Volume 22 Issue 6 - March 2017

PRICELESS
Vol 22 No 6
MARCH 1 - APRIL 7, 2017
LISTINGS | FEATURES | RECORD REVIEWS
INSPIRATIONAL
AND ASPIRATIONAL
Musical Creation
Old and New
Owen Pallett, curator
New Creations Festival

HUMAN RIGHTS
ARTS FESTIVAL
UNITED NATIONS: UNIVERSAL
DECLARATION OF HUMAN RIGHTS: ARTICLE 3.
EVERYONE HAS THE RIGHT TO LIFE,
LIBERTY AND SECURITY OF PERSON.
Jeremy Dutcher
Measha Brueggergosman
RAOUL WALLENBERG:
THE ANGEL OF BUDAPEST
Tuesday, March 14, 2017 at 7:30 PM
A film screening and discussion panel with
renowned Human Rights lawyer David Matas
and Michael Mostyn, CEO, B’nai Brith Canada.
SONGS OF SOVEREIGNTY
Tuesday, March 28, 2017 at 7:30 PM
Concert features Marion Newman,
Jeremy Dutcher and Cheryl L’Hirondelle,
and is hosted by Dylan Robinson.
Indigenous artists reclaim their musical
heritage and showcase the vibrancy of
Indigenous music today.
Canada’s superstar soprano
MEASHA BRUEGGERGOSMAN
IN SONGS OF FREEDOM
Wednesday, March 29, 2017 at 7:30 PM
Juno Award-winning singer Measha
Brueggergosman reconnects with her
African heritage in her moving concert of
African-American spirituals.
RECORDED BY CBC RADIO 2
FOR FUTURE BROADCAST.
HUMAN RIGHTS WATCH
FILM FESTIVAL — TORONTO
INTERNATIONAL FILM FESTIVAL
Three international human rights films
from this renowned festival.
A SYRIAN LOVE STORY
Directed by Sean McAllister
Monday, April 3, 2017 at 7:30 PM
A love story between a Palestinian freedom
fighter and a Syrian revolutionary who
met as political prisoners.
Countries: UK, France, Lebanon, and Syria.
Topics: refugee experience, activism, and family.
TICKLING GIANTS
Directed by Sara Tacksler
Tuesday, April 4, 2017 at 7:30 PM
Baseem Youssef, the “Egyptian Jon Stewart”,
fights for free speech with wit and insight,
but it’s no laughing matter.
Country: Egypt.
Topics: freedom of speech.
NO DRESS CODE REQUIRED
Directed by Cristina Herrera Borquez
Friday, April 7, 2017 at 7:30 PM
Victor and Fernando are stylists in Mexicali,
Mexico who are the go-to professionals for the
city’s socialites. To their customers, they were a
lovely couple – until they decided to legally marry.
Losing the support of customers and friends and
confronting a backlash of criticism, through their
fight they woke up members of Mexicali’s society
to fight homophobia and inequality.
Country: Mexico
Topics: LGBT Marriage Equality
ACCESS ART QUEEN’S
Art & Media Lab exhibit at the Isabel
April 5 – 13, 2017
Disability as social identity.
In collaboration with the Queen’s University Equity Office.
CHARLOTTE: A TRI-COLOURED
PLAY WITH MUSIC
Thursday, June 1, 2017 at 7:30 PM
World premiere of concert version by
Alon Nashman and Aleš Březina featuring
the art and words of artist Charlotte Salomon
whose life was cut short in Auschwitz.
Tickets: theisabel.ca | 613.533.2424 Mon-Fri, 12:30-4:30 PM
KINGSTON, ONTARIO

Sunday April 2, 2017
8:00 pm Concert | 7:15 pm Pre-Concert Chat | Koerner Hall
Overdrive
Music by
Thomas Adès / Arthur Honegger / Alexander Mossolov / John Adams / Chris Paul Harman
Featuring guest soloist
Véronique Mathieu – violin
Alex Pauk, Founding Music Director & Conductor
#EspritO
Season Sponsor
Concert Sponsor
The Judy and Wilmot Matthews Foundation
Tickets
espritorchestra.com
Koerner Hall Box Office
416 408 0208

Volume 22 No 6 | March 2017
FEATURES
6. OPENER | The Time-Traveller’s Toothbrush | DAVID PERLMAN
10. CBC TWO: THE LIVING LEGACY | Centrediscs: The Little Label That Could | DAVID JAEGER
11. Up Close with Marc-André Hamelin | PAUL ENNIS
14. In with the New | Going For Bold: Owen Pallett’s Musical Palette | WENDALYN BARTLEY
18. Bravura Piano at Holy Trinity | PAUL ENNIS
67. WE ARE ALL MUSIC’S CHILDREN | MJ BUELL
SPECIAL SECTION
58. Summer Music Education
BEAT BY BEAT
16. Classical & Beyond | PAUL ENNIS
20. Jazz Stories | ORI DAGAN
22. World View | ANDREW TIMAR
24. On Opera | CHRISTOPHER HOILE
26. Art of Song | LYDIA PEROVIĆ
28. Early Music | DAVID PODGORSKI
30. Choral Scene | BRIAN CHANG
32. Bandstand | JACK MacQUARRIE
54. Mainly Clubs, Mostly Jazz! | BOB BEN
AvAilAble on
March 10, 2017
Louis-Philippe Marsolais performs
the four complete concertos for horn
along with Les Violons du roy.
Conductor and bassoonist
Mathieu Lussier performs the bassoon
Concerto in b flat major.
LISTINGS
34. A | Concerts in the GTA
49. B | Concerts Beyond the GTA
52. C | Music Theatre
53. D | In the Clubs (Mostly Jazz)
56. E | The ETCeteras
DISCOVERIES: RECORDINGS REVIEWED
68. Editor’s Corner | DAVID OLDS
69. Strings Attached | TERRY ROBBINS
71. Keyed In | ALEX BARAN
73. Vocal
75. Classical & Beyond
77. Modern & Contemporary
78 Jazz & Improvised
81. Pot Pourri
82. Something in the Air | KEN WAXMAN
84. Old Wine, New Bottles | BRUCE SURTEES
AvAilAble on
March 24, 2017
british chorus master
andrew Mcanerney has chosen
motets by orlando di lasso for his
first recording as Artistic Director
of the Studio de musique ancienne
de Montréal.
MORE
6. Contact Information & Deadlines
7. Index of Advertisers
57. Classified Ads
G R I G O R I A N . C O M
Cover Photography | Brian Vu

FOR OPENERS | DAVID PERLMAN
The Time-Traveller’s Toothbrush
Springing Sweetly into Summer: It takes a fair bit to make me
smile during the dog days of the March magazine production
cycle. Nowhere is the pain of the fact that February is three days
shorter than some months more sharply felt than right now - the last
48 hours before going to press.
But one smile got wrung out of me earlier today, while giving our
annual “Orange Pages” summer music education special section (it
starts on page 58) a quick last look before press time.
It’s not a section that lays claim to being comprehensive. February
would need 280 days for that to happen. It’s more like a geologist’s
rock sample - a rough crystal refracting the light of just how
much opportunity there is out there for music lovers wanting, in the
words of the little intro to this year’s section, “to engage in summer
music making … when the restraints of our regular schedules have
been lifted.”
I’ll confess that reading the section itself is always a bit of a bittersweet
thing for me. No matter when in the year we publish it, it always
feels as though it’s either too early or too late - either “How on earth
do you expect me to plan that far ahead?” or “I wish I had known
about that months ago!”
But however practical or wistful the read-through, I always come
away from skimming through the 35-or-so profiles in it with a sense
of vicarious pleasure. And on this occasion, with a sweetly accidental
moment of amusement.
All the entries in the section are structured in a similar way, offering
an anecdotal description in the provider’s own words of what the
opportunity is all about, preceded by nuts-and-bolts information
about the what, where and when of it all, and for whom it’s intended.
It was one of those “who it’s for” descriptors that did it! (I won’t tell
you which profile it was in - you’ll have to find it yourself.) “All ages 10
to 90!” it said.
Maybe it’s just that my funny bone is tingling from too-long days
of leaning on my elbows during this all-too-short production cycle,
or just that, as all regular readers of this Opener will both know by
now, my sense of humour is a bit aslant at the best of times! But I read
“All ages 10 to 90!” and the picture jumped immediately to my mind
of one particular columnist reading it and sputtering in indignation
“What the hell do you mean I’m too old for that!?”
Slight as this little story may be, it speaks to a good kind of
complexity, in my view of the world we live in. Namely this: that
almost anything one says, especially in fun, can be taken differently
than one intended. “All ages, 10 to 90” is clearly intended as a
way of speaking playfully to the broad inclusiveness of the offering. It
takes a darkly perverse view of things to interpret it as a deliberately
ageist attempt to exclude nonagenarians from the joys of campfire life.
(Hmm maybe there’s a charter challenge there somewhere. Any nineyear-olds
with awesome finger-pickin’ chops want to join in?)
It’s a bit of a stretch to argue that the above anecdote serves as a
reminder of how endless (and sometimes painfully rewarding) the
process is of reinventing our language and re-examining our assumptions,
musical and political.
Happily (if not necessarily comfortably), this sesquicentennial year
offers the opportunity for the same kind of soul-searching on a much
grander and more fundamental scale.
Tiptoeing the Sesquicentennial Party Line: The Toronto
Consort’s “Kanatha/Canada: First Encounters” (February 3 and 4
continues
The WholeNote
VOLUME 22 NO 6 | MARCH 1, 2017 - APRIL 7, 2017
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6 | March 1, 2017 - April 7, 2017 thewholenote.com

