxophonefrom Ellman and later arrive at contrastingdouble counterpoint with the thick pop ofStomu Takeishi’s bass guitar.Floating Islands(ILK 162 CDwww.ilkmusic.com)demonstrates thecohesive skills of theAnker/Taborn/Cleaver group.Recorded at theCopenhagen JazzFestival, the selections demonstrate the trio’sKEN WAXMANextrasensory perception. With Ankerrotating among soprano, alto and tenorsaxophones, the band divides according tothe improvisation; sections are devoted tosaxophone-piano, saxophone-drum or pianodruminteraction. Hard reed buzzes bringout cascading choruses from Taborn forinstance, while the pianist’s unconventionalkey clicks are met by the saxophonist’sswirling cymbals and snare backbeats.Sometimes the narrative becomes a mass ofchiaroscuro patterns from all, with thechirping tones and Taborn’s glissandi.Backwards River is an extended example ofthis, as galloping runs from Taborn arriveafter an exposition of gritty reed tones.Before the climax, involving Cleaver knittingrat-tat-tats and tom-tom rolls into a forcefulsolo, the sax and piano sounds surge fromgentle swing to jagged altissimo intersectionsrife with polyphonic smears.Combinationspark plug andspiritual guideWilliam Parker’s gigsat GJF 2011 are witha vocal chorus andtwo instrumentalgroupings. WinterSun Crying recordedwith Munich’s nine-piece iece ICI Ensemble(Neos Jazz Neos 41008 www.neos-music.com)demonstrates the skills he brings to groupsof any size or instrumentation. The CD capturesa 15-part suite which waxes and wanesbetween legato and atonal contributions.Parker’s contributions on piccolo trumpet,double reeds, shakuhachi and bass are integratedwithin the composition. As bandmembers move throughout from aleatoricsolos to tutti and contrapuntal passages, headds walking to keyboardist MartinWolfrum’s precise chording, while underboth, Sunk Pöschl’s drums clatter and pop;or lets his pinched reed contrast with upturnedharmonies from ICI’s three woodwindsand trombone. The ensemble nevernestles in any style or genre. RogerJannotta’s faux-baroque piccolo decorationsare as germane to the performance asMarkus Heinze’s guttural baritone saxsnorts, while oscillated processes fromGunnar Geisse’s laptop or trombonistChristofer Varner’s sampler are responsiblefor the composition’s outer-space-like undertone.Meanwhile the downward shifting ofJohanna Varner’s spiccato cello lines joinwith Wolfrum’s dynamic chording to propelthe horns away from dissonance towardsLet’s Change theWorld, not only refers back to the head, butweaves gradually diminishing string scrubs,piano key pummels and alternately breathyor splintering reed tones into an echoingstatement.Another bassist/composer is NicolasCaloia, whoseQuartet CD Tilting(www.nicolascaloia.net), is a microcosmof Montreal’sscene. Completedby saxophone/Dostaler and percussionist Isaiah Ceccarelli,the disc highlights the bassist’s approach.While Caloia’s connective ostinato is feltthroughout, this high-energy showcasegives everyone space. Impressive on eachappropriately breathy tones, evolvingcontrapuntally with Dostaler’s compingon Stare. Meanwhile the husky texturesDerome propels from baritone saxophonemake Locked a stop-time swinger, especiallyand ratamacues together. Derome’s singsongalto phrasing is all over the other two pieces,both of which feature brief but attentivesolos from Caloia, whose string slaps andthumps concentrate the action. The pianist’slanguid note cascades are showcasedspectacularly on Safety where he interruptsDerome’s forays into false registers with aninterlude of harmonized chording and rubatokey fanning.As this group of sound explorers joinmany others of similar quality during theannual GJF, it’s not surprising that this littlefestival has reached satisfying maturity withoutthe compromises that impinge on manylarger celebrations.POT POURRISecond NatureMinor EmpireWorld Trip Records WTR001(www.minorempire.net)All my initialscepticismimmediatelydisintegrated withMinor Empire’sdebut release“Second Nature.”No second rate badprogramming guru Ozan Boz has carefullyeliminated any such occurrences with hiscareful combinations of Western pop sounds,jazz improvisations, and Turkish traditionalmusic and his superb arrangements. Tossin band members Ozgu Ozman (vocals),66 thewholenote.comSeptember 1–October 7, 2011

