Volume 21 Issue 5 - February 2016
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
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PRICELESS!<br />
Vol <strong>21</strong> No 5<br />
FEBRUARY 1 – MARCH 7, <strong>2016</strong><br />
LISTINGS | FEATURES | RECORD REVIEWS<br />
Teng Li<br />
No Second<br />
Fiddle<br />
Andrew<br />
Burashko’s<br />
Artful Times<br />
Legacies:<br />
Bley & Boulez<br />
Remembered<br />
Teng Li, viola
A BLOCKBUSTER FEBRUARY AT<br />
DIRECTED BY<br />
BRUNO WEIL &<br />
IVARS TAURINS<br />
BEETHOVEN<br />
SYMPHONY<br />
AT KOERNER HALL9th<br />
Feb 4-7<br />
KOERNER HALL AT THE TELUS CENTRE (KH)<br />
RUBY HUGHES | SOPRANO<br />
MARY-ELLEN NESI | MEZZO-SOPRANO<br />
COLIN BALZER | TENOR<br />
SIMON TISCHLER | BARITONE<br />
TAFELMUSIK BAROQUE ORCHESTRA AND CHAMBER CHOIR<br />
Beethoven’s remarkable final symphony is a celebration<br />
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exhilarating “Ode to Joy.” This Tafelmusik presentation<br />
heralds the return of German conductor and<br />
long-term friend, Bruno Weil.<br />
The first half of the programme features the Tafelmusik<br />
Chamber Choir in Rheinberger’s Abendlied, Brahms’ Warum<br />
ist das Licht gegeben, and Valediction, a NEW Tafelmusik<br />
choral commission, all directed by Ivars Taurins.<br />
THE BEST OF<br />
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Feb 25-28<br />
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and the glorious Sinfonia concertante for violin and viola.<br />
KH: 416.408.0208<br />
TSP: 416.964.6337<br />
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Maxim Vengerov, violin<br />
Wang Yi, Peking Opera soloist<br />
Mark Rowswell “Dashan”, host<br />
Li Huanzhi: Spring Festival Overture<br />
Prokofiev: Selections from<br />
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Various: Selections from Peking Opera<br />
He Zhanhao & Chen Gang:<br />
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Louis Langrée, conductor<br />
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Sunday <strong>February</strong> <strong>21</strong>st, <strong>2016</strong>, 3:00 PM<br />
Jane Mallett Theatre<br />
Direct from the Berlin Philharmonic,<br />
Horn Virtuoso Fergus McWilliam<br />
makes his HSSB debut with the<br />
buoyant Strauss First Horn Concerto.<br />
James Gourlay will lead the brass<br />
in a shimmering performance of the<br />
Grand March from Tannhauser and<br />
the Overture from Die Fledermaus.<br />
The Hannaford Youth Band joins the<br />
HSSB on stage to bring the concert<br />
to a rousing finish.<br />
James Gourlay,<br />
Conductor<br />
Fergus McWilliam,<br />
French Horn<br />
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ACKNOWLEDGEMENTS<br />
Book Tickets online www.stlc.com For a special group rate (10 or more tickets) Call 416.366.7723 OR 1.800.708.6754
<strong>Volume</strong> <strong>21</strong> No 5 | <strong>February</strong> <strong>2016</strong><br />
FEATURES<br />
6. OPENER | Judging the Book by Its Cover | DAVID PERLMAN<br />
8. No Second Fiddle: Teng Li | MJ BUELL<br />
8. The Artful Times of Andrew Burashko | PAUL ENNIS<br />
49. WE ARE ALL MUSIC’S CHILDREN | Teng Li | MJ BUELL<br />
68. Paul Bley: A Modern Jazz Piano Master | KEN WAXMAN<br />
70. CBC RADIO TWO: A Point to Prove | Pierre Boulez| DAVID JAEGER<br />
BEAT BY BEAT<br />
11. Jazz Stories | ORI DAGAN<br />
13. Art of Song | HANS DE GROOT<br />
14. On Opera | CHRISTOPHER HOILE<br />
16. Classical & Beyond | PAUL ENNIS<br />
20. In with the New | WENDALYN BARTLEY<br />
<strong>21</strong>. Early Music | DAVID PODGORSKI<br />
23. Choral Scene | BRIAN CHANG<br />
25. Bandstand | JACK MacQUARRIE<br />
26. World View | ANDREW TIMAR<br />
44. Mainly Clubs, Mostly Jazz! | BOB BEN<br />
LISTINGS<br />
28. A | Concerts in the GTA<br />
40. B | Concerts Beyond the GTA<br />
42. D | In the Clubs (Mostly Jazz)<br />
46. E | The ETCeteras<br />
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drawn from Karina Gauvin’s<br />
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DISCOVERIES: RECORDINGS REVIEWED<br />
50. Editor’s Corner | DAVID OLDS<br />
52. Strings Attached | TERRY ROBBINS<br />
54. Keyed In | ALEX BARAN<br />
56. Vocal<br />
58. Early Music and Period Performance<br />
59. Classical & Beyond<br />
60. Modern & Contemporary<br />
62 Jazz & Improvised<br />
65. Pot Pourri<br />
65. Something in the Air | KEN WAXMAN<br />
67. Old Wine, New Bottles | BRUCE SURTEES<br />
MORE<br />
6. Contact Information & Deadlines<br />
7. Index of Advertisers<br />
48. Classified Ads<br />
Karina joins her sister Nathalie<br />
in a exclusive duet:<br />
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tune composed by<br />
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FOR OPENERS | DAVID PERLMAN<br />
Judging the Book by Its Cover<br />
My early pleasure at our playfully shiny December/January<br />
cover was, sad to say, more than slightly diluted by receiving a<br />
gentle note from Against the Grain artistic director Joel Ivany<br />
shortly after we sent him a link to the online flip-through edition of<br />
the magazine inquiring as to whether we might be able to change the<br />
title on the cover “because the people in the photo were in fact Meher<br />
Pavri and Joshua Wales, not, as we had stated, Miriam Khalil and<br />
Stephen Hegedus.”<br />
To clarify: Meher, Joshua, Stephen and Miriam were all four<br />
involved in the Against the Grain production of the Messiah to<br />
which the cover, admittedly obliquely, referred. But unless they<br />
were all switched at birth (in which case we missed a GREAT story),<br />
Joshua Wales is NOT Stephen Hegedus; and Meher Pavri is NOT<br />
Miriam Khalil.<br />
To clarify even further: Hegedus and Khalil were two of the the four<br />
soloists (bass-baritone and soprano, respectively) in the rollicking AtG<br />
Messiah which once again sold out its Harbourfront run; Wales and<br />
Pavri (tenor and soprano, respectively) were members of the chorus<br />
in the same show. (All are rising presences on our increasingly adventurous<br />
home-grown opera scene.)<br />
One might be tempted to theorize that, given the number of projectiles<br />
flying around in the cover photo, the soloists demanded stunt<br />
doubles for the shoot, and that the nostrils of tenors are less susceptible<br />
to injury from flying french fries than those of bass-baritones!<br />
But a simple apology to all concerned is probably the wiser course,<br />
and will leave me some room to talk about this issue’s cover! So, sorry<br />
again, Joshua, Meher, Stephen and Miriam – and on we go!<br />
This issue’s cover: It would be interesting to count the references to<br />
the subject of this issue’s cover photograph, violist Teng Li.<br />
MJ Buell takes up Li’s story on page 8 (and continues it in Music’s<br />
Children on page 49.) But I also counted passing references in at least<br />
three other places in the issue (four if you include this one!). First of<br />
these references, as a matter of fact, is in the other story commencing<br />
on page 8, Paul Ennis’ in-depth interview with Art of Time<br />
artistic director Andrew Burashko, in whose series Li will appear, for<br />
the first time this coming April. (Burashko is also referenced on this<br />
month’s cover.)<br />
Our third cover reference is to “Legacies”: those of two musical<br />
masters, both of whom died early in this new year – both remembered<br />
in this issue. Modern jazz piano master Paul Bley is celebrated<br />
by columnist Ken Waxman on page 68. Waxman’s own regular CD<br />
column in the issue is in many ways testimony to Bley’s influence.<br />
David Jaeger weaves his encomium to Boulez into his ongoing memoir<br />
of the golden years of CBC Radio that now occupies the inside back<br />
pages of the magazine (this month on page 70).<br />
And a roundabout elegy to a third “B” also finds its way into our<br />
pages – perhaps for the first time. David Olds, in his Editor’s Corner<br />
on page 50, finds himself engaging with David Bowie’s death.<br />
Tributes to, and gatherings for, Boulez and Bley are coming together,<br />
slowly. Bowie’s passing generated a firestorm. A Choir! Choir! Choir!<br />
singalong/gathering at the AGO drew over 500 people within 25<br />
minutes of being announced – an astounding range of people – all<br />
ages shapes and sizes – the all-ages children of Faceborough seeking<br />
out live music to mourn life lost. Now there’s a message of hope.<br />
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VOLUME <strong>21</strong> NO 5| FEBRUARY 1 - MARCH 7, <strong>2016</strong><br />
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Waxman, Lesley Mitchell-Clarke, Michael<br />
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<strong>Volume</strong> <strong>21</strong> No 6 covers<br />
March 1 - April 7, <strong>2016</strong><br />
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6 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
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Piano Night | January 28, 4:30pm<br />
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Choral Night | April 18, 7pm<br />
Grace Church-on-the-Hill<br />
Symphony-Band Night | May 3, 7:30pm<br />
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Adam Sherkin 29, 38<br />
Alliance Française 36<br />
Amadeus Choir 23<br />
Annex Singers 39<br />
Art of Time Ensemble 18, 27<br />
ArtsMedia Projects 48<br />
Associates of the TSO 17, 35<br />
ATMA 5, 53<br />
Avery Raquel 43<br />
Bravo Niagara 41<br />
Canadian Opera Company 72<br />
Cantemus Singers 22<br />
Cathedral Bluffs Symphony<br />
Orchestra 30<br />
Christ Church Deer Park Jazz<br />
Vespers 45<br />
Claude Watson Secondary Arts<br />
Program 7<br />
Daniela Nardi 51<br />
FirstOntario Performing Arts Centre<br />
11, 42<br />
Gallery Players of Niagara 31<br />
Hannaford Street Silver Band 4, 34<br />
Horizon Tax 48<br />
Jubilate Singers 39<br />
Kaleid Choral Festival 25<br />
Kindred Spirits Orchestra 30<br />
Lark Ensemble 33<br />
Living Arts Centre Miss. 12<br />
Loach Engineering Inc 57<br />
INDEX OF ADVERTISERS<br />
Maryna Yakhontova 32<br />
MasterPerforming 48<br />
Miles Nadal JCC 46<br />
Mississauga Symphony 32<br />
Music at Metropolitan 18, 28, 59<br />
Music at St. Andrew’s 30<br />
Music Toronto 9, 29, 33, 38<br />
Musica Beth Tikvah 36<br />
Musicians in Ordinary 32<br />
Navona Records 55<br />
Naxos 51, 53, 55<br />
New Music Concerts 33<br />
Off Centre Music Salon <strong>21</strong>, 34<br />
Opera York 15<br />
ORIANA Women’s Choir 36<br />
Orpheus Choir 24<br />
Pasquale Bros 47<br />
Quinte Symphony 41<br />
Rea Beaumont 51<br />
Roy Thomson Hall 71<br />
Royal Canadian College of Organists<br />
47<br />
Royal Conservatory 33, 36, 69<br />
Saluki Music 48<br />
Scarborough Philharmonic<br />
Orchestra 31<br />
Sine Nomine 36<br />
Soundstreams 19<br />
St. Olave’s Church 32<br />
St. Philip’s Jazz Vespers 45<br />
Steinway Piano Gallery 17<br />
Syrinx Concerts Toronto 18, 31, 39<br />
Tafelmusik 2, 29, 35<br />
Tafelmusik Baroque Summer<br />
Institute 46<br />
Talisker Players 38<br />
Tallis Choir 39<br />
Tapestry Opera 13, 29<br />
The Hymn Society Southern Ontario<br />
Chapter 47<br />
Theatre Passe Muraille 10<br />
Tom Gordon 57<br />
Toronto City Opera 35<br />
Toronto Classical Singers 37<br />
Toronto Consort 4, 32, 71<br />
Toronto Mass Choir 23<br />
Toronto Symphony Orchestra 3, 32,<br />
38<br />
Trinity-St. Paul’s United Church <strong>21</strong><br />
Trio Arkel 34<br />
Unitarian Congregation in<br />
Mississauga 34<br />
Universal Music Canada 55, 57<br />
Vancouver Symphony Summer<br />
Institute 47<br />
Victoria Scholars 37<br />
Voicebox: Opera in Concert 15<br />
Windermere String Quartet 35<br />
Women’s Musical Club 19, 38<br />
Wychwood Clarinet Choir 37<br />
DON’T<br />
EVER<br />
STOP<br />
MUSIC<br />
IS FOR<br />
LIFE<br />
The Blue<br />
Pages<br />
The Canary<br />
Pages<br />
The Green<br />
Pages Guide<br />
To Summer<br />
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BLUE<br />
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thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 7
No Second Fiddle:<br />
Teng Li<br />
A<br />
brave little girl is<br />
wakened on a sweaty<br />
night in Nanjing by her<br />
father around 10pm. They<br />
ride double on his bike to the<br />
train station, about an hour<br />
through the city. They get on a<br />
midnight train and she sleeps<br />
a little – maybe on a luggage<br />
pile, or on some newspapers<br />
on the floor under a seat. They<br />
arrive in Shanghai at 6am<br />
and have a little breakfast.<br />
She has an 8am violin lesson.<br />
Then they travel all the way<br />
home again. And they do this<br />
every weekend.<br />
Young Teng Li devoted much<br />
MJ BUELL<br />
Teng Li, viola<br />
of her childhood to the violin. She was not yet a teenager when an<br />
important instructor at the Beijing Central Conservatory, who also<br />
taught viola, complained about the calibre of viola students in general<br />
and demanded that she switch because he wanted “the best.” It was a<br />
bigger instrument, the articulation more difficult, the sound projection<br />
different. Li accepted the challenge and so began her visceral<br />
bond with an instrument that sings with an almost human voice.<br />
At 16, speaking very little English, she auditioned for, and earned<br />
a place at, the Curtis Institute in Philadelphia. Her new teacher, the<br />
renowned Michael Tree, offered this new challenge: he said he had<br />
no worries about her playing, but that she must also become the best<br />
human being she could. She was embarking on a journey during<br />
which competition and being “’the best” can push aside the physical<br />
and mental health of young artists, and the isolation of rigorous<br />
practice and study can turn out emotional and social misfits. Tree’s<br />
admonition hit the right note, and resonated – what she understood<br />
was that if you are not a good person it will show in your music.<br />
Li was still a student when she was invited by Peter Oundjian to<br />
audition for the first viola chair of the TSO. She returned to play<br />
Beethoven’s Ninth Symphony under Oundjian’s direction and found<br />
herself hooked on the symphony. At the start of the 2004/05 season<br />
she became the TSO’s youngest player at the age of <strong>21</strong> and the orchestra’s<br />
first chair viola, a position she retains today.<br />
She rose to this new challenge with the same combination of grit<br />
and grace that saw her through the earlier ones: the sheer volume of<br />
repertoire; the numbers of rehearsals and engagements; earning the<br />
trust of the other players whom she is quick to credit for helping her<br />
learn on the job. The outcome has, according to all accounts, been<br />
mutually rewarding. Alongside her vigorous TSO schedule, including<br />
appearances as featured soloist she’s been establishing herself as a<br />
violist internationally, with regular engagements as soloist. She is<br />
busy as a chamber musician and collaborator, appearing in major<br />
international festivals and competitions. She is one-third of Trio<br />
Arkel, along with violinist Marie Bérard and cellist Winona Zelenka.<br />
She teaches at the University of Toronto Faculty of Music and the<br />
Conservatoire de Musique de Montréal.<br />
Last summer she released her debut recording, 1939, with collaborators<br />
Meng-Chieh Liu (piano), and Benjamin Bowman (violin). The CD<br />
is an extraordinary collection of chamber works by Jongen, Ullmann,<br />
Hindemith, Hua and Klein. In the liner notes Li says “I wanted to<br />
showcase the works of different composers at that point in history<br />
to express how human beings from all walks of life can be affected<br />
during such horrific times.” (See Pamela Margles’ review in The<br />
WholeNote’s DISCoveries, September 2015.)<br />
Please see Interview, We Are All Music’s Children, page 49.<br />
PRICELESS!<br />
Vol <strong>21</strong> No 5<br />
FEBRUARY 1 – MARCH 7, <strong>2016</strong><br />
LISTINGS | FEATURES | RECORD REVIEWS<br />
Teng Li<br />
No Second<br />
Fiddle<br />
Andrew<br />
Burashko’s<br />
Artful Times<br />
Legacies:<br />
Bley & Boulez<br />
Remembered<br />
The Artful Times of<br />
Andrew Burashko<br />
PAUL ENNIS<br />
The Art of Time Ensemble has been a fixture on Toronto’s cultural<br />
landscape for many years, committed to redefining the experience<br />
of music performance and exploring the juxtaposition of<br />
high art and popular culture. I’ve long been fascinated by founder<br />
and artistic director Andrew Burashko’s programming acumen and his<br />
ability to attract a coterie of top-notch musicians to perform with him.<br />
Two days before Art of Time’s Sgt. Pepper Canadian Tour began with<br />
a concert at the Sony Centre, January <strong>21</strong>, I spoke to Burashko on the<br />
phone about the origins of Art of Time and Burashko’s own musical<br />
training. Perhaps fittingly for a conversation about the Art of Time, our<br />
chat proceeded chronologically.<br />
Burashko had a typical classical music training for a serious young<br />
piano student. At nine and a half, he began studying with Marina<br />
Geringas “the best teacher in the city for young, gifted kids – she<br />
produced a lot of professional pianists” – in 1975, about two years after<br />
he and his family arrived in Canada from Russia via Israel.<br />
“She gave me an incredible physical foundation,” he says. “I was<br />
being groomed to be a concert pianist.” ... His break came when he<br />
attracted the attention of Walter Homburger and Andrew Davis. “I<br />
was 17; I made my debut with the Toronto Symphony. I performed<br />
with them well into my career. I think I did ten seasons with them.<br />
Ten different concerti. I was supposed to go to Manhattan School of<br />
Music to study with Nina Svetlanova. Because my whole life I was<br />
made to practise, I guess I rebelled as I was finishing high school. And<br />
I quit music [pause]. So I spent a year at U of T doing sciences and<br />
then towards the end of that year, Roman Borys, who was the cellist<br />
of the Gryphon Trio, talked me into going to Banff – I hadn’t touched<br />
the piano in a year – as a duo. Which I did, to the chamber music<br />
program. It was my first time in Banff and there I met a lot of people<br />
who are friends to this day. As well as one of my most important<br />
mentors, Marek Jablonski.”<br />
While in Banff, he realized that his “heart was in music, but I<br />
wanted to do it in my terms.” That meant going to Vancouver to study<br />
with Lee Kum-Sing for two years. (One of the people Burashko had<br />
met in Banff was Jamie Parker and Parker and his brother Jackie<br />
had studied with Lee.) Then Jablonski came to Toronto in 1987 and<br />
Burashko followed him to what is now the Glenn Gould School.<br />
“Those were the four most formative years of my life,” he said,<br />
“because I had at least one lesson a week with Marek and I played<br />
every month with Leon Fleisher.”<br />
I reacted positively to Burashko’s comment about his link to<br />
Fleisher (I am a great admirer of Fleisher’s work); Burashko responded<br />
in kind: “You know, most of my ideas about pianism and interpretation<br />
come from Fleisher …. He is incredible. Truly.”<br />
After those four years with Jablonski, Burashko studied with Bella<br />
Davidovich in New York for two more. “And things began to happen<br />
for me.” He worked with new music groups, chamber music groups<br />
like Amici, even toured with the Gryphon Trio before Jamie Parker<br />
joined. And taught. Which he considers a crucial part of his life<br />
until recently.<br />
Classical music ... has the potential to speak<br />
to anyone if they’re exposed to it just at the<br />
right time at the right place in the right way.<br />
Turning points: A key part of the Burashko narrative involves<br />
modern dancer Peggy Baker, who returned to Canada from New York<br />
in 1991. “Working with her I gained access to a whole other world.<br />
The world of the theatre, really. Where things are, for lack of a better<br />
word, a helluva lot more theatrical than in a concert hall. Lighting is<br />
important. Staging. All those things. And creating a dramatic environment.<br />
And also, after all those years I got to know a lot of incredible<br />
8 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
ST. LAWRENCE<br />
QUARTET<br />
JOHN LAUENER<br />
Andrew Burashko conducts “War of the<br />
Worlds” (2011) at the Enwave Theatre<br />
people like Karen Kain, James Kudelka, Margie Gillis.”<br />
Then comes a surprisingly candid admission: “I guess that, along<br />
with the fact that it was a real grind and struggle in the classical music<br />
world, I never got to the point where I could dictate my terms. So if<br />
ever an orchestra called that I hadn’t worked with before and asked<br />
me ‘Do you know, whatever, Rach 2?’ I would say yes. Between travelling<br />
and working I was at the piano all the time cramming, some years<br />
learning three or four new concerti a year. And it’s no fun playing<br />
stuff for the first time, all the time. It’s a huge pressure. Blah-blahblah-blah.<br />
So all those things kind of converged. And the main thing<br />
was that I was disheartened by the fact that all the classical audiences<br />
were so old and nobody was really doing anything about turning<br />
people on to classical music. I always believed, as I still do, that it was<br />
incredibly compelling and exciting and has the potential to speak to<br />
anyone if they’re exposed to it just at the right time at the right place<br />
in the right way. And so that’s how Art of Time began.<br />
“The general idea – I’m oversimplifying – was to create programs<br />
which would also include the involvement of either actors or dancers.<br />
Because of Peggy I had access to the dance world. I had many friends,<br />
still do, who are actors. So actors, dancers, pop musicians, jazz musicians<br />
– with the idea that they would hopefully attract their audience<br />
and once they were in the theatre then they would be disarmed by the<br />
familiar and open to the unfamiliar. And that’s how it began and it’s<br />
evolved from there.”<br />
Disarmed by the familiar and open to the unfamiliar. Juxtaposition<br />
as the catalyst for gaining and growing an audience. And doing it on<br />
his terms.<br />
The impetus for his first concert production came from an agent he<br />
shared with Scott St. John. St. John was running a series at the time<br />
called “Millennium” but he “got sick of doing it.” The agent asked if<br />
Burashko would be interested in starting something in its stead. He’d<br />
been dreaming of doing something like that for years, even tried to<br />
organize similar projects but unable to follow through because of lack<br />
of time or know-how. “Even in the first few years of Art of Time, I was<br />
so busy with my own career it was completely haphazard. I invested<br />
my own money in it. I would write grants. I would just basically have<br />
enough money to rent the Glenn Gould Studio three nights a year<br />
and present three different chamber music programs. And by then I<br />
had really long-standing musical partnerships with Steven Dann and<br />
Joel Quarrington and Amanda Forsyth, Pinchas Zukerman. It’s such a<br />
small world. I knew all these people, they were my friends, colleagues.<br />
And they were excited about doing something new and different.<br />
And musicians are always excited or drawn to working with other<br />
good musicians.”<br />
The concert he produced in 1998, “a very eclectic program of<br />
Russian music – from Glinka to Schnittke,” is one he’s presented<br />
frequently since. “It was Stravinsky, Glinka, this big sprawling, cheesy,<br />
beautiful kind of bel canto mini-concerto for piano and string quintet,<br />
the Schnittke quintet and Prokofiev Overture on Hebrew Themes.<br />
And I opened with a Brodsky poem. I’m also a very big fan of Joseph<br />
Thursday, <strong>February</strong> 18 at 8 pm<br />
STEVEN OSBORNE<br />
www.music-toronto.com<br />
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thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 9
Brodsky. Which was about exile, essentially.<br />
And I think that first time I had<br />
Ted Dykstra read it. Basically it was<br />
music, with a little bit of a twist.”<br />
That “First Season” (1999/2000)<br />
consisted of just three one-nighters.<br />
“Then for the next few years, I just kept<br />
going. There was no infrastructure. I<br />
would get on the phone, I would invite<br />
people. There was nothing, other than<br />
to pay the players and to rent the hall.<br />
And that’s how it continued until about<br />
2005. Slowly it was growing, mainly<br />
through the arts community. I was becoming more and more daring<br />
with the programs and I was just aware that it would never grow if<br />
I kept doing it on the sidelines, growing by the seat of my pants, it<br />
would never go anywhere.<br />
“In 2005 we moved to Harbourfront and started doing four shows<br />
of two-nighters. It was basically, I don’t want to say whim, I went on<br />
some sort of belief that wasn’t backed by anything in the physical<br />
world. That first year our budget was about $60,000. Today it’s over a<br />
million dollars.”<br />
I point out to him that Art of Time is such an evocative name, since<br />
the concept of time is so central to what is arguably the core of music.<br />
He immediately agrees and expands the thought: “The most noticeable<br />
and important fingerprint, for lack of a better word, the most<br />
important quality, of a musician or the first thing I notice about a<br />
musician, is their sense of time.” But the name also works on another<br />
level, he quickly says. And again Leon Fleisher’s name re-enters the<br />
conversation.<br />
“Fleisher used to talk about compositions as these elaborate structures<br />
or cathedrals built out of time. They were time structures. So on<br />
those two levels, really, that’s how I came up with Art of Time.”<br />
2015/<strong>2016</strong>: Our conversation moves into the three shows that<br />
Chelsea<br />
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the songs of<br />
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Directed & Conceived by Tracey Power<br />
Musical Direction & Arrangements by Steven Charles<br />
<strong>February</strong> 3-<strong>21</strong>, <strong>2016</strong><br />
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“War of the Worlds”<br />
(2011)<br />
will complete the 2015/<strong>2016</strong> season,<br />
Zappa, Erwin Schulhoff and Hawksley<br />
Workman. “What drew you to Frank<br />
Zappa?” I ask. “Wow!” he responds,<br />
explaining that Zappa has made a deep<br />
impression on him since his teens.<br />
Later, in the new music world, he was<br />
exposed to him a number of times.<br />
(“Zappa’s the only one I could think of<br />
who straddled more than one world<br />
completely.”) In fact, he says, it was a<br />
Zappa concert by Frank Boudreau and<br />
the Quebec Contemporary Music Society<br />
at the Music Gallery, way back in 1988, that planted the seed for Art of<br />
Time’s own Zappa program, <strong>February</strong> 19 and 20. “Their Zappa show<br />
was so much fun. It blew me away.”<br />
That concert never left him; and knowing that the charts for that<br />
music existed defined the repertoire for <strong>February</strong>’s show. Most of the<br />
arrangements for the upcoming concert are from the late 1980s and<br />
are very dense and busy. Burashko wanted to dilute the “assault-onthe-senses”<br />
effect a little bit by adding numbers like Bobby Brown<br />
Goes Down and Don’t Eat the Yellow Snow. And Stephen Clarke<br />
and Gregory Oh, the two keyboardists in the show (Burashko is<br />
conducting), wanted to do Zappa’s four-hands piece, Ruth Is Sleeping<br />
(so astonishingly contemporary, it sounds like it could have been<br />
written today).<br />
“I’m trying to turn people on to all this music,” Burashko said,<br />
explaining his decision not replicate the Boudreau program. “We have<br />
such a diverse audience and we’ve developed all this trust just based<br />
on previous experience, not necessarily knowing what to expect, so I<br />
wanted to add a few of Zappa’s lighter fare tunes.”<br />
Burashko says that his programming has become increasingly<br />
more daring over the years. His “War of the Worlds” program began<br />
with a tribute to Bernard Herrmann, who collaborated with Orson<br />
Welles on radio, and ended as a theatre piece with a few musicians<br />
when Burashko realized that there was very little music (and none by<br />
Herrmann) in the original radio broadcast. “I Send You This Cadmium<br />
Red” blended Gavin Bryars’ music with John Berger’s words and<br />
images. “Magic and Loss: A Tribute to Lou Reed” was, in his words,<br />
amazing. “It was seminal in a way, because the essence of Lou Reed is<br />
rock ‘n’ roll and simplicity and attitude. To dress it up in fancy clothes<br />
would be to just miss the point and destroy the music. I can’t think of<br />
anything farther from classical music.”<br />
The current Beatles project, Sgt. Pepper, also crosses no genres.<br />
Admitting he’s a Beatles nut, Burashko says that the important thing<br />
is to approach the project with great reverence, while retaining the<br />
spirit and feel of the original, which is pop music and rock ‘n’ roll.<br />
There’s nothing classical about this show other than the involvement<br />
of classical musicians (along with the pop musicians) and the classical<br />
composers who wrote the arrangements. Sgt. Pepper is far and away<br />
Art of Time’s most popular show. It’s been mounted three separate<br />
times. And Burashko completed a “great, gruelling” 13-concert, 18-day<br />
tour of the show through the Eastern United States in November. A<br />
tour of the American midwest is set for September <strong>2016</strong>. “That music<br />
just connects on such a deep level with people.”<br />
Next, I ask about the Schulhoff show, coming up April 1 and 2.<br />
I’m a fan of Schulhoff’s diverse sonic palette, I say. Again Burashko<br />
agrees. Schulhoff, he says, was very eclectic; the upcoming concert is a<br />
repeat of one Art of Time put on in 2005, with the addition of Martha<br />
Burns performing the aptly named Sonata Erotica for female voice<br />
solo. Violinist Stephen Sitarski, cellist Thomas Wiebe, flutist Susan<br />
Hoeppner and Burashko on the piano all return from the original cast<br />
ten years ago, joined by such local superstars as violist Teng Li, alto<br />
saxophonist Wallace Halladay and others in Schulhoff’s Hot Sonate for<br />
Alto Sax & Piano, Concertino for Viola, Flute & Double Bass, Five Jazz<br />
Etudes for Piano and String Sextet.<br />
Burashko wanted to bring it back because “it’s such amazing music”<br />
(there’s that word again!). The first time he played any Schulhoff<br />
was on a [Robert Aitken-led] New Music Concerts program in 1993,<br />
JOHN LAUENER<br />
10 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
the year Burashko’s daughter was born. “So thanks, Bob,” he says.<br />
Besides, Art of Time’s audience has grown exponentially. “In 2005, our<br />
audience was one-twentieth of what it is now.” So for many it will be<br />
an entirely new show.<br />
Finally in this season, Hawksley Workman will sing Bruce<br />
Cockburn’s music in the latest instalment of the Art of Time<br />
Songbook, May 13 and 14. This is the first time a songbook has been<br />
devoted to the work of a single composer and is the culmination<br />
of much back and forth between Burashko and Workman. “I love<br />
Hawksley Workman,” Burashko told me, before offering an explanation<br />
as to why it took so long for the singer to agree. “He called me;<br />
he had seen and heard enough stuff that we did that he really wanted<br />
to do something with us.” The general idea for Songbook is to invite a<br />
non-classical singer to choose 12 songs they’ve always wanted to do;<br />
then Burashko delegates the songs to a group of disparate composers/<br />
arrangers to create arrangements for an ensemble that is half pop, and<br />
half classical. It’s always a collaboration but he gives the singer licence<br />
to be as creative as possible. “It’s about finding that fine line about<br />
being as creative as possible without ruining the original intent of the<br />
song.” It was Workman’s choice to do Cockburn, and only Cockburn.<br />
Burashko will get the charts for the music two months before the<br />
show and the concert will be preceded by four full days of intensive<br />
rehearsal.<br />
One of Art of Time’s strengths is its impressive roster of musicians.<br />
I comment on the alchemy that must have have gone into selecting<br />
Christine Duncan and Wallace Halladay for Zappa, and Halladay and<br />
Teng Li for Schulhoff, all of whom are making their debut with the<br />
ensemble. “The thing that I pride myself on most is the group of musicians,<br />
of artists, that I get to work with,” Burashko answered. “Having<br />
that incredible luxury of only working with people that I want to.<br />
Over the years, that collective has grown to such an extent that I’m<br />
proud to say that most musicians would love to work with Art of Time<br />
because it also means working with musicians whom they love.<br />
“With Christine – I had heard her a number of times over the years<br />
– when I heard these Zappa charts – they’re incredibly complex –<br />
and when I heard them in the 80s they were done with two classical<br />
singers. It was still a great show and I loved it, but it really ruined<br />
something for me. So Christine was a no-brainer because there aren’t<br />
that many non-classical singers who are literate enough to learn this<br />
music, who are good readers.”<br />
All three remaining shows this season exemplify Burashko’s curatorial<br />
prowess: the programs themselves; the chemistry that unites<br />
great music and excellent musicians; Art of Time’s transformative<br />
theatrical magic.<br />
“It’s so intuitive” Burashko says. “Ultimately I never go near<br />
anything that is unfamiliar to me. Programming to me is about<br />
creating something balanced with a really interesting arc. And the<br />
world is my oyster.”<br />
The Art of Time Ensemble performs Zappa <strong>February</strong> 19 and 20 at<br />
Harbourfront Centre Theatre.<br />
Paul Ennis is the managing editor of The WholeNote.<br />
Marie-Josée Lord<br />
& Quartango:<br />
TANGOPÉRA<br />
MARCH 3<br />
The sparkling soprano and<br />
accomplished quartet revisit<br />
operatic classics with the<br />
bewitching rhythms of the tango.<br />
Beat by Beat | Jazz Stories<br />
Priceless Gene<br />
ORI DAGAN<br />
On an excruciatingly cold January afternoon Gene DiNovi<br />
welcomes me into his home and provides warm smiles and a<br />
pair of slippers. He leads me up the stairs, through the kitchen,<br />
proudly showing me family photos and art pieces he has collected<br />
through the years. We finally reach “the museum,” a spacious room<br />
busily adorned with framed photos and autographed posters, shelves<br />
full of sheet music and a grand piano.<br />
Gene DiNovi performs at the Old Mill’s Home Smith Bar<br />
Now 87-years young, DiNovi has been in show business for seven<br />
decades and has hundreds of stories to share: We talk about his<br />
new gig at The Old Mill on the first Tuesday of every month; on<br />
his triumphant career as pianist, arranger, songwriter and musical<br />
director; on working with Peggy Lee, Tony Bennett, Lena Horne<br />
and Carmen McRae; sitting in with Dizzy Gillespie and Charlie<br />
Parker; recording with Lester Young and Benny Goodman; his native<br />
Brooklyn; a stint in Los Angeles; moving to Toronto.<br />
But how did he get into this music in the first place? He takes a<br />
moment, stares ahead, and smiles as he remembers his first musical<br />
inspiration: “I heard a record of ‘The World is Waiting for the Sunrise’<br />
which is a Canadian tune actually, by Ernest Seitz and Gene Lockhart.<br />
It was Mel Powell and His Orchestra – Melvin Epstein from the Bronx,<br />
who became Mel Powell. My brother Victor used to take me to the<br />
Paramount Theatre on a Saturday, or the Strand, or the Loew’s State<br />
Theatre. But I heard Mel there. Mel recorded that song a number of<br />
times with Benny. On this particular side he plays a solo which had<br />
three or four horns on it: Billy Butterfield on trumpet, George Berg on<br />
tenor, Lou McGarity on trombone and of course Benny on clarinet,<br />
Kansas Fields on drums, who I played with later. So I heard this piano<br />
Cameron<br />
Carpenter<br />
MARCH 30<br />
The show-stopping<br />
Juilliard grad and Grammy<br />
nominee performs a diverse<br />
repertoire on his custom-built<br />
International Touring Organ.<br />
DON VICKERY<br />
FirstOntarioPAC.ca<br />
Box Office: 905-688-0722<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 11
solo, and it is, to me, the greatest piano solo I ever heard in my life. Mel<br />
Powell was very different from me – incredibly gifted guy. At 16-yearsold<br />
he had it all together. He could play like Teddy, he could play like<br />
Tatum, he could play like everybody. Once I heard that record, that<br />
was it … and I’m still trying to do it,” he laughs. “I still get chills when<br />
I hear it!”<br />
As for diving into the music:<br />
“I started late, at 12 years old – the reason I got the start was, my<br />
brother would decorate houses in Brooklyn, and this guy, Frank Izzo,<br />
who was a very eclectic guy said, I don’t have enough money to pay<br />
you, can you wait? And my brother said, give my kid brother piano<br />
lessons. To this day I can’t really say if it was a good deal or not,” he<br />
chuckles.<br />
Living in Brooklyn meant being a subway ride away from the<br />
seminal musicians of the day. “I used to hang out on 52nd Street,<br />
where you could stand in the doorway and listen to Art Tatum. You go<br />
to the next one, you listen to Billie Holiday. You go to the next one, you<br />
could listen to Red Norvo. There were six, seven, eight clubs. You could<br />
hear all of this on a summer night.”<br />
At the age of 15 – 15 and a half, to be precise – he found himself on<br />
stage with Dizzy Gillespie and Charlie Parker, a life-changing moment.<br />
“This was at the Spotlight, in 1945. There was still a curfew in New<br />
York City because of the war. They would start playing at four in the<br />
afternoon. I would get a ginger ale and just sit there. By that time I was<br />
on the street so much the owners and the musicians knew who I was.<br />
Dizzy had heard me at one of the other clubs … eventually he was like<br />
an older brother to me.”<br />
By his late teens, DiNovi became a fixture on the modern jazz scene,<br />
but before long he needed a change.<br />
“You got to remember, this was the beginning of the bebop period,<br />
which was a terrible period from the narcotics point of view,” DiNovi<br />
recounts. “And I never understood it – why the hell do you want to do<br />
that? For me, the music was enough … . Working at Birdland a couple<br />
of years later on, I turned around and realized that everyone on the<br />
bandstand was a junkie but me. And I said, wow – I have got to get<br />
away from this – where can I go to play the music I love without being<br />
around this – so I ended up with Peggy Lee, the first singer I played<br />
for. Can you believe it? Never a note out of tune. Never a note out of<br />
time. She was one of the great natural musicians.”<br />
DiNovi spent many years as a treasured accompanist and musical<br />
director to some of the greatest vocalists of the day: Tony Bennett,<br />
Carmen McRae, Mel Tormé, and most notably Lena Horne, with<br />
whom he worked from 1955 to 1963, and occasionally after that.<br />
Composing and arranging: Studying with Mario Castelnuovo-<br />
Tedesco launched DiNovi on another arc in his career – composing<br />
and arranging. “He trained me, he trained André Previn, Nelson<br />
Riddle, Mancini, John Williams, Marty Paich, a generation of film<br />
composers. A lovable man, an Italian Jew who had to get out of there<br />
fast when Mussolini hooked up with the other guy. He ended up in<br />
Beverly Hills where he taught all these people. Can you imagine? You<br />
walk in and Villa-Lobos is in there or Segovia is there going over the<br />
fingering, you know? (laughs) It was heavyweight stuff!”<br />
Living in Los Angeles, DiNovi started to gain respect as an arranger<br />
and musical director and worked on six specials for Gene Kelly. But<br />
the times they were a-changin’: “Things really dried up because this<br />
was a period where you could replace 65 guys with two synthesizers.”<br />
DiNovi pauses to ask me if I want to hear one of his tunes that<br />
Carmen McRae recorded, and how can I decline? It’s titled “Boy, Do<br />
I Have a Surprise for You” (lyrics by Spence Maxwell) from the 1968<br />
album, Portrait of Carmen on Rhino Atlantic. To the ears of this<br />
McRae fan, she never sounded better than on this majestic recording,<br />
which DiNovi also arranged and conducted.<br />
After a memorable engagement with McRae at the Colonial Tavern<br />
for a week in 1971, DiNovi tells me, he soon found himself back in<br />
Toronto accompanying two other MacRaes – Meredith MacRae for two<br />
weeks, followed by two weeks with her mother, Sheila MacRae.<br />
“So I lived at the Royal York Hotel for six weeks for the lowest rate in<br />
the 20th century! It was a couple of hundred bucks for the six weeks<br />
(laughs). ... So I said hey, I like it here in Toronto! It looks like New<br />
York in 1945. In L.A. you had to drive 50 miles just to have a cup of<br />
coffee with somebody. I liked the New York feel of Toronto.”<br />
These days DiNovi still maintains an admirable performance<br />
schedule, appearing with clarinetist James Campbell, guitarist<br />
Andrew Scott and bassist Dave Young, to name a few. And at the end<br />
of our interview he melts my heart as he gracefully tickles the 88:<br />
“There are three tunes always on my piano: Strayhorn’s ‘Lush Life,’<br />
Harold Arlen’s ‘Last Night When We Were Young’ and ‘The Bad and<br />
the Beautiful’ by David Raksin – those three, you’re gonna go in the<br />
swamp if you don’t play them every week.”<br />
To experience the magic of Gene DiNovi’s playing up close and<br />
personal, and to hear some of his famous stories, do not miss the<br />
opportunity on the first Tuesday of every month at The Old Mill’s<br />
Home Smith Bar from 7:30 to 10:30pm.<br />
Stylianou JPEC-Bound: Some 70 years after DiNovi sat in with<br />
Gillespie and Parker, it isn’t uncommon for Toronto-based jazz artists<br />
to leave the nest and head towards the Big Apple. Vocalist Melissa<br />
Stylianou, formerly a fixture at the Rex Hotel Jazz & Blues Bar, where<br />
she started out as a waitress and ended up a headliner, is a fine<br />
example. About the decision to relocate, she says:<br />
“I did the Jazz and Improvised Music program at the Banff Centre in<br />
2003, and many of the faculty and other musicians I met happened to<br />
Jazz Notes continues on page 42<br />
T H E L I V I N G A R T S C E N T R E p r e s e n t s<br />
SOCAN Songwriting Winner<br />
Pop Jazz Singer-songwriter<br />
Award winning Jazz Singer-songwriter<br />
Award winning Jazz Singer-songwriter<br />
FEB<br />
12<br />
7:30 PM<br />
LAILA<br />
BIALI<br />
FEB<br />
19<br />
7:30 PM<br />
12 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Beat by Beat | Art of Song<br />
It Takes Five To<br />
Quartango<br />
HANS DE GROOT<br />
On March 3, a concert, with the title “Tangopéra” will be given<br />
jointly by Marie-Josée Lord and the quartet Quartango at<br />
Partridge Hall in the brand new FirstOntario Performing<br />
Arts Centre in St. Catharines. Going by the tracks on the their 2014<br />
Tangopera CD, the concert will<br />
feature music ranging from Puccini<br />
and Bizet to Gershwin and Weill,<br />
alongside pioneers of tango such as<br />
Ángel Villoldo, Carlos Gardel and,<br />
of course, Astor Piazzolla. Half the<br />
tracks on the CD feature the tango<br />
and milonga-based, hard-driving<br />
instrumental rhythms of Quartango.<br />
Lord, backed by the quartet, sings<br />
in the others, putting a remarkable<br />
spin on repertoire much of which<br />
the audience will have heard many<br />
times, but, safe to say, not like this!<br />
Something similar happened to<br />
Lord herself when she first encountered<br />
the Montreal-based group:<br />
“When I first heard Quartango’s<br />
version of the aria ‘Quando men vo,’ from Puccini’s La Bohème,” she<br />
says in the liner notes to the record, “I was startled, because I couldn’t<br />
quite place it, even though I’d sung the original version countless<br />
times.”<br />
Lord is a distinguished soprano, who was born in Haiti, adopted<br />
at the age of six by two Canadians working in Haiti at the time, and<br />
grew up in Lévis, Quebec. She made her operatic debut in 2003 with<br />
the Opéra de Québec in the role of Liù in Puccini’s Turandot, and has<br />
performed several important roles with the Opéra de Montréal (Mimì<br />
in Puccini’s La Bohème, the title role in his Suor Angelica and Nedda<br />
in Leoncavallo’s I Pagliacci). At the time of a memorable Koerner<br />
Hall recital in Toronto in October 2012, she talked to Trish Crawford<br />
of the Toronto Star (October 25, 2012) about her childhood years in<br />
a nutrition centre in Haiti (“I was in bad shape. Most of the children<br />
were orphans. There we could have a meal and education.”); about<br />
how overhearing a conservatory singing lesson changed her musical<br />
direction after years of piano and violin study (“I heard a lyric class<br />
and was fascinated by the production, how to build opera and all the<br />
rehearsals”); and about her return to Haiti in 2011. (“I wanted to close<br />
the circle. I had questions about my background. … I am proud of<br />
my people.”)<br />
As for Quartango itself, the quartet was formed an astonishing 30<br />
years ago. The group consists of four musicians: René Gosselin, double<br />
bass, Stéphane Aubin, piano, Antoine Bareil, violin, and Jonathan<br />
Goldman, bandoneon (an instrument operated by a bellows, akin to<br />
the accordion).<br />
In the aforementioned interview with The Star’s Crawford about<br />
her hopes for that October 28, 2012, Koerner recital, Lord talks about<br />
wanting to “invite the audience<br />
into my lyric world.” There’s<br />
no doubt that her collaboration<br />
with Quartango over the<br />
past five years has significantly<br />
expanded the boundaries of<br />
that “lyric world.” In the CD<br />
liner notes Lord talks about<br />
the group’s “love of risk-taking<br />
and the unexpected” and their<br />
ability to take “well-known<br />
melodies and blend them into<br />
… unique hybrids of tango,<br />
opera, popular song, jazz, classical<br />
and many other genres.<br />
Today, when I sing the original<br />
version of the ‘Habanera’ from<br />
Carmen,” says Lord, “I almost<br />
feel as if it’s missing something.”<br />
Far from “missing something,” the audience at “Tangopéra” on<br />
March 3, hearing these unique treatments of familiar repertoire, will<br />
likely feel just the opposite – that something has been quite unexpectedly<br />
gained.<br />
Dmitri Hvorostovsky at Koerner Hall on <strong>February</strong> <strong>21</strong>. The Russian<br />
baritone first became known in the West in 1989, the year in which<br />
he won the Cardiff Singer of the World Competition, beating out<br />
Bryn Terfel, who had to make do with the Lieder Prize. At the time<br />
there was a great deal of grumbling and there were many suggestions<br />
that the jurors had made a mistake, but in recent years the merits of<br />
Hvorostovsky have been increasingly recognized. In any case, a discussion<br />
of who makes the better singer seems pointless as they represent<br />
such different voice types. Terfel made a name for himself in baritone<br />
or bass-baritone roles in Mozart such as Figaro and (later) Don<br />
Marie-Josée Lord and Quartango<br />
NORTH AMERICAN DEBUT OF<br />
SCOTTISH OPERA<br />
THE DEVIL INSIDE<br />
LIBRETTO BY LOUISE WELSH | MUSIC BY STUART MACRAE<br />
A Co-commission & Co-production by Scottish Opera & Music Theatre Wales<br />
North American Premiere Presented by Tapestry Opera<br />
MARCH 10 – 13, <strong>2016</strong><br />
HARBOURFRONT CENTRE THEATRE, 231 Queens Quay West<br />
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thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 13
Giovanni; he sang Schubert and Welsh songs. More recently he has<br />
become famous for his renditions of the heavier Wagnerian roles (the<br />
Dutchman, Wotan, Hans Sachs). In contrast, Hvorostovsky is essentially<br />
a high lyrical baritone, especially known for his interpretations<br />
of Russian song, of Tchaikovsky’s Eugene Onegin and of the baritone<br />
parts in many of Verdi’s operas (La Traviata, Simon Boccanegra, Don<br />
Carlo, Un ballo in maschera). Since Terfel will be singing at Koerner<br />
Hall on April 24, audiences will have a good chance to compare the<br />
two singers. Last summer Hvorostovsky announced that he was<br />
suffering from brain cancer and would have to take the summer off to<br />
receive medical treatment. He added, however, that he would be back<br />
in the fall to sing the role of the Count di Luna in Verdi’s Il Trovatore<br />
at the Met, and that he would fulfill all subsequent engagements. So<br />
far he has been as good as his word. On <strong>February</strong> <strong>21</strong>, he will perform<br />
songs by Glinka, Rimsky-Korsakov, Tchaikovsky and Strauss.<br />
Tapestry Opera, as its name suggests, specializes in contemporary<br />
opera. Many will remember the production of M’dea Undone by<br />
John Harris and Marjorie Chan in April 2015. On <strong>February</strong> 5 and 6,<br />
their sixth annual “Songbook” event showcases 36 years of Tapestry’s<br />
original repertoire, in the hands of emerging singers and pianists<br />
in Tapestry’s New Opera 101 program. Rising Canadian mezzo,<br />
Wallis Giunta, and conductor/pianist, Jordan de Souza, will anchor<br />
“Songbook VI” at the Ernest Balmer Studio.<br />
Benjamin Butterfield sings Schubert. On <strong>February</strong> 29, Butterfield<br />
and pianist, Stephen Philcox will perform Schubert’s Die schöne<br />
Müllerin at Walter Hall. I have heard Butterfield in the past (with<br />
Tafelmusik and with the TSO) but never in this repertoire, so I am<br />
very much looking forward to the recital.<br />
Lunchtime concerts at the Four Seasons Centre: Bass Robert<br />
Pomakov joins the Gryphon Trio in “Classics Reimagined” on Feb 2;<br />
Christopher Purves, baritone, and Liz Upchurch, piano, perform in<br />
“The Art of Song” on Feb 9; COC Ensemble Studio singers perform<br />
highlights from Mozart’s The Marriage of Figaro on Feb 10; Josef<br />
Wagner, bass-baritone with Rachel Andrist, piano, performs<br />
Schubert’s Winterreise on Feb 11; Doug MacNaughton, baritone and<br />
guitar, performs in “Light and Shadow” on Feb 16.<br />
Vocal Quick Picks: Theatre Passe Muraille presents “Chelsea Hotel:<br />
The Songs of Leonard Cohen” from Feb 3 to <strong>21</strong>; Faye Kellerstein<br />
and Noreen Horowitz’s “The Ladies of Broadway” offers selections<br />
from Oklahoma!, The King and I, Fiddler on the Roof, My Fair<br />
Lady and The Sound of Music at the Miles Nadal JCC, Feb 4; Alan<br />
Cumming sings “Sappy Songs” (by Billy Joel, Stephen Sondheim,<br />
Rufus Wainwright, Miley Cyrus and others) at the Winter Garden<br />
Theatre, Feb 6; “One Sunday” recreates a Sunday “from the Canadian<br />
Afrikan community of the 1960s” through song, script and piano,<br />
performed by Tiki Mercury-Clarke at the Neighbourhood Unitarian<br />
Universalist Congregation, Feb 7; mezzo Emily D’Angelo (who<br />
recently won first prize in the COC Centre Stage competition for a<br />
place in the COC Ensemble Studio) sings Messiaen’s Poèmes pour<br />
Mi, along with works by Korngold, Mahler and others Feb 12, with<br />
pianist Rashaan Allwood and the Junction Trio, at St. Anne’s Anglican<br />
Church. (D’Angelo and Allwood will then reprise the Messiaen at<br />
Heron Park Baptist Church on Feb 20.) Also on Feb 12, at Heliconian<br />
Hall, the Gallery Players of Niagara/Eybler Quartet concert includes<br />
a transcription of Schumann’s Liederkreis, Op.39, sung by the baritone<br />
Brett Polegato; to be repeated in the FirstOntario Performing<br />
Arts Centre, St. Catharines, on Feb 14; rarely performed English art<br />
songs will be performed by Marina Yakhontova and Brian Stevens<br />
Feb 13 at Bloor Street United Church; on Feb 18 at the Canadian Music<br />
Centre, composer Michael Purves-Smith and the soprano Caroline<br />
Déry explore the connection between poetry and music in “Cabaret<br />
Lyrique: Contrasts in Love”; on the jazz front, Feb 19 Laila Biali is at<br />
the Living Arts Centre in Mississauga, while René Marie pays tribute<br />
to Eartha Kitt at Koerner Hall; and Elizabeth Shepherd is at the COC’s<br />
Richard Bradshaw Amphitheatre, Feb 24.<br />
Hans de Groot is a concertgoer and active listener<br />
who also sings and plays the recorder. He can be<br />
contacted at artofsong@thewholenote.com.<br />
Beat by Beat | On Opera<br />
Sesquicentennial<br />
Riel Announced<br />
CHRISTOPHER HOILE<br />
On January 13, Canadian Opera Company General Director<br />
Alexander Neef unveiled the COC’s <strong>2016</strong>/17 season. Where the<br />
2015/16 season featured the first mainstage world premiere of<br />
a Canadian opera since 1999, the <strong>2016</strong>/17 season will feature the first<br />
professional revival since 1975 of Harry Somers’ Louis Riel (1967),<br />
perhaps the best-known Canadian opera ever written. Other good<br />
news includes the company premiere of an opera by Handel, star<br />
casting in classic roles, greater use of Canadian directors (and a first<br />
female Canadian conductor) and the renewal of Johannes Debus’<br />
contract as the COC Music Director.<br />
Bellini and Handel: The <strong>2016</strong>/17 season will open with a new<br />
production of Bellini’s bel canto masterpiece Norma (1831), last<br />
seen here in 2006. The new COC production is co-produced with<br />
San Francisco Opera, Lyric Opera of Chicago and Gran Teatre del<br />
Liceu of Barcelona and is directed by American Kevin Newbury. Two<br />
of the most in-demand sopranos today – American-born Sondra<br />
Radvanovsky and South African-born Elza van den Heever – alternate<br />
as the Druid high priestess Norma. American Russell Thomas returns<br />
to sing Pollione, Norma’s Roman lover. American mezzo-soprano,<br />
Isabel Leonard, returns to the COC in her role debut as Adalgisa,<br />
Pollione’s new lover. And Russian bass Dimitry Ivashchenko, last<br />
heard here as Hunding in Die Walküre, is Oroveso, Norma’s father. Bel<br />
canto specialist Stephen Lord, who conducted Norma here in 1998,<br />
will take the podium. Norma has eight performances from October 6<br />
to November 5, <strong>2016</strong>.<br />
Running in repertory with Norma will be the company premiere of<br />
Handel’s Ariodante (1735), one of several operas by Handel based on<br />
Ludovico Ariosto’s Renaissance epic Orlando Furioso (1532). This will<br />
be the sixth opera by Handel the COC has staged and the third since<br />
2012. After falling into obscurity in the 19th century, Ariodante was<br />
revived in the 1970s and is now regarded as one of Handel’s greatest<br />
operas. The COC production is co-produced with Festival d’Aix-en-<br />
Provence, Dutch National Opera, Amsterdam and Lyric Opera of<br />
Chicago, and is directed by Richard Jones, who directed The Queen<br />
of Spades here in 2002. British mezzo-soprano Alice Coote, last seen<br />
here in 2014 as Dejanira in Handel’s Hercules, returns in the trousers<br />
role of Ariodante. Canadian soprano Jane Archibald makes her<br />
role debut as Ginevra, Ariodante’s wronged fiancée. Armenian mezzosoprano<br />
Varduhi Abrahamyan makes her Canadian debut as Polinesso,<br />
the jealous rival of Ariodante. Young Canadian coloratura soprano<br />
Ambur Braid is Ginevra’s friend and unwitting betrayer, Dalinda.<br />
Canadian tenor Owen McCausland is Ariodante’s vengeful brother,<br />
Lurcanio, and French bass François Lis makes his Canadian debut as<br />
Ginevra’s father, the King of Scotland. Johannes Debus will conduct<br />
his first Handel opera. Ariodante has seven performances from<br />
October 16 to November 4, <strong>2016</strong>.<br />
Mozart and Wagner: The winter season pairs two familiar COC<br />
productions – Mozart’s The Magic Flute, last seen in 2011, and<br />
Wagner’s Götterdämmerung last seen in 2006. The Magic Flute will<br />
be staged by young Canadian director Ashlie Corcoran based on the<br />
original direction by Diane Paulus. Québécois early music specialist<br />
Bernard Labadie, music director of Les Violons du Roy, will make his<br />
COC debut as the conductor. Canadian tenors Andrew Haji and Owen<br />
McCausland alternate in the role of Tamino, Russian Elena Tsallagova<br />
and Canadian Kirsten MacKinnon alternate in the role of Tamino’s<br />
beloved Pamina, and Canadian baritones Joshua Hopkins and Phillip<br />
Addis alternate as the bird-catcher Papageno. American Kathryn<br />
Lewek and Canadian Ambur Braid share the coloratura soprano role<br />
of the Queen of the Night, while Croatian bass Goran Jurić, in his<br />
Canadian debut, and American bass Matt Boehler share the role of<br />
14 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Sarastro. The Magic Flute runs for 12 performances from<br />
January 19 to <strong>February</strong> 24, 2017.<br />
In repertory with Mozart’s lighthearted opera is Wagner’s<br />
doom-laden Götterdämmerung, the fourth opera of<br />
Wagner’s Ring Cycle, that concludes the action begun in<br />
Das Rheingold and carried on through Die Walküre and<br />
Siegfried. The charismatic American soprano Christine<br />
Goerke, who stunned audiences here with her effortless<br />
Brünnhilde in Die Walküre in 2015, returns to complete the<br />
valkyrie’s fateful journey in Götterdämmerung. Austrian<br />
tenor Andreas Schager makes his COC debut as Brünnhilde’s<br />
beloved Siegfried. German baritone Martin Gantner is<br />
Siegfried’s rival Gunther. Estonian Ain Anger makes his<br />
Canadian debut as Gunther’s evil half-brother, Hagen. Ileana<br />
Montalbetti is their sister Gutrune and Canadian bass Robert<br />
Pomakov is the dwarf Alberich. The original director, Tim<br />
Albery, takes the helm and Johannes Debus conducts his first<br />
Götterdämmerung. The opera runs for seven performances<br />
from <strong>February</strong> 2 to 25, 2017.<br />
Somers’ Riel and Puccini’s Tosca: The spring season<br />
opens with what will surely be the opera event of the year<br />
– the revival of Harry Somers’ Louis Riel in a new production<br />
directed by Canadian Peter Hinton and conducted<br />
by Johannes Debus. Somers wrote the opera for Canada’s<br />
centennial in 1967 and now the COC is reviving it as a<br />
co-production with the National Arts Centre in Ottawa for<br />
Canada’s sesquicentennial in 2017.<br />
The opera, with a libretto in English, French, Latin<br />
and Cree by Mavor Moore and Jacques Languirand, focuses on the<br />
Manitoba Métis schoolteacher Louis Riel (1844–85), who led the Red<br />
River Rebellion of 1869–70 and the North-West Rebellion of 1884–85.<br />
It is a story that serves as a nexus for tensions in Canada among the<br />
English, French and First Nations. Led by Riel, the Francophone Métis<br />
Harry Somers (1984)<br />
prevented the newly appointed Anglophone, William McDougall, from<br />
entering the huge territory acquired by the newly formed Canadian<br />
government. Riel set up his own provisional government and negotiated<br />
directly with the Canadian government to establish Manitoba<br />
as a province. With the arrival of Canadian troops, Riel was formally<br />
HARRY PALMER<br />
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Guillermo Silva-Marin, General Director<br />
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Donizetti’s<br />
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Thurs., March 3, <strong>2016</strong>, 7:30 pm<br />
Sat., March 5, <strong>2016</strong>, 7:30 pm<br />
Artistic Director :<br />
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Stage Director<br />
Renee Salewski<br />
Subscriptions and Tickets:<br />
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by Antonio Salieri<br />
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Robert Cooper, Chorus Director<br />
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thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 15
exiled from Canada but returned to lead the unsuccessful North-West<br />
Rebellion of the Métis in what would become Saskatchewan, where he<br />
was tried for high treason and executed.<br />
Singing the title role is COC favourite Russell Braun. The all-<br />
Canadian principals include baritone James Westman as Sir John<br />
A. Macdonald; soprano Simone Osborne as Marguerite, Riel’s wife;<br />
mezzo-soprano Allyson McHardy as Julie, Riel’s mother and confidante;<br />
tenor Michael Colvin as Thomas Scott, the Orangeman executed<br />