INDEX OF ADVERTISERS
5 at the First Chamber Music Series.............................49
Academy Ballet Classique/SlanT.....................................51
Adam Sherkin............................................................. 34, 48
Aga Khan Museum............................................................39
All Saints Kingsway Anglican Church............................12
Analekta........................................................................70, 72
Art of Time Ensemble....................................................... 27
ArtsMediaProjects........................................................... 57
Associates of the TSO....................................................... 37
ATMA................................................................................5, 70
Aurora Cultural Centre...............................................41, 42
Canadian Children’s Opera Company..................... 31, 35
Canadian Chinese Society for the Arts.......................... 17
Canadian Opera Company............................................. 88
Cantemus Singers.............................................................39
Cathedral Bluffs Symphony Orchestra.........................38
Choirs Ontario/Ontario Youth Choir............................. 61
Christ Church Deer Park Jazz Vespers........................53
Church of the Holy Trinity..........................................38, 47
Civic Light Opera...............................................................45
Continuum Contemporary Music..................................43
Dave Young......................................................................... 74
Eglinton St. George’s United Church ............................ 47
Elmer Iseler Singers.................................................. 30, 44
Ensemble Vivant......................................................... 32, 48
Esprit Orchestra............................................................4, 48
Etobicoke Centennial Choir.............................................46
Exultate Chamber Singers..............................................43
GMP Productions.............................................................. 74
Horizon Tax......................................................................... 57
Isabel Bader Centre for the Performing Arts...3, 50, 51
Jazz Performance & Education Centre.............18, 41, 55
Jubilate Singers.................................................................35
Judith Owen/Gallery 345.................................................48
Kindred Spirits Orchestra................................................13
Lake Field Music camp.....................................................63
Leaf Music Inc..............................................................72, 83
Les Amis Concerts........................................................... 50
Long & McQuade................................................................21
Masterworks of Oakville Chorus & Orchestra............46
Miles Nadal Jcc..................................................................65
Mississauga Festival Choir..............................................44
Mississauga Symphony....................................................43
Mooredale Concerts........................................................ 37
Mozart Project...................................................................44
Music at Metropolitan.......................................................31
Music at St. Andrew’s.......................................................35
Music Gallery .....................................................................39
Music Toronto.....................................................9, 15, 41, 42
Musicians in Ordinary......................................................45
Nagata Shachu..................................................................49
New Music Concerts..................................................10, 44
Off Centre Music Salon.................................................... 47
Opus 8..................................................................................70
Orchestra Toronto............................................................36
ORMTA - Central Toronto Branch.................................. 57
Peterborough Symphony.................................................51
Remenyi House of Music...................................................15
Roy Thomson Hall....................................................... 39, 49
Roy Thomson Hall (Massey Hall)....................................23
Royal Canadian College of Organists............................ 19
Royal Conservatory.......................................29, 40, 46, 85
Scarborough Philharmonic............................................46
Soundstreams...................................................................34
Stand Up Guy...................................................................... 57
Steinway Piano Gallery.....................................................13
Syrinx Concerts Toronto................................................. 37
Tafelmusik Baroque Orchestra........................... 2, 43, 48
Talisker Players........................................................... 25, 45
Toronto Chamber Choir....................................................41
Toronto Children’s Chorus...............................................56
Toronto Consort...................................................... 7, 25, 35
Toronto Masque Theatre.......................................... 38, 39
Toronto Mendelssohn Choir........................................... 27
Toronto Symphony Orchestra........................... 43, 46, 87
U of T Faculty of Music .................................................... 40
Ukrainian Art Song Project......................................40, 66
Universal Music...........................................................70, 72
Univox..................................................................................42
Victoria Scholars Men’s Choral Ensemble...................36
Voicebox - Opera in Concert...........................................44
Weston Silver Band........................................................... 47
Windermere String Quartet........................................... 47
Women’s Musical Club.............................................. 38, 48
thewholenote.com March 1, 2017 - April 7, 2017 | 7

MONICA CORDIVIOLA
at Trinity-St. Paul’s Centre) got February off
to a flying start for me. It was an early, and
welcome, indication that the 2017 sesquicentennial
arts bandwagon will have room, alongside
the enthusiastic flag-wavers, for those
who choose to look at 1867 critically, as a relatively
recent milestone in a much longer, and
not unequivocally celebratory, journey.
As an idea for a concert program, “Kanatha/
Canada” had its roots, in the fall of 2013, in
the work that constitutes the entire second
half of the concert, composer John Beckwith’s
Wendake/Huronia, a roughly 30-minute
work, in six movements, reflecting on Wendat
culture from pre-European contact to the
present day and ending with a prayer for
reconciliation between the two cultures.
As Beckwith himself described it in an
article in The WholeNote in summer 2015, “late
in 2013, John French, director of the Brookside
Music Association in Midland, invited [me] to compose a piece to be
performed in July 2015, marking the 400th anniversary of the voyage
of Samuel de Champlain and a few fellow adventurers from France to
the ‘Mer douce’ or ‘Fresh-water sea’—today’s Lake Huron. I said yes.”
In its original form the work was performed by a chamber choir
drawn from local choirs, a pair of First Nations drummers, Shirley
Hay and Marilyn George, an alto soloist (Laura Pudwell) and a narrator
(Theodore Baerg), accompanied by the Toronto Consort. It toured
Georgian Bay communities including Midland, Parry Sound (as part of
the Festival of the Sound), Barrie, Meaford and others.
In the February 3 and 4 version, performed to a packed
Trinity-St. Paul’s, almost the same forces were assembled. The most
notable change was that the role of narrator/singer was taken by
Georges Sioui, described in the concert program as a “Huron-Wendat
… polyglot, poet, essayist, songwriter and world-renowned speaker
on the history, philosophy, spirituality and education of Aboriginal
peoples.” Sioui had played a seminal role in the gestation of the
project; this performance brought his voice into the foreground.
Composer Beckwith had found Sioui as a resource early on; in fact,
the fifth movement in the work, Lamentation 1642, “an angry lament”
was based on a paper Sioui had given in 1992 on the 500th anniversary
of Columbus’ voyage, recalling the life-patterns of Wendats in
the years 992, 1492, and 1642 [the sesquicentennial of Columbus’
“discovery” of North America]. “His picture of the state of Huronia
a century and a half after Columbus affected me deeply,” Beckwith
writes. “When I interviewed Sioui in Ottawa, he generously gave me
permission to set this ‘lament’ as my fifth panel.” Sioui also advised
Beckwith not to end there. “He thought the angry lament should be
followed by more optimistic sentiments, reflecting today’s efforts
towards reconciliation.”
The work traverses aeons: a prologue suggesting “pre-contact”
evinced by percussion imitating the sound of snowshoes while individual
voices shout out, as in a roll call, the names of various Wendat
clans; a second movement, set in a European-sounding contrapuntal
choral style, revolving around a “poetic epigraph written by a fan”
at the front of the second edition (1632) of Champlain’s published
account of his travels; third and fourth panels evoking, respectively,
canoeing and the Wendat “Feast of Souls”; second last, Sioui’s “angry
lament”; and finally a movement titled To the Future based on an
intensely moving recent poem of Sioui’s (2013), written in English
but spoken here in French, in which the narrator dandles his infant
nephew and asks the baby boy’s understanding for referring to child
as “grandfather” because in so doing the narrator is transported to a
childhood in which an optimistic future could more readily be seen.
Most interesting (in the context of this particular essay) has been
watching the development of the Toronto Consort’s role (with artistic
director David Fallis at the helm) in the evolution of the piece from its
origins at the 2015 Brookside Festival till now. It’s not hard to see why
an ensemble specializing in authentic performance of early music
would have been the logical musical choice for
a project examining a 400-year old moment in
time. But without Fallis’ fierce curatorial intelligence,
their role could have remained a kind
of period window-dressing.
In this February’s concert, Beckwith’s halfhour
long Wendake/Huronia has morphed
from being a stand-alone work into the second
half of a fully articulated concert program. The
first half, anchored by First Nations drummers
Shirley Hay and Marilyn George and by vocal
artist Jeremy Dutcher (who was interviewed
here by Sara Constant last month), is built
around the 1701 “Great Peace” of Montreal in
which in the words of historian Gilles Havard:
“In the heat of the summer of 1701 hundreds
of Native people paddled their birchbark
canoes down the Ottawa River … [an] impressive
flotilla made up of delegations from many
Elisa Citterio
nations of the Great Lakes region … and from
other directions … In total about 1,300 Native delegates, representing
39 nations, would gather in the little colonial town … to participate in
a general peace conference.”
As with Wendake/Huronia, the treatment of the “Great Peace”
story is nuanced and layered, enriched by singer/drummers Hay and
George’s deep-rooted knowledge of First Nations lore and Dutcher’s
ongoing explorations “part composition, part musical ethnography
and part linguistic reclamation” of his Wolostoq Maliseet (Saint John
river basin) heritage. As a whole, the program immerses the audience
in the ongoing complexities of contact between Canada’s Indigenous
and Settler peoples. It is all the more powerful for the way it animates
the Consort’s usual repertoire, which is all too often at risk of being
seen as nothing more than a sentimental rendering of artfully encased
museum pieces from a bygone age.
There was nothing sentimental about this particular exercise in time
travel. A healthy reminder as the coming months of Sesquicentennialthemed
offerings come to a boil.
Interlude: The night of July 4, 1975, I slept on the floor of the
Greyhound bus station in State College, Pennsylvania. The night before
I had slept on a Boeing 707 en route between what was then called Jan
Smuts Airport and JFK in New York. My arrival at JFK was carefully
timed: it was the first day of the US Bicentennial Year, and I was in
possession of a $200, unlimited-travel, two-month bus pass, effective
July 4, 1975, that I was about to make good use of. (I was seven weeks
away from arriving in Toronto to stay.) There’s something to be said for
’centennial bandwagons.
The night of July 5 1975 I was back on the floor of the State College
bus station again, having spent July 5 waiting fruitlessly, on the steps
of the Altoona Town Hall, for a local bus that, according to Greyhound
bus dispatch, would take me to Jamestown, PA. But when it arrived
it was going to Johnstown, PA. So took the only other bus coming
through, and slunk back to State College again.
Time travellers take note: There were worse places to be than the
Altoona Town Hall steps, on July 5 1975. The Phillies and Pirates both
won (against the Mets and Cubs respectively) having both lost the
previous day - the Phillies in a heartbreaker. So the alarmingly large
town drunk who spent much of the day keeping me company on the
steps, transistor radio to his ear, was in a good mood. ….
Now, where was I? Ah yes, the State College, Pennsylvania bus
station. That is where this story is headed next.
Tafelmusik at the Crossroads: Even for an ensemble accustomed
to packing their bags and moving from one thing to another
really quickly, Tafelmusik is in the middle of a three-month stretch
requiring remarkable agility.
Consider the fact that, by the time you read this, within the month
of February alone (28 days), the organization will have: announced the
appointment of a new music director; presented 12 local performances
8 | March 1, 2017 - April 7, 2017 thewholenote.com