Michael Occhipinti (electric guitar),Chris Gartner (bass) and Debashis Sinha(percussion), Ismail Hakki Fencloglu (oud)and Didem Basar (kanun) and the result is asmart band creating intriguing sounds andmelodies set to a backdrop of funky beats.Especially noteworthy is Zuluf DokulmusYuz. Ozman’s sultry vocals weaveeffortlessly through a tapestry of musicalshort interludes based on makams withcatchy titles like Ozan’s Psyche and Selim’sAnatomy (featuring the amazing guestclarinettist Selim Sesler) which allow theinstrumentalists to solo and shine.Unfortunately there are no translationsfor the lyrics. I learned a long time agoin my band playing days that the listenerwants to know the meanings of the lyrics.But the production values are high and thesound quality superb. Fall is the time toget back to work and back to school. Thereis no better backdrop than the worldbeatsounds of “Second Nature” to get you backinto the groove.—Tiina KiikGamma KnifeMaria KasstanIndependent(www.myspace.com/mariakasstan)I’m almostashamed to admitthat it has beena very long timesince I haveheard someoneof my generationproducing a folk CDthat rails againstthe establishment, but Maria Kasstan hasgood reason. Her partner of 25 years diedas a result of a heart attack right outside ofwho discovered him assumed the man tobe homeless and neglected to administerCPR. Her sorrow and anger are deeply feltby the listener in the last few tracks of therecording. The tracks are arranged as a storyof their life together, celebrating the fullnessof the good times and grieving the loss withhearing, I absolutely fell in love with theAct of Love. Kasstan is known forher work as a pollinator advocate or “seedlady.” This song is a catchy, happy tribute toMother Nature, with a playfully whimsicalarrangement by producer Bob Wiseman …I couldn’t stop singing it all day long! Thesimple joys continue with Beets in the Cellarand the romantic Didn’t Wait for the Moon.The poignant Saint Jude brings the listener’sawareness back to the stark contrastsexisting in Toronto neighborhoods. Thisartist has not forgotten her beginnings as aus that even as grannies we can still have apowerful voice for change.—Dianne WellsI Walked Into the Silver DarknessMark Wingfield; Kevin Kastninggreydisc GDR 3508(www.markwingfield.com)This is a collectionof originalpieces for guitars.I found myselfamazed at the rangeof guitar voicesproduced. A veryextended palette ofsound is due to theodd variety of guitars being played. Therewe hear a 14-string contraguitar, 12-stringextended baritone guitar, heavily processedelectric guitars and even fretless guitar.The sounds had me searching through theliner notes wondering what I was hearing.the envelope with this disc. According tothe liner notes, an “open mind” is requiredto appreciate these compositions, whichare all improvised in the recording studioby two extremely gifted guitarists whohad not played together until the time ofthis recording.Sonically, the recording is reminiscentof an ecm release, a mix of acoustic andelectric sounds with a generous amount ofspatial enhancement surrounding the sound.Its multi-tracked, or layered construction, isassembled in an interesting fashion, withsome sounds very forward while some arequite distant. It isn’t very natural soundingin that the reverberation times differ drastically,with very dry acoustic guitars oftensurrounded by heavily treated reverberantelectric tones.As a guitarist, I am forever amazed at thecompositional aspect of the instrument. Ilearned how to play with a very tattered PeteSeeger method book about 40 years ago andof basic chords, and have had a lifetime ofpleasure working in that idiom. For mostof what I play, I really only need a guitarhear “modern” guitarists who are pioneeringsounds and musical textures, I am in awe ofhow they can express themselves by travellingthrough every region of the instrument,often with what seems like effortless abandon.This collection of original instrumentalpieces will impress all guitarists, no doubt.