on orders from Riel; and bass John Relyea as Bishop Taché, the cleric<br />
who helped the government betray Riel. The COC gave Louis Riel its<br />
world premiere in Toronto in 1967 and later performed it in Montreal.<br />
The COC revived it in 1975 and took it to the National Arts Centre in<br />
Ottawa and to the Kennedy Center in Washington, D.C., where the<br />
Washington Star described it as “one of the most imaginative and<br />
powerful scores to have been written in this century.” The opera runs<br />
for seven performances from April 20 to May 13, 2017.<br />
Moving from the unfamiliar to the familiar, the COC closes the<br />
16/17 season with Puccini’s ever-popular Tosca (1900), last seen<br />
in 2012. This will be the second revival of the production designed<br />
by Kevin Knight and directed by Paul Curran. In 2012, Canadian<br />
soprano Adrianne Pieczonka sang the title role. This time because<br />
of its extended run, she will share it with American soprano Keri<br />
Alkema. Returning to the COC is renowned Mexican tenor Ramón<br />
Vargas making his role debut as Tosca’s lover, Cavaradossi, a role he<br />
shares with Italian tenor Andrea Carè. German bass-baritone Markus<br />
Marquardt makes his Canadian debut as the tyrannical Scarpia.<br />
The production runs for 12 performances from April 30 to May 20.<br />
Canadian conductor Keri-Lynn Wilson will make her COC debut at<br />
the podium.<br />
Also good news at the season announcement was that the contract<br />
of popular COC music director Johannes Debus has been extended<br />
through the 2020/<strong>21</strong> season. The revival of Somers’ Louis Riel seems to<br />
mark a new commitment to Canadian opera after this season’s staging<br />
of Barbara Monk Feldman’s Pyramus and Thisbe. The staying power<br />
of operas from the past can only be marked through revivals and the<br />
COC is the only company in Canada big enough to revive a large-scale<br />
opera like Louis Riel.<br />
Also, the COC showed a new interest in fostering Canadian directing<br />
talent with the selection of Ashlie Corcoran and Peter Hinton. The<br />
late COC General Director Richard Bradshaw did much in this area by<br />
pairing a wide range of Canadian film and stage directors with operas.<br />
This led to such successes as Robert Lepage’s Bluebeard’s Castle/<br />
Erwartung in 1992, Atom Egoyan’s Salome in 1996, François Girard’s<br />
Oedipus Rex with A Symphony of Psalms in 1997, not to mention a<br />
heart-wrenching Dialogues of the Carmelites by Diana Leblanc 1997,<br />
a riveting Tosca by David William and an eerie The Turn of the Screw<br />
by Christopher Newton in 2002.<br />
The only negative note is that the number of performances will<br />
shrink to 53 in <strong>2016</strong>/17 from 55 in 2015/16, thus continuing their<br />
gradual decrease from a high of 70 in 2009/10 season.<br />
Turning to the current season: Turning to the present, two COC<br />
productions will be playing in <strong>February</strong>. From <strong>February</strong> 2 to 14<br />
is François Girard’s acclaimed production of Wagner’s Siegfried.<br />
German tenor Stefan Vinke sings the title role while the amazing<br />
soprano Christine Goerke returns as Brünnhilde in this, the third<br />
opera in Wagner’s Ring Cycle. They are joined by Wolfgang Ablinger-<br />
Sperrhacke as the dwarf, Mime, Alan Held as Wotan and Phillip Ens as<br />
the dragon, Fafner. Johannes Debus conducts.<br />
Running in repertory with Siegfried is Mozart’s The Marriage<br />
of Figaro from <strong>February</strong> 4 to 27 in a production from the Salzburg<br />
Festival directed by Claus Guth. Josef Wagner stars in the title role<br />
with Jane Archibald as Susanna, Erin Wall as the Countess, Russell<br />
Braun as the Count and Emily Fons as Cherubino. Johannes Debus<br />
conducts. The COC Ensemble Studio takes over the principal roles on<br />
<strong>February</strong> 22.<br />
Christopher Hoile is a Toronto-based writer on opera and<br />
theatre. He can be contacted at opera@thewholenote.com.<br />
Beat by Beat | Classical & Beyond<br />
Frang and Skride<br />
In Local Debuts<br />
PAUL ENNIS<br />
Two brilliant young European violinists make their local debuts<br />
in <strong>February</strong>. In winning the 2001 Queen Elizabeth Competition,<br />
Latvian violinist Baiba Skride joined such luminaries as Oistrakh,<br />
Kogan, Laredo and Repin in the fiddling firmament. The Guardian<br />
recently called Skride “a passionate heart-on-sleeve player.” Now 34,<br />
she will appear with the TSO in Brahms’ richly sonorous Violin<br />
Concerto, <strong>February</strong> 17 and 18.<br />
According to BBC Music Magazine, the 29-year-old Norwegian,<br />
Vilde Frang, “has the knack of breathing life into every note.” Frang<br />
will give a recital at Koerner Hall, March 2, with Michail Lifits on<br />
piano. Her program begins with Schubert’s Fantasy in C Major for<br />
Violin and Piano D934, another masterpiece from the last year of the<br />
composer’s life, and moves through Lutoslawski’s Partita, commissioned<br />
by Pinchas Zukerman in 1985, before concluding with Fauré’s<br />
ever-popular Violin Sonata No.1. Frang began her musical education<br />
at four, played Sarasate’s Carmen Fantasy with the Oslo Philharmonic<br />
Orchestra, conducted by Mariss Jansons, when she was barely 13,<br />
and was thrust into the limelight when she was named Credit Suisse<br />
Young Artist of the Year in 2012. A recording contract and worldwide<br />
touring were the result.<br />
It’s illuminating to hear both violinists talking about inspiration<br />
and interpretation in interviews readily available in cyberspace. Skride<br />
told Tobias Fischer (on Tokali.com April 20, 2006) that interpretation<br />
“means giving my opinion to the audience, while at the same time<br />
respecting what the composer might have wanted. It’s a combination<br />
of my personal beliefs and the composer’s probable intent.” Her interpretive<br />
process, she continued, is “almost always emotional. Of course,<br />
there are certain things you have to know about and naturally you do<br />
get your facts straight while preparing. But 99 percent is intuition,<br />
absolutely.” Her approach to performing live is “simply giving everything<br />
you have in that very moment.”<br />
In a YouTube video biography made shortly after her Credit<br />
Suisse honour, while soaring on her violin in rehearsal for Bruch’s<br />
Violin Concerto No.1 with Jakub Hrůša and the Philharmonia<br />
Orchestra, Frang spoke of the importance she places on trusting<br />
her instincts, how it’s crucial to take in things and let yourself be<br />
inspired. “Inspiration is really the most important thing,” she said. “I<br />
use my instrument as a tool [to transform inspiration]. Whether you<br />
hear Dietrich Fischer-Dieskau, a wonderful horn solo or the sound of<br />
the sea, it’s something you can actually work with.”<br />
Later that year, on August 1, 2012, Frang spoke with Laurie Niles<br />
of violinist.com about what brought her to the violin. “My father is<br />
a double bass player, and my sister is also a double bass player – my<br />
mother isn’t a musician, actually. But I watched my sister play in<br />
youth orchestras, when I was small, and obviously I thought I was the<br />
next one in line, in the double basses family! To me it was a natural<br />
thing, but then my father made this argument: our family had a<br />
Volkswagen, which was a very tiny car. He said, ‘Can you imagine,<br />
when we go on holiday, with three double basses? There is no chance<br />
the whole family will get space in the car!’<br />
“So he made me a smaller instrument. It was made of cardboard<br />
– there were no strings on it. So I could put my Little Twin Star<br />
stickers on it, and Hello Kitty stickers – but the fact that it didn’t make<br />
any sound – I found this to be very frustrating! I had to ‘play’ on it<br />
for almost a year until I finally got a violin which was alive, which<br />
made sound.<br />
“I remember the moment I got the violin that was real, that was<br />
really living and alive – I’ve never practised so inspired in all my life, as<br />
I did the first couple of days with that violin! I was in seventh heaven,<br />
I was so happy.”<br />
16 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
MARCO BORGGREVE<br />
Niles asked<br />
Frang, who began<br />
with the Suzuki<br />
method, how<br />
she connected<br />
with Anne-Sophie<br />
Mutter (See my<br />
November 2014<br />
column in The<br />
WholeNote for<br />
more on Mutter<br />
and her foundation):<br />
“I first played<br />
for Anne-Sophie<br />
Mutter when I was<br />
11-years-old,” she<br />
said. “After that,<br />
she asked me to<br />
keep her updated,<br />
and she followed<br />
my development.<br />
I kept sending<br />
her recordings<br />
Vilde Frang<br />
and tapes of my<br />
playing, and letters about how I was doing. It was obviously a very<br />
inspirational thing for me, because I knew that she was always there<br />
watching, somewhere. When I was 15, she invited me to Munich to<br />
audition for her again, and then I was taken into her foundation, her<br />
Freundeskreis Stiftung, or Circle of Friends Foundation, and I was also<br />
given this Vuillaume instrument.<br />
“Ms. Mutter has also been a great, great mentor to me over all these<br />
years. I did a tour with her in 2008, and we played in Carnegie Hall<br />
and the Kennedy Center in Washington. I played the Bach Double with<br />
her. Of course, I learned a lot from this experience, not only playing<br />
for her, but playing with her. I think the most important was that she<br />
encouraged me to always trust my own instincts and follow my own<br />
voice. That is her top priority, and that’s the message she wanted to<br />
give, which I think is a wonderful thing.<br />
“But more than any other musician I know, she is extremely focused<br />
on exploring the musical score, in order to get as close as possible<br />
to the composer. Many people might consider her to be very free,<br />
but actually she has the most authentic and strictest approach that I<br />
know of. I think that is why she allows herself to have that amount of<br />
freedom. The more you know the piece and the better you know the<br />
score, the more freedom you actually have yourself.”<br />
Hamelin past and future. Marc-André Hamelin’s Music Toronto<br />
recital on January 5 had a blissful component running through it from<br />
Liszt’s Bénédiction de Dieu dans la solitude to the Schubert Sonata<br />
in B-flat D960 and the well-chosen encore, Messiaen’s Prelude “The<br />
Dove.” For me, this emotional line reached its apex with the sublime<br />
second movement of the Schubert which had a profundity that<br />
reminded me of the last three Beethoven sonatas. There was a serenity<br />
to Hamelin’s playing that was more pronounced than when he played<br />
at Koerner Hall the previous March. At times he seemed to slow the<br />
music just enough that you could feel it palpably.<br />
During the conversation I had with him in November (see my article<br />
in the December 2015-January <strong>2016</strong> issue of The WholeNote), Hamelin<br />
described his relationship with Mendelssohn’s Piano Concerto No.1,<br />
which he will perform with the TSO on <strong>February</strong> 25 and 27. “I learned<br />
it very early,” he told me. “I remember the first time I played it was<br />
with Skrowaczewski and the Montreal Symphony. I believe it was<br />
somewhere like 1990 or ’91. It’s certainly not the deepest piece ever<br />
written but it shows consummate craftsmanship. And it’s also very<br />
entertaining for audiences. And in some ways quite touching.” Louis<br />
Langrée, famous for his stewardship of the Mostly Mozart Festival,<br />
his career blossoming as music director of the Cincinnati Symphony<br />
Orchestra, will conduct.<br />
THE ASSOCIATES<br />
OF THE<br />
TORONTO<br />
SYMPHONY<br />
ORCHESTRA<br />
<strong>2016</strong> SEASON<br />
Monday, <strong>February</strong> 22, <strong>2016</strong>, 7:30 p.m.<br />
Winds of the 20th Century<br />
Carl Nielsen, Jean Françaix, Leoš Janáček<br />
Monday, March 7, <strong>2016</strong>, 7:30 p.m.<br />
Ensembles from the Toronto Symphony<br />
Youth Orchestra<br />
The talented young solo artists and orchestral<br />
musicians of the future, in a varied program.<br />
Monday, April 11, <strong>2016</strong>, 7:30 p.m.<br />
Bow, Brush and Lens<br />
Kye Marshal, Arnold Schoenberg,<br />
Felix Mendelssohn<br />
Monday, May 16, <strong>2016</strong>, 7:30 p.m.<br />
2, 3 and 4<br />
Robert Schumann, Ernst von Dohnányi,<br />
Sergei Prokofiev<br />
Tickets $20, Seniors and Students $17<br />
Trinity-St. Paul’s Centre, 427 Bloor Street West<br />
Box Office 416-282-6636 | www.associates-tso.org<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 17
NORMAN U. TIMONERA<br />
Quick Picks<br />
Feb 4 The last time I heard the Annex<br />
Quartet, they showed their sensitive musicianship<br />
supporting Jan Lisiecki in the chamber<br />
versions of Beethoven’s Piano Concertos Nos. 2<br />
and 4. Their solid Music Toronto recital includes<br />
string quartets by Janáček, R. Murray Schafer<br />
and Mendelssohn. Feb 18 The irrepressible<br />
St. Lawrence String Quartet makes its annual<br />
visit to Music Toronto with works by Haydn,<br />
Samuel Adams and Schumann. Mar 1 The distinguished<br />
British pianist Steven Osborne performs<br />
two Schubert Impromptus D935 (fresh from his<br />
Steven Osborne<br />
sparkling new Schubert CD) and a selection of<br />
Debussy and Rachmaninoff, in his Music Toronto return.<br />
Feb 5 Conductor Eric Paetkau’s contagious energy and musicianship<br />
guide the eclectic group of 27 in Finzi’s bucolic A Severn<br />
Rhapsody and a trio of French works including Dubois’ Cavatine for<br />
Horn featuring the TSO’s Gabe Radford. The dynamic Nadina Mackie<br />
Jackson is the bassoon soloist in the world premiere of Paul Frehner’s<br />
Apollo X.<br />
Feb 11 An ingenious piece of animation, The Triplets of Belleville<br />
is filled with cultural references that fly by with terrific panache,<br />
Sylvain Chomet’s 2003 film has rightly become a classic. Composer<br />
Benoît Charest leads Le Terrible Orchestre de Belleville in the live<br />
performance of his infectious, original score for the film (rooted in<br />
1930s vaudeville/jazz) accompanying this special screening at Roy<br />
Thomson Hall.<br />
Feb 12 Cellist Rachel Mercer follows up her well-received CD of<br />
Bach’s unaccompanied cello suites with an exciting concert of music<br />
for solo cello at Gallery 345, beginning with one of those Bach suites.<br />
Mercer then moves from Cassadó’s early 20th century suite to contemporary<br />
pieces by Andrew Downing and the world premiere of Darren<br />
Sigesmund’s Solo Suite.<br />
Feb 13 Celebrate the Year of the Monkey<br />
with the TSO as the great violinist Maxim<br />
Vengerov is the soloist in the Butterfly Lovers<br />
Concerto. Long Yu, artistic director of the<br />
China Philharmonic Orchestra and music<br />
director of the Shanghai Symphony Orchestra,<br />
conducts. Feb 22 The Associates of the TSO<br />
present works by Françaix, Janáček and<br />
Brahms for various combinations of flute,<br />
oboe, horn, bassoon and two clarinets. Mar 2<br />
Seven soloists from the TSO’s ranks (including<br />
the ubiquitous Teng Li) showcase their talents<br />
when the TSO presents music by Paganini,<br />
Vivaldi and Haydn (his elegant and tuneful<br />
Sinfonia Concertante in B-flat Major for the unusual combination of<br />
soloists, violin, cello, oboe and bassoon).<br />
Feb 17 The hip, Brooklyn-based orchestral collective, The Knights,<br />
make their Koerner Hall debut, joined by violinist Gil Shaham, whose<br />
warm playing should illuminate Prokofiev’s Violin Concerto No.2, in<br />
all its angularity and dark beauty. Feb 26 Koerner Hall gives us the<br />
rare gift of hearing violinist Christian Tetzlaff, his sister, cellist Tanja<br />
Tetzlaff and pianist Lars Vogt performing piano trios by Schumann,<br />
Dvořák and Brahms. Richard Haskell praised them in these pages<br />
last September for their “conducive music-making in the three<br />
Brahms piano trios.” Andras Schiff’s monumental Feb 28 recital in<br />
Koerner Hall is sold out. Those lucky enough to have tickets (myself<br />
included) can look forward to a program memorable for its inclusion<br />
of the final piano sonatas by Haydn, Beethoven, Mozart and<br />
Schubert. Mar 4 Much-in-demand (especially since she received the<br />
Avery Fisher Career Grant in 2008) Canadian violinist, Karen Gomyo,<br />
teams up with well-regarded cellist, Christian Poltéra, and talented<br />
young Finnish pianist, Juho Pohjonen, to perform trios and sonatas by<br />
18 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Black<br />
CMYK<br />
Pantone<br />
an Ontario government agency<br />
un organisme du gouvernement de l’Ontario<br />
Haydn, Janáček and Dvořák. All four of these events are presented by<br />
the Royal Conservatory.<br />
Feb 19 The charming Trio Arkel (TSO members violist Teng Li and<br />
cellist Winona Zelenka, COC concertmaster Marie Bérard) move into<br />
their new venue, Jeanne Lamon Hall at Trinity-St. Paul’s Centre, with<br />
a program including Gubaidulina’s exhilarating String Trio, Kodály’s<br />
Serenade for Two Violins and Viola and Beethoven’s glorious Quintet<br />
for Strings, Op.29 “The Storm.” Joining them for this and a repeat<br />
concert in London, Feb 29, presented by the UWO Don Wright Faculty<br />
of Music, will be violinist Scott St. John and violist Sharon Wei.<br />
Feb 20 Also in London, Jeffery Concerts presents the awardwinning<br />
cellist Yegor Dyachkov and longtime chamber music partner,<br />
pianist Jean Saulnier, in works by Brahms, Schumann and Janáček.<br />
Feb 23 Charles Richard-Hamelin, who finished second in last year’s<br />
prestigious Chopin competition in Warsaw, will give a COC free noonhour<br />
concert of a selection of Chopin’s last piano works at the Richard<br />
Bradshaw Amphitheatre. Based on his thrilling performance of<br />
Chopin’s Sonata No.3 at Mazzoleni Hall on January 15, I urge you not<br />
to miss it.<br />
Mar 3 The Women’s Musical Club of Toronto’s talent-laden season<br />
continues with the widely acclaimed Daedalus String Quartet<br />
performing Sibelius’ String Quartet in D Minor “Voces Intimae”<br />
Op.56. Montreal native, clarinetist Romie de Guise-Langlois, joins<br />
them in James MacMillan’s powerful lament, Tuireadh, and Brahms’<br />
sublime Clarinet Quintet in B Minor Op.115.<br />
Paul Ennis is the managing editor of The WholeNote.<br />
118 TH SEASON<br />
15<br />
MUSIC IN THE 16<br />
AFT E R NOON<br />
W O M E N ’ S M U S I C A L C L U B O F T O R O N T O<br />
ARTISTIC DIRECTOR: SIMON FRYER<br />
Walter Hall, Faculty of Music, University of Toronto (Museum Subway Station)<br />
MARCH 3, <strong>2016</strong> | 1.30 PM<br />
DAEDALUS STRING QUARTET<br />
Min-Young Kim and Matilda Kaul, violins; Jessica Thompson, viola;<br />
Thomas Kraines, cello with Romie de Guise-Langlois, clarinet<br />
APRIL 7, <strong>2016</strong> | 1.30 PM<br />
DANNTHOLOGY<br />
Steven Dann, viola;<br />
with: Nico Dann, percussion; Robin Dann, voice; Lucas Dann, piano;<br />
Ilana Zarankin, soprano; Joel Quarrington, double bass; James Parker, piano<br />
MAY 5, <strong>2016</strong> | 1.30 PM<br />
PAVEL KOLESNIKOV<br />
Honens Prize Laureate, piano<br />
Three Concerts for $110 | For information and to subscribe call 416-923-7052<br />
All artists, dates, and programmes are subject to change without notice.<br />
Support of the Ontario Arts Council, an agency of the Government of Ontario, and<br />
the City of Toronto through the Toronto Arts Council is gratefully acknowledged.<br />
PRESENTED BY<br />
Don’t miss Scotland’s most<br />
celebrated conductor and composer<br />
SIR JAMES<br />
MACMILLAN<br />
across Ontario this March!<br />
“A towering<br />
performance…<br />
a conductor of<br />
daunting ability.”<br />
– Sunday Times<br />
James MacMillan: Seven Last Words from the<br />
Cross and The Gallant Weaver. Plus works by<br />
R. Murray Schafer, James Rolfe, and Knut Nystedt.<br />
SOUNDSTREAMS<br />
The Music of James MacMillan featuring Choir <strong>21</strong><br />
March 8 at 8pm<br />
Trinity-St. Paul’s Centre, Toronto<br />
soundstreams.ca<br />
Isabel Bader Centre<br />
for the Performing Arts<br />
Featuring Choir <strong>21</strong><br />
March 4 at 7:30pm<br />
The Isabel<br />
Kingston<br />
theisabel.ca<br />
ONTARIO TOUR<br />
University of Waterloo<br />
Featuring the Grand<br />
Philharmonic Choir<br />
March 6 at 3pm<br />
St. Peter’s Lutheran Church<br />
Kitchener<br />
grandphilchoir.com<br />
wmct@wmct.on.ca www.wmct.on.ca 416-923-7052<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 19
Beat by Beat | In With the New<br />
New Music’s<br />
Healthy Crop<br />
Brett Dean<br />
WENDALYN BARTLEY<br />
Despite chilly temperatures outside, the accumulation of new<br />
music events occurring in both Toronto and the main cities of<br />
southern Ontario, in <strong>February</strong> and early March, can be likened<br />
to a pot of water coming to a vigorously rolling boil. Bookending the<br />
dates covered by this issue are two major new music festivals – the<br />
University of Toronto’s New Music Festival (January 30 to <strong>February</strong> 7)<br />
and the Toronto Symphony’s New Creations Festival, opening March 5<br />
and concluding on March 16. Since these festivals straddle the listings<br />
period, let’s begin with them, for those readers ready to jump in early<br />
in <strong>February</strong> and for those who are planning well ahead for March.<br />
U of T New Music Festival: As was previously mentioned in the<br />
December-January issue of The WholeNote, the highlight of this<br />
year’s U of T New Music Festival is the opportuniuties it presents to<br />
experience the music of Canadian composer Allan Gordon Bell from<br />
Calgary, as well as one concert featuring music of his former students.<br />
A key aspect of Bell’s compositional approach is the way he maps<br />
his listening experiences of the Canadian soundscape to the acoustic<br />
world of instruments, whether that be orchestra, string quartet, opera<br />
or jazz ensembles.<br />
It also has a fine crop of workshops, master classes and guest<br />
lectures, so I suggest perusing the listings and the festival website for<br />
the full scope of what is to be experienced. (The Land’s End Ensemble<br />
will also be performing a concert of works by Allan Bell and Omar<br />
Daniel on <strong>February</strong> 5 at Western University in London.)<br />
New Creations: Jumping ahead into March, it’s not too early to take<br />
a peek into the upcoming New Creations Festival. This year’s featured<br />
guest is Australian composer, violist and conductor, Brett Dean, who<br />
is currently artist-in-residence with the Sydney Symphony Orchestra.<br />
Dean spent a good part of his career in Europe playing viola for 14<br />
years in the Berlin Philharmonic, eventually turning to composition<br />
as he approached the age of 40. One of his signature works – his Viola<br />
Concerto – will be performed by the composer at the opening concert<br />
on March 5. Festivalgoers will hear two additional orchestral works<br />
composed by Dean, along with a piece by fellow Australian Anthony<br />
Pateras. Local DJ legend Skratch Bastid, who appeared last May at the<br />
<strong>21</strong>C festival, will be performing, along with the Afiara String Quartet<br />
in a commissioned work by Kevin Lau; Bastid has also been commissioned<br />
to create a Festival Remix for the final concert on March 12.<br />
The festival will also offer a world premiere collaboration between<br />
composer Paul Frehner and filmmaker Peter Mettler, a composition by<br />
Australian James Ledger that pays tribute to Anton Webern and John<br />
Lennon, and a piece by Jonny Greenwood of the iconic English rock<br />
group, Radiohead. A more in-depth look at some of these artists and<br />
concerts will appear in the March issue.<br />
Pick of the Crop: <strong>February</strong> offers a broad scope for aficionados of<br />
new music no matter what your stylistic preferences may be.<br />
These early weeks of <strong>2016</strong> have seen the passing of several iconic<br />
creative people from various artistic fields, among them French<br />
composer and conductor Pierre Boulez, whose artistic ideas changed<br />
the course of 20th century music. Boulez’s legacy will be celebrated in<br />
a New Music Concerts program on <strong>February</strong> 15.<br />
At the other end of the new music spectrum, the Art of Time<br />
Ensemble offer a concert on <strong>February</strong> 19 and 20 that focuses on the<br />
music of Frank Zappa, a musician whose work ranged from rock to<br />
orchestral to musique concrète.<br />
Somewhere in between, stylistically, Soundstreams has chosen to<br />
highlight music for instruments of the squeezebox family for their<br />
<strong>February</strong> 10 concert. This includes the accordion, the Argentinian<br />
bandoneón and the Korean saenghwang, each performed by virtuosic<br />
performers, such as Toronto’s own Joe Macerollo and Héctor del<br />
Curto from Argentina, playing compositions by several Canadian<br />
composers. R. Murray Schafer’s work, La Testa d’Adriana for soprano<br />
and accordion, for one example, features the spectacle of only the<br />
head of Adriana sitting on a table as she sings in interaction with the<br />
accordionist.<br />
Going Home Star: The Royal Winnipeg Ballet along with the<br />
Winnipeg Symphony Orchestra is making a visit to the Sony Centre on<br />
<strong>February</strong> 5 and 6 to perform a new work entitled Going Home Star –<br />
Truth and Reconciliation, ballet, written by Joseph Boyden based on<br />
stories that emerged during the Truth and Reconciliation Commission<br />
tour of indigenous communities.<br />
Contradictory as it may seem to use the European art forms of ballet<br />
and orchestra to tell these stories, the creative team has worked to<br />
bring aspects of indigenous culture into the overall mix in order to<br />
push the boundaries of the form. With a score composed by Christos<br />
Hatzis, the music includes the powerhouse vocals of Tanya Tagaq as<br />
well as the Northern Cree Singers. Tagaq’s experimentalist approach to<br />
traditional Inuit throat singing combines the influences of electronica<br />
and industrial music to create an unforgettable experience. (Looking<br />
ahead to May, Tagaq will be one of the featured artists of the upcoming<br />
<strong>21</strong>C festival – but more on that in a couple of issues’ time.)<br />
Roundup: The Music Gallery presents their second Emergents<br />
concert of the season on <strong>February</strong> 5 with saxophone improvisations<br />
by Linsey Wellman and a song cycle by composer Lisa Conway, based<br />
on myths from Ovid’s Metamorphoses. The literary theme continues<br />
the next evening on <strong>February</strong> 6 with Spectrum Music’s concert<br />
featuring works by members of their composer collective based on<br />
modern literary gems, including one work by Brad Cheesman inspired<br />
by the novel Infinite Jest, written by the acclaimed American author<br />
David Foster Wallace. On <strong>February</strong> 12, the Thin Edge New Music<br />
Collective performs a series of premieres by both Canadian and international<br />
composers at the Array Space. And on March 6, they will<br />
be performing in a pop-up afternoon concert there. Now in their<br />
fifth year, Thin Edge is currently in the midst of their ensemblein-residence<br />
stint at Arraymusic, which will continue into next<br />
season as well.<br />
The Array Space is flourishing as a home for improvisers, with<br />
several opportunities in <strong>February</strong> for fans of this scene to check<br />
it out, including Audiopollination on <strong>February</strong> 13, coexisDance<br />
on <strong>February</strong> 20, and various Toronto improvisers appearing on<br />
<strong>February</strong> 16, 19 and 28. In this vein, I want to also mention two<br />
Improv Soirées at York University on <strong>February</strong> 11 and March 3.<br />
Mixed repertoire: A sure sign of the flourishing new music scene<br />
is the increasing appearance of new music within concerts of more<br />
standard classical repertoire and there are several examples of this<br />
in <strong>February</strong>. The group of 27 chamber orchestra performs the world<br />
premiere of Paul Frehner’s bassoon concerto, Apollo X on <strong>February</strong> 5.<br />
The Junction Trio will perform new works by Ron Korb on <strong>February</strong> <strong>21</strong><br />
and by Stephanie Martin on March 6. Music Toronto performs a work<br />
by Schafer on <strong>February</strong> 4 and music by Oskar Morawetz can be heard<br />
performed by Adam Sherkin on March 3.<br />
20 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
And then there is the Off Centre Music Salon, an organization with<br />
a tradition of providing opportunities for different musical traditions<br />
to dialogue and engage. Their concert on <strong>February</strong> 25 at the Music<br />
Gallery, inspired by the friendship between Vladimir Horowitz and Art<br />
Tatum, will pit jazz and classical pianists against each other, as well as<br />
singers from the improv, indie-folk and classical traditions.<br />
To close things off, there is new music happening in concerts in<br />
various southern Ontario cities throughout the period, many of<br />
which also combine the new with the traditional. On <strong>February</strong> 6,<br />
the Hamilton Philharmonic Orchestra performs A Thousand Natural<br />
Shocks by Kelly-Marie Murphy. This concert also marks the debut<br />
of the HPO’s conductor and music director, Gemma New. The Isabel<br />
Bader Centre for the Performing Arts in Kingston presents Scottish<br />
composer James MacMillan’s piece Seven Last Words of Christ as well<br />
as Schafer’s The Fall into Light on March 4. The electroacoustic music<br />
of Adam Tindale will be featured at the Kingston Community Strings<br />
concert on <strong>February</strong> 19. The Peterborough Symphony Orchestra will<br />
perform the violin concerto Erika’s Violin written by Elizabeth Raum<br />
and performed by her daughter Erika on <strong>February</strong> 6.<br />
In the Kitchener/Waterloo/Guelph area there are several concerts.<br />
As part of their Mix Series, NUMUS presents emerging pianist Jason<br />
White on <strong>February</strong> <strong>21</strong> performing Rzewski’s De Profundis as well as<br />
a world premiere by Colin Labadie. Two members of the junctQín<br />
Keyboard Collective will perform works by Canadian composers<br />
Emily Doolittle and Martin Lachance on <strong>February</strong> 24 as part of the KW<br />
Chamber Music Series.<br />
And finally, if you are a fan of the theremin, an early electronic<br />
music instrument, two early-month concerts on <strong>February</strong> 3 at the<br />
University of Waterloo and on <strong>February</strong> 4 at Guelph University will<br />
give you an opportunity to hear this music as performed by Eric Ross<br />
with video art by Mary Ross.<br />
Wendalyn Bartley is a Toronto-based composer and electrovocal<br />
sound artist. sounddreaming@gmail.com.<br />
FEBRUARY <strong>21</strong>, <strong>2016</strong> @ 3 PM<br />
sponsored by ANNA & LESLIE DAN<br />
FEBRUARY 25, <strong>2016</strong> @ 8 PM<br />
OFF CENTRE dérangé<br />
- F. SCOTT FITZGERALD<br />
TRINITY ST. PAUL’S CENTRE<br />
427 Bloor Street West<br />
featuring<br />
ALLISON ANGELO<br />
JOSEPH MACEROLLO<br />
INNA PERKIS<br />
JIMMY ROBERTS<br />
KRISZTINA SZABO<br />
JAMES WESTMAN<br />
BORIS ZARANKIN<br />
JULIA ZARANKIN<br />
THE MUSIC GALLERY<br />
197 John Street<br />
Beat by Beat | Early Music<br />
Who Says It’s Too<br />
Late for Early?<br />
DAVID PODGORSKI<br />
Dare one ask if there will come a time in music history when the<br />
historically informed performance practice advocated by the<br />
early music movement becomes no longer necessary? Devotees<br />
of capital-C classical music may well wonder why the early music<br />
revival is so preoccupied with bringing back minor composers from<br />
the 17th and 18th centuries, but stops, officially, with the death of<br />
Bach in 1750.<br />
It’s a worthwhile question to ask: there were, after all, treatises<br />
on musical practice, like those beloved by the early music movement,<br />
written well into the 19th century; and the instruments of a<br />
Romantic-era orchestra were no more significantly different from<br />
those of their predecessors as they are from an an orchestra of today.<br />
Fans of Tafelmusik, for example, might once in a while dare to<br />
whisper, given the group’s near-canonic range of orchestral literature,<br />
that the group should take on more conventionally classical repertoire<br />
for a symphony orchestra. And indeed, they sometimes do. This<br />
month, as an example, Tafelmusik is giving the concertgoing public<br />
the opportunity to hear an early music take on the Classical and<br />
Romantic eras. Hopefully they will both bend the ears of a few traditionalists<br />
with a rare foray into 19th century repertoire that features<br />
works by Brahms, Beethoven and Rheinberger, and will offer a fresh<br />
take on the works in question for hard core classicists more accustomed<br />
to hearing the same repertoire kicked to death by over-large<br />
orchestras in unforgivingly large halls. If there’s an early music group<br />
in Toronto that’s qualified to take on Romantic repertoire, Tafelmusik<br />
is it – the group cut its teeth on Haydn and Mozart in the early ’90s,<br />
making it the most forward-leaning ensemble on the Toronto early<br />
music scene.<br />
Tafelmusik’s concert, on <strong>February</strong> 4 through 7 at Koerner Hall,<br />
features German conductor Bruno Weil, who has been leading the<br />
group through the Beethoven piano concertos and symphonies since<br />
1996, and is now back to complete the cycle with a performance of<br />
the Ninth Symphony. While it’s easy to dismiss Beethoven’s Ninth<br />
as the warhorse of orchestral concert programs (who can’t hum the<br />
Ode to Joy?), it’s not often that one gets to hear it done by a period<br />
ensemble on classical instruments. From a performance practice<br />
A Gala of Song<br />
co-presented with THE MUSIC GALLERY<br />
- V. HOROWITZ<br />
featuring CHRISTINE DUNCAN<br />
LUCY FITZGIBBON<br />
ALEX LUKASHEVSKY<br />
RYAN MACEVOY MCCULLOUGH<br />
MYRIAD3<br />
TO ORDER TICKETS, please call 416.466.1870<br />
offcentremusic.com<br />
Feb. 28th,<br />
7:30pm<br />
featuring<br />
past & present<br />
TSP soloists,<br />
including soprano<br />
Jane Archibald<br />
Mary Lou Fallis, host<br />
Trinity-St. Paul’s Centre<br />
trinitystpauls.ca<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | <strong>21</strong>
JEAN BAPTISTE MILLOT<br />
perspective, The Ninth is also the<br />
gateway to the 19th century, and<br />
the choral works chosen to accompany<br />
it in this program complement<br />
Beethoven’s final symphony<br />
perfectly. Brahms’s chromatic,<br />
fugal Warum ist das Licht gegeben<br />
and Rheinberger’s beautifully<br />
imitative Abendlied are both<br />
delightful to listen to and entirely<br />
appropriate for an early music<br />
group – Brahms’ well-known<br />
penchant for trying to compose in<br />
the style of Bach is quite evident<br />
here, and the Rheinberger sounds<br />
like a Palestrina motet updated for a<br />
19th-century audience.<br />
Weil is also a fine conductor with the unique ability to straddle<br />
both early music and modern territory deftly. Having him back to<br />
conduct the Ninth in order to complete the Beethoven cycle celebrates<br />
a particularly successful artistic collaboration between the conductor<br />
and the orchestra. Who knows? Maybe we will see Weil next year<br />
conducting Tafelmusik in a Schubert or Brahms symphony.<br />
If you miss this particular orchestral extravaganza, you might<br />
still want to catch Tafelmusik’s other concert later this month. Like<br />
the earlier concert, it features the group doing orchestral repertoire<br />
that stretches hard-line early music definitions; this time Mozart,<br />
not Beethoven, is the evening’s dedicatee. The Romanian violinist<br />
Mira Glodeanu will return to lead the group in a concert of Mozart’s<br />
greatest hits – including Eine kleine Nachtmusik, Symphony No.<br />
40 and his Sinfonia Concertante. It should be a worthwhile evening<br />
for similar reasons to the Beethoven concert – like Weil, Glodeanu is<br />
a gifted musician with an ear for Classical repertoire, and it will be<br />
interesting to see what kind of performance she can pull out of the<br />
Mira Glodeanu returns to lead Tafelmusik <strong>February</strong> 25 to 28<br />
ensemble. And once more, it’s a<br />
chance to hear an early music take<br />
on some orchestral standards by<br />
a group that will do a first-class<br />
job. Maybe that’s why Tafelmusik<br />
keeps getting mistaken for the<br />
TSO. You can catch Tafelmusik<br />
doing Mozart at their more usual<br />
venue, Trinity-St. Paul’s Centre,<br />
<strong>February</strong> 25 to 28.<br />
The Way of the Consort: It’s been<br />
16 years since the Toronto Consort<br />
released their medieval album The<br />
Way of the Pilgrim, and if you’ve<br />
never heard the disc before, you’ll<br />
get a chance to hear it in concert<br />
<strong>February</strong> 12 and 13. The Consort is<br />
re-releasing the album this month on the Toronto-based independent<br />
label Marquis records, and celebrating the occasion with a concert/<br />
CD-release-party at Trinity-St. Paul’s on <strong>February</strong> 12 and 13 at 8<br />
pm. The Way of the Pilgrim features songs from the 12th and 13th<br />
centuries, from Spain, France and Germany, sung by crusaders, travellers,<br />
and yes, pilgrims to the Holy Land. The Way of the Pilgrim<br />
became something of a seminal album after its release in 2000, and it<br />
ranks as one of the best recordings of medieval music by a Canadian<br />
group, so it’s good to see that the Consort is giving the disc some<br />
publicity as well as a live performance.<br />
Scaramella pardessus: The social conventions around what is<br />
considered appropriate behaviour often seem confusing to outsiders<br />
or succeeding generations. In the ultra-conservative conformity<br />
of 18th-century France, it was apparently considered unladylike<br />
behaviour for a woman to hold a violin on her shoulder, or worse,<br />
under her chin. The elegant solution the French came up with was<br />
the pardessus de viole, a miniature version of the viola da gamba<br />
that could play music in the same register as the violin while being<br />
held daintily in the lap. On March 5 at 8pm in the Victoria College<br />
Chapel Scaramella pays tribute to this eccentric instrument with a<br />
concert of French music composed just for the pardessus de viole.<br />
Montreal-based gambist Mélisande Corriveau joins New York harpsichordist<br />
Eric Milnes and Toronto’s own Jöelle Morton for a concert of<br />
French 18th-century music. An excellent chance to hear a rare instrument<br />
played by a virtuoso, so be sure to check it out.<br />
Pisendel: Sometimes you can judge someone by the company he<br />
keeps. We might not appreciate the music of Johann Georg Pisendel<br />
very much today, but the Dresden composer and orchestra leader was<br />
a colleague and friend to a galaxy of talent in 18th century Germany<br />
and Italy, including Bach, Vivaldi, Telemann, Zelenka, JG Graun … you<br />
get the idea. Although Pisendel was more of a bandleader and violinist<br />
than a composer – he left us with just a handful of violin concertos,<br />
orchestral works and sonatas – he had the good fortune to be a musician<br />
in a city where culture counted for a lot. His employer, Augustus<br />
the Strong, may well rank as the most extravagant man in history, and<br />
spent lavishly on cultural events ranging from court balls, Venetianinspired<br />
masquerades, and animal-tossing contests (?) in order<br />
to entertain a wide succession of mistresses, to a court orchestra,<br />
directed by Pisendel and paid for by Augustus, which was one of the<br />
finest, and largest, in Europe. On <strong>February</strong> 28 at 2 pm at Gallery 345,<br />
my group, Rezonance, presents a concert of some of the finest music<br />
of the late Baroque, all dedicated to a man who was one of the greatest<br />
conductors of his day. If I may be permitted to blow my own (modern)<br />
horn for a moment, Rezonance is an energetic ensemble that features<br />
up-and-coming talent in the city playing insightful and interesting<br />
concert programs. If you’re interested in an informal, fun concert of<br />
chamber music, this concert promises to be both informative and<br />
entertaining.<br />
David Podgorski is a Toronto-based harpsichordist, music<br />
teacher and a founding member of Rezonance. He can<br />
be contacted at earlymusic@thewholenote.com.<br />
22 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Beat by Beat | Choral Scene<br />
The Power of<br />
Raised Voices<br />
BRIAN CHANG<br />
“Ballet cuts right to the heart of what’s most beautiful, physically<br />
in humanity and what’s most beautiful in story. We are taking a<br />
very European form and introducing it to a First Nations experience.”<br />
– Joseph Boyden<br />
A<br />
remarkable moment in history arrived on December 15,<br />
2015, when the Truth and Reconciliation Commission of<br />
Canada presented its final report on the dark history of Indian<br />
Residential Schools. Beginning in 2008 the TRC has gathered testimony<br />
from 6,000 survivors of, and witnesses to, a 120-year legacy<br />
of institutional racism, neglect and destruction. The report makes 94<br />
specific calls to action to help create a better future and to acknowledge<br />
and repair the damages of the past and present. The Royal<br />
Winnipeg Ballet’s production of Going Home Star – Truth and<br />
Reconciliation, which is being presented in Toronto at the Sony Centre<br />
for three performances on <strong>February</strong> 5 and 6, can be seen as a swift<br />
response to this call for action.<br />
With the support of the TRC of Canada, the Royal Winnipeg Ballet<br />
commissioned a story by author Joseph Boyden to be set to music by<br />
composer Christos Hatzis and choreographed by Mark Godden for<br />
the RWB’s 75th anniversary. In this story, Boyden, the Giller Awardwinning<br />
author of Through Black Spruce, brings together Annie,<br />
“a young, urban First Nations woman adrift in a contemporary life<br />
of youthful excess,” and Gordon, “a homeless First Nations man<br />
who escaped the Residential School system … [who] possesses the<br />
magic and power of the trickster.” Accompanying the RWB is the<br />
the Winnipeg Symphony Orchestra. Vocal music is provided by the<br />
incredible Tanya Tagaq, Steve Wood and the Northern Cree Singers,<br />
with Tagaq’s voice as an ancestral presence, powering Annie’s story<br />
and her reconnection to history. The power of voices joined in song<br />
is also there in the show, with the Pow Wow of the Northern Cree<br />
Singers bringing the final scene of the first act to its culmination,<br />
with wild drumming creating the sound of a train. The music is truly<br />
invigorating.<br />
The show’s composer, two-time JUNO Award recipient Christos<br />
Hatzis, is no stranger to working with Aboriginal peoples, having<br />
spent considerable time producing music inspired by the Inuit,<br />
including the award-winning radio documentary Footprints in the<br />
Liang Xing and Sophia Lee in Going Home Star – Truth and Reconciliation<br />
Snow. During the year he spent working on the music for Going<br />
Home Star, he developed anxiety and was briefly hospitalized as he<br />
came to terms with the difficult stories that inform the work. It is no<br />
light undertaking. As Boyden says “[It’s] a way to allow Canadians to<br />
begin to understand something of such huge pain [and] … to absorb<br />
not just the pain and the anger but the beauty as well.”<br />
It’s a thought mirrored in the TRC report itself: “Residential<br />
schools were a systematic, government-sponsored attempt to destroy<br />
Aboriginal cultures and languages and to assimilate Aboriginal<br />
peoples so that they no longer existed as distinct peoples …. Across the<br />
globe, the arts have provided a creative pathway to breaking silences,<br />
transforming conflicts, and mending the damaged relationships of<br />
violence, oppression, and exclusion.”<br />
I will be in the audience for Going Home Star – Truth and<br />
Reconciliation, and I hope you will be too.<br />
Klang der Ewigkeit: I am a big fan of cross-disciplinary music<br />
collaborations, so I’m very excited to see the Orpheus Choir/Chorus<br />
Niagara presentation of the Canadian premiere of German filmmaker<br />
Bastian Clevé’s 2005 film, Klang der Ewigkeit (Sound of Eternity), a<br />
multimedia presentation of the Bach Mass in B Minor. Consisting of<br />
27 short episodes inspired by the 27 movements of the mass, Clevé’s<br />
scenescapes were filmed across the globe from Germany to Morocco,<br />
India to the United States. Originally created for Helmuth Rilling<br />
at the Bach Oregon Festival, the setting was controversial since the<br />
B Minor Mass is beloved by many and thought to be perfect in its<br />
existing form. But crossing the lines between music and visual art is<br />
not new. Another current example, The Decades Project, unites the<br />
Toronto Symphony Orchestra and the Art Gallery of Ontario in an<br />
exploration of the ways in which visual art has inspired music and<br />
music has inspired visual art. Earlier this year the presentation of<br />
Claude Debussy’s La Mer accompanied an impressionist painting by<br />
VINCE PAHKALA<br />
Lydia Adams,<br />
Conductor & Artistic Director<br />
Love<br />
NotES<br />
❤<br />
Saturday, <strong>February</strong> 20, <strong>2016</strong> • 7pm<br />
Jubilee United Church, 40 Underhill Drive, Toronto<br />
A celebration of Love with jazz favourites by<br />
guest vocalist Sharon Smith and friends.<br />
Please join us for entertainment,<br />
food, and fun at our annual fundraising<br />
concert and silent auction.<br />
TICKETS: $45 REGULAR |<br />
$35 STUDENTS/SENIORS<br />
416-446-0188 • www.amadeuschoir.com<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 23
Armand Guillaumin at the AGO.<br />
The Orpheus Choir, along with Chorus<br />
Niagara, performs Klang der Ewigkeit<br />
with the Talisker Players on March 5 at<br />
FirstOntario Performing Arts Centre<br />
in St. Catharines and on March 6 at<br />
Metropolitan United Church in Toronto.<br />
In the (not very) bleak midwinter:<br />
There is so much happening in choral<br />
music the first weekend of <strong>February</strong>,<br />
you’ll be hard-pressed to choose:<br />
Tafelmusik’s epic journey to record<br />
every Beethoven symphony comes to<br />
a head with the most thrilling of them<br />
all – Beethoven’s Symphony No.9. As<br />
Beethoven’s last symphonic work, and<br />
largely, his most popular, Tafelmusik’s<br />
Choir and Orchestra will fill Koerner Hall with unforgettable music in<br />
four performances beginning <strong>February</strong> 4.<br />
On <strong>February</strong> 6, the Toronto Mass Choir, under director Karen Burke,<br />
will be presenting a concert in collaboration with the Toronto Jazz<br />
Orchestra at Bloor Street United Church at 7:30pm. (And if you miss<br />
Mass Choir then, you can catch them later in the month when, along<br />
with York University, they will be hosting “Power Up,” a gospel music<br />
workshop. With workshops ranging from Introduction to Steelpan<br />
to Choir 101 to instrument coaching to dance, this three-day intensive<br />
event runs <strong>February</strong> 19 to <strong>21</strong>, finishing with a concert at Islington<br />
Evangel Centre. With live instruments and well over 100 singers, the<br />
Toronto Mass Choir will definitely raise the roof.)<br />
Also on <strong>February</strong> 6, the Mississauga Festival Choir presents its<br />
annual “Festival of Friends.” Ten years on, this concert has raised<br />
$25,000 for local charities, this year’s beneficiary being Alzheimer<br />
Society Peel. Six choirs will be featured including the very wellknown<br />
Cawthra Park Secondary School Boys in B & Chamber Choir,<br />
the Mississauga Festival Chamber Choir, the Mississauga Festival Youth<br />
Choir, the Mississauga Choral Society Chorus and the Queensmen<br />
Male Chorus. Singing en masse and separately, highlights include<br />
Timothy Corlis’ Gloria (Missa Pax), Eric Whitacre’s Water Night and<br />
Stephen Hatfield’s Jabula Jesu.<br />
<strong>February</strong> 7 is even more jam-packed. At 7pm the Victoria College<br />
Choir and the Toronto School of Theology Choir present a free<br />
performance of Vivaldi’s Gloria in the Victoria College Chapel. Earlier<br />
in the day, at 2:30, VOICEBOX: Opera in Concert presents Salieri’s<br />
Falstaff at the Jane Mallett Theatre, with the VOICEBOX Opera in<br />
Concert Chorus ably supporting a fine cast of soloists. Half an hour<br />
later, at 3pm, at Grace Church-onthe-Hill,<br />
the U of T Faculty of Music’s<br />
New Music Festival presents a “Choral<br />
Contemporary Showcase Concert”<br />
featuring the U of T Men’s Chorus and<br />
Women’s Chamber Choir with Hilary<br />
Apfelstadt, Elaine Choi and Tracy Wong<br />
conducting. And at 4pm, the Toronto<br />
Children’s Chorus is presenting a free<br />
outreach concert at St. Paul’s Basilica<br />
on Power St., featuring their Chorale<br />
Choir and Youth Choir; Elise Bradley<br />
and Matthew Otto conduct.<br />
Also of note: Speaking of the Toronto<br />
Children’s Chorus, the TCC Chamber<br />
Choir will be going on tour in Boston and<br />
New York City in early March, performing<br />
with Coro Allegro and the Boston City Singers in Cambridge,<br />
singing in the Choirs of America Nationals and performing at Stern<br />
Auditorium in Carnegie Hall. Before they go, they’ll be warming up<br />
in a concert titled “Poles Apart,” <strong>February</strong> 27 at Yorkminster Park<br />
Baptist Church.<br />
The following day, <strong>February</strong> 28 at 4pm, and right across the road<br />
at Christ Church Deer Park, the Toronto Classical Singers and the<br />
Talisker Players Orchestra present “Fauré’s Requiem and Duruflé’s<br />
Requiem, along with other music these popular pieces have inspired.<br />
Later that same day at 7.30pm, the Schola Cantorum Choir and the<br />
Theatre of Early Music Orchestra present choruses from a variety of<br />
popular masterworks including Bach’s St. Matthew Passion, St. John<br />
Passion and Handel’s Messiah and Israel in Egypt in the Trinity<br />
College Chapel at the University of Toronto.<br />
This being a leap year, there’s an extra day in <strong>February</strong>, and what<br />
better way to celebrate it than with the massive 200-voice Bach<br />
Children’s Chorus, as part of Roy Thomson Hall’s free noon-hour<br />
concerts. These concerts feature the grand organ and are a lovely break<br />
from a day’s work.<br />
And on into March, right at the beginning of the month, the Kaleid<br />
Choral Festival takes place in Kitchener. Under the leadership of<br />
Jennifer Moir, this two-day festival for young voices culminates in a<br />
performance on March 3 in St. Peter’s Lutheran Church, Kitchener.<br />
Artist-in-residence of the festival, Rajaton, will be performing as well.<br />
This small Finnish a cappella group produces music unlike any other<br />
heard in Canada.<br />
A frame from Bastian Clevé’s Klang der Ewigkeit<br />
Follow Brian on Twitter @bfchang Send info/media/<br />
tips to choralscene@thewholenote.com<br />
2015-<strong>2016</strong><br />
Making a<br />
Scene!<br />
Robert Cooper, C.M., Artistic Director<br />
Edward Moroney, Accompanist<br />
SOUND OF ETERNITY Bach Mass in B Minor<br />
Sunday March 6, <strong>2016</strong> 4:30 p.m.<br />
Metropolitan United Church, 56 Queen St E.<br />
Rediscover Bach’s majestic Mass in B Minor with German filmmaker Bastian Clevé’s dramatic<br />
film Sound of Eternity, a lush visual interpretation of Bach’s masterpiece. Mirroring the grand<br />
emotional span of the Mass, Clevé’s 27 short episodes move from alpine mountains to glaciers<br />
to peaceful valleys and pulsating metropolitan cities. A Canadian premiere, this breath-taking<br />
choral and cinematic tour-de-force offers a powerful meditation on the circle of life.<br />
Anita Krause, mezzo • Geoff Sirett, baritone • Jennifer Krabbe, soprano • Charles Sy, tenor<br />
Orpheus Choir • Chorus Niagara • The Talisker Players<br />
an Ontario government agency<br />
un organisme du gouvernement de l’Ontario<br />
Tickets: $35; $30 senior; $10 student<br />
www.orpheuschoirtoronto.com<br />
24 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Beat by Beat | Bandstand<br />
Johnny Cowell<br />
Ninety and Still<br />
Counting!<br />
JACK MACQUARRIE<br />
For most of us the arrival of January heralds the beginning of a<br />
new year or the departure from an old year. For some it marks the<br />
beginning of a new decade in their lives. A few days ago I had the<br />
pleasure of attending the birthday party for one such person. It was<br />
trumpeter Johnny Cowell’s 90th birthday party. Johnny and Joan, his<br />
wife of 60-plus years, were the very special guests.<br />
Johnny has been a prominent part of the Toronto music scene for 70<br />
years. His trumpet playing in Toronto started at age 15 when he travelled<br />
from his home town of Tillsonburg, Ontario, and began playing<br />
in the Toronto Symphony Band. However, there was a war on, and as<br />
soon as he was old enough, he enlisted in the navy. Within weeks of<br />
his enlistment, Johnny was the trumpet soloist in the band of HMCS<br />
Naden, the principal Canadian Navy base in Esquimault, B.C.<br />
As we chatted at his birthday party, I started to wonder if our paths<br />
might have crossed on more than one occasion over the years. After<br />
all, our birthdays are less than a month apart and we both started<br />
playing in bands at an early age. Actually Johnny started when, at age<br />
five, he was given a used trumpet by his uncle. I didn’t start until I was<br />
13. I lived in a larger community than Tillsonburg and, in addition to<br />
adult bands, we had a boys’ band. His first band experience was with<br />
the Tillsonburg Citizens’ Band.<br />
A few months ago I mentioned in this column how small-town<br />
summer-band tattoos were a significant part of a band member’s life.<br />
I had played in many such tattoos in Southwestern Ontario. As we<br />
chatted, it turned out Johnny had not only played in many of the same<br />
tattoos, he had played trumpet solos in these events. As for music<br />
festivals, such as those in Waterloo or the Stratford Music Festival with<br />
Professor Thiele, the answer was the same. We had both been at them.<br />
As teenagers playing in community bands at the same tattoos<br />
and festivals, we never met. Even though we both joined the navy at<br />
the same age and at about the same time, our paths never crossed<br />
there. It was only years later that, in a musical situation reminiscent<br />
of our teenage years, we met, playing once again in a marching<br />
band. It may seem hard to believe today, but in the early 1960s the<br />
Toronto Argonauts had their own professional marching band which<br />
performed fancy routines on the field at all home games. Some may<br />
have thought that this was below one’s dignity or not in keeping with<br />
professional musical standards. However, why not get well paid to go<br />
to see the hometown team play football? So that is where we met.<br />
While Johnny is best known for his trumpet virtuosity, he has won<br />
considerable acclaim as a writer and arranger. In fact, on more than<br />
one occasion he turned down attractive offers which might have<br />
brought him fame by writing for stage productions or getting involved<br />
in the Nashville scene. However, the trumpet, his all-abiding first<br />
musical love, second only to that for his wife Joan and their family,<br />
always won out. Offers which would inevitably have separated him<br />
from his trumpet were declined.<br />
Even though he elected to stay home and play trumpet, Johnny<br />
certainly did not turn his back on writing. I couldn’t hope to count<br />
how many of his tunes could be heard on the radio in the 60s.<br />
His 1956 ballad Walk Hand in Hand could be heard on every radio<br />
station in those days. His writing wasn’t limited to that genre. He<br />
has been equally at home writing for trumpet and brass ensembles.<br />
Playing a few selections from the Johnny Cowell CDs in my collection,<br />
I am amazed at the broad gamut of his trumpet works. At one end of<br />
Ninety plus, to the power of three! (from left) Columnist Jack<br />
MacQuarrie, bandleader Eddie Graf and birthday boy Johnny Cowell<br />
the spectrum there is his dazzling Roller Coaster, and on the other<br />
end, his Concerto in E Minor for Trumpet and Symphony Orchestra.<br />
While he is officially retired, he still practises on his trumpet regularly<br />
and is expecting to be a guest soon with the Hannaford Junior Band<br />
playing his composition Roller Coaster with members of that group.<br />
As I sat down for a brief chat with Johnny and 94-year-old Eddie<br />
Graf, who is still playing and writing arrangements, I was humbled to<br />
say the least.<br />
A weekend of special programs: The weekend of <strong>February</strong> 27 and<br />
28 stands out as a special one for aficionados of the music of wind<br />
ensembles. First, on Saturday we have the Silverthorn Symphonic<br />
Winds continuing their 2015/<strong>2016</strong> season with a program called<br />
“Musician’s Choice,” where those planning the program have<br />
consulted band members to determine what music they would like<br />
to perform. They have chosen a broad spectrum from Howard Cable’s<br />
The Banks of Newfoundland to Shostakovich’s Festive Overture.<br />
Within that spectrum they take their audience all the way from Percy<br />
Grainger’s Irish Tune from County Derry to Norman Dello Joio’s<br />
Satiric Dances and Steven Reineke’s The Witch and the Saint. This<br />
latter number is a tone poem depicting the lives of twin sisters Helena<br />
and Sibylla, born in Germany in 1588 at a time when twin children<br />
were considered a very evil omen. As the story unfolds, instruments<br />
in the band which seldom get solos have an opportunity to employ<br />
their special sounds to tell the story of the twins during their lives.<br />
If that isn’t enough, the band might just be able to squeeze in some<br />
excerpts from Leonard Bernstein’s Candide. It all takes place Saturday,<br />
<strong>February</strong> 27, at 7:30pm at Wilmar Heights Event Centre.<br />
The following evening the Wychwood Clarinet Choir will present<br />
their “Midwinter Sweets.” Exploiting the unique sounds of a clarinet<br />
ensemble to the full, they will feature Red Rosey Bush by composer<br />
and conductor laureate Howard Cable. The composing and arranging<br />
talents of choir member Roy Greaves come to the fore in his composition<br />
Trois Chansons Québécoises and his arrangement of Gustav<br />
Holst’s St. Paul’s Suite. That’s Sunday, <strong>February</strong> 28, at the Church of<br />
St. Michael and All Angels.<br />
KALEID<br />
CHORAL FESTIVAL <strong>2016</strong><br />
A Project of Lyrical Lines<br />
www.kaleidchoralfestival.com<br />
featuring acclaimed Finnish<br />
a cappella ensemble RAJATON<br />
March 2 & 3, <strong>2016</strong> at 7 p.m.<br />
St. Peter's Lutheran Church, Kitchener<br />
Sponsored by<br />
kaleidchoralfestival<br />
@Kaleid<strong>2016</strong><br />
JOAN ANDREWS<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 25
Elsewhere in the band world<br />
<strong>February</strong> 4 and March 3. The Encore Symphonic Concert<br />
Band presents their monthly noon-hour concert of “Classics<br />
and Jazz,” with John Edward Liddle conducting at Wilmar<br />
Heights Centre.<br />
<strong>February</strong> 5 at 7:30, as part of the U of T Faculty of Music<br />
New Music Festival, you can hear Rosauro’s Concerto for<br />
Marimba performed by Danielle Sum.<br />
<strong>February</strong> 7 at 3pm at Knox Presbyterian Church<br />
in Waterloo (and repeated on <strong>February</strong> <strong>21</strong> at 3pm at<br />
Grandview Baptist Church in Kitchener) the Wellington<br />
Wind Symphony offers “Remembering” with works by<br />
Brahms, Erwazen, Woolfenden and Alford. Also on the<br />
program will be Morawetz’s In Memoriam for Martin<br />
Luther King, Jr.<br />
<strong>February</strong> <strong>21</strong> at 3pm The Hannaford Street Silver Band will<br />
present “German Brass” with Fergus McWilliam, French<br />
horn, and James Gourlay, conductor.<br />
<strong>February</strong> 23 at 7:30 The Metropolitan Silver Band will<br />
present “Jubilee Order of Good Cheer,” a blend of classics,<br />
marches, sacred, popular and contemporary works at<br />
Jubilee United Church.<br />
For details on all these consult The WholeNote<br />
concert listings.<br />
Calling all brass: For a number of years, the Canadian<br />
Band Association, Ontario has held Community Band<br />