of four different programs at five different venues; held a very effective
invite-only season launch concert at an off-the-beaten-track venue
(patching in their new music director Elisa Citterio by video); and
launched a US tour that will take one of their most successful allmemorized
thematic programs, Alison Mackay’s “Bach’s Circle of
Creation” on a 12-day, eight-city US tour.
The tour will be mostly by bus. And it will take them, among other
places, to (drum roll please!) State College, Pennsylvania, where at
7.30pm on March 2, the second stop of the tour, they will perform the
“Circle of Creation” program in the Schwab Auditorium at Penn State
University. Maybe I’ll go see that one, for old times’ sake. Although I
am quite possibly getting too old to intentionally sleep in bus stations.
Elisa Citterio: Of all the headspinning details hinted in the previous
description of Tafel on the move, the one with likely the most significant
long-term implications is the hiring of Citterio as music director.
Attesting to the care taken in finding someone to replace the irreplaceable
Lamon, we as audience, and the players, have had several opportunities
(November 2015, and February and September 2016) to get
to know her as violinist and conductor. Her 2016/17 September
season-opening Koerner Hall appearance was fascinating. In a
program that included, among other things, Handel’s Water Music,
Bach’s Orchestral Suite No.4 in D and excerpts from Rameau’s Les
indes galantes it was clear from the get-go that there was some very
intense musical conversation going on between the conductor and the
orchestra. She led from the first violin, as is the orchestra’s custom,
and so intent was she on maintaining the connection with the players,
turned three-quarters away from the audience, that from the back of
the house, there were moments of almost feeling excluded. “Wait till
she realizes that that bunch of smart cookies [the players] can read her
back as easily as they can read her face! She’s going to be something
really special” my concert companion remarked.
I, for one, can’t wait.
We get one more chance to hear and see Citterio at work this season
(early May) and then in September it’s “chocks away!” as a newly
minted Tafelmusik takes flight.
Alison Mackay: Running a close second to Citterio’s appointment
as significant Tafelmusik news has to be the seemingly inexhaustible
flow of thematic programs from the mind of longtime Tafel
bassist Alison Mackay. Her latest, “Visions and Voyages: Canada 1663-
1763” will be over by the time you read this. (I’m off to see it as soon
as I finish this piece!) Like the Toronto Consort’s “Kanatha/Canada”
discussed earlier, it places the sesquicentennial theme in the context
of a much earlier timeline. I’ll be surprised if it’s any less rigorous in
its framing of the issues than its Consort counterpart.
As mentioned, an earlier Mackay program “Bach’s Circle of
Creation” hits the road for a US tour February 28. And, no surprise,
there’s a new one in the works for the 2017/18 season. Titled “Safe
Haven,” it “explores the musical ideas of baroque Europe’s refugee
artists ... portraying the influence of migration on the musical life of
Europe and exploring how the movement of refugees changed and
enriched the economy and culture of major cities.
Mackay’s programs increasingly demonstrate a committed and
almost uncanny knack to to tap into history truthfully so that an audience
comes away, by analogy, with a clearer understanding of issues
of our time. (“Tales of Two Cities: The Leipzig-Damascus Coffeehouse”
last spring was a perfect case in point.)
Coda: The Time-Traveller’s Toothbrush
“The only thing I really need to do before a concert is to brush
my teeth. I cannot sing with dirty teeth. … But otherwise, a little
warmup, some nice clothes, a bit of lipstick … I’m good to go.”
The speaker is alto powerhouse Laura Pudwell, longtime Toronto
Consort member, quoted in the program for “Kanatha/Canada”
discussed earlier. As for this ink-stained wretch, though, hopping
around from topic to topic, all the while pretending at cohesion, the
counterpart of the Pudwell pre-performance toothbrush is of course a
catchy headline. Trust me.
Philharmonia Quarte Berlin
An evening of Haydn,
Beethoven, and Schumann
Thursday March 16th
Marc-André Hamelin
Special concert!
Thursday March 23rd
See our 2017-2018 season
at www.music-toronto.com
at the Jane Mallett Theatre
St. LAWRENCE CENTRE
416-366-7723
FOR
THE
ARTS
David Perlman can be reached at publisher@thewholenote.com.
Canadian
Heritage
Patrimoine
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thewholenote.com March 1, 2017 - April 7, 2017 | 9

CBC Radio Two: The Living Legacy
Centrediscs: The Little Label That Could
Canadian Classical Composition and the JUNOs
DAVID JAEGER
For the first time in the
history of Centrediscs, the
small but significant record
label operated by the Canadian
Music Centre (CMC), two of its
recent recordings have current
JUNO nominations in two
different categories. Dark Star
Requiem by composer Andrew
Staniland and poet Jill Battson
is nominated in both the Best
Classical Recording, Vocal or
Choral and in the Best Classical
Composition categories. Christos
Hatzis’ full-length ballet, Going Home Star: Truth and Reconciliation,
is nominated in both the Best Classical Composition and Best Classical
Recording, Large Ensemble or Soloist(s) with Large Ensemble
Accompaniment. This is a significant milestone for Centrediscs, a label
created in 1983 by then CMC Executive Director John Miller. “The idea
of Centrediscs was originally proposed by my predecessor, John Peter
Lee Roberts,” Miller told me, “but it fell to me to make it work.”
Miller certainly found ingenious ways to nurture the new recording
label. He formed a working group, of which I was a member, to advise
on the mechanics and technical aspects of running a label. Harold
Redekopp was Head of CBC Radio Music at the time and he and Miller
agreed that the Radio Music Department would, up to a practical
limit, provide production and technical personnel to make the recordings.
And, in return for doing so, CBC music programs would have the
right of first broadcast. This arrangement provided Two New Hours,
the national network new music program I had created in 1978, additional
new productions of recent performances of Canadian music to
blend with the concert recordings that were the core of our broadcasts.
In those first few years of Centrediscs we recorded soloists
and ensembles who specialized in contemporary repertoire, like the
Canadian Electronic Ensemble, clarinetist James Campbell, the Purcell
String Quartet, violist Rivka Golani and Anton Kubalek. We made
LPs of these artists playing the works of CMC Associate Composers,
and soon added the first records
devoted entirely to the music
of a single Canadian composer.
These included titles such as
Vivier, music of Claude Vivier;
RA, with excerpts of Murray
Schafer’s night-long ritual;
Louis Riel, the opera by Harry
Somers, recorded at the Kennedy
Center in Washington DC; and
Chalumeau, chamber music of
Harry Freedman. Many of these
were later reissued on CD, and
those original LPs are, in fact,
now highly valued collectibles.
In 1986, Centrediscs released its first recording on CD, Impact, a
production of performances by percussionist Beverley Johnston. In
fact, Impact was manufactured in three media: CD, LP and audio
cassette. The composers represented on it were Serge Arcuri, Gary
Kulesha, Alexina Louie and Jean Piché, and the disc attracted rave
reviews. In the Centrediscs catalogue, Impact is described as: “A
tour de force of percussion and electroacoustic music, the disc has
often been used by stereo component stores to demo new hi-fi lines,
because of the high audiophile quality of the recording.” The performances
were included more than a few times in Two New Hours
programming and, on occasion, Jean Piché’s Steal the Thunder, the
lead track in the album, served as the program’s opening theme.
In 1989 the CMC decided to submit one of the tracks from Impact
to the JUNOs in the recently created category of Best Classical
Composition. It earned a nomination but didn’t win the JUNO.
– Alexina Louie’s Songs of Paradise on CBC Records did. It was a
remarkable statement as to how far the Centrediscs label had come in
just a few years.
The JUNO category, Best Classical Composition, introduced in 1987,
came about when representatives of classical labels, who formed
a separate classical committee within the Canadian Academy of
continues to page 86
Sunday March 26, 2017 (Fundraising Event)
Tony Arnold soprano | Movses Pogossian violin
Gallery 345 | 345 Sorauren Ave. | RSVP 416.961.9594
Doors open @ 7:00 with complimentary refreshments;
Performance @ 8:00
Friday April 28, 2017
Tony Arnold, György & Marta Kurtág, Movses Pogassian
Benjamin Butterfield tenor | William Aide piano
Accordes Quartet | NMC Ensemble | Robert Aitken direction
Introduction @ 7:15 | Concert @ 8:00 | Trinity St. Paul’s Centre | 427 Bloor Street W.
www.NewMusicConcerts.com
Kurtág’s “Kafka Fragments”
celebrating beckwith
Photo: André Leduc
10 | March 1, 2017 - April 7, 2017 thewholenote.com

Up Close with Marc-André Hamelin
Inspirational and Aspirational
Marc-André Hamelin
sometimes thinks
that music should
have its own semantics.
“Deep down I would like
the public to be affected by
music and respond to music
as they would respond to
something which has a narrative
structure and a message
to deliver,” he told me in
a February 10, 2017 phone
conversation. “And I’ve always
said that a performer should
be able to express almost any
adjective in the dictionary
through their playing. Even
though it’s kind of a fantasy, it’s a nice goal, a good aspiration.”
We were chatting in advance of Hamelin’s appearance March 23 in
a recital presented by Music Toronto. The occasion was a follow-up to
my profile of the master pianist that appeared in the December 2015
WholeNote. Hamelin was his usual affable, thoughtful and convivial
self. We spoke about his ambitious all-sonata program for the concert
– a late Haydn, the first two sonatas by the little-known Russian
pianist-composer Samuel Feinberg, Beethoven’s Appassionata,
Scriabin’s White Mass and Chopin’s Second which is built around a
funeral march.
Hamelin was describing his connection to the Chopin sonata on the
program, which he had recorded for Hyperion in 2008, prompting
my question about how his relationship with that particular work
has evolved over the years. “You know, it’s something that I’ve known
literally all my life,” he said. “We’ve talked about this before I’m sure.
Because of my dad, listening to these things all the time, recordings
were playing all around the house. I think he probably played it a little
bit himself although it’s a very difficult piece. It’s been in my ear since
I was a boy so I came to it already sort of knowing it. I didn’t have
to explore the score to find out about it. I already knew it. Although
when I started to play it of course, there were many things that the
score revealed to me that had not been apparent to me when I heard
the piece through recordings.”
Indeed the importance of his father to Hamelin’s musical aesthetic
and his reputation, right from the start, as an ambassador for late 19th
and early-20th-century pianist-composers, many of whom had been
formerly unfamiliar to a wider audience, was a key component of my
earlier article.
“But as far as the evolution [of his relationship to the Chopin
sonata], my God, what to tell you, I don’t know. I’ve always considered
it one of the towering masterpieces of the repertoire, one which curiously
enough I think is open to a variety of views, a variety of different
interpretations, a variety of ways of expressing it. But it’s always
appeared to me, perhaps even more now, as one of the darkest and
most disturbing statements ever written for the piano.”
I asked for an elaboration.
“Well, you know Schumann’s quote saying that Chopin put four of
his maddest children under one umbrella and published this sonata.
The four movements are – if you consider the [third movement]
Funeral March the heart of it – you could perhaps consider the first
two movements as sort of working towards the funeral march and
the fourth being sort of an illustration, an afterthought or a consequence
of it, as much of a dark mood as the third movement but also
expressed completely differently with different means.
“It’s very hard to talk about because it’s something that I’ve known
PAUL ENNIS
for so long that it’s hard to
take some steps back,” he said,
laughing.
When he plays it, he said,
it’s like he’s reciting a poem.
A case in point in terms of his
aspirational fantasy: “a narrative
structure and a message
to deliver.”
Our conversation soon
turned the topic of the importance
of the score in his pianistic
approach. (“The score
is still my ideal,” he had
told me back in the fall of
2015.) This time, we were
discussing Samuel Feinberg
as pianist. (“Give a listen to his Well-Tempered Clavier,” he said. “It’s
the best that’s ever been produced. It was reissued on CD at least
three times and I’m sure you can hear all of it on YouTube if you
look hard enough.”) I then commented on Feinberg’s playing of the
Appassionata, and then asked what Hamelin’s approach was. He
paused before saying with a slight sigh that he plays it and he’s probed
it but that his main thrust has been to discount and ignore all outside
influences including performing tradition and recordings.
“My arbiter, my one guiding spirit is always and will always remain,
the score,” Hamelin said. “Because, especially when I tackle repertoire
that everyone knows, I want a fresh perspective. And being a
composer yourself gets you to appreciate a lot more the letter itself
and what the composer directly tries to communicate. And that kind
of thing, the act of communication of your intentions as a composer
is a very arduous process and you never know if you’re going to
be understood or not. And of course you have to worry about your
intentions being disregarded as often happens, because sometimes
performers think they know better,” he laughed generously. “I’ve been
guilty of that a few times myself. But composing really teaches you
respect of the score and that’s where I go to first and foremost.”
When I pointed out that sometimes it takes years or generations for
composers to be understood he mentioned Feinberg as an example of
someone who will never be a household name or really enter the standard
repertoire but that doesn’t mean that one shouldn’t hear him.
In fact, Hamelin has a long-term project to remedy the shortage of
recordings of Feinberg’s work. “Right now I’m concentrating on the
first six sonatas which are a fascinating corpus,” he said. “I’ve already
played the first two quite a number of times. And people have actually
responded to them with great delight. Which I’m happy to hear.”
Hamelin is playing those sonatas in Toronto in March. I asked when
he first discovered the composer’s music. “Oh, I’ve had his scores
since the 80s,” he said. “When you’re interested in out-of-the-way
repertoire as I’ve always been, his name inevitably comes up. The
problem was at the time, indeed for the entire 20th century, scores
had been impossible to get in the West, so we just didn’t know what
the music looked like. The only two things that were published in the
West as far as I’m aware were his Sixth Sonata and a set of preludes.
And that was because Universal Edition in Vienna put them out. And I
think they’re still available. But he wrote 12 sonatas and a host of other
pieces – three piano concerti, a violin sonata and some songs.
“Now it’s almost all available through IMSLP so it’s not a problem,”
he said. “But what is also a stumbling block perhaps for anybody
who’s taken the trouble to look at the music, is his style itself which
is really very complex and very, very chromatic. In a way, in a certain
sense, it could be said that he takes his point of departure from
SIM CANETTY-CLARKE
thewholenote.com March 1, 2017 - April 7, 2017 | 11