—John LarocqueSkin TightThe NylonsLinus Entertainment 270134The a capellavocal group TheNylons has beenaround since 1979and although all butone of the originalmembers has movedon, the group’strademark upbeatsound is fully intact on its 15th recording.The mix of funky rhythms, jazzy harmoniesand quirky mash-ups is due in part tothe addition of Toronto-based group-singingluminary, Dylan Bell. As producer and arrangerof most of the 12 tracks, and evenguest scatter on one, Bell is like the FifthNylon (as George Martin was known as theFifth Beatle) and a big contributor to thesuccess of “Skin Tight.” Of course, the foursingers — Claude Morrison (the original),Tyrone Gabriel, Garth Mosbaugh and GavinHope — do the heavy lifting. Whether calledon for vocal percussion, tight harmonies,scat solos or beautiful crooning, all thesingers do their part with skill and joy. Therepertoire is largely covers from a variety oferas and genres and while some stay relativelytrue to the originals with voices substitutingfor the instruments, others get freshreworkings. Spider-Man gets a clever spinas it ranges between funk, swing and rap,with a solo courtesy of bass Tyrone Gabriel,while Teach Me Tonight sees lead singerGavin Hope essentially doing homage to AlJarreau’s version over a Four Freshman-likedoo-wop accompaniment. The closing trackGone Too Soon, with its Gene Peurlingesquearrangement, is a beautiful tribute to bothits originator Michael Jackson and one ofThe Nylons founding members, the lateDenis Simpson.—Cathy RichesAlways find more reviews online at thewholenote.comSeptember 1–October 7, 2011 thewholenote.com 67

Old Wine, New Bottles | Fine Old Recordings Re-ReleasedTESTAMENT is the prestigious Britishcompany that licenses recordings ofin the archives of EMI, Decca, RCA, theBBC and other radio archives. Testamentcirculation two esteemed performances ofAubrey Brain, Adolph Busch, and RudolphSerkin recorded in 1933 and the ClarinetQuintet with Reginald Kell and the BuschQuartet from 1937 (SBT 1001). 21 yearslater, Testament, essentially artist-based,continues to liberate valuable performancesfrom record company archives and issuefew DVDs include the legendary videosof Toscanini and the NBC Symphonytransmitted live between March 20, 1948and March 22, 1952. These black and whitekinescopes from studio 8H and CarnegieHall were once available on RCA laser discsand are now licensed to Testament (SBDVD1003–1007, 5 DVDs available separately).They also offer many vinyl re-issues frompressings. Their recent releases includeCarlo Maria Giulini conductingthe Berlin Philharmonic in live concertsfrom the Philharmonie, as recorded byDeutschlandradio Kultur. Giulini was Musichim still at the top of his interpretative andconducting abilities. During these yearswhile the Berlin Philharmonic was still vonKarajan’s, the interpretations are Giulini’s.These live performances let us “attend”these joyful events in which the conductor’sconceptions, from very subtle shadings andnuances to expansive climaxes, are deliveredwith a sureness of playing and ensemble thatis a tribute to everyone involved. It’s sucha refreshing pleasure to hear performancesof this calibre. The sound is nothing shortof astounding being crystal-clear, moredynamic than the sound from a broadcast,plus realistic front to back perspective. TheHaydn Surprise Symphony coupled, as it wasradiant, extroverted reading of the MahlerFirst (SBT2 1462, 2 CDs specially priced). Amust have. The Schubert Eighth and Ninthfrom February 1977 (SBT1436) are followedby a brilliant concert from January 1977 inwhich Pictures at an Exhibition is precededby Webern’s Six Pieces for Orchestra, opus(SBT1464). From February 1984 Giuliniconducts Das Lied von der Erde with BrigitteFassbaender and Francisco Araiza (SBT1465).BRUCE SURTEESConductor and soloists seem to havebeen on tour with this work and, in fact,recorded it with the BPO for DG … howeverevery performance is unique and this onehas its felicities.NEWTON Classics is a recent arrival onthe reissue scene. Since their start-up in2009 their CD releases have been judiciouslyselected primarily from the Philips archives.The Dutch lyricdramaticsopranoGré Brouwenstijnhas been a longtime favourite, asheard in so manycomplete operasfrom Beethoven toWagner. Eminentlyrecommendable isher eponymous CDof arias by Wagner,Verdi, Weber andBeethoven containingrecordings fromconducted by Willemvan Otterloo andRudolf Moralt (Newton 8802061). ByronJanistwo Liszt concertos recorded in Moscow inseries have lost none of their impact. SevenGuion complete this audiophile favourite(8802061). Peter Schreier is not only anotable tenor of opera and lieder fame,he is also a conductor of note. The 1992recordings of the Brandenburgs by theKammerorchester Carl Philip Emanuel Bachare conducted with refreshing panachematched by a sparkling recording. Add twopackage is hard to resist (8802075). Savingthe best ’till last, the incomparable Ravel/Haitink/Concertgebouw 2CD set, onceavailable on a Philips DUO, makes a mostwelcome return (8802068, 2CDs). All theRavel showpieces are here; Bolero, LaValse, Rapsodie Espagnole, Le Tombeau deCouperin, Valses nobles et