Weekends sponsored by a number of community bands in<br />
various communities across the province. This year there<br />
is a new twist. For the first time, CBA-Ontario will host<br />
a Community Brass Band Weekend from Friday evening<br />
<strong>February</strong> 19 to Sunday, <strong>February</strong> <strong>21</strong>. Hosted by the Oshawa<br />
Civic Band, the event should not only offer a meeting<br />
ground for dedicated brass band devotees but introduce<br />
brass players from concert bands to the style and repertoire<br />
of the All Brass culture. All musical events will take<br />
place at Trulls Road Free Methodist Church, 2301 Trulls<br />
Road S., Courtice. Details on registration were spotty at<br />
time of writing: consult cba-ontario.ca/cbw-registration<br />
for updates.<br />
We have another new all-brass band to report on. The<br />
York Region Brass began rehearsals in Newmarket a few<br />
months ago and are inviting brass players to join them. They<br />
rehearse on Wednesday evenings and would particularly<br />
welcome cornet, trombone and tuba players. If you play a<br />
brass instrument and are interested in exploring that genre<br />
contact Peter Hussey by email at pnhussey@rogers.com.<br />
Another special musical event: Although it has nothing<br />
whatsoever to do with band music, I can’t end without<br />
reporting on a recent outstanding musical event in<br />
Toronto. The Amadeus Choir, the Elmer Iseler Singers<br />
and the Toronto Symphony Orchestra, under the direction<br />
of Bernard Labadie, performed a special “semi-staged”<br />
version of Mozart’s Requiem K626. The combined choirs,<br />
soloists and conductor, all performing the entire work<br />
from memory, gave this monumental work new meaning.<br />
Through movements and gestures, conceived by stage<br />
director Joel Ivany, choir members and soloists conveyed<br />
the concept of loss and redemption that is the heart of<br />
the requiem mass. To set the mood for the choral work,<br />
as a prelude, the TSO Chamber Soloists performed the<br />
Largetto movement from Mozart’s Clarinet Quintet in A<br />
Major, K581.<br />
Jack MacQuarrie plays several brass instruments and<br />
has performed in many community ensembles. He<br />
can be contacted at bandstand@thewholenote.com.<br />
Beat by Beat | World View<br />
Rich Hybrid<br />
Motherlode<br />
ANDREW TIMAR<br />
It’s <strong>February</strong>. It’s still dark before you arise, and cold, with nary a sign of green<br />
outside. <strong>February</strong> is also Black History Month and all over Toronto politicians,<br />
schools and cultural organizations are marking it in various ways.<br />
On its events page, the Music Gallery’s David Dacks writes that from its<br />
earliest days the MG “has welcomed adventurous Afro-diasporic sounds [such]<br />
as free jazz, the science fact/fiction of Sun Ra’s Arkestra and the advanced<br />
musical theories of George Lewis. This commitment has intensified over the past<br />
several years with events with saxophone titan Matana Roberts, jazz elder Henry<br />
Grimes, mbira innovator Evelyn Mukwedeya, and ‘world music 2.0’ theorist DJ/<br />
rupture.”<br />
For Black History Month <strong>2016</strong>, the<br />
MG presents a two-part event which<br />
pushes these explorations further.<br />
Val-Inc: body and spirit: the first<br />
of these starts at 5pm Saturday,<br />
<strong>February</strong> 20, with a free panel<br />
discussion called “The New Black:<br />
Challenging Musical Tropes” with<br />
Val-Inc and Witch Prophet, two<br />
“Black artists who create stereotypechallenging<br />
music” on the panel,<br />
along with moderator Alanna Stuart<br />
(Bonjay, CBC), Garvia Bailey (JazzFM)<br />
and Amanda Parris (CBC). They plan<br />
to delve into ways in which awareness<br />
can be raised around “underrepresented<br />
facets of Afro-diasporic<br />
cultural expression, specifically<br />
within Black Canadian culture.”<br />
Val-Inc<br />
Putting these concerns to the musical test that same evening at 8pm, will be a<br />
concert titled “Val-Inc + Witch Prophet.” Val-Inc is Val Jeanty, once a member of<br />
Norah Jones’ band. Her music was described by the New York Times as blending<br />
“traditional-sounding music from Haiti with synthesized sounds and instruments<br />
to develop a genre she calls ‘Afro-Electronica.’” Her audiovisual installations<br />
have been showcased at the Brooklyn Academy of Music, Whitney<br />
Museum, Museum of Modern Art and in European galleries.<br />
Val-Inc’s own characterization of her music is more inclusive; she describes<br />
it as evoking “the musical esoteric realms of the creative subconscious by incorporating<br />
African Haitian musical traditions into the present and beyond,<br />
combining acoustics with electronics and the archaic with the postmodern.”<br />
Just how does she do that? I called her in New York City to find out.<br />
I asked first about the accuracy of a media depiction I had read of her music<br />
as “Big Apple Vodou.” “I grew up in Port-au-Prince, Haiti,” she responded,<br />
“attending Catholic schools as well as practising Vodou within my family,<br />
learning to drum [in that context] when I was five years of age.”<br />
So how does this joint spiritual and musical practice influence how she sees<br />
the relationship between sound, music and spirituality? “In Vodou there’s no<br />
separation between sound, sounds and prayers to the ancestors, as in the case<br />
of Guédé, in the spiritual realm,” she explains. [Fête Guédé, the Festival of the<br />
Dead, is celebrated on November 2, All Souls’ Day]. “It’s something that has to<br />
be experienced. I practise it to sustain life … not in order to produce a commercial<br />
music product.”<br />
And her drumming practice since childhood and its echoes in her electronics?<br />
“There’s not a conscious connection between Vodou drum patterns<br />
and my electronics, but [rather a path I find] through improv. I trust the spirit to<br />
help me via the looper [digital looping station].”<br />
In one track I listened to (“V-iPod #222” on Soundcloud) it’s hard to tell if the<br />
track features a machine or an acoustic tabla. “Whatever it is, it sounds convincing,”<br />
I say to her. “I played that on the Roland HandSonic HPD-20, a kind of<br />
26 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
drumpad, a digital hand percussion device. With practice (and understanding<br />
of hand drumming) you can transfer your personal energy<br />
into the machine. In the end such tools are just tools, carrying the<br />
spirit. Bypass skin colour, distance, language and what you’re left with<br />
is spirit,” she concludes.<br />
“[The spiritual in music] … is speaking to the soul … feeding the soul<br />
… I’m not trying to connect the spirit to music – but rather it’s trying<br />
to do me – it’s doing the work! [Let’s not forget that] everyone around<br />
the world has a spirit.”<br />
In our chat, Val-Inc’s all-embracing universalist vision came clearly<br />
into focus for me: spirit transcending perceived human distinctions<br />
such as skin colour, race, geographical origin, religious affiliation and<br />
other potentially divisive cultural factors. Makes sense to me.<br />
Pura Fé highlights African-Native American music: Jim Merod,<br />
in his 1995 essay Jazz<br />
Pura Fé<br />
as a Cultural Archive,<br />
proposed that jazz is<br />
not only a reflection<br />
of North American<br />
culture but also serves<br />
as an archive of that<br />
culture. The work of<br />
singer, guitarist, songwriter,<br />
activist and<br />
teacher Pura Fé extends<br />
that notion to other<br />
vernacular music<br />
genres, presenting a<br />
rich fabric woven of<br />
many cultural strands<br />
and colours, so that<br />
it is near-impossible<br />
to unravel them<br />
all: namely the role of<br />
indigenous peoples in African-Native American contact, cohabitation,<br />
cultural sharing and performance practice.<br />
It is something which occurred in multiple intimate and sometimes<br />
complicated and layered ways, arising from shared histories over<br />
several hundred years and reflected in various features of the music<br />
their descendants created and make today.<br />
I spoke to Fé via Skype, one frigid January afternoon (she now<br />
makes Northern Saskatchewan her home), to discuss her upcoming<br />
Friday, <strong>February</strong> 26, concert at the Music Gallery. Long active in transcultural<br />
music making and touring in Europe, her album Follow Your<br />
Heart’s Desire won the 2006 l’Académie Charles-Cros Award for Best<br />
World Album.<br />
During the course of our conversation Fé’s expansive knowledge<br />
and passion about indigenous influences on the blues, jazz, country,<br />
rock, gospel and other vernacular American musics was infectious. It’s<br />
an intensely personal subject for her. She traces the roots of her family<br />
and personal musical culture to indigenous North Carolina Tuscarora,<br />
Tutelo, as well as Corsican ancestors, the latter via Puerto Rico. (Her<br />
name given by her father means “Pure Faith” in Spanish.)<br />
“On my mother’s side we’ve got eight generations of Tuscarora<br />
singers. While my mother was a gifted Wagnerian soprano it was difficult<br />
to make a career as a woman of colour in classical music in her<br />
generation. She also performed in several of Duke Ellington’s Sacred<br />
Concerts and my grandmother sang gospel.” Growing up in New<br />
York City, sampling her parents’ Native music record collection and<br />
participation in Pow Wows gave her the sense of identity she sought<br />
as a teen. “I found myself the day I was able to reconnect with my<br />
indigenous roots.<br />
“People generally aren’t very aware of it yet, but Native peoples have<br />
played a major role in the development of American music, whether<br />
it’s jazz, blues or rock ‘n’ roll,” observes Fé. “This includes a typical<br />
blues rhythm, the shuffle, a rhythmic feel which is much like certain<br />
Native drumming.”<br />
In Fé’s own intense bluesy and other times jazzy singing, she makes<br />
an eloquent case for the close and productive relationship between the<br />
African and indigenous people of the American South, a union that<br />
gave birth to a rich new culture blending religion, dance, food and<br />
music. “Many of their grandchildren became influential musicians,”<br />
she says, “like Charley Patton (Choctaw) and Scrapper Blackwell<br />
(Cherokee). We can continue the roll call with Duke Ellington,<br />
Thelonious Monk, Charlie Parker, Don Cherry, Miles Davis, Jim Pepper<br />
and Don Pullen in jazz. Let’s add Little Richard, Jimi Hendrix, Tina<br />
Turner, Link Wray and Jesse Ed Davis for good measure.”<br />
Early in her career singing with rock bands in NYC, her role models<br />
- in addition to her mother and grandmother - were the leading<br />
female singers of the previous generation: Joni Mitchell, Buffy Sainte-<br />
Marie and Aretha Franklin. Fé was “drawn by their spirit and style.”<br />
All this is the rich hybrid motherlode extensively mined by Fé.<br />
Aiming to explore the bluesy voice of Native Americans as well as their<br />
self-determination, in 1987 she formed the singing trio Ulali with Soni<br />
Moreno and Jennifer Kreisberg, a project which continues as a quartet.<br />
Seven albums followed. Her latest, Sacred Seed (2015) for Nueva Onda<br />
Records, captures those multi-faceted influences, featuring her multitracked<br />
voice with a backup studio band consisting of guitar, banjo,<br />
piano, percussion and cello. The tracks resound with references to the<br />
Tuscarora Nation whose musical traditions she carries with indelible<br />
ardour.<br />
At her <strong>February</strong> 26 Music Gallery concert, however, Fé will present<br />
her music more intimately with just her voice, accompanying herself<br />
“with guitar, drum and a loop station which gives me the choral background<br />
I crave.” Her repertoire will focus on her Sacred Seed set<br />
list: her own songs like “Idle No More,” plus jazz classics like Duke<br />
Ellington’s “In a Sentimental Mood.” Roots blues legend Taj Mahal<br />
glowingly summed up Fé’s music: “With her voice soaring, foot<br />
stomping, this beautiful songbird transcends time and brings the<br />
message of our Ancestors who have sown this beautiful seed [through<br />
her] powerful music.”<br />
Andrew Timar is a Toronto musician and music writer. He<br />
can be contacted at worldmusic@thewholenote.com<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 27
The WholeNote listings are arranged in four sections:<br />
A.<br />
GTA (GREATER TORONTO AREA) covers all of Toronto<br />
plus Halton, Peel, York and Durham regions.<br />
B.<br />
BEYOND THE GTA covers many areas of Southern<br />
Ontario outside Toronto and the GTA. Starts on page 40.<br />
C.<br />
MUSIC THEATRE covers a wide range of music types:<br />
from opera, operetta and musicals, to non-traditional<br />
performance types where words and music are in<br />
some fashion equal partners in the drama. This section appears on<br />
thewholenote.com. PLEASE NOTE: due to space constraints this<br />
issue's Music Theatre listings appear online only.<br />
D.<br />
IN THE CLUBS (MOSTLY JAZZ)<br />
is organized alphabetically by club.<br />
Starts on page 42.<br />
E.<br />
THE ETCETERAS is for galas, fundraisers, competitions,<br />
screenings, lectures, symposia, masterclasses, workshops,<br />
singalongs and other music-related events (except<br />
performances) which may be of interest to our readers.<br />
Starts on page 46.<br />
A GENERAL WORD OF CAUTION. A phone number is provided<br />
with every listing in The WholeNote — in fact, we won’t publish<br />
a listing without one. Concerts are sometimes cancelled or postponed;<br />
artists or venues may change after listings are published.<br />
Please check before you go out to a concert.<br />
HOW TO LIST. Listings in The WholeNote in the four sections above<br />
are a free service available, at our discretion, to eligible presenters.<br />
If you have an event, send us your information no later than the<br />
8th of the month prior to the issue or issues in which your listing is<br />
eligible to appear.<br />
LISTINGS DEADLINE. The next issue covers the period from<br />
March 1 to April 7, <strong>2016</strong>. All listings must be received by<br />
Midnight Monday <strong>February</strong> 8.<br />
LISTINGS can be sent by e-mail to listings@thewholenote.com or<br />
by fax to 416-603-4791 or by regular mail to the address on page 6.<br />
We do not receive listings by phone, but you can call 416-323-2232<br />
x27 for further information.<br />
LISTINGS ZONE MAP. Visit our website to see a detailed version<br />
of this map: thewholenote.com.<br />
Lake<br />
Huron<br />
6<br />
Georgian<br />
Bay<br />
7<br />
2 1<br />
5<br />
Lake Erie<br />
3 4<br />
8<br />
City of Toronto<br />
LISTINGS<br />
Lake Ontario<br />
A. Concerts in the GTA<br />
IN THIS ISSUE: Ajax, Aurora, Brampton, Burlington, Etobicoke, King<br />
Township, Markham, Mississauga, Newmarket, North York, Oakville,<br />
Richmond Hill, Scarborough.<br />
Monday <strong>February</strong> 1<br />
●●12:30: York University Department of<br />
Music. Music @ Midday: Classical Instrumental<br />
Concert. Tribute Communities Recital Hall,<br />
Accolade East Building, YU, 4700 Keele St.<br />
647-459-0701. Free.<br />
●●7:30: University of Toronto Faculty of<br />
Music/Dennis Patrick. New Music Festival:<br />
Gryphon Trio. Works by students of Allan Gordon<br />
Bell. Carmen Braden: Candle Ice; Heather<br />
Schmidt: Lunar Reflections; Kelly-Marie<br />
Murphy: In a World of Distance and Motion;<br />
Vincent Ho: new work. Walter Hall, Edward<br />
Johnson Building, University of Toronto,<br />
80 Queen’s Park. 416-408-0208. $40;<br />
$25(sr); $10(st).<br />
Tuesday <strong>February</strong> 2<br />
●●10:00am: Royal Conservatory. Glenn Gould<br />
School Concerto Competition Finals (AIMIA<br />
Discovery Series). Koerner Hall, Telus Centre,<br />
273 Bloor St. W. 416-408-0208. Free (ticket<br />
required).<br />
●●11:30am: York University Department of<br />
Music. Vocal Masterclass. Nathalie Paulin,<br />
soprano; young singers from the studios of<br />
Catherine Robbin, Stephanie Bogle, Norma<br />
Burrowes, Michael Donovan and Karen<br />
Rymal. Tribute Communities Recital Hall,<br />
Accolade East Building, YU, 4700 Keele St.<br />
416-736-5888. Free. Observers welcome.<br />
●●12:00 noon: Canadian Opera Company.<br />
Vocal Series: Classics Reimagined. Gryphon<br />
Trio; Robert Pomakov, bass. Richard Bradshaw<br />
Amphitheatre, Four Seasons Centre for<br />
the Performing Arts, 145 Queen St. W. 416-<br />
363-8231. Free.<br />
●●12:10: Nine Sparrows Arts Foundation/<br />
Yorkminster Park Baptist Church. Lunchtime<br />
Chamber Music. Matthew Ross, trumpet.<br />
Yorkminster Park Baptist Church,<br />
1585 Yonge St. 416-241-1298. Free; donations<br />
welcome.<br />
●●12:30: York University Department of<br />
Music. Music @ Midday: Student Showcase.<br />
Martin Family Lounge, Accolade East Building,<br />
YU, 4700 Keele St. 647-459-0701. Free.<br />
●●1:00: Cathedral Church of St. James. Midday<br />
Organ Series. Thomas Fitches, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●6:30: Canadian Opera Company. Siegfried.<br />
Wagner. Christine Goerke, soprano (Brünnhilde);<br />
Stefan Vinke, tenor (Siegfried); and<br />
others; François Girard, director; Johannes<br />
Debus, conductor. Four Seasons Centre for<br />
the Performing Arts, 145 Queen St. W. 416-<br />
363-8231. $60-$445; $22(under 30). Also<br />
Feb 5, 11, 14(mat).<br />
●●7:30: University of Toronto Faculty of<br />
Music. Vocalist Master’s/DMA Series: Cabaret.<br />
Tranzac Club, 292 Brunswick Ave. 416-<br />
408-0208. Free.<br />
●●7:30: University of Toronto Faculty of<br />
Music. New Music Festival: Land’s End<br />
Ensemble. Allan Gordon Bell: Field Notes;<br />
Phénomènes; Trails of Gravity and Grace;<br />
Omar Daniel: Trio (Toronto premiere); Roydon<br />
Tse: Starscape. James Campbell, clarinet.<br />
Walter Hall, Edward Johnson Building,<br />
University of Toronto, 80 Queen’s Park. 416-<br />
408-0208. Free.<br />
●●8:00: Factory Theatre. One Night Only:<br />
The Greatest Musical Never Written. Two-act<br />
improvised musical comedy, dictated by audience<br />
suggestions. 125 Bathurst St. 416-504-<br />
9971. $32.40-$60.65. Also Feb 3, 4, 5, 6(mat/<br />
eve), 7(mat), 9, 10, 11, 12, 13(mat/eve), 14(mat).<br />
Wednesday <strong>February</strong> 3<br />
●●5:30: Canadian Opera Company. Jazz Series:<br />
In for the Count. Big band standards by<br />
Count Basie, Duke Ellington, Stan Kenton,<br />
Bill Holman and others. JAZZ.FM91 Youth Big<br />
Band; Jules Estrin, conductor. Four Seasons<br />
Centre for the Performing Arts, 145 Queen<br />
St. W. 416-363-8231. Free. First-come, firstserved.<br />
No late seating.<br />
●●7:00: 3 in the 6ix. Concert #1 of 3: Dumky.<br />
Bridge: Phantasie Trio in c; Bloch: Three Nocturnes;<br />
Prokofiev: Sonata No.3 in a, Op.28;<br />
Dvořák: Trio No.4 “Dumky” Op.90. Joan<br />
Blackman, violin; Marlena Tureski, cello; Talisa<br />
Blackman, piano. Runnymede United<br />
Church, 432 Runnymede Rd. 416-578-6993.<br />
$25/$20(adv); $15(st); $5(under 18).<br />
●●7:30: Theatre Passe Muraille. Chelsea<br />
Hotel: The Songs of Leonard Cohen. Conceived<br />
by Stage Director Tracey Power.<br />
Music Direction and Arrangements by Steven<br />
Charles. 16 Ryerson Ave. 416-504-7529. $35-<br />
$55; $30(arts); $25(under 30). PWYC at Sat.<br />
matinees. Feb 3-<strong>21</strong> at various dates and times.<br />
●●7:30: University of Toronto Faculty of<br />
Music. New Music Festival: gamUT Contemporary<br />
Music Ensemble. Works by Allan<br />
Gordon Bell and others. Wallace Halladay,<br />
conductor. Walter Hall, Edward Johnson<br />
Building, University of Toronto, 80 Queen’s<br />
Park. 416-408-0208. Free.<br />
●●8:30: Arraymusic. Explorations I: The Conrad<br />
Gayle Trio. Jazz/improvised piano trio.<br />
Array Space, 155 Walnut Ave. 416-532-3019.<br />
Price not available.<br />
●●8:30: Chelsea Shanoff. Recital. Works<br />
by Albright, Schmitt, Berio, Saint-Saëns,<br />
Labadie. Chelsea Shanoff, saxophone; Wesley<br />
Shen, piano. Array Space, 155 Walnut Ave.<br />
416-532-3019. Price not available.<br />
28 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Thursday <strong>February</strong> 4<br />
●●12:00 noon: Adam Sherkin. LISZT: Pilgrimage.<br />
Liszt: Années de pèlerinage, Première<br />
année (Suisse), S.160 (Excerpts); Sherkin: <br />
German Promises (2011). Adam Sherkin,<br />
piano. Lower Bluma Lobby, St. Lawrence Centre<br />
for the Arts, 27 Front St. E. 416-366-7723.<br />
Free. Presented in partnership with Steinway<br />
Piano Gallery.<br />
●●12:00 noon: Canadian Opera Company.<br />
Chamber Music Series: Chamber Explorations.<br />
Students from the Glenn Gould School.<br />
Four Seasons Centre for the Performing<br />
Arts, 145 Queen St. W. 416-363-8231. Free.<br />
First-come, first-served. Concertgoers are<br />
encouraged to arrive early as late seating is<br />
not available.<br />
●●12:00 noon: Encore Symphonic Concert<br />
Band. In Concert: Classics and Jazz. John<br />
Edward Liddle, conductor. Wilmar Heights<br />
Centre, 963 Pharmacy Ave., Scarborough.<br />
416-346-3910. $10. Incl. coffee and snack.<br />
●●12:10: University of Toronto Faculty of<br />
Music. New Music Festival: Thursdays at<br />
Noon. Jarlkaganova/Blumberg: collaboration;<br />
Cecilia String Quartet Student Composition<br />
Competition: winning work; Levasseur:<br />
new work; and others. Walter Hall, Edward<br />
Johnson Building, University of Toronto,<br />
80 Queen’s Park. 416-408-0208. Free.<br />
●●12:15: Metropolitan United Church. Noon<br />
at Met. Manuel Piazza, organ. Metropolitan<br />
United Church (Toronto), 56 Queen St. E. 416-<br />
363-0331 x26. Free.<br />
●●1:00: Miles Nadal JCC. The Ladies of Broadway.<br />
Songs from Oklahoma!, The King and<br />
I, Fiddler on the Roof, My Fair Lady and The<br />
Sound of Music. Faye Kellerstein and Noreen<br />
Horowitz, vocals. 750 Spadina Ave. 416-924-<br />
6<strong>21</strong>1 x155. $4.00 (drop-in).<br />
●●7:30: Canadian Opera Company. The<br />
Marriage of Figaro. Mozart. Josef Wagner<br />
(Figaro), bass-baritone; Jane Archibald<br />
(Susanna) and Erin Wall (the Countess), sopranos;<br />
Russell Braun (the Count), baritone;<br />
Claus Guth, director; Johannes Debus, conductor.<br />
Four Seasons Centre for the Performing<br />
Arts, 145 Queen St. W. 416-363-8231.<br />
$50-$435; $22(under 30). Also Feb 7, 9, 13, 17,<br />
19, <strong>21</strong>, 23, 25 and 27. Start times vary.<br />
●●7:30: Charm of Finches. Charmed, I’m sure.<br />
Ravel: Daphnis et Chloé (arr. Rie Schmidt);<br />
Debussy: Prélude à l’après-midi d’un faune<br />
(arr. Gudrun Hinze); Hétu: Sérénade (arr.<br />
Sean King); other works. Laura Chambers,<br />
flute and alto flute; Terry Lim, flute and bass<br />
flute; Amelia Lyon, flute; Kaili Maimets and<br />
Sarah Yunji Moon, piccolo & flute. Victoria<br />
College Chapel, 91 Charles St. W. 647-892-<br />
8251. PWYC.<br />
●●7:30: St. Anne’s Music and Drama Society.<br />
Iolanthe. Gilbert & Sullivan. Laura Schatz, director;<br />
Brian Farrow, musical director; Jennie<br />
Garde, choreographer. St. Anne’s Parish Hall,<br />
651 Dufferin St. 416-922-4415. $27; $22(sr/st).<br />
Also Feb 5, 6, 7. Start times vary.<br />
●●7:30: University of Toronto Faculty of<br />
Music. New Music Festival: University of<br />
Toronto Symphony Orchestra. Bell: Symphonies<br />
of Hidden Fire; Creston: Accordion Concerto;<br />
Higdon: Percussion Concerto; Copland:<br />
El Salón México. Michael Bridge, accordion;<br />
Michael Murphy, percussion; Uri Mayer and<br />
Samuel Tam, conductors. MacMillan Theatre,<br />
Edward Johnson Building, 80 Queen’s Park.<br />
416-408-0208. $30; $20(sr); $10(st).<br />
●●7:30: York University Department of<br />
Music. Faculty Concert Series: Barry Elmes<br />
Quintet. Barry Elmes, drums; Mike Murley,<br />
saxophone; Kevin Turcotte, trumpet; Reg<br />
Schwager, guitar; Steve Wallace, bass. Tribute<br />
Communities Recital Hall, Accolade East<br />
Building, YU, 4700 Keele St. 416-736-5888.<br />
$15; $10(sr/st).<br />
Music TORONTO<br />
ANNEX<br />
QUARTET<br />
<strong>February</strong> 4 at 8 pm<br />
●●8:00: Music Toronto. Annex Quartet.<br />
Janáček: Quartet No.1 “Kreutzer Sonata”; R.<br />
Murray Schafer: Quartet No.5 “Rosalind”;<br />
Mendelssohn: Quartet No.2 in a, Op.13. Stanislav<br />
Pronin, violin; Carolyn Blackwell, violin;<br />
Yunior Lopez, viola; Peter Cosbey, cello. Jane<br />
Mallett Theatre, St. Lawrence Centre for the<br />
Arts, 27 Front St. E. 416-366-7723. $<strong>21</strong>.50;<br />
$10(st).<br />
●●8:00: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. Beethoven 9th Symphony.<br />
Rheinberger: Abendlied; Brahms: Warum<br />
ist das Licht gegeben; Jeffrey Ryan: Valediction.<br />
Ruby Hughes, soprano; Mary-Ellen Nesi,<br />
mezzo; Colin Balzer, tenor; Simon Tischler,<br />
baritone; Bruno Weil and Ivars Taurins, conductors.<br />
Koerner Hall, Telus Centre, 273 Bloor<br />
St. W. 416-408-0208. $48 and up; $38 and<br />
up(sr); $26-$91(35 and under). Also Feb 5, 6<br />
and 7(mat).<br />
●●9:00: Roy Thomson Hall/Massey Hall.<br />
Mouse on the Keys. Rivoli, 334 Queen St. W.<br />
416-872-4255. $20.<br />
Friday <strong>February</strong> 5<br />
●●1:10: Gordon Murray Presents. Piano Potpourri.<br />
Featuring classics, opera, operetta,<br />
musicals, ragtime, pop, international music.<br />
Gordon Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. PWYC.<br />
Lunch and snack friendly.<br />
●●6:30: Canadian Opera Company. Siegfried.<br />
See Feb 2. Also Feb 11, 14(mat).<br />
●●7:30: Living Arts Centre. Romeo and Juliet.<br />
State Theatre Ballet. Living Arts Centre, Hammerson<br />
Hall, 4141 Living Arts Dr., Mississauga.<br />
905-306-6000. $55-$90.<br />
●●7:30: Living Arts Centre. The Basically<br />
Basie Big Band. Living Arts Centre, RBC Theatre,<br />
4141 Living Arts Dr., Mississauga. 905-<br />
306-6000. $30-$45.<br />
●●7:30: Royal Winnipeg Ballet. Going Home<br />
Star - Truth and Reconciliation. Choreographic<br />
representation of the stories of<br />
Indian Residential School Survivors and their<br />
families. Story by Joseph Boyden; music<br />
by Christos Hatzis; choreography by Mark<br />
Gooden. Tina Keeper, Cree actor; Tanya<br />
Tagaq, Inuk throat singer; Northern Cree<br />
Singers; Winnipeg Symphony Orchestra.<br />
Sony Centre for the Performing Arts, 1 Front<br />
St. E. 1-855-872-7669. $54.24-$115.26. Also<br />
Feb 6 at 8:00.<br />
●●7:30: St. Anne’s Music and Drama Society.<br />
Iolanthe. See Feb 4. Also Feb 6, 7. Start<br />
times vary.<br />
●●7:30: University of Toronto Faculty of<br />
Music. New Music Festival: Wind Symphony.<br />
Bell: From Chaos to the Birth of a Dancing<br />
Star; Daugherty: Bizarro; Rosauro: Concerto<br />
for Marimba (with Danielle Sum); Ling:<br />
Rhapsody (winner of 2015 Wind Composition<br />
Award); Bourgeois: Serenade; Maslanka:<br />
Testament. Jeffrey Reynolds, conductor.<br />
MacMillan Theatre, Edward Johnson Building,<br />
80 Queen’s Park. 416-408-0208. $30;<br />
$20(sr); $10(st).<br />
●●8:00: Alliance Française de Toronto. Hampaté<br />
& Sahel Blues Senegalese Concert.<br />
24 Spadina Rd. 416-922-2014. $15; $10(sr/st/<br />
members).<br />
●●8:00: group of 27. Beauty Packs a Punch<br />
Basket. Finzi: A Severn Rhapsody, Op.3; Lalo:<br />
Aubades; Dubois: Cavatine for Horn; Massenet:<br />
Valse Tres Lente; Frehner: Apollo X.<br />
Gabe Radford, horn; Nadina Mackie Jackson,<br />
BEETHOVEN<br />
9TH SYMPHONY<br />
AT KOERNER HALL<br />
Feb 4-7<br />
416.408.0208<br />
tafelmusik.org<br />
bassoon. Centre for Social Innovation,<br />
720 Bathurst St. 416-323-1292. $30; $25(st);<br />
$10(under 18). $5 off when you buy your<br />
ticket in advance online.<br />
●●8:00: Music Gallery. Emergents II: Lisa<br />
Conway and Linsey Wellman. Curated by<br />
Karen Ng. 197 John St. 416-204-1080. $12;<br />
$8(members).<br />
●●8:00: Roy Thomson Hall/Massey Hall. Live<br />
at Massey Hall: Chilly Gonzales and Kaiser<br />
Quartett. Massey Hall, 178 Victoria St. 416-<br />
872-4255. $18.94-$29.50.<br />
●●8:00: Roy Thomson Hall/Massey Hall. Hall<br />
Party: Carnival. Great Hall, 1087 Queen St. W.<br />
416-872-4255. $25.<br />
●●8:00: Tafelmusik Baroque Orchestra<br />
and Chamber Choir. Beethoven 9th Symphony.<br />
Koerner Hall. See Feb 4; Also Feb 6<br />
and 7(mat).<br />
●●8:00: Tapestry Opera. Songbook VI. Wallis<br />
Giunta, mezzo; emerging artists from<br />
Tapestry’s New Opera 101 program; Jordan<br />
de Souza, conductor-in-residence.<br />
Ernest Balmer Studio (315), Distillery District,<br />
9 Trinity St. 416-537-6066 x243. $25.<br />
Also Feb. 6.<br />
●●9:00: Jazz at Oscar’s. Jazz Night - Harley<br />
Card. Arbor Room, 7 Hart House Circle. 416-<br />
978-2452. Free.<br />
Saturday <strong>February</strong> 6<br />
●●2:00: St. Anne’s Music and Drama Society.<br />
Iolanthe. See Feb 4. Also Feb 7. Start<br />
times vary.<br />
●●2:00: Toronto Symphony Orchestra/<br />
Ontario Science Centre. Science @ the Symphony.<br />
Amir Safavi, violin; Heidi Breier, Sean<br />
Lee Ying, Donna Francis; Evan Mitchell, conductor.<br />
Roy Thomson Hall, 60 Simcoe St. 416-<br />
593-4828. $20.50-$32.75. Also 4:00.<br />
●●3:00: Corporation of Massey Hall and Roy<br />
Thomson Hall/Less Border. Alan Cumming<br />
Sings Sappy Songs. Songs by Billy Joel, Stephen<br />
Sondheim, Rufus Wainwright, Miley<br />
Cyrus and others. With Lance Horne, piano;<br />
Eleanor Norton, cello. Winter Garden Theatre,<br />
189 Yonge St. 416-593-5201. $49.50-<br />
$139.50. Also 8pm.<br />
●●4:00: Toronto Symphony Orchestra/<br />
Ontario Science Centre. Science @ the Symphony.<br />
Amir Safavi, violin; Heidi Breier, Sean<br />
Lee Ying, Donna Francis; Evan Mitchell, conductor.<br />
Roy Thomson Hall, 60 Simcoe St.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 29
416-593-4828. $20.50-$32.75. Also 2:00.<br />
●●4:30: Beach United Church. Jazz and<br />
Reflection: Overjoyed. Wes Allen and Anthony<br />
Brancati with Bill MacLean. 140 Wineva Ave.<br />
416-691-8082. Free will offering.<br />
●●4:30: Royal Conservatory. Phil and Eli Taylor<br />
Performance Academy for Young Artists<br />
Showcase Concert. Mazzoleni Concert Hall,<br />
Royal Conservatory, 273 Bloor St. W. 416-408-<br />
0208. Free (ticket required).<br />
●●7:30: Living Arts Centre. Junia-T. Living<br />
Arts Centre, Hammerson Hall, 4141 Living<br />
Arts Dr., Mississauga. 905-306-6000.<br />
$25-$35.<br />
with Ken Whitely & Friends<br />
Sat. Feb 6, 7:30pm<br />
standrewstoronto.org<br />
●●7:30: Music at St. Andrew’s. This Little<br />
Light: Mardi Gras at St Andrew’s. Ken<br />
Whiteley and Friends. St. Andrew’s Church,<br />
73 Simcoe St. 416-593-5600 x231. $25.<br />
●●7:30: Opera by Request. Norma. Bellini.<br />
Naomi Eberhard, soprano (Norma); Jessica<br />
Lane, soprano (Adalgisa); Jason Lamont,<br />
tenor (Pollione); Andrew Tees, baritone<br />
(Oroveso); Jennifer Routhier, mezzo (Clotilde);<br />
Fabian Arciniegas, tenor (Flavio); William<br />
Shookhoff, pianist and music director.<br />
College Street United Church, 452 College St.<br />
A. Concerts in the GTA<br />
Cathedral Bluffs<br />
SYMPHONY ORCHESTRA<br />
Norman Reintamm<br />
Artistic Director/Principal Conductor<br />
416-455-2365. $20.<br />
●●7:30: Toronto Jazz Orchestra and Toronto<br />
Mass Choir. The Big Band Gospel Project.<br />
Traditional tunes and original compositions,<br />
jazz and gospel music. Toronto Jazz Orchestra<br />
and Toronto Mass Choir. Bloor Street<br />
United Church, 300 Bloor St. W. 416-899-<br />
5299. $25($30 at door); $20 (sr/st) ($25 at<br />
door).<br />
●●7:30: University of Toronto Faculty of<br />
Music. New Music Festival: Jazz Faculty with<br />
Special Guests. Improvisational and new<br />
music. Walter Hall, Edward Johnson Building,<br />
University of Toronto, 80 Queen’s Park. 416-<br />
408-0208. Free.<br />
●●8:00: Cathedral Bluffs Symphony Orchestra.<br />
Tryptych Concert and Opera. Puccini:<br />
Gianni Schicchi; Smetana: Die Moldau. Norman<br />
Reintamm, conductor. P.C. Ho Theatre,<br />
Chinese Cultural Centre of Greater Toronto,<br />
5183 Sheppard Ave. E., Scarborough. 416-<br />
879-5566. Regular: $34; $29(sr/st); Premium:<br />
$54; $44(sr/st); Free(under 12).<br />
●●8:00: Corporation of Massey Hall and Roy<br />
Thomson Hall/Less Border. Alan Cumming<br />
Sings Sappy Songs. See 3pm.<br />
●●8:00: Gallery 345. Trio d’Argento. Works by<br />
Haydn, Jacques Bondon, Saint-Saens, Kuhlau,<br />
F. Schmitt and Miguel del Aguila. Sibylle Marquardt,<br />
flute; Peter Stoll, clarinets and sax;<br />
Anna Ronai, piano. 345 Sorauren Ave. 416-<br />
822-9781. $20; $15(sr); $10(st).<br />
●●8:00: Kindred Spirits Orchestra. Pictures<br />
at an Exhibition. Mussorgsky: Pictures<br />
at an Exhibition; Beethoven: Piano Concerto<br />
No.2 in b-flat, Op.19; Dukas: The Sorcerer’s<br />
Apprentice (symphonic poem). Kristian Alexander,<br />
conductor; Antonia de Wolfe, piano;<br />
Alexa Petrenko, host. Flato Markham Theatre,<br />
171 Town Centre Blvd., Markham. 905-305-<br />
7469. $15-$35.<br />
●●8:00: Mississauga Festival Choir. Festival<br />
of Friends Choral Festival. Numerous local<br />
choirs in solo and massed repertoire. Eden<br />
United Church, 3051 Battleford Rd., Mississauga.<br />
905-824-5578. $25; $15(children 12<br />
and under). All proceeds go to Alzheimer<br />
Society Peel.<br />
●●8:00: Royal Conservatory. Music Mix:<br />
Bluebird North. Blair Packham, host.<br />
Saturday <strong>February</strong> 6, <strong>2016</strong> 8 pm<br />
PUCCINI Gianni Schicchi<br />
Conservatory Theatre, 273 Bloor St. W. 416-<br />
408-0208. $25.<br />
●●8:00: Royal Winnipeg Ballet. Going<br />
Home Star - Truth and Reconciliation. See<br />
Feb 5(7:30).<br />
BEETHOVEN<br />
& BRAHMS<br />
FEB. 6 AT 8 P.M.<br />
SALVATION ARMY<br />
SCARBOROUGH CITADEL<br />
20<strong>21</strong> LAWRENCE AVENUE EAST<br />
VISIT US AT SPO.CA<br />
●●8:00: Scarborough Philharmonic Orchestra.<br />
Great Romantic Music. Beethoven: Overture<br />
to the Ruins of Athens, Symphony No. 6;<br />
Brahms: Double Concerto for Violin, Cello and<br />
Orchestra. Ronald Royer, conductor; Conrad<br />
Chow, violin; Jacob Shaw, cello. Salvation<br />
Army Scarborough Citadel, 20<strong>21</strong> Lawrence<br />
Ave. E., Scarborough. 416-429-0007. $30;<br />
$25(sr); $15(st); $10 (children under 10).<br />
●●8:00: Small World Music. World on a<br />
String. Small World Music Centre, Artscape<br />
Youngplace, 180 Shaw St. 416-536-5439. $20.<br />
●●8:00: Spectrum Music. Literary Landscapes.<br />
Cheesman: Infinite Jest (homage to<br />
David Foster Wallace); new music by Spectrum<br />
composers and guests depicting fictitious<br />
realms from modern literature. Tara<br />
Davidson, Nick Fraser, Shannon Graham<br />
and Brad Cheesman. Alliance Française de<br />
Toronto, 24 Spadina Rd. 416-937-6180. $15;<br />
$10(sr/st/arts workers).<br />
●●8:00: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. Beethoven 9th Symphony.<br />
Koerner Hall. See Feb 4; Also Feb 7(mat).<br />
●●8:00: Tapestry Opera. Songbook VI. Wallis<br />
Giunta, mezzo; emerging artists from<br />
Tapestry’s New Opera 101 program; Jordan<br />
de Souza, conductor-in-residence.<br />
Ernest Balmer Studio (315), Distillery District,<br />
9 Trinity St. 416-537-6066 x243. $25.<br />
Also Feb. 5.<br />
Sunday <strong>February</strong> 7<br />
●●10:30am: St. Philip’s Anglican Church.<br />
Mardi Gras Mass with Bob DeAngelis Dixieland<br />
Band. John MacLeod, trumpet; Phil<br />
Disera, banjo; Ron Johnston, bass; Bob<br />
DeAngelis, clarinet/saxophone. 25 St. Phillips<br />
Rd., Etobicoke. 416-247-5181. Freewill<br />
offering.<br />
●●1:30: Tiki Mercury-Clarke. One Sunday.<br />
A recreation of a Sunday from the Canadian<br />
Afrikan community of the 1960s<br />
through song, script and piano. Neighbourhood<br />
Unitarian Universalist Congregation,<br />
79 Hiawatha Rd. 416-686-6809. $15; $10(sr/<br />
child/artist); $25(family). Intergenerational<br />
event aimed for Gr.3 children and up.<br />
●●2:00: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 9, 13, 17,<br />
19, <strong>21</strong>, 23, 25 and 27. Start times vary.<br />
●●2:00: Etobicoke Philharmonic Orchestra.<br />
Klassical Hitz For Kidz. Prokofiev: Peter<br />
and the Wolf. Brian Anderson, narrator; Mimico<br />
Children’s Choir. Assembly Hall, 1 Colonel<br />
Samuel Smith Park Dr., Etobicoke. 416-239-<br />
5665. $20; $10(child). Also 4:30.<br />
●●2:00: St. Anne’s Music and Drama Society.<br />
Iolanthe. See Feb 4.<br />
●●2:30: Voicebox: Opera in Concert. Salieri’s<br />
Falstaff. Aradia Ensemble; Allison Angelo;<br />
Michèle Bogdanowicz; Justin Welsh; Sydney<br />
Baedke; Dion Mazerolle; Colin Ainsworth;<br />
VOICEBOX: Opera in Concert Chorus; Robert<br />
Cooper, chorus director; Larry Beckwith,<br />
conductor. Jane Mallett Theatre, St. Lawrence<br />
Centre for the Arts, 27 Front St. E. 416-<br />
366-7723. $52-$73.<br />
●●3:00: Gallery 345. Fundraiser<br />
Concert: Music on Canvas. Works by Prokofiev,<br />
Lysenko, Barvinsky, Kolodub, Taktakishvili,<br />
Kosak and Yachshenko. Alex McLeod,<br />
viola; Peter Stoll, clarinet; Izabella Budai, flute;<br />
Matthew Christakos, cello; Maria Dolnycky,<br />
PLUS… SMETANA Die Moldau<br />
SUBSCRIPTION CONCERT 3 | TICKETS: REGULAR – $34 adult $29 senior/student<br />
PREMIUM – $54 adult $44 senior/student (under age 12, free)<br />
P.C. HoTheatre 5183 Sheppard Avenue East, Scarborough<br />
The Ontario Trillium Foundation is an<br />
agency of the Government of Ontario<br />
cathedralbluffs.com | 416.879.5566<br />
30 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
piano. 345 Sorauren Ave. 416-822-9781. $35;<br />
$20(st). Price includes wine reception to follow.<br />
All proceeds support Ukraine Prosthetic<br />
Assistance Project.<br />
●●3:00: Greater Toronto Philharmonic<br />
Orchestra. Waltzes & Overtures. Verdi: Overture<br />
to Nabucco; J. Strauss II: Waltz from Der<br />
Zigeunerbaron; Künstlerleben (Artists’ Life);<br />
Lehár: Waltz from The Merry Widow; Verdi:<br />
Overture to La forza del destino; Rossini:<br />
Overture to L’italiana in Algeri (The Italian<br />
girl in Algiers); selected opera arias by Lehár,<br />
Verdi and Bellini. Jennifer Mizzi, soprano;<br />
Jean-Michel Malouf, conductor. Columbus<br />
Centre, 901 Lawrence Ave. W. 647-238-0015.<br />
$20-$25.<br />
●●3:00: University of Toronto Faculty of<br />
Music. New Music Festival: Choral Contemporary<br />
Showcase Concert. Allan Gordon Bell:<br />
new work (premiere); O Virtus Sapientiae<br />
(arr. Parker); and other works. Men’s Chorus<br />
and Women’s Chamber Choir; Hilary Apfelstadt,<br />
Elaine Choi and Tracy Wong, conductors.<br />
Grace Church on-the-Hill, 300 Lonsdale<br />
Rd. 416-408-0208. PWYC.<br />
Ilya Poletaev piano<br />
Axel Strauss violin<br />
●●3:00: Syrinx Concerts Toronto. Friends<br />
In Music. Mozart: Sonata K526; Jean Lesage:<br />
Morceau de concours; Schumann: Sonata in<br />
a; Enescu: Impressions d’enfance. Ilya Poletaev,<br />
piano; Axel Strauss, violin. Heliconian<br />
Hall, 35 Hazelton Ave. 416-654-0877. $25;<br />
$20(st). Post-concert reception.<br />
●●3:30: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. Beethoven 9th Symphony.<br />
Koerner Hall. See Feb 4.<br />
●●4:00: Cathedral Church of St. James.<br />
Twilight Organ Series. Ian Sadler, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●4:00: Church of St. Mary Magdalene.<br />
Organ music by Felix Mendelssohn. Andrew<br />
Adair, organ. Church of St. Mary Magdalene<br />
(Toronto), 477 Manning Ave. 416-531-7955.<br />
Free.<br />
●●4:00: Toronto Children’s Chorus. Outreach<br />
Concert. Toronto Children’s Chorus<br />
Chorale Choir and Youth Choir; Elise Bradley<br />
and Matthew Otto, conductors; Helen Becqué<br />
and Michel Ross, accompanists. St. Paul’s<br />
Basilica, 83 Power St. 416-932-8666 x231.<br />
Free. Donations accepted.<br />
●●4:30: Christ Church Deer Park. Jazz Vespers.<br />
1570 Yonge St. 416-920-5<strong>21</strong>1. Free.<br />
Donations welcome.<br />
●●4:30: Etobicoke Philharmonic Orchestra.<br />
Klassical Hitz for Kidz. Prokofiev: Peter<br />
and the Wolf; other works. Assembly Hall,<br />
1 Colonel Samuel Smith Park Dr., Etobicoke.<br />
416-239-5665. $20; $10(child). Also at 2:00.<br />
●●7:00: Victoria University, University of<br />
Toronto. In Concert. Vivaldi: Gloria; other<br />
works. Victoria College Choir and Toronto<br />
School of Theology Choir; Taylor Sullivan, director;<br />
Becca Whittla, director. Victoria College<br />
Chapel, 91 Charles St. W. 416-585-45<strong>21</strong>. Free.<br />
Tuesday <strong>February</strong> 9<br />
●●12:00 noon: Canadian Opera Company.<br />
Vocal Series: The Art of Song. Christopher<br />
Purves, bass-baritone. Richard Bradshaw<br />
Amphitheatre, Four Seasons Centre for the<br />
Performing Arts, 145 Queen St. W. 416-363-<br />
8231. Free.<br />
●●12:10: Nine Sparrows Arts Foundation/<br />
Yorkminster Park Baptist Church. Lunchtime<br />
Chamber Music. Michela Comparey;<br />
tuba quartet. Yorkminster Park Baptist<br />
Church, 1585 Yonge St. 416-241-1298. Free.<br />
Donations welcome.<br />
●●1:00: Cathedral Church of St. James. Midday<br />
Organ Series. Rashaal Allwood, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●7:00: Sam Broverman. EP Launch: Feelings<br />
of Affection. Sam Broverman, vocals. Jazz<br />
Bistro, 251 Victoria St. 416-363-5299. $10<br />
cover (includes copy of EP).<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 13, 17, 19,<br />
<strong>21</strong>, 23, 25 and 27. Start times vary.<br />
●●8:00: Toronto Symphony Orchestra. Let’s<br />
Dance! Jeff Tyzik, conductor; Ted Louis Levy,<br />
tap dancer/vocalist; Stephen Sayer and Chandrae<br />
Roettig, swing dancers; Patricio Touceda<br />
and Eva Lucero, tango dancers. Roy Thomson<br />
Hall, 60 Simcoe St. 416-598-3375. $33.75-<br />
$107. Also Feb 10(2:00 and 8:00).<br />
Wednesday <strong>February</strong> 10<br />
●●12:00 noon: Canadian Opera Company.<br />
Vocal Series: A Song on the Breeze. Highlights<br />
from The Marriage of Figaro. COC Ensemble<br />
Studio. Richard Bradshaw Amphitheatre,<br />
Four Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●2:00: Toronto Symphony Orchestra. Let’s<br />
Dance! Jeff Tyzik, conductor; Ted Louis Levy,<br />
tap dancer/vocalist; Stephen Sayer and Chandrae<br />
Roettig, swing dancers; Patricio Touceda<br />
and Eva Lucero, tango dancers. Roy Thomson<br />
Hall, 60 Simcoe St. 416-598-3375. $29.50-<br />
$83.75. Also Feb 9 and 10(8:00).<br />
●●7:30: University of Toronto Faculty of<br />
Music. U of T 12tet. Terry Promane, director.<br />
Walter Hall, Edward Johnson Building, University<br />
of Toronto, 80 Queen’s Park. 416-978-<br />
0492. $20; $10(st).<br />
●●8:00: Roy Thomson Hall/Massey<br />
Hall. Emilie-Claire Barlow. Massey Hall,<br />
178 Victoria St. 416-872-4255. $29.50-$69.50.<br />
●●8:00: Soundstreams. Squeezebox. A crosscultural<br />
concert featuring the accordion<br />
and its extended family. Mozetich: Dance of<br />
the Blind; Pidgorna: new work; Schafer: La<br />
Testa d’Adriana; Sokolović: Nocturne au petit<br />
cirque. Héctor del Curto, bandoneón; Joe<br />
Macerollo and Michael Bridge, accordion;<br />
chamber ensemble. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-504-1282. $37.50-$67.50.<br />
7:00: pre-concert chat.<br />
●●8:00: Toronto Symphony Orchestra. Let’s<br />
Dance! Jeff Tyzik, conductor; Ted Louis Levy,<br />
tap dancer/vocalist; Stephen Sayer and<br />
Chandrae Roettig, swing dancers; Patricio<br />
Touceda and Eva Lucero, tango dancers. Roy<br />
Thomson Hall, 60 Simcoe St. 416-598-3375.<br />
$33.75-$107. Also Feb 9 and 10(2:00).<br />
Thursday <strong>February</strong> 11<br />
●●12:00 noon: Canadian Opera Company.<br />
Vocal Series. Schubert: Winterreise. Josef<br />
Wagner, bass-baritone; Rachel Andrist,<br />
piano. Richard Bradshaw Amphitheatre, Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●12:10: University of Toronto Faculty of<br />
Music. Thursdays at Noon: Matthew Li, piano.<br />
Stockhausen: Klavierstück IX; Brahms: Klavierstücke,<br />
Op.119; Ravel: Alborada del gracioso;<br />
Scriabin: Sonata No.5, Op.53; Messiaen:<br />
Regard de l’Esprit de joie. Walter Hall, Edward<br />
Johnson Building, University of Toronto,<br />
80 Queen’s Park. 416-978-0492. Free.<br />
●●12:15: Metropolitan United Church. Noon<br />
at Met. Patricia Wright, organ. Metropolitan<br />
United Church (Toronto), 56 Queen St. E. 416-<br />
363-0331 x26. Free.<br />
●●2:00: Orchardviewers. Piano Recital by<br />
Kara Huber. Northern District Public Library,<br />
Room 224, 40 Orchard View Blvd. 416-393-<br />
7610. Free.<br />
●●6:30: Canadian Opera Company. Siegfried.<br />
See Feb 2. Also Feb 14(mat).<br />
●●7:00: Music Gallery. Music Gallery Fundraiser.<br />
197 John St. 416-204-1080. $20. For<br />
details see Section D: Fundraisers.<br />
●●7:30: York University Department of<br />
Music. Concerto Competition Winners in<br />
Concert with the York University Symphony<br />
Orchestra. Mark Chambers, conductor. Tribute<br />
Communities Recital Hall, Accolade East<br />
Building, YU, 4700 Keele St. 416-736-5888.<br />
$15; $10(sr/st).<br />
●●8:00: Gallery 345. Music and Poetry: Devorina<br />
Gamalova, Solo Violin. Works by Bach,<br />
Paganini, Kreisler, Goleminov and Gamalova<br />
(music and poetry). 345 Sorauren Ave. 416-<br />
822-9781. $20; $10(st).<br />
●●8:00: Roy Thomson Hall/Massey Hall.<br />
The Triplets of Belleville. Film screening. Roy<br />
Thomson Hall, 60 Simcoe St. 416-872-4255.<br />
$39.50-$59.50.<br />
●●8:00: York University Department of<br />
Music. Improv Soiree. An evening of improvisation<br />
in a participatory “open mike” set-up,<br />
hosted by the improv studios of Casey Sokol.<br />
Sterling Beckwith Studio, 235 Accolade East<br />
Building, 4700 Keele St. 647-459-0701. Free.<br />
Performers and observers welcome.<br />
Friday <strong>February</strong> 12<br />
●●1:10: Gordon Murray Presents. Piano Potpourri.<br />
Classics, opera, operetta, musicals,<br />
ragtime, pop, international and other genres.<br />
Gordon Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. PWYC.<br />
Concert in chapel; lunch and snack friendly.<br />
●●3:30: Junction Trio. A Love Letter from<br />
Messiaen. Messiaen: Poèmes pour Mi; works<br />
by Schumann, Korngold, Mahler, Fauré and<br />
Guilmant. Guests: Emily D’Angelo, mezzo;<br />
Rashaan Allwood, piano; Junction Trio (Jamie<br />
Thompson, flute; Ivana Popovic, violin; Raphael<br />
Weinroth-Browne, cello). St. Anne’s<br />
Anglican Church, 270 Gladstone Ave. 416-<br />
536-3160. PWYC. Refreshments.<br />
●●7:30: Gallery Players of Niagara. From<br />
The Heart. Schumann: Liederkreis, Op.39<br />
(new transcription); Beethoven: String Quartet,<br />
Op.18 No.6 “Melancholy;” other works by<br />
Schubert. Brett Polegato, baritone; Joseph<br />
Phillips, bass; Timothy Phelan, guitar; Eybler<br />
Quartet: Aisslinn Nosky and Julia Wedman,<br />
violin; Patrick Jordan, viola; Margaret<br />
Gay, cello. Heliconian Hall, 35 Hazelton Ave.<br />
416-778-5911. $15-$25. Also Feb 14 (mat, St.<br />
Catharines).<br />
●●7:30: Living Arts Centre. Alejandra Ribera.<br />
Living Arts Centre, RBC Theatre, 4141 Living<br />
Arts Dr., Mississauga. 905-306-6000.<br />
$30-$50.<br />
●●8:00: Gallery 345. Cello Revolution: Rachel<br />
Mercer. J. S. Bach: Suite for Solo Cello; Cassado:<br />
Solo Suite; Andrew Downing: viyolonsel<br />
semai (2015); Darren Sigesmund: Solo Suite<br />
<strong>2016</strong> (world premiere). 345 Sorauren Ave.<br />
416-822-9781. $20; $10(st).<br />
●●8:00: Kingston Road Village Concert Series.<br />
A Cappella. Countermeasure. Kingston<br />
Road United Church, 975 Kingston Rd. 416-<br />
699-6091. $20; $10(st); free(child).<br />
●●8:00: Living Arts Centre. Chantal Kreviazuk<br />
and Raine Maida. Living Arts Centre,<br />
Hammerson Hall, 4141 Living Arts Dr., Mississauga.<br />
905-306-6000. $45-$65.<br />
● ● 8:00: Royal Conservatory. Royal Conservatory<br />
Orchestra. Rimsky-Korsakov:<br />
Wholenote sq 6th Feb 12 <strong>2016</strong>.qxp_Layout 1 1/7/16 8:44 AM Page 1<br />
FROM THE HEART<br />
<strong>February</strong> 12, <strong>2016</strong><br />
Heliconian Club 7:30pm<br />
35 Hazelton Ave, Toronto<br />
Featuring a new transcription of<br />
Schumann’s Liederkreis Op. 39<br />
and Beethoven’s intensely<br />
personal String Quartet Op. 18 #6.<br />
P E R F O R M E R S<br />
Brett Polegato BARITONE<br />
Joseph Phillips BASS, Timothy Phelan GUITAR<br />
Eybler Quartet<br />
Aisslinn Nosky VIOLIN, Julia Wedman VIOLIN<br />
Patrick Jordan VIOLA, Margaret Gay ‘CELLO<br />
of Niagara<br />
TICKETS CALL<br />
416 778 5911<br />
^<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 31
A. Concerts in the GTA<br />
Scheherazade; Tchaikovsky: Piano Concerto<br />
No.1; and other works. Edward Zhou, piano;<br />
Johannes Debus, conductor. Koerner Hall,<br />
Telus Centre, 273 Bloor St. W. 416-408-0208.<br />
$25-$55. 6:45: Prelude Recital.<br />
●●8:00: Thin Edge New Music Collective.<br />
Premieres V. New works by Tereszkowski,<br />
Livingston, E. Hall, Nickel, Hui-Hsin<br />
Hsieh, Mays and Frederickson. Array Space,<br />
155 Walnut Ave. 647-456-7597. $20/$18(adv);<br />
$15(sr/st/arts)/$13(adv).<br />
●●8:00: Toronto Consort. Way of the Pilgrim.<br />
Pilgrim songs, crusaders’ laments, and<br />
dances from Spain, France and Germany.<br />
Trinity-St. Paul’s Centre, Jeanne Lamon Hall,<br />
427 Bloor St. W. 416-964-6337. $24-$64; $22-<br />
$52(sr); $10(st/30 and under). 7:00: pre-concert<br />
talk. Also Feb 13.<br />
Saturday <strong>February</strong> 13<br />
●●2:00: King Music Collective. All About Love.<br />
Home of Michele Mele and Luciano Tauro,<br />
15785 8th Concession, King Township. 416-<br />
486-6742. $30; $15(st). Includes beverage<br />
and snacks.<br />
●●2:30: Gallery 345. The Art of the Piano:<br />
Bruce Vogt. Sonatas by Haydn and<br />
Beethoven. 345 Sorauren Ave. 416-822-9781.<br />
$25; $20(sr/arts workers); $10(st).<br />
●●3:00: Yorkminster Park Baptist Church<br />
Choir. Music to Warm a Winter Day. Yorkminster<br />
Park Baptist Church, 1585 Yonge St.<br />
416-922-1167. $20. Fundraising event for the<br />
Choir’s upcoming trip to St. Paul’s in London.<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 17, 19, <strong>21</strong>,<br />
23, 25 and 27. Start times vary.<br />
●●7:30: Living Arts Centre. A Broadway Valentine.<br />
Janet Martin and Philip Douglas Kerr,<br />
vocalists. Living Arts Centre, RBC Theatre,<br />
4141 Living Arts Dr., Mississauga. 905-306-<br />
6000. $30-$45.<br />
●●7:30: Toronto Symphony Orchestra. The<br />
Year of the Monkey: A Chinese New Year<br />
Celebration. Huanzhi: Spring Festival Overture;<br />
Prokofiev: Selections from Romeo<br />
and Juliet; Various: Selections from Peking<br />
Opera; Zhanhao/Gang: Butterfly Lovers Violin<br />
Concerto. Maxim Vengerov, violin; Wang<br />
Yi, Peking Opera soloist; Mark Rowswell<br />
THE YEAR OF<br />
THE MONKEY:<br />
A CHINESE NEW<br />
YEAR CELEBRATION<br />
MAXIM VENGEROV, VIOLIN<br />
FEB 13 | TSO.CA<br />
“Dashan”, host; Long Yu, conductor. Roy<br />
Thomson Hall, 60 Simcoe St. 416-598-3375.<br />
$50.00-$182.50.<br />
●●8:00: 2Cellos. In Concert. Sony Centre for<br />
the Performing Arts, 1 Front St. E. 1-855-872-<br />
7699. $48.39-$78.39.<br />
Edwards, lutenist; Musicians In Ordinary Violin<br />
Band; Christopher Verrette, conductor.<br />
Heliconian Hall, 35 Hazelton Ave. 416-535-<br />
9956. $30, $20(sr/st).<br />
●●8:30: Oakville Centre for the Performing<br />
Arts. Paradiso Dance and Drama Series:<br />
Eh440. 130 Navy St., Oakville. 905-815-20<strong>21</strong>.<br />
$44. Valentine’s Dinner & Show package<br />
available.<br />
●●8:00: Small World Music. Noura Mint Seymali.<br />
Small World Music Centre, Artscape<br />
Youngplace, 180 Shaw St. 416-536-5439. $30.<br />
Also Feb 14.<br />
●●8:00: Somewhere There/Arraymusic.<br />
Audiopollination. Array Space, 155 Walnut<br />
Ave. 416-532-3019. $10 or PWYC.<br />
●●8:00: Toronto Consort. Way of the Pilgrim.<br />
See Feb 12.<br />
Sunday <strong>February</strong> 14<br />
Denis MastroMonaco<br />
MUsic D irector &<br />
c o n D U c t o r<br />
MSOEpic<br />
English Art Songs that<br />
haven’t been performed for<br />
years<br />
Bloor Street United Church<br />
<strong>February</strong> 13, 8:00 pm<br />
Maryna Yakhontova<br />
●●8:00: Bloor Street United Church. In Concert.<br />
Rarely performed English art songs.<br />
Marina Yakhontova, voice; Brian Stevens,<br />
piano. 300 Bloor St. W. 416-886-9392. Freewill<br />
offering.<br />
●●8:00: Jazz Performance and Education<br />
Centre. Everything I Love. Melissa Stylianou<br />
Trio (Melissa Stylianou, vocals; Jamie<br />
Reynolds, piano; John MacLeod, trumpet).<br />
Toronto Centre for the Arts, 5040 Yonge St.,<br />
North York. 416-461-7744. $30; $20(st).<br />
●●8:00: Mississauga Symphony Orchestra.<br />
Love at the Opera. Love-themed arias<br />
and overtures. Hammerson Hall, Living Arts<br />
Centre, 4141 Living Arts Dr., Mississauga.<br />
905-615-4405. $50-$65; $45-$58.50(sr);<br />
$30(youth); $20(child).<br />
●●8:00: Musicians in Ordinary. Sweet Swan<br />
of Avon: Words and Music. Shakespeare’s<br />
Lives of Girls and Women. Readings from<br />
Hamlet, Richard III, Taming of the Shrew and<br />
other works. Music by Campion, Byrd, Dowland<br />
and other Tudor and Stuart composers.<br />
Ruby Joy, reader; Hallie Fishel, soprano; John<br />
●●2:00: Canadian Opera Company. Siegfried.<br />
See Feb 2.<br />
●●2:00: Visual and Performing Arts Newmarket<br />
(VPAN). Young Artists’ Showcase.<br />
Karine White, soprano; Harrison Jarvis,<br />
piano; Jasmine Doucette-Gaylor, dancer; Belle<br />
Nove Vocal Ensemble. Newmarket Theatre,<br />
505 Pickering Cres., Newmarket. 905-953-<br />
5122. $20; $10(st); $40(family of 4).<br />
●●3:00: Symphony on the Bay. Romance.<br />
Jenkins: Palladio Suite, 1st movement;<br />
32 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Rodrigo: Concierto de Aranjuez; Tchaikovsky:<br />
Symphony No.6 in b, Op.74 “Pathétique”;<br />
Gershwin: selections. Emma Rush, guitar;<br />
Claudio Vena, conductor. Burlington Performing<br />
Arts Centre, 440 Locust St., Burlington.<br />
905-681-6000. $11.30-$39.56.<br />
●●4:00: Cathedral Church of St. James.<br />
Twilight Organ Series. Ian Sadler, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●4:00: St. Philip’s Anglican Church. Valentine<br />
Vespers with Carol McCartney Quartet.<br />
Kieran Overs, bass; Chris Robinson, saxophone;<br />
Brian Dickinson, piano. 25 St. Phillips<br />
Rd., Etobicoke. 416-247-5181. Freewill<br />
offering.<br />
●●4:00: St. Olave’s Anglican Church. Charles<br />
Wood 150. Choral Evensong for the First<br />
Sunday in Lent. Works of Charles Wood,<br />
Willan, Stanford and Vaughan Williams.<br />
Schola Ecclesiam; Clem Carelse, conductor.<br />
360 Windermere Ave. 416-769-5686. Free.<br />
Contributions appreciated. Refreshments following<br />
with discussion about music featured<br />
in Evensong. Religious Service.<br />
●●7:00: Acoustic Harvest. Showcase<br />
at the Winterfolk Festival. Jane Lewis;<br />
Jason LaPrade; Katherine Wheatley; Rosalee<br />
Peppard; Lotus Wight. Black Swan,<br />
154 Danforth Avenue, 2nd Floor. 416-469-<br />
0537. $20/$15(adv).<br />
●●7:30: Levon Ichkhanian/Global Village Creative<br />
Inc. Fall Into Love. Mitch Smolkin, Gabi<br />
Epstein, Amanda Martinez, and David Dunbar,<br />
vocals; David Warrack, piano; Anna Atkinson,<br />
violin; Levon Ichkhanian, music director/guitar.<br />
Toronto Centre for the Arts, 5040 Yonge<br />
St., North York. 416-250-3708/416-733-<br />
9388. $45.<br />
●●8:00: Small World Music. Noura Mint Seymali.<br />
Small World Music Centre, Artscape<br />
Youngplace, 180 Shaw St. 416-536-5439. $30.<br />
Also Feb 13.<br />
●●8:00: Somewhere There/Arraymusic.<br />
Somewhere There Presents. Lineup TBA.<br />
Array Space, 155 Walnut Ave. 416-532-3019.<br />
$10 or PWYC.<br />
Monday <strong>February</strong> 15<br />
SKYLIGHT SERIES<br />
CORKIN GALLERY<br />
Monday, <strong>February</strong> 15 th<br />
7:30 PM<br />
Tickets at the door, or<br />
brownpapertickets.com<br />
●●7:30: LARK Ensemble. Inspiration. Copland:<br />
Threnodies; Harbison: Six American Painters;<br />
Brahms: Clarinet Quintet Op.115. Leslie Allt,<br />
flute; Aaron Schwebel, violin; Keith Hamm,<br />
viola; Roberta Janzen, cello; guests: James<br />
Shields, clarinet; Dominique Laplante, violin.<br />
Corkin Gallery, 7 Tank House Ln. 416-979-<br />
1980. $35; $20(st). Refreshments included.<br />
BOULEZ+BASHAW<br />
Mon. Feb. 15 | Oliphant Theatre<br />
www.NewMusicConcerts.com<br />
●●8:00: New Music Concerts. Boulez and<br />
Bashaw. Boulez: Incises; Sur Incises; Bashaw:<br />
Postmodern Counterpoint - Antiphonals and<br />
Canons with Gabrieli Remembered. NMC<br />
Ensemble; Erica Goodman, Sanya Eng and<br />
Angela Schwarzkopf, harp; Rick Sacks, Ryan<br />
Scott and David Schotzko, percussion; Gregory<br />
Oh, Stephen Clarke and Simon Docking,<br />
piano; Robert Aitken, conductor. Betty Oliphant<br />
Theatre, 404 Jarvis St. 416-961-9594.<br />
$35; $25(sr/arts workers); $10(st). 7:15:<br />
Introduction.<br />
Tuesday <strong>February</strong> 16<br />
●●12:00 noon: Canadian Opera Company.<br />
Vocal Series: Light and Shadow. John Rutter:<br />
Shadows; other works (arr. Doug McNaughton).<br />
Doug McNaughton, baritone/guitar.<br />
Richard Bradshaw Amphitheatre, Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●12:10: Nine Sparrows Arts Foundation/<br />
Yorkminster Park Baptist Church. Lunchtime<br />
Chamber Music. Omar Ho, clarinet.<br />
Yorkminster Park Baptist Church, 1585 Yonge<br />
St. 416-241-1298. Free. Donations welcome.<br />
●●1:00: Cathedral Church of St. James. Midday<br />
Organ Series. Stephen Frketic, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●7:30: SING! The Toronto Vocal Arts Festival.<br />
SING! Celebration <strong>2016</strong>. Fundraising<br />
a cappella concert. Kongero (Swedish a<br />
cappella ensemble); Countermeasure. Lula<br />
Lounge, 1585 Dundas St. W. 416-694-6900.<br />
$15. Dinner reservations guarantee seating.<br />
●●8:00: Mark Segger. In Concert. Mark Segger,<br />
drums and Toronto improvisers, TBA.<br />
Array Space, 155 Walnut Ave. 416-532-3019.<br />
$10 or PWYC.<br />
Wednesday <strong>February</strong> 17<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 19, <strong>21</strong>, 23,<br />
25 and 27. Start times vary.<br />
●●7:30: Toronto Shape Note Singing Community.<br />
Toronto Sacred Harp Singing. Selections<br />
from The Sacred Harp, 1991 Denson<br />
Edition. Bloor Street United Church,<br />
300 Bloor St. W. 647-838-8764. PWYC. Also<br />
Mar 16. Singing is participatory; songbooks<br />
to borrow.<br />
●●8:00: Harbourfront Centre. Frazey Ford.<br />
Frazey Ford, vocals. Harbourfront Centre<br />
Theatre, 235 Queens Quay W. 416-872-4255.<br />
$19.50-$29.50.<br />
Gil Shaham and<br />
The Knights<br />
WED., FEB. 17, 8PM<br />
KOERNER HALL<br />
Generously supported by<br />
David G. Broadhurst<br />
TICKETS 0N SALE NOW: 416.408.0208<br />
WWW.PERFORMANCE.RCMUSIC.CA<br />
●●8:00: Royal Conservatory. Chamber<br />
Music: Gil Shaham and The Knights. Works by<br />
J-F. Rebel, Prokofiev, Wagner, S. Stevens and<br />
Dvořák. Koerner Hall, Telus Centre, 273 Bloor<br />
St. W. 416-408-0208. $45-$100.<br />
●●8:00: Toronto Symphony Orchestra.<br />
Brahms Violin Concerto. Bertrand: Rideaux<br />
et Fanfares; Brahms: Violin Concerto;<br />
Franck: Symphony in d. Baiba Skride, violin;<br />
Fabien Gabel, conductor. Roy Thomson Hall,<br />
60 Simcoe St. 416-598-3375. $33.75-$148.00.<br />
Also Feb 18.<br />
Thursday <strong>February</strong> 18<br />
●●12:00 noon: Canadian Opera Company.<br />
Chamber Music Series: Serenade. Mozart:<br />
Serenade in c, K388; other works for<br />
wind octet. Members of the COC Orchestra.<br />
Richard Bradshaw Amphitheatre, Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●12:15: Metropolitan United Church. Noon<br />
at Met. Fergus McWilliam, horn; Ron Jordan,<br />
piano. Metropolitan United Church (Toronto),<br />
56 Queen St. E. 416-363-0331 x26. Free.<br />
●●2:00: Orchardviewers. Viola Recital by<br />
Carolyn Farnand. Northern District Public<br />
Library, Room 224, 40 Orchard View Blvd.<br />
416-393-7610. Free.<br />
●●7:30: Canadian Music Centre. CMC Presents<br />
Cabaret Lyrique: Contrasts in Love.<br />
Composer Michael Purves-Smith explores<br />
the connection between poetry and music.<br />
Michael Purves-Smith, piano; Caroline Déry,<br />
soprano; Shannon Purves-Smith, clarinet;<br />
Bolt-Martin, cello; Amanda Jernigan and<br />
Fabienne Tosi, poets. 20 St. Joseph St. 416-<br />
961-6601 x202. $20; $15(CMC members/arts<br />
workers).<br />
●●8:00: Toronto Symphony Orchestra.<br />
Brahms Violin Concerto. Bertrand: Rideaux<br />
et Fanfares; Brahms: Violin Concerto;<br />
Franck: Symphony in d. Baiba Skride, violin;<br />
Fabien Gabel, conductor. Roy Thomson Hall,<br />
60 Simcoe St. 416-598-3375. $33.75-$148.00.<br />
Also Feb 17.<br />
●●8:30: Hugh’s Room. Almeta Speaks.<br />
2261 Dundas St. W. 416-531-6604.<br />
$30/$27(adv).<br />
Music TORONTO<br />
ST. LAWRENCE<br />
QUARTET<br />
November <strong>February</strong> 110 8 at at 8 pm pm<br />
●●8:00: Music Toronto. St. Lawrence Quartet.<br />
Haydn: Quartet in g, Op.20, No.3; Samuel<br />
Adams: String Quartet in 5 Movements<br />
(2013), composed for the St. Lawrence Quartet;<br />
Schumann: String Quartet in A, Op.41,<br />