Scriabin, but aside from a couple of
early works – and the two sonatas
that you’ll be hearing me playing fall
into that category – you do hear some
Scriabin influence. But after that, trust
me, he sounds like no one else but
Feinberg, because he really developed
his own aesthetic.”
Bringing the conversation back to
the Appassionata I pointed out how
remarkable it is that Beethoven wrote
the Eroica Symphony, the Triple
Concerto and the Appassionata all
in the same year (1805). And then
spent the next two years writing the
Razumovsky Quartets and the Fourth
Piano Concerto.
“It’s mind-boggling,” Hamelin said.
“The creativity. The inspiration just
kept coming.”
The 55-year-old Hamelin’s March 23
Jane Mallett concert is his 12th solo
recital for Music Toronto going back
to 1986, a time when “I was still in my
infancy as a musician and of course
we’re always evolving. Of course I
could only give what I had. Sometimes
I wish I could go back and do it again
[he laughed heartily].” He remembers
that first recital very clearly. His
father was still alive then [He died in
November of 1995.] and made the trip from Montreal to hear him. “I
think I gave Balakirev’s Islamey as an encore or it might have been
part of the program. I’m not sure. Back then I was a different pianist
and I played very different things,” he said, laughing again. “It was
very possibly one of the first of my concerts in Toronto, if not the
actual first.”
I asked about his association with Music Toronto. “Their heart’s in
the right place,” he said. “They’ve been wonderfully faithful to me and
I’ve never taken this lightly. My God, we’d be silly not to go back to
places that welcome us always with open arms. And where audiences
seem to trust you and accept you and welcome you as a regular. It’s
such a wonderful thing and it’s the best thing for us musicians really.”
He finds the Music Toronto audience to be “music lovers through
and through.”
I wondered if he has noticed a change in audiences over the years
but he said “No, not really.” He continued: “I think the enthusiasm is
always there, it’s just that different audiences have different ways of
expressing it. I have an interesting story of a piano festival I played in
once in Italy, in the town of Brescia. Which is a pretty important piano
festival there. Brescia and Bergamo, they’re pretty close together. I
played my first half and the applause was generally lukewarm. I go
offstage at the end of the first half and
the applause was just enough to get
me backstage. And then I wasn’t able
to come out again to bow so I thought,
‘Okay, I’ve blown it somehow. So I
sort of played the second half with my
tail between my legs, at least psychologically.
I was really perplexed and
disappointed of course [when the
response after the second half was
the same], but talking to the people
afterwards I found out that contrary
to my expectations they really, really
enjoyed the recital. They just had a way
of expressing it which was anything
but overt. Since then I’ve learned to
give audiences the benefit of the doubt
because of that.”
Hamelin’s Toronto concert opens
with the two-movement Haydn Sonata
in C Major Hob. XVI:48. He told me
that the first movement is in a slow
tempo and is one of the many examples
Haydn produced of a set of double variations,
where two themes are presented
and varied alternatively. “Then we have
a very jolly, typically roguish kind of
rondo for the second movement. Full of
wonderful humour.”
After intermission he’ll be playing
Scriabin’s Seventh Sonata “White
Mass,” a piece he recorded for Hyperion in 1995. He told me that his
thinking on the piece – the one Scriabin sonata he plays the most –
hasn’t changed since that recording was made. “Perhaps I’m able to
express it [his thoughts on the piece] a little bit better because of my
ongoing relationship with the instrument but otherwise I’d be very
hard put to pinpoint exactly what it is I do differently,” he said. “I
do have a recording of my very first performance of it which is back
in 1983. It would be interesting to listen to that. I haven’t for quite
a while.”
Does he listen to his older recordings very often? “Sometimes. I
don’t make a habit of it. Every so often I’m curious. It’s hard to get me
to listen to anything that I’ve done but once I’m in – I mean, it’s like
me in a pool – it’s hard to go to the pool but once I’m in it’s hard to get
me out.”
Characteristically, when I asked whether his approach to the piece
takes Scriabin’s voluminous writings into consideration or is it mainly
confined to the score, he said: “I think he expresses enough in the
music itself that he gives you almost more than you can do at a piano
given that some of the expressive indications are so outlandish. You
don’t have to read, for example the Poem of Ecstasy or know about
what he did later about the Ethereum…. The score again should be
SIM CANETTY-CLARKE
12 | March 1, 2017 - April 7, 2017 thewholenote.com

more than enough of an inspiration.”
Several days before we spoke, Hamelin performed the world
premiere of his Piano Quintet with the Pacifica Quartet in California
on February 2. Where did he find the time to compose given his busy
schedule?
“Well the piano quintet was a long time in the making. First of all,
I had written, back in 2002, a Passacaglia for Piano Quintet that was
a commission for the Scotia Festival of Music and it was performed
at that time. About a year and a half ago I got this commission from
California to expand the work into a full [three-movement] piano
quintet using this passacaglia. So it got started in 2002. Meantime
back in 2005 I wrote an exposition to the first movement. And all of
the rest, the rest of the first movement and the third movement were
more recent. So I had plenty of time [laughs]. But also, at the same
time that I finished this quintet I was also fulfilling a commission to
write the compulsory piece for the next Van Cliburn Competition.”
As well as writing that piece, Hamelin will serve on the Cliburn
jury. He added that the competition will be live streamed so people
won’t have to travel to Fort Worth. “And get this! This time everybody
is playing the piece, not just the semi-finalists or whatnot. So
the public and jury and worldwide audiences alike will have ample
opportunity to get sick of it.”
“Well, that’s really something to look forward to,” I said.
“To get sick of it?” he laughed.
“Yes,” I said. “It’s like jumping in the pool as you say.”
“At least the piece isn’t too long,” he said. “They asked me for four
to six minutes and it ended up being about five. So it’s sort of a quick
and painless injection.”
“How many times will we hear that piece of yours?” I asked.
“At least 30,” he answered. “That’s why I’m saying ‘sick of it.’”
A few days after we spoke, Hamelin set off for Lyon where the
program is the same as that in Kingston, Cleveland, Toronto and eventually
home to Boston, May 5. He was particularly looking forward,
he told me, to his concert February 20 and 21 in Munich with the
Medtner Second Piano Concerto – along with the Rachmaninoff Third,
his next Hyperion release. It was to be his first time with the Bavarian
State Orchestra though not his first time with conductor Kirill
Petrenko. “I’ve worked with [him] once already at the Chicago Festival
and that was very, very nice,” he said. “And he’s of course heading
to the Berlin Philharmonic. That’s a very nice connection. Although
I have played with the Philharmonic once back in 2011.” Then the
BPO had asked him to play the Szymanowski Fourth Symphony
“Symphonie Concertante” which was written for Arthur Rubinstein,
and unknown to Hamelin at the time.
After Toronto, his grand tour continues with 13 duo-piano concerts
he and Leif Ove Andsnes are playing in Europe and the USA. Plans
include a recording for Hyperion of Stravinsky’s Concerto for Two
Pianos and The Rite of Spring. But Hamelin’s next recording to be
released (in August) is Morton Feldman’s For Bunita Marcus which he
performed in Mazzoleni Hall at the 21C Festival in 2014.
His relationship with Andsnes goes back to 2008 when Hamelin
was invited to Andsnes’ chamber music festival in Risør, Norway. “We
played The Rite of Spring and in many other places, 10 or 12 times
total, including at the Berlin Philharmonic in the smaller hall, because
he had a residency there.”
As we finished our conversation I asked him about his fondness
for record collecting. “Most of it’s in storage,” he said with a hearty
laugh. Even so, I asked if he had been adding to it. “Oh sure, I’m
always buying things. But one needs less and less and less with advancing
age. I still collect for the pleasure of it though. I’m always on the
lookout for the rare things.”
You can hear Marc-André Hamelin – that rarest of performers – in
his Music Toronto recital on March 23 at the St. Lawrence Centre, or
in the same program, four days earlier, on March 19, at The Isabel
Bader Centre in Kingston, Ontario.
Paul Ennis is the managing editor of The WholeNote.
DEATH AND
TRANSFIGURATION
KINDRED SPIRITS ORCHESTRA
thewholenote.com March 1, 2017 - April 7, 2017 | 13