sentimentales,Ma Mère l’Oye, Menuet Antique, Daphniset Chloé Suite no.2, and, of course,Alborada del Gracioso and Pavane pourune infant dèfunte. These are all vital,beautifully shaded performances capturedin outstanding sound. The Bolero enjoysa rousing performance unequalled in itsimpact … this would have provided a totalworkout for Ida Rubinstein, the ballerina forwhom the piece was written. Welcome backto this premier collection.DOREMI, another artist-driven label, hasmeticulously restored historic recordings for17 years. Their catalogue embraces worksof every size and genre from every period,from early music to a lone South American20th century guitarist. DOREMI is wellknown for performances by famous and notso-famousviolinists and pianists. Of course,in this as in any other business, the consumerrules, necessitating recordings by artists forwhich there is a waiting, world-wide marketwhile at the same time rediscovering andresurrecting major talents that are all but forgottentoday, even by some collectors. Theirrecent set of the Beethoven 10 Violin Sonatasis a notable, if not colossal contribution inthis direction (DHR-8011-3, 3 CDs). The performanceson this setistHenri Temiankaand pianist LeonardShure were amongciansof the 20thcentury. Temiankawas clearly in theleague of Heifetz andMilstein and Shureranked with Arrauand Serkin. Thoughboth Temianka andsolo careers, theirrecording legacyis regrettably thin.As a young man Temianka achieved internationalfame when he won the Third Prizein the 1935 Wieniawski Violin Competitionin Warsaw; the second went to Davidcomposer. Active in England in the 1930s,he made recordings for Parlophone, and ineach member played a Strad once owned byPaganini. The Quartet was well known formany years mid-century and was the housequartet of RCA Victor. Just before thathe had been invited by Elizabeth SpragueCoolidge to perform the complete BeethovenElizabeth Coolidge Auditorium in the U.S.performances from January and Februarynow on CD. It took Jacob Harnoy monthsof meticulous restoration to transfer theproduct of that old technology, which whileinherently subject to surface noise, clicks andskips, did maintain the luminosity and beautyof Temianka’s playing. His violin sings andhis intonation and technique are impeccable.The revelation of hidden beauties is a joy.Broadly speaking, the outer movements aretaken at energetic brisk tempos while theslow movements are expressive in a way thatpenetrates the soul. If you have more than apassing interest in this repertoire, you owe itto yourself to hear these.68 thewholenote.comSeptember 1–October 7, 2011

ROBERT CARSEN continued from page 10Of course it takes a whole team of artistswith an array of talents to put on an opera.“I would not recommend working in opera toanybody who has a problem with collaboration.Opera is the most collaborative of all art forms.You have to be able to embrace the concept thatwhat you want is not necessarily what’s alwaysgoing to happen.” He emphasizes the need tobe able to adapt, because singers may not beable to do what you want, and conductors maynot want to. “Their viewpoints are as validas yours.”Then who is responsible for what? “Theconductor is responsible for the musical performance,that is to say, the orchestra and thesingers. If at a certain point someone has to saythat something is not going to work musically,that is the conductor’s job. My job is scenic,and that covers a lot. I’m responsible for howthe artists are interpreting their roles on stage.From a director’s point of view, you’ve beenhired to channel everything together, so thatis your responsibility.”But who is ultimately in charge? “In chargeof what?” Carson asks, pointing out that thestage and the pit are different domains. “Ofcourse there’s an important crossover, becausethe musical performance is going to be affectedto some degree by the staging.”And is the staging affected by the musicalperformance? “Sometimes I’ll put singers inparticular positions on the stage, when the conductorwould prefer to have them right at thefront, or at least much closer to him, or notmoving, or whatever … But conductors wholove the theatre, like Harry Bicket, who conductsOrfeo ed Euridice here, are really marvellousabout collaborating. He understandswhy I do something. If he has a problem, he’llsay, ‘We can’t hear the singers here, and I can’tget the orchestra to play any quieter. You’vegot them in a dead spot on the stage, so ifyou could move them over a metre, or do thisor that …’ Of course one is open to that kindof suggestion.”