No.3. Jane Mallett Theatre, St. Lawrence Centre<br />
for the Arts, 27 Front St. E. 416-366-7723.<br />
$55, $50; $10 student tickets; age 18 to 35 –<br />
pay your age.<br />
Friday <strong>February</strong> 19<br />
●●1:10: Gordon Murray Presents. Piano Potpourri.<br />
Classics, opera, operetta, musicals,<br />
ragtime, pop, international and other genres.<br />
Gordon Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. PWYC.<br />
Concert in chapel; lunch and snack friendly.<br />
●●7:00: Acting Up Stage Company. Grey Gardens.<br />
Book by Doug Wright. Music by Scott<br />
Frankel. Lyrics by Michael Korie. Lisa Horner<br />
(Little Edie); Nicola Lipman (Big Edie); Matthew<br />
Brown, Amariah Faulkner, Tim Funnell,<br />
and others. Berkeley Street Theatre,<br />
26 Berkeley St. 416-368-3110. $35-$55. Until<br />
Mar 6. Dates and times vary.<br />
●●7:00: Trio Arkel. String Tapestry. String<br />
music by Gubaidulina, Kodály and Beethoven.<br />
Guests: Scott St. John, violin; Sharon Wei,<br />
viola. Trinity-St. Paul’s Centre, 427 Bloor St.<br />
W. 416-409-6824. $30; $15(st). 6:30: informational<br />
talk.<br />
●●7:30: Brampton Folk Club. Guitar Masters<br />
with Wendell Ferguson and Friends. St. Paul’s<br />
United Church (Brampton), 30 Main St. S.,<br />
Brampton. 647-233-3655. $15; $12(sr/st).<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb <strong>21</strong>, 23, 25<br />
and 27. Start times vary.<br />
●●7:30: Living Arts Centre. Laila Biali. Living<br />
Arts Centre, RBC Theatre, 4141 Living Arts Dr.,<br />
Mississauga. 905-306-6000. $30-$50.<br />
●●7:30: Timothy Eaton Memorial Church.<br />
Songs of Love and Passion. Allison Arends,<br />
Brittany King, Olenka Slywynska, Joanne<br />
Leatch, Paul Williamson, David Michael<br />
Moore, Andrew Adridge, Michael York, voice;<br />
Eliane Choi and Stephen Boda, piano. 230 St.<br />
Clair Ave. W. 416-925-5977. $20; $15(sr/st);<br />
free(12 and under).<br />
●●8:00: Arraymusic. Array SESSION #36.<br />
An evening of improvisation by Toronto musicians<br />
with guests from out-of-town. Avesta<br />
Nakhaei, piano; Brain Abbott, guitar; Ted Phillips,<br />
electronics; Rick Sacks, percussion.<br />
Array Space, 155 Walnut Ave. 416-532-3019.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 33
Free or PWYC.<br />
●●8:00: Art of Time Ensemble. Zappa: The<br />
Genius of Irreverence of Genius. Andy; The<br />
Black Page #1; The Black Page #2; Inca Roads;<br />
Peaches in Regalia; and other works. Stephen<br />
Clarke, keyboards; Christine Duncan, singer;<br />
Wallace Halladay, saxophone; John Johnson,<br />
saxophone; Pat Kilbride, bass; Andrew<br />
Burashko, conductor; and others. Harbourfront<br />
Centre Theatre, 235 Queens Quay W.<br />
416-973-4000. $25-$59. Also Feb 20.<br />
●●8:00: Gallery 345. Jazz at Gallery 345:<br />
Landen Vieira. CD Release: Dream. Landen<br />
Vieira, sax; Adrean Farrugia, piano; Malcolm<br />
Connor, bass; Ethan Ardelli, drums.<br />
345 Sorauren Ave. 416-822-9781. $20; $10(st).<br />
●●8:00: Roy Thomson Hall/Massey Hall.<br />
Classic Albums Live: The Beatles “Help!”. Roy<br />
Thomson Hall, 60 Simcoe St. 416-872-4255.<br />
$29.50-$59.50.<br />
●●8:00: Royal Conservatory. Quiet Please,<br />
There’s a Lady on Stage Series: René Marie’s<br />
I Wanna Be Evil (With Love to Eartha Kitt).<br />
C’est Si Bon, Come On to My House and other<br />
songs. Guest: Wycliffe Gordon. Koerner Hall,<br />
Telus Centre, 273 Bloor St. W. 416-408-0208.<br />
$35-$80.<br />
Saturday <strong>February</strong> 20<br />
●●2:00: Royal Conservatory. Sweet Honey<br />
In The Rock. A cappella family concert and<br />
music mix: spirituals, blues, folk, gospel, jazz,<br />
pop and world music. Koerner Hall, Telus<br />
Centre, 273 Bloor St. W. 416-408-0208. $25-<br />
$35. Also 8:00. American Sign Language<br />
interpretation.<br />
●●4:30: Bach on the Beach. Elizabeth Anderson<br />
& Patrick Dewell, Organ. Beach United<br />
Church, 140 Wineva Ave. 416-691-8082.<br />
Free will offering. Informal reception before<br />
concert.<br />
●●7:00: Amadeus Choir of Greater Toronto.<br />
Love Notes. A celebration of love with jazz<br />
favourites. Sharon Smith, vocals; and others.<br />
Jubilee United Church, 40 Underhill Dr. 416-<br />
446-0188. $45; $35(sr/st). Annual fundraising<br />
concert and silent auction. Refreshments<br />
available.<br />
●●7:00: Andrew Clark. A Woman’s Love and<br />
Life. Schumann: Frauenliebe und leben; songs<br />
A. Concerts in the GTA<br />
by Mahler, Barber, Korngold, Charles and<br />
others. Emily D’Angelo, mezzo; Rashaan Allwood,<br />
piano. Heron Park Baptist Church,<br />
4260 Lawrence Ave. E., Scarborough. 416-<br />
284-1741. Donation - PWYC.<br />
●●7:30: Concerts at Scarborough Bluffs. Rising<br />
Stars Concert. Students from the Royal<br />
Conservatory’s Taylor Performance Academy.<br />
Scarborough Bluffs United Church,<br />
3739 Kingston Rd., Scarborough. 416-267-<br />
8265. $15. All proceeds to Springboard to<br />
Music.<br />
●●7:30: Oakville Chamber Orchestra. Vivaldi<br />
for Freaky Instruments. Vivaldi: Concerto for<br />
Sopranino Recorder in C; Purcell: The Fairy<br />
Queen, Suite No.1; Vivaldi: Concerto for Viola<br />
d’amore in d; Telemann: Suite “La Musette”;<br />
Vivaldi: Concerto for Lute in D. Allison Melville,<br />
Thomas Georgi, Benjamin Stein, soloists. St.<br />
John’s United Church (Oakville), 262 Randall<br />
St., Oakville. 905-483-6787. $30; $25(sr);<br />
$20(st). Also Feb <strong>21</strong> (St. Simon’s Anglican<br />
Church).<br />
●●7:30: Sony Centre and Attila Glatz Concert<br />
Productions. The Godfather Live in Concert.<br />
Motion Picture Symphony Orchestra; Justin<br />
Freer, conductor. Sony Centre for the Performing<br />
Arts, 1 Front St. E. 1-855-872-7699.<br />
$49-$99.<br />
●●7:30: Toronto Symphony Orchestra. From<br />
Mozart to Rachmaninoff. Mozart: Overture to<br />
The Magic Flute, K620; Rachmaninoff: Rhapsody<br />
on a Theme of Paganini; Berlioz: Le corsaire;<br />
Debussy: Prélude à l’après-midi d’un<br />
faune; Bizet: Suite from Carmen. Pavel Kolesnikov,<br />
piano; Earl Lee, RBC Resident Conductor.<br />
Roy Thomson Hall, 60 Simcoe St.<br />
416-598-3375. $33.75-$107. Also Feb <strong>21</strong><br />
(3:00).<br />
●●8:00: Acoustic Harvest. A Special Tribute<br />
to Rosemary Phelan with CD re-release. Eve<br />
Goldberg; Allison Lupton; Jane Lewis; Tannis<br />
Slimmon; Adam Warner; Jason LaPrade, host.<br />
St. Nicholas Anglican Church, 1512 Kingston<br />
Rd. 416-691-0449. $25/$22(adv) or PWYC.<br />
●●8:00: Alliance Française/Smash Entertainment.<br />
Sound Waves. French Touch music<br />
and dance. Alliance Française de Toronto,<br />
24 Spadina Rd. 416-922-2014. $15; $10(sr/st/<br />
members).<br />
●●8:00: Art of Time Ensemble. Zappa: The<br />
Genius of Irreverence of Genius. See Feb 19.<br />
●●8:00: CoeXisDance. Duet Series. Array<br />
Space, 155 Walnut Ave. 416-532-3019. $10.<br />
●●8:00: Gallery 345. The Art of the Piano: Alejandro<br />
Vela -- Noche Azúl. Brahms: Intermezzo<br />
in E-flat Op.117 No.1; Rachmaninov:<br />
6 Selections; Lecuona: Noche Azúl, La Comparsa;<br />
Córdoba; Gitanerías; Malagueña;<br />
Ginastera: Danzas Argentinas; Radiohead:<br />
Let Down; Exit Music (For a Film); You (arr. O’<br />
Riley). 345 Sorauren Ave. 416-822-9781. $25;<br />
$20(sr/arts workers); $10(st).<br />
●●8:00: Gordon Murray Presents. Piano<br />
Soirée. Rachmaninoff: Piano Concerto No.2<br />
- 1st Movement; Romberg: I Bring A Love<br />
Song, You Will Remember Vienna (from Viennese<br />
Nights); Sieczynski: Vienna, City of My<br />
Dreams (all arr. G. Murray); other works. Gordon<br />
Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. $15; $10(st).<br />
Concert is in chapel.<br />
●●8:00: Guitar Society of Toronto. Pavel<br />
Steidl. Works by Bach, Paganini, Sor and<br />
Steidl. Heliconian Hall, 35 Hazelton Ave. 416-<br />
964-8298. $30; $25(sr/st).<br />
●●8:00: Music Gallery. Val-Inc and Witch<br />
Prophet. The New Black: Challenging<br />
Musical Tropes. 197 John St. 416-204-1080.<br />
$15/$13(adv); $10(members). Free panel discussion<br />
at 5:00.<br />
●●8:00: Oakville Centre for the Performing<br />
Arts. Comedy Series: Bowser and Blue.<br />
130 Navy St., Oakville. 905-815-20<strong>21</strong>. $45.<br />
●●8:00: Roy Thomson Hall/Massey Hall. Corb<br />
Lund. Winter Garden Theatre, 189 Yonge St.<br />
416-872-4255. $29.50-$49.50.<br />
●●8:00: Royal Conservatory. Sweet Honey<br />
In The Rock. A cappella music mix: spirituals,<br />
blues, folk, gospel, jazz, pop and world music.<br />
Koerner Hall, Telus Centre, 273 Bloor St. W.<br />
416-408-0208. $35-$80. Also 2:00. American<br />
Sign Language interpretation.<br />
●●8:00: Small World Music. Turkwaz. Small<br />
World Music Centre, Artscape Youngplace,<br />
180 Shaw St. 416-536-5439. $20.<br />
Sunday <strong>February</strong> <strong>21</strong><br />
●●2:00: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 23, 25 and<br />
27. Start times vary.<br />
●●2:00: Unitarian Congregation in Mississauga.<br />
Carson Freeman Band. Featuring<br />
smooth jazz music. 84 South Service Rd.,<br />
Mississauga. 905-278-5622. $25; $20 (sr/<br />
st); PWYC.<br />
●●2:00: Canzona Chamber Players. In Concert.<br />
Works by Bach, Bloch and Ibert. Amelia<br />
Lyon, flute; Christopher Miranda, piano; Jonathan<br />
Krehm, clarinet. St. Andrew by-the-Lake<br />
Church, Cibola Avenue. 416-203-0873. $20.<br />
●●3:00: Hannaford Street Silver Band. German<br />
Brass. R. Strauss: Horn Concerto No.1;<br />
Wagner: Grand March from Tannhäuser; J.<br />
Strauss II: Overture from Die Fledermaus.<br />
Guests: Fergus McWilliam, French horn; Hannaford<br />
Youth Band; James Gourlay, conductor.<br />
Jane Mallett Theatre, St. Lawrence<br />
Centre for the Arts, 27 Front St. E. 416-366-<br />
7723. $50; $40(sr); $35(under 35); $15(st).<br />
●●3:00: Oakville Chamber Orchestra. Vivaldi<br />
for Freaky Instruments. Vivaldi: Concerto<br />
for Sopranino Recorder in C; Purcell:<br />
The Fairy Queen, Suite No.1; Vivaldi: Concerto<br />
for Viola d’amore in d; Telemann: Suite<br />
“La Musette”; Vivaldi: Concerto for Lute in D.<br />
Allison Melville, Thomas Georgi, Benjamin<br />
Stein, soloists. St. Simon’s Anglican Church,<br />
1450 Litchfield Rd., Oakville. 905-483-6787.<br />
$30; $25(sr); $20(st). Also Feb 20 (St. John’s<br />
United Church).<br />
●●3:00: Off Centre Music Salon. The Cocktail<br />
Époque. Allison Angelo, soprano; Joseph<br />
Macerollo, accordion; Jimmy Roberts, piano;<br />
Marie Berard - Teng Li - Winona Zelenka<br />
String Tapestry<br />
Music by Gubaidulina, Kodaly and Beethoven<br />
Guest Artists Scott St. John, Violin and Sharon Wei, Viola<br />
Friday, <strong>February</strong> 19 th , <strong>2016</strong><br />
7:00 PM / seminar about the repertoire at 6:30 PM<br />
New Location Trinity St.Paul's Centre, 427 Bloor St.W<br />
Tickets $30/$15 for Students<br />
at door or online at brownpapertickets.ca<br />
UNITARIAN CONGREGATION<br />
IN MISSISSAUGA presents<br />
CARSON<br />
FREEMAN<br />
BAND<br />
Sunday,<br />
<strong>February</strong> <strong>21</strong><br />
at 2 pm<br />
2010 Canadian<br />
Smooth Jazz<br />
Wind Instrumentalist<br />
of the Year<br />
www.uucm.ca<br />
the cocktail époque<br />
<strong>February</strong> <strong>21</strong>, <strong>2016</strong> @ 3 PM<br />
TRINITY ST. PAUL’S CENTRE, 427 BLOOR ST. W.<br />
offcentremusic.com<br />
34 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Krisztina Szabo, mezzo; James Westman,<br />
baritone; and others. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-466-1870. $50; $40(sr/<br />
st); $15(youth); $5(child).<br />
●●3:00: Toronto Symphony Orchestra. From<br />
Mozart to Rachmaninoff. Mozart: Overture to<br />
The Magic Flute, K620; Rachmaninoff: Rhapsody<br />
on a Theme of Paganini; Berlioz: Le corsaire;<br />
Debussy: Prélude à l’après-midi d’un<br />
faune; Bizet: Suite from Carmen. Pavel Kolesnikov,<br />
piano; Earl Lee, RBC Resident Conductor.<br />
Roy Thomson Hall, 60 Simcoe St.<br />
416-598-3375. $29.50-$83.75. Also Feb 20<br />
(7:30).<br />
The Great Outdoors<br />
with Joe Phillips, bass<br />
Mozart, Onslow, Rival<br />
Sunday Feb <strong>21</strong>, 3:00<br />
●●3:00: Windermere String Quartet. The<br />
Great Outdoors. Mozart: Quartet in B-flat,<br />
K458 “The Hunt”; Robert Rival: Traces of a<br />
Silent Landscape (2011); George Onslow:<br />
Quintet in c, Op.38 “The Bullet”. Guest: Joe<br />
Phillips, bass. St. Olave’s Anglican Church,<br />
360 Windermere Ave. 416-769-0952. $25,<br />
$20(sr); $10(st). On period instruments.<br />
●●3:30: Junction Trio. Celebrating the Year of<br />
the Monkey. Guest: Ron Korb, flute; Junction<br />
Trio (Jamie Thompson, flute; Ivana Popovic,<br />
violin; Raphael Weinroth-Browne, cello). St.<br />
Anne’s Anglican Church, 270 Gladstone Ave.<br />
416-536-3160. PWYC. Refreshments.<br />
●●4:00: Cathedral Church of St. James.<br />
Twilight Organ Series. David Briggs, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●4:30: Christ Church Deer Park. Jazz Vespers.<br />
Joe Sealy, piano; Paul Novotny, bass.<br />
1570 Yonge St. 416-920-5<strong>21</strong>1. Free. Donations<br />
welcome.<br />
●●7:00: Show One Productions. In Recital.<br />
Songs by Glinka, Rimsky-Korsakov, Tchaikovsky<br />
and Strauss. Dmitri Hvorostovsky, baritone;<br />
Ivari Ilya, piano. Koerner Hall, Telus<br />
Centre, 273 Bloor St. W. 416-408-0208. $60-<br />
$155. SOLD OUT.<br />
●●7:00: Toronto Mass Choir. Powerup Finale<br />
Concert. Islington Evangel Centre, 49 Queen’s<br />
Plate Drive. 905-794-1139. $10; $5(st).<br />
Monday <strong>February</strong> 22<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro: Ensemble Studio Performance.<br />
Mozart. Ensemble Studio young artists;<br />
Claus Guth, director; Johannes Debus, conductor.<br />
Four Seasons Centre for the Performing<br />
Arts, 145 Queen St. W. 416-363-8231.<br />
$25-$55.<br />
●●7:30: Canzona Chamber Players. In Concert.<br />
Works by Bach, Bloch and Ibert. Amelia<br />
Lyon, flute; Christopher Miranda, piano; Jonathan<br />
Krehm, clarinet. St. George the Martyr<br />
Church, 197 John St. 416-822-0613. $20.<br />
WINDS OF THE<br />
20TH CENTURY<br />
<strong>February</strong> 22<br />
Carl Nielsen, Jean Françaix,<br />
Leoš Janáček<br />
www.associates-tso.org<br />
●●7:30: Associates of the Toronto Symphony<br />
Orchestra. Winds of the 20th Century. Nielsen:<br />
Wind Quintet; Françaix: Sixtour; Janáček:<br />
Mládí (“Youth”) Suite for Wind Sextet. Leonie<br />
Wall, flute; Sarah Jeffrey, oboe; Joseph<br />
Orlowski, clarinet; Amy Zoloto, bass clarinet;<br />
Gabriel Radford, horn; Samuel Banks, bassoon.<br />
Trinity-St. Paul’s Centre, 427 Bloor St.<br />
W. 416-282-6636. $20; $17(sr/st).<br />
Tuesday <strong>February</strong> 23<br />
●●12:00 noon: Canadian Opera Company/<br />
Desjardins/Jeunesses Musicales du Canada.<br />
Piano Virtuoso Series: Chopin’s Last Works.<br />
Charles Richard-Hamelin, piano. Richard<br />
Bradshaw Amphitheatre, Four Seasons Centre<br />
for the Performing Arts, 145 Queen St. W.<br />
416-363-8231. Free.<br />
●●12:10: Nine Sparrows Arts Foundation/<br />
Yorkminster Park Baptist Church. Lunchtime<br />
Chamber Music. Rising Stars Recital.<br />
Featuring performance students from the<br />
UofT Faculty of Music. Yorkminster Park Baptist<br />
Church, 1585 Yonge St. 416-241-1298.<br />
Free. Donations welcome.<br />
●●12:30: York University Department of<br />
Music. Music @ Midday: Student Showcase.<br />
Martin Family Lounge, Accolade East Building,<br />
YU, 4700 Keele St. 647-459-0701. Free.<br />
●●1:00: Cathedral Church of St. James.<br />
Midday Organ Series. David Briggs, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●6:30: Royal Conservatory/Hot Docs Canadian<br />
International Documentary Festival.<br />
Music on Film: In Search of Beethoven.<br />
Film screening and music accompanying. Phil<br />
Grabsky, film director; Barry Shiffman, host<br />
for Q & A. Bloor Hot Docs Cinema, 506 Bloor<br />
St. W. 416-408-0208. $16. Post-screening discussions<br />
and string quartet performance.<br />
●●7:00: Toronto Children’s Chorus. Outreach<br />
Concert. Toronto Children’s Chorus Main<br />
Choir. Calvin Presbyterian Church, 26 Delisle<br />
Ave. 416-932-8666 x231. Free. Donations<br />
accepted.<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 25 and 27.<br />
Start times vary.<br />
●●7:30: Jubilee Order of Good Cheer.<br />
Metropolitan Silver Band. Classics, marches,<br />
sacred, popular and contemporary works.<br />
Jubilee United Church, 40 Underhill Dr. 416-<br />
447-6846. $10; free(youth).<br />
●●8:00: Massey Hall/GlobalFEST. Creole Carnival.<br />
Haitian Roots, Vintage Samba, Jamaican<br />
One-String. Emeline Michel; Casuarina;<br />
Brushy One String; and others. Massey Hall,<br />
178 Victoria St. 416-872-4255. $19.50- $69.50.<br />
Wednesday <strong>February</strong> 24<br />
●●5:30: Canadian Opera Company. Jazz Series:<br />
The Signal. Elizabeth Shepherd, vocals/<br />
piano. Richard Bradshaw Amphitheatre, Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●8:00: Katherine Hill and Doug Tielli. In concert.<br />
Early music, country music, Debussy,<br />
Queen original compositions. Katherine Hill<br />
and Doug Tielli. Array Space, 155 Walnut Ave.<br />
416-532-3019. Price not available.<br />
Thursday <strong>February</strong> 25<br />
●●12:00 noon: Canadian Opera Company.<br />
Dance Series: Sporting Life. Julia Sasso, choreographer.<br />
Richard Bradshaw Amphitheatre,<br />
Four Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
●●12:10: University of Toronto Faculty of<br />
Music. Thursdays at Noon: Opera Spotlight.<br />
Preview of U of T Opera’s production of<br />
Britten’s Paul Bunyan. Walter Hall, Edward<br />
Johnson Building, University of Toronto,<br />
80 Queen’s Park. 416-978-0492. Free.<br />
●●12:15: Metropolitan United Church. Noon<br />
at Met. Melody Chan, piano. Metropolitan<br />
United Church (Toronto), 56 Queen St. E. 416-<br />
363-0331 x26. Free.<br />
●●12:30: York University Department of<br />
Music. Jazz @ Midday: Jazz Jam featuring<br />
Chris Potter. Martin Family Lounge, Accolade<br />
East Building, YU, 4700 Keele St. 647-459-<br />
0701. Free.<br />
●●7:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4. Also Feb 27. Start<br />
times vary.<br />
●●7:30: Toronto City Opera. Die Fledermaus.<br />
Strauss. Beatrice Carpino, artistic director;<br />
Adolfo De Santis, conductor. Bickford Centre<br />
Theatre, 777 Bloor St. W. 416-978-8849. $28;<br />
$20(sr); $15(st). Sung in English. Also Feb 27,<br />
Mar 4, 6(mat).<br />
●●7:30: University of Toronto Faculty of<br />
Music. U of T Jazz Orchestra. Gordon Foote,<br />
director. Walter Hall, Edward Johnson Building,<br />
University of Toronto, 80 Queen’s Park.<br />
416-978-0492. $20; $10(st).<br />
●●8:00: Living Arts Centre. Bruce Cockburn.<br />
Living Arts Centre, Hammerson Hall,<br />
4141 Living Arts Dr., Mississauga. 905-306-<br />
6000. $40-$65.<br />
●●8:00: Off Centre Music Salon/Music Gallery.<br />
Tea for Two. Christine Duncan, vocals;<br />
Lucy Fitz Gibbon, soprano; Alex Lukashevsky,<br />
folk artist; Ryan MacEvoy McCullough, piano;<br />
Chris Donnely, piano. Music Gallery, 197 John<br />
St. 416-466-1870. $25; $20(arts); $15(st);<br />
$12(members).<br />
●●8:00: Oakville Centre for the Performing<br />
Arts. World Artists Series: The Wailers.<br />
130 Navy St., Oakville. 905-815-20<strong>21</strong>. $74.<br />
●●8:00: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. The Best of Mozart. Eine<br />
kleine Nachtmusik; Symphony No.40 in g; Sinfonia<br />
Concertante and others. Guest: Elisa<br />
Citterio, violin/conductor; Stefano Marcocchi,<br />
viola. Trinity-St. Paul’s Centre, Jeanne Lamon<br />
Hall, 427 Bloor St. W. 416-964-6337. $38 and<br />
THE<br />
BEST OF<br />
MOZART<br />
Feb 25-28<br />
416.964.6337<br />
tafelmusik.org<br />
up; $30 and up(sr); $15-$81(35 and under).<br />
Also Feb 26, 27 and 28(mat).<br />
TORONTO CIT Y OPERA<br />
Artistic Director: Beatrice Carpino<br />
Music Director: Adolfo De Santis<br />
Die<br />
Fledermaus<br />
The Bat, by Johann Strauss II<br />
sung in English<br />
Tickets<br />
$15-$28<br />
www.uofttix.ca<br />
(416) 978-8849<br />
Donizetti's<br />
L'Elisir d'Amore<br />
The Elixir of Love<br />
sung in Italian<br />
English titles<br />
Feb. 25 - Mar. 6, <strong>2016</strong><br />
Bickford Centre Theatre<br />
777 Bloor St. W.<br />
at Christie subway<br />
www.torontocityopera.com<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 35
●●8:00: Toronto Symphony Orchestra. Schumann<br />
Symphony 4. Beethoven: Leonore Overture<br />
No.2; Mendelssohn: Piano Concerto No.1;<br />
Schumann: Symphony No.4. Marc-André<br />
Hamelin, piano; Louis Langrée, conductor.<br />
Roy Thomson Hall, 60 Simcoe St. 416-598-<br />
3375. $33.75-$148.00. Also Feb 27.<br />
Friday <strong>February</strong> 26<br />
●●1:10: Gordon Murray Presents. Piano Potpourri.<br />
Classics, opera, operetta, musicals,<br />
ragtime, pop, international and other genres.<br />
Gordon Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. PWYC.<br />
Concert in chapel; lunch and snack friendly.<br />
●●7:30: Toronto City Opera. L’Elisir d’Amore.<br />
Donizetti. Beatrice Carpino, artistic director;<br />
Adolfo De Santis, conductor. Bickford Centre<br />
Theatre, 777 Bloor St. W. 416-978-8849. $28;<br />
$20(sr); $15(st). Sung in Italian with English<br />
TCOtitles. Also Feb 28(mat), Mar 3, 5.<br />
A. Concerts in the GTA<br />
Musica Beth Tikvah presents<br />
●●8:00: Living Arts Centre. The Wailers. Living<br />
Arts Centre, Hammerson Hall, 4141 Living<br />
Arts Dr., Mississauga. 905-306-6000.<br />
$25-$85.<br />
●●8:00: Music Gallery/Native Women In The<br />
Arts. Pura Fé and Rosary Spence. Music Gallery,<br />
197 John St. 416-204-1080. $20/$17(adv);<br />
$15(members); $10(sr/st/youth).<br />
●●8:00: Sine Nomine Ensemble for Medieval<br />
Music. Incendium amoris. Music from<br />
a mystical manuscript. St. Thomas’s Anglican<br />
Church (Toronto), 383 Huron St. 416-978-<br />
8879. $20/$15.<br />
●●8:00: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. The Best of Mozart. See<br />
Feb 25; Also Feb 27 and 28(mat).<br />
●●8:00: Royal Conservatory. Chamber Music:<br />
Christian Tetzlaff, Tanja Tetzlaff and Lars<br />
Vogt. Schumann: Piano Trio No.2; Dvořák:<br />
Piano Trio, “Dumky;” Brahms: Piano Trio No.1.<br />
Christian Tetzlaff, violin; Tanja Tetzlaff, cello;<br />
An Evening of Classical Music Featuring the<br />
Cecilia String Quartet and<br />
Pianist Shoshana Telner<br />
<strong>February</strong> 27 at 7 :30 pm, Beth Tikvah Synagogue, 416.2<strong>21</strong>.3433<br />
Christian Tetzlaff,<br />
Tanja Tetzlaff<br />
& Lars Vogt<br />
FRI., FEB. 26, 8PM KOERNER HALL<br />
Generously supported by<br />
David G. Broadhurst<br />
TICKETS 0N SALE NOW: 416.408.0208<br />
WWW.PERFORMANCE.RCMUSIC.CA<br />
Lars Vogt, piano. Koerner Hall, Telus Centre,<br />
273 Bloor St. W. 416-408-0208. $35-$75.<br />
Saturday <strong>February</strong> 27<br />
●●4:00: Toronto Children’s Chorus. Poles<br />
Apart. N.Y. and Boston tour repertoire, including<br />
music from the Arctic Circle. Training<br />
Choirs, Boys’ Choir and Main Choir. Yorkminster<br />
Park Baptist Church, 1585 Yonge St. 416-<br />
932-8666 x231. $25; $20(sr/st); $10(ch).<br />
●●4:30: Canadian Opera Company. The Marriage<br />
of Figaro. See Feb 4.<br />
●●7:00: Gallery 345. Bell Ball Quartet:<br />
401 Towards London CD Release Concert.<br />
Music inspired by the late artist Jack Chambers:<br />
401 Towards London No.1; The Dance<br />
of Death; Meadow; Diego Sleeping No.2; La<br />
Siesta; and others. Ben Ball Quartet (Ben Ball,<br />
drums; Bryden Baird, trumpet; Jae Chung,<br />
guitar; Mike Downes, bass). 345 Sorauren<br />
Ave. 416-822-9781. $20; $10(st).<br />
●●7:30: Aimée Butcher. In Concert. The<br />
World is Alright, Autumn in Paris, Stay or<br />
sine nomine<br />
Ensemble for Medieval Music<br />
Incendium amoris<br />
Music from a<br />
mystical manuscript<br />
Friday, <strong>February</strong> 26, 8 pm<br />
Saint Thomas's Church<br />
383 Huron Street<br />
Tickets $20 / $15<br />
416-978-8849 uofttix.com<br />
Information 416-638-9445<br />
sinenominetoronto@gmail.com<br />
Drive, December Dove, and It Looks Like Rain.<br />
Aimée Butcher, vocals; Robin Claxton, drums;<br />
Jeff Deegan, bass; Joel Visentin, keyboard;<br />
Brandon Wall, guitar. St. Paul’s Anglican<br />
Church, 227 Church St., Newmarket. 905-<br />
853-7285. $15.<br />
●●7:30: Musica Beth Tikvah. Jewish Classics<br />
and Beyond. Cecilia String Quartet;<br />
Shoshana Telner, piano. Beth Tikvah Synagogue,<br />
3080 Bayview Ave. 416-2<strong>21</strong>-3433.<br />
$25/$18(adv).<br />
●●7:30: Silverthorn Symphonic Winds.<br />
Musician’s Choice. Wilmar Heights Centre,<br />
963 Pharmacy Ave., Scarborough. 416-301-<br />
5187. $20.<br />
●●7:30: Toronto City Opera. Die Fledermaus.<br />
See Feb 25; Also Mar 4, 6(mat).<br />
●●8:00: Alliance Française de Toronto.<br />
Impressions de France. Caroline Léonardelli,<br />
harp; Julie Nesrallah, mezzo. 24 Spadina Rd.<br />
416-922-2014. $15; $10(sr/st/members).<br />
●●8:00: Jazz Performance and Education<br />
Centre. Justin Gray’s Synthesis. Justin Gray,<br />
bass; Derek Gray, drums; Ravi Naimpally,<br />
tabla; Ted Quinlan, guitar. Toronto Centre for<br />
the Arts, 5040 Yonge St., North York. 416-<br />
461-7744. $30; $20(st).<br />
●●8:00: NYCO North York Concert Orchestra.<br />
Colder Than Canada. Sibelius: Finlandia;<br />
Grieg: Peer Gynt Suite No.1; Vivaldi: Winter<br />
from The Four Seasons. Phillip Coonce, violin;<br />
Rafael Luz, conductor. Yorkminster Citadel,<br />
1 Lord Seaton Rd., North York. 416-628-9195.<br />
$25; $20(sr); $10(st).<br />
●●8:00: Oakville Centre for the Performing<br />
Arts. Dan Cooper Concert Series: Bruce<br />
Cockburn. 130 Navy St., Oakville. 905-815-<br />
20<strong>21</strong>. $82.<br />
●●8:00: Oriana Women’s Choir. In Praise<br />
of Music: The Connection Between Life and<br />
Song. Telfer: Of Things Eternal; Barnes: Madrigals;<br />
Fauré: Messe Base; Holst: Two Eastern<br />
Pictures; and works by Conte, Vaughan<br />
Williams, Elgar and others. Grace Church onthe-Hill,<br />
300 Lonsdale Rd. 416-978-8849. $25;<br />
$20(sr/under 35); $10(st).<br />
●●8:00: Royal Conservatory. Joan Baez.<br />
Koerner Hall, Telus Centre, 273 Bloor St. W.<br />
416-408-0208. From $60. SOLD OUT.<br />
●●8:00: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. The Best of Mozart. See<br />
Feb 25; Also Feb 28(mat).<br />
36 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
●●8:00: Toronto Symphony Orchestra. Schumann<br />
Symphony 4. Beethoven: Leonore Overture<br />
No.2; Mendelssohn: Piano Concerto No.1;<br />
Schumann: Symphony No.4. Marc-André<br />
Hamelin, piano; Louis Langrée, conductor.<br />
Roy Thomson Hall, 60 Simcoe St. 416-598-<br />
3375. $33.75-$148.00. Also Feb 25.<br />
Sunday <strong>February</strong> 28<br />
●●2:00: Gallery 345. Rezonance Baroque<br />
Ensemble: Dedicated. Works by Vivaldi, Telemann,<br />
Pisendel and others. 345 Sorauren<br />
Ave. 647-779-5696. $20; $10(st).<br />
●●2:00: Hugh’s Room. Ken Whiteley’s Gospel<br />
Matinee. Mike Stevens, Jesse Palidofsky,<br />
Colina Phillips and George Koller. 2261 Dundas<br />
St. W. 416-531-6604. $20/$22.50(adv).<br />
●●2:00: Toronto City Opera. L’Elisir d’Amore.<br />
See Feb 26. Also Mar 3, 5.<br />
●●2:00: Toronto Improvisors Orchestra/<br />
Arraymusic. Open Concert. Array Space,<br />
155 Walnut Ave. 416-532-3019. Free or PWYC.<br />
All musicians invited to participate.<br />
●●3:00: Oakville Centre for the Performing<br />
Arts. World Artists Series: Russ Woodbridge<br />
and his Tribute to the Benny Goodman Sextet.<br />
130 Navy St., Oakville. 905-815-20<strong>21</strong>. $45.<br />
●●3:00: Opera by Request. A Mystery Musical<br />
Experience. Lindsay MacIntyre and Peggy<br />
Evans, sopranos; Vilma Vitols, Marcia Whitehead<br />
and Lisa Spain, mezzos; Taylor White,<br />
Mark Reaney, Stephen McClare, Michel Corbeil<br />
and Charles Davidson, tenors; Gene Wu,<br />
Peter Wiens, and Sung Chung, baritones; William<br />
Shookhoff, conductor and piano. College<br />
Street United Church, 452 College St. 416-<br />
455-2365. $20.<br />
●●3:00: Royal Conservatory. Invesco<br />
Piano Concerts: Sir András Schiff. Final<br />
piano sonatas of Haydn, Mozart, Beethoven<br />
and Schubert. Koerner Hall, Telus Centre,<br />
273 Bloor St. W. 416-408-0208. $40-$95.<br />
●●3:30: Tafelmusik Baroque Orchestra and<br />
Chamber Choir. The Best of Mozart. See<br />
Feb 25.<br />
●●4:00: Cathedral Church of St. James.<br />
Twilight Organ Series. David Briggs, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●4:00: Oakville Symphony Orchestra.<br />
Young People’s Concert. St. Matthew’s Catholic<br />
Church, 1150 Monks Passage, Oakville.<br />
905-815-20<strong>21</strong>. $12; $6(st/child).<br />
●●4:00: St. Philip’s Anglican Church. Steel<br />
Pan Vespers with Joy Lapps-Lewis Quartet.<br />
Joy Lapps-Lewis, steel pan; Andrew Stewart,<br />
bass; Larnell Lewis, drums; Jeremy Ledbetter,<br />
keyboard. 25 St. Phillips Rd., Etobicoke. 416-<br />
247-5181. Freewill offering.<br />
●●4:00: Toronto Classical Singers. Fauré’s<br />
Requiem and Duruflé’s Requiem, and the 20th<br />
Century Work It Inspired. Sheila Dietrich,<br />
soprano; Christina Campsall, mezzo; Bruce<br />
Kelly, baritone; Talisker Players Orchestra;<br />
Jurgen Petrenko, conductor. Christ Church<br />
Deer Park, 1570 Yonge St. 416-443-1490. $30;<br />
$25(sr/st).<br />
●●4:00: University Settlement Music & Arts<br />
School. Chamber Program Student Concert.<br />
End of term concert. St. George the Martyr<br />
Church, 197 John St. 416-598-3444 x243.<br />
PWYC.<br />
●●7:00: St. Giles Kingsway Presbyterian<br />
Church. All Jazzed Up: Casual Jazz Concert.<br />
Suite for cello; Bolling: Jazz piano trio;<br />
Piazzolla: Grand Tango; works by Atilla Fias.<br />
Andras Weber, cello; Attila Fias Jazz Piano<br />
Trio (Attila Fias, piano; Richard Brisco, drums;<br />
Pat Kilbride, bass). 15 Lambeth Rd. 416-233-<br />
8591. $25/$20(adv). Reception to follow.<br />
●●7:30: Trinity-St. Paul’s United Church. A<br />
Gala of Song. Featuring operatic and classical<br />
favourites. Jane Archibald, soprano;<br />
Lawrence Wiliford, tenor; Mary Lou Fallis,<br />
host. 427 Bloor St. W. 416-922-8435 x<strong>21</strong>. $50.<br />
Fundraiser for Trinity-St. Paul’s Choir tour<br />
to France.<br />
●●7:30: Wychwood Clarinet Choir. Midwinter<br />
Sweets. Cable: Red Rosey Bush; D. Brubeck:<br />
A Portrait in Time; Greaves: Trois Chansons<br />
Québécoises; Holst (arr. Greaves): St. Paul’s<br />
Suite. Michele Jacot, solo clarinet and director.<br />
Church of St. Michael and All Angels,<br />
611 St. Clair Ave W. 647-668-8943. $20;<br />
$10(sr); $5(st/child).<br />
●●7:30: University of Toronto Faculty of<br />
Music. The People Shall Hear: Great Choruses<br />
by Bach and Handel. Excerpts from<br />
Bach: St. John Passion, St. Matthew Passion;<br />
Handel: Israel in Egypt, Messiah; other works.<br />
Schola Cantorum; Choir and Orchestra of the<br />
Theatre of Early Music. Trinity College Chapel,<br />
U of T, 6 Hoskin Ave. 416-408-0208. $30;<br />
$20(sr); $10(st).<br />
●●7:30: Victoria Scholars. Masterpieces<br />
of the Renaissance. Works by Victoria,<br />
Allegri, Byrd, Josquin, Tallis and others. Victoria<br />
Scholars. Our Lady Of Sorrows Catholic<br />
Church, 3055 Bloor St. W. 416-761-7776.<br />
$30/$25(adv); $25(sr/st - $20 adv).<br />
Monday <strong>February</strong> 29<br />
●●12:00 noon: Roy Thomson Hall/Massey<br />
Hall. Free Noon Hour Concert: Bach Children’s<br />
Chorus. Roy Thomson Hall, 60 Simcoe<br />
St. 416-872-4255. Free.<br />
●●12:30: York University Department of<br />
Music. Music @ Midday: Classical Instrumental<br />
Concert. Tribute Communities Recital Hall,<br />
Accolade East Building, YU, 4700 Keele St.<br />
647-459-0701. Free.<br />
●●7:30: University of Toronto Faculty of<br />
Music. Benjamin Butterfield and Steven Philcox.<br />
Schubert: Die schöne Müllerin. Walter<br />
Hall, Edward Johnson Building, University of<br />
Toronto, 80 Queen’s Park. 416-978-0492. $40;<br />
$25(sr); $10(st).<br />
Tuesday March 1<br />
●●12:00 noon: Canadian Opera Company.<br />
Chamber Music Series: Beauty of Baroque.<br />
Featuring chamber music from England,<br />
TORONTO CLASSICAL<br />
SINGERS<br />
presents<br />
Fauré’s REQUIEM OP.48<br />
Duruflé’s REQUIEM OP.9<br />
Soloists:<br />
Sheila Dietrich, soprano; Christina Campsall, mezzo-soprano<br />
Bruce Kelly, baritone<br />
The Talisker Players Orchestra<br />
Jurgen Petrenko, conductor<br />
Sunday, <strong>February</strong> 28, <strong>2016</strong> at 4 pm<br />
Christ Church Deer Park<br />
1570 Yonge Street, at Heath St. W.<br />
www.torontoclassicalsingers.ca<br />
Tickets $30 Adult;<br />
$25 Senior/Student<br />
Sunday, 28 <strong>February</strong> <strong>2016</strong> | 7:30pm | our lady of sorrows church<br />
Featuring the music of Tomás Luis de Victoria, and works by<br />
Allegri, Byrd, Josquin, Tallis and other Renaissance masters.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 37
France, Germany, Austria, and Italy. Tafelmusik<br />
Baroque Orchestra. Richard Bradshaw<br />
Amphitheatre, Four Seasons Centre for the<br />
Performing Arts, 145 Queen St. W. 416-363-<br />
8231. Free.<br />
●●12:10: Nine Sparrows Arts Foundation/<br />
Yorkminster Park Baptist Church. Lunchtime<br />
Chamber Music. Rising Stars Recital.<br />
Featuring performance students from the<br />
UofT Faculty of Music. Yorkminster Park Baptist<br />
Church, 1585 Yonge St. 416-241-1298.<br />
Free. Donations welcome.<br />
●●1:00: Cathedral Church of St. James.<br />
Midday Organ Series. David Briggs, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●7:00: University of Toronto Faculty of<br />
Music. Student Composers Concert. Walter<br />
Hall, Edward Johnson Building, University<br />
of Toronto, 80 Queen’s Park. 416-978-0492.<br />
Free.<br />
Music TORONTO<br />
STEVEN<br />
OSBORNE<br />
Pianist<br />
March 1 at 8 pm<br />
●●8:00: Music Toronto. Steven Osborne,<br />
piano. Schubert: Impromptus D935, Nos.1<br />
& 4; Debussy: Masques; Debussy: Images,<br />
Book 2; Debussy: L’ile joyeuse; Rachmaninoff:<br />
Études-Tableaux, Op.33 Nos.1 3, 6, 7, 8; Rachmaninoff:<br />
Études-Tableaux, Op.39: Nos.2, 5, 7,<br />
8, 9. Jane Mallett Theatre, St. Lawrence Centre<br />
for the Arts, 27 Front St. E. 416-366-7723.<br />
$55, $50; $10 student tickets; age 18 to 35 –<br />
pay your age.<br />
●●8:00: Talisker Players. Spirit Dreaming: Creation<br />
Myths from Around the World. Somers:<br />
Kuyas; Beckwith: Tanu; Ravel: Chansons Madécasses;<br />
Villa-Lobos: Suite for voice and violin;<br />
Jaubert: Chants sahariens; and other works.<br />
Ilana Zarankin, soprano; Laura McAlpine,<br />
mezzo; Andrew Moodie, reader. Trinity-St.<br />
Paul’s Centre, 427 Bloor St. W. 416- 978-8849.<br />
$40; $30(sr); $10(st/un(der)employed). Preconcert<br />
talk at 7:15. Also Mar 2.<br />
Wednesday March 2<br />
●●12:00 noon: Canadian Opera Company.<br />
World Music Series: Petal. Avataar marries<br />
Hindustani raag and taal, hardbop<br />
jazz, Brazilian lyricism, electronica, atmospheric<br />
textures and ambiance, Javanese<br />
gamelan, and contemporary improvisation.<br />
Sundar Viswanathan, woodwinds and director.<br />
Richard Bradshaw Amphitheatre, Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. Free.<br />
A. Concerts in the GTA<br />
VIVALDI<br />
CONCERTO<br />
FOR TWO<br />
TRUMPETS<br />
STEVEN WOOMERT, TRUMPET<br />
MAR 2 | TSO.CA<br />
●●6:30: Toronto Symphony Orchestra. Vivaldi<br />
Concerto for Two Trumpets. Rossini:<br />
Overture to La gazza ladra; Paganini: Sonata<br />
per la Gran Viola; Vivaldi: Concerto for Two<br />
Trumpets; Haydn: Sinfonia concertante in<br />
B-flat, Hob.I/105. Peter Oundjian, conductor;<br />
Earl Lee, RBC Resident Conductor; Tom Allen,<br />
host. Roy Thomson Hall, 60 Simcoe St. 416-<br />
598-3375. $29.50-$83.75.<br />
●●8:00: Living Arts Centre. The Trews<br />
Acoustic. Living Arts Centre, Hammerson<br />
Hall, 4141 Living Arts Dr., Mississauga. 905-<br />
306-6000. $45-$55.<br />
●●8:00: Royal Conservatory. String Concerts:<br />
Vilde Frang and Michall Lifits. Schubert:<br />
Fantasy in C for Violin and Piano, D934;<br />
Lutosławski: Partita; Fauré: Violin Sonata<br />
No.1 Op.13. Koerner Hall, Telus Centre,<br />
273 Bloor St. W. 416-408-0208. $30-$65.<br />
SPIRIT<br />
DREAMING<br />
❚ Creation myths from<br />
around the world<br />
March 1 & 2, 8:00 pm<br />
www.taliskerplayers.ca<br />
Talisker Players Music<br />
●●8:00: Talisker Players. Spirit Dreaming:<br />
Creation Myths from Around the World. See<br />
Mar 1.<br />
Thursday March 3<br />
●●12:00 noon: Encore Symphonic Concert<br />
Band. In Concert: Classics and Jazz. John<br />
Edward Liddle, conductor. Wilmar Heights<br />
Centre, 963 Pharmacy Ave., Scarborough.<br />
416-346-3910. $10. Incl. coffee and snack.<br />
●●12:00 noon: Adam Sherkin. Rachmaninoff:<br />
Preludes of the North. Rachmaninoff:<br />
Preludes, Op.32 (excerpts); Sherkin: Postludes<br />
from Adlivun (2014). Adam Sherkin,<br />
piano. Bluma Appel Lobby, St. Lawrence Centre<br />
for the Arts, 27 Front St. E. 416-366-7723.<br />
Free. Presented in partnership with Steinway<br />
Piano Gallery.<br />
●●12:15: Metropolitan United Church. Noon<br />
at Met. Sergio Orabona, organ. Metropolitan<br />
United Church (Toronto), 56 Queen St. E. 416-<br />
363-0331 x26. Free.<br />
●●12:30: York University Department of<br />
Music. Faculty Spotlight: Patricia Wait, clarinet<br />
and Mark Chambers, cello. Tribute Communities<br />
Recital Hall, Accolade East Building,<br />
YU, 4700 Keele St. 647-459-0701. Free.<br />
●●1:30: Women’s Musical Club of Toronto.<br />
Music in the Afternoon. Sibelius: String<br />
Quartet in d Op.56 “Voces intimae”; MacMillan:<br />
Tuireadh; Brahms: Clarinet Quintet in b<br />
Op.115. Daedalus Quartet; Romie Deguise-<br />
Langlois, clarinet. Walter Hall, Edward<br />
Johnson Building, University of Toronto,<br />
80 Queen’s Park. 416-923-7052. $45.<br />
●●7:30: Opera York. Don Pasquale. Donizetti.<br />
Michael Robert Broder (Don Pasquale); Dion<br />
Mazerolle (Dr. Malatesta); Anne Marie Ramos<br />
(Norina); and others; Geoffrey Butler, artistic<br />
director; Renee Salewski, stage director.<br />
Richmond Hill Centre for the Performing<br />
Arts, 10268 Yonge St., Richmond Hill. 905-<br />
787-8811. $40-$50; $110(gala package). With<br />
supertitles. Also Mar 5.<br />
●●7:30: Toronto City Opera. L’Elisir d’Amore.<br />
See Feb 26; Also Mar 5.<br />
●●8:00: York University Department of<br />
Music. Improv Soiree. An evening of improvisation<br />
in a participatory “open mike” set-up,<br />
hosted by the improv studios of Casey Sokol.<br />
Sterling Beckwith Studio, 235 Accolade East<br />
Building, 4700 Keele St. 647-459-0701. Free.<br />
Performers and observers welcome.<br />
Friday March 4<br />
●●1:10: Gordon Murray Presents. Piano Potpourri.<br />
Classics, opera, operetta, musicals,<br />
ragtime, pop, international and other genres.<br />
Gordon Murray, piano. Trinity-St. Paul’s Centre,<br />
427 Bloor St. W. 416-631-4300. PWYC.<br />
Concert in chapel; lunch and snack friendly.<br />
●●7:00: University Settlement Music & Arts<br />
School. End of Term Student Concert. St.<br />
George the Martyr Church, 197 John St. 416-<br />
598-3444 x243. PWYC. Proceeds in support<br />
of Music & Arts School programming.<br />
●●7:30: Heliconian Hall. All Aboard on a<br />
Musical Tour of Norway, Australia, Estonia,<br />
Spain, Greece and Russia. Grieg: Songs;<br />
Sculthorpe: Djilile; Works by Pärt, Mompou,<br />
Theodorakis. Paula Arciniega, mezzo; Louise<br />
Morley, Ruth Kazdan, Suzanne Yeo, piano; Rita<br />
Greer, clarinet; Jane Blackstone, voice/piano;<br />
Velma Ko, violin. 35 Hazelton Ave. 416-922-<br />
3618. $25; free(child).<br />
●●7:30: Opera by Request. La Traviata. Verdi.<br />
Allison Arends, soprano (Violetta); Ryan<br />
Harper, tenor (Alfredo); Andrew Tees, baritone<br />
(Germont); soloists and chorus of U of T<br />
Scarborough Concert Choir (Lenard Whiting,<br />
conductor); William Shookhoff, conductor<br />
and piano. Trinity Presbyterian Church York<br />
Mills, 2737 Bayview Ave. 416-455-2365. $20.<br />
●●7:30: Toronto City Opera. Die Fledermaus.<br />
See Feb 25. Also Mar 6(mat).<br />
●●7:30: York University Department of<br />
Music. New Chamber Competition Concert.<br />
Tribute Communities Recital Hall, Accolade<br />
East Building, YU, 4700 Keele St. 416-736-<br />
5888. $15; $10(sr/st).<br />
●●8:00: North Toronto Players. Chelsea<br />
Moor Castle. Book and Lyrics by Barb Scheffler<br />
and Michael Harms. Music by W.S. Gilbert.<br />
Selections from Pirates of Penzance,<br />
The Mikado, HMS Pinafore, The Gondoliers<br />
and Iolanthe. Justin Ralph, tenor; Laurie<br />
Hurst, mezzo; Barb Scheffler, soprano; Alison<br />
Boudreau, soprano; Julius Fulop, bass.<br />
Jubilee United Church, 40 Underhill Dr. 416-<br />
481-4867. $25; $22(sr); $15(st); free(children<br />
under 14). Also on Mar 5 (Gala - 7pm); 6 (mat);<br />
11 (eve); 12 (mat and eve); 13 (mat).<br />
●●8:00: Royal Conservatory. Chamber<br />
Music: Karen Gomyo, Christian Poltéra and<br />
Juho Pohjonen. Haydn: Piano Trio in E Major,<br />
Hob.XV:28; Janáček: Pohádka (Fairy Tale),<br />
Violin Sonata, JW7/7; Dvořák: Piano Trio in f,<br />
Op.65. Koerner Hall, Telus Centre, 273 Bloor<br />
St. W. 416-408-0208. $35-$75.<br />
Saturday March 5<br />
●●3:00: Annex Singers Chamber Choir. Camerata.<br />
Chamber works by Byrd, Victoria, Morley,<br />
Chatman, Gjeilo and The Beatles. Guest:<br />
38 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Mark Chambers, cello; Maria Case, conductor.<br />
St. Andrew’s United Church (Bloor<br />
St.), 117 Bloor St E. 416-968-7747. $25; $20(sr);<br />
$15(under 30); free(12 and under). Also 7:30.<br />
●●4:30: Beach United Church. Jazz and<br />
Reflection: Gospel Jazz - Down By the Riverside.<br />
Jake Hiebert Trio. 140 Wineva Ave. 416-<br />
691-8082. Free will offering.<br />
●●7:00: North Toronto Players. Chelsea Moor<br />
Castle. See Mar 4 (eve); Also Mar 6 (mat); 11<br />
(eve); 12 (mat and eve); 13 (mat).<br />
annexsingers.com<br />
Camerata<br />
ANNEX SINGERS<br />
CHAMBER CHOIR<br />
March 5th, 3pm & 7:30pm<br />
St. Andrew’s United Church<br />
●●7:30: Annex Singers Chamber Choir. Camerata.<br />
See 3:00.<br />
●●7:30: Jubilate Singers. Winter Warmth:<br />
Latin American Voices. Works by Villa-Lobos,<br />
Ramirez, Guastavino and Moruja; traditional<br />
songs and rhythms. Guest: Rodrigo Chavez<br />
on charango, guitar and Latin percussion.<br />
St. Simon-the-Apostle Anglican Church,<br />
525 Bloor St. E. 416-485-1988. $25; $20 (sr/<br />
st).<br />
●●7:30: Opera by Request. Così fan tutte.<br />
Mozart. Ontario Opera Collaborative; Morgan<br />
Strickland, soprano (Fiordiligi); Heidi Jost,<br />
mezzo (Dorabella); Jeffrey Boyd, tenor (Ferrando);<br />
Kyle Merrithew, baritone (Guglielmo);<br />
Misty Banyard, soprano (Despina); Norman<br />
Brown, baritone (Don Alfonso); Frederic<br />
La Croix, conductor and piano. College<br />
Street United Church, 452 College St. 416-<br />
455-2365. $20.<br />
●●7:30: Opera York. Don Pasquale. Donizetti.<br />
Michael Robert Broder (Don Pasquale); Dion<br />
Mazerolle (Dr. Malatesta); Anne Marie Ramos<br />
(Norina); and others; Geoffrey Butler, artistic<br />
director; Renee Salewski, stage director.<br />
Richmond Hill Centre for the Performing<br />
Arts, 10268 Yonge St., Richmond Hill. 905-<br />
787-8811. $40-$50; $110(gala package). With<br />
supertitles. Also Mar 3.<br />
●●7:30: Tallis Choir. Palestrina, Prince of<br />
Music. A re-creation of the Papal Office of<br />
Compline as it may have been celebrated<br />
by Pope Clement VIII in the Sistine Chapel<br />
on September 7, 1593, sung by candlelight.<br />
Palestrina: Missa Papae Marcelli; O Magnum<br />
Mysterium; Salve Regina. Peter Mahon,<br />
conductor. St. Patrick’s Catholic Church<br />
(Toronto), 131 McCaul St. 416-286-9798. $30;<br />
$25(sr); $10(st).<br />
●●7:30: Toronto City Opera. L’Elisir d’Amore.<br />
See Feb 26.<br />
●●7:30: York Chamber Ensemble. Bring Home<br />
Beethoven. Beethoven: Violin Concerto; Symphony<br />
No.7. Michael Adamson, violin. Trinity<br />
Anglican Church (Aurora), 79 Victoria St.,<br />
Aurora. 905-727-6101. $20; $15(sr/st).<br />
●●8:00: Alliance Française de Toronto.<br />
Through the song: From Félix Leclerc to<br />
Francis Cabrel. Welcome Soleil (Guy Smagghe,<br />
vocals; Bernard Dionne, bass; Philippe<br />
Lafaury, guitar/mandolin; Paddy Morgan, percussion).<br />
24 Spadina Rd. 416-922-2014. $15;<br />
$10(sr/st/members).<br />
●●8:00: Jazz Performance and Education<br />
Centre. Jazz ‘n’ Pizazz: Jane Fair Rosemary<br />
Galloway Quintet. Jane Fair, saxophone; Rosemary<br />
Galloway, bass; Nancy Walker, piano;<br />
Lina Allemano, trumpet; Nick Fraser, drums.<br />
Toronto Centre for the Arts, 5040 Yonge St.,<br />
North York. 416-461-7744. $30; $20(st).<br />
●●8:00: Roy Thomson Hall/Massey Hall. Matt<br />
Andersen. Roy Thomson Hall, 60 Simcoe St.<br />
416-872-4255. $29.50-$59.50.<br />
●●8:00: Royal Conservatory. TD Jazz: Brian<br />
Blade and The Fellowship Band. Koerner Hall,<br />
Telus Centre, 273 Bloor St. W. 416-408-0208.<br />
$40-$80.<br />
●●8:00: Scaramella. Délices de la solitude.<br />
Mélisande Corriveau, pardessus; Joëlle Morton,<br />
basse de viole; Eric Milnes, clavecin.<br />
Victoria College Chapel, 91 Charles St. W. 416-<br />
760-8610. $30; $25(sr); $20(st).<br />
●●8:00: Somewhere There/Arraymusic.<br />
Triple CD Release Party. Array Space,<br />
155 Walnut Ave. 416-532-3019. $10 or PWYC.<br />
●●8:00: Toronto Symphony Orchestra. Fragile<br />
Absolute. György Kurtág: The Answered<br />
Unanswered Question; Brett Dean: Viola<br />
Concerto; Anthony Pateras: Fragile Absolute;<br />
Kevin Lau: Concerto Grosso for Orchestra,<br />
String Quartet, and Turntables (world<br />
premiere/TSO commission). Afiara Quartet,<br />
string quartet; Skratch Bastid, turntables<br />
& effects; Peter Oundjian, conductor and<br />
host; Brett Dean, conductor and viola. Roy<br />
Thomson Hall, 60 Simcoe St. 416-598-3375.<br />
$33.75-$148.00.<br />
Sunday March 6<br />
●●2:00: North Toronto Players. Chelsea<br />
Moor Castle. See Mar 4 (mat); Also Mar 11<br />
(mat); 12 (mat and mat); 13 (mat).<br />
●●2:00: Pickering Community Band. Here<br />
Comes Spring. Barry Sears, vocalist. Forest<br />
Director Peter Mahon<br />
Palestrina, Prince of Music<br />
The crown of the High Renaissance in the<br />
magnificent music of Giovanni Pierluigi da<br />
Palestrina, the “Princeps Musicae”.<br />
Palestrina: Missa Papae Marcelli<br />
Papal Office of Compline by candlelight<br />
Saturday, March 5 at 7:30 pm<br />
St. Patrick’s Church<br />
141 McCaul St.<br />
Brook Community Church, 60 Kearney Dr.,<br />
Ajax. 905-427-5443. $15, $10(sr/under 18).<br />
●●2:00: Royal Conservatory. Mazzoleni Masters:<br />
La travail du peintre. Works by Poulenc,<br />
Debussy, Fauré, Wolf, and others. Mireille<br />
Asselin, soprano; Brett Polegato, baritone;<br />
Peter Tiefenbach and Rachel Andrist, piano.<br />
Mazzoleni Concert Hall, Royal Conservatory,<br />
273 Bloor St. W. 416-408-0208. $25.<br />
●●2:00: Thin Edge New Music Collective/<br />
Arrraymusic. Pop-Up Afternoon Concert.<br />
Works by Bartók, Stravinsky, Feldman and<br />
Bunch. Array Space, 155 Walnut Ave. 416-970-<br />
4162. $10.<br />
●●2:00: Toronto City Opera. Die Fledermaus.<br />
See Feb 25.<br />
●●2:00: Visual and Performing Arts Newmarket<br />
(VPAN). Campbell/Afiara. Works<br />
from Mozart to Brazilian choros new urban<br />
music. James Campbell, clarinet; Graham<br />
Campbell, guitar; Afiara String Quartet. Newmarket<br />
Theatre, 505 Pickering Cres., Newmarket.<br />
905-953-5122. $30; $25(sr); $10(st).<br />
●●3:00: St. Paul’s Bloor Street. Organ<br />
Recital. Works by Bach. Matthew Whitfield,<br />
organ. 227 Bloor St. E. 416-859-7464. Free.<br />
Retiring collection.<br />
●●3:00: Syrinx Concerts Toronto. 4 Hands<br />
Tickets: $30, Seniors: $25, Students with ID: $10 (only at the door)<br />
Info: 416 286-9798 Order online: www.tallischoir.com<br />
an Ontario government agency<br />
un organisme du gouvernement de l’Ontario<br />
Pianists: 4 hands<br />
Lisa Tahara<br />
Narmina Efendiyeva<br />
Sunday March 6, 3pm<br />
Heliconian Hall<br />
SyrinxConcerts.ca<br />
for Fun. Chopin: Scherzo No.3 in c-sharp; Scriabin:<br />
Fantasy Op.28; works by Dvořák, Brahms,<br />
Tchaikovsky, Piazzolla and Menzefricke. Narmina<br />
Efendiyeva and Lisa Tahara, piano. Heliconian<br />
Hall, 35 Hazelton Ave. 416-654-0877. $25;<br />
$20(st). Post-concert reception.<br />
●●3:00: Orchestra Toronto. Shamrocks at<br />
the Symphony. Celebration of Irish music.<br />
Grainger: Country Derry (Londonderry Air);<br />
Molly on the Shore; Hardiman (arr. Moore):<br />
Music from Lord of the Dance; Whelan: Riverdance<br />
Suite. Guest conductor, William Rowson;<br />
guest performers, Irish Folk Dancers.<br />
George Weston Recital Hall, 5040 Yonge St.<br />
1-855-985-2787. $43; $37(sr); $15(child/OTopus<br />
14-29). 2:15: pre-concert chat.<br />
●●3:30: Junction Trio. Evensong with Schola<br />
Magdalena. Works by Orlando di Lasso,<br />
Hildegard of Bingen and Stephanie Martin.<br />
Guests: Schola Magdalena; Junction Trio<br />
(Jamie Thompson, flute; Ivana Popovic, violin;<br />
Raphael Weinroth-Browne, cello). St. Anne’s<br />
Anglican Church, 270 Gladstone Ave. 416-<br />
536-3160. PWYC. Refreshments.<br />
●●4:00: Cathedral Church of St. James.<br />
Twilight Organ Series. Ian Sadler, organ.<br />
65 Church St. 416-364-7865. Free.<br />
●●4:00: Church of St. Mary Magdalene.<br />
Organ music by César Franck. Andrew<br />
Adair, organ. Church of St. Mary Magdalene<br />
(Toronto), 477 Manning Ave. 416-531-7955.<br />
Free.<br />
●●4:00: St. Philip’s Anglican Church. Barbra<br />
Lica Trio. 25 St. Phillips Rd., Etobicoke. 416-<br />
247-5181. Freewill offering.<br />
●●4:30: Christ Church Deer Park. Jazz Vespers.<br />
Russ Little Quintet. 1570 Yonge St. 416-<br />
920-5<strong>21</strong>1. Free. Donations welcome.<br />
●●4:30: Orpheus Choir of Toronto. Sound<br />
of Eternity. Bach: Mass in b; Bastian Clevé:<br />
Sound of Eternity (film) (Canadian premiere).<br />
Anita Krause, mezzo; Geoff Sirett, baritone;<br />
Jennifer Krabbe, soprano; Charles Sy, tenor;<br />
Orpheus Choir; Chorus Niagara; Talisker Players.<br />
Metropolitan United Church (Toronto),<br />
56 Queen St. E. 416-530-4428. $35; $30(sr);<br />
Jubilate<br />
singers<br />
Winter<br />
Warmth<br />
LATIN<br />
AMERICAN<br />
VOICES<br />
featuring works by<br />
HEITOR VILLA-LOBOS<br />
guest instrumentalist<br />
RODRIGO CHAVEZ<br />
Saturday March 5, 7:30 pm<br />
St. Simon-the-Apostle Church<br />
jubilatesingers.ca<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 39
$10(st). Also Mar 5 (See Section B. Beyond<br />
GTA, Chorus Niagara).<br />
●●6:00: Teo Milea. My Piano Stories. Original<br />
piano works. Milea: Agony and Ecstasy; Sarabanda;<br />
Cathedral. Teo Milea, piano. Music Gallery,<br />
197 John St. 647-877-2607. $20; $15(st).<br />
●●8:00: Somewhere There/Arraymusic.<br />
Somewhere There Presents ... Jeffrey Roberts.<br />
Jeffrey Roberts, quoin. Array Space,<br />
155 Walnut Ave. 416-532-3019. Price not<br />
available.<br />
IN THIS ISSUE: Barrie, Belleville, Dundas, Guelph, Halton Hills,<br />
Hamilton, Kingston, Kitchener, Lindsay, London, Niagara onthe-Lake,<br />
Orillia, Peterborough, St. Catharines, Waterloo.<br />
Tuesday <strong>February</strong> 2<br />
●●12:00 noon: Department of Music, Marilyn<br />
I. Walker School of Fine and Performing<br />
Arts. RBC Foundation - Music@Noon. Recital:<br />
Voice Students. Cairns Hall, FirstOntario Performing<br />
Arts Centre, 250 St. Paul St., St.<br />
Catharines. 905-688-0722. Free.<br />
●●8:00: Kitchener-Waterloo Chamber Music<br />
Society. CIA (Composers and Improvisers<br />
Association). Selections by student composers.<br />
WLU Faculty of Music: Trio (flute/bassoon/piano);<br />
The Fact Pack: voice/trumpet;<br />
bass; percussion; keyboards. KWCMS Music<br />
Room, 57 Young St. W., Waterloo. 519-886-<br />
1673. $15; $10(st).<br />
Wednesday <strong>February</strong> 3<br />
●●12:00 noon: Midday Music with Shigeru.<br />
A Concert of Hymns. Includes multi-media.<br />
Cheryl Graham, piano. Hi-Way Pentecostal<br />
Church, 50 Anne St. N., Barrie. 705-726-1181.<br />
$5; free(st).<br />
●●12:30: University of Waterloo Department<br />
of Music. Noon Hour Concerts: Music<br />
of the Future. Eric Ross, theremin; Mary Ross,<br />
video art. Conrad Grebel University College,<br />
140 Westmount Rd. N., Waterloo. 519-885-<br />
0220 x24226. Free.<br />
●●8:00: Don Wright Faculty of Music. String<br />
Quartet. Elissa Lee, violin; Benjamin Bowman,<br />
violin; Sharon Wei, viola; Blair Lofgren, cello.<br />
Von Kuster Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-<br />
661-3767. Free.<br />
●●8:00: Kitchener-Waterloo Chamber<br />
Music Society. Penderecki String Quartet.<br />
Beethoven: Op.18 No.2; Schubert: Impromptus,<br />
D899; Louis Vierne: Piano Quintet in c,<br />
Op.42. Penderecki String Quartet; Leopoldo<br />
Erice, piano. KWCMS Music Room, 57 Young<br />
St. W., Waterloo. 519-886-1673. $35; $20(st).<br />
Thursday <strong>February</strong> 4<br />
●●12:00 noon: University of Guelph College<br />
of Arts. Thursday At Noon: Music<br />
from the Future. Ultimedia Concept Boulevard<br />
d’Reconstructie (Op.54). Eric and Mary<br />
Ross. Goldschmidt Room, 107 MacKinnon<br />
Bldg., 50 Stone Rd. E., Guelph. 519-824-4120<br />
x52991. Free.<br />
●●8:00: Don Wright Faculty of Music. Intention<br />
and Improvisation. Les Choristes; Chorale;<br />
Gary Diggins, soundwork artist. New St.<br />
James Presbyterian Church, 280 Oxford St.<br />
E., London. 519-434-1127. Free.<br />
A. Concerts in the GTA<br />
●●8:30: Hugh’s Room. Enter the Haggis.<br />
2261 Dundas St. W. 416-531-6604.<br />
$25/$22.50(adv).<br />
B. Concerts Beyond the GTA<br />
Monday March 7<br />
●●7:30: Associates of the Toronto Symphony<br />
Orchestra. Ensembles from the Toronto<br />
Symphony Youth Orchestra. Trinity-St. Paul’s<br />
Centre, 427 Bloor St. W. 416-282-6636. $20;<br />
$17(sr/st).<br />
Friday <strong>February</strong> 5<br />
●●12:30: Don Wright Faculty of Music. Fridays<br />
@ 12:30. Canadian works by Omar Daniel,<br />
Allan Gordon Bell and more. Land’s End<br />
Ensemble. Von Kuster Hall, Music Building,<br />
Western University, 1151 Richmond St. N., London.<br />
519-661-3767. Free.<br />
●●8:00: Don Wright Faculty of Music. Exquisitely<br />
Lost. Bent Note Duo; Allison Balcetis,<br />
saxophone; Sandra Joy Friesen, piano. Von<br />
Kuster Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-<br />
3767. Free.<br />
●●8:00: Don Wright Faculty of Music. Falstaff.<br />
Verdi. Opera based on William Shakespeare’s<br />
comedy The Merry Wives of<br />
Windsor. Paul Davenport Theatre, Talbot<br />
College, Western University, 1151 Richmond<br />
St. N., London. 519-661-3767. $30; $20(sr/<br />
st). Also Feb 6,7.<br />
●●8:00: Folk Under the Clock. Blues, World<br />
Music Songwriter. Harry Manx. Market Hall<br />
Performing Arts Centre, 140 Charlotte St.,<br />
Peterborough. 705-749-1146. $39.50.<br />
●●8:00: Folk Under the Clock. Harry Manx.<br />
Market Hall Performing Arts Centre,<br />
140 Charlotte St., Peterborough. 705-749-<br />
1146. $39.50.<br />
Saturday <strong>February</strong> 6<br />
●●7:30: Hamilton Philharmonic Orchestra.<br />
Gemma Conducts Shostakovich. Premiere<br />
appearance of HPO’s new music director.<br />
Shostakovich: Symphony No.1; Prokofiev:<br />
Piano Concerto No.3; Kelly-Marie Murphy:<br />
A Thousand Natural Shocks. Katherine Chi,<br />
piano; Gemma New, conductor. Hamilton<br />
Place, 10 MacNab St. S., Hamilton. 905-526-<br />
7756. $25-67; $23-$64(sr); $17(under 35);<br />
$10(child). 6:30: pre-concert talk.<br />
●●7:30: Isabel Bader Centre for the Performing<br />
Arts. A Night in Vienna. Ballroom<br />
concert with professional dancers, food and<br />
Viennese music. Queen’s Orchestra; students,<br />
faculty and alumni from Queen’s Music.<br />
390 King St. W., Kingston. 613-533-2424.<br />
$30(balcony); $70(floor seating w/ food);<br />
$490(table of 8).<br />
●●7:30: Peterborough Symphony Orchestra.<br />
Erika’s Violin. Featuring a violin concerto<br />
written by Erika’s mother. Beethoven:<br />
Symphony No. 4; Elizabeth Raum: Violin Concerto.<br />
Erika Raum, violin; Michael Newnham,<br />
conductor. Showplace Performance<br />
Centre, 290 George St. N., Peterborough.<br />
705-742-7469. $28.50-$39.50; $15(st). 6:40:<br />
Pre-concert talk.<br />
●●8:00: Don Wright Faculty of Music. Falstaff.<br />
See Feb 5. Also Feb 7.<br />
Sunday <strong>February</strong> 7<br />
●●2:00: Don Wright Faculty of Music. Falstaff.<br />
See Feb 5.<br />
●●2:30: Georgian Music. Penderecki String<br />
Quartet with Leopoldo Erice, piano. Vierne:<br />
Piano Quintet; and works by Beethoven and<br />
Schubert. Grace United Church (Barrie),<br />
350 Grove St. E., Barrie. 705-726-1181. $65.<br />
●●3:00: Don Wright Faculty of Music. Faculty<br />
Concert Series. Exploration of Beethoven’s<br />
sonatas. Leslie Kinton, piano. Von Kuster<br />
Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-3767.<br />
Free.<br />
●●3:00: Wellington Wind Symphony. Remembering.<br />
Works by Brahms, Ewazen, Woolfenden<br />
and Alford; Morawetz: In Memoriam for<br />
Martin Luther King, Jr. Ben Bolt-Martin, cello;<br />
Daniel Warren, conductor. Knox Presbyterian<br />
Church (Waterloo), 50 Erb St. W., Waterloo.<br />
519-669-1327. $20; $15(sr); free(st). Also<br />
Feb <strong>21</strong> (Kitchener).<br />
●●4:00: Spiritus Ensemble. Bach Vespers<br />
before Lent. Bach: Cantata 18 “Gleichwie der<br />
Regen und Schnee;” Kuhnau: Cantata “Gott,<br />
sei mir gnädig.” St. John the Evangelist Anglican<br />
Church, 23 Water St. N., Kitchener. 519-<br />
743-0228. Freewill donation.<br />
●●6:00: Don Wright Faculty of Music. Faculty<br />
Concert Series. Annette-Barbara Vogel,<br />
violin; Durval Cesetti, piano. Von Kuster<br />
Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-3767.<br />
Free.<br />
●●7:30: Cuckoo’s Nest Folk Club. ODE. Chaucer’s<br />
Pub, 122 Carling St., London. 519-473-<br />
2099. $18/$15(adv).<br />
●●8:00: Kitchener-Waterloo Chamber Music<br />
Society. Toronto Serenade String Quartet.<br />
Alexander Taneyev: Piano Quintet; Shostakovich:<br />
Piano Quintet. Brett Kingsbury, piano.<br />
KWCMS Music Room, 57 Young St. W., Waterloo.<br />
519-886-1673. $35; $20(st).<br />
Monday <strong>February</strong> 8<br />
●●8:00: Don Wright Faculty of Music. Early<br />
Music Studio Concert. Von Kuster Hall, Music<br />
Building, Western University, 1151 Richmond<br />
St. N., London. 519-661-3767. Free.<br />
Tuesday <strong>February</strong> 9<br />
●●12:00 noon: Marilyn I. Walker School of<br />
Fine and Performing Arts, Brock University.<br />
RBC Foundation: Music@Noon. Instrumental<br />
Students. Cairns Hall, FirstOntario<br />
Performing Arts Centre, 250 St Paul St., St.<br />
Catharines. 905-688-5550. Free.<br />
●●12:30: McMaster School of the Arts.<br />
Lunchtime Concert Series. Hamilton<br />
Schola Cantorum. Convocation Hall, UH<strong>21</strong>3,<br />
McMaster University, 1280 Main St. W., Hamilton.<br />
905-525-9140 x27671. Free.<br />
●●12:30: School of the Arts. Hamilton Schola<br />
Cantorum. Classical and jazz based works<br />
and arrangements for woodwinds, saxophone<br />
and piano. Gregorian Chant features<br />
selections from the English (Sarum) repertoire.<br />
William Renwick, director. Convocation<br />
Hall, UH<strong>21</strong>3, McMaster University, 1280 Main<br />
St. W., Hamilton. 905-525-9140 ext. 27038.<br />
$20; $15(sr); $5(st).<br />
Wednesday <strong>February</strong> 10<br />
●●12:30: Don Wright Faculty of Music. Symphonic<br />
Band Concert: In Light and Darkness.<br />
Paul Davenport Theatre, Talbot College, Western<br />
University, 1151 Richmond St. N., London.<br />
519-661-3767. Free.<br />
●●12:30: University of Waterloo Department<br />
of Music. Noon Hour Concerts: Michael<br />
Wood Trio. Mike McClennan, bass; Ted Warren,<br />
drums; Michael Wood, vibes. Conrad<br />
Grebel University College, 140 Westmount<br />
Rd. N., Waterloo. 519-885-0220 x24226. Free.<br />
●●2:30: Seniors Serenade. Chris Au, piano.<br />
Works by Bach and Schumann. Grace United<br />
Church (Barrie), 350 Grove St. E., Barrie.<br />
705-726-1181. Free. 3:30: tea and goodies $5.<br />
●●6:00: Don Wright Faculty of Music. Heart<br />
to Heart. St. Cecilia Singers and Western University<br />
Singers. Von Kuster Hall, Music Building,<br />
Western University, 1151 Richmond St. N.,<br />
London. 519-661-3767. Free.<br />
Thursday <strong>February</strong> 11<br />
●●12:00 noon: University of Guelph College<br />
of Arts. Thursday At Noon: Jim Gelcer<br />
Group. Goldschmidt Room, 107 MacKinnon<br />
Bldg., 50 Stone Rd. E., Guelph. 519-824-4120<br />
x52991. Free.<br />
●●12:30: Don Wright Faculty of Music. Wind<br />
Ensemble Concert: Bits ‘n Bobs. Works by<br />
Elgar, McCabe, Carpenter and Woolfenden.<br />
Paul Davenport Theatre, Talbot College, Western<br />
University, 1151 Richmond St. N., London.<br />
519-661-3767. Free.<br />
●●7:30: Isabel Bader Centre for the Performing<br />
Arts. 2 Pianos, 4 Hands. Greenblatt<br />
and Dykstra. Richard Todd Adams and Bryce<br />
Kulak, pianos. 390 King St. W., Kingston. 613-<br />
533-2424. $36 and up; $17 and up(st); $31 and<br />
up(faculty/staff).<br />
Friday <strong>February</strong> 12<br />
●●8:00: Don Wright Faculty of Music. Characters.<br />
Western University Jazz Ensemble.<br />