COVER STORY: | In with the New
Going For Bold
Owen Pallett’s
Musical Palette
WENDALYN BARTLEY
In last month’s column, my opening story focused on the upcoming
New Creations Festival presented by the Toronto Symphony
Orchestra, with concerts on March 4, 8 and 11. I featured a conversation
with Christine Duncan speaking about a new commission
entitled Qiksaaktuq for the March 4 concert, a collaboration between
Duncan, Tanya Tagaq, Jean Martin and orchestrator Christopher Mayo
that combines both notated score and improvisation. To continue
coverage of the New Creations Festival for the March issue, I spoke
with guest curator and composer/performer Owen Pallett about
his vision for the festival and the highlights of the March 8 and 11
concerts.
A year ago, a review by Michael Vincent
I am completely allergic to any
conversations that distinguish
between pop vs serious music.
in the March 6 edition of The Toronto Star
noted that in the 2016 New Creations Festival
there were no female composers featured. The
author stated that this omission demonstrated
“a lack of awareness towards the diversity of
the community,” and he ended his review
with a hope that the TSO would listen to this critique. By selecting
Owen Pallett as the guest curator for this year’s festival, I think it’s
fair to say that they are now listening. When I spoke with Pallett, I
began by asking him what his curatorial vision was. “My priority is on
critical work,” he began. “There has been a big change in the [cultural]
conversation over the last 15 years, and I want to reflect that in the
concerts.” For Pallett, this means having representation from both
female and male composers, as well as the inclusion of Indigenous
and culturally diverse performers. He also wanted to reflect the full
spectrum of new music practices that exist outside the traditional
concert hall. This goal is evident in both the selection of composers he
wanted to include, as well as the choice of performers for the lobby
concerts that happen both pre- and post-concert. “There’s an enormous
audience in Toronto for new music, but they don’t know it
exists. People are interested in listening to challenging music, and
I’m also working to address that in this series.” In the end, Pallett is
not interested in theoretical ideas of what new music is, but rather in
selecting works that are, in his words, BOLD.
As examples, he cites the music of Cassandra Miller that displays
“enormous and monolithic gestures, like giant glaciers, which are far
removed from other schools of new music composition.” Speaking
of glacial landscapes, another composer Pallett selected is Daniel
Bjarnason from Iceland who takes Ligeti’s ideas of cloud structures
and turns them into a new language. Both Bjarnason and Miller’s
works (Round World and Emergence, respectively) will be premiered
on March 11. Pallett’s choice to include Tanya Tagaq’s improvised
performance will give audiences a chance to experience “the most
emotional response you’ll hear from an improvised performer.”
Another of his composer selections is American Nico Muhly (Mixed
Messages, March 8 concert), whose style is a “concentrated John
Adams-inspired tonalism drawing from many different sources and
time periods.” Muhly, currently one of the most visible composers in
the USA, has worked and recorded with a range of classical and pop/
rock musicians and refuses to be pinned down to one specific genre.
Pallett’s own commissioned work, Songs From An Island, will be
premiered on March 8. What we will hear that night is a 15-minute
excerpt from a 75-minute work he is currently working on. Originally,
Pallett began writing a more conventional piece for the festival, but
Owen Pallett
after recently hearing American composer Andrew Norman’s work
Play, he decided to shelve it and go full out to create a more edgy
piece that “investigates the cross section of folk songwriting and the
aspects of modern orchestration that I’m most interested in.” The
piece is a series of songs about a man who washes up on an island
and gets involved in an assortment of hedonistic activities. One might
think that would result in a work with a bawdy flavour, but not so.
Rather, Pallett says, the piece has a more
spiritual tone and ends with the character
circling the planet hearing the prayers of the
people below. The music is as much inspired by
trends in rock music since Talk Talk, an English
new wave band active from 1981 to 1992, as it
is by concert music influences such as Ligetiinspired
tone clusters and Grisé’s spectralism. However, Pallett made
it clear that his is not a hybrid music as he “draws equally from a
number of different languages to arrive at this one unified aesthetic,
one unified conclusion. I’m still trying to find the sweet spot,” he said,
which is not a space “between the two worlds, but is its own place
unrelated to either genre. I am completely allergic to any conversations
that distinguish between pop vs. serious music. I find it classist
and I reject it.”
The Festival will also feature a lineup of outstanding performers,
including violinst James Ehnes performing a new violin concerto
by Aaron J. Kernis (March 8) and the Kronos Quartet performing
Black MIDI, a new work by Nicole Lizée (March 11). And finally, each
symphony concert will begin with the performance of a two-minute
Sesquie, commissioned as part of the TSO’s year-long Canada Mosiac
project. These include Andrew Staniland’s Reflections on O Canada
after Truth and Reconciliation (March 4) Harry Stafylakis’ Shadows
Radiant (March 8) and Zeiss After Dark by Nicole Lizée (March 11).
Highlights of the lobby concerts include Indigenous performers The
Lightning Drum Singers led by Derrick Bressette (March 4), and the
Cris Derkson Trio with Derkson on cello, Anishinaabe Hoop Dancer
Nimkii Osawamick and drummer Jesse Baird (March 11). The spirit of
improvisation will make an appearance as well with the performance
on March 8 by the Element Choir led by Christine Duncan.
Nicole Lizée: March 11 will be a busy night for composer Nicole
Lizée with her two works at the New Creations Festival along with
a piece she composed for a concert featuring the Plumes ensemble
at the Music Gallery. Montreal-based Plumes is a six-member
group combining pop and classical influences who have invited 13
composers to create pieces inspired by Vision, Canadian producer/
singer Grimes’ album. And in the spirit of Owen Pallett’s vision for
New Creations, this concert includes a majority of women composers
as well as a creative mandate to push genre boundaries. Alongside
Lizée, other composers include Emilie LeBel, Tawnie Olson, Monica
Pearce and Stephanie Moore. (And later in the month at the Gallery,
the all-female Madawaska Quartet along with harpist Sanya Eng and
guitarist Rob MacDonald create an immersive performance environment
in which to perform works by Omar Daniel, Andrew Staniland,
Scott Good and Yoko Ono. This program will also be performed on
14 | March 1, 2017 - April 7, 2017 thewholenote.com
BRIAN VU

March 29 in Kitchener as part of the Kitchener-Waterloo Chamber
Music Society series.)
Full Spectrum: March continues with a full spectrum of new music
events. On March 10 and 11, The Toronto Masque Theatre presents The
Man Who Married Himself composed by Juliet Palmer with libretto
by Anna Chatterton and choreography by Hari Krishnan. The story is
an intriguing one, given the gender issues already discussed. It’s an
allegory of the inner battle between male and female parts, played out
by the main character who rejects the idea of marrying a woman and
instead creates a lover for himself from his own left side. The outcome
of that experiment unfolds throughout the piece.
Continuum Contemporary Music’s lineup for their March 25 “Pivot”
concert of works by emerging composers is another example of a
more diverse representation of composers. The concert will present
the creative outcomes of a six-month mentorship with works by four
female composers (Rebecca Bruton, Maxime Corbeil-Perron, Evelin
Ramon, Bekah Sims) and Philippine-born Juro Kim Feliz. Montrealer
Beavan Flanagan rounds out a program of pieces exploring acoustic,
electroacoustic and acousmatic traditions.
And finally, the Array Ensemble will perform “The Rainbow of
Forgetting” in both Toronto (March 9) and Kingston (March 10)
with compositions by Mozetich, Catlin Smith, Komorous, Sherlock,
Bouchard and Arnold.
With so much going on also in the early part of March, I have not
been able to cover it all here. I recommend you consult my February
column for some of the early March events mentioned there.
Finally here are some additional Quick Picks for this month:
Mar 2: Canadian Music Centre. “Of Bow and Breath.” Works by
Vivier, Baker, Tenney, Stevenson and Foley.
Mar 5: Oriana Women’s Choir. “Journey Around the Sun.” Includes
a work by Estonian composer Veljo Tormis.
Mar 8: U of T Faculty of Music presents “A 90th Celebration of John
Beckwith” featuring Beckwith’s works A Game of Bowls, Follow Me
and a selection of songs.
Mar 9: Canadian Opera Company. Chamber Music Series:
Contemporary Originals in collaboration with the TSO’s New
Creations Festival.
Mar 12: Ritual 7 presents “The Announcement Made to Mary,” a
miracle play with score by Anne Bourne.
Mar 18: Caution Tape Sound Collective. Array Space.
Mar 18: Scaramella presents. “Tastes: Old and New,” contemporary
works by Peter Hannan, Grégoire Jeay and Terri Hron.
Mar 18: TO.U Collective/Music at St. Andrews.presents Radulescu’s
Sonatas No.3 and No.6 performed by pianist Stephen Clarke.
Mar 19: Two electroacoustic music concerts presented by U of T
Faculty of Music: works by Ciamaga, Staniland, Viñao and Mario
Davidovsky, L’adesso infinito for organ, projections and 4-channel
sound by Dennis and Barbara Patrick, Stockhausen’s Kontakte,
John Chowning’s Turenas and Tomita’s arrangement of Debussy’s
Afternoon of a Faun.
Mar 22 and 23: Toronto Symphony Orchestra. Sesquie A Hero’s
Welcome by Kati Agócs and North American premiere of a
co-commissioned work Accused: Three Interrogations for Soprano
and Orchestra by Magnus Lindberg.
Mar 25: Guitar Society of Toronto presents Duo Scarlatti. Their exact
program is unknown at press time but will be selected from music
from the high Baroque and 20th century works by Bogdanovic, Pisati,
Iannarelli, Cascioli and Del Priora, among others.
Mar 26: U of T Faculty of Music presents “There Will Be Stars: Music
of Stephen Chatman,” which includes works by Chatman, Ramsay,
Parker, Hagen, and Brandon.
Mar 26: New Music Concerts presents György Kurtág’s Kafka
Fragments as part of a benefit performance event. Also presented on
March 27 by the Kitchener-Waterloo Chamber Music Society.
Apr 7: Music Gallery. “Emergents III: Castle If + Laura Swankey.” Joe
Strutt, curator.
Musical Instruments
From Around the World
Since 1890
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Sheet Music & Books
Children's Educational Materials
…and so much more
210 Bloor St West, Toronto
T: (416) 961-3111 www.remenyi.com
Thursday, March 23, 2017 at 8 pm
An evening of piano sonatas including
Beethoven's "Appassionata"
and Chopin's No. 2 in B-Flat Minor
Marc-André Hamelin's
only recital in Toronto
in the next 15 months
Tickets $60
Full-time students of any age $10
– accompanying non-student $35
at the Jane Mallett Theatre
St. LAWRENCE CENTRE
416-366-7723
FOR
THE
ARTS
Wendalyn Bartley is a Toronto-based composer and electrovocal
sound artist. sounddreaming@gmail.com
thewholenote.com March 1, 2017 - April 7, 2017 | 15