“But then you get other conductors who willjust look on stage and say, ‘Well, I can’t doit — that singer is too far away.’ That approachis not interesting for me. People are comingto the opera house for live theatre. They’renot coming for a concert performance, whichthey can get at Roy Thomson Hall. My worstexperiences on projects,” he says, careful notto mention any names, “have been when peopletry to get what they want by throwing theirweight about regarding who’s in charge. That’shorrible, really.”Bicket, an early music specialist who previouslyconducted Rodelinda and Idomeneo withthe COC, lead the premiere performances ofCarsen’s staging of Orfeo ed Euridice in Chicago.“What’s wonderful about working with someonelike Harry, is that he comes to all the rehearsals,so that he is part of the process from the verybeginning. Other conductors will just turn upwhen the orchestra starts playing. So you can’thave that collaborative experience with them ofmaking the piece work dramatically together.”In Orfeo ed Euridice, which was done withoutan intermission, every aspect of Carsen’sproduction worked seamlessly with every other,from the stark sets and costumes, the expressivemovements of the soloists and chorus, tothe propulsive orchestral playing. “You have tohave quite a clear narrative line to bring everyone— set and costume designers, technicians,stage management, props people, the chorus,supers, dancers — into the service of the storyyou are trying to tell.”“The way I direct, I feel like I’m the camera.Sometimes I need the audience to lookat a wide shot, and sometimes I need themto look at a closeup. That is, of course, in away impossible to do on the stage because therelationship of the audience to the stage alwaysstays the same. So I try to do it through the useof lighting and movement. I want the audienceto follow the story in a certain way.”Read the full interview online atwww.thewholenote.comUPCOMING PERFORMANCES IN TORONTOCarsen’s Iphigenia in Tauris for the Canadian Opera Company runsSeptember 22, 25, 28 and October 1, 4, 7, 12, 15.Harry Bicket leads the period instrument group, TheEnglish Concert, at Koerner Hall Friday October 21.Susan Graham returns in recital with pianist MalcolmMartineau, Koerner Hall, Saturday January 28.… AND COUNTING!Carsen Opera DVDs:Britten: A Midsummer Night’s Dream – Daniels, Gietz,Sala; Gran Teatre de Liceu, Bicket (Virgin)Dvořák: Rusalka – Fleming, Urbanova, Diadkova,Larin; Opéra de Paris, Conlon (TDK)Handel: Semele – Bartoli, Remmert, Workman;Zürich Opera, Christie (Decca)Janáček: Katya Kabanová – Mattila, Dvorský, Gietz;Teatro Real, Bělohlěvek (FRA MUSICA)Lully: Armide – d’Oustrac, Agnew, Naouri, Les Arts Florissants; Théâtre desChamps-Elysées, Les Arts Florissants, William Christie, (FRA MUSICA)Monteverdi: L’Incoronazione di Poppea – de Niese,Coote, Davies; Glyndebourne, Haïm (Decca)Offenbach: Les Contes d’Hoffmann – Shicoff, Mentzer, Terfel;Opéra National De Paris, López-Cobos (Arthaus)Poulenc: Dialogues des Carmélites – Schellenberger,Aiken, Silja; Teatro alla Scala, Muti (TDK)Puccini: Manon Lescaut – Gauci, Ordonez; Flemish Opera, Varviso (Arthaus)Puccini: Tosca – Kaufman, Magee, Hampson;Zürich Opera, Paolo Carignani (Decca)Rameau: Les Boréades – Bonney, Agnew, Naouri; Opéra NationalDe Paris, Les Arts Florissants, Christie (Opus Arte)Strauss: Capriccio – Fleming, von Otter, Finley;Opéra National De Paris, Schirmer (TDK)Strauss: Der Rosenkavalier – Pieczonka, Kirchschlager, Hawlata;Salzburger Festspiele, Wiener Philharmoniker, Bychkov (TDK)Tchaikovsky: Eugene Onegin – Fleming, Vargas,Hvorostovsky; Metropolitan Opera, Gergiev (Decca)Verdi: Il Trovatore – Tanner, Tamar, Lucic, Cornetti;Bregenzer Festspiele, Rösner (Opus Arte)Verdi: La Traviata – Ciofi, Sacca, Hvorostovsky;La Fenice Opera, Maazel, (TDK)Boito: Mefistofile – Ramey, Benackova, O’Neill; SanFrancisco Opera, Maurizio Arena on VHS (Kultur) only(Though a recording of Handel: Alcina has not been released, Ah, mio coris posted on YouTube.)BOOKCharles Garnier: Un architecte pour un empire (Beaux-arts de Paris) –fully illustrated catalogue of the exhibition at the École nationale supérieredes beaux-arts in Paris last year designed by Robert Carsen– text in French.For a chance to win one of the four Carsen opera discs in thehighlighted Decca opera mini-pack, do our opera mini-quiz online.70 thewholenote.comSeptember 1–October 7, 2011

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