Paul Davenport Theatre, Talbot College, Western<br />
University, 1151 Richmond St. N., London.<br />
519-661-3767. Free.<br />
●●8:00: McMaster School of the Arts. Trio<br />
D’Argento. Classical and jazz based works<br />
and arrangements for woodwinds, saxophone<br />
and piano. Sibylle Marquardt, flute;<br />
Peter Stoll, clarinet; Anna Ronai, piano. Convocation<br />
Hall, UH<strong>21</strong>3, McMaster University,<br />
1280 Main St. W., Hamilton. 905-525-9140<br />
x27038 or x27671. $20; $15(sr); $5(st).<br />
Saturday <strong>February</strong> 13<br />
●●7:30: FirstOntario Performing Arts Centre.<br />
Corb Lund with American Aquarium.<br />
250 St. Paul St., St. Catharines. 905-688-<br />
0722. $40.<br />
●●7:30: Isabel Bader Centre for the Performing<br />
Arts. Global Salon Series: Sounds<br />
of the Forbidden City. China Court Trio, featuring<br />
court instruments Pipa, Xiao, Xun and<br />
GuZheng. 390 King St. W., Kingston. 613-533-<br />
2424. $29; $15(st); $24(faculty/staff).<br />
●●8:00: Kitchener-Waterloo Chamber Music<br />
Society. Christian Vachon, violin and Frédéric<br />
Lacroix, piano. Fauré: Complete works<br />
for violin and piano. KWCMS Music Room,<br />
57 Young St. W., Waterloo. 519-886-1673.<br />
$25; $15(st).<br />
Sunday <strong>February</strong> 14<br />
●●2:00: Gallery Players of Niagara. From<br />
40 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
The Heart. Schumann: Liederkreis, Op.39<br />
(new transcription); Beethoven: String Quartet,<br />
Op.18 No.6 “Melancholy;” other works by<br />
Schubert. Brett Polegato, baritone; Joseph<br />
Phillips, bass; Timothy Phelan, guitar; Eybler<br />
Quartet: Aisslinn Nosky and Julia Wedman,<br />
violin; Patrick Jordan, viola; Margaret Gay,<br />
cello. Cairns Hall, FirstOntario Performing<br />
Arts Centre, 250 St. Paul St., St. Catharines.<br />
905-468-1525. $5-$34. Also Feb 12 (Toronto).<br />
●●2:00: Kawartha Concerts. Earth, Seas<br />
and Air. Original works. Chris McKhool, violin/guitar/voice.<br />
Market Hall Performing Arts<br />
Centre, 140 Charlotte St., Peterborough.<br />
705-878-5625. $15; $5(youth/child). Also<br />
Feb 15(Lindsay).<br />
Monday <strong>February</strong> 15<br />
●●2:00: Kawartha Concerts. Earth, Seas<br />
and Air. Original works. Chris McKhool, violin/guitar/voice.<br />
Glenn Crombie Theatre,<br />
Fleming College, 200 Albert St. S., Lindsay.<br />
705-878-5625. $15; $5(youth/child). Also<br />
Feb 14(Peterborough).<br />
Wednesday <strong>February</strong> 17<br />
●●12:00 noon: Music at St. Andrew’s. Sarah<br />
Svendsen, organ. St. Andrew’s Presbyterian<br />
Church (Barrie), 47 Owen St., Barrie. 705-<br />
726-1181. $25; free(st).<br />
Thursday <strong>February</strong> 18<br />
●●8:00: Kitchener-Waterloo Chamber Music<br />
Society. Pavel Steidl, guitar. Bach: Chaconne;<br />
Roux: Les grands Jardins; Domeniconi:<br />
Steidleriana; Castelnuovo Tedesco: Sonata<br />
Homaggia a Boccherini; Steidl: Three Humoresques.<br />
KWCMS Music Room, 57 Young St. W.,<br />
Waterloo. 519-886-1673. $30; $20(st).<br />
Friday <strong>February</strong> 19<br />
●●7:30: Bravo Niagara! Festival of the Arts.<br />
Intimately Classical. Works by Bach, De Falla,<br />
Granados, The Beatles and others. Miloš<br />
Karadaglić, guitar. Historic Niagara District<br />
Court House, 26 Queen St., Niagara onthe-Lake.<br />
289-868-9177. $60; $125(VIP). VIP<br />
ticket includes premium seating, post-concert<br />
Meet and Greet and CD signing plus<br />
reception.<br />
●●7:30: Kingston Community Strings. In Concert.<br />
Featuring electroacoustic music. Adam<br />
Tindale, electronics. St. Andrew’s Presbyterian<br />
Church (Kingston), 130 Clergy St. E.,<br />
Kingston. 613-546-6316. Donations at door.<br />
Saturday <strong>February</strong> 20<br />
●●7:30: Marilyn I. Walker School of Fine and<br />
Performing Arts, Brock University. Viva<br />
Voce! Choral Series: Animalia: The Lighter<br />
Side of the Animal Kingdom. Avanti Chamber<br />
Singers; Harris Loewen, conductor.<br />
Covenant Christian Reformed Church,<br />
278 Parnell Ave., St. Catharines. 905-688-<br />
5550. $25/$20(adv); $20(sr/st)/$15(adv);<br />
$5(eyeGo).<br />
●●8:00: Jeffery Concerts. Yegor Dyachkov<br />
and Jean Saulnier, Cello and Piano Duo.<br />
Works by Brahms, Schumann, and Janáček.<br />
Wolf Performance Hall, 251 Dundas St., London.<br />
519-672-8800. $35; $30(sr); $15(st).<br />
Sunday <strong>February</strong> <strong>21</strong><br />
●●3:00: Guelph Youth Singers. Concert<br />
Three: Honour Song. Canadian Aboriginal<br />
music. Guests: Wiiji Numgumook Kwe Drum<br />
Circle. Frank Hasenfratz Centre of Excellency,<br />
Tech Hall, 700 Woodlawn Rd. W., Guelph. 519-<br />
763-3000. $25; $20(sr/st); $5(eyeGO).<br />
●●3:00: Wellington Wind Symphony. Remembering.<br />
Works by Brahms, Ewazen, Woolfenden<br />
and Alford; Morawetz: In Memoriam for<br />
Martin Luther King, Jr. Ben Bolt-Martin, cello;<br />
Daniel Warren, conductor. Grandview Baptist<br />
Church, 250 Old Chicopee Dr., Kitchener.<br />
519-669-1327. $20; $15(sr); free(st). Also<br />
Feb 7 (Waterloo).<br />
●●4:30: St. Thomas' Anglican Church (Belleville).<br />
Classical Guitar Recital. David Ratelle,<br />
classical guitar. 201 Church St., Belleville.<br />
613-962-3636. Freewill offering. Reception<br />
following.<br />
●●8:00: NUMUS Concerts. Jason White,<br />
piano. Rzewski: De Profundis; R.E. Smith:<br />
World of Plenty (Canadian premiere); new<br />
work by Colin Labadie (world premiere);<br />
and other works. Jazz Room, Huether Hotel,<br />
59 King St N., Waterloo. 519-896-3662. $15;<br />
$10(sr/arts worker); $5(st).<br />
Tuesday <strong>February</strong> 23<br />
●●12:00 noon: Marilyn I. Walker School of<br />
Fine and Performing Arts, Brock University.<br />
RBC Foundation: Music@Noon. Faculty<br />
Recital: Erika Reiman, piano. Cairns Hall,<br />
FirstOntario Performing Arts Centre, 250 St<br />
Paul St., St. Catharines. 905-688-5550. Free.<br />
●●12:30: McMaster School of the Arts.<br />
Lunchtime Concert Series. Mathew Coley,<br />
marimba, percussion, dulcimer. Convocation<br />
Hall, UH<strong>21</strong>3, McMaster University, 1280 Main<br />
St. W., Hamilton. 905-525-9140 x27671. Free.<br />
●●12:30: School of the Arts. Matthew Coley.<br />
Works for marimba, cimbalom, hammer dulcimer<br />
and glass. Convocation Hall, UH<strong>21</strong>3,<br />
McMaster University, 1280 Main St. W., Hamilton.<br />
905-525-9140 ext. 27038. $20; $15(sr);<br />
$5(st).<br />
Wednesday <strong>February</strong> 24<br />
●●12:30: University of Waterloo Department<br />
of Music. Noon Hour Concerts: Timepoints<br />
- Toronto Percussion Ensemble. John<br />
Brownell, David Campion, Mark Duggan and<br />
Beverley Johnson. Conrad Grebel University<br />
College, 140 Westmount Rd. N., Waterloo.<br />
519-885-0220 x24226. Free.<br />
●●7:30: FirstOntario Performing Arts Centre.<br />
Bruce Cockburn. 250 St. Paul St., St.<br />
Catharines. 905-688-0722. $55.<br />
●●8:00: Kitchener-Waterloo Chamber<br />
Music Society. Joseph Ferretti and Elaine<br />
Lau, piano. Schubert: Fantasie in f; Silvestrov:<br />
Three Bagatelles, Op.1; Chopin: Ballade<br />
No.4 in f, Op.52; Doolittle: Sorex; Lachance:<br />
Ondulations; Ravel, Ma mère l’Oye; Ravel<br />
(arr. L. Garban): La Valse. KWCMS Music<br />
Room, 57 Young St. W., Waterloo. 519-886-<br />
1673. $25; $15(st).<br />
Thursday <strong>February</strong> 25<br />
●●12:00 noon: University of Guelph College<br />
of Arts. Thursday At Noon: Jasmin Lacasser<br />
Roy. Works for classical guitar from the<br />
1920s. Goldschmidt Room, 107 MacKinnon<br />
Bldg., 50 Stone Rd. E., Guelph. 519-824-4120<br />
x52991. Free.<br />
Friday <strong>February</strong> 26<br />
●●12:30: Don Wright Faculty of Music. Fridays<br />
@ 12:30 Concert Series: Brahms<br />
Sonatas. Thomas Wiebe; Peter Longworth,<br />
piano. Von Kuster Hall, Music Building, Western<br />
University, 1151 Richmond St. N., London.<br />
519-661-3767. Free.<br />
●●3:00: Marilyn I. Walker School of Fine and<br />
Performing Arts, Brock University. Music<br />
Ed Plus: Jazz Ensemble. FirstOntario Performing<br />
Arts Centre, 250 St. Paul St., St.<br />
Catharines. 905-688-5550. Free. In lobby.<br />
●●7:30: Marilyn I. Walker School of Fine<br />
and Performing Arts, Brock University.<br />
ENCORE! Professional Concert Series:<br />
Stretch Orchestra. Contemporary jazz<br />
trio. Kevin Breit, mando-cello, mandola and<br />
mandolin; Matt Brubeck, cello; Jesse Stewart,<br />
percussion. Cairns Hall, FirstOntario Performing<br />
Arts Centre, 250 St. Paul St., St.<br />
Catharines. 905-688-0722. $29; $23(sr/st);<br />
$5(eyeGO).<br />
●●8:00: Don Wright Faculty of Music. Clarinet<br />
Day Opening Recital. James Campbell;<br />
Stephan Sylvestre. Von Kuster Hall, Music<br />
Building, Western University, 1151 Richmond<br />
St. N., London. 519-661-3767. $10.<br />
Saturday <strong>February</strong> 27<br />
●●2:00: Peterborough Singers. The Beatles.<br />
Rob Phillips, piano; Barry Haggarty, guitar;<br />
Andrew Affleck, bass guitar; Curtis Cronkwright,<br />
drums; Steve McCracken, saxophone;<br />
Sydney Birrell, conductor. Calvary Pentecostal<br />
Church, 14<strong>21</strong> Lansdowne St. W., Peterborough.<br />
705-745-1820. $30; $20(under 30);<br />
$10(st).<br />
●●7:30: Melos Choir and Period Instruments.<br />
Tavern Night Fundraiser: Rites, Revels and<br />
Romance. Music of the 12th to 18th centuries.<br />
Bawdy songs, period music, refreshments<br />
and silent auction. St. George’s Cathedral<br />
Great Hall, 129 Wellington St., Kingston. 613-<br />
767-7245. $40.<br />
Sunday <strong>February</strong> 28<br />
●●2:00: Quinte Symphony Orchestra. European<br />
Holiday. Arutiunian: Trumpet Concerto;<br />
Tchaikovsky: Capriccio Italien; Dvořák: Slavonic<br />
Dance No.10; other works. Dan Tremblay,<br />
trumpet and conductor. Bridge Street United<br />
Church, 60 Bridge St. E., Belleville. 613-962-<br />
7430. $25; $20(sr); $10(st); free(child).<br />
●●2:30: Georgetown Bach Chorale. Chiaroscuro.<br />
Works by Schubert, Schumann,<br />
Brahms, Reger, Rachmaninoff and Tavener.<br />
Helson Gallery, Halton Hills Library and Cultural<br />
Centre, 9 Church St., Halton Hills. 905-<br />
877-7915. $35; $10(st).<br />
●●2:30: Isabel Bader Centre for the<br />
Performing Arts. Piano Series: Stewart<br />
Goodyear. Works by Rachmaninoff, Ravel and<br />
Prokofiev. 390 King St. W., Kingston. 613-533-<br />
2424. $27 and up; $13.50 and up(st); $22 and<br />
up(faculty/staff).<br />
●●3:00: Don Wright Faculty of Music. An<br />
Hour with Robert Schumann. Gwen Beamish.<br />
Von Kuster Hall, Music Building, Western<br />
University, 1151 Richmond St. N., London. 519-<br />
661-3767. Free.<br />
●●3:00: Don Wright Faculty of Music. Studies<br />
in Motion <strong>2016</strong>: Dance Showcase. Students in<br />
the Dance Minor program at Western University.<br />
Paul Davenport Theatre, Talbot College,<br />
Western University, 1151 Richmond St. N., London.<br />
519-661-3767. $10.<br />
●●7:30: Cuckoo’s Nest Folk Club. Fraser and<br />
Girard. Allan Fraser and Marianne Girard.<br />
Chaucer’s Pub, 122 Carling St., London. 519-<br />
473-2099. $18/$15(adv).<br />
●●7:30: FirstOntario Performing Arts Centre.<br />
David Francey. 250 St. Paul St., St. Catharines.<br />
905-688-0722. $35.<br />
Monday <strong>February</strong> 29<br />
●●8:00: Don Wright Faculty of Music. Trio<br />
Arkel. Gubaidulina: String Trio; Kodaly: Serenade;<br />
Beethoven: “Storm” viola quintet.<br />
Guests: Sharon Wei and Scott St. John. Paul<br />
Davenport Theatre, Talbot College, Western<br />
University, 1151 Richmond St. N., London. 519-<br />
661-3767. Free.<br />
Wednesday March 2<br />
●●12:00 noon: Midday Music with Shigeru.<br />
Jazz Pianist Lance Anderson. Works by<br />
Gershwin, Peterson. Hi-Way Pentecostal<br />
Church, 50 Anne St. N., Barrie. 705-726-1181.<br />
$5; free(st).<br />
●●12:30: University of Waterloo Department<br />
of Music. Noon Hour Concert: Afternoon’s<br />
Night Music. Andrew Chung, violin;<br />
Ben Bolt-Martin, cello; Catherine Robertson,<br />
piano. Conrad Grebel University College,<br />
140 Westmount Rd. N., Waterloo. 519-885-<br />
0220 x24226. Free.<br />
●●7:00: Kaleid Choral Festival. A Kaleidoscope<br />
of Voices with Rajaton. Finnish a cappella<br />
group Rajaton with more than 300 high<br />
school students from the Kitchener/Waterloo<br />
Region. St. Peter’s Lutheran Church,<br />
49 Queen St. N., Kitchener. 519-584-5757.<br />
$25. Also Mar 3. See ad page 25.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 41
Thursday March 3<br />
●●7:00: Kaleid Choral Festival. A Kaleidoscope<br />
of Voices with Rajaton. See Mar 2.<br />
MARCH 3<br />
MARIE-JOSÉE LORD &<br />
QUARTANGO: TANGOPÉRA<br />
FirstOntarioPAC.ca | St. Catharines<br />
●●7:30: FirstOntario Performing Arts Centre.<br />
Marie-Josée Lord and Quartango:<br />
Tangopéra. 250 St. Paul St., St. Catharines.<br />
905-688-0722. $52.<br />
Friday March 4<br />
●●12:30: Don Wright Faculty of Music. Fridays<br />
@ 12:30 Concert Series. Works by<br />
Brahms, Martinů and others. Sharon Wei,<br />
viola, and Stephan Sylvestre, piano. Von<br />
Kuster Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-<br />
3767. Free.<br />
●●1:30: Don Wright Faculty of Music. Voice<br />
Fridays: Canadian Composers of Song. Patricia<br />
Green. Talbot College, University of Western<br />
Ontario, Room 100, 1151 Richmond St. N.,<br />
London. 519-661-3767. Free.<br />
●●7:30: Isabel Bader Centre for the Performing<br />
Arts. Ensemble Series: Soundstreams<br />
Canada. MacMillan: Seven Last<br />
Words of Christ; Schafer: The Fall into Light;<br />
Nystedt: Immortal Bach. Soundstreams Canada’s<br />
Choir <strong>21</strong>. Guest: James MacMillan,<br />
conductor and composer. 390 King St. W.,<br />
Kingston. 613-533-2424. $27 and up; $13.50<br />
and up(st); $22 and up(faculty/staff).<br />
Saturday March 5<br />
●●1:00: Don Wright Faculty of Music. London<br />
Music Scholarship Foundation Competition,<br />
Second and Final Round. Von Kuster<br />
Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-3767.<br />
Free. Also 8:00.<br />
●●2:00: Kawartha Concerts. Little Big Frog.<br />
Masks, puppetry, poetry, music and dance.<br />
Faustwork Mask Theatre. Market Hall<br />
B. Concerts Beyond the GTA<br />
C. Music Theatre<br />
Performing Arts Centre, 140 Charlotte St.,<br />
Peterborough. 705-878-5625. $15; $5(youth/<br />
child). Also Apr 3(Lindsay).<br />
●●7:30: Cellar Singers. Light Perpetual 2.<br />
Duruflé: Requiem and Motets. Jennifer Enns<br />
Modolo, mezzo; Matthew Cassils, baritone;<br />
Children’s Community Choir of Midland;<br />
Mitchell Pady, conductor. St. James Church,<br />
58 Peter St. N., Orillia. 705-481-1853. $25;<br />
$10(st).<br />
●●7:30: Chorus Niagara. Eternity: Bach Mass<br />
in B Minor. Featuring 27 dialogue free short<br />
films created to mirror the 27-part musical<br />
structure of Bach’s work. Clevé: Sound of<br />
Eternity (film; Canadian premiere). Jennifer<br />
Krabbe, soprano; Anita Krause, mezzo;<br />
Charles Sy, tenor; Geoffrey Sirett, baritone;<br />
Chorus Niagara; Orpheus Choir; Talisker<br />
Players. FirstOntario Performing Arts Centre,<br />
250 St. Paul St., St. Catharines. 1-855-<br />
515-0722 or 905-688-0722. $40; $38(sr);<br />
$25(under 30); $15(st); $12(child). 6:30: Preconcert<br />
chat. Also Mar 6 (See Section A. GTA,<br />
Orpheus Choir of Toronto).<br />
●●8:00: Don Wright Faculty of Music. London<br />
Music Scholarship Foundation Competition,<br />
Second and Final Round. Von Kuster<br />
Hall, Music Building, Western University,<br />
1151 Richmond St. N., London. 519-661-3767.<br />
Free. Also 1:00.<br />
Sunday March 6<br />
●●2:00: Don Wright Faculty of Music. Traditions.<br />
Western University Jazz Ensemble.<br />
Mocha Shrine Centre, 468 Colborne St., London.<br />
519-661-3767. Free.<br />
●●2:00: McMaster School of the Arts.<br />
Ensemble Concerts Series. Flute Ensemble.<br />
Convocation Hall, UH<strong>21</strong>3, McMaster University,<br />
1280 Main St. W., Hamilton. 905-525-<br />
9140 x27671. Free.<br />
●●3:00: John Laing Singers. Resplendent and<br />
Romantic. Featuring music for choir and virtuoso<br />
piano. Works by Beethoven, Buhr, Brahams<br />
Bergs, Rossini, Schubert and Whitacre.<br />
Guest: Paul Thorlaksen, piano. St. Paul’s<br />
United Church (Dundas), 29 Park St. W., Dundas.<br />
905-628-5238. $25; $20(sr); $5(st);<br />
free(child).<br />
●●3:00: University of Waterloo Department<br />
of Music. Sawatsky Visiting Scholar: Music of<br />
Sir James MacMillan. Choir <strong>21</strong>; UW Chamber<br />
Choir; Grand Philharmonic Choir. St. Peter’s<br />
Lutheran Church, 49 Queen St. N., Kitchener.<br />
519-885-0220 x24226. $30; $14(st/under30);<br />
$5(youth/child).<br />
Monday March 7<br />
●●8:00: Kitchener-Waterloo Chamber Music<br />
Society. Heidi Wall, piano. Bach: Prelude and<br />
Fugue from Bk.1 No.<strong>21</strong> in b-flat; Liszt: Transcendental<br />
Etudes Nos.11 & 12; Haydn: Sonata<br />
No.52 in E-flat H.XVI:52. KWCMS Music Room,<br />
57 Young St. W., Waterloo. 519-886-1673. By<br />
donation. Fundraising concert (tax receipts<br />
over $20).<br />
Due to space constraints, this month’s Music Theatre listings appear online<br />
only. Please visit thewholenote.com/MT for music theatre events not<br />
carried in our daily concert listings, as well as Quick Picks for daily listings of<br />
particular interest to followers of music theatre.<br />
Priceless Gene continued from page 12<br />
120 Diner<br />
120 Church St. 416-792-7725<br />
120diner.com (full schedule)<br />
Every Wed 6pm Genevieve Marentette; 8pm<br />
Lisa Particelli’s Girls Night Out Jazz Jam. <strong>February</strong><br />
2 6pm Emily Coulston; 8pm Mermaid &<br />
the Bear. <strong>February</strong> 4 6pm iSpy feat. Rebecca<br />
Everett; 8:30pm Nerissa Kay & Reuven Grajner.<br />
<strong>February</strong> 5 6pm Denielle Bassels. <strong>February</strong><br />
6 6pm Natasha Buckeridge & Kevin<br />
Wong; 9:30pm Lily Frost & the Kelvinators.<br />
<strong>February</strong> 7 6pm Ben Walker Project; 8pm<br />
Beat by Beat | Jazz Stories<br />
be from New York. I came<br />
down to visit and to take<br />
some lessons and later<br />
received a grant from<br />
the Canada Council for<br />
the Arts to relocate here<br />
temporarily and study.<br />
I fell in love with the<br />
place and the people and<br />
decided to stay. I feel a<br />
real kinship with the large<br />
but still tight-knit group<br />
of musicians I play with<br />
and listen to here and find<br />
Jamie Reynolds and Melissa Stylianou<br />
myself inspired to explore<br />
different musical directions as a result.”<br />
Stylianou performs regularly in New York City, especially at the 55<br />
Bar in Greenwich Village, where she has held down a monthly residency<br />
for the past six years. Of all the venues in New York City, this<br />
casual, cozy and unpretentious spot is perhaps the most Rex-like.<br />
“Toronto will always be my home, but New York is the source of<br />
much of my creative inspiration. Living in New York is an intense<br />
proposition. I’ve found I need to be really present all day long here:<br />
to navigate this crazy city and get where I need to go ... to be aware<br />
of my surroundings in the interest of my personal safety, and to grab<br />
opportunities for connection with the people in my life. And being<br />
the parent of a toddler in the city adds some interesting elements -<br />
what little time I have to work on my craft and the business of music<br />
is often squeezed into tiny cracks in my life.”<br />
The silken-voiced Stylianou will be performing a concert titled<br />
“Everything I Love” at the Toronto Centre for the Arts on Saturday<br />
<strong>February</strong> 13, launching an exciting new series presented by JPEC (Jazz<br />
Performance and Education Centre).<br />
“I’m really excited to be coming up to play this concert. Jamie<br />
Reynolds (my husband and musical collaborator) and I have been<br />
exploring the voice/piano setting since our first musical meeting in<br />
2003, and we both love the intimacy and space this format provides.<br />
We’ll be playing repertoire which stretches from Fats Waller and<br />
Irving Berlin to Bjork and Annie Lennox, along with some of our<br />
original songs. We’ll be joined by my friend (and former member<br />
of the Melissa Stylianou Sextet back in the day!), John MacLeod on<br />
cornet and flugelhorn.”<br />
The TCA JPEC series continues <strong>February</strong> 27 at the Toronto Centre<br />
for the Arts with “Justin Gray’s Synthesis” fusing Indian music and<br />
jazz, featuring Justin Gray on bass, Derek Gray on percussion, Ravi<br />
Naimpally on tabla and special guest Ted Quinlan on guitar. On<br />
March 5: “Jazz n’ Pizazz” with Jane Fair on saxophone, Rosemary<br />
Galloway on bass, Nancy Walker on piano, Lina Allemano on trumpet<br />
and Nick Fraser on drums. Tickets are $30 and $20 for students. Visit<br />
jazzcentre.ca for details.<br />
Ori Dagan is a Toronto-based jazz musician, writer and<br />
educator who can be reached at oridagan.com.<br />
D. In the Clubs (Mostly Jazz)<br />
Darlene Stimson. <strong>February</strong> 9 6pm Chris Birkett;<br />
8pm Jessica Stuart Few. <strong>February</strong> 11<br />
6pm Janet Whiteway. <strong>February</strong> 12 6pm Hello<br />
Darlings. <strong>February</strong> 13 6pm Joanne Morra;<br />
9pm Chris Tsujiuchi. <strong>February</strong> 14 6pm Beth<br />
Anne Cole; 8pm Fergus Hambleton. <strong>February</strong><br />
16 6pm Heather Luckhart; 8pm Mirian Kay.<br />
<strong>February</strong> 18 6pm Ori Dagan & Dave Young.<br />
<strong>February</strong> 19 6pm Kathleen Gorman. <strong>February</strong><br />
20 6pm Stu MacDonald. <strong>February</strong> <strong>21</strong><br />
6pm Julia Pal; 8pm Kristina Nojd. <strong>February</strong><br />
23 6pm Amir Brandon; 8pm Weatherstone.<br />
<strong>February</strong> 25 6pm Beverly Taft. <strong>February</strong> 26<br />
JOANNE GREEN<br />
42 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Beat by Beat | Mainly Clubs, Mostly Jazz!<br />
Loud Outfits<br />
BOB BEN<br />
Cutting through the huge sound of the horns behind him, Martin<br />
Loomer plays the appropriate chords in the appropriate order<br />
on his electric guitar, laying down the time as authoritatively as<br />
any drummer. He wears a contagious grin and what looks to me like<br />
a bright orange jumpsuit. Which is super cool. If there’s anything I<br />
admire, it’s a loud outfit, and there are few outfits louder than a bright<br />
orange jumpsuit.<br />
Martin Loomer’s Orange Devils have a monthly gig, on the second<br />
Monday of every month, at The Monarch Tavern. They play music by<br />
big bands of the 1930s and 40s, like those led by Count Basie, Duke<br />
Ellington, Fletcher Henderson and more, with skill and authenticity.<br />
And who better to bring these charts to life than someone who<br />
makes his living as a music copyist?<br />
I first became aware of Loomer through the Orange Devils’ vocalist<br />
Rita di Ghent about three years ago – almost to the day – at the end<br />
of January 2013. Since then, I’ve chased down the Orange Devils, and<br />
Loomer himself, attended several of their gigs and bombarded him<br />
with questions, as you do with those more experienced in your field.<br />
I guess I must have asked the maximum number of questions he<br />
could answer at a gig or on Facebook, because he eventually invited<br />
me and a friend to come to his house to talk about composing and<br />
arranging. We convened in his living room, me, my friend, Loomer,<br />
his wife Karen, their cats, and a tray of muffins and tea, and we talked<br />
about a lot: family, education, cartoons and video games and, even at<br />
points, music.<br />
Once we migrated from the living room, Loomer showed us his<br />
score collection, which might be the largest number of scores I’ve ever<br />
seen in one room, music libraries included. This was a long while ago,<br />
but one thing<br />
I remember<br />
clearly is<br />
marvelling at<br />
how messy<br />
Duke Ellington’s<br />
handwriting<br />
was.<br />
The Orange<br />
Devils combine<br />
Martin Loomer<br />
Loomer's encyclopedic<br />
knowledge of the repertoire with the expertise of those sharing<br />
the bandstand with him: people like John McLeod, William Carn,<br />
and Richard Whiteman (including, up until recently, the late Dr. Kira<br />
Payne who passed away on January 2: Payne doubled flawlessly both<br />
on alto and tenor saxophones, and as a musician and an accomplished<br />
M.D.; she is missed by the community). Go hear this band with no<br />
skepticism. Just go. I have no doubt you will like it.<br />
Turbo Street: Another fairly large band – as distinct from a big band<br />
– I’d like to draw everyone’s attention to is Turbo Street Funk. If you<br />
don’t know them by name, you might recognize them from their<br />
busking days on major street corners around the downtown core,<br />
including Queen and Spadina, Bay and Bloor and so on. The band<br />
plays a combination of original tunes and pop standards, modern and<br />
otherwise, tightly arranged and performed by recent graduates of the<br />
big three music schools in the city. Turbo Street Funk will be bringing<br />
their outdoor dance party indoors on <strong>February</strong> 9 at Fat City Blues.<br />
This, friends, is the month when the city begins to thaw. Or, it will<br />
be if there is any justice in the world. Come out and celebrate. With<br />
any luck, I’ll see you in the clubs.<br />
Bob Ben is The WholeNote’s jazz listings editor. He<br />
can be reached at jazz@thewholenote.com.<br />
D. In the Clubs (Mostly Jazz)<br />
6pm Kevin Barrett & Julie Michels. <strong>February</strong><br />
27 6pm Jordana Talsky. <strong>February</strong> 28 6pm<br />
Janel Jones & Bob Ben; 8pm Whitney Ross-<br />
Barris sings Tom Waits.<br />
Alleycatz<br />
2409 Yonge St. 416-481-6865<br />
alleycatz.ca<br />
All shows: 9pm unless otherwise indicated.<br />
Call for cover charge info.<br />
<strong>February</strong> 4 Pick up the Pieces. <strong>February</strong><br />
5 Royal Pains. <strong>February</strong> 6, 27 Soular. <strong>February</strong><br />
11, 25 The Flow with Carlos Morgan.<br />
<strong>February</strong> 12 Nine Times Band. <strong>February</strong> 13,<br />
20 Lady Kane. <strong>February</strong> 18 Solo & Duets Concert<br />
Series. <strong>February</strong> 19 Universal Boogie<br />
Band. <strong>February</strong> 26 Switchbeat.<br />
Arbor Room<br />
7 Hart House Cir. 416-978-2452<br />
harthouse.ca<br />
<strong>February</strong> 26 9pm Jim Lewis.<br />
Artword Artbar<br />
15 Colbourne St., Hamilton. 905-543-8512<br />
artword.net (full schedule)<br />
<strong>February</strong> 11 8pm Jazz vocal jam with Sue<br />
Ramsay Trio $10. <strong>February</strong> 13 8pm Valentine<br />
sweet harmonies by The Ault Sisters $15.<br />
<strong>February</strong> 18 8pm Jazz with Jesse Martel and<br />
band. <strong>February</strong> 19 8pm Jazz with the Scott<br />
Taplay Group $10. <strong>February</strong> 25 8pm Nicole<br />
Chambers & Lauren Cumberbatch $5. <strong>February</strong><br />
26 8pm Blues, Funk, Groove w/ Wayne<br />
Janus Trio.<br />
Black Swan Tavern, The<br />
154 Danforth Ave. 416-469-0537<br />
<strong>February</strong> 12 7pm(Fri)/1pm(Sat, Sun) Winterfolk<br />
XIV: Top Talent from Nova Scotia to Nashville<br />
$15.<br />
Blakbird, The<br />
812b Bloor St. W. 647-344-7225<br />
theblakbird.com (full schedule)<br />
Bloom<br />
2315 Bloor St. W. 416-767-1315<br />
bloomrestaurant.com<br />
All shows: 19+. Call for reservations.<br />
<strong>February</strong> 14 7pm Amy McConnell (voice) Trio<br />
with Ross MacIntyre (bass), Mark Keiswetter<br />
(piano) $85 (with dinner).<br />
Blue Goose Tavern, The<br />
1 Blue Goose St. 416-255-2442<br />
thebluegoosetavern.com<br />
Every Sun 4pm Blues At the Goose with the<br />
Big Groove Rhythm Section and<br />
special guests.<br />
Burdock<br />
1184 Bloor St. W. 416-546-4033<br />
burdockto.com<br />
<strong>February</strong> 15 7:30pm Love Hangover <strong>2016</strong><br />
with Abigail Lapell, Heather Luckhart, Isabel<br />
Fryszberg, Shelby Lamb (voices) Tony Quarrington<br />
(guitar) $10(adv)/$12(door).<br />
Castro’s Lounge<br />
<strong>21</strong>16e Queen St. E. 416-699-8272<br />
castroslounge.com (full schedule)<br />
All shows: No cover/PWYC<br />
C’est What<br />
67 Front St. E. 416-867-9499<br />
cestwhat.com (full schedule)<br />
<strong>February</strong> 6, 20 3pm The Boxcar Boys. <strong>February</strong><br />
13, 27 3pm The Hot Five Jazzmakers.<br />
Chalkers Pub, Billiards & Bistro<br />
247 Marlee Ave. 416-789-2531<br />
chalkerspub.com (full schedule)<br />
or visit<br />
www.averyraquel.com<br />
De Sotos<br />
1079 St. Clair Ave. W. 416-651-<strong>21</strong>09<br />
desotos.ca (full schedule)<br />
Every Sun 11am Sunday Live Jazz Brunch<br />
No cover.<br />
Emmet Ray, The<br />
924 College St. 416-792-4497<br />
theemmetray.com (full schedule)<br />
All shows: No cover/PWYC<br />
AVERYRAQUEL<br />
Featuring:<br />
Joel Haynes - Drums<br />
Mike Pelletier - Bass<br />
Rob Fekete - Piano<br />
FEBRUARY 23, <strong>2016</strong> 7:00PM<br />
$10 at the door<br />
The Jazz Bistro<br />
251 Victoria St. Toronto, ON<br />
jazzbistro.ca • 416.363.5299<br />
Call for reservations<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 43
<strong>February</strong> 4 9pm John-Wayne Swingtet:<br />
Wayne Nakamura (guitar), Abbey Sholzberg<br />
(bass), John Farrell (guitar). <strong>February</strong> 7<br />
6pm The Rob Lee (bass) Session with Bobby<br />
Shaw (sax), Aidan Funston (guitar), Harold<br />
Camacho (drums); 8:30pm Nick Scott (guitar)<br />
Trio with Julian Anderson-Bowes (bass),<br />
Eric West (drums). <strong>February</strong> 8 7pm Julian<br />
Nalli (sax) Quintet with Leland Whitty (sax),<br />
Tyler Emond (bass), James Hill (piano), Santino<br />
De Villa; 9:30 New York City’s Adam<br />
Smale (guitar) Trio with Kieran Overs (bass),<br />
Vito Rezza (drums). <strong>February</strong> 11 9pm Bossa<br />
Tres: Victor Monsivais (guitar), Abbey Sholzberg<br />
(bass). <strong>February</strong> 18 9pm Vokurka’s Vicarious<br />
Virtuoso Violin: Ed Vokurka (violin),<br />
John Fletcher (guitar), Abbey Scholzberg<br />
(bass). <strong>February</strong> 22 7pm Sean Cronin (bass)<br />
with Morgan Childs (drums), lineup TBA.<br />
Fat City Blues<br />
890 College St. 647-345-8282<br />
Every Sun 8:30pm Fraser/Melvin Band.<br />
Every Wed 8:30pm The Mercenaries. Every<br />
Thurs 8:30pm Tyler Yarema & The Fat Boys.<br />
<strong>February</strong> 2 8:30pm Bucketeer. <strong>February</strong><br />
5, 19 9:30pm Big Rude Jake. <strong>February</strong> 6, 27<br />
9:30pm Pudding Band. <strong>February</strong> 9 9:30pm<br />
Turbo Street Funk. <strong>February</strong> 12 9:30pm<br />
Raoul & The Big Time. <strong>February</strong> 13 9:30pm<br />
Paul Reddick. <strong>February</strong> 20 9:30pm Andria<br />
Simone. <strong>February</strong> 26 9:30pm Paul Reddick.<br />
Gate 403<br />
403 Roncesvalles Ave. 416-588-2930<br />
gate403.com<br />
All shows: PWYC.<br />
<strong>February</strong> 1 5pm Mike and Jill Daley Jazz Duo;<br />
9pm Donghwan Moon Jazz Band. <strong>February</strong><br />
2 5pm Evan Desaulnier Jazz Trio; 9pm Peter<br />
Kauffman Jazz Trio. <strong>February</strong> 3 5pm Jazzforia<br />
feat. Claire Riley; 9pm Julian Fauth Blues<br />
Night. <strong>February</strong> 4 5pm Bruce Chapman Blues<br />
Duo with feature guests; 9pm Darcy Windover<br />
Band. <strong>February</strong> 5 5pm Angie Gunn:<br />
Western Swing; 9pm “The Pearl Motel”. <strong>February</strong><br />
6 5pm Bill Heffernan and His Friends;<br />
9pm Danny Marks and Alec Fraser Duo. <strong>February</strong><br />
7 5pm Grateful Sunday feat. Trevor<br />
Cape and The Field; 9pm Jonathan Billings<br />
Blues Trio. <strong>February</strong> 8 5pm Grant Lyle Blues<br />
Music; 9pm Chris Staig Trio. <strong>February</strong> 9 5pm<br />
Conrad Gayle Jazz Band. <strong>February</strong> 10 5pm<br />
Michelle Rumball with friend; 9pm Julian<br />
Fauth Blues Night. <strong>February</strong> 11 5pm Kristin<br />
Lindell Jazz Band; 9pm Kevin Laliberté Jazz<br />
& Flamenco Trio. <strong>February</strong> 12 5pm Amber<br />
Leigh Jazz Trio. <strong>February</strong> 13 5pm Bill Heffernan<br />
and His Friends; 9pm Julian Fauth Blues<br />
Quartet. <strong>February</strong> 14 5pm Hello Darlings;<br />
9pm The Ault Sisters. <strong>February</strong> 15 9pm Linda<br />
Carone Jazz Band. <strong>February</strong> 16 5pm Sarah<br />
Kennedy and Matt Pines Jazz Duo; 9pm Thom<br />
Mason Jazz Trio. <strong>February</strong> 17 5pm Rick Maltese:<br />
Rick’s Three in One; 9pm Julian Fauth<br />
Blues Night. <strong>February</strong> 18 5pm Concord Jazz<br />
Quintet; 9pm Tiffany Hanus Jazz Band. <strong>February</strong><br />
19 5pm Carter Brodkorb Jazz Quintet;<br />
9pm Heather Luckhart: blues/roots/jazz<br />
band. <strong>February</strong> 20 5pm Bill Heffernan and<br />
His Friends; 9pm Sweet Derrick Blues Band.<br />
<strong>February</strong> <strong>21</strong> 5pm Jeff Taylor and the SLT;<br />
9pm L.A. Turcotte: Sultants of Soul. <strong>February</strong><br />
22 9pm Steven “N” Tyler Quartet. <strong>February</strong><br />
23 5pm Andy Malette Piano Solo; 9pm<br />
Kalya Ramu Jazz Band. <strong>February</strong> 24 9pm<br />
D. In the Clubs (Mostly Jazz)<br />
Julian Fauth Blues Night. <strong>February</strong> 25 5pm G<br />
Street Jazz Trio; 9pm Annie Bonsignore Jazz<br />
Duo or Trio. <strong>February</strong> 26 5pm Shae Calhoun<br />
and Lorne Duo; 9pm Fraser Melvin Blues<br />
Band. <strong>February</strong> 27 5pm Bill Heffernan and His<br />
Friends; 9pm Donné Roberts Band. <strong>February</strong><br />
28 5pm Six Points Jazz Orchestra. <strong>February</strong><br />
29 5pm Mark Rainey Jazz Band; 9pm Robert<br />
Chapman Jazz Band.<br />
Grossman’s Tavern<br />
379 Spadina Ave. 416-977-7000<br />
grossmanstavern.com (full schedule)<br />
All shows: No cover (unless otherwise noted).<br />
Every Sat The Happy Pals Dixieland jazz jam.<br />
Harlem Restaurant<br />
67 Richmond St. E. 416-368-1920<br />
harlemrestaurant.com (full schedule)<br />
All shows: 7:30-11pm (unless otherwise<br />
noted). Call for cover charge info.<br />
<strong>February</strong> 5, 13 Gyles. <strong>February</strong> 6 Danica<br />
Bucci. <strong>February</strong> 12, 13 “It’s a Jazz Thing”<br />
All Star Weekend with Neil Brathwaite<br />
and guests $10(adv)/$20(door). <strong>February</strong><br />
26 Madette. <strong>February</strong> 27 Simone Morris Trio.<br />
Hirut Cafe and Restaurant<br />
2050 Danforth Ave. 416-551-7560<br />
Every Sun 3pm Open Mic with Nicola<br />
Vaughan PWYC. Every Thurs 8pm Mark<br />
Sepic & Friends (guitar). <strong>February</strong> 2, 16 8pm<br />
Finger Style Guitar Association PWYC. <strong>February</strong><br />
6 7:30pm Open Mic Brigade w/ Robbie<br />
Patterson PWYC. <strong>February</strong> 12 8pm Latin Jazz<br />
with Don Naduriak (piano) Quintet: Alexander<br />
Brown (trumpet), Luis Deniz (sax), Paco<br />
Luviano (bass), Daniel Barnes (drums) $10.<br />
<strong>February</strong> 19 Arlene Paculan PWYC ($10 suggested).<br />
<strong>February</strong> 26 9pm Hirut Hoot Cabaret<br />
$5. <strong>February</strong> 27 8pm Lizzie Violet Cabaret<br />
Music and Poetry PWYC.<br />
Home Smith Bar – See Old Mill, The<br />
Hugh’s Room<br />
2261 Dundas St. W. 416-531-6604<br />
hughsroom.com<br />
All shows: 8:30pm (unless otherwise noted).<br />
<strong>February</strong> 2, 3 10am (Monday only) Toronto<br />
Ravel $15; 8:30pm (both days) Midge Ure<br />
(of Ultravox) $35(adv)/$40(door). <strong>February</strong><br />
5 A Tribute to the Queen of the Blues<br />
Etta James $30(adv)/$35(door). <strong>February</strong><br />
6 Elizabeth Shepherd with Kevin<br />
Breit $29.50(adv)/$32.50(door). <strong>February</strong><br />
7 The 16th Annual Banjo Special<br />
$22.50(adv)/$25(door). <strong>February</strong><br />
9 Stompin’ Tom’s 80th Birthday Celebration<br />
$32.50(adv)/$35(door). <strong>February</strong><br />
10 8pm The JAZZ.FM91 Songwriter<br />
Series – Tribute to Steely Dan $40. <strong>February</strong><br />
11, 12 Alfie Zappacosta – DVD &<br />
CD Release $44(adv)/$49(door). <strong>February</strong><br />
13, 14 Micah and Jackie’s Valentine’s<br />
Concert $28(adv)/$32(door). <strong>February</strong><br />
16 Jane Harbury presents Discoveries<br />
$15(adv)/$17(door). <strong>February</strong> 18 Almeta<br />
Speaks $27(adv)/$30(door). <strong>February</strong><br />
19 Jane Siberry $35(adv)/$40(door). <strong>February</strong><br />
20 “The Way to San Jose” – The Music<br />
of Burt Bacharach $27.50(adv)/$30(door).<br />
<strong>February</strong> <strong>21</strong> A Celebration of the Life of Ron<br />
Hynes and CD Release $28(adv)/$32(door).<br />
<strong>February</strong> 25, 26 David Francey – CD Release<br />
$30(adv)/$35(door). <strong>February</strong> 27 Gregg<br />
Lawless $25(adv)/$30(door). <strong>February</strong> 28<br />
2pm Ken Whiteley’s Sunday Gospel Matinee<br />
$20(adv)/$22.50(door); 8:30pm The Duhks<br />
$32.50(adv)/$35(door). <strong>February</strong> 29 Simon<br />
Townshend $20(adv)/$22.50(door).<br />
Jazz Bistro, The<br />
251 Victoria St. 416-363-5299<br />
jazzbistro.ca<br />
<strong>February</strong> 4, 11, 18 9pm Laila Biali Previews<br />
at Toronto Jazz Bistro – 3 night residency:<br />
Laila Biali (piano, voice), George Koller<br />
(bass), Ben Wittman (drums on Feb 4), Larnell<br />
Lewis (drums on Feb 11, 18) $25. <strong>February</strong><br />
5 9pm Hisaka $20. <strong>February</strong> 6, 7<br />
9pm(Sat)/8pm(Sun) Tyramid: Adam Smale<br />
(guitar), Kieran Overs (bass), Mark Kelso<br />
(drums on Feb 6), Vito Rezza (drums on Feb 7)<br />
$20(Sat)/$15(Sun). <strong>February</strong> 12, 13 9pm The<br />
John Alcorn (voice) Quartet with Mark Eisenman<br />
(piano), Steve Wallace (bass), Perry<br />
White (sax) $20. <strong>February</strong> 14 9pm Valentine’s<br />
Day with June Garber (voice) and the Mark<br />
Kieswetter (piano) Trio with George Koller<br />
(bass), Ben Riley (drums) $250 (includes dinner,<br />
drinks, and flowers). <strong>February</strong> 19, 20<br />
9pm Rich Brown (bass) & The Abeng with<br />
James Hill (keyboards), Luis Deniz (sax),<br />
Kevin Turcotte (trumpet), Ian Wright (drums)<br />
$20. <strong>February</strong> <strong>21</strong> 7pm Daniela Nardi’s (voice)<br />
Espresso Manifesto with special guest Colleen<br />
Allen (sax) with Ron Davis (piano), Mike<br />
Downes (bass), Steve Heathcoate (drums/<br />
percussion) $20. <strong>February</strong> 22 7pm Sounds of<br />
Italy – Jazz FM Piano Series with Rita Marcotulli.<br />
<strong>February</strong> 25, 26, 27 9pm Warren Vache<br />
(cornet) with the Mark Eisenman (piano)<br />
Trio with Steve Wallace (bass), Terry Clarke<br />
(drums) $20(Thurs)/$25(Fri, Sat).<br />
Jazz Room, The<br />
Located in the Huether Hotel, 59 King St. N.,<br />
Waterloo. 226-476-1565<br />
kwjazzroom.com (full schedule)<br />
All shows: 8:30pm-11:30pm unless otherwise<br />
indicated. Attendees must be 19+.<br />
<strong>February</strong> 5 Ted Gibbons Quartet $15. <strong>February</strong><br />
6 Vaughan Misener Trio $16. <strong>February</strong><br />
12 Big Band Theory $20. <strong>February</strong><br />
13 Maureen Kennedy $18. <strong>February</strong> 19 Winter<br />
Jazz Festival – Yotam Silberstein Quartet<br />
(New York City) $20. <strong>February</strong> <strong>21</strong> 4pm Winter<br />
Jazz Festival – Special Sunday Matinee – The<br />
Bernie Carroll Project $15. <strong>February</strong> 26 Ori<br />
Dagan Quartet: Tribute to Nat King Cole $18.<br />
<strong>February</strong> 27 Mike Murley/Jerry Granelli<br />
Quartet $20.<br />
Joe Mama’s<br />
317 King St. W. 416-340-6469<br />
joemamas.ca<br />
Every Tue 6pm Jeff Eager. Every Wed 6pm<br />
Thomas Reynolds. Every Thurs 9pm Blackburn.<br />
Every Fri 10pm The Grind. Every<br />
Sat 10pm Shugga. Every Sun 6:30pm<br />
Organic: Nathan Hiltz (guitar); Bernie<br />
Senensky (organ); Ryan Oliver (sax), Morgan<br />
Childs (drums).<br />
KAMA<br />
<strong>21</strong>4 King St. W. 416-599-5262<br />
kamaindia.com (full schedule)<br />
Every Wed 5:30pm Jazz with the Kama<br />
House Band.<br />
La Revolucion<br />
2848 Dundas St. W. 416-766-0746<br />
restaurantlarevolucion.com (full schedule)<br />
Local Gest, The<br />
424 Parliament St. 416-961-9425<br />
Lula Lounge<br />
1585 Dundas St. W. 416-588-0307<br />
lula.ca (full schedule)<br />
<strong>February</strong> 4 7pm Ron Davis’ (piano) Pocket<br />
Symphronica with Aline Homzy (violin), Kevin<br />
Barrett (guitar), Mike Downes (bass), Roger<br />
Travassos (drums) $20(adv)/$25(door).<br />
Manhattans Pizza Bistro & Music Club<br />
951 Gordon St., Guelph 519-767-2440<br />
manhattans.ca (full schedule)<br />
All shows: PWYC.<br />
<strong>February</strong> 2, 28 Stan Chang & Erick Bruck.<br />
<strong>February</strong> 3, 17 Jamie ‘Giggles’ Mitges. <strong>February</strong><br />
4 John Zadro. <strong>February</strong> 5 Gary<br />
Beck & Sideways. <strong>February</strong> 6 The Cha Cha<br />
Unit. <strong>February</strong> 7, <strong>21</strong> Grace Peters. <strong>February</strong><br />
9, 23, 27 Brad Halls (27th with Laura<br />
Harp). <strong>February</strong> 10, 24 Paul Taylor. <strong>February</strong><br />
11, 25 Carmen Spada. <strong>February</strong> 12 David<br />
Hollingshead & Isaiah Farahbakhsh. <strong>February</strong><br />
13, 16 Thomas Hammerton. <strong>February</strong><br />
14 Ambre Mclean. <strong>February</strong> 18 Foster/Daniels/Wagler.<br />
<strong>February</strong> 20 Parker Abbott Trio.<br />
<strong>February</strong> 26 Eclectic Vinyl Orchestra.<br />
Mezzetta Restaurant<br />
681 St. Clair Ave. W. 416-658-5687<br />
mezzettarestaurant.com (full schedule)<br />
All shows: 9pm, $8 (unless otherwise noted).<br />
<strong>February</strong> 3 Lorne Lofsky & Neil Swainson<br />
$10.<br />
Monarch Tavern<br />
12 Clinton St. 416-531-5833<br />
themonarchtavern.com (full schedule)<br />
<strong>February</strong> 8 7:30pm Martin Loomer & His<br />
Orange Devils Orchestra $10.<br />
Monarchs Pub<br />
At the Eaton Chelsea Hotel<br />
33 Gerrard St. W. 416-585-4352<br />
monarchspub.ca (full schedule)<br />
Wednesday shows: 7pm. Thursday shows:<br />
8pm. All shows: No cover.<br />
Morgans on the Danforth<br />
1282 Danforth Ave. 416-461-3020<br />
morgansonthedanforth.com (full schedule)<br />
All shows: 2pm-5pm. No cover.<br />
<strong>February</strong> 28 Lisa Particelli’s Girls Night Out<br />
Jazz Jam.<br />
Musideum<br />
401 Richmond St. W., Main Floor<br />
416-599-7323<br />
musideum.com (full schedule)<br />
Nawlins Jazz Bar & Dining<br />
299 King St. W. 416-595-1958<br />
nawlins.ca<br />
All shows: No cover/PWYC.<br />
Every Tue 6:30pm Stacie McGregor. Every<br />
Wed 7pm Jim Heineman Trio. Every Thurs<br />
8pm Nothin’ But the Blues w/ Joe Bowden<br />
(drums) and featured vocalists. Every Fri,<br />
Sat 8:30pm N’awlins All Star Band. Every<br />
Sun 7pm Brooke Blackburn.<br />
Nice Bistro, The<br />
117 Brock St. N., Whitby. 905-668-8839<br />
nicebistro.com (full schedule)<br />
Old Mill, The<br />
44 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
<strong>21</strong> Old Mill Rd. 416-236-2641<br />
oldmilltoronto.com<br />
The Home Smith Bar: No reservations. No<br />
cover. $20 food/drink minimum. All shows:<br />
7:30pm-10:30pm<br />
<strong>February</strong> 4 Juliann Kuchocki (voice) Trio with<br />
David Restivo (piano), Dave Young (bass).<br />
<strong>February</strong> 5 Canadian Jazz Quartet & Friends:<br />
Frank Wright (vibes), Ted Quinlan (guitar),<br />
Pat Collins (bass), Don Vickery (drums), feat.<br />
Chase Sanborn (trumpet). <strong>February</strong> 6 Artie<br />
Roth (bass) Trio with Mike Filice (sax), Geoff<br />
Young (guitar). <strong>February</strong> 11 Alex Pangman &<br />
The Alleycats: Alex Pangman (voice), Peter<br />
Hill (piano), John MacLeod (cornet), Glenn<br />
Anderson (drums). <strong>February</strong> 12 Ron Westray<br />
(trombone) Trio with Chris Banks (bass),<br />
Daniel Barnes (drums). <strong>February</strong> 13 Mike<br />
Allen (guitar) Quartet with Dave Young (bass),<br />
Don Vickery (drums), Mary Panacci (voice).<br />
<strong>February</strong> 18 Joe Sealy (piano) / Paul Novotny<br />
(bass) Duo. <strong>February</strong> 19 Alexis Baro (trumpet)<br />
Quartet with Stan Fomin (piano), Paco<br />
Luviano (bass), Amhed Mitchell (drums). <strong>February</strong><br />
20 Bonnie Brett (voice) Trio with David<br />
Braid (piano), Steve Wallace (bass). <strong>February</strong><br />
25 Don Thompson (piano) / Reg Schwager<br />
(guitar) Duo. <strong>February</strong> 26 Sam Broverman<br />
(voice) Trio with Mark Kieswetter (piano),<br />
Jordan O’Connor (bass). <strong>February</strong> 27 Kevin<br />
Dempsey (drums) Trio with Reg Schwager<br />
(guitar), Pat Collins (bass).<br />
Only Café, The<br />
972 Danforth Ave. 416-463-7843<br />
theonlycafe.com (full schedule)<br />
All shows: 8pm unless otherwise indicated.<br />
<strong>February</strong> 22 Lazersuzan.<br />
Paintbox Bistro<br />
555 Dundas St. E. 647-748-0555<br />
paintboxbistro.ca (Full schedule)<br />
Palais Royale<br />
1601 Lake Shore Blvd. W. 416-533-3553<br />
palaisroyale.ca<br />
<strong>February</strong> 13 7pm Valentine’s Big Band<br />
Dance feat. Glenn Chipkar and the 18<br />
piece Swing Shift Big Band Orchestra<br />
$50(gen)/$100(VIP).<br />
Pauper’s Pub<br />
539 Bloor St. W. 416-530-1331<br />
pauperspub.com<br />
<strong>February</strong> 13, 14 7pm A Jazzy Valentine’s<br />
with Steve Wallace (bass), Chris Gale (sax<br />
on Feb 13), Perry White (sax on Feb 14) Matt<br />
Newton (piano), Julie McGregor (voice).<br />
Pilot Tavern, The<br />
22 Cumberland Ave. 416-923-5716<br />
thepilot.ca<br />
All shows: 3:30pm. No cover.<br />
<strong>February</strong> 6 Norman Marshall Villeneuve’s<br />
Jazz Message: Norman Marshall Villeneuve<br />
(drums), Eric Boucher (piano), Artie Roth<br />
(bass), Shawn Nykwist (alto sax), Alexis Baro<br />
(trumpet). <strong>February</strong> 13 Frank Botos Quartet.<br />
<strong>February</strong> 20 Alex Dean Quartet. <strong>February</strong><br />
27 Kirk MacDonald Quartet.<br />
Poetry Jazz Café<br />
224 Augusta Ave. 416-599-5299<br />
poetryjazzcafe.com (full schedule)<br />
Reposado Bar & Lounge<br />
136 Ossington Ave. 416-532-6474<br />
reposadobar.com (full schedule)<br />
Every Wed Spy vs. Sly vs. Spy. Every Thurs,<br />
Fri 10pm Reposadists Quartet: Tim Hamel<br />
(trumpet), Jon Meyer (bass), Jeff Halischuck<br />
(drums), Roberto Rosenman (guitar).<br />
Reservoir Lounge, The<br />
52 Wellington St. E. 416-955-0887<br />
reservoirlounge.com (full schedule).<br />
All shows: 9:45<br />
Every Tue, Sat Tyler Yarema and his Rhythm.<br />
Every Wed The Digs. Every Thurs Stacey<br />
Kaniuk. Every Fri Dee Dee and the Dirty Martinis.<br />
<strong>February</strong> 4 Alex Pangman.<br />
Rex Hotel Jazz & Blues Bar, The<br />
194 Queen St. W. 416-598-2475<br />
therex.ca (full schedule)<br />
Call for cover charge info.<br />
<strong>February</strong> 1 6:30pm University of Toronto<br />
Student Jazz Ensembles; 9:30pm Humber<br />
College Student Jazz Ensembles. <strong>February</strong><br />
2 6:30pm Chris Wallace’s Many Names;<br />
9:30pm Israel’s Amos Hoffman with Noah<br />
Lemish Quartet. <strong>February</strong> 3 6:30pm Richard<br />
Whiteman Four; 9:30pm New York’s Gary<br />
Versace & Mark Feldman with Darren Sigesmund<br />
Quintet - CD Release. <strong>February</strong> 4<br />
6:30pm Yuka; 9:30pm New York’s Gary Versace<br />
& Mark Feldman with Darren Sigesmund<br />
Quintet - CD Release. <strong>February</strong> 5 4pm<br />
Hogtown Syncopators; 6:30pm Victor Bateman<br />
Trio; 9:45pm Norman M. Villeneuve. <strong>February</strong><br />
6 12pm The Sinners Choir; 3:30pm<br />
Composers Collective; 7:30pm Nick Teehan<br />
Group; 9:45pm New York’s Jacey Falk Quartet.<br />
<strong>February</strong> 7 12pm Excelsior Dixieland<br />
Jazz; 3:30pm Club Django; 7pm Marilyn Lerner<br />
Trio; 9:45pm New York’s Jacey Falk Quartet.<br />
<strong>February</strong> 8 6:30pm University of Toronto<br />
Student Jazz Ensembles; 9:30pm Humber<br />
College Student Jazz Ensembles. <strong>February</strong><br />
9 6:30pm Chris Wallace’s Many Names;<br />
9:30pm Classic Rex Jam hosted by Brooklyn’s<br />
Tyramid w/ Adam Smale. <strong>February</strong> 10<br />
6:30pm Richard Whiteman Four; 9:30pm<br />
Buddy Aquilina. <strong>February</strong> 11 6:30pm Yuka;<br />
Featuring some of Toronto’s best jazz musicians<br />
with a brief reflection by Jazz Vespers Clergy<br />
Sunday, <strong>February</strong> <strong>21</strong> at 4:30 pm<br />
Joe Sealy, piano<br />
Paul Novotny, bass<br />
Sunday, March 6 at 4:30 pm<br />
RUSS LITTLE QUINTET<br />
Christ Church Deer Park, 1570 Yonge St. 416-920-5<strong>21</strong>1<br />
(north of St. Clair at Heath St.)<br />
www.thereslifehere.org Admission is free; donations are welcome.<br />
9:30pm Vaughan Misener. <strong>February</strong> 12 4pm<br />
Hogtown Syncopators; 6:30pm Victor Bateman<br />
Trio; 9:45pm Marito Marques. <strong>February</strong><br />
13 12pm The Sinners Choir; 3:30pm Paul Reddick;<br />
7:30pm Nick Teehan Group; 9:45pm Bob<br />
Brough Quartet. <strong>February</strong> 14 12pm Excelsior<br />
Dixieland Jazz; 3:30pm Red Hot Ramble;<br />
7pm Marilyn Lerner Trio; 9:30pm Hannah<br />
Barstow. <strong>February</strong> 15 6:30pm University of<br />
Toronto Student Jazz Ensembles; 9:30pm<br />
Mike Malone & The Writers Jazz Orchestra.<br />
<strong>February</strong> 16 6:30pm Chris Wallace’s Many<br />
Names; 9:30pm Classic Rex Jam hosted by<br />
Scotland’s Graeme Stephen. <strong>February</strong> 17<br />
6:30pm Richard Whiteman Four; 9:30pm<br />
Julie Mahendran. <strong>February</strong> 18 6:30pm Yuka;<br />
9:30pm Soul Stew. <strong>February</strong> 19 4pm Hogtown<br />
Syncopators; 6:30pm Victor Bateman<br />
Trio; 9:45pm Raoul & the Bigger Time. <strong>February</strong><br />
20 12pm The Sinners Choir; 3:30pm<br />
Socialist Night School; 7:30pm Nick Teehan<br />
Group; 9:45pm Michael Occhipinti’s Creation<br />
Dream Reunion. <strong>February</strong> <strong>21</strong> 12pm Excelsior<br />
Dixieland Jazz; 3:30pm Dr. Nick & The Rollercoasters;<br />
7pm Marilyn Lerner Trio; 9:30pm<br />
Ronda Stakich Group. <strong>February</strong> 22 6:30pm<br />
University of Toronto Student Jazz Ensembles;<br />
9:30pm Humber College Student Jazz<br />
Ensembles. <strong>February</strong> 23 6:30pm Chris Wallace’s<br />
Many Names; 9:30pm Classic Rex Jam<br />
hosted by Chris Gale. <strong>February</strong> 24 6:30pm<br />
Richard Whiteman Four; 9:30pm Josh Grossman’s<br />
The TJO - Toronto Jazz Orchestra.<br />
<strong>February</strong> 25 6:30pm Yuka; 9:45pm Halifax’s<br />
Jerry Granelli Quartet w/ Mike Murley.<br />
<strong>February</strong> 26 4pm Hogtown Syncopators;<br />
6:30pm Victor Bateman Trio; 9:45pm Halifax’s<br />
Jerry Granelli Quartet w/ Mike Murley.<br />
<strong>February</strong> 27 12pm The Sinners Choir; 3:30pm<br />
Laura Hubert Band; 7:30pm Nick Teehan<br />
Group; 9:45pm Steve Koven’s Project Rex.<br />
<strong>February</strong> 28 12pm Excelsior Dixieland Jazz;<br />
3:30pm Freeway Dixieland; 7pm Marilyn Lerner<br />
Trio; 9:30pm Three Blind Mice. <strong>February</strong><br />
29 6:30pm University of Toronto Student<br />
Jazz Ensembles; 8:30pm John MacLeod’s Rex<br />
Hotel Orchestra.<br />
Salty Dog Bar & Grill, The<br />
1980 Queen St. E. 416-849-5064<br />
(full schedule)<br />
St. Philip’s Anglican Church<br />
●<br />
Sauce on the Danforth<br />
1376 Danforth Ave. 647-748-1376<br />
sauceondanforth.com<br />
All shows: no cover.<br />
Every Mon 9pm The Out Of Towners: Dirty<br />
Organ Jazz. Every Tue 6pm Julian Fauth. <strong>February</strong><br />
6 Steve Stanley. <strong>February</strong> 13 Michelle<br />
Rumball & Mr. Rick. <strong>February</strong> 20 Catfish.<br />
<strong>February</strong> 27 Matt Morgan.<br />
Seven44<br />
(Formerly Chick n’ Deli/The People’s Chicken)<br />
744 Mount Pleasant Rd. 416-489-7931<br />
seven44.com (full schedule)<br />
All shows: 7:30pm<br />
<strong>February</strong> 1 Advocats Big Band. <strong>February</strong><br />
15 George Lake Big Band. <strong>February</strong> 22 Mega<br />
City Swing Band.<br />
Stori Aperitivo<br />
95 King St. E. 416-361-0404<br />
stori.ca (full schedule)<br />
Toni Bulloni<br />
156 Cumberland St. 416-967-7676<br />
tonibulloni.com (full schedule)<br />
No cover. Saturday shows: 9pm. $30 food/<br />
drink minimum. Sunday shows: 6pm. $25<br />
food/drink minimum.<br />
Tranzac<br />
292 Brunswick Ave. 416-923-8137<br />
tranzac.org<br />
3-4 shows daily, various styles. Mostly PWYC.<br />
Every Mon 10pm Open Mic Mondays. Every<br />
Thurs 7:30pm Bluegrass Thursdays: Houndstooth.<br />
Every Fri 5pm The Foolish Things<br />
(folk). This month’s shows include: <strong>February</strong><br />
2 7:30pm Ali Berkok; 10pm Peripheral Vision.<br />
<strong>February</strong> 7, <strong>21</strong> 5pm Monk’s Music. <strong>February</strong><br />
9 7:30pm Aurochs; 10pm Bedroom. <strong>February</strong><br />
14 10pm The Lina Allemano Four. <strong>February</strong><br />
16 10pm The Ken McDonald Quartet.<br />
<strong>February</strong> 17 7:30pm Graeme Stephen Trio,<br />
with Dan Fortin & Chris Wallace. <strong>February</strong> <strong>21</strong><br />
7:30pm Diane Roblin. <strong>February</strong> 23 10pm Nick<br />
Fraser Presents. January 26 10pm The Ryan<br />
Driver Sextet.<br />
Sunday, <strong>February</strong> 7, 10:30 AM | Mardi Gras Mass<br />
Bob DeAngelis Dixieland Band<br />
Sunday, <strong>February</strong> 14, 4:00 PM | Valentine Vespers<br />
St. Philip’s Carol McCartney Anglican Church Quartet with Kieran Overs (bass),<br />
St. Chris Philip’s Robinson Anglican (saxophone) Church and Nancy Walker | Etobicoke (piano)<br />
25 ● Sunday, St. Phillips <strong>February</strong> Road 28, (near 4:00 PM Royal | Steel York Pan + Vespers Dixon)<br />
416-247-5181 Joy Lapps-Lewis • stphilips.net Quartet with Joy • free (steel will pan), offering<br />
Andrew Stewart (bass), Larnell Lewis (drums) and<br />
Jeremy Ledbetter (keyboard)<br />
Sunday, March 6, 4:00 PM | Jazz Vespers<br />
Barbra Lica Trio<br />
St. Philip’s Anglican Church | Etobicoke<br />
25 St. Phillips Road (near Royal York + Dixon)<br />
416-247-5181 • stphilips.net • free will offering<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 45
Galas and Fundraisers<br />
●●Feb 06 7:30: Queen’s University School of<br />
Drama and Music. A Night in Vienna. Join the<br />
Queen’s Orchestra and talented students, faculty<br />
and alumni from Queen’s Music as we<br />
take a musical journey to Vienna. Concertgoers<br />
will have the opportunity to waltz the<br />
night away, or sit back and watch the professional<br />
ballroom dancers float across the<br />
floor while listening to the wonderful music<br />
of Vienna. Produced by Bruce Kelly; directed<br />
by Gordon Craig. Grant Hall, Queen’s Campus,<br />
43 University Ave. Kingston. 613-533-2424;<br />
www.theisabel.ca $70 (floor with food); $490<br />
(table of eight); $30 (balcony seating).<br />
●●Feb 11 7:00: Music Gallery. Music Gallery<br />
Fundraiser: 1976. Performances by Brigitte<br />
Bardon’t and Prince Nifty, a silent auction,<br />
50/50s, new music trivia, and more. We’re<br />
going to party like it’s 1976, new music-style.<br />
197 John St. 416-204-1080. $20.<br />
●●Feb 13 6:30: Mississauga Big Band Jazz<br />
Ensemble. Valentine Dinner/Dance. 6:30:<br />
dinner; 8:00-10:00pm: dancing. Cooksville<br />
United Church, 2500 Mimosa Row. Mississauga.<br />
905-277-2338. $25 (advance tickets<br />
only – no tickets at door). Booking deadline:<br />
<strong>February</strong> 8.<br />
Competitions<br />
●●Feb 02 10:00am: Royal Conservatory of<br />
Music. Glenn Gould School Concerto Competition<br />
Finals. Hear talented solo performers<br />
compete for the opportunity to<br />
perform a concerto with the Royal Conservatory<br />
Orchestra during the <strong>2016</strong>-17 season.<br />
Koerner Hall, Telus Centre, 273 Bloor St. W.<br />
416-408-0208. Free (ticket required).<br />
●●Orchestra Toronto. Marta Hidy Concerto<br />
Competition <strong>2016</strong>. This year’s prize awarded<br />
to a percussionist. For Canadian virtuosos<br />
aged 23 and younger. Prize includes a scholarship<br />
of $1,000 and an opportunity to perform<br />
as a soloist with Orchestra Toronto at<br />
its December <strong>2016</strong> youth-oriented concert at<br />
the Toronto Centre for the Arts. For full history<br />
and registration form: www.orchestratoronto.ca<br />
Deadline for mailing the application<br />
form and registration fee: <strong>February</strong> 1 <strong>2016</strong>.<br />
E. The ETCeteras<br />
Festivals<br />
●●Feb 12 – 14 (Friday 7pm-1:30am; Saturday<br />
1pm-1:30am; Sunday 1pm-11pm): Winterfolk.<br />
Fourteenth Annual Blues and Roots Festival.<br />
The best of urban, blues, rock, jazz,<br />
country, folk and roots music, emulating a<br />
multi-stage rural summer festival. More than<br />
150 artists will be performing at four venues<br />
and five stages; included are special tribute<br />
events, an awards ceremony, community<br />
stages and various themed musical workshops.<br />
The Danforth: Black Swan Tavern,<br />
154 Danforth Ave., 416-469-0537; Dora Keogh<br />
Irish Pub, 141 Danforth Ave., 416-778-1804;<br />
Terri O’s, 185 Danforth Ave., 416-462-0038;<br />
Mambo Lounge, 120 Danforth Ave., 416-778-<br />
7004; www.winterfolk.com Paid and free<br />
concert stages.<br />
Lectures, Salons, Symposia<br />
●●Feb 01 - Mar 07 7:00-9:00. Royal Conservatory<br />
of Music. Joyful Noise: Exploring<br />
Sacred Masterworks. Delve into the history,<br />
composition and lasting legacy of five cornerstone<br />
masterworks: J.S. Bach’s B Minor<br />
Mass, the Requiems of Mozart and Dvořák,<br />
Lassus’ Lagrime di San Pietro, and Handel’s<br />
oratorio, Messiah. Instructor: John Holland.<br />
273 Bloor St. W. 416-408-2825. $250.<br />
●●Feb 02 12:10: University of Toronto Faculty<br />
of Music. Composers’ Forum. With Allan Gordon<br />
Bell. Walter Hall, Edward Johnson Bldg.,<br />
80 Queen’s Park. 416-978-3744. Free.<br />
●●Feb 04 - Mar 10 10am-12 noon. Royal Conservatory<br />
of Music. All About the Piano:<br />
Estampes (Postcards). Explore music involving<br />
the piano from Buenos Aires, New York<br />
City, Paris, Vienna, Prague, Riga, St. Petersburg,<br />
Tallinn and Helsinki. Instructor: Peteris<br />
Zarins. 273 Bloor St. W. 416-408-2825. $295.<br />
●●Feb 05 7:00: Soundstreams. Salon <strong>21</strong>:<br />
Accorditorium. An exploration of the accordion<br />
family of instruments, as well as performance<br />
demonstrations by Joseph<br />
Macerollo and Michael Bridge. Gardiner<br />
Museum, 111 Queen’s Park. 416-504-1282.<br />
Free, PWYC preferred seating available.<br />
●●Feb 09 1:30: Oakville Opera Guild. My Life<br />
with Opera – a Personal Journey. Don Gillies,<br />
musician and former minister of Bloor Street<br />
Jeanne Lamon | Chief Artistic Advisor<br />
Ivars Taurins | Director, Chamber Choir<br />
Baroque<br />
Summer<br />
Institute<br />
TBSI SPONSOR<br />
For advanced students<br />
and professional musicians<br />
June 5–18, <strong>2016</strong><br />
Faculty of Music, University of Toronto<br />
Application Deadline: March 11, <strong>2016</strong><br />
tafelmusik.org/tbsi<br />
United Church. Oakville Public Library Central<br />
Branch, 120 Navy St. Oakville. 905-827-<br />
5678; Oakville. Opera.Guild@outlook.com $10<br />
(Proceeds go towards our scholarship fund,<br />
to be awarded to a student attending the Faculty<br />
of Music at the U of Toronto, and support<br />
our annual donation to the Canadian Opera<br />
Company.)<br />
●●Feb 09 7:00: North York Central Library.<br />
Learning to Love in Wagner’s Siegfried. The<br />
comic scherzo in Wagner’s epic Ring cycle<br />
is also opera’s strangest coming of age<br />
story. What’s a boy to do when he knows little<br />
about his background – and nothing about<br />
the opposite sex? Join Opera Canada editor<br />
Wayne Gooding as he introduces the Canadian<br />
Opera Company’s production of Wagner’s<br />
Siegfried. Auditorium, 5120 Yonge St. To<br />
register: 416-395-5639. Free.<br />
●●Feb 09 7:00: University of Toronto Faculty<br />
of Music. Lecture by composer Lawrence<br />
Shragge, Louis Applebaum Distinguished Visitor<br />
in Film Composition. Shragge has written<br />
music for over 160 movies and television<br />
series as well as for theatre, dance, art installations<br />
and advertising. Walter Hall, Edward<br />
Johnson Bldg, 80 Queen’s Park. 416-978-<br />
3744. Free.<br />
●●Feb 10 – Apr 06 10am-12 noon: Royal Conservatory<br />
of Music. The Great Conductors.<br />
Explore the lives, careers, talents and musicmaking<br />
of eight great conductors through<br />
recordings, film footage of rehearsals and<br />
performances, and comparisons of the same<br />
works presented by different conductors.<br />
Instructor: Rick Phillips. 273 Bloor St. W. 416-<br />
408-2825. $395.<br />
●●Feb 20 9:00am-2:00: Royal School of<br />
Church Music. A Quiet Day for Church Musicians.<br />
An opportunity for those who work in<br />
the ministry to reflect and focus on our lenten<br />
mission, renewing us mentally and spiritually<br />
for the busy times ahead; includes a brief talk<br />
by Bishop Michael Bedford-Jones on the subject<br />
of making music in a church setting. St.<br />
John’s Convent, 233 Cummer Ave. 416-694-<br />
1260. Members free; non-members $15.<br />
●●Feb 23 7:00: North York Central Library.<br />
Crossover Dreams: Motown Records in the<br />