Beat by Beat | Classical & Beyond
Back to Bach
PAUL ENNIS
“Not Reconciled: The Cinema of Jean-Marie Straub and Danièle
Huillet” is a retrospective of 31 films by the singular filmmaking
duo that takes hold at TIFF Bell Lightbox March 3 with the
screening of a new 35mm print of Chronicle of Anna Magdalena
Bach. Whether or not you’re familiar with the austere dissociation
of the filmmakers’ style, this black and white 1967 film is essential
viewing for any music lover. Compulsively watchable, it’s of key
historical importance on two counts. As a portrait of J.S. Bach, it’s a
focused biography zoning in on the last decades of his life, from the
end of his stint working for Prince Leopold of Anhalt-Köthen to his
time in Leipzig as cantor of St. Thomas Church (1723-1750). And as a
50-year-old film in which Bach is portrayed by harpsichordist Gustav
Leonhardt and the music is directed by Nikolaus Harnoncourt with
musicians from his Concentus Musicus Wien, it’s also a record of a
period-instrument movement that was then in its infancy.
The film is awash in music, all inspired by Bach’s love of, and devotion
to, God. Almost the entire film consists of excerpts from 24 of
Bach’s works – it’s a total immersion experience largely because most
of the excerpts are each several minutes long. The bewigged Bach
and musicians perform in period costume in the very places where
the compositions were first played. The Straubs’ rigorous aesthetic
reinforces this effect by selecting a camera position with a striking
perspective and letting their unmoving camera soak up the moving
image; they concentrate our attention on the music.
The film is narrated in a matter-of-fact manner by Bach’s second
wife, a singer he married in 1721 after the death of his first wife.
She gives a bare outline of Bach’s early years, touching on his organ
prowess and the famous 250-mile walk he took from Arnstadt to
Lübeck to hear his idol Buxtehude play, but once she introduces
herself events flow according to the pulse of time. For the most part
the music follows in chronological order beginning with a sizable
excerpt from the middle of the first movement of the Brandenburg
Concerto No.5, the first great keyboard concerto and arguably the
zenith of his time in Köthen. The camera placement is over the right
shoulder of Bach as we watch Leonhardt play his double-keyboard
harpsichord unfettered.
Just as Bach is about to take up his post in Leipzig, we’re treated to
Leonhardt and Harnoncourt in lovely performance of the first movement
adagio from the Sonata No.2 for viola da gamba and harpsichord
BWV 1028. Then it’s a seamless parade of cantatas (embracing
many instrumental passages, Bach conducting from the keyboard)
with the Magnificat, St. Matthew Passion and Mass in B Minor
included, all integral to the narrative. Only a smattering of keyboard
works interrupt the flow, notably the opening of the magisterial
Prelude in B Minor for Organ BWV 544. Later, the camera actively
moves in on Leonhardt for an intimate snippet of the Clavier-Übung
organ chorale. He explains how his left hand plays written notes
(basso continuo) while the right hand plays in consonance and
dissonance; and that the music is for the glory of God.
Camera placement is critical. For example, in the Cantata BWV 198,
written for the funeral of Queen Christiane, the vantage point is from
the instrumental side focused on the lute, with Bach at left in front of
the choir. Occasionally there will be a cut to a close-up of a singer or
instrumentalist; even a view of the thick scores black with the density
of notes. Despite the lack of camera movement, there is a variety of
perspective, often at an angle, which adds to our involvement. The
filmmakers also point us to original documents, contracts and the like.
They are careful to point out the economics of Bach’s daily life and his
concerns with his working conditions as he navigates his relationship
to his employers.
The other major musical component of the retrospective, is the
screening March 12 of the Straubs’ film of Schoenberg’s unfinished
opera Moses and Aaron (1974), shot in a Roman amphitheatre with
the Austrian Radio Choir and Austria Radio Symphony Orchestra
Gustav Leonhardt in Chronicle of Anna Magdalena Bach
(recorded in Vienna), along with the 1972 short film Accompaniment
to a Cinematic Scene (which uses text by Schoenberg and Brecht
to condemn anti-Semitism). Preceding the films will be a 15- to
20-minute live performance of five extracts from Schoenberg’s Pierrot
Lunaire as well as Claude Vivier’s Hymnen an die Nacht presented by
Against the Grain Theatre with soprano Adanya Dunn and collaborative
pianist Topher Mokrzewski.
Associates of the TSO. Now in their 45th season, the Associates
of the Toronto Symphony Orchestra continue their current series
March 6 with “Classics of Vienna Meet Voices of Britain.” TSO oboist
Sarah Lewis is joined by Eri Kosaka, violin, Diane Leung, viola, and
Emmaneulle Beaulieu Bergeron, cello, in Mozart’s effervescent Oboe
Quartet K370, Britten’s Phantasy Quartet for Oboe and Strings Op.2
(written when the composer was 19 and featuring a singing oboe line).
Beethoven’s splendid Trio Op.9 No.1 opens the concert.
“Sweet bassoon” from TSO’s Fraser Jackson at
Associates of the TSO’s concert February 13
On February 13, I heard their second concert of the season, “Paris
en mille notes,” a delightful evening of chamber music in the friendly
confines of Jeanne Lamon Hall. The distinctive Gallic-flavoured
program began with a lively look at Stravinsky’s Suite from L’Histoire
du Soldat. Stravinsky’s septet consisted of violin, clarinet, bassoon,
trumpet, trombone, double bass and percussion, a larger number of
players than the Associates usually bring to a concert. The enthusiastic
audience, who appeared to be made up of the proverbial “seven
to seventy,” took up most of the seats on the main floor and seemed to
energize the players.
Stravinsky’s score, which takes advantage of its instruments’ unique
instrumental colour, was suitably raucous and lively with memorable
violin playing by TSO assistant concertmaster Etsuko Kimura
(as it should be given the story of a violinist-soldier who sells his
instrument to the devil), the sweet bassoon of Fraser Jackson and
buffoonery from the brass.
Poulenc’s Sonata for Flute and Piano, which followed, acted as a
16 | March 1, 2017 - April 7, 2017 thewholenote.com

palate cleanser after the Stravinsky’s
exoticism, creating a wonderful sense
of space with long flute lines and wide
intervals that felt very French, all delivered
with aplomb by Leonie Wall
and collaborative pianist Monique
de Margerie.
After intermission the duo joined the
septet plus another percussionist for
Jackson’s clever chamber arrangement
of Ravel’s Piano Concerto in G Major
which was being performed for the first
time. With similar instrumentation as
the Stravinsky, the concerto began in
wind-band style before moving into its
languorous piano theme with piccolo
backing. Conductor Ryan Haskins
brought a subtle baton to Ravel’s jazz
touches, providing a good steady groove
for the second movement’s lovely
theme, while de Margerie’s intimate solo
piano playing was well-suited to the
chamber format.
Kudos to the musicians and their
contagious spirit. It augurs well for the
rest of the season to come. Following the
March 6 concert previously mentioned,
their season continues May 29 with a
transcription of Schubert’s song cycle Die schöne Müllerin arranged
for violin and viola and Beethoven’s String Trio in E-flat Major
Op.3. June 5, it’s music for piano trio by Haydn, Luedeke, Piazzolla
and Brahms.
Dmitry Masleev. Following in the footsteps of the 13 first-place
winners of the International Tchaikovsky Competition, the Siberianborn
Dmitry Masleev joins such legends as Van Cliburn (1958),
Vladimir Ashkenazy (1962) and Grigory Sokolov (1966) and most
recently Denis Matsuev (1998), Ayako Uehara (2002) and Daniil
Trifonov (2011). His Koerner Hall recital March 22 includes works he
played in Round 1 of that competition (two of Rachmaninoff’s Études
Tableaux Op.39 and Beethoven’s Sonata Op.81a “Les Adieux”) and
Liszt’s Totentanz from Round 2. Four Scarlatti sonatas, additional
Rachmaninoff pieces and Prokofiev’s Sonata No.2 in D Minor Op.14
complete his ambitious program.
In response to a question I emailed him shortly before we went to
press, Masleev told me that his musical hero is Sergey Rachmaninoff.
“He was not only a genius composer whose music inspires all classical
music lovers, but he was also a brilliant pianist,” he said. “Thank God
we have lots of his recordings available and can listen to them.
“He has his own style of performing,” the 28-year-old said. “You will
always be amazed by his precise touch, deep forte and piano, and of
course, just incredible technique. His music combines deep meaning
that touches your heart, a variety of harmonies, just unbelievable
beautiful melodies. There is a quality in it that will find a response
from any person in the audience.
Daniil Trifonov. Coincidentally, the previous Tchaikovsky winner,
Daniil Trifonov (having just turned 26) returns to Koerner Hall just
six days after Masleev, March 28 in a recital devoted to Schumann,
Shostakovich and Stravinsky’s Three Movements from Petrushka.
The concert is sold out but a few rush tickets will be available 90
minutes prior to the performance. When he was 23, Trifonov gave a
masterclass/interview at Mazzoleni Hall one evening in January 2015.
He mentioned Rachmaninoff, Friedman, Horowitz, Hofmann and
Michelangeli among pianists from the past who inspired him. He said
then that the two hours before a concert is a period of intense concentration
and that “somehow warming up for me is more mental [than
physical].”
Dmitry Masleev
QUICK PICKS
Mar 4: Hamilton Philharmonic
Orchestra principal trumpet Michael
Fedyshyn joins violinist Bethany
Bergman, cellist Rachel Mercer and
pianist Angela Park as 5 at the First
presents music by Biber, Barnes, Ewazen
and Piazzolla.
Mar 4: Academy Concert Series
presents “A Frankly Fabulous Foray,”
piano quintets by Franck and Fauré (See
what they did there!), two lush chamber
works. OSM principal second violin
Alexander Read, HPO second violinist
and Windermere String Quartet first
violinist Elizabeth Loewen Andrews,
TSM 2016 fellow Emily Eng, viola,
Academy Concert Series artistic director
Kerri McGonigle, cello, and Leanne
Regehr, piano, bring the works to life.
Mar 5: Trio Con Brio Copenhagen’s
concert, presented by Chamber Music
Hamilton, includes Schubert’s uncommonly
beautiful Piano Trio in B-flat
Major Op.99.
Mar 5, 7 and 9: The Kitchener-
Waterloo Chamber Music Society presents
the Aviv String Quartet performing
Mozart’s great last ten quartets. Mar 21 and 23: Movses Pogossian
honours Bach’s birthday by playing his six sonatas and partitas for
unaccompanied violin in the KWCMS music room. Mar 22: Peter
Vinograde, who played the first solo recital in that music room in
1980, returns to play Bach, Beethoven and Peter Mennin. Apr 2, 4, 5,
維 也 納 - 北 京 - 好 萊 塢
天 使 音 樂 之 旅
中 西 名 家 薈 萃 音 樂 會
A Musical Celebration
慶 祝 加 拿 大 建 國 150 週 年 音 樂 會
From the Lands of Waltzes, Butterflies and Dreams
表 演 嘉 賓 :
首 席 指 揮 家 Maestro Claudio Vena
二 胡 演 奏 家 高 韶 青 先 生
首 席 小 提 琴 家 Barry Shiffman
首 席 鋼 琴 家 Peter Longworth
15 th April, 7:30pm
皇 家 音 樂 學 院 小 提 琴 演 奏 家
Violin Solo
Angel Wang
王 玉 霞
Tickets: $28/$48/$68 VIP $88 VVIP $108
Info: 416-917-5669 (English) | 416- 917-9343 (Chinese)
TORONTO CENTRE FOR THE ARTS: box office 416-250-3708
5040 Yonge St, North York, ON
www.canadianchineseart.ca
冠 名 贊 助 :
俊 傑 邦 國 際 地 產 有 限 公 司 JUNJIEBOND INTERNATIONAL INVESTMENT LTD
thewholenote.com March 1, 2017 - April 7, 2017 | 17