60s. In this fascinating and music-filled talk,<br />
Dr. Mike Daley, York University, reveals the<br />
secrets of the Motown formula, and explains<br />
Opera<br />
for All<br />
Sing and perform opera<br />
choruses in a community<br />
setting with Maestro<br />
Alvaro Lozano Gutiérrez.<br />
$50/7 wks starts Feb 24<br />
www.mnjcc.org<br />
416-924-6<strong>21</strong>1 x0<br />
why its classic hits still resonate today. Auditorium,<br />
5120 Yonge St. To register: 416-395-<br />
5639. Free.<br />
●●Feb 28 2:00: Toronto Opera Club. The<br />
Omnipresence of Eros in The Marriage of<br />
Figaro. Guest speaker: Leonard Rosmarin,<br />
author, lecturer and self-confessed opera<br />
addict. Room 330, Edward Johnson Bldg.,<br />
Faculty of Music, 80 Queen’s Park. 416-924-<br />
3940. $10.<br />
●●Feb 29 7:30: Toronto Masque Theatre. A<br />
Passage to India. A behind the scenes look at<br />
TMT’s latest commission, The man who married<br />
himself, exploring the dance, music and<br />
poetry of India that inspired composer Juliet<br />
Palmer, librettist Anna Chatterton and choreographer<br />
Hari Krishnan; features live performances,<br />
wine and refreshments. The<br />
Atrium, <strong>21</strong> Shaftesbury Ave. 416-410-4561;<br />
torontomasquetheatre.com $20 (regular);<br />
$15 (under 30 and TMT season subscribers).<br />
Master Classes<br />
●●Feb 02 11:30am: York University Department<br />
of Music. Vocal Master Class. Nathalie<br />
Paulin, soprano, works with young singers<br />
from the studios of Catherine Robbin,<br />
Stephanie Bogle, Norma Burrowes, Michael<br />
Donovan and Karen Rymal. Tribute Communities<br />
Recital Hall, Accolade East Building, YU,<br />
4700 Keele St. 416-736-5888. Free. Observers<br />
welcome.<br />
Screenings<br />
●●Feb 16 6:30: Istituto Italiano di Cultura.<br />
Screening of Verdi’s Otello (2001). Directed by<br />
Graham Vick; music director: Riccardo Muti;<br />
starring: Placido Domingo (Otello); Leo Nucci<br />
(Iago); Barbara Frittoli (Desdemona); orchestra<br />
and chorus of Teatro alla Scala. Alliance<br />
Française Theatre, 24 Spadina Rd. http://<br />
www.iictoronto.esteri.it/IIC_Toronto/Menu/<br />
Istituto/ Free.<br />
Tours<br />
●●Feb 07 10:30am: Canadian Opera Company.<br />
Tour the Four Seasons Centre.<br />
90-minute tour for the general public led<br />
by trained docents; backstage access. Four<br />
Seasons Centre for the Performing Arts,<br />
145 Queen St. W. 416-363-8231. $20; $15(sr/<br />
st). Also Feb <strong>21</strong>. Tickets will be available on<br />
the morning of the tour starting at 10:00am.<br />
Workshops<br />
●●Feb 05 & 06 10:00am-5:00: Musikay. Professional<br />
Conducting Workshop. Grace<br />
Lutheran Church, 304 Spruce St. Oakville. To<br />
reserve: 905-825-9740; musikay.ca<br />
$50 – $150.<br />
●●Feb 13 10:00am-12:30: Musikay. Vocal Technique<br />
Workshop. For choral singers of all<br />
levels and singers at large. Grace Lutheran<br />
Church, 1107 Main St. W. Hamilton. To<br />
reserve: 905-825-9740; musikay.ca $30.<br />
●●Feb 13 2:00-4:30: Musikay. Singing in Tune<br />
Workshop. For choral singers with prior singing<br />
experience who want to improve their<br />
intonation as an individual and in a group<br />
setting. Grace Lutheran Church, 1107 Main<br />
St. W. Hamilton. To reserve: 905-825-9740;<br />
musikay.ca $30.<br />
●●Feb 19 7:30: CAMMAC Recorder Players’<br />
Society. Amateur recorder players are<br />
invited to join in the playing of early music.<br />
Guest coach: Frank Nakashima. Mount Pleasant<br />
Road Baptist Church, 527 Mount Pleasant<br />
46 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Rd. 416-597-0485 or cammac.ca $20 (nonmembers).<br />
Refreshments included.<br />
●●Feb 19: Arraymusic. Deadline for Submissions<br />
to this season’s Young Composers’<br />
Workshop and Concert. All emerging composers<br />
wishing to submit a request to participate,<br />
please submit by this date. http://www.<br />
arraymusic.com/ycw.pdf<br />
●●Feb <strong>21</strong> 1:00: Arraymusic/Evergreen Club<br />
Contemporary Gamelan (ECCG). Workshop<br />
For All. Come one, come all and play<br />
with us! Whether new to music or a pro,<br />
you will immediately join in the music-making<br />
at this fun, hands-on Meet-Up that brings<br />
people together to play a treasure trove<br />
of percussion instruments (gongs, bowls,<br />
vibes, marimba, drums, djembe, congas,<br />
bells, chimes, shells and more). Array Space,<br />
155 Walnut Ave. 416-532-3019. $10.<br />
●●Feb <strong>21</strong> 2:00-4:30: CAMMAC Toronto<br />
Region. Reading of Mozart’s Requiem<br />
for singers and instrumentalists. Brad<br />
Ratzlaff, conductor. Christ Church Deer<br />
Park, 1570 Yonge St. 416-551-5183. $10;<br />
$6(members).<br />
●●Feb 24 – Apr 13 1:00-2:30; Feb 25 – Apr 14<br />
7:30-9:00pm: Miles Nadal JCC. Opera for<br />
All! Sing opera choruses with visiting Spanish<br />
maestro and baritone Alvaro Lozano.<br />
750 Spadina Ave. To register: 416-924-6<strong>21</strong>1<br />
x0. $75.<br />
●●Feb 26 & 27 10:00am-5:00: Musikay. Professional<br />
Conducting Workshop. For conductors<br />
with prior choral experience who want to<br />
improve their technical and rehearsal techniques.<br />
Grace Lutheran Church, 1107 Main<br />
St. W. Hamilton. To reserve: 905-825-9740;<br />
musikay.ca $200 (active participant); $75<br />
(observer).<br />
Singing<br />
for Justice<br />
a congregational<br />
song workshop<br />
with Dan<br />
Southern Ontario Chapter<br />
Damon<br />
Saturday,<br />
<strong>February</strong> 27<br />
sochs.org<br />
Emmanuel College<br />
OF VICTORIA UNIVERSITY IN<br />
THE UNIVERSITY OF TORONTO<br />
●●Feb 27 9:30am-3:30: Hymn Society, Southern<br />
Ontario Chapter. Singing for Justice in<br />
Congregational Song. Workshop led by jazz<br />
musician, composer and writer Dan Damon.<br />
Emmanuel College Chapel, Victoria University,<br />
75 Queen’s Park Cres. Register by Feb 22<br />
at 416-342-6034; www.sochs.org.<br />
PASQUALE BROTHERS<br />
●●Mar 05 10:30am-1:00: Toronto Mendelssohn<br />
Choir. Singsation Saturday: Choral<br />
Workshop with Guest Conductor Caron<br />
Daley. Join members of the Toronto Mendelssohn<br />
Choir, conductor Caron Daley and an<br />
enthusiastic community of singers to read<br />
through Karl Jenkins’ The Armed Man. Yorkminster<br />
Park Baptist Church, 1585 Yonge St.<br />
416-598-0422 x223; http://www.tmchoir.org/<br />
singsation-saturdays/ $10.<br />
BRAMWELL TOVEY<br />
Artistic Advisor<br />
Whistler Institute Orchestra<br />
& VSO Music Director<br />
Mike Crane Photography<br />
●●Mar 05 2:00-4:30: CAMMAC Toronto<br />
Region. Sight-Singing Workshop. Led by Art<br />
Levine. Northern District Library, 40 Orchard<br />
View Blvd. 416-386-0258. Please register<br />
before Feb 28. $30; $25(members).<br />
Your summer music<br />
experience of a lifetime!<br />
June 26–July 5, <strong>2016</strong><br />
Whistler, BC<br />
<strong>2016</strong> Whistler Institute Orchestra:<br />
Stravinsky’s The Rite of Spring<br />
PURVEYORS OF FINE FOOD<br />
CATERING<br />
(416) 364-7397 WWW.PASQUALEBROS.COM<br />
The Vancouver Symphony’s<br />
orchestral institute in<br />
beautiful Whistler resort!<br />
vsoinstitute.ca<br />
FOUNDED IN 1909<br />
RCCO, Canada’s oldest musicians’<br />
association, is a nationwide non-profit<br />
organization of professional and<br />
amateur organists, church musicians,<br />
choral conductors and others sharing an<br />
interest in the organ and its music. RCCO<br />
headquarters are located in midtown<br />
Toronto. Two salaried opportunities<br />
are currently available, to work with<br />
RCCO’s board of directors, staff and a<br />
membership base of 1,200 members.<br />
Executive Director (50-60 hrs/month)<br />
– has overall responsibility for operations<br />
management, leading and supervising others<br />
in accomplishing the vision of the RCCO.<br />
Administrative Assistant (20 hrs/wk)<br />
– provides administrative and clerical services,<br />
supporting efficient day-to-day operations.<br />
Both positions require<br />
• experience with non-profit and/or<br />
business management;<br />
• current technology skills;<br />
• strong communication, organization and<br />
executive abilities;<br />
• sound judgment, independent work<br />
habits and an eye for detail.<br />
A background in or appreciation for the<br />
organ and/or organ music is desirable.<br />
APPLICATIONS TO:<br />
Search Committee,<br />
Royal Canadian College<br />
of Organists,<br />
204 St. George Street,<br />
Suite 202,<br />
Toronto, ON M5R 2N5<br />
or by email to<br />
info@rcco.ca<br />
DEADLINE:<br />
Midnight, March 31, <strong>2016</strong>.<br />
Full job descriptions<br />
available at<br />
www.rcco.ca<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 47
WholeNote CLASSIFIEDS can help you<br />
recruit new members for your choir or<br />
band / orchestra or find a new music<br />
director! Advertise your help wanted needs<br />
or promote your services starting at only<br />
$24/issue. Inquire now for the March issue.<br />
classad@thewholenote.com<br />
AUDITIONS & OPPORTUNITIES<br />
Available pro bono positions with the<br />
KINDRED SPIRITS ORCHESTRA: 1st Horn;<br />
2nd Trumpet; 1st, 2nd and 3rd Trombones;<br />
Principal Pianist; sectional Violins, Violas,<br />
Cellos and Contrabasses. The KSO is<br />
an auditioned-based civic orchestra in<br />
residence at Flato Markham Theatre.<br />
Weekly rehearsals are held on Tuesday<br />
evening at Cornell Recital Hall. For more<br />
information visit<br />
ksorchestra.ca/about/auditions.html or<br />
e-mail Jobert Sevilleno at<br />
GM@KSOrchestra.ca<br />
Bel Canto Singers is a 50 voice SATB<br />
choir, under the direction of Linda Meyer.<br />
Repertoire includes classical, music theatre,<br />
folk, jazz and pop tunes. Rehearsals are<br />
Tuesdays at St. Nicholas Anglican Church<br />
in Scarborough. We are currently looking<br />
to strengthen our tenor and bass sections.<br />
If you have ever wanted to participate in a<br />
group that values music, fun and fellowship<br />
please consider joining us. Auditions will<br />
take place in the first two weeks of January<br />
<strong>2016</strong>, during our regular Tuesday night<br />
practice. Website:<br />
www.belcantosingers.ca.<br />
Contact Elaine at 416-699-4585.<br />
The Celtic Fiddle Orchestra of Southern<br />
Ontario is looking for additional musicians:<br />
violin, viola, cello, bass and flute. We practice<br />
twice a month on Sunday afternoons from<br />
1:30 to 4:00 at the QEPCCC in Oakville. Please<br />
contact Jill Yokoyama at 905-635-8079 or<br />
email cfoso.exec@gmail.com<br />
Introducing<br />
BUSINESS<br />
CLASSIFIEDS!<br />
Ideal for ongoing promotion<br />
of your services and products<br />
to the WholeNote’s musically<br />
engaged readership, in print and on-line.<br />
Book by Feb. 19, <strong>2016</strong> for our March edition!<br />
classad@thewholenote.com<br />
RESTORE & PRESERVE<br />
YOUR MEMORIES<br />
Recital and gig tapes | 78’s<br />
& LPs | VHS and Hi8 | 35mm<br />
Slides |News clippings | Photos<br />
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digital files: CD’s, DVD’s,<br />
or Video slideshow<br />
ArtsMediaProjects<br />
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Classified Advertising | classad@thewholenote.com<br />
COUNTERPOINT COMMUNITY ORCHESTRA<br />
(www.ccorchestra.org) welcomes volunteer<br />
musicians for Monday evening rehearsals<br />
at the 519 Church Street Community Centre<br />
in downtown Toronto. No audition. We’re<br />
especially looking for harp, trombone and<br />
strings players. Email info@ccorchestra.org.<br />
DO YOU LOVE TO SING? Are you looking for<br />
a choir that performs every type of sacred<br />
music, from Byrd to Britten, Howells to<br />
Hogan? The Anglican Church of St. John the<br />
Baptist seeks all voice types to enhance their<br />
Mass Choir. Services take place on Sundays<br />
at 10:30 AM in the Beaches, one of Toronto’s<br />
most active and artistic neighbourhoods.<br />
For more information, contact music@<br />
stjohnsnorway.com or (647) 302-2074<br />
NORTH YORK CONCERT ORCHESTRA is<br />
interested in welcoming new players. We<br />
are a community orchestra which rehearses<br />
throughout the year on Weds. nights, York<br />
Mills Collegiate in Don Mills. There are four<br />
subscription concerts and several outreach<br />
opportunities. Especially interested in<br />
hearing from first violinists and string bass<br />
players. Please contact personnel@nyco.<br />
on.ca for further information<br />
INSTRUCTION & COURSES<br />
FLUTE LESSONS. Classical flute lessons for<br />
all ages and levels. Located near Davenport-<br />
Lansdowne. Contact Meghan at 647-226-<br />
5488, meghan@meghancornett.com www.<br />
meghancornett.com<br />
FLUTE, PIANO, THEORY LESSONS. RCM<br />
exam preparation. RCM certified advanced<br />
specialist. Samantha Chang, FTCL,<br />
FLCM, Royal Academy of Music PGDip,<br />
LRAM, ARCT. Toronto, Scarborough 416-293-<br />
1302, samantha.studio@gmail. com<br />
www.samanthaflute.com<br />
PIANO LESSONS WITH CONCERT PIANIST<br />
EVE EGOYAN eveegoyan.com All ages,<br />
all levels welcome, at Earwitness Studio,<br />
Artscape Youngplace (downtown Toronto).<br />
Eve’s own exposure to exceptional teachers<br />
during her developmental years makes<br />
her a communicative, intuitive and creative<br />
teacher with over 25 years teaching<br />
experience (private lessons, masterclasses,<br />
adjudication) Each student is an individual.<br />
Email Eve to set up a free introductory<br />
meeting at<br />
eve.egoyan@bell.net<br />
Ace your Auditions<br />
Mental Skills for<br />
Performing Artists<br />
Lisa Chisholm<br />
www.masterperforming.ca<br />
PRIVATE VIOLIN LESSONS: All ages<br />
welcome! Beginner to professional. Lessons<br />
in English and French, music studio in the<br />
Annex. info@andreatyniec.ca<br />
PRIVATE VOICE/PIANO/THEORY/<br />
EAR-TRAINING LESSONS/GROUP<br />
MASTERCLASSES: Voices of Colour Music.<br />
Classical to contemporary styles. Preparation<br />
for RCM exams, festivals, auditions.<br />
info@voicesofcolourmusic.com,<br />
www.voicesofcolourmusic.com<br />
PRIVATE VOICE/PIANO/THEORY<br />
LESSONS: Experienced, BFA Certified<br />
Teacher located at Christ Church Deer<br />
Park (Yonge & St. Clair). Prepares you or<br />
your child for RCM exams, competitions &<br />
auditions. Contact Jessika:<br />
jwithakmusic@gmail.com (647) <strong>21</strong>4-2827.<br />
WARMHEARTED PIANO TEACHER with<br />
sterling credentials, unfailing good humor,<br />
and buckets of patience. Royal Conservatory<br />
washouts and nervous learners especially<br />
welcome. Lovely Cabbagetown studio. “Best<br />
teacher ever!” - Beaches tween. “Beats<br />
studying with those Quebec nuns!” - Rosedale<br />
senior. Peter Kristian Mose, 416.923.3060.<br />
www.MoseMusicalArts.com. My students<br />
have never won any prizes, except for love of<br />
music. (And loyalty.)<br />
FOR SALE / WANTED<br />
ACCORDION GATHERING DUST? Are your<br />
band days just a hazy memory? Someone out<br />
there would love to give your nice old guitar,<br />
flute, tuba (etc) a new life. Advertise your<br />
unused instruments or find one for sale with<br />
a WholeNote classified ad! Contact<br />
classad@thewholenote.com.<br />
CLASSICAL RECORD AND CD COLLECTIONS<br />
WANTED. Minimum 350 units. Call, text or<br />
e-mail Aaron 416-471-8169 or A@A31.CA.<br />
FRENCH HORN suitable for advanced student<br />
or working musician. One owner since 1978,<br />
excellent condition. mjbuell@gmail.com<br />
SAXOPHONE Bundy Selmer alto student<br />
model; BASSOON Linton student<br />
model; EUPHONIUM Besson four valve<br />
compensating with laquer finish. Phone<br />
416-964-3642.<br />
STOLEN FROM CAR – Lorée OBOE<br />
& ENGLISH HORN: $700 reward for<br />
information leading to return. Serial #’s:<br />
oboe TA 78, English horn HV 25. Please call<br />
Karen 416-656-4312 or 416-323-2232 x.26<br />
NEED HELP WITH<br />
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For CRA stress relief call:<br />
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hts@horizontax.ca<br />
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MUSICIANS AVAILABLE<br />
SWEETHEART PARTY BAND? If you provide<br />
live music for wedding & wakes, roasts &<br />
retirements, and all kinds of occasions, you<br />
can advertise your ensemble right here for as<br />
little as $24 plus tax!! Contact<br />
classad@thewholenote.com by <strong>February</strong><br />
20th March edition!<br />
SERVICES<br />
ACCOUNTING AND INCOME TAX SERVICE<br />
for small business and individuals, to save<br />
you time and money, customized to meet<br />
your needs. Norm Pulker, B. Math. CMA.<br />
905-251-0309 or 905-830-2985<br />
CD LINER NOTES, PROMO MATERIAL,<br />
CONCERT PROGRAMS, LIBRETTI, WEB SITE<br />
CONTENT AND MEMOIRS need proofreading<br />
and editing for correct spelling and grammar,<br />
clarity and consistency. Contact Vanessa<br />
Wells, wellsread@editors.ca, for a copy editor<br />
with a music background. Quick turnaround<br />
and reasonable rates! wellsreadediting.ca<br />
VENUES AVAILABLE / WANTED<br />
ARE YOU PLANNING A CONCERT OR<br />
RECITAL? Looking for a venue? Consider<br />
Bloor Street United Church. Phone: 416-924-<br />
7439 x22. Email: tina@bloorstreetunited.org.<br />
PERFORMANCE / REHEARSAL / STUDIO /<br />
OFFICE SPACE AVAILABLE: great acoustics,<br />
reasonable rates, close to Green P Parking,<br />
cafés & restaurants. Historic church at<br />
College & Bellevue, near Spadina. Phone<br />
416-9<strong>21</strong>-6350. E-mail<br />
ststepheninthefields@gmail.com.<br />
Book your classified ad today!<br />
The deadline for the March issue is <strong>February</strong><br />
20, 6pm. Send inquiries to<br />
classad@thewholenote.com<br />
DO YOU DRIVE?<br />
Do you love<br />
The WholeNote?<br />
Share the love and earn a little<br />
money! Join The WholeNote’s<br />
circulation team: 9 times a year,<br />
GTA and well beyond. Interested?<br />
Contact:<br />
circulation@thewholenote.com<br />
salukimusic@gmail.com<br />
www.salukimusic.com<br />
48 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
BO HUANG<br />
Teng Li lives in<br />
Toronto’s King West<br />
neighbourhood<br />
with her loving husband,<br />
percussionist John Wong.<br />
She loves tasting amazing<br />
food, eating all sorts of<br />
dessert and drinking good<br />
wine and beer. Having<br />
learned to knit from<br />
YouTube videos a few years<br />
ago, she knits baby booties,<br />
scarves and hats. Her next<br />
projects are sweaters for<br />
her hubby and a friend.<br />
She’s been working on<br />
those for a couple of years;<br />
one of these days they will<br />
be finished!<br />
When you look at your<br />
childhood photo today?<br />
I don’t remember taking this<br />
photo but it must have been in<br />
the summer – my parents’ old<br />
apartment in our hometown,<br />
Nanjing, China. Nanjing is known as one of<br />
China’s four “hotpots” because of its unbearable<br />
heat and humidity in the summer. My family<br />
didn’t own an air conditioner and I remember<br />
practising with streams of sweat going down my<br />
back and forehead. The fingerboard was often so<br />
wet, after a day of practising, my left fingers felt<br />
as though they had been soaked in water for a<br />
long time.<br />
If you could travel back through time and<br />
meet the young person in that childhood photo?<br />
I would tell young Teng, “All the hard work you<br />
are doing now will pay off later. The time you<br />
spend on music makes you have better connection<br />
with it. Don’t be too stressed, everything is<br />
going to work out.”<br />
Other musicians in your childhood family?<br />
My mother is a well-respected, retired schoolteacher,<br />
and my father is a tai chi master – among<br />
his many other abilities. He was a Beijing Opera<br />
singer – so talented that he had a job with the<br />
provincial company at 18 and performed many<br />
WE ARE ALL MUSIC’S CHILDREN<br />
<strong>February</strong>’s Child<br />
Teng Li<br />
Teng Li plays a 1703 Amati viola<br />
on generous loan from Dr. William<br />
Waters through the Toronto<br />
Symphony Orchestra.<br />
MJ BUELL<br />
major roles for foreign<br />
leaders. Unfortunately,<br />
he was forced out of the<br />
company because of the<br />
Cultural Revolution. He was<br />
sent to a coal mine away<br />
from home to work but<br />
continued to be interested<br />
in the arts. He performed at<br />
the mine as a performance<br />
host, singer and bamboo<br />
flute player, and at one of<br />
these performances he met<br />
my mother. He was the<br />
host, and she, a schoolteacher<br />
reading a poem<br />
that she had written for<br />
the event. How romantic<br />
is that! My parents still live<br />
in Nanjing, China. When I<br />
performed in Beijing and<br />
Shanghai last December<br />
they came to see me<br />
perform. They have visited<br />
Toronto a couple of times<br />
and came to many concerts<br />
while they were here.<br />
NEW CONTEST<br />
Who is March’s child?<br />
Circa 1981, at home in Tempe, Arizona, this<br />
early backline player already looks like he<br />
needs a longer instrument!<br />
• Consorting in Canada since 2004<br />
with as many as 16-20<br />
strings attached.<br />
• Sticks his neck out all over the<br />
musical map.<br />
Know our Mystery Child’s<br />
name? WIN PRIZES!<br />
Send your best guess by<br />
midnight on <strong>February</strong> 20.<br />
musicschildren@thewholenote.com<br />
Earliest memories of hearing music? My father used to play bamboo flute at home; I’m<br />
sure he played for me a lot when I was an infant. To this day, I still like the sound of the<br />
bamboo flute a lot – I even brought one of his flutes to Toronto. I remember my father and<br />
his brothers would get out instruments to play and sing together at the big Chinese New<br />
Year family gathering.<br />
First recollections of making and hearing music? Maybe because all of our parents<br />
went through the Cultural Revolution, and western music and traditional music were<br />
banned during that time, parents put their musical desire in their children, and hoped<br />
their musical dreams would be continued. On my floor of the apartment building, every<br />
kid my age played a musical instrument. Classical recordings were not easy to find. Going<br />
to a concert was the only way to learn what good playing was. I remember watching violin<br />
recitals, concerts and prizewinner concerts at a very young age. My parents took me to see<br />
other kids perform and I remember thinking: I wish I could play like that. On some of my<br />
Shanghai trips, after lessons, my father would take me to the Shanghai Conservatory to<br />
hear a student recital.<br />
Do you remember when you began to think of yourself as a career musician? I knew<br />
from a very young age that I was going to be a musician. My parents saw my talent very<br />
early on – on my second birthday I received a violin as a present. I started taking violin<br />
lessons at age five when I was big enough to hold that instrument ….<br />
Please visit thewholenote.com to read the rest of this remarkable interview.<br />
CONGRATULATIONS TO OUR WINNERS!<br />
Trio Arkel presents String Tapestry on <strong>February</strong> 19 (Trinity-St.Paul’s Centre, Jeanne Lamon Hall). They are joined by Scott St. John,<br />
violin, and Sharon Wei, viola for music by Gubaidulina, Kodály and Beethoven. TICKETS! Abby Sears<br />
The Toronto Symphony Orchestra’s March 2 concert (Roy Thomson Hall) features some of their own magnificent players as<br />
soloists: Sarah Jeffrey, oboe; Michael Sweeney, bassoon; Steven Woomert, trumpet; James Gardiner, trumpet; Jonathan Crow, violin;<br />
Joseph Johnson, cello; and Teng Li, viola. Tom Allen hosts and Peter Oundjian conducts. Teng Li will play Paganini’s Sonata per la<br />
Gran Viola. TICKETS! Jialiang Zhu<br />
Amici Chamber Ensemble is joined by Teng Li, viola, and Cho-Liang Lin, violin, on April 24 (Mazzoleni Concert<br />
Hall, RCM) for “Illumination”: chamber music inspired by moonlight and stars by a world of composers. TICKETS!<br />
George Fung<br />
1939 is Teng Li’s debut CD. “This is a memorable disc. The recorded sound is clear and authentic, and Li’s own booklet notes, in<br />
English, French and Chinese, are persuasive in presenting these works as direct responses to their fraught times.” Pamela Margles,<br />
DISCoveries, September 2015.(Azica ACD-71301). A copy goes to Nancy Simpson<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 49
DISCOVERIES | RECORDINGS REVIEWED<br />
DAVID OLDS<br />
The column this month has been, even more than usual, a<br />
personal journey for me. A week ago when I should have begun,<br />
I found myself wondering what there was to write about. I had<br />
assigned the discs that were of most interest to me to other writers<br />
for a full treatment rather than glossing over them here. Of particular<br />
note were the Dutilleux recordings, and I must say that Elliot Wright’s<br />
appreciation of them later in these pages confirms that to have been<br />
the right decision. But it left me nearly empty-handed and I warned<br />
publisher David Perlman at The WholeNote’s early January gathering<br />
that there might not be an Editor’s Corner this month. So much<br />
has happened since then that it is hard to imagine that just one week<br />
has passed.<br />
The first event was a kitchen party at my friends Michael and Mary’s<br />
house, an annual affair to welcome in the New Year with a wealth<br />
of pickin’ and grinnin’. In addition to the usual plethora of guitars<br />
in various tunings, fiddles, mandolins and octave mandolins, there<br />
were hand drums, harmonicas, a keyboard, an accordion and more<br />
than a dozen voices lifted joyously in song. It was a magical evening,<br />
as so often these gatherings can be. I took particular delight in the<br />
opportunity to play with the accordionist, who was adding myriad<br />
colours and rhythms to the mix. As I was leaving – earlier than was<br />
my wont due to the tail end, or so I thought, of a lingering chest cold<br />
– I mentioned my pleasure to Mary who told me to hang on and went<br />
to grab me a copy of the accordionist’s new CD, “hot off the press.” It<br />
seems she was the graphic designer of the package (altdesign.ca) and<br />
had a box of discs on hand, and so I left the party knowing my journey<br />
had begun.<br />
Leighton Life is a wonderfully eclectic<br />
recording that showcases the writing skills<br />
and musical dexterity (piano, synths, accordion,<br />
organ, jaw harp, whistle, trombone,<br />
percussion, bouzouki and bodhrán) of Tom<br />
Leighton (tomleighton.ca). Not content to<br />
rest on his own laurels (and the mixing skills<br />
of producer Paul Mills), Leighton surrounds<br />
himself with a marvellous array of musical friends too plentiful to<br />
name, to create horn sections, string arrangements, cello solos and<br />
string band accompaniments as required. The opening track All<br />
Thumbs is a playful Penguin Café Orchestra-style minimalist moto<br />
perpetuo with the ostinato provided by the ticking of a mechanical<br />
clock and a triangle (at least that’s my guess). A Summer Jig features<br />
the accordion in the lead role of a warm, lush instrumentation. A<br />
Letter Found is a haunting ballad with violin and cello in unison and<br />
harmony on the memorable melody over piano and accordion accompaniment.<br />
Hank Dances is a rhythmically propulsive swing tune<br />
with horns, extrapolated from music Leighton wrote for a production<br />
of Hank Williams, The Show He Never Gave by Maynard Collins.<br />
The 12 tracks included here – all instrumental – run the gamut from<br />
old timey, to R&B, Scottish traditional to The Hurdy-Gurdy which<br />
Leighton says was “written for the hurdy-gurdy … by a non-player.<br />
Alas, it doesn’t play well on a hurdy-gurdy but conjures my image of<br />
the player.” Quite convincingly I might add. The album comes with a<br />
“Warning! Listening to instrumental music activates emotional, motor<br />
and creative areas of the brain!” It also includes the notice that all<br />
compositions are available as sheet music from the composer, so as<br />
spontaneous as much of the music feels, it is obviously conceived in<br />
its entirety by this wonderful musician. I look forward to having the<br />
opportunity to play with him again.<br />
The next steps on the journey began just a block from Michael and<br />
Mary’s house, at the Dufferin bus stop at Davenport. A few minutes<br />
after I arrived at the stop another man carrying a guitar case came<br />
to wait alongside me. I asked if he was going out to play, or like me,<br />
coming home from doing so. He said he was<br />
coming from a friend’s house where they had<br />
been playing bluegrass music all evening. Long<br />
time readers of this column will know that I<br />
am enamoured of the “new grass” band Joy<br />
Kills Sorrow that was active from 2005 to 2014.<br />
I asked this guitarist if he was familiar with<br />
the band and he said no, but that he knew<br />
“the song.” Not knowing the song myself, I<br />
said “Oh?” “Yes,” he said, “it’s a great song by Béla Fleck.” And so my<br />
next quest began. It turns out that When Joy Kills Sorrow appeared on<br />
the 1999 CD The Bluegrass Sessions: Tales From The Acoustic Planet,<br />
<strong>Volume</strong> 2 (Warner Bros. 9 47332-2), where Fleck’s cronies from the<br />
1987 album Drive reunite and are joined by legends Earl Scruggs,<br />
Vassar Clements and John Hartford and contemporary stars Vince<br />
Gill, Tim O’Brien and Ricky Skaggs, for a number of Fleck originals<br />
and several traditional and classic tunes. Since this CD is old news and<br />
only new to me I won’t dwell on it other than to say it’s been in heavy<br />
rotation on my player since it arrived last Wednesday from Amazon<br />
(HMV couldn’t locate the one copy their superstore’s computer said<br />
they had). Highlights of the disc are the above-mentioned Joy Kills<br />
Sorrow, an old Flatt & Scruggs tune Polka on the Banjo and a twobanjo<br />
arrangement of the Clarinet Polka by Fleck and Hartford.<br />
Having grown up with the George Barnes solo guitar take on the latter<br />
as the theme to the Max Ferguson Show and now hearing this banjo<br />
version, I found myself wondering why I hadn’t ever heard it played<br />
on the clarinet. Hats off to YouTube, I didn’t have to look far ….<br />
One disc that crossed my desk this month, an arrangement of<br />
Brian Eno’s Discreet Music performed by Toronto’s Contact ensemble,<br />
turned out to be a timely release, but not for the reasons one would<br />
hope. The news of David Bowie’s death last week brought many<br />
memories and realizations. Bowie’s chameleon-like career affected<br />
audiences and artists across the spectrum, me among them. I was not<br />
much aware of the glam rock era, but became drawn to Bowie at the<br />
time he started collaborating with Eno. Already a fan of Eno’s ambient<br />
approach to composition and sound, I was curious to see how he<br />
would interact with the “space oddity” that was Bowie.<br />
In Francis Whatley’s 2013 film David Bowie: Five Years, Eno says<br />
that Bowie was drawn to his “longest, slowest,<br />
quietest” work, Discreet Music, and that their<br />
projects grew out of this interest. This was<br />
at a time when Bowie was tired of the rockstar<br />
lifestyle that had brought him perilously<br />
close to death by overdose and misadventure<br />
in L.A. His subsequent move to Paris and<br />
then Berlin, where he undertook a Spartan<br />
low-profile existence, ultimately resulted in<br />
a trilogy of Bowie-Eno albums beginning with the 1977 Low (RCA LP<br />
CPL1-2030). In 1991 Rykodisc would reissue Low on compact disc<br />
(RCD 10142) with bonus tracks. Not being in the habit of replacing<br />
my vinyl collection with CDs, I was unaware of the extra material<br />
until I revisited the Low Symphony by Philip<br />
Glass (POINT Music 438 150-2), which was<br />
inspired by two tracks by Bowie and Eno and<br />
one by Bowie alone. I was confused when I<br />
was unable to find Some Are, one of the duo<br />
compositions, on my LP and eventually ended<br />
up downloading the missing title from iTunes<br />
last week …. Three music platforms later I now<br />
have the full picture!<br />
But that picture was further enhanced by These Dreams of You<br />
(Europa Editions ISBN 978-1-60945-063-2), a 2012 novel by Steve<br />
50 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Erickson, which I found myself reading for the<br />
third time over the past few days (which may<br />
have set a record for frequency of rereading<br />
for me). Erickson, whose eight previous novels<br />
number among my favourites – a shout out<br />
to Jowi Taylor for turning me on to Arc d’X<br />
all those years ago! – frequently incorporates<br />
pop culture, particularly music and film, into<br />
his novels. Although These Dreams of You is<br />
nominally speculative and surreal, as are most<br />
of his books, the narrative strands are fairly<br />
linear, albeit many layered. The protagonists<br />
are a family of four in contemporary L.A.<br />
in danger of losing their house as a result of the economic crisis and<br />
the nefarious machinations of the banks. The father, Zan, has recently<br />
been let go from his position as professor of literature at the local<br />
university and is the sole DJ on a low-wattage radio station broadcasting<br />
without a license from a local Mexican restaurant in the Valley.<br />
His wife, Viv, is a freelance photographer whose work is drying up<br />
and whose one claim to fame, stained glass butterfly art, has been<br />
co-opted by an infamous commercial artist. Their children are Parker,<br />
a 12-year-old whose namesake is Charlie Parker but whose musical<br />
interests favour gangsta rap, and Sheba, a precocious four-year-old<br />
orphan adopted from Ethiopia, who is seeming wired internally to a<br />
certain unnamed “red-headed British alien who wears dresses.” The<br />
not-so-veiled references to David Bowie continue as he permeates the<br />
story, in particular with tales of his time in Berlin with roommates The<br />
Professor (Eno?) and Jim (Iggy Pop?), which lead to the album Low.<br />
Erickson cleverly weaves his tales – another one including presidential<br />
hopeful Bobby Kennedy in the months leading up to his assassination,<br />
and a third, an aspiring 1970s author, who after being beaten and left<br />
for dead by German skinheads, wakes to find himself in 1919 Berlin<br />
with a paperback copy of a novel that will shape the literature of the<br />
coming century but won’t be published until 1922 – through three<br />
eras and three continents. The convolutions are eventually resolved,<br />
and although there are no particularly happy endings, it does make<br />
for a very compelling read. Part of the fun is identifying the myriad<br />
historical characters that are never actually named. A great read<br />
indeed, and a great tribute to David Bowie.<br />
But back to Contact’s rendition of Discreet<br />
Music (Cantaloupe Music CA<strong>21</strong>114 cantaloupemusic.com).<br />
Eno’s original LP side<br />
was an electronic intertwining of some very<br />
simple melodic material according to some<br />
basic programming in Eno’s synthesizers.<br />
Four decades later Toronto percussionist and<br />
founding member of Contact Contemporary<br />
Music, Jerry Pergolesi, set out to make a live<br />
performance version of the iconic work. In the booklet notes he says:<br />
“In keeping with the spirit of the original, my ‘arrangement’ consists<br />
of seven mutually compatible melodies (the result of Eno’s original<br />
two melodies being occasionally altered) and instructions that render<br />
the band itself into the looping apparatus that Eno describes as the<br />
‘score’ for the original. The ‘arrangement’ sets parameters for the<br />
musicians to follow, while giving them some leeway to make decisions<br />
with regard to what they play and when. Once the performance<br />
starts, however, the resulting sound is out of anyone’s hands.” The<br />
members of Contact – Mary-Katherine Finch, cello; Sarah Fraser Raff,<br />
violin; Wallace Halladay, soprano sax; Rob MacDonald, guitar; Peter<br />
Pavlovsky, bass; Jerry Pergolesi, vibraphone; Allison Wiebe Benstead,<br />
piano; complemented here by Emma Zoe Elkinson, flute and Dean<br />
Kurtis-Pomeroy, gongs – perform with real conviction – tone and<br />
intonation are warm and consistent – and they manage to hold our<br />
attention throughout the hour-long take in which “nothing happens.”<br />
I can’t imagine what it is like to take part in such a static performance,<br />
but congratulations are due to all concerned for realizing a viable live<br />
presentation of an electronic classic.<br />
It has been a month of losses in the musical arts. Canadian-born<br />
jazz icon, Paul Bley, and French father of avant-garde concert music,<br />
Pierre Boulez, are honoured elsewhere<br />
in these pages, although their passing<br />
garnered little attention in Toronto’s mainstream<br />
media. In contrast, much has been<br />
said about the death of David Bowie across<br />
all media and all platforms – including 24<br />
continuous hours of programming on Much<br />
Music as I write this column – so I will not<br />
say much more here. He was a unique artist<br />
who constantly reinvented himself and touched more lives than most.<br />
His final offering Blackstar (ISO Records 88875173862) was released<br />
on his 69th birthday, two days before his death, and once again we<br />
are presented with a new man, seemingly from beyond the grave.<br />
Indeed one of the songs and videos is called Lazarus. I was lucky<br />
enough to purchase a copy of Blackstar before they all disappeared<br />
from the shelves (and online catalogues) but it will take me some time<br />
before I’m able to assimilate it. It’s a journey I am convinced is worth<br />
undertaking.<br />
We welcome your feedback and invite submissions. CDs and<br />
comments should be sent to: DISCoveries, WholeNote Media Inc., The<br />
Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S<br />
2R4. We also encourage you to visit our website<br />
thewholenote.com where you can find added features including direct<br />
links to performers, composers and record labels, “buy buttons” for<br />
on-line shopping and additional, expanded and archival reviews.<br />
David Olds, DISCoveries Editor<br />
discoveries@thewholenote.com<br />
You can find enhanced reviews of all discs below the yellow line in The WholeNote listening room.<br />
Pianist Réa Beaumont’s CD ‘A<br />
Conversation Piece’<br />
“Beaumont’s touch is well-suited to<br />
the delicate textures and the intricate<br />
passages”<br />
Beaumont’s “compositional prowess”<br />
www.reabeaumont.com<br />
See Daniela at Jazz Bistro Feb <strong>21</strong>st,<br />
Mar 20th & Apr 17th.<br />
Beethoven's piano sonatas form<br />
an unparalleled canon. These 3<br />
represent his Early, Middle and Late<br />
periods and are united in the key of<br />
C-minor.<br />
Vivaldi's legacy is steadily achieving<br />
greater and richly deserved<br />
recognition today with the help of<br />
collections such as this one abetted<br />
by the Aradia Ensemble.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 51
TERRY ROBBINS<br />
Goodness only knows how many attempts at string quartets<br />
Johannes Brahms destroyed before he finally felt able to present<br />
a completed work to the world in 1873 – there may have been as<br />
many as 20 – but at least the three quartets we do have are real gems.<br />
The two quartets Op.51, in C Minor and<br />
A Minor, were followed by the B-flat Major<br />
Op.67 in 1876, but with each of the three<br />
works being about 35 minutes in length it’s<br />
simply not possible to include more than two<br />
on a single CD. Still, as the song says, two<br />
out of three ain’t bad, especially when the<br />
performances are as beautiful as those on<br />
Brahms String Quartets Op.51, Nos.1&2 by the<br />
New Orford String Quartet (Bridge 9464).<br />
Just about all of the Brahmsian qualities you would want to hear are<br />
present: these are warm, passionate, nuanced, beautifully judged and<br />
balanced performances, full of that almost autumnal, nostalgic introspection<br />
so typical of the composer and with a lovely dynamic range.<br />
Jonathan Crow and Andrew Wan play first and second violin respectively<br />
in the Op.51 No.1, changing places for the second quartet.<br />
The warm and resonant recording quality should come as no<br />
surprise, given that the location was the Multimedia Room at McGill<br />
University’s Schulich School of Music in Montreal.<br />
The outstanding Armenian brother and<br />
sister duo Sergey and Lusine Khachatryan<br />
are back with another superb violin and<br />
piano recital on My Armenia (naïve V5414),<br />
dedicated to the 100th Commemoration of<br />
the Armenian Genocide.<br />
The program of works by Komitas<br />
Vardapet, Eduard Bagdasaryan, Edvard<br />
Mirzoyan, Aram Khachaturian and Arno<br />
Babadjanian gives both performers ample opportunity to shine.<br />
Lusine Khachatryan is excellent in the piano solos that account for<br />
almost half of the very generous running time of the CD – close to<br />
80 minutes – but the disc really takes off in the duos, with Sergey’s<br />
impassioned, brilliant playing taking the music to new heights and<br />
emotional depths.<br />
There’s a lovely recorded sound and balance right from the opening<br />
two short-but-lovely duo pieces by Vardapet before Lusine features<br />
in his Seven Folk Dances for Piano Solo. The three duo pieces at<br />
the centre of the CD – Bagdasaryan’s Rhapsody and Nocturne and<br />
Mirzoyan’s Introduction & Perpetuum mobile – are also the heart of<br />
the recital. The Rhapsody is a truly rhapsodic and beautiful piece,<br />
and the short Nocturne an absolute gem. The Mirzoyan work is a real<br />
showstopper, with a simply dazzling second half.<br />
Khachaturian, probably the best-known of the composers on the<br />
disc, is represented by three short pieces, including the familiar Sabre<br />
Dance in a typically showy transcription by Jascha Heifetz.<br />
The CD ends with Babadjanian’s Six Pictures for Solo Piano, a challenging<br />
work both technically and harmonically, with a brilliant<br />
Toccatina movement straight out of the same drawer as Prokofiev’s<br />
Seventh Piano Sonata. It’s another dazzler.<br />
All in all, it’s wonderful playing and musicianship from a wonderfully<br />
gifted duo. This is music that is clearly deeply ingrained in their<br />
hearts and souls as well as in their fingers.<br />
Regular readers will know how I feel about reviewing complete<br />
sets of the Bach unaccompanied solo works, be it the Sonatas &<br />
Partitas for violin or the Cello Suites: the sheer size, scope, depth and<br />
complexity of the music, together with the wide range of versions<br />
available, makes any in-depth review almost impossible. All you can<br />
really do is note the arrival and try to give some idea of the stylistic<br />
approach and overall effect.<br />
The latest addition to the already lengthy<br />
list of available versions of the Bach Sonatas<br />
& Partitas for Solo Violin is a beautiful 2-CD<br />
set by Midori (Onyx 4123). Again, as with the<br />
recent Gil Shaham release, there is a clear<br />
sense of these wonderful works having been a<br />
constant in the performer’s life, together with<br />
a reluctance to create a permanent record of<br />
what is essentially only one in a continually<br />
developing and changing series of interpretations. “After thirty years<br />
on stage,” says Midori, “the time felt right for me to fully embrace<br />
these most daunting and invaluable compositions.”<br />
The recordings were made in Cologne in August 2013 as a result of<br />
Midori’s Bach Project that marked the 30th anniversary of her 1982<br />
debut with Zubin Mehta and the New York Philharmonic. Presumably<br />
made for broadcast on German radio – the booklet cover has WDR The<br />
Cologne Broadcasts as a sub-heading – the recorded sound is clean<br />
and clear, with a natural presence.<br />
There is much to comment on here: the compactness of the chords<br />
in the G Minor Fugue; the brightness, speed and sense of pulse in the<br />
uptempo dance movements in the Partitas; the lightness and ease of<br />
the multiple-stopping, without ever obscuring the line; the light and<br />
warmth in the tone, combined with a strength and richness.<br />
It’s easy to see why violinists hesitate to commit performances of<br />
these works to disc: the more you play them and live with them, the<br />
more the challenges and possibilities, both technical and emotional,<br />
continue to grow and not diminish.<br />
All we can do is sit back and enjoy the journey, albeit a different one<br />
each time, and feel grateful for the privilege.<br />
Many of the same problems for a reviewer<br />
are presented by the Mystery Sonatas<br />
(also known as the Rosary Sonatas) of<br />
Heinrich Ignaz Franz von Biber, now available<br />
in a beautifully judged 2CD set by the<br />
outstanding period-performance violinist<br />
Rachel Podger (Channel Classics CCS SA<br />
37315). David Miller, Marcin Świątkiewicz<br />
and Jonathan Manson supply the excellent<br />
continuo.<br />
The sonatas depict the mysteries in the life of Jesus and the Virgin<br />
Mary. Anyone familiar with Biber’s descriptive piece Battalia will<br />
know how startlingly inventive he can be, but nothing prepares you<br />
for what he does in these 16 sonatas.<br />
Scordatura (from the Italian word that gives us “discordant”) is a<br />
technique in which the strings of a string instrument are tuned differently<br />
from the usual arrangement. It’s not that uncommon, but in<br />
these sonatas Biber takes it to simply astonishing lengths, radically<br />
altering the violin’s normal GDAE tuning in all but the outer movements<br />
by retuning anything from one to all four of the strings by<br />
intervals as large as a fifth. Every tuning is different, and some –<br />
GGDD, DFB-flatD and BF-sharpBD, for instance – are simply eyepopping.<br />
The result is essentially a different instrument for each<br />
movement, with enormous possibilities for radically different chordal<br />
work and multiple-stopping.<br />
These astonishing sonatas have long been a favourite with baroque<br />
specialists – a quick online search produced almost two dozen CD sets<br />
currently available – and while Podger is up against some stiff competition<br />
(including an outstanding set by Tafelmusik’s Julia Wedman)<br />
these are performances of works that stretch both the violin and the<br />
violinist to the limit that will hold their own against any.<br />
When Hyperion released the Russian violinist Alina Ibragimova’s<br />
recording of the Bach Sonatas & Partitas in 2009, Gramophone magazine<br />
noted that “… her Bach comes as something of a revelation … all<br />
52 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
her stylishness and technical refinement is<br />
at the service of an ingrained understanding<br />
of the music.” Add another six years, and it<br />
should come as no surprise that in her latest<br />
Hyperion release, Bach Violin Concertos<br />
with the string ensemble Arcangelo under<br />
their founder Jonathan Cohen (CDA 68068),<br />
Ibragimova delivers terrific performances of<br />
consummate skill and style.<br />
Arcangelo plays with a lute and harpsichord continuo, but it’s the<br />
lute that predominates in the balance here, giving the performances a<br />
soft, warm background that provides a perfect setting for Ibragimova’s<br />
sensitive interpretations. The booklet notes point out that this music<br />
comes from an age when the distinction between star soloist and<br />
ensemble player was more blurred than it is today, and Ibragimova<br />
really seems to have taken that to heart. Her imaginative playing is full<br />
of sensitive phrasing and dynamics, but is quite laid back, sounding<br />
more like a thread running through a tapestry than an out-front<br />
solo performance. Everything is light and spacious, and never heavy<br />
or routine.<br />
The two standard solo concertos – in A Minor BWV1041 and E Major<br />
BWV1042, both of which were transcribed for keyboard by Bach – are<br />
here, but not the D Minor Double Concerto. Instead, we have three<br />
solo concertos that are described as “back-transcriptions,” being<br />
reconstructed solo versions of keyboard concertos that were themselves<br />
transcriptions of solo works. The Concerto in A Major BWV1055<br />
is from Keyboard Concerto No.4; the Concerto in G Minor BWV1056<br />
is from the transposed Keyboard Concerto No.5 in F Minor; and the<br />
Concerto in D Minor BWV1052 is from the Keyboard Concerto No.1.<br />
The original A Major concerto may have been for oboe d’amore, and<br />
the original G Minor for violin or oboe; the D Minor, however, was<br />
described by no less an authority as Donald Tovey as “the greatest and<br />
most difficult violin concerto before the time of Beethoven.”<br />
It makes a fine ending to an immensely satisfying CD.<br />
However much you may know about<br />
the music of the English composer Cyril<br />
Scott, whose Lotus Land was transcribed<br />
and recorded several times by Heifetz in the<br />
1920s and 1930s, you’re almost certainly<br />
not going to know either of the works on<br />
the CD Dawn and Twilight – The First and<br />
Last Violin Sonatas of Cyril Scott (Affetto<br />
AF1504) unless you’ve already heard the CD:<br />
both works are world premiere recordings.<br />
Scott, who died in 1970 at the age of 91, wrote close to 400 works<br />
in a wide range of genres but his music was largely neglected at his<br />
death, although there has been a resurgence of both interest and<br />
recordings since the turn of the century. He wrote four numbered<br />
violin sonatas, only the first of which is a youthful work: written<br />
in 1908, it was heavily revised and shortened in 1956. The revised<br />
version, along with the second and third sonatas from 1950 and 1955<br />
respectively, was featured on a 2010 Naxos release, but Dawn and<br />
Twilight pairs the original version with the unpublished Sonata No.4,<br />
written in 1956, the same year as the revision of No.1, and provided<br />
in a photocopy of the original manuscript by the composer’s son<br />
Desmond Scott.<br />
Violinist Andrew Kirkman and pianist Clipper Erickson are the<br />
performers here in works that are difficult to compare because, as<br />
Desmond Scott notes, there is a world of stylistic and other differences<br />
between them. Certainly the 1908 version of the First Sonata,<br />
almost a third longer than the revised version, shows a composer<br />
already leaving behind the influences of Debussy and Strauss and<br />
moving away from tonality and regular rhythm, and not surprisingly<br />
attracting a fair amount of uncomprehending attention from contemporary<br />
reviewers. To our ears it’s a stylish and finely crafted rhapsodic<br />
four-movement work, with a simply beautiful slow movement, and<br />
what the booklet notes call “a bravura disregard for the kind of formal<br />
control that informed its later revision.”<br />
The Fourth Sonata, the direct contemporary of that revision, is<br />
another fine work that also shows the formal control and precise<br />
musical thought process of a mature composer then in his late 70s.<br />
Kirkman and Erickson started performing the original No.1 in<br />
2011, and gave a few concert performances of the unpublished No.4<br />
before recording it for this release. There are times when Erickson<br />
seems to be playing with more emotional commitment and dynamic<br />
range than Kirkman, but overall these are fine performances of two<br />
works that fully deserve to be added to the standard repertoire of<br />
20th-century violin sonatas.<br />
There are two outstanding CDs this month<br />
featuring the works of American women<br />
composers. Patagón (Foghorn Classics<br />
CD2015) features the Alexander String<br />
Quartet in three works by Cindy Cox, now<br />
in her mid-50s and very active as a pianist as<br />
well as a composer.<br />
Cox’s music here is quite fascinating,<br />
quite varied and not easy to describe.The<br />
composer Robert Carl, writing in Fanfare Magazine, said that “Cox<br />
writes music that demonstrates an extremely refined and imaginative<br />
sense of instrumental colour and texture … this is well wrought,<br />
imaginative, and not easily classifiable music.” It’s exactly that.<br />
The Alexander String Quartet was formed in 1981, and performed<br />
and recorded Cox’s first string quartet, Columba aspexit, after<br />
Hildegard von Bingen, some 20 years ago. It’s performed here along<br />
with the title work, Patagón, a five-movement work written in 2011<br />
on commission from the Alexanders to celebrate their 30th anniversary<br />
and dedicated to them. Inspired by a trip to the Valdes peninsula<br />
nature preserve in southern Argentina, it employs some quite remarkable<br />
effects, including sliding harmonics, col legno (playing with the<br />
wood of the bow), sul ponticello (playing near the bridge), sul tasto<br />
(playing above the fingerboard) and overbowing, where the bow is<br />
pressed hard but slowly against the strings. Imagine these sounds and<br />
then look at the title of the third movement – Southern right whales<br />
and Magellanic penguins – and you will have some idea why these<br />
effects seem so perfectly suited to the music.<br />
The quartet’s first violinist Zakarias Grafilo opens the CD with the<br />
short but lovely 1990 solo violin work Elegy, dedicated to the memory<br />
of Cox’s fellow compositional student Eric Heckard, who died in 1989<br />
at the young age of 26.<br />
The ASQ and Cox have been collaborating ever since that early<br />
recording of the Columba quartet, and it’s hard to imagine more satisfying<br />
or better-informed performances of these lovely works.<br />
All of the works on Strum: Music for Strings, the first album dedicated<br />
solely to the music of the young African-American composer<br />
and violinist Jessie Montgomery (Azica ACD-71302) were written in<br />
the past three years, and they display a remarkable self-assurance<br />
and confidence together with a striking musical inventiveness and<br />
imagination.<br />
Visit TheWholeNote.com/Listening<br />
Turandot is the tenth and last<br />
of Puccini’s operas. It took the<br />
composer about four years to write,<br />
from the beginning of 19<strong>21</strong> to 1924.<br />
LAS CIUDADES DE ORO<br />
L'Harmonie des saisons<br />
Available at<br />
atmaclassique.com,<br />
amazon.ca & iTunes<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 53
Starburst is a short work for string orchestra<br />
that plays on rapidly changing musical colours.<br />
Source Code for string quartet began life as<br />
sketched transcriptions of various sources from<br />
African American artists prominent during<br />
the peak of the Civil Rights era; it’s played<br />
here by the Catalyst Quartet. Break Away, a<br />
five-movement work for string quartet, was<br />
written for the PUBLIQuartet, who perform it<br />
here; born out of a series of improvisations the ensemble was working<br />
on while in residence at the Banff Centre, it requires the players to<br />
literally break away from the score and improvise, especially in the<br />
final movement.<br />
The Rhapsody No.1 for solo violin gives Montgomery the chance<br />
to display her outstanding violin playing, and Banner for solo string<br />
quartet and string orchestra, with the Catalyst Quartet and the String<br />
Orchestra conducted by Julian Wachner, is a rhapsodic tribute to the<br />
200th Anniversary of The Star-Spangled Banner.<br />
Strum, the title track of the album, is the final version of a work<br />
started in 2006, but revised and partially rewritten in 2012 for the<br />
Catalyst Quartet, whose performance rounds out an impressive debut<br />
disc of Montgomery’s compositions.<br />
This is clearly a significant talent, and definitely someone to watch.<br />
Expect to hear a lot more from this artist.<br />
Keyed In<br />
ALEX BARAN<br />
Steven Osborne has no fear of intimacy.<br />
In his latest recording, Franz Schubert<br />
(Hyperion CDA68107) Osborne plays the<br />
Impromptus D935 and Three Piano Pieces<br />
D946, as if he were the composer. He adopts<br />
a modest posture, lingers in the shadows of<br />
the music and emerges only when Schubert<br />
coaxes him out. He is never rushed. Assured<br />
and playing at a relaxed pace, he maintains a strong sense of forward<br />
motion especially in the slower sections. He also has a sense for<br />
melodic lines and gives them wonderful clarity over Schubert’s<br />
accompanying harmonic pulse. Osborne makes the well-known<br />
Impromptus D935 seem new again. He seems to understand their true<br />
scale and never overplays them.<br />
He uses the same approach to the Three Piano Pieces D946, where<br />
No.2 in E-flat Major is substantially longer than the others and<br />
requires more attention to thematic development. He begins it softly<br />
and finishes it even more so. Magical. The Hüttenbrenner Variations<br />
D576 are playful and entertaining. Built on a short and simple idea,<br />
Schubert’s 14 iterations find an affectionate and capable performer in<br />
this pianist. The Steinway used in this recording is beautifully voiced<br />
and has the perfect colours for this repertoire.<br />
Concert note: Osborne performs the Schubert Impromptus Nos.1<br />
& 4 D935 in Toronto on Tuesday, March 1 as part of Music Toronto’s<br />
Piano Series, in the St. Lawrence Centre for the Arts.<br />
Hélène Mercier and Louis Lortie are longtime<br />
piano partners who’ve played and<br />
recorded together since the 1980s. Whether<br />
playing four hands or two pianos, they always<br />
impress with a profoundly unified approach to<br />
the music. One simply can’t imagine a significant<br />
difference of interpretive opinion between<br />
them. Their newest CD, Rachmaninoff Piano<br />
Duets (Chandos CHAN 10882) is another<br />
example of this mature musical relationship where one cannot distinguish<br />
either of them from the other. Their keyboard techniques are<br />
identically matched and their sensibilities deeply shared.<br />
Here the wide sweeps of Rachmaninoff’s musical imagination find<br />
their voice on the keyboards of two Fazioli grand pianos. The vocabulary<br />
is unmistakable and even surprisingly whole quotes from works<br />
like the Piano Concerto No.3 appear in the Suite No.2 Op.17 for Two<br />
Pianos. The Fantaisie (Tableaux), Op.5 opens the recording in a very<br />
dramatic way with Mercier and Lortie pulling the listener right to the<br />
edge of the seat with some very edgy playing.<br />
This music is written to be big. While the first two repertoire items<br />
have plenty of familiar orchestral allusions, the real showstopper<br />
is Rachmaninoff’s transcription for two pianos of his Symphonic<br />
Dances Op.45. The versatility required here is remarkable. The first<br />
movement contains a musically threadbare middle section where<br />
the pianists obviously enjoy the contrast to the rest of the piece. The<br />
third movement is a long slow build to a truly blazing finish. On any<br />
decent sound system, this recording makes you tingle with the pianists’<br />
energy. You can only imagine the effect Mercier and Lortie have in<br />
live performance.<br />
We are given to appropriate wonder when we encounter child<br />
prodigies whose keyboard skills and musical maturity seem demonstrably<br />
beyond their years. Rarer still are those musicians who have<br />
lived into old age with their gift still largely undiminished by the<br />
decades. Their experience and insights give them a freedom not<br />
entirely available to the younger. I recall the documentary film of<br />
Vladimir Horowitz making his long-awaited return to Moscow to<br />
perform at the conservatory, watching him hunched over the piano<br />
and gliding through a Chopin valse as if he were only 20.<br />
Another such elder pianist is David Wilde,<br />
who at age 80 is still performing, recording<br />
and teaching, as he has done all his life.<br />
On listening to Wilde plays Chopin Vol. III<br />
(Delphian DCD34159) one is immediately<br />
struck by the dexterity and power of this<br />
pianist. He is definitely in command, not only<br />
of the music’s demands but also of its content.<br />
It’s as if Chopin has surrendered licence to<br />
Wilde to reshape his phrases, alter his tempi and dynamics to reflect<br />
who this pianistic sage is.<br />
Wilde’s performance of the Valse in D flat Major, Op.64 No.1<br />
“Minute Waltz” is amazing for its speed. The Scherzo No.2 in B-flat<br />
Minor, Op.31 is a monumental and powerful statement as is the<br />
“Military” Polonaise. All through this CD one is struck by the enormous<br />
expressive freedom that Wilde has at his disposal. It’s an<br />
inspiring recording.<br />
Listening to Adolfo Barabino – Chopin<br />
<strong>Volume</strong> 4; London Symphony Orchestra; Lee<br />
Reynolds (Claudio CR 60<strong>21</strong>-2) it’s tempting to<br />