7 and 9: Another major programming coup for KWCMS: the Lafayette
String Quartet playing the complete Shostakovich string quartets.
Mar 5: It’s cloning time as Mooredale presents Paganini Competition
prizewinner In Mo Yang at Walter Hall, while RCM presents the
inimitable Sir András Schiff at Koerner Hall, and Roy Thomson Hall
presents Andris Nelsons and the Boston Symphony Orchestra, recent
Grammy winners for Best Orchestral Performance. All concerts will
take place Sunday afternoon at three o’clock.
Mar 7: GGS scholarship student Charissa Vandikas plays Chopin,
Schumann and Rachmaninoff in a free noon-hour concert at the
Richard Bradshaw Amphitheatre. Apr 4: Another COC free noontime
concert features Mark Fewer in solo violin works by Bach, Ysaÿe
and Chris Paul Harman. Apr 5: Rossina Grieco, a native of Southern
California and winner of the GGS Ihnatowycz Prize in Piano, fills the
Bradshaw Ampitheatre with Liszt’s iconic Sonata in B Minor in her
free concert.
Mar 9: The relatively new Trio Shaham Erez Wallfisch brings
their chamber music bona fides to the Women’s Musical Club of
Toronto for what promises to be a memorable afternoon of music by
Rachmaninoff, Schumann and Shostakovich.
Mar 10: The celebrated duo pianists, Anagnoson and Kinton,
continue their 40th anniversary season with a concert at Brock
University in St. Catharines.
Mar 16: Music Toronto presents the Philharmonic Quartett Berlin
(made up exclusively of members of the Berliner Philharmoniker) in a
classic program of late Haydn, early Beethoven and middle Schumann.
Mar 18: TSO concertmaster Jonathan Crow is the soloist in Brahms’
lyrical Violin Concerto with the Niagara Symphony Orchestra
conducted by Bradley Thachuk, at FirstOntario Performing Arts
Centre in St. Catharines.
Mar 19: Four days before his Music Toronto recital, Marc-André
Hamelin performs at the Isabel Bader Centre for the Performing
Arts in Kingston. The all-sonata program is anchored in the first half
by Beethoven’s fervid Appassionata Sonata and in the second by
Chopin’s dark Sonata No.2 in B-flat Minor “The Funeral March.”
Mar 23: One-time protégé of the great Arthur Rubinstein, Janina
Fialkowska brings her pianistic sensibility to an all-Chopin recital at
the Aurora Cultural Centre.
Mar 27: The U of T Faculty of Music presents the dedicated and
dependable Gryphon Trio performing Beethoven’s buoyant Piano Trio
Op.11, Dinuk Wijeratne’s Love Triangle and Brahms’ romantic signpost,
the Piano Quartet No.1 in G Minor Op.25. Currently artists-inresidence
at the faculty, the Gryphon is joined by guest violist Ethan
Filner for the Brahms.
Apr 1: The indefatigable Angela Park joins Canadian Sinfonietta’s
first violinist, Joyce Lai, and first cellist, András Weber, for an
evening of chamber music by Rachmaninoff, Handel-Halvorsen and
An-Lun Huang.
Apr 1, 2: Tokyo-born, Montreal-raised Karen Gomyo brings her
superb musicianship to Beethoven’s splendid Violin Concerto. Young
American, Robert Trevino, also conducts the TSO in the 1947 version
of Stravinsky’s Petrushka rooted in Russian folklore and melody.
Apr 6, 7: TSO favourite Thomas Dausgaard returns to conduct Deryck
Cooke’s version of Mahler’s magnificent Symphony No.10; TSO principal
cellist Joseph Johnson is the soloist in Schumann’s ravishing
Cello Concerto in A Minor Op.129, the opening work on the program.
Apr 2: Pianist Anton Nel, fresh from two masterclasses on March 31,
performs Mozart and Schumann in a free concert (tickets required;
available from March 2) in Mazzoleni Hall.
Apr 7: Bravo Niagara! Festival of the Arts presents pianist Jon
Kimura Parker in a fascinating program comprised of Beethoven’s
formidable Appassionata Sonata, Ravel’s shimmering Jeux d’eau,
Alexina Louie’s Scenes from a Jade Terrace and two movie-themed
pastiches by William Hirtz: Bernard Herrmann Fantasy and Fantasy
on the Wizard of Oz.
Bravura Piano at
Holy Trinity
PAUL ENNIS
Eminent pianist, writer and pedagogue William Aide is the
curator of “Piano Bravura: The New Generation,” a piano series
beginning March 9 at the historic Church of the Holy Trinity.
“Last February,” Aide told me via email, “our music director Ian
Grundy, Reverend Sherman Hesselgrave and I were on the hunt for
a new piano for Holy Trinity, and we had already auditioned several
Steinway and Baldwin instruments. All three of us play, but it was up
to me to test the resources of prospective instruments with concert
repertoire.” Steinway Piano Gallery’s Alex Thomson led them to a
private home in Oakville where Aide tested the piano for its tonal
range, colours, beauty of sound, pedalling response, and even its
rapid repeating-note action, with Mozart, Chopin’s Études and D-flat
Nocturne, Ravel’s Alborada del Gracioso and a Debussy prelude. “We
March 4
Quintessential
Quintets: Words
and Music
Amanda Tosoff Quintet,
Barbra Lica Quintet
Presents
March 18
Ella Fitzgerald’s
100 th Birthday Tribute
Darcy Hepner
Jazz Orchestra
Sophia Perlman, Vocals
April 8
Dueling Pianos
Father & Son
Eddie & Quincy Bullen
plus Caribbean
Jazz Collective
Paul Ennis is the managing editor of The WholeNote.
Toronto Centre for the Arts
$35 regular • $20 students (with ID at box office).
INFO: jazzcentre.ca •
Ticketmaster 1.855.985.2787
LEAD SPONSOR
MEDIA
SPONSOR
18 | March 1, 2017 - April 7, 2017 thewholenote.com

all three fell in love with it and through a generous anonymous donation
were able to acquire it,” he said. “On April 7, 2016, flutist Robert
Aitken and I offered the first concert featuring the piano as an accompanying
and solo instrument.”
From there it seemed obvious to Aide that a series of piano recitals
would display the new instrument’s fine qualities. Aide’s decades of
teaching and adjudicating had kept him in touch with “younger pianistic
talent” and Piano Bravura was born. He chose the initial three
pianists because “I know them and their playing at close quarters.”
Aide also told me that he was pleased with the repertoire the three
selected for the series. “[Their] choices cover a wide range of styles and
feature some unusual items.”
Angela Park: “As adjudicator, I
first heard Angela Park play the
Schumann concerto in a London
festival when she was 14. ‘This
is the real thing,’ I thought. We
worked together for nine years
and I was so gratified to help
prepare her masters’ graduating
recital in 2003, the year of my
retirement from U of T’s Faculty
of Music. Angela is a much
sought-after chamber music
player, as the pianist in Ensemble Made in Canada and duo partner of
such artists as cellist Rachel Mercer and violinist Jonathan Crow. Her
solo playing is outstandingly expressive and her concerto performances
second to none. She occasionally still plays for me and we are
good friends.”
Park’s recital March 9 begins with Mozart’s irresistible Sonata K333
before moving to the impressionistic Images: Book II of Debussy and
Liszt’s revolutionary Années de Pèlerinage Book I: Suisse. Aide had
no part in choosing the content
of the recitals but he told me
that he did coach Angela in the
Debussy Images II set years ago.
Tony Yike Yang: As a juror,
Aide heard Tony Yike Yang
in the last National Chopin
Competition which was held in
Mississauga several years ago. “I
remember fondly that he liked
my Chopin Berceuse, an item in
a recital the jury members offered during that event,” Aide told me.
“We sent Tony to the International Chopin Competition in which his
laureate playing was so compelling.” Yang was 16 in 2015 when he
became the youngest prizewinner (he finished fifth) in the history of
the competition. “I have recently reheard his Chopin E Minor Concerto
and B-flat Minor Sonata from that competition on YouTube and was
astounded once again by his inspired, world-class playing. By the way,
in his emails he confers an honourary doctorate upon me.”
Aide asked Yang, now 18, to include that Chopin sonata in his
April 2 recital. Mussorgsky’s monumental Pictures at an Exhibition
was Yang’s own choice.
Sheng Cai: “In 2003, I was
musical advisor to the Toronto
Symphony Orchestra Concerto
Competition,” Aide said. “That
year the jury chose Sheng Cai
to play the Chopin E Minor
Concerto. At the reception after
his incredibly poetic performance
we fell into a lively pianists’
dialogue and we have continued
these conversations ever since.
Sheng comes over to our house
several times a year and brings with him his most recent CD concerto
performances. I must be some kind of mentor. At any rate we enjoy
swapping CDs and discussing the challenges of forging a career as a
concert artist. His exuberance is contagious.”
Cai’s program comprises two Scarlatti sonatas, Mozart’s Sonata
K332, Chopin’s addictive Barcarolle and two pieces “one doesn’t often
hear,” according to Aide: Schumann’s Humoresque Op.20 and Villa
Lobos’ Rodepoema, written for Arthur Rubinstein.
As for other ideas in the works for additional musical events in
the church:
“There was a time, especially under the aegis of CBC producer, Srul
Irving Glick, when Holy Trinity was a favoured venue for national
broadcasts. Its luminous acoustic and, of course, the new piano
suggest future chamber music and voice series as well as a continuation
of these superb piano recitals. I know a number of musicians
of the next generation who will easily fill the bill. We will keep
you posted.”
Paul Ennis is the managing editor of The WholeNote.
2017 Happy Birthday Bach Walk
SATURDAY MARCH 18, 2017
Celebrate Johann Sebastian Bach’s 332 nd Birthday!
Start at All Saints Kingsway Church (Etobicoke) at 1:00pm. From there we
will walk to Kingsway Baptist Church (arrival for 2:00pm) and Our Lady of
Sorrows Church (arrival for 3:00pm). For those using the TTC, get off at
the ROYAL YORK Subway Station – USE the GRENVIEW exit.
1:00 pm All Saints Kingsway 2850 Bloor Street West (Prince Edward Dr.)
Stefani Bedin, organist
2:00 pm Kingsway Baptist 41 Birchview Blvd (Montgomery Rd. North of Bloor)
Jennifer Krabbe, soprano; Matthew Dalen, tenor;
Daniel Thielmann, baritone; Michelle Cheung, organist;
Mel Hurst, organ accompanist
3:00 pm Our Lady of Sorrows 3055 Bloor St. (near Royal York Rd.)
Manuel Piazza, organist
Birthday Cake and
Coffee will end the day!
FREE ADMISSION
(donations welcome)
INFO 416-489-1551 ext 28
RCCOToronto.ca
thewholenote.com March 1, 2017 - April 7, 2017 | 19