believe that this pianist has found that secret,<br />
internal place from which only Chopin can<br />
come. It’s a place of great fragility. Barabino’s<br />
own liner notes speak of delicacy, elegance,<br />
nuances and slender sound. His performance<br />
of the Berceuse Op.57 gives the impression that<br />
some of the notes are actually too shy to be played. The six Mazurkas<br />
are far more meditative than they are dancelike. Even with the<br />
London Symphony Orchestra his performance of the Piano Concerto<br />
No.2 is never very large and always seems ready to become reclusive<br />
at the next pianissimo. While the second movement is particularly<br />
beautiful for Barabino’s treatment of the main theme, the outer movements<br />
sparkle more like an aurora than fireworks. It’s altogether a<br />
remarkable interpretation. The Steinway he plays surrenders the loveliest<br />
of colours in the many passages of light touch.<br />
This is his fourth volume in what is to be a complete recording of all<br />
of Chopin’s piano works. It’s a set worth collecting.<br />
Another Bach Goldberg Variations BWV 988 (TwoPianists Records<br />
TP1039244) is competing for attention and its performance by Lori<br />
Sims offers good reasons for making this a valued addition to those<br />
54 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
who collect Goldbergs.<br />
Most importantly, Sims understands the<br />
architecture of the work and how Bach<br />
proceeds through his canons with everwidening<br />
intervals. She addresses this and<br />
other structural complexities in her brief but<br />
very well-written liner notes. Also, Sims has<br />
committed to observing all the repeats and<br />
using the baroque practice of more elaborate ornamentation in them.<br />
Finally, she has made this recording in live performance with an<br />
audience that, after a few initial coughs, quickly settles into an astonishingly<br />
silent awe at the feat unfolding before them, all 80 minutes<br />
of it. This changes the pace of things, because the performer needs to<br />
keep the harmonic core of the variations alive in the listener’s ear as<br />
the idea evolves through its often challenging forms.<br />
Sims does a terrific job at holding Bach’s many threads together<br />
while still applying her own nuances to phrases, individualizing<br />
her ornaments, playing with a light clear touch and avoiding<br />
the sustain pedal altogether. The better you know the Goldberg<br />
Variations, the more you’ll appreciate this live performance. It’s an<br />
exciting document.<br />
Another pianist who has recorded the<br />
Goldberg Variations live, albeit as a video,<br />
is Chinese-born Zhu Xiao Mei. She has also<br />
recorded Bach’s The Art of Fugue, but most<br />
recently the J. S. Bach Inventions and Sinfonias<br />
(Accentus Music ACC30350).<br />
It’s familiar music to most keyboard players.<br />
The 15 Inventions and as many Sinfonias have<br />
been, as Bach intended, a staple in the keyboard study repertoire for<br />
centuries. Zhu is a performer, teacher and frequent jurist at major<br />
piano competitions. She offers a passionate argument in her liner<br />
notes for the higher regard that these pieces deserve. While dealing<br />
mostly with just two and three polyphonic voices, she nevertheless<br />
believes they contain an “extraordinary density of music.”<br />
Zhu’s playing is sensitive, articulate and precise. It’s obvious she<br />
takes this music very seriously. She argues that Bach wanted players<br />
to learn how to play polyphonically and so, be able to highlight the<br />
dialogues between voices. She also believes Bach wanted young<br />
players to experiment with different approaches by varying tempos<br />
and phrasings. Her interpretations reflect this as they move gently and<br />
fluidly through what many students deliver as merely dutiful finger<br />
exercises. It’s a very satisfying performance and convincingly raises<br />
this collection of Bach keyboard works to a significantly higher level.<br />
This recording is a timely reminder about the reverence we<br />
need to nurture around the act of making music, even with the<br />
simplest of works.<br />
Little more than a year into his exclusive contract with Naxos, Boris<br />
Giltburg has recorded his second CD, Beethoven Piano Sonatas No.8<br />
“Pathétique,” No.<strong>21</strong> “Waldstein” and No.32<br />
(Naxos 8.573400). Whether he aspires to<br />
recording all 32 sonatas remains to be seen.<br />
Still, his first Beethoven disc gives us a good<br />
sampling of the early, middle and late periods<br />
and of Giltburg’s understanding of how<br />
Beethoven’s expression in this form evolved.<br />
His overall approach is one of rather intense<br />
carefulness. Giltburg is patient. Never rushing unnecessarily, he takes<br />
his time, pausing and hesitating to highlight the intimacy of the<br />
music. Speed and power are, however, no obstacle to him and he shies<br />
away from nothing.<br />
The opening of the Pathétique is quite deliberative and in considerable<br />
contrast to the speed of the final movement. He begins the<br />
Waldstein with barely contained energy that spills out quickly over<br />
the rhythmic pulse of the left hand. The second movement seems<br />
wonderfully expanded in time as if he wants us to find something new<br />
in the open spaces between the notes. Giltburg then crafts some lovely<br />
sounds around the final movement’s bell-like main idea.<br />
The Sonata No.32 Op.111 is Beethoven in completely new territory.<br />
Giltburg delights in the moments that appear unstructured and<br />
so modern for the period but he also plunges with feverish delight<br />
into the passages with fugal elements that Beethoven wrote for<br />
effective contrast. The jewel in this crown is unquestionably Giltburg’s<br />
performance of the final movement. The long opening arietta is<br />
memorably tender and the movement’s close, even more so.<br />
An enlightening quote by the performer<br />
opens the notes of Scriabin – Janáček, Sonatas<br />
& Poems (Hyperion CDA67895). In it Stephen<br />
Hough explains his reason for alternating these<br />
two eccentric Slavic composers throughout<br />
the program of the CD. Describing Scriabin’s<br />
music as horizontal and Janáček’s as vertical,<br />
and further explaining how the two are essentially<br />
dissimilar, we have the rationale for the<br />
contrasting placement of all the music on this recording. Hough’s<br />
argument is that too much of either detracts from itself. But he also<br />
calls their voices contrasting and compelling, and this view is borne<br />
out in his playing.<br />
Scriabin’s two sonatas, Nos.4 and 5, as well as the two Poèmes have<br />
that distinctive French impressionistic drift that is as seductive as it is<br />
hypnotic. Hough understands this form well and blends his lines with<br />
superb fluidness.<br />
His approach to Janáček is, by necessity, very different. While somewhat<br />
programmatic the music is a demanding mix of romanticism,<br />
occasional moments of minimalism and plenty of modern form.<br />
Hough reflects the imagery beautifully in On the overgrown path –<br />
Book I. He captures the darkness of the Piano Sonata 1.X.1905, From<br />
the street, recalling the grim political events it marked as well as the<br />
You can find enhanced reviews of all discs below the yellow line in The WholeNote listening room.<br />
The complete piano works of<br />
African-descent composer<br />
Nathaniel Dett recorded for the<br />
first time. Enjoy Dett’s wonderful<br />
melodies, harmonic colors, and<br />
narratives.<br />
This CD offers the rarely performed<br />
1st symphony, the nearly unknown<br />
orchestral songs by poems of<br />
Jean Cassou, and finally the better<br />
known Métaboles.<br />
A LOVE SUPREME: DELUXE<br />
EDITION<br />
John Coltrane<br />
Available on amazon.ca,<br />
grigorian.com & iTunes<br />
This magnificent CD of Leo<br />
Brouwer's music brings the guitar<br />
into consort with the bandurria and<br />
covers a kaleidoscopic range of<br />
techniques and emotions.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 55
composer’s deep personal struggles.<br />
This recording is a mature and challenging project and is extraordinarily<br />
well done.<br />
A new recording by young Italian pianist<br />
Alessio Bax, Scriabin, Mussorgsky (Signum<br />
Classics SIGCD426) brings yet another Scriabin<br />
piano sonata to the marketplace. The Sonata<br />
No.3 Op.23 is a considerably earlier work than<br />
its successor, with 16 years between them.<br />
The flowing impressionism of the 4th and 5th<br />
sonatas is only moderately evident in the slow<br />
movement of the 3rd sonata while the rest of<br />
the work is fairly classical in structure. Alessio Bax plays this work<br />
with a great deal of affection and his opening liner notes explain his<br />
fondness for the piece.<br />
Bax is young, powerful and a capable interpreter with a natural<br />
instinct for drawing out the beauty of a melodic line. This is obvious<br />
in the Etude in C sharp Minor Op.2 No.1. The Prelude for the left hand<br />
alone, Op.9 No.1 is as beautiful as it is amazing to contemplate. One<br />
should like to see it in performance.<br />
If we needed to be more impressed, we might reserve judgement<br />
until hearing Bax’s performance of Mussorgsky’s Pictures at an<br />
Exhibition, but the decision would be a foregone conclusion. Each<br />
of these little vignettes is superbly played. Ballet of the Unhatched<br />
Chicks and The Market Place sparkle with energy and the Great Gate<br />
of Kiev towers over the Pictures in pianistic grandeur.<br />
Contemporary music has long used unconventional sound sources,<br />
among them the “prepared” piano. This usually involves some physical<br />
change in the mechanism or tuning of the instrument. Digital technology<br />
has, however, opened new opportunities to take this approach<br />
much further. The possibilities are limited only by imagination.<br />
On Beyond 12 – Reinventing the Piano<br />
(MicroFest Records MF3) pianist Aron Kallay<br />
performs works commissioned from eight<br />
American composers. They were given two<br />
ground rules to follow in composing their<br />
works. First, retune the 88-note keyboard to<br />
represent just a single octave. Second, remap<br />
the keyboard so that high/low or left/right can<br />
be interchangeable and pitches can be in any order.<br />
What has emerged is a body of works playable on a digitally<br />
conceived model that uses software to reconfigure a traditional digital<br />
keyboard to meet these requirements. The eight composers are mostly<br />
professional musicians and academics with a strong inclination for<br />
technology in their music writing.<br />
It’s surprising to hear how much of this music has a strong tonal<br />
centre and uses familiar rhythmic patterns to drive it forward. Also<br />
intriguing is the way the ear quickly adjusts to the very small differences<br />
of pitch between adjacent notes. It’s as if the brain resets and<br />
quickly begins to make melodic and harmonic sense out of this<br />
unconventional music model. This is a truly fascinating disc and<br />
worth hearing for both pleasure and debate.<br />
American harpsichordist Elaine Funaro has<br />
made a career of championing new music for<br />
the harpsichord. In 1996 she recorded Into<br />
The Millennium – The Harpsichord in the<br />
20th Century (Gasparo GSCD-331). Twenty<br />
years later the recording is as exciting as it was<br />
when first committed to DAT in the beautiful<br />
and cavernous Duke University Chapel (North<br />
Carolina).<br />
Two tracks deserve special mention. The Postlude of Dan Locklair’s<br />
dance suite The Breakers Pound will lift you right out of your seat. The<br />
raw energy coming from such a traditionally non-dynamic instrument<br />
is indescribable. It has the feel of Khachaturian’s Sabre Dance. Also,<br />
Tom Harris’ Jubilate Deo is extraordinary for the way it builds tension<br />
with increasing stacks of harmonies. It’s wonderful to see this older<br />
recording reissued.<br />
Also among Elaine Funaro’s recently reissued<br />
recordings is Giovanni Benedetto Platti “il<br />
grande” Sonatas for Clavicembalo (Wildboar<br />
WLBR 9901). Here, the repertoire is material<br />
from the early 18th century. Funaro plays two<br />
modern instruments, a harpsichord and a fortepiano,<br />
copies of originals from that period.<br />
The fortepiano in particular, produces an<br />
unusual and pleasant timbre not often heard in<br />
recordings.<br />
Funaro has audio and video samples of her work at<br />
funaroharpsichord.com.<br />
VOCAL<br />
Baldassarre Galuppi – Il filosofo di<br />
campagna<br />
Zanetti; Baldan; Unsal; Cinciripi; Torriani;<br />
Antonini; Mezzaro; Boschin; Ensemble<br />
Barocco della Filarmonica del Veneto;<br />
Fabrizio da Ros<br />
Bongiovanni AB 20030<br />
!!<br />
Opera buffa dates<br />
from the beginning<br />
of the 18th century.<br />
It was essentially a<br />
Neapolitan art form; it<br />
was farcical and lightweight.<br />
By the late<br />
1740s it had metamorphosed<br />
into the<br />
dramma giocoso<br />
which was still comic<br />
but had more plausible<br />
situations with semi-serious parts and a<br />
more realistic psychology. These works were<br />
usually Venetian and they included librettos<br />
by Carlo Goldoni, set to music by Baldassare<br />
Galuppi – as is the case here. In this opera<br />
Eugenia wants to marry the young nobleman<br />
Rinaldo but her father, Don Tritemio, insists<br />
that she marry the wealthy farmer Nardo,<br />
the philosopher, instead. Things end happily,<br />
of course: Eugenia marries Rinaldo and her<br />
maid Lesbina marries Nardo, while Don<br />
Tritemio makes do with Nardo’s niece Lena.<br />
The DVD gives us a live performance from<br />
the Teatro Comunale in Belluno, which took<br />
place in October 2012. The director, Carlo<br />
Torriani, makes a clear distinction between<br />
the more rounded characters like the young<br />
lovers and those who are conceived more<br />
farcically: the crusty father and especially<br />
the notary, who is affected by interminable<br />
bouts of sneezing. I suspect that it is<br />
the latter which will prove most difficult to<br />
take in subsequent rehearings or reviewings.<br />
The conductor, Fabrizio da Ros, presents the<br />
music with loving care and the work is well<br />
sung. I especially enjoyed the soprano Giorgia<br />
Cinciripi, who sings Lesbina.<br />
Hans de Groot<br />
Vivaldi – Sacred Music 4<br />
Claire de Sévigné; Maria Soulis; Aradia<br />
Ensemble; Kevin Mallon<br />
Naxos 8.573324<br />
!!<br />
Since 2004,<br />
Toronto’s Aradia<br />
Ensemble has returned<br />
every few years<br />
to record another<br />
offering of Vivaldi’s<br />
sacred music for voice<br />
and instrumental<br />
ensemble. With seven<br />
years since the third volume was released,<br />
this, the fourth, is most welcome. The<br />
majority of Vivaldi’s vocal music was written<br />
during his time as teacher and music director<br />
at the Ospedale della Pietà, which accounts<br />
for the wealth of repertoire for female soloists.<br />
And some of the young women there<br />
must have been extraordinary singers, as<br />
demonstrated in this recording by the gloriously<br />
dramatic performance of In turbato<br />
mare irato by soprano Claire de Sévigné.<br />
And though the motet Vestro principi divino<br />
is somewhat more warm and sedate, it ends<br />
with more demanding and athletic runs in<br />
the Alleluia. In this, and the very operatic<br />
motet Invicte, bellate, mezzo Maria Soulis<br />
is alternately reflective and valiant, with<br />
marvellous tonal quality. The crisp execution<br />
of In exitu Israel, Laudate Dominum<br />
56 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
and Laetatus sum by the choral ensemble is<br />
splendid. To contrast her earlier motet, de<br />
Sévigné delivers O qui coeli terraeque serenitas<br />
in all its sweetness of calm repose. The<br />
core of Aradia, its excellent instrumental<br />
ensemble led by Kevin Mallon, is, as always,<br />
impeccable in performance.<br />
Dianne Wells<br />
Puccini – Turandot<br />
Khudoley; Massi; Yu; Ryssov; Wiener<br />
Symphoniker; Paolo Carignani<br />
C major 731408<br />
Puccini – Turandot<br />
Dessi; Malagnini; Canzian; Chikviladze; La<br />
Guardia; Teatro Carlo Felice; Donato<br />
Renzetti<br />
Dynamic 33764<br />
!!<br />
Puccini’s last,<br />
unfinished opera is<br />
arguably his greatest,<br />
certainly the most<br />
innovative, harmonically<br />
adventurous and a<br />
score of genius. It is<br />
also a grand opera well<br />
suited for lavish,<br />
extravagant productions.<br />
Fortunately, two<br />
marvellous video<br />
recordings have just<br />
arrived and both fulfill their promise. I state<br />
categorically that both are excellent in their<br />
own way and I do not prefer one to the other.<br />
The newest is from the Bregenz Festival,<br />
July 2015 (bregenzerfestspiele.com). Not many<br />
may have heard of Bregenz, a sleepy old town<br />
at the Western end of Austria on the shores of<br />
Lake Constance (Bodensee), but their festival<br />
rivals Salzburg with the highest artistic standards.<br />
The giant open-air amphitheatre<br />
includes an incredible stage set (designed by<br />
M.A. Marelli) right in the lake with something<br />
like the Great Wall of China towering 100 feet<br />
forming the backdrop to a circular stage, a<br />
revolving cylinder accessed by ramps snaking<br />
around it like a Chinese dragon. Over this is<br />
a huge circular disc<br />
equipped with myriad<br />
LED crystals forming<br />
computer generated<br />
multi-coloured<br />
images to suit the<br />
mood of the moment.<br />
It really has to be<br />
seen to be believed<br />
and I must say it’s a<br />
lot more comfortable<br />
to see it on DVD<br />
in home comfort than<br />
being there freezing in the rain. (I’ve been in<br />
Vorarlberg and even in summer the weather<br />
is unpredictable.) The orchestra cannot be<br />
seen and nor can the conductor, the dynamic<br />
Paolo Carignani who gave Toronto a thrilling<br />
Tosca some time ago. The overall, somewhat<br />
modernized show is a sound and light<br />
extravaganza with dancers, pantomimes<br />
and circus acts to dazzle the eye, but the<br />
opera comes through musically superb with<br />
spacious acoustics and some top singing<br />
artists plus two choruses, not to mention<br />
the Wiener Symphoniker giving it orchestral<br />
support. Young Italian tenor Riccardo Massi<br />
(Prince Kalaf) copes well with the power and<br />
the high notes; he is best in show. Young,<br />
up-and-coming Chinese soprano Guanqun<br />
Yu gives a heartrending performance as Liu,<br />
the little servant girl who sacrifices herself<br />
for love. For the pinnacle role of the Ice<br />
Princess expectations are high and Callas or<br />
Sutherland both being gone, Mlada Khudoley,<br />
Russian dramatic soprano from the Mariinsky<br />
struggles heroically, suitably hateful most of<br />
the time, but relaxes beautifully to a glorious<br />
finale, an outburst of joy seldom witnessed in<br />
opera theatres.<br />
We now enter Puccini territory, because the<br />
next production is from Genoa, the heart of<br />
Liguria, the region where Puccini and most<br />
of the cast comes from. The Opera House in<br />
Genoa is a grandiose affair and the stage is<br />
very large and very high in order to accommodate<br />
the monumental set, a multi-level<br />
Chinese palace with staircases on either<br />
side. Ingeniously the set can easily adapt,<br />
alternately being grandiose or intimate, using<br />
lighting effects giving it different moods and<br />
gorgeous colours. Yet it remains entirely traditional,<br />
just as Puccini envisaged it. Being<br />
an Italian production, it is done with the<br />
emphasis on the music and the quality of<br />
the singers, which is superb. The leading<br />
lady Daniela Dessi, one of the top sopranos<br />
in Italy today, is a sensitive, even anguished<br />
and entirely believable Turandot. The primo<br />
tenore Mario Malagnini, a compassionate and<br />
tender Kalaf with tremendous vocal power<br />
even in the high tessitura, makes a strong<br />
impression. The young Roberta Canzian<br />
steals some of Signora Dessi’s glory with her<br />
brave and impassioned, beautiful performance<br />
as Liu. Right down to the lowliest choristers<br />
the singing is first class, but the three<br />
Chinese ministers deserve a special mention<br />
for their amusing, colourful and superbly<br />
choreographed trios that comment on the<br />
action with a rather cruel, even sadistic<br />
humour. And the one who controls it all is<br />
Donato Renzetti, an old hand in Italian opera<br />
who, with oriental rhythms and shimmering<br />
textures, makes everything come alive and<br />
throb with excitement.<br />
Janos Gardonyi<br />
Verdi – Aida<br />
Lewis; Sartori; Rachvelishvili; Gagnidze;<br />
Salminen; Colombara; Coro e Orchestra del<br />
Teatro alla Scala; Zubin Mehta<br />
C major 732208<br />
!!<br />
To revive Aida<br />
in 2015 at that holy<br />
temple of Italian opera,<br />
La Scala of Milan, puts<br />
much at stake. Times<br />
are difficult economically<br />
yet expectations<br />
are high, the audience<br />
sceptical, often<br />
giving great artists a<br />
rough time, (Carlos<br />
Kleiber once was<br />
booed in the pit!), but<br />
success for a young singer in La Scala could<br />
The Listening Room. Enhanced reviews. Click to listen. Click to buy.<br />
Flying Without Wings<br />
John Alcorn voice<br />
Warren Vaché cornet<br />
Mark Eisenman piano<br />
Reg Schwager guitar<br />
Steve Wallace bass<br />
Mette Henriette interlaces form<br />
and freedom in fresh ways,<br />
combining classics and jazz.<br />
John Alcorn, Warren<br />
Vaché, Mark Eisenman,<br />
Reg Schwager and<br />
Steve Wallace<br />
jazzinthekitchen.ca<br />
Classical sacred music from the<br />
Moravian tradition of northern<br />
Labrador; Inuit soloists singing 18th<br />
& 19th century arias.<br />
Order from<br />
mun.ca/mmap/back_on_track/<br />
pillorikputinuit/<br />
37CD lift off lid box set.<br />
10 albums available on CD for the<br />
first time.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 57
make a career. That dream came true for<br />
young American soprano Kristin Lewis, who<br />
simply enchanted the audience in a heartbreaking,<br />
gloriously sung performance as<br />
Aida. She even burst into tears in the midst of<br />
final applause. The other young lady, the lead<br />
mezzo (Amneris), Anita Rachvelishvili (see<br />
The WholeNote November 2015 for my review<br />
of the Tsar’s Bride from Berlin), perhaps stole<br />
the show with “the authority of her performance<br />
and warm, burnished tone and sheer<br />
vocal power” (Kenneth Chalmers) and made<br />
a big impression. Fabio Satori’s Radamès was<br />
somewhat less convincing as a glorious hero<br />
and lover than in his subsequent misfortune,<br />
but he surely hit those high notes! George<br />
Gagnidze was an energetic, rather youthful<br />
Amonasro and Matti Salminen’s Ramfis, the<br />
high priest, a stately figure. But the great<br />
basso, nearly 70, was having serious difficulties<br />
with his voice. Conductor Zubin Mehta,<br />
quite dapper and almost 80, conducted<br />
without a score according to Italian tradition,<br />
with minimal movements, and gave a sensitive,<br />
solid, well-detailed reading to impressive<br />
sonic effect, his trademark.<br />
The top credit however is for German<br />
director Peter Stein, who contrary to the<br />
usual grand-opera bombast, sees the opera<br />
more intimately, as a set of confrontations<br />
between a few individuals in unique settings,<br />
turning every stage set into a stunning work<br />
of art with glorious colours and strong geometry<br />
accentuated by backlighting and silhouettes.<br />
The designers Ferdinand Wögerbauer<br />
(sets), Nanà Cecchi (costumes) and Joachim<br />
Barth (lighting) created a thoroughly integrated,<br />
visually beautiful experience worthy<br />
of Verdi’s masterpiece.<br />
Janos Gardonyi<br />
Shostakovich – Suite on Poems by<br />
Michelangelo; Liszt – Petrarch Sonnets<br />
Dmitri Hvorostovsky; Ivari Ilja<br />
Ondine ODE 1277-2<br />
!!<br />
Dmitri<br />
Hvorostovsky is a<br />
pure artist and a<br />
natural-born talent.<br />
Born and educated<br />
in Krasnoyarsk,<br />
Siberia, a place not<br />
renowned for being<br />
a fertile cultural<br />
ground (despite having also been the birthplace<br />
of the French novelist Andreï Makine),<br />
Hvorostovsky shot to international stardom<br />
after defeating Bryn Terfel in the BBC Cardiff<br />
Singer of the World competition in 1989.<br />
This success came on the heels of triumphs<br />
at the Toulouse Singing Competition in 1988<br />
and the Glinka Competition in 1987. Since<br />
then, he has been present on all major opera<br />
and concert stages in the world – predominately<br />
in Verdi roles. He created an unforgettable<br />
portrayal of the Marquis de Posa in Don<br />
Carlo, but was equally acclaimed for Simon<br />
Boccanegra, Rigoletto, Un ballo in maschera<br />
and La Traviata. When he appeared for the<br />
first time in Tchaikovsky operas – The Queen<br />
of Spades, and especially, Eugene Onegin –<br />
critics proclaimed that he was born to sing<br />
those roles.<br />
This album shows a different side to<br />
Hvorostovsky – that of a lieder singer. When<br />
Shostakovich set the poems of Michelangelo<br />
(in translation by Abram Efros) to music in<br />
1974, he knew he was a dying man. A year<br />
earlier, in addition to a serious heart condition<br />
that he had lived with for most of his life,<br />
he was also diagnosed with terminal cancer.<br />
The music he composed is full of anger and<br />
resentment, expressing a battle he ultimately<br />
lost a year later. Chillingly, Hvorostovsky had<br />
himself been diagnosed with a brain tumour<br />
early in 2015, but has since returned to the<br />
stage. As you listen to the stark, ominous<br />
music on this disc, spare a kind thought for<br />
this great Russian baritone, whose struggle<br />
may be ongoing.<br />
Robert Tomas<br />
Weinberg – The Passenger<br />
Breedt; Saccà; Kelessidi; Rucinski; Doneva;<br />
Wiener Symphoniker; Teodor Currentzis<br />
ArtHaus Musik 109179<br />
!!<br />
This DVD’s<br />
booklet contains a<br />
lengthy encomium by<br />
Weinberg’s friend and<br />
muse, Shostakovich,<br />
calling The Passenger<br />
“a masterpiece, both<br />
in shape and style.”<br />
Unsurprising, as<br />
Shostakovich’s own<br />
“shape and style”<br />
pervade Weinberg’s<br />
compositions, including this one.<br />
Mieczyslaw Weinberg (1919-1996), a Polish<br />
Jew who fled to the USSR in 1939, completed<br />
The Passenger in 1968. His memorial to<br />
Holocaust victims, among them his parents<br />
and sister, was never staged until 2010 at<br />
Austria’s Bregenz Festival, the production<br />
preserved here. It has since been performed<br />
many times in other countries.<br />
The set is on two levels: above, a ship<br />
deck in 1960, where Lisa and her husband<br />
Walter are bound for Brazil; below, wartime<br />
Auschwitz, where Lisa had been an SS guard.<br />
On board, Lisa thinks she recognizes Martha,<br />
supposedly killed in Auschwitz. Shaken, she<br />
reveals her Nazi past to Walter – and to us,<br />
the audience, in the Auschwitz scenes where<br />
most of the opera unfolds. Here, extended<br />
passages of poignant lyricism are punctuated<br />
by brutal orchestral outbursts and the onstage<br />
brutality of the guards.<br />
Did Martha really survive, or is the veiled,<br />
silent passenger an apparition of Lisa’s<br />
haunted conscience? In the opera’s epilogue,<br />
alone on stage, an unveiled Martha sings<br />
“… never forgive … never forget …”<br />
If not quite “a masterpiece,” with its wellsung,<br />
effective music and potent drama,<br />
The Passenger will surely wrench guts and<br />
jerk tears. A bonus documentary provides<br />
details about Weinberg and this unforgettable<br />
production.<br />
Michael Schulman<br />
Alice Ping Yee Ho – The Lesson of Da Ji<br />
Toronto Masque Theatre; Larry Beckwith<br />
Centrediscs CMCCD 2<strong>21</strong>15<br />
!!<br />
In her music theatre<br />
work The Lesson of Da<br />
Ji, Hong Kong-born<br />
Toronto composer<br />
Alice Ping Yee Ho has<br />
struck a fine if not<br />
always easy cultural<br />
balance between<br />
features of classical<br />
Beijing (Peking) opera and the European<br />
masque tradition, as interpreted in <strong>21</strong>st<br />
century Canada.<br />
It is no mean feat to present eight Canadian<br />
voices supported by the string tonalities<br />
of the Chinese zhongruan, erhu, pipa and<br />
zheng. It is even more complex when all<br />
that is seamlessly meshed with the sonority<br />
of the European baroque lute, harpsichord,<br />
viola da gamba, violin and recorders, plus a<br />
percussion battery. Ho does just that admirably,<br />
presenting along the way a bracing new<br />
hybrid soundscape to enjoy.<br />
Her skillfully orchestrated score hangs<br />
directly on Canadian playwright Marjorie<br />
Chan’s libretto. It tells the chilling tale of the<br />
famous concubine Da Ji of the Shang Dynasty<br />
(c.1600 to 1046 BCE), homing in on her illicit<br />
love affair with a musician and the bloody<br />
revenge enacted by the jealous King Zhou.<br />
It’s the sort of court drama common to both<br />
Chinese and Eurocentric opera traditions.<br />
The composer once noted that “colours<br />
and tonality are two attractive resources to<br />
me: they form certain mental images that<br />
connect to audiences in a very basic way.”<br />
The Lesson of Da Ji follows that dictum, and<br />
her approach works to convey character,<br />
place, mood and imagery, even via the audio<br />
CD medium. My guess is that a video presentation<br />
– or better yet a live production<br />
where the multiple visual and choreographic<br />
elements are at work – would make for an<br />
even more involving evening of theatre.<br />
Commissioned by the Toronto Masque<br />
Theatre in 2012, The Lesson of Da Ji immediately<br />
won critical acclaim, as well as the 2013<br />
Dora Mavor Moore Award for Outstanding<br />
Original Opera. The release of the recording<br />
of this hour-long opera in two acts within just<br />
a couple of years of its premiere reflects the<br />
work’s enthusiastic initial reception. It may<br />
well also mark the beginning of its acceptance<br />
by a wider public in Canada, as well as in the<br />
composer’s country of birth.<br />
Andrew Timar<br />
EARLY MUSIC AND PERIOD PERFORMANCE<br />
Chaconne – Voices of Eternity<br />
Ensemble Caprice; Matthias Maute<br />
Analekta AN 2 9132<br />
58 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
!!<br />
There is a difference<br />
between the chaconne<br />
and the passacaglia<br />
– or so textbooks tell<br />
us. In the chaconne<br />
a theme is repeated<br />
over and over again<br />
in the bass, while in<br />
the passacaglia the repeated theme does not<br />
need to be in the bass. Matthias Maute, in<br />
the booklet that comes with his recording, is<br />
inclined to play down the distinction, saying<br />
that the repetition of a harmonic motif is<br />
essential to both forms. One of the most<br />
famous of all chaconnes is that written by J.<br />
S. Bach for solo violin. Here it constitutes the<br />
final item on the recording, arranged (not<br />
altogether convincingly) for two recorders<br />
and cello. Many of the other items are earlier<br />
and they include works by Monteverdi, Landi<br />
and Falconieri. Among the most famous of<br />
chaconnes are the variations on the popular<br />
tune, La Follia, and this recording gives us<br />
two examples of such variations: by Falconieri<br />
(again) and by Vivaldi. There are two other<br />
kinds of music here: instrumental versions of<br />
seven 16th-century Czech folksongs (arranged<br />
by Maute) and seven very short, unaccompanied<br />
vocal chaconnes by Maute. The latter<br />
are expressive and haunting. They are beautifully<br />
sung by the sopranos Dawn Bailey<br />
and Jana Miller and alto Maude Brunet.<br />
Elsewhere there are eight instrumentalists<br />
and the playing is of a high order. Warmly<br />
recommended.<br />
Hans de Groot<br />
Las Cuidades de Oro – Baroque Music from<br />
the Spanish New World<br />
L’Harmonie des Saisons; Eric Milnes<br />
ATMA ACD2 2702<br />
!!<br />
The importance of<br />
Spanish music of the<br />
17th and 18th century<br />
has long been recognized,<br />
but it is only in<br />
recent years that we<br />
have been introduced<br />
to the riches that have<br />
been preserved in<br />
Latin American archives, in Colombia and<br />
Peru, in Chile and Guatemala, in Bolivia and<br />
Mexico. It is clear from the music on this<br />
recording that there were rich polyphonic<br />
traditions in Peru (in the San Antonio Abad<br />
Seminary in Cuzco, at the shrine dedicated to<br />
Our Lady of Candelaria in Copacabana and in<br />
the Cathedral at Lima) and in Bolivia (in the<br />
Cathedral of La Plata, now Sucre). Some of the<br />
composers featured were Spaniards whose<br />
careers developed in the New World, others<br />
were born in Latin America and one (Alonzo<br />
Torices) never left Spain, although some of his<br />
works have been preserved in the Guatemala<br />
City Cathedral archives. Most of the texted<br />
works on this recording are in Spanish but<br />
one is in Latin and one in Quechua, the official<br />
language of the Inca Empire.<br />
The recording is carefully planned: the<br />
musical language shows a great deal of variety<br />
and the documentation is excellent. The<br />
rhythms are incisive and the standards of<br />
playing and singing are high. I particularly<br />
enjoyed the two duets sung by the sopranos<br />
Hélène Brunet and Elaine Lachica.<br />
Hans de Groot<br />
CLASSICAL AND BEYOND<br />
Brahms – Double Concerto; Symphony No.4<br />
Pinchas Zukerman; Amanda Forsyth;<br />
National Arts Centre Orchestra<br />
Analekta AN 2 8782<br />
!!<br />
Pinchas Zukerman,<br />
who retired after 16<br />
years at the helm<br />
of the NACO, has<br />
certainly left his mark<br />
on the Canadian<br />
musical scene. His<br />
promotion of musical<br />
training for young<br />
musicians surely will be his most lasting<br />
legacy, alongside the hundreds of concerts<br />
and live recordings he generated. A case in<br />
point is a new Analekta disc recorded live.<br />
The Double Concerto by Brahms is like one of<br />
those amazing perfect recipes from The Joy of<br />
Cooking. Get the right ingredients, follow the<br />
recipe exactly and presto: it always works. You<br />
need one virtuosic violinist (Zukerman fits<br />
the bill perfectly), one cellist who can keep<br />
up (Forsyth more than keeps up here!) and an<br />
orchestra that knows not to overstep. It helps<br />
that Zukerman and Forsyth pair up frequently<br />
for this piece and have a definite rapport,<br />
developed over their years of playing together.<br />
So this Double Concerto hits all the right<br />
buttons – it is unrestrained, powerful and<br />
tsunami-like in delivery, while shimmering<br />
with sans pareil melodic lines. There are<br />
virtuosic passages the likes of which Heifetz<br />
and Rostropovich made us expect from soloists.<br />
Real aural pleasure, if not breaking any<br />
new ground.<br />
Alas, it is in the Symphony No.4 that we<br />
understand why Zukerman will be remembered<br />
as a solo virtuoso, rather than a team<br />
player. His reading of the score seems muted<br />
and slowed down, as if he expects the<br />
orchestra will not to be able to keep up. The<br />
result is still Brahms, majestic, but somewhat<br />
leaden and heavy-footed, as if the will<br />
to live were slowly trickling out of the music.<br />
After 40 years of virtuosity, it may be the most<br />
honest pronouncement from Zukerman – he<br />
is a solo act.<br />
Robert Tomas<br />
My Cup Runneth Over – Complete Piano<br />
Works of R. Nathaniel Dett<br />
Clipper Erickson<br />
Navona Records NV6013<br />
(navonarecords.com)<br />
!!<br />
While we have enjoyed many opportunities<br />
to hear the choral music of Nathaniel<br />
Dett (1882-1943),<br />
this is the first ever<br />
recording of the<br />
prolific composer’s<br />
complete piano works<br />
which encompass<br />
quite a range, both<br />
in period and style.<br />
Pianist Clipper Erickson, who completed his<br />
DMA at Temple University researching Dett’s<br />
work, raised funds for this recording project<br />
through a Kickstarter campaign. Recorded in<br />
Germany for Navona Records and distributed<br />
by Naxos, the disc provides an enjoyable and<br />
significant dose of music history for professional<br />
and layman alike.<br />
Canadian-born Dett’s styles range here<br />
from popular dance music and jazz to spirituals,<br />
romanticism and impressionism, with<br />
rags and salon suites alongside works influenced<br />
by Liszt, Dvořák, Debussy and Grainger.<br />
And like some of the aforementioned influences,<br />
Dett had both education and talent<br />
to seamlessly incorporate folk idioms into<br />
art music. His piano pieces explore diverse<br />
themes: the love of nature (Magnolia), the<br />
Deep South (In the Bottoms), Rosicrucian<br />
philosophy (Enchantment), the poetry of<br />
Rabindrath Tagore (Cinnamon Grove) and<br />
scripture (Eight Bible Vignettes). Erickson,<br />
an accomplished pianist, performs with great<br />
sensitivity to these themes and an obvious<br />
admiration for the great composer. Kudos to<br />
Erickson for his initiative and to those who<br />
BACH IN TIME:<br />
Let There Be Beauty<br />
Poetry by Patricia Orr<br />
Bach’s organ music<br />
played by Patricia Wright<br />
CD and<br />
poetry book<br />
$25<br />
(add $5<br />
for mailing)<br />
“thoughtful…<br />
a fascinating meditation…<br />
stylish…full of expressive intimacy”<br />
– Organ Canada, November, 2015<br />
Available from metunited.org Estore<br />
or through Metropolitan United Church<br />
416-363-0331 ext. 26<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 59
chose to support this endeavour. A welcome<br />
release, just in time for Black History Month.<br />
Dianne Wells<br />
MODERN AND CONTEMPORARY<br />
Dutilleux – Symphony No.1; Deux Sonnets<br />
de Jean Cassou; Métaboles<br />
Paul Armin Edelmann; Deutsche<br />
Staatsphilharmonie Rheinland-Pfalz;<br />
Karl-Heinz Steffens<br />
Capriccio C5242<br />
Dutilleux – Métaboles; L’arbre des songes;<br />
Symphony No.2 «Le double»<br />
Augustin Hadelich; Seattle Symphony;<br />
Ludovic Morlot<br />
Seattle Symphony SSM1007<br />
Dutilleux – Tout un monde lointain<br />
Emmanuelle Bertrand; Pascal Amoyel;<br />
Luzerner Sinfonieorchester; James<br />
Gaffigan<br />
harmonia mundi HMC 902209<br />
!!<br />
Last month was<br />
French composer<br />
Henri Dutilleux’s<br />
centennial, and<br />
commemorative<br />
recordings of<br />
his meticulously<br />
crafted works began<br />
appearing in the<br />
middle of last year. Despite the premature<br />
arrival of these particular discs, however,<br />
a reappraisal of his music has long been<br />
overdue. A relatively small oeuvre, combined<br />
with a high-placed enemy in the form of<br />
a young Pierre Boulez, worked to consign<br />
Dutilleux to relative obscurity for nearly all<br />
but the last two decades of his 97-year life.<br />
What’s more, the music which he did<br />
permit, after years of revision, to pass through<br />
the pinpoint mesh of his self-criticism never<br />
had pretensions of epoch-making in the first<br />
place. There is no avant-garde formalistic<br />
demagoguery, no school of thought behind<br />
his work (though the long shadows of Ravel<br />
and Berg loom). Instead, Dutilleux commandeers<br />
entire orchestras, as Proust commandeered<br />
thousands and thousands of pages, to<br />
convey nothing more than a deeply personal<br />
– though phantasmagorical – inner world.<br />
Comparisons to artists in other mediums<br />
always abound when one speaks of Dutilleux,<br />
likely because he makes no secret of his debts<br />
to the Belle Époque; he has also cited<br />
Baudelaire and Van Gogh as inspirations. And<br />
yet his music is rarely programmatic, or even<br />
narrativistic. If anything, it is architectural;<br />
his pieces often feel like they occupy<br />
considerable space, like musical edifices<br />
composed of forces held in perfect<br />
equilibrium.<br />
His first major work to embody this<br />
panoramic style is his most performed.<br />
Written in 1964 for the Cleveland Orchestra,<br />
Métaboles is a précis of Dutilleux’s work.<br />
Tired with the thesisantithesis<br />
of theme<br />
A versus theme B,<br />
Dutilleux looked to<br />
nature in search of<br />
a more malleable<br />
symphonic form. There<br />
he saw that, given<br />
enough transformations,<br />
evolution could bridge unimaginable<br />
gaps between organisms (as that between,<br />
say, a primordial bacteria and a human<br />
being). Adapting this model to Métaboles, he<br />
steadily modifies his thematic material until<br />
it becomes unrecognizable – yet still inextricably<br />
linked through a kind of musical metabolism<br />
to the material which germinated it.<br />
Two fine recordings of this piece appeared<br />
last year. The first, recorded by Karl-Heinz<br />
Steffens and the Deutsche Staatsphilharmonie<br />
Rheinland-Pfalz, is expansive, smoothing the<br />
kaleidoscope turn of Métaboles’ transformations.<br />
The next, recorded by Ludovic Morlot<br />
with the Seattle Symphony, is notable for its<br />
excellent mastering, which enhances the<br />
work’s already galactic compass. Taken<br />
together, these CDs present a kind of<br />
“métaboles” of Dutilleux’ entire career: the<br />
Rheinland-Pfalz disc contains his early works,<br />
including a rare vocal setting, while the<br />
Seattle recording features a brilliant performance<br />
of Dutilleux’s late violin concerto by<br />
Augustin Hadelich (entitled L’arbre des<br />
songes, it too draws inspiration from nature<br />
and has structural similarities with<br />
Métaboles).<br />
Filling in the<br />
gaps is Emmanuelle<br />
Bertrand’s performance<br />
of the<br />
Baudelaire-inspired<br />
cello concerto, “Tout<br />
un monde lointain…”<br />
with the Luzerner<br />
Sinfonieorchester. The concerto is worth the<br />
price of admission alone – it is perhaps his<br />
greatest work, ably performed here – but the<br />
CD also includes some historical context with<br />
a recording of Debussy’s cello sonata. Sensibly<br />
enough, for though Dutilleux was scorned<br />
by the Paris establishment, he was one of its<br />
rightful heirs. The recordings appearing now<br />
on this important anniversary are the definitive<br />
proof.<br />
Elliot Wright<br />
Poulenc – Piano Concertos; Aubade<br />
Louis Lortie; Hélène Mercier; BBC<br />
Philharmonic; Edward Gardner<br />
Chandos CHAN 10875<br />
!!<br />
This sparkling<br />
CD includes Francis<br />
Poulenc’s works for<br />
piano and orchestra<br />
plus music for two<br />
pianists. I’ve loved<br />
Poulenc’s cheeky<br />
brews of popular and<br />
classical elements<br />
since a lighthearted teenage attempt at his<br />
Sextet for Piano and Winds, when we had<br />
a mock waiter serve drinks during my first<br />
piano solo! Compositionally, Poulenc invites<br />
us to loosen up and accept new things, but<br />
performance is not easy. In the Concerto<br />
(1949) Lortie’s ensemble with orchestra is<br />
precise without compromising rhythmic<br />
life, and he dashes off the first movement’s<br />
lounge-piano flourishes without belabouring<br />
them. Originally written for a ballet, Aubade<br />
(1929) is quintessential Poulenc. It is evocative<br />
of 1920s Paris, for piano with an orchestra<br />
stripped down to 18 instruments emphasizing<br />
winds and brass. Lortie plays the<br />
opening toccata with its challenging repeated<br />
chords immaculately, and manages the juxtaposed<br />
contrasting phrases well. The BBC<br />
Philharmonic’s winds shine in wonderfully<br />
bittersweet double-reed instrument passages<br />
and in several fine clarinet solos.<br />
Lortie’s long-time duo-piano partner<br />
Hélène Mercier joins him in the two-piano<br />
Concerto in D Minor. They play the opening<br />
movement’s quasi-Balinese passages seamlessly.<br />
The Larghetto’s classical nostalgia<br />
and more modern sentiments come through<br />
effectively. In the dissonant final movement,<br />
double notes are crisp and chords balanced.<br />
Works for two pianists alone close the disc;<br />
in Poulenc’s four-hand Sonata and two short<br />
duo-piano pieces, Mercier and Lortie find<br />
opportunities for free dialogue and joyous<br />
music-making.<br />
Roger Knox<br />
Leo Brouwer – Music for Bandurria and<br />
Guitar<br />
Pedro Chamorro; Pedro Mateo González<br />
Naxos 8.573363<br />
!!<br />
Cuban composer<br />
Leo Brouwer (b.1939)<br />
is an astonishing<br />
sound creator in this<br />
new release featuring<br />
music for bandurria<br />
and guitar. Brower’s<br />
masterful use of<br />
music of divergent<br />
musical styles like Cuban rhythms, changing<br />
metres, contemporary new music atonal<br />
references, simple folk music and South<br />
American references from other composers<br />
are, when combined and layered, surprisingly<br />
atheistically pleasing and challenging, yet<br />
never jolting.<br />
Performers Pedro Mateo González on<br />
guitar and Pedro Chamorro on bandurria (a<br />
popular South American small lute dating<br />
from the 16th century) are stars both as soloists<br />
and as a duo. There is so much respect<br />
for the composer in their spirited performances.<br />
González is especially outstanding<br />
in capturing both the soul-wrenching slow<br />
lyricism in Variation 3, and the toe-tapping<br />
energetic and contrasting slower emotions<br />
in Variation 7 of Variaciones sobre un tema<br />
de Víctor Jara, a work drawn from Chilean<br />
60 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
musician/activist Victor Jara’s popular song<br />
Lo unico que tengo. Likewise, Chamorro<br />
easily conquers the fiery rapid lines and<br />
contrasting rhythms in both his solo performances<br />
which include a world premiere<br />
recording of Sonata para Bandurria. The 1957<br />
duet Micropiezas para Bandurria y Guitarra<br />
is dedicated to Darius Milhaud. A theme and<br />
variation of the French children’s song Frère<br />
Jacques, Brouwer creates an unmatched<br />
spellbinding piece for the two musicians to<br />
shine in subtlety and simplicity.<br />
Kudos too to the fine, clear work of the<br />
producers, Canadians Norbert Kraft and<br />
Bonnie Silver. This is beautiful music played<br />
beautifully.<br />
Tiina Kiik<br />
all spring – Chamber Music of Emily<br />
Doolittle<br />
Seattle Chamber Players and friends<br />
Composers Concordance Records<br />
comcon0025 (emilydoolittle.com)<br />
!!<br />
Behind Canadian<br />
composer Emily<br />
Doolittle’s music lies<br />
a passion for the relationship<br />
between<br />
music and nature,<br />
and specifically, bird<br />
and animal songs. Her<br />
recent album of chamber music, all spring,<br />
is a superb example of how she navigates this<br />
fundamental connection that has inspired<br />
generations of composers. This interest<br />
has led her to conduct research into birdsong<br />
and explore the aesthetics of whether<br />
animal songs can be considered music. As our<br />
world faces critical environmental choices,<br />
the question of how we relate to the forces of<br />
nature and all beings who live here is increasingly<br />
becoming a focus for many composers.<br />
How these concerns translate into music for<br />
acoustic instruments was uppermost in my<br />
awareness as I listened to Doolittle’s CD.<br />
Her approach is to offer a distillation of the<br />
qualities of natural phenomena or personal<br />
experiences. In four pieces about water<br />
essential qualities of water are revealed,<br />
whereas in all spring the focus is on the<br />
characteristics of specific birds. Some of the<br />
ways Doolittle herself engages with nature<br />
– listening and hiking – are highlighted in<br />
her pieces falling still and col. The choices<br />
Doolittle makes to bring the listener into<br />
closer connection with nature works at subtle<br />
levels. It is less about recreating a sense of<br />
place or imitation of the soundscape, but<br />
rather creating a sonic experience to guide<br />
the listener into connection with the deeper<br />
layers of natural phenomena, an entry into<br />
the heart of nature.<br />
Wendalyn Bartley<br />
Sally Beamish – The Singing<br />
James Crabb; Håkan Hardenberger;<br />
Branford Marsalis; Royal Scottish National<br />
Orchestra; National Youth Orchestra of<br />
Scotland; Martyn Brabbins<br />
BIS <strong>21</strong>56<br />
!!<br />
British composer<br />
Sally Beamish has<br />
called Scotland<br />
home since 1990 and<br />
describes her love of<br />
Scottish traditional<br />
music, landscape and<br />
history, along with<br />
an interest in jazz, as<br />
her inspirations. There are many, many styles<br />
and traditions that Beamish draws upon in<br />
her compositions, making this release of<br />
her works written between 2003 and 2012<br />
intriguing, accessible and exciting listening.<br />
Accordionist James Crabb is spectacular<br />
in the concerto, The Singing. From long<br />
mournful singing lines, bagpipe imitations<br />
and breathing bellows and winds, the accordion<br />
and orchestra create lush soundscapes.<br />
Saxophonist Branford Marsalis is equally<br />
lyrical and moving in Under the Wing of<br />
the Rock, a piece originally scored for solo<br />
viola and strings, and inspired by Celtic<br />
song and psalms. It’s back to downtown city<br />
living in the exciting Concerto for Trumpet<br />
and Orchestra featuring soloist Håkan<br />
Hardenberger. The use of parts of scrapped<br />
cars and scaffolding pipes in the percussion<br />
section against the wailing trumpet in<br />
the third movement, creates a dramatic edgy,<br />
hard sound. Reckless for chamber orchestra is<br />
witty and light while the orchestra emulates<br />
atmospheric washes of land and sea in A Cage<br />
of Doves. Conducted by Martyn Brabbins,<br />
both the Royal Scottish National Orchestra<br />
and the National Youth Orchestra of Scotland,<br />
on the trumpet concerto, play with energetic<br />
precision and flair.<br />
Beamish’s love and respect for her inspirations<br />
resonate throughout these intelligent<br />
works. Perfect music to warm up a cold<br />
winter’s day!<br />
Tiina Kiik<br />
Bill Alves – Mystic Canyon; Music for Violin<br />
and Gamelan<br />
Susan Jensen; HMC American Gamelan<br />
MicroFest Records MF4<br />
(microfestrecords.com)<br />
!!<br />
East-West crossover<br />
combining gamelan<br />
and Western orchestral<br />
instruments is,<br />
of course, nothing<br />
new, and composer<br />
Bill Alves continues<br />
in the tradition established<br />
by the late American composer, Lou<br />
Harrison, who wrote more than 50 compositions<br />
in this genre. Like Harrison, Alves has<br />
composed many musical works for gamelan<br />
– specifically his “American gamelan,” the<br />
Harvey Mudd College American Gamelan<br />
(HMC), an ensemble of Javanese instruments<br />
whose tunings have been modified according<br />
to just intonation, and which is dedicated<br />
to performing new music rather than traditional<br />
gamelan repertoire. This CD showcases<br />
two such compositions for violin and<br />
gamelan: Mystic Canyon and Concerto for<br />
Violin and Gamelan.<br />
This music is mesmerizing and quite<br />
beautiful. Susan Jensen’s superb violin<br />
playing, with its rich and languorous musical<br />
lines, overlays the soft, delicate and glimmering<br />
sounds of the bronze gamelan instruments.<br />
They provide a range of mellifluous<br />
musical patterns with their polyrhythms,<br />
sometimes static, and at other times gently<br />
shifting. The ambience of Mystic Canyon is<br />
ethereal and diaphanous, with contrasting<br />
sections where the violin is prominent,<br />
followed by occasional breaks with just<br />
gamelan, all fading away gently at the end of<br />
the piece. The six movements of the concerto<br />
display a variety of moods and techniques<br />
ranging from energetic and percussive, to<br />
changing textures and gentle interlocking<br />
rhythms, to more inert ostinati backing the<br />
violin’s soaring melodies. This is music that<br />
will appeal to gamelan and non-gamelan<br />
specialists alike.<br />
Annette Sanger<br />
Just Strings – Compositions of Lou<br />
Harrison and John Luther Adams<br />
Just Strings; Alison Bjorkedal; John<br />
Schneider; T.J. Troy; HMC American<br />
Gamelan<br />
MicroFest Records MF7<br />
(microfestrecords.com)<br />
!!<br />
This sparkling<br />
album weaves together<br />
six works variously<br />
scored for harp, guitar<br />
and percussion by<br />
Pulitzer Prize- and<br />
Grammy-winning<br />
American composer<br />
John Luther Adams (b.1953), and his mentor<br />
Lou Harrison (1917-2003).<br />
The liner notes call Harrison “the Godfather<br />
of World Music,” and not without justification.<br />
His compositions from mid-career on<br />
are marked by the incorporation of elements<br />
of the musics of non-Western cultures,<br />
particularly those of South, Southeast and<br />
East Asia. For example, from the 1970s to the<br />
end of his life Harrison composed dozens of<br />
works for Sundanese, North and Southcentral<br />
Javanese types of gamelan (orchestra). Along<br />
the way he influenced several generations of<br />
musicians including Toronto’s Evergreen Club<br />
Contemporary Gamelan.<br />
Calling it “American gamelan” Harrison<br />
also constructed several of his own DIY<br />
versions of gamelan prototypes with his<br />
partner William Colvig. They chose to<br />
tune each gamelan set in just intonation,<br />
eschewing both mainstream equal temperament<br />
and the Javanese/Sundanese indigenous<br />
theoretical tuning systems (of which he was<br />
also well aware). We hear a work Harrison<br />
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wrote for one of his American gamelans<br />
in the finale of this album. In Honor of the<br />
Divine Mr. Handel (1991), for concert harp<br />
and small Javanese gamelan in just intonation,<br />
is stylishly directed by composer and<br />
Harrison scholar Bill Alves. It manages a difficult<br />
and deft dual musical trick: it is not only<br />
a delightfully tuneful tribute to the baroque<br />
composer but also to the music of the<br />
Javanese gamelan.<br />
Among today’s leading composers in<br />
the Western classical lineage, John Luther<br />
Adams is represented here by two suites, Five<br />
Athabascan Dances and Five Yup’ik Dances,<br />
both from 1995. Like Harrison before him,<br />
Adams, in these works, pays respect to indigenous<br />
music-making. Commissioned for the<br />
Just Strings trio, the works drew on traditional<br />
songs of the Athabascan people for<br />
the first set and on the songs of the Yup’ik of<br />
the Yukon-Kuskokwim delta for the second.<br />
Those songs were extensively reworked<br />
and rendered in the Pythagorean tuning by<br />
the composer, who remarked that he had<br />
“extended and transformed these … melodies<br />
in many ways. In the process, they<br />
have become something else, somewhat far<br />
removed from Alaska Native music in sound<br />
and in context.”<br />
In the skillful musical hands of the three<br />
Grammy Award-winning musicians of Just<br />
Strings, this melody-forward music of Adams<br />
and Harrison rings true clear across boundaries<br />
marked by culture, musical performance<br />
practice and genre.<br />
Andrew Timar<br />
Elliott Sharp – The Boreal<br />
Various Artists<br />
Starkland ST-222 (starkland.com)<br />
!!<br />
There is a sense<br />
of beautiful, orderly<br />
turmoil on Elliott<br />
Sharp’s The Boreal.<br />
Speaking first of the<br />
piece and then the<br />
whole album, the<br />
fullest appreciation of the music is, of course,<br />
to be had by following its schematics from<br />
Sharp’s score, which is exquisite in all its<br />
minimalistic glory. This, as the composer<br />
points out, includes “hocketed grooves, difference<br />
tones and non-pitched materials generated<br />
by the use of alternate bows made from<br />
ballchain and metal springs.” The effect is<br />
quite masterful, pleasing to the ear, mostly<br />
due to the clarity of the gestures, and of<br />
course, the JACK Quartet’s brilliant interpretation<br />
of this written/improvised score.<br />
You learn immediately to appreciate, the<br />
combustible spontaneity, the treasurable fire,<br />
communicative flair and consummate craft of<br />
Sharp’s indelible inspiration.<br />
Headlined by The Boreal, the recording also<br />
features some of Elliott Sharp’s other remarkable<br />
pieces – Oligosono from 2004, Proof Of<br />
Erdős from 2006, performed by Orchestra<br />
Carbon, with David Bloom as conductor, and<br />
On Corlear’s Hook from 2007 performed by<br />
the Janáček Philharmonic Orchestra with<br />
Peter Rundel conducting. The selection<br />
provides a peep into Sharp’s polymath-like<br />
artistry. The noteworthy Oligosono is a reference<br />
to the world of “little sounds” and what<br />
is even more remarkable is its transposition<br />
from the stringed instrument for which it was<br />
written, to the piano, and performed with<br />
wit and intuition by pianist Jenny Lin. Two<br />
hands here and a new generation of rhythm<br />
and harmonic overtones make this piece<br />
quite memorable. Proof Of Erdős is an erudite<br />
homage to the mathematician Pál Erdős.<br />
The tonal colours of On Corlear’s Hook are<br />
culled from Sharp’s ethereal palette and flawless<br />
artistry.<br />
Raul da Gama<br />
JAZZ AND IMPROVISED<br />
A Love Supreme<br />
John Coltrane<br />
Impulse/Verve 80023727-02<br />
!!<br />
Few jazz recordings<br />
have the significance<br />
of A Love Supreme,<br />
the four-part suite that<br />
Coltrane recorded on<br />
December 9, 1964,<br />
with his classic quartet<br />
of pianist McCoy<br />
Tyner, bassist Jimmy<br />
Garrison and drummer Elvin Jones. With<br />
Miles Davis’ 1959 Kind of Blue, it virtually<br />
defines the concept LP in jazz. Inspired by a<br />
transformative experience that freed Coltrane<br />
of his addictions and turned his music into<br />
a spiritual mission, A Love Supreme is his<br />
most structured work, describing the progress<br />
through Acknowledgement, Resolution,<br />
and Pursuance to an ultimate Psalm. A definitive<br />
statement of the quartet, it was also a<br />
watershed between some of Coltrane’s most<br />
orderly work and the tumultuous free jazz<br />
that marked his last years.<br />
For the 50th anniversary of its release,<br />
Verve has expanded on the previous deluxe<br />
edition of 2002 with two- and three-CD<br />
versions. For serious Coltrane listeners, the<br />
three-CD set, with extensive commentary and<br />
more new material, is the one to get. Some<br />
material seems superfluous, the mono dubs to<br />
which Coltrane listened adding nothing new,<br />
but the alternate takes and other versions<br />
(virtually the complete recordings) demonstrate<br />
the extent to which the released version<br />
is an image of order amidst rough seas. The<br />
day after the quartet recording, Coltrane set<br />
about recording the suite with a sextet that<br />
added tenor saxophonist Archie Shepp and<br />
bassist Art Davis. The set adds two sextet<br />
versions of Acknowledgement to those previously<br />
released. The music initially seems less<br />
successful, with Shepp adding a raucous,<br />
almost R & B flavour, but as one listens to<br />
the four takes, one appreciates the spirit<br />
of collective improvisation that Coltrane<br />
was exploring, with each version radically<br />
different than the one before, each growing in<br />
freedom and intensity.<br />
Also included is Coltrane’s sole live<br />
performance of the work, recorded six<br />
months later at the Antibes jazz festival. This,<br />
too, is raw, more exploratory work, with the<br />
up-tempo Pursuance stretched from ten to<br />
<strong>21</strong> minutes in length. Listening to Coltrane’s<br />
further elaborations on A Love Supreme,<br />
reinforces the idea that the quartet studio<br />
recording captured a uniquely reflective (and<br />
structuralist) moment in Coltrane’s art, a<br />
gathering of one’s secure knowledge before<br />
launching again into the unknown.<br />
Stuart Broomer<br />
Spring<br />
Susie Arioli<br />
Spectra Musique SPECD-7854<br />
(susiearioli.com)<br />
!!<br />
For this, her<br />
eighth studio album,<br />
Montreal-based singer<br />
Susie Arioli looked to<br />
Toronto and its roster<br />
of heavy-hitters in the<br />
jazz realm for support.<br />
Produced by Grammy<br />
Award-winner John Snyder and arranged by<br />
the legendary Don Thompson, Spring is about<br />
renewal and fresh starts. In other words, it’s<br />
a break-up album. A glance through the list<br />
of songs – Those Lonely, Lonely Nights, Me<br />
Myself and I, After You’ve Gone – tells the<br />
story. The clever illustrations by Arioli that<br />
accompanying each song title on the CD<br />
cover, literally paint a picture.<br />
So, while lyrically this is an unhappy<br />
album, the music is anything but. There’s<br />
nary a ballad to be found. It’s upbeat and<br />
swingy with a bouncy horn section and<br />
Arioli’s deep, warm voice casually cataloguing<br />
a list of hurts. With Thompson’s vibraphone<br />
doubling Reg Schwager’s guitar, the cool 60s<br />
are evoked on a number of tunes including<br />
Mean to Me and I’m the Caring Kind. Arioli’s<br />
own compositions, of which there are four<br />
on the album, range in style from a country<br />
and western homage to the lure of the bottle<br />
on Can’t Say No, to a breezy bossa nova-style<br />
indictment of infidelity on Someone Else.<br />
Ariloi has a number of tour dates in <strong>2016</strong><br />
in Quebec, with more to come. Check susiearioli.com.<br />
Cathy Riches<br />
Flying Without Wings<br />
John Alcorn<br />
Loach Engineering LE1001<br />
(jazzinthekitchen.ca/product/flyingwithout-wings)<br />
!!<br />
This project was conceived and recorded<br />
by trumpeter/engineer/producer John<br />
Loach, and came about as a result of his<br />
62 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
eing inspired by a performance by leading<br />
Canadian jazz vocalist<br />
John Alcorn. During<br />
his show, Alcorn<br />
not only rendered<br />
gems from the Great<br />
American Songbook,<br />
but also deftly<br />
included anecdotes<br />
and fascinating factoids about each composer<br />
and composition. This idea of creating a total,<br />
composer-focused experience propelled<br />
Loach to produce this fine CD – which<br />
features talented musicians Mark Eisenman<br />
on piano, Reg Schwager on guitar, Steve<br />
Wallace on bass and the world-renowned<br />
cornetist Warren Vaché.<br />
Throughout the 12 tracks (which include<br />
contributions from Irving Berlin, Cole Porter,<br />
the Gershwins and more), Alcorn’s rich baritone<br />
is expressive and infused with life<br />
experience. His intuitive understanding of a<br />
witty, ironic or devastatingly emotional lyric<br />
coupled with his intuitive communications<br />
with the other players are part and parcel of<br />
the contagious appeal of this charismatic and<br />
thoroughly gifted musical artist.<br />
Standouts include Porter’s Just One of<br />
Those Things, which cooks along with an irresistible<br />
percolation from the rhythm section<br />
and features a masterful solo from Eisenman.<br />
Also of note is It’s Like Reaching for the Moon<br />
(Marqusee/Sherman/Lewis), featuring an<br />
intimate guitar/voice intro, which segues<br />
into trio perfection, as well as a stunner of a<br />
solo from Warren Vaché, who embraces the<br />
era of the composition while adding his own<br />
contemporized sensibilities.<br />
Also of special note is an evocative arrangement<br />
of the rarely performed You’re My Thrill<br />
(Clare/Gorney), which conjures up a languid,<br />
sensual garden of delight. The CD closes with<br />
Harry Warren’s I Wish I Knew – a track filled<br />
with almost unbearable beauty and longing.<br />
This exceptional CD – so full of heart – is<br />
aptly dedicated to the memory of the lovely<br />
Diane Alcorn.<br />
Lesley Mitchell-Clarke<br />
Pocket Symphronica<br />
Ron Davis<br />
Really Records REA-ED-5886<br />
(rondavismusic.com)<br />
!!<br />
With the release of<br />
his tenth recording,<br />
eclectic and skilled<br />
pianist/composer/<br />
producer Ron Davis<br />
has reaffirmed his<br />
position as one of the<br />
most tenacious and<br />
engaging musical artists in Canada. Pocket<br />
Symphronica embraces the wide range of<br />
Davis’ skills and taste (which includes explorations<br />
into the milieus of jazz, world, pop/<br />
dance and classical musics). Comprised of<br />
11 original compositions (and with Davis<br />
performing brilliantly on piano, Fender<br />
Rhodes and Hammond B3), this new project<br />
is a fresh distillation of his previous, innovative<br />
CD, Symphronica – a clever symphonic<br />
jazz recording which in turn led to the<br />
current chamber-sized, more portable version<br />
of the larger ensemble.<br />
Davis has surrounded himself here with<br />
a stalwart group of collaborators, including<br />
arrangers Mike Downes, Jason Nett and Tania<br />
Gill and co-producers Dennis Patterson, Mike<br />
Downes, Roger Travassos and Kevin Barrett.<br />
A breathtaking string quartet (including<br />
genius Andrew Downing on cello) and a firstcall<br />
core band comprised of guitarist Barrett,<br />
bassist Downes and drummer/percussionist<br />
Travassos fully manifest Davis’ creative and<br />
stylistically diverse visions.<br />
Included in the recording are Davis’<br />
impressions of such far-flung motifs and<br />
artists as Lady Gaga (the ambitious Fugue and<br />
Variations on Gaga and Poker Face), funk<br />
(Gruvmuv – featuring a few face-melters<br />
from Barrett), Middle Eastern/Sephardic<br />
elements (the exciting and rhythmic D’hora)<br />
and a beautifully string-laden and evocative<br />
take on the traditional Jewish Passover song,<br />
Chassal Siddur Pesach (featuring sumptuous<br />
cello work from George Meanwell).<br />
Additional memorable tracks include the<br />
uptempo string/piano feature, Presto and the<br />
gentle, bossa-infused beauty of Jeanamora.<br />
This is a deeply satisfying CD, as well as a<br />
portrait of an artist at the peak of his creativity<br />
and technical facility.<br />
Lesley Mitchell-Clarke<br />
Discern<br />
Artie Roth Quartet<br />
Independent (artieroth.com)<br />
!!<br />
Bassist Artie Roth’s<br />
latest offering, Discern,<br />
is a highly textured<br />
and interactive affair,<br />
combining a loose,<br />
open feel with remarkably<br />
precise and<br />
detailed arrangements.<br />
The mix of electronic<br />
sounds with acoustic instrumentation lends<br />
itself to approaches that are both highly<br />
varied and coherent. His writing is steeped<br />
in the harmonic and rhythmic language of<br />
contemporary jazz while retaining a strong<br />
melodicism.<br />
The Compromise Blues establishes the tone<br />
of the recording with its majestic soundscape<br />
and drummer Anthony Michelli’s<br />
Elvin Jones-inspired groove. Roth opens the<br />
soloing, elaborating on the lyricism of the<br />
melody and paving the way for Mike Filice’s<br />
tenor sax. Filice’s understated opening lines<br />
and relaxed style gathers momentum as he<br />
fluidly weaves his way in and out of the tune’s<br />
harmony. Guitarist Geoff Young, equally adept<br />
in the language of modern jazz, makes use of<br />
a rich overdriven tone to build into inspired<br />
double time lines. As well, Young’s sonic<br />
palette orchestrates the proceedings in ways<br />
that become increasingly apparent as the<br />
album unfolds.<br />
The textural aspect of the CD comes into<br />
full fruition in Still Hear, dedicated to the late<br />
drummer Archie Alleyne, a long time cohort<br />
of Roth’s. Tenor saxophone and bass clarinet<br />
are overdubbed, meshing with Young’s<br />
atmospheric guitar colours. Frontline instruments<br />
converse and Michelli lets loose over<br />
Roth’s ostinato bass figure. This is a beautifully<br />
played and produced recording that is a<br />
pleasure to listen to.<br />
Ted Quinlan<br />
Wait, There’s More<br />
Heillig Manoeuvre<br />
Independent HM 6015<br />
(heilligman.com)<br />
!!<br />
The latest incarnation<br />
of bassist and<br />
composer Henry<br />
Heillig’s Heillig<br />
Manoeuvre continues<br />
the shift from the<br />
group’s earlier more<br />
electric sound to the<br />
decidedly mainstream bent of Wait, There’s<br />
More. The constant in the band’s evolution<br />
has been Heillig’s accessible, groove-oriented<br />
compositional style. The current group,<br />
including longtime Manteca cohort Charlie<br />
Cooley on drums, pianist Stacie McGregor<br />
and saxophonist Alison Young may be its<br />
most compelling lineup to date. Young, who<br />
has established herself as an important new<br />
player on the scene, brings a confident, fresh<br />
voice to the quartet’s blend of bebop, blues<br />
and funk. McGregor embraces a similar sensibility,<br />
occupying both frontline and rhythm<br />
section roles with aplomb.<br />
Wait, There’s More, the opening tune, highlights<br />
Heillig’s and Cooley’s ease with classic<br />
Latin and swing feels. The drum/sax duet<br />
off the top of Young’s solo is a perfect setup<br />
for her soulful, swinging style. McGregor<br />
follows suit, complementing the sax solo with<br />
her own well-rooted sense of the tradition.<br />
Arrangements are the key here and solos are<br />
concise and to the point without feeling truncated.<br />
Wonky Rhomboid features bass and<br />
baritone saxophone over a seven-beat figure<br />
that slips momentarily into a fast swing,<br />
reminiscent of Mingus’ Fables Of Faubus.<br />
Young’s composition Waltz For Harriet showcases<br />
the composer’s command of nuance<br />
with a nod to Cannonball Adderley’s funky<br />
exuberance. Groove and fun are the order of<br />
the day in this highly satisfying outing.<br />
Ted Quinlan<br />
Paul Newman – Duo Compositions<br />
Paul Newman; Karen Ng; Heather Segger<br />
Independent (paulnewman1.bandcamp.<br />
com)<br />
!!<br />
Paul Newman has<br />
already proved his<br />
credentials at the existential<br />
end of the saxophone.<br />
Now he turns<br />
that angst and all of<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 63
his utterly brilliant compositional prowess to<br />
a pair of daring works for a set of duets – the<br />
first featuring his tenor saxophone with the<br />
alto of Karen Ng, entitled Strange Customs.<br />
The second piece (with Heather Segger’s<br />
trombone replacing Ng’s alto) is a furiously<br />
innovative one, its title taken from a poem by<br />
the quintessential artist, Dianne Korchynski.<br />
The music is as arresting as the title: When I<br />
Die, Who Will Be There to Count the Rings?<br />
While experimental music such as this can<br />
be more concerned with process than result,<br />
the fruits of Paul Newman’s experiments –<br />
especially on Duo Compositions – are brave,<br />
gutsy and aurally fascinating. These duets<br />
could have been limited by the timbre of<br />
each instrument – a tenor and an alto saxophone<br />
and a trombone. But Newman’s scores<br />
expand the consciousness of the improvising<br />
musicians. And you experience this<br />
throughout the recording.<br />
These are endlessly fascinating pieces, their<br />
broad glissandos and darting arpeggios, products<br />
of the fertile imaginations of the improvising<br />
musicians, Ng and Segger. The language<br />
of Cage might seem to be spoken and sung;<br />
that and the gleeful dancing of Cecil Taylor,<br />
whose gymnastically inclined pianism appear<br />
to inform the improvisations. The scores<br />
suggest something equally original, both in<br />
the suggested “vocalastics” and instrumental<br />
mischief of saxophones and human smears of<br />
the trombone. These admirable performances<br />
make a worthwhile addition to any collection<br />
of music.<br />
Raul da Gama<br />
The Ten Thousand Things<br />
Simon Rose; Stefan Schultze<br />
Red Toucan RT 9350<br />
(www3.sympatico.ca/cactus.red/toucan)<br />
!!<br />
Joining forces to<br />
extract as many undiscovered<br />
textures<br />
from their instruments<br />
as humanly<br />
possible, British alto<br />
and baritone saxophonist<br />
Simon Rose<br />
and German-prepared<br />
piano specialist Stefan Schultze come across<br />
less like mad scientists and more like dedicated<br />
epistemologists. Like researchers<br />
confronted with unexpected by-products<br />
from their experiments, they assiduously<br />
dissect the results for further trials. And like<br />
the Lone Ranger and Tonto riding in tandem,<br />
for every extended technique exposed by<br />
Rose, from tongue slapping to atonal smears,<br />
Schultze has an appropriate response or goad,<br />
plucking, stopping, pushing and sliding along<br />
his strings, and with implements such as<br />
bowls, bells and mashers vibrating atop them.<br />
A track like Magua for instance starts with<br />
gargantuan baritone sax textures exposed<br />
via bone-dry multiphonics, soon pleasantly<br />
liquefying to a jerky slap-tongue rhythm to<br />
affiliate with bell-like clangs from the piano’s<br />
speaking length. Or consider Schultze’s ring<br />
modulator-like reverberations which bring<br />
out the mellow underpinning of Rose’s backand-forth<br />
snuffling on Bird Sommersaults.<br />
Additionally, harpsichord-like string stopping<br />
gets a tougher interface that vibrates<br />
the soundboard strings when sympathetically<br />
matched with low-pitched reed vibrations<br />
on Unstabled. Rose’s split tones allow<br />
him to play reed strategies that are simultaneously<br />
mellow and rickety or skyscraper high<br />
and copper mine low at the same time; while<br />
Schultze’s strategies create equivalent concurrent<br />
textures inside and outside the piano.<br />
Leviathan Blues is a fine demonstration of<br />
this. The pianist’s stretching the strings while<br />
percussively key slapping creates a rhythmic<br />
backbeat which expands to meet the saxophonist’s<br />
theme variations that likewise<br />
widen and become more dissonant as Rose<br />
plays. Altissimo reed agitation brings out<br />
equivalent kinetic key pummeling, until a<br />
simple pedal-push counter-theme calms the<br />
woodwind cyclone enough to move Rose to<br />
singular honks that finally meld with solidifying<br />
key vibrations.<br />
By the time the last note sounds at the end<br />
of this CD’s 11th and final track, if the two<br />
haven’t exposed the sound textures from<br />
10,000 things they’ve certainly come close<br />
to doing so.<br />
Ken Waxman<br />
Mette Henriette<br />
Mette Henriette<br />
ECM 2460/2461 (ecmrecords.com)<br />
!!<br />
Mette Henriette is<br />
a young Norwegian<br />
saxophonist and<br />
composer and this<br />
eponymous two-CD<br />
debut is a remarkable<br />
statement, whether<br />
considered for its skill,<br />
beauty or sheer reach.<br />
Recorded during 2013 and 2014, the music<br />
possesses sufficient breadth to escape any<br />
immediate classification, with materials and<br />
textures drawn from contemporary composed<br />
music, jazz and free improvisation. The two<br />
CDs are distinguished by their resources: the<br />
first features a trio with pianist Johan Lindvall<br />
and cellist Katrine Schiøtt; the second adds<br />
11 musicians including a jazz rhythm section<br />
and five more strings.<br />
Henriette does not immediately reveal<br />
herself on the first CD as Lindvall and Schiiøtt<br />
develop elongated textures that are at once<br />
rich and spare, aloof and full of suggestion.<br />
There’s a profound state of attentiveness in<br />
this music: neither specifically contemplative<br />
nor serene, it seems poised to accept revelation.<br />
The opening track, So, may suggest<br />
something of Arvo Pärt, while later episodes<br />
are at times more evanescent still, touching<br />
on the whispers and transparency of George<br />
Crumb’s Night Music. Henriette’s tenor saxophone<br />
is often limited here to long tones and<br />
brief phrases, her interest focused on sonority,<br />
overtones and the literal sound of air and<br />
moisture in the horn.<br />
That role expands, along with the range<br />
of compositions, on the second CD, with<br />
Henriette’s wellspring of lyricism coming<br />
immediately to the fore on the beautiful<br />
passé, before the music moves on to darker<br />
realms, including the foreboding circus of<br />
late à la carte. As a saxophonist, she has a<br />
tremendous expressive range. Her timbral<br />
focus can suggest tenor sounds as distinct as<br />
Stan Getz, Jan Garbarek and Gato Barbieri<br />
(the latter in wildheart, a brooding noisefest<br />
that invokes the early Jazz Composers<br />
Orchestra), while a willingness to explore<br />
multiphonics and sheer air suggests affinities<br />
with free improvisers. Mette Henriette’s reach<br />
is impressive, her grasp even more so.<br />
Stuart Broomer<br />
Ask The Ages<br />
Sonny Sharrock<br />
M.O.D. Technologies MOD0016 (modtechnologies.com)<br />
!!<br />
Many creative<br />
musicians have<br />
struggled to find a<br />
supportive audience,<br />
and that was certainly<br />
the case with guitarist<br />
Sonny Sharrock. He<br />
emerged in the late<br />
1960s as a school of one, playing free jazz<br />
with the raw power of electric blues and the<br />
sonic edge of rock guitar, bringing a signal<br />
force to recordings like Pharoah Sanders’<br />
Tauhid and Miles Davis’ Jack Johnson.<br />
Over the following years Sharrock was in<br />
and out of music, until forming an association<br />
with bassist/producer Bill Laswell. The<br />
fruits of that association included the explosive<br />
band Last Exit and this CD from 1991,<br />
Sharrock’s last recording as a leader before<br />
his death in 1994.<br />
Sharrock has ideal partners here, including<br />
saxophonist Sanders, drummer Elvin Jones<br />
and the younger bassist Charnett Moffett, all<br />
of them sharing a vision of music possessing<br />
palpable spiritual power. The music is often<br />
anthemic with a sonic density rare in jazz<br />
(thanks to Laswell’s production) and an<br />
emotional power seldom approached in jazz<br />
fusion. There’s a perfect balance between<br />
Sanders’ apocalyptic rant and Sharrock’s own<br />
wild inventiveness, from the skittering electric<br />
chatter of Promises Kept to the illuminated<br />
eloquence of Who Does She Hope to<br />
Be?, his ringing, sustained sound the closest<br />
a guitarist will likely ever get to the spirit of<br />
John Coltrane.<br />
The match of the four musicians on each<br />
of Sharrock’s six compositions is uncanny,<br />
achieving its greatest power on Many<br />
Mansions, Sanders wailing above Jones’ thunderous<br />
drumming while Sharrock and Moffett<br />
generate a pulsing wall of sound.<br />
Stuart Broomer<br />
64 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
POT POURRI<br />
Pillorikput Inuit – Inuktitut Arias for All<br />
Seasons<br />
Deantha Edmunds; Karrie Obed; Innismara<br />
Vocal Ensemble; Suncor Energy String<br />
Quartet; Tom Gordon<br />
Memorial (mun.ca/mmap/back_on_track/<br />
pillorikputinuit)<br />
!!<br />
Musicologist and<br />
pianist Tom Gordon,<br />
professor emeritus of<br />
the School of Music at<br />
Memorial University<br />
in St. John’s, NL has<br />
long been fascinated<br />
by the sacred music<br />
performed by the Inuit Moravians of Northern<br />
Labrador. Unlike other Christian denominations,<br />
Moravian missionaries not only placed<br />
a high value on personal piety and missions,<br />
but also particularly encouraged the place<br />
of music in worship. Digging to understand<br />
this music’s history, Gordon sifted through<br />
hundreds of manuscripts in Moravian church<br />
archives along the Labrador coast.<br />
What emerged was a rich musical practice<br />
with roots back to the 1770s and 1780s<br />
when European Moravian missionaries<br />
founded settlements in Northern Labrador at<br />
Nain, then Okak and Arvertok, the first (of<br />
many more) Christian missions to the Inuit<br />
in what is now Canada. They came to preach<br />
Christianity and one of their prime tools –<br />
and legacies – was music.<br />
Quite rapidly the music imported from<br />
Europe evolved, in the words of Gordon, as<br />
an “expressive practice re-conceived to reflect<br />
the spirituality and aesthetic preferences of<br />
Inuit musicians.” It was music heard almost<br />
exclusively within the modest clapboard<br />
walls of Labrador Moravian churches. There<br />
it remained, almost unknown to the outside<br />
world, until now.<br />
From these communities’ extensive repertoire<br />
of brass music, congregational singing<br />
and choral music, Gordon has chosen 16<br />
tracks of solo sacred arias and duets, reconstructing<br />
them from church manuscripts.<br />
The result is the impressively documented<br />
and performed CD Pillorikput Inuit (Behold,<br />
the People), true not only to the letter of the<br />
source manuscripts but also to the Inuit spirit<br />
of its performers and tradition-keepers. The<br />
music chosen celebrates key annual liturgical<br />
events like Christmas and Easter, as well<br />
as the community celebrations of Married<br />
People’s Day and Church Festival Day.<br />
Featuring the classically trained Inuk<br />
soprano Deantha Edmunds and Moravian<br />
Inuit music expert Karrie Obed, both singing<br />
in Inuktitut, the repertoire includes music<br />
by two leading European composers of<br />
their day, Handel and Haydn. As expected,<br />
songs by lesser-tier yet fascinating Moravian<br />
composers such as Johann Daniel Grimm<br />
(1719–1760), the American John Antes (1740–<br />
1811) and the English clergyman Christian<br />
Ignatius Latrobe (1758–1836) are also well<br />
represented. Organ, wind and string instrumental<br />
accompaniment, and the Innismara<br />
Vocal Ensemble from St. John’s provide suitable<br />
period support throughout.<br />
What is unique in these performances? It’s<br />
not so much the repertoire or the conventional<br />
instrumental forces employed. It is<br />
rather the deeply heartfelt renditions of these<br />
European songs in Inuktitut representing<br />
a hybrid Inuit performance practice dating<br />
back over 225 years in Canada’s North that<br />
I find so moving. It seems to me Pillorikput<br />
Inuit represents the tip of the iceberg of the<br />
rich Inuit musical heritage the rest of us in<br />
the South are just beginning to discover,<br />
and enjoy.<br />
Andrew Timar<br />
Rebirth of a Nation (DJ Spooky)<br />
Kronos Quartet<br />
Cantaloupe CA<strong>21</strong>110<br />
!!<br />
If ever there was<br />
a potent time to<br />
release this masterfully<br />
crafted new<br />
soundtrack to the<br />
D.W. Griffith classic,<br />
Birth of a Nation, it<br />
would be now during<br />
Something in the Air<br />
Advanced Jazz’s Fountain of Youth<br />
KEN WAXMAN<br />
the tumultuous rebuilding of post-George W.<br />
Bush America by its extraordinary protagonist<br />
Barak Obama. Oblique parallel lines could<br />
be drawn through the similarities of situation,<br />
except that the country is not fighting<br />
a civil war to – among other things – end<br />
slavery. However a sharply divided people<br />
and flare-ups of discrimination along racial<br />
lines, unpopular wars and a dramatic decline<br />
in civility towards the presidency might be a<br />
likely background for such a soundtrack to<br />
what Spooky, the irreverent composer, aka<br />
Paul D. Miller, calls Rebirth of a Nation.<br />
The Kronos Quartet seem to be a perfect<br />
fit for this musical adventure and the quartet<br />
seems to come to terms with DJ Spooky’s<br />
mindset as if they were one and the same<br />
brain. Their transcendent musicianship, a<br />
result of great empathy between the players,<br />
provides not just memorable accompaniment<br />
to the dramaturgy of Griffith’s visuals but also<br />
discreet, seductive and eloquent continuo for<br />
Spooky’s own musical instruments, which<br />
remain stark and dominant throughout the<br />
unfolding visuals. Yes, visuals! The soundtrack<br />
is accompanied by a wonderfully produced<br />
DVD so it is possible to hear the music work<br />
in conjunction with the original silent moving<br />
picture as well. I also like Spooky’s laserbright<br />
instrumentation.<br />
Raul da Gama<br />
One common shibboleth of mid-20th century creative music was that “jazz was a young<br />
man’s art.” Putting aside the sexism implicit in the statement, the idea denied jazz musicians<br />
the sort of late career acclaim that notated music masters like Pablo Casals and Vladimir<br />
Horowitz enjoyed. Times have more than changed. Expanded from the Baby Boomer cliché<br />
that “50 is the new 30” and its upwards affiliations, career longevity is now taken for granted<br />
in all serious music. These CDs recorded by improvised musicians in their 70s attest to that.<br />
Take American pianist Ran Blake for example, now 80 and usually<br />
found in a solo or duo context. But Ghost Tones (A side 0001 a-siderecords.com),<br />
created when he was a mere 75, is a more ambitious<br />
project. The 17-track CD reconstitutes the compositions/arrangements<br />
of jazz theorist George Russell (1923-2009) written for combos or big<br />
bands. Blake plays solo acoustic or electric piano framed by interjections<br />
from horns, strings, electronics and even a second piano. Like a<br />
curator who situates artifacts in modern settings, Blake’s conceptions<br />
are both contemporary and faithful to the originals. The Ballad of Hix Blewitt for instance,<br />
receives a tripartite setting with Rachel Massey’s violin sounding impressionistic sweetness;<br />
Dave “Knife” Fabris’ steel guitar reverberating with country music melancholy; and both<br />
setting off Blake’s melody variations. A similar transformation affects You Are My Sunshine<br />
which begins and ends with steel-guitar twanging, but is defined by a middle section of<br />
dissonant improvisations between Fabris and Blake. Jack’s Blues, in contrast, features Ryan<br />
Dugre’s tough guitar chording atop a brass choir, as blues-tinted piano lines weave in and out<br />
of the narration like a taxi in heavy traffic, finally introducing blues sensibility in the penultimate<br />
moments. The futuristic Stratusphunk is a solo piano feature that invests the theme<br />
with call-and-response patterning. yet retains the tune’s linear status. Still, the paramount<br />
indication of Blake’s skill appears on the forbiddingly titled Vertical Form VI and the theatrical<br />
Lonely Place. On the first, a sense of underlying swing is brought forward with tympani rat<br />
tat tats, trombone blats and Blake trading riffs with electric pianist Eric Lane. Lonely Place’s<br />
emotional lonesomeness is expressed as Aaron Hartley’s plunger trombone echoes and Doug<br />
Pet’s free-flowing tenor saxophone lines are superseded by Blake’s precise and icy harmonies.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 65
Another session honouring a departed<br />
improviser, but one who was around to participate<br />
in this, his final session, is Free Form<br />
Improvisation Ensemble 2013 (Improvising<br />
Beings ib 40 improvising-beings.com). To be<br />
honest, while the hiccupping smears emanating<br />
from French-Moroccan tenor saxophonist<br />
Abdelhaï Bennani (1950-2015) are interesting<br />
as he meanders through these two CDs of linked abstract improvisations,<br />
(as is the low-key drumming of Chris Henderson), the focus lies<br />
elsewhere. Like famous actors who make cameo appearances in small<br />
films, Bennani’s timbral strategy is cushioned or enhanced due to the<br />
contributions of American expatriates, pianist Burton Greene, now<br />
78, and Alan Silva, now 76, who plays orchestral synthesizer. Some<br />
of Silva’s electronic double-bass approximations give a few of the 13<br />
live improvisations a percussive rhythm that they otherwise lack.<br />
Elsewhere the oscillating sheets of sound the synthesizer produces<br />
wash over the other players like a cyclone-induced rainstorm. Silva’s<br />
blurry processes cascade in such a way to encourage the saxophonist’s<br />
harsh interface. But more often than not, whether in tandem with<br />
Bennani or on his own, it’s Greene’s considered patterns which pierce<br />
Silva’s murky enveloping sounds like a nail through wood. Almost<br />
from the beginning, the pianist’s centipede-like reach sharpens the<br />
program as he moves along the keys and symbolically within the<br />
cracks between them. With oscillating ponderousness on one side<br />
and hesitant reed puffs and percussion clatter on the other, it’s Greene<br />
who emphasizes the rhythmic thrust at the end of CD1 to create a<br />
groove. On the second disc, as Greene varies his attack from impressionistic<br />
classicism to Thelonious Monk-like angularity, he brings<br />
out sympathetic low-pitched timbres from Silva which encourage<br />
the saxophonist’s whinnying cries, and adds some levity via a lively<br />
cadenced solo in the middle. By the concluding minutes, Silva’s mass<br />
of processing retreats to bring the saxophonist into the foreground.<br />
Reading too much into Bennani’s restrained buzzes and puffs may be<br />
like those critics who portend the demise of writers by analyzing their<br />
final prose, but Bennani’s leaky, brittle tone does appear to be that of<br />
a man playing his own threnody. Luckily, the older but more nimble<br />
Silva, and especially Greene, are on hand to add palliative empathy.<br />
Another improviser whose broad-mindedness<br />
and experimentation are not affected<br />
by age is saxophonist Joe McPhee, 76, who is<br />
recording and playing as prolifically now as he<br />
has since he started recording in the late 1960s.<br />
Ticonderoga (Clean Feed 345 CD cleanfeedrecords.com)<br />
finds him sharing space with a<br />
near-contemporary drummer, Charles Downs,<br />
72, as well as pianist Jamie Saft and bassist Joe<br />
Morris, who are two or three decades younger. In this classic formation,<br />
McPhee glides between tenor and soprano, extruding textures<br />
weighty and coarse as lumber, but adding cunning aviary-pitched<br />
trills from the smaller horn. Like the mortar that bonds bricks,<br />
Downs’ collection of clunks and raps builds a strong foundation able<br />
to support any embellished strategy. Similarly, tremolo pulses and<br />
bow-sourced sprawls allow Morris to accompany and solo. Though<br />
like a tugboat alongside the ocean liner which is McPhee, Saft never<br />
abandons the background role. At the same time he uses calming<br />
harp-like string plucks and stops as frequently as keyboard tropes.<br />
With balladic tones transformed via altissimo screams into daggersharp<br />
notes as he plots an original path, the saxophonist’s skill is most<br />
obvious on Leaves of Certain and A Backward King. Like a mathematician<br />
scrawling numerous formulae on a blackboard, McPhee treats<br />
the first as a testing ground for exotic multiphonics, stretching out<br />
an assembly line’s worth of reed textures to form variegated patterns.<br />
Finally, alongside Saft’s yearning glissandi he settles on dual tones<br />
created by shouting into his saxophone’s body tube as he masticates<br />
the reed. The result is a finale that satisfies with no letdown in excitement.<br />
Cheerful, buoyed by Saft’s guileless patterning, A Backward<br />
King initially highlights Saft exposing so many keyboard colours that<br />
he could be figuratively knitting a rainbow-dyed scarf. A subsequent<br />
processional piano statement presages McPhee’s shift from snarky<br />
stridency to gentle ballad variations, until the two swiftly reverse the<br />
process like a car backing up, and construct a new garment out of<br />
half-puckered sax blasts and half inside-piano plucks. Climatically<br />
though, Morris’ background patterning<br />
produces a pluck so dexterous and directional<br />
that it soothes the others into moderato attachment<br />
and then silence.<br />
More than 40 years separate South African<br />
drummer Louis Moholo-Moholo, 75, and<br />
Italian pianist Livio Minafra, 33. But during<br />
Born Free (Incipit Records 203 egeamusic.<br />
com) the South African-Italian duo produces enthralling episodes of<br />
cinched improvisations and compositions. The CD attains its creative<br />
zenith on Flying Flamingos. Operating like two halves of a single<br />
entity, each man’s measured tones slip into place like the bolt in a<br />
lock. Exhorted verbally and by Moholo-Moholo’s jouncing minimal<br />
drum patterns, Minafra frames his narrative with rugged honky-tonklike<br />
keyboard splashes, only to emphasize a sparkling easy swing in<br />
the tune’s centre. This responsive patterning is expressed throughout,<br />
as the two move through episodes of almost-Disney-cartoon-like<br />
tenderness on a tune such as Angel Nemali; to the repressed ferocity<br />
of Foxtrot, where acute drum pummelling and choppy, high-pitched<br />
key clattering up the piece’s Charlie Chaplin-like waddle to sprinter’s<br />
speed. Like a racing car that accelerates to 160 mph from zero, the two<br />
demonstrate similar control on the introductory and closing variations<br />
on Canto General, with the pianist’s glissandi at warp speed on the<br />
first, and the drummer’s literal collection of bells and whistles prominent<br />
on the second. This package also includes<br />
a DVD with filmed episodes from the performances<br />
plus commentary from both players.<br />
During his long career Moholo-Moholo<br />
has played in many duo situations including<br />
a memorable CD with Swiss pianist Irène<br />
Schweizer. Like the other innovators here,<br />
Schweizer, 74, divides her work between<br />
playing with younger musicians and her<br />
contemporaries. Welcome Back (Intakt 254 intaktrec.ch) is titled that<br />
way since it’s the second duo CD the pianist and Dutch drummer<br />
Han Bennink, 73, have recorded. The first was in 1995. Acting their<br />
age, the two breeze through 14 tracks with élan, excitement and<br />
empathy. Schweizer’s gracious variations on ditties like Meet Me<br />
Tonight in Dreamland are mocked by bomb dropping and whistles<br />
from Bennink, but eventually overcome his disruption when she<br />
adds a touch of stride. Meanwhile jazz classic Eronel is wrapped up in<br />
fewer than two minutes, with the pianist’s pumping percussiveness<br />
swinging the contorted line. Like a reveller trying on several masks at<br />
a costume party, Schweizer’s original meld of (Thelonious) Monkish<br />
angularity, South African highlife and earlier jazz forms are showcased<br />
on Kit 4, Ntyilo, Ntyilo and Rag, with the first shapeshifting to<br />
staccato hardness abetted by the drummer’s clattering; the second<br />
theatrical and respectful, plus ending with the sonic equivalent of<br />
a multi-hued sunset; and the last narrative swelling to Willie “The<br />
Lion” Smith-style finger-busting swing. She and Bennink confirm<br />
their seasoned status on Free for All, gliding over different styles with<br />
feather-light key pressure and brush strokes that sound like sand<br />
rubbed on the snare, before intervallic leaps expose kinetic underpinnings.<br />
But the key track is Schweizer’s own Bleu Foncé. Like a detective<br />
series where the characters are known, but surprises appear in<br />
every episode, Schweizer’s variations on a traditional blues are true<br />
to the form, yet on top of Bennink’s condensed shuffle beat, she adds<br />
feints and emphasis to express her creative individuality.<br />
George Bernard Shaw once said that “youth is wasted on the<br />
young.” In the case of these improvisers though, when it comes to<br />
music at least, age is just a number.<br />
66 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
Old Wine, New Bottles | Fine Old Recordings Re-Released<br />
Some years ago during the intermission<br />
feature on a recorded concert heard on<br />
the car radio, the conductor, a prominent<br />
figure, spoke about his meeting with<br />
Igor Stravinsky of whom he asked about interpreting<br />
Le Sacre du Printemps. “Do not interpret<br />
my music,” he was instructed, “just play<br />
what I wrote.” Who better to do that than<br />
the composer himself. Igor Stravinsky – The<br />
Complete Columbia Album Collection (Sony 502616, 56 CDs, a DVD<br />
and an informative 262-page hardbound book) contains every one<br />
of his own and supervised recordings made by American Columbia<br />
and RCA Victor. In 1991 Sony issued Igor Stravinsky: The Recorded<br />
Legacy on 22 CDs and it seemed this was to be the final chapter on<br />
the Columbia recordings. In the intervening years many changes have<br />
enabled Sony to add 34 new CDs. Included now are all 19 monaural<br />
recordings including the three RCA CDs with the RCA Symphony<br />
Orchestra and all the pre-stereo recordings with the New York<br />
Philharmonic, the Cleveland Orchestra, the Metropolitan Opera and<br />
soloists including Joseph Szigeti, Vronsky and Babin, Jean Cocteau,<br />
Peter Pears, Mitchell (later Mitch) Miller, Mary Simmons, Marilyn<br />
Horne, Marni Nixon, Jennie Tourel, Bernard Greenhouse, Vera Zorina<br />
and many, many others. Each of these recordings is a part of the<br />
Stravinsky legacy.<br />
Stravinsky’s recording of Le Sacre du Printemps from April 1940<br />
with the Philharmonic-Symphony Orchestra of New York was the<br />
first Stravinsky work I owned. It became my reference performance<br />
and is the first disc in this new box. Listening to the 1960 recording<br />
of the 1947 version with the Columbia Symphony Orchestra (disc 22)<br />
is a different experience. After the back-in-time opening, The Augurs<br />
of Spring – The Dances of the Young Girls bursts forth unmistakably<br />
as ballet music and not simply a concert piece. Stravinsky’s propulsive<br />
beat and accents are maintained through Part One, percussive,<br />
but not confrontational nor blatantly aggressive, yet very potent<br />
and authoritative. Many, perhaps most, who acquire this new set will<br />
enjoy comparing the early to the later performances of other works.<br />
Several are of particular interest: the Symphony of Psalms (1946,<br />
NYC) versus the 1963 recording with the Toronto Festival Singers and<br />
the CBC Symphony Orchestra; also the suite from The Soldier’s Tale<br />
(1954, NYC) versus the brilliant 1961 Hollywood complete recording,<br />
abstracted as a Suite – later the complete score with narration by<br />
Jeremy Irons was issued. The Ebony Concerto’s over-rehearsed,<br />
uninspired performance from 1946 with the Woody Herman<br />
Orchestra is brought to life in 1965 by Benny Goodman and a jazz<br />
combo. Stravinsky is also heard in rehearsals, as pianist and in conversation<br />
and in a monologue, “Apropos of Le Sacre,” that clears up a few<br />
events. All the monaural recordings, from original discs and tapes,<br />
have been transferred employing 24/96 technology resulting in the<br />
highest fidelity to the originals.<br />
Audiophiles may remember when it was de rigueur to vehemently<br />
denigrate Columbia for multi-miking that, they claimed, perverted<br />
the real sound. Listening to these priceless, landmark performances<br />
in such wide-range, you-are-there 3D realism, will certainly put a<br />
lie to that. The accompanying DVD, Stravinsky in Hollywood, is the<br />
film by Marco Capalbo that takes us from Stravinsky’s great expectations<br />
there in 1939 through to the composer’s last days in 1971 in<br />
NYC where he, with his longtime friend Robert Craft, mused over the<br />
scores and recordings of Beethoven’s late string quartets.<br />
A most unexpected sequence of events occurred last week … I<br />
opened the 37-CD reissue of the Quartetto Italiano intending to check<br />
out the repertoire and listen to a piece or two for now, intending to<br />
get into it later. My big mistake was that I started with the Beethoven<br />
Op.132 and Grosse Fuge Op.133. Later became sooner, and sooner<br />
became now, and immediately I found myself embarking on the<br />
BRUCE SURTEES<br />
complete Beethoven cycle, all 16 quartets. From<br />
the very first bars their security, their astonishing<br />
togetherness and sonorities announce<br />
that they are not simply four musicians playing<br />
but an entity: a perfect string quartet. The<br />
group first met in Sienna in 1942 and in 1945<br />
they came together as the Nuovo Quartetto<br />
Italiano, later dropping the Nuovo. They<br />
toured extensively and in 1951 they played in<br />
Salzburg where they impressed Wilhelm Furtwängler. The conductor<br />
convinced them to play with a greater freedom of expression by<br />
running through a performance of the Brahms F Minor Quintet with<br />
Furtwängler himself at the piano. This was a critical turning point<br />
in their career following which they introduced new rhythmic freedoms<br />
to their innate classicism. In 1965 they began their long association<br />
with Philips recording the Debussy and Ravel quartets. Included<br />
in this collection of superlative performances are the complete quartets<br />
by Beethoven, Brahms, Mozart, Schumann and Webern together<br />
with quartets by Haydn, Schubert, Boccherini, Dvořák, etc. and the<br />
Brahms F Minor Quintet with Pollini in 1980. The Quartetto Italiano<br />
disbanded in 1987.<br />
Find complete details of Quartetto Italiano – The Complete Decca,<br />
Philips and DG Recordings (Decca 478884) at arkivmusic.com/classical/album.jsp?album_id=<strong>21</strong>58595.<br />
As the big-band era passed into history<br />
through the 1950s, new schools of jazz had<br />
already emerged, from bebop at one end of the<br />
spectrum to the cool school. Cool was characterized<br />
by easy tempos in arrangements that<br />
often had a “classical” feel as exemplified by<br />
Dave Brubeck, the Modern Jazz Quartet, Gerry<br />
Mulligan and others. Of interest were the various groups formed by<br />
Chico Hamilton.<br />
Drummer Foreststorn “Chico” Hamilton (19<strong>21</strong>-2013), in his early<br />
musical career, had played with Charles Mingus, Illinois Jacquet,<br />
Dexter Gordon and others. Engagements with Ellington, Lionel<br />
Hampton, Nat King Cole, Billie Holiday and six years with Lena Horne<br />
attest to his proficiency and the inevitability of him forming his<br />
own groups.<br />
After leaving the original Gerry Mulligan Quartet in 1953, Hamilton<br />
made his first recordings for Pacific Jazz as the Chico Hamilton<br />
Trio with bassist George Duvivier and guitarist Howard Roberts. So<br />
successful was that disc that in 1955 the Chico Hamilton Quintet was<br />
formed. “At the outset, I didn’t quite know what I wanted. I only knew<br />
that I wanted something new, a different and, if possible, exciting<br />
sound.” The quintet comprised cellist Fred Katz; Buddy Collette,<br />
flute, clarinet, alto and tenor sax; Jim Hall, guitar and Carson Smith,<br />
bass. In 1956 Paul Horn replaced Collette and John Pisano replaced<br />
Hall. Their arrangements of original and standard repertoire were all<br />
in-house and except for their ghastly versions of all the tunes from<br />
South Pacific, the performers communicate a joie de vivre as fresh as<br />
yesterday and totally satisfying<br />
The1955 to 1959 Quintet recordings are<br />
included in Chico Hamilton – The Complete<br />
Recordings <strong>Volume</strong> 1 together with the earlier<br />
trio sessions and others totaling 98 tracks<br />
(Enlightenment ENSCD9057, 5 CDs). <strong>Volume</strong><br />
Two contains all 84 recordings by Hamilton’s<br />
various groups on assorted labels issued on ten<br />
LPs from 1959 to 1962 (Enlightenment ENSCD9058, 5 CDs). Fans of<br />
West Coast jazz will get much pleasure from these two sets, as will all<br />
those who derive pleasure from cool, chamber jazz. The transfers are<br />
exemplary.<br />
thewholenote.com <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> | 67
REMEMBERING<br />
Paul Bley:<br />
A Modern Jazz Piano Master<br />
KEN WAXMAN<br />
Paul Bley who died at 83 in early January was probably never<br />
bothered that he was usually described as Canada’s secondbest-known<br />
jazz pianist; Oscar Peterson was the first. But Bley,<br />
who shared a Montreal birth with Peterson, and who similarly was<br />
honoured with induction into the Order of Canada in 2008 – albeit<br />
30-plus years after Peterson – was for all intents and purposes a much<br />
more radical pianist than O.P.<br />
Peterson, seven years Bley’s senior, was a flamboyant stylist who<br />
adapted Art Tatum’s all-encompassing swing era techniques to the<br />
structure of modern jazz during an almost incalculable number of<br />
performances from the late 1940s until his death in 2007. However<br />
Bley, represented on more than 100 discs during his career, cycled<br />
through a variety of keyboard strategies from the outgoing to the cerebral,<br />
eventually matching the atonality of off-centre techniques with<br />
straightforward, melodically measured motion. He was also one of the<br />
first serious improvisers to deal with the sonic possibilities that could<br />
be extracted from the then brand-new portable Moog synthesizer.<br />
Later, such better-known pianists as Keith Jarrett, The Bad Plus’ Ethan<br />
Iverson and Satoko Fujii developed their playing following the examples<br />
of Bley’s breakthroughs.<br />
As a teenaged boogie-woogie specialist “Buzzy” Bley, born in 1932,<br />
was gigging locally at 13 and briefly took over Peterson’s regular gig at<br />
Montreal’s Alberta Lounge in 1949, when the latter made his New York<br />
debut. The next year Bley moved south to study at New York’s Juilliard<br />
School of Music, and by the mid-1950s had not only recorded with<br />
alto saxophonist Charlie Parker, be-bop’s avatar, but made his first<br />
LP Introducing Paul Bley, on Debut records, in a trio with legendary<br />
modernists, bassist Charles Mingus and drummer Art Blakey. Bley,<br />
who had married pianist/composer Carla Bley – née Karen Borg –<br />
was leading a conventional Modern Jazz Quartet-styled combo in Los<br />
Angeles in 1958, when he let his bassist Charlie Haden’s friends, alto<br />
saxophonist Ornette Coleman and pocket trumpeter Don Cherry, sit<br />
in. Coleman’s revolutionary restructuring of the then-accepted jazz<br />
basics – so that improvisations didn’t have to be based on the initial<br />
structure and where every player was free to contribute his variants to<br />
the tune – was a revelation to and influence on Bley.<br />
Back in New York, Bley became a charter member of the so-called<br />
New Thing and the Jazz Composers Guild, alongside certified avantgardists<br />
such as militant tenor saxophonist Archie Shepp, bandleader<br />
Sun Ra and pianist Cecil Taylor, among others. He expressed his newfound<br />
polytonal keyboard freedom on two 1960s LPs for the ESP<br />
label. One, Barrage, was with a quintet including drummer Milford<br />
Graves and the Sun Ra Arkestra’s alto saxophonist Marshall Allen, and<br />
included distinctive cover art work by Canadian visual artist Michael<br />
Snow. Closer, a session with bassist Steve Swallow and drummer<br />
Barry Altschul, was one of the multitude of trio discs Bley would make<br />
with a succession of bassists and drummers during the 1960s and<br />
1970s. On it, Bley redefined the idea of interplay in the jazz trio in a<br />
method much different than Peterson’s traditional follow-the-leader<br />
approach. It was this conception of bluesy yet cerebral intensity that<br />
welcomed other players’ ideas at any time, which influenced Jarrett<br />
and many other keyboardists. Earlier, Bley and Swallow had been part<br />
of multi-reedist Jimmy Giuffre’s drummer-less trio, which played<br />
hushed chamber jazz informed by folksy themes and European atonality.<br />
The band’s masterpiece was Free Fall (Columbia), and it and the<br />
trio’s other discs are generally acknowledged as the initial influence<br />
on ECM Records’ characteristic sound.<br />
Meanwhile Closer could also describe Bley’s relationship with his<br />
favourite composers of the era. Except for the odd original, standard<br />
and Coleman covers, the majority of his repertoire – including certified<br />
jazz classics like Ida Lupino, And Now the Queen and Ictus – was<br />
composed by Carla Bley. After they separated, his next companion,<br />
singer/keyboardist Annette Peacock, composed much of the material<br />
he played. As late as 1992 he recorded an entire disc consisting of<br />
Peacock material simply entitled Annette (hatOLOGY). His associates<br />
were bassist Gary Peacock and Viennese flugelhornist Franz<br />
Koglmann. Bley’s sparse piano ruminations that terminated when<br />
he was satisfied, not according to conventional structures, plus his<br />
low-key articulation also appealed to the growing European free<br />
music experimenters. Besides work with Koglmann and Swiss reedist<br />
Hans Koch, some of his best latter day sessions were with Europeans:<br />
Time Will Tell and Sankt Gerold Variations 1-12 recorded for ECM in<br />
the mid-1990s with British saxophonist Evan Parker and long-time<br />
American-in-France, bassist Barre Phillps; Chaos (Soul Note) with<br />
British drummer Tony Oxley and Italian bassist Furio di Castri; and<br />
Florida with Danish drummer Kresten Osgood.<br />
Bley’s association with Annette Peacock was around the same time<br />
as he began experimenting with the Moog. Besides recording several<br />
discs showing off its parameters, he was the first improviser to adapt<br />
the analog keyboard synthesizer for live performances. After spending<br />
a couple of years working out strategies for multi-keyboard and patch<br />
chording, Bley abandoned the synth and returned to piano. After that<br />
he was usually recorded in classic piano trio or solo piano formats. The<br />
exquisite Play Blue (ECM), a meditative solo disc recorded in 2008 and<br />
released in 2014, is his final session as of this time.<br />
Although Bley left the synthesizer for others to explore he didn’t<br />
give up on multimedia. With his wife, video artist Carol Goss who<br />
survives him, for a decade starting in 1974 he co-founded and ran<br />
Improvising Artists Inc. (IAI), which recorded 20 discs and some of<br />
the first music videos. Besides his own work, Bley and IAI put out<br />
discs by established improvisers such as Peacock, Giuffre, Ra and<br />
saxophonist Sam Rivers as well as younger discoveries. Jaco, IAI’s<br />
sixth release with Bley on electric piano and Bruce Ditmas on drums,<br />
was the studio recording debut of future jazz superstars, guitarist Pat<br />
Metheney and electric bassist Jaco Pastorius.<br />
During the 1990s Bley also taught part-time at Boston’s New<br />
England Conservatory. Among his many students was Japanese pianist<br />
Satoko Fujii. Her first CD, Something about Water (Libra) from 1995,<br />
is a duo date with Bley. Similarly, although he hadn’t lived in Canada<br />
for about half a century, along with his other projects, Bley recorded a<br />
series of albums with several Canadians during the 1990s and aughts.<br />
They included such well-received efforts as Double Time with flutist<br />
Jane Bunnett; Outside In with guitarist Sonny Greenwich; Know Time<br />
with drummer Geordie McDonald and trumpeter Herbie Spanier;<br />
Touché with fellow expatriate Canadian, flugelhornist Kenny Wheeler;<br />
and Travelling Lights featuring saxophonist François Carrier and<br />
drummer Michel Lambert, all on Justin Time records.<br />
No matter whether he played in duo or larger formations, Bley’s offhanded<br />
mastery, which combined narrative delicacy with rhythmic<br />
astringency, was always completely original and instantly identifiable.<br />
What better epitaph than that can there be for an improvising<br />
musician?<br />
Ken Waxman’s column Something in the Air is a regular<br />
feature of The WholeNote’s CD review section, DISCoveries.<br />
68 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
KOERNER HALL IS:<br />
“<br />
A beautiful space for music “<br />
THE GLOBE AND MAIL<br />
Taylor Academy<br />
Showcase Concerts<br />
SAT., FEB. 6, 4:30PM<br />
MAZZOLENI CONCERT HALL<br />
FREE (TICKET REQUIRED)<br />
The Phil and Eli Taylor<br />
Performance Academy for<br />
Young Artists presents a<br />
concert by the leading young<br />
classical musicians in Canada.<br />
Hear the stars of tomorrow!<br />
Johannes Debus conducts<br />
the Royal Conservatory<br />
Orchestra and<br />
Edward Zhou (piano)<br />
FRI., FEB. 12, 8PM KOERNER HALL<br />
PRELUDE RECITAL AT 6:45PM<br />
The Canadian Opera Company’s Music<br />
Director, Johannes Debus’s leads a program<br />
of Tchaikovsky’s Piano Concerto No. 1<br />
with Edward Zhou and Rimsky-Korsakov’s<br />
Scheherazade.<br />
Generously supported by Leslie & Anna Dan<br />
Gil Shaham and<br />
The Knights<br />
WED., FEB. 17, 8PM KOERNER HALL<br />
American violin master Shaham was<br />
named Musical America’s Instrumentalist<br />
of the Year in 2012. The Knights, a 30-piece<br />
orchestral collective from Brooklyn, NY,<br />
have “become one of Brooklyn’s sterling<br />
cultural products.” (The New Yorker)<br />
Together they perform works by<br />
Rebel, Prokofiev, Wagner, Dvořák,<br />
and Sufjan Stevens<br />
Generously supported by David G. Broadhurst<br />
Christian Tetzlaff,<br />
Tanja Tetzlaff<br />
& Lars Vogt<br />
FRI., FEB. 26, 8PM<br />
KOERNER HALL<br />
Pianist Lars Vogt joins<br />
violinist Christian Tetzlaff<br />
and his sister and cellist<br />
Tanja Tetzlaff in a program<br />
of works by Schumann,<br />
Dvořák, and Brahms.<br />
Generously supported by<br />
David G. Broadhurst<br />
Vilde Frang &<br />
Michail Lifits<br />
WED., MAR. 2, <strong>2016</strong> 8PM<br />
KOERNER HALL<br />
Norwegian violinist Vilde Frang<br />
“is clearly a new star in the violin<br />
firmament.” (The Guardian)<br />
“The brilliant violinist is technically<br />
of the highest level with fantastic<br />
finger work and bow technique.”<br />
(Main Post Wurzburg)<br />
The program will feature works by<br />
Schubert, Lutosławski, and Fauré.<br />
Karen Gomyo,<br />
Christian Poltéra<br />
& Juho Pohjonen<br />
FRI., MAR. 4, <strong>2016</strong> 8PM<br />
KOERNER HALL<br />
This trio of spectacular new-generation<br />
classical artists includes Canadian<br />
violinist Karen Gomyo, Swiss cellist<br />
Christian Poltéra, and Finnish pianist<br />
Juho Pohjonen in a program of works<br />
by Haydn, Janáček, and Dvořák.<br />
Generously supported by<br />
David G. Broadhurst<br />
TICKETS START AT ONLY $25! 416.408.0208 www.performance.rcmusic.ca<br />
273 BLOOR STREET WEST<br />
(BLOOR ST. & AVENUE RD.)<br />
TORONTO
CBC Radio Two: The Golden Years<br />
A Point To<br />
Prove: Pierre<br />
Boulez<br />
March 26 1925 - January 5 <strong>2016</strong><br />
Boulez in rehearsal,<br />
Glenn Gould<br />
Studio, 2002<br />
DAVID JAEGER<br />
I<br />
was in my teens, growing up in a small Wisconsin town,<br />
when I first encountered the name Pierre Boulez. The<br />
late composer was mentioned by no less a person than<br />
Igor Stravinsky in his Conversations with Igor Stravinsky,<br />
published in the late 1950s. Stravinsky felt that Boulez was<br />
a promising emerging composer, and he was particularly impressed<br />
with Boulez’s 1954 composition, Le marteau sans maître. Having<br />
read this, I immediately visited my local record shop and ordered a<br />
copy of a recording of it with Boulez conducting, a Vox Turnabout LP<br />
(TV 34081S). It’s a record I still own, although it’s considerably worn<br />
out from the thousands of times I listened. This work made a strong<br />
impression on me then (I admit I tried to mimic the approach in my<br />
own juvenile compositions), and it still does today.<br />
My first person-to-person meeting with Boulez was in 1975, when<br />
CBC Radio Music sent me to London to attend a BBC Radio symposium<br />
on the Broadcast Presentation of Contemporary Music. It seemed<br />
as though the BBC was planning a new initiative in this area, much<br />
like CBC, even if the resulting programs were still a few years away<br />
from launching. I was, at the time, producer of the program Music of<br />
Today on what was then called the CBC FM Network. Pierre Boulez<br />
was in his final year as music director of the BBC Symphony Orchestra<br />
and he was asked to give the keynote address at our symposium,<br />
which was attended by contemporary music producers from many<br />
national broadcasters around the world.<br />
Boulez made many points about how he, having just served four<br />
years as the BBC’s chief conductor, saw the role of public broadcasters<br />
in developing contemporary music specifically, and classical music<br />
generally. But his main point was this: producers who design music<br />
broadcasts should always be didactic in making their programs. His<br />
point was simple and sensible – it boiled down to, “Know what you<br />
have to say and what point you have to prove, and then make your<br />
programs for the sake of proving that point.” He further argued that<br />
even if the focus of the broadcast were weak or ill-advised, a didactic<br />
approach would at least be more interesting and engaging than<br />
programs with no point at all.<br />
For my own part, I was entirely in Boulez’s camp on this point.<br />
Having just completed ten programs on the life and music of Arnold<br />
Schoenberg with Glenn Gould the year before, I was already a<br />
convinced and committed didactic broadcaster. The opportunity<br />
to champion Schoenberg at the hands of Gould, perhaps his most<br />
compelling advocate, was a memorable and entirely convincing<br />
experience. Gould made no secret of his admiration of Schoenberg’s<br />
music and our ten programs on the topic were nothing if not didactic.<br />
Two years later we began planning CBC Radio’s signature network<br />
contemporary music program, Two New Hours, and once we<br />
launched in 1978, Boulez’s music was prominently featured among<br />
our regular broadcasts of international concerts. And we also broadcast<br />
our own productions of his work from Canadian concerts.<br />
In 1979, when New Music Concerts staged the North American<br />
premiere of Messagesquisse for solo cello and cello sextet, we were<br />
there to record and broadcast this superb new creation.<br />
In fact, it’s likely that Robert Aitken’s New Music Concerts has<br />
been the Canadian organization most associated with Boulez’s music,<br />
having presented his work numerous times over the years. They were<br />
the ensemble of choice in 2002 when Boulez received the Glenn<br />
Gould Prize, performing a full program of his music in Glenn Gould<br />
Studio for the presentation of the award. Flutist Robert Aitken, pianist<br />
Christina Petrowska Quilico, soprano Patricia Green and cellist Jean-<br />
Guihen Queyras were featured as soloists with the NMC ensemble, the<br />
latter gentleman having been selected by Boulez to receive the City of<br />
Toronto Glenn Gould Protégé Prize. Boulez had initially declined the<br />
invitation to conduct the concert, but at the first rehearsal, realizing<br />
he was in the presence of such an outstanding ensemble, he spontaneously<br />
changed his mind and took the reins.<br />
The late Larry Lake (1943–2013), host of Two New Hours from 1995<br />
to 2007, interviewed Boulez during that Toronto visit in 2002. Boulez<br />
told Larry that while he had never met Glenn Gould, he respected him<br />
for his single-minded devotion to his own principles and for exploring<br />
new ways to apply electronic media for the dissemination of music.<br />
Boulez made the observation that Gould, like himself, “… had a point<br />
to prove.”<br />
New Music Concerts will once again honour Pierre Boulez,<br />
<strong>February</strong> 15, in their concert at Betty Oliphant Theatre at 8pm. They<br />
will present two of his compositions with an organic connection:<br />
the solo piano work, Incises (1994/2001) and its relative, the large<br />
ensemble piece, Sur Incises (1996/2006).<br />
With Boulez’s passing, we remember him as a brilliant yet complex<br />
artist. His talents were so numerous and so exceptional, it’s difficult to<br />
single out any one as his defining trait. Those of us who were with him<br />
for the 2002 Glenn Gould Prize presentation saw him as a gracious,<br />
warm and generous man, but there are just as many reported episodes<br />
where he was the “Pierre-of-the-sharp-tongue.” In a public interview<br />
I held for the International Music Council in Vienna with Austrian<br />
composer Kurt Schwertsik in 2006, Schwertsik recalled the early<br />
days at the Darmstadt Summer Courses in the 1950s and 1960s. He<br />
said that Boulez would, “...arrive late and leave early, leaving behind<br />
numerous cuts, bruises and other virtual injuries to the participants’<br />
egos. It was then up to Bruno Maderna,” he continued, “to come after<br />
him and soothe and mend all that Boulez had inflicted.”<br />
Boulez’s goal was to aim high to achieve goals of significance, and<br />
in so doing he left many behind. He was an artist who always had<br />
a point to prove, and he had no lack of confidence in his creative<br />
powers. Perhaps my most lasting memory of him is from an interview<br />
on CBC’s Arts National with the late Terry Campbell (1946–2004) in<br />
1991, when Boulez was in Halifax for Scotia Festival. He remarked<br />
that “Once we come to recognize the brain as a muscle, the sooner<br />
we’ll realize that in its regular exercise over time, we can accomplish<br />
great things.”<br />
Boulez was right, and he did achieve greatness, leaving us his<br />
rich legacy.<br />
David Jaeger is a composer, producer and<br />
broadcaster based in Toronto.<br />
ANDRÉ LEDUC<br />
70 | <strong>February</strong> 1, <strong>2016</strong> - March 7, <strong>2016</strong> thewholenote.com
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