Beat by Beat | Jazz Stories
Big Bands,
Giant Talents
ELLA FITZGERALD at 100
ORI DAGAN
Whether you are in the band or in the audience, in jazz, the
ideal experience is being there when something magical
happens. The second best thing is hearing a live recording
that captures such magic. Therefore, the production of live recordings,
where the band is at its best with an enthusiastic audience, is essential
to understanding, preserving and promoting jazz music. Norman
Granz knew this and epitomized it; the famed impresario and record
producer known for discovering Oscar Peterson and catapulting Ella
Fitzgerald’s career was a civil rights hero who worked tirelessly to
produce, book and champion his gifted artists. Fitzgerald became the
first African American woman to win a Grammy Award, garnering 13
such trophies in her illustrious career. Between 1938 and 1989, Ella
Fitzgerald recorded over 2000 songs.
On Mack the Knife: Live in Berlin, recorded February 13, 1960,
something truly magical happened. In front of the perfect audience
– rapturously cheering and not a single cough – Miss Fitzgerald
was at the Mt. Everest-like peak of her vocal power and accompanied
by the best jazz combo Granz could find: music director Paul Smith
on piano, Jim Hall on guitar, Wilfred Middlebrooks on bass and Gus
Johnson on drums. There is literally not one false eighth-note on this
hotly swinging session. On the title track Ella forgets the lyrics and
improvises her own (“You won’t recognize it…it’s a surprise hit!”).
And equally historic is the nine-minute version of How High the
Moon which is arguably the greatest scat solo ever recorded. Using
Charlie Parker’s Ornithology as a starting point, Fitzgerald miraculously
makes seven minutes of intergalactic wordless fireworks fly by
as effortlessly as a hummingbird.
Born April 25, 1917, Ella’s centenary quickly approaches and
fittingly there are musical tributes to her left, right and centre. The
Toronto Symphony Orchestra will wait until June 6 and 7 to toast the
“First Lady of Song,” in a tribute conducted by Steven Reineke and
featuring American vocalists Capathia Jenkins, Montego Glover and Sy
Smith. For something coming up sooner and featuring extraordinary
Canadian talent, as part of the Jazz Performance and Education Centre
(JPEC) Concert Series, the Darcy Hepner Jazz Orchestra will celebrate
100 years of Ella Fitzgerald at the Toronto Centre for the Arts on
Saturday March 18. The Darcy Hepner Jazz Orchestra is Darcy Hepner,
lead alto saxophone; Simon Wallis, alto saxophone; Michael Stuart,
tenor saxophone; Jeff King, tenor saxophone; Terry Basom, baritone
saxophone; Jason Logue, lead trumpet; Brigham Phillips, trumpet;
Mike Malone, trumpet; Ron Baker, trumpet; Russ Little, lead trombone;
Rob Somerville, trombone; Phil Gray, trombone; Bob Hamper,
bass trombone; Adrean Farrugia, piano; Pat Collins, bass; Kevin
Dempsey, drums; and vocalist, Sophia Perlman, who Hepner describes
calls “the only singer the band will ever need.”
SOPHIA PERLMAN: The term “using one’s voice as an instrument”
gets tossed around too casually in the jazz world. Vocalists are sometimes
not perceived to be musicians. Toronto’s Sophia Perlman is not
merely a musician, but an excellent one, thanks to her natural talent,
unflinching dedication and a wide variety of musical experiences and
influences.
Now a faculty member of Mohawk College’s jazz program, from
2008 to 2013 Perlman worked with the Canadian Children’s Opera
Company’s OPERAtion KIDS outreach program, and during her
tenure worked with close to 2000 elementary school-aged students in
Toronto creating music and opera, as well as instructing two of their
choruses for children as young as three.
Not one to pigeonhole herself, in PerlHaze, her new folk/roots/
The Darcy Hepner Jazz Orchestra, with vocalist Sophia Perlman, bring
their Ella Tribute to the Toronto Centre for the Arts, March 18.
singer-songwriter partnership with fellow jazz singer Terra Hazelton,
Perlman writes, sings and plays a half-dozen instruments:
“One of the things I love about the ways Terra and I have been
exploring writing and arranging for two musicians is the multitudes
of ways that harmony and counterpoint can help to fill in other
aspects of the music like time or harmonic rhythm. I think, as a
former choral singer, I tend to hear parts in my head most of the time.
When I’m singing especially loosely, or in different jazz settings like
playing with my quartet, or when I’m improvising, it’s still largely
rooted in writing alternate arrangements in my head.”
What do you remember about your very first experience singing
with a big band? I think maybe the first large band experience I ever
had was singing in a Mirvish musical at the Royal Alexandra Theatre
in 1996. It wasn’t jazz, but the process of learning music over piano
reductions and then having the experience of singing them when
those piano parts expanded was incredible to my 12-year-old brain…
I played saxophones and clarinet in high school and got introduced
a bit more to big band music through the perspective of an instrumentalist.
The way different horn sections were used and voiced
seemed very akin to the choral and vocal music I was already singing
outside of school. I had a very smart band teacher who found a
million excuses to get me to arrange and reduce things. Thanks, Mr.
Alberts! The summer before my last year of high school, I went to the
jazz camp at Interprovincial Music Camp. I’m almost afraid to list the
IMC faculty that summer because since then some of these people
have become my colleagues, my mentors and my friends, and I’m
afraid I’m going to leave someone out: Lisa Martinelli, Kevin Turcotte,
Pat Collins, Mike Murley, Cam Ryga, Lorne Lofsky, Barry Elmes…Hugh
Fraser was at the helm and that was my introduction to VEJI and to
the incredible Christine Duncan who really reframed my ideas as to
how big band music didn’t necessarily mean historical music and it
was inspiring to hear compositions go from small band to big band six
months later at the IAJE conference in Toronto. My camp friends and I
stormed the hall as soon as the doors were open to try and get as close
to the front as possible. Rob McConnell’s Boss Brass reunited that
night too. I don’t think my 17-year-old self understood how fortunate I
was – as excited and inspired as I was.
Tell me a bit about your experience working with the Toronto
All-Star Big Band and how the experience influenced you as a
musician. I auditioned for TABB in the spring of my last year of high
school. It was just artistic director Zygmunt Jedrzejek and a pianist
who was very kind and gamely played through End of a Love Affair a
20 | March 1, 2017 - April 7, 2017 thewholenote.com

second time when I was asked if I could try to improvise…The pianist
was Ernesto Cervini. I actually knew him as a pianist and a clarinetist
before I ever figured out he played the drums.
That band has turned out a whole bunch of wonderful alumnae.
Ernesto has put out some incredible records as a drummer, arranger
and composer. Jeff Halischuk and I have been playing together ever
since. Melissa Lauren and I overlapped as vocalists, and Elliot Madore,
who was the baritone in our vocal quartet is taking the opera world by
storm in New York.
What have you learned from working with Darcy Hepner? I first
met Darcy Hepner when he pulled up in front of our Toronto apartment
to drop off charts for my then boyfriend, this cute piano player.
He was starting a weekly big band gig in Hamilton, exploring the
music of the Thad Jones/Mel Lewis Orchestra…I started riding the bus
out to Hamilton after work to hear the band play almost every week.
At some point the piano player put the bug in Darcy’s ear that I sang
and he threw a couple of mp3’s my way – Joe Williams with the Band.
It’s always a challenge as a female singer to navigate the ranges of
some of these charts. You want to try, and you can’t ask a whole big
band to transpose. It requires some creativity.
I don’t particularly remember how it went that night but they kept
inviting me back and finding things for me to do – an Ella Fitzgerald/
Oscar Peterson show during the Brott Festival, and what is becoming
an annual gig fundraising for the Good Shepherd’s Society in Ancaster.
The band has so many musicians that I love and respect. I am so
grateful that my now husband Adrean Farrugia introduced me to the
community of musicians and supporters of music that exists out here
in Hamilton. It’s extraordinary to me that they sustained a weekly
residency, with a fixed wage for musicians, for an 18-piece big band
for as long as they did. And the friendships and musical connections
that I made inevitably ended up with my getting involved at Mohawk
College and ultimately the decision to move to Hamilton a couple
years ago.
JAZZ.FM91 YOUTH BIG BAND/JULES ESTRIN: Established in
2008, the JAZZ.FM91 Youth Big Band is a free educational program
that provides the opportunity for selected middle and high school
students to rehearse with an 18-piece big band and perform with
international jazz luminaries. The 2016/17 personnel is Avery Raquel,
vocals; Nick Forget, trombone; Aidan Sheedy, trombone; Sam Boughn,
trombone; Daniel Strickland, trombone; Leo Silva, trumpet; Daniel
Barta, saxophone; Marton Pandy, trumpet; Garrett Hildebrandt, saxophone;
Lucas Udvarnoky, trumpet; Gabriella Ellingham, saxophone;
Aakanx Panchal, alto saxophone; Evan Garner, trumpet; Martin Pandy,
trumpet; J.C. Chung, saxophone; Felix Fox-Pappas, piano; David
Cheon, guitar; Jaden Raso, bass, Jackson Haynes, drums.
On March 7 at Lula Lounge, the JAZZ.FM91 Youth Big Band will
appear in a double bill with the University of Toronto Jazz Orchestra.
Teaching teenagers to play jazz in the 21st century is a noble
endeavour. I spoke with Jules Estrin, director of the Jazz.FM91 Youth
Big Band:
How does this gig compare and contrast with leading a big band
of adults? During my career I have had the good fortune of leading
big bands ranging from middle/high school, community bands and
professional groups.
The difference between the JAZZ.FM91 Youth Big Band and a professional
group would be that professional musicians are normally great
sight readers and section players. They already have maturity in their
playing: phrasing, articulation and dynamics are instinctual and
professional players can make the music happen the first or second
time in performance.
In contrast to this the JAZZ.FM91 Youth Big Band can sound quite
polished with a couple of rehearsals. I still need to teach/discuss each
of the above concepts as they relate to their repertoire. The expectation
for the JAZZ.FM91 kids is that they come to rehearsal with their music
learned so that we are working on polishing the music not learning it
in rehearsal.
The JAZZ.FM91 kids are quick learners and often do not need to be
taught a concept more than once. Which is very helpful…and they
practise a lot!
Who are some of the
musicians you have been
most wowed by who
we might hear from in
years to come? We have
plenty of alumni from the
program who have gone
on to some pretty incredible
things! Matt Woroshyl
(saxophone), Jonny
Chapman (double bass),
Marika Galea (double
bass), Sam Dickinson
(guitar), Andrew Marzotto
(guitar), Sam Pomanti
(piano), Anthony
Fung (drums).
Brandon Tse (saxophone)
and Kaelin
Murphy (trumpet) are the
most recent graduates
that I would keep a look
JAZZ.FM91 Youth Big Band’s Jules Estrin
out for! Kaelin took the bus
each week from Owen Sound to participate in the JAZZ.FM91 Youth
Big Band program. He attended nearly every rehearsal and endured
eight hours of bus travel every weekend. He is a great player with great
dedication.
What are some of the most memorable performances put on by
the Youth Big Band over the years? The JAZZ.FM91 Youth Big Band
presently performs nearly 20 concerts per year! Which is a lot of
performances and shows the dedication of the students. Each one
of those concerts equals about ten rehearsals in terms of the band
growing musically and maturing.
We have had the opportunity to perform with some pretty
thewholenote.com March 1, 2017 - April 7, 2017 | 21

incredible musicians over the past ten years including: Randy Brecker,
Lew Tabackin, Bucky Pizzarelli, Tom Scott and Joey DeFrancesco. We
have also featured some of Canada’s greatest musicians: Guido Basso,
PJ Perry, Al Kay, Shirantha Beddage, Kelly Jefferson and Brian O’Kane.
Perhaps the most notable for me was having the opportunity
to open for Al Jarreau at the Brantford International Jazz
Festival in 2010.”
IRENE HARRETT, Bassist: Bassist Irene Harrett joined the
JAZZ.FM91 Youth Big Band during her final year of high school,
after learning fundamentals at the Humber College Community
Music Program.
“Like many other
people who participate
in the ensemble,
this was my first
experience playing
in large ensembles
and I was still developing
my musical abilities.
By the end of my
time with the band,
I was a completely
different bass player -
I could hold my own
in both the big band
and in other ensembles
I was working in
and I had confidence
in my playing that I
never had before. Jules’
continued support
and refusal to accept
anything but my best
from me changed my playing for the better.”
Now an undergraduate student in the Jazz Studies Program at the
University of Toronto, she is studying privately with Order-of-Canadamember
Dave Young.
“Different ensembles provide me with unique experiences. In the
UTJO, we work on such a range of material – from classic big band
arrangements by Neal Hefti, to iconic Canadian writings by Rob
McConnell and Ron Collier, to modern composition and arrangements
by Maria Schneider and Darcy James Argue. Working on this
material with Gordon Foote, who has such a wealth of knowledge
about the history of the music and the musicians is truly inspiring.
Sonuskapos, on the other hand, is completely outside of an academic
setting and performs primarily compositions and arrangements of
Mason Victoria. In this setting, we are the first band to play these
pieces and it is so satisfying to see how the music changes shape as we
work with them.”
Of playing in larger ensembles, Harrett observes:
“There are so many wonderful things that happened after I started
working in big band settings. My sense of intonation and articulation
and other important aspects of musicality became heightened. I had
to quickly develop a strong sense of confidence in my musical abilities.
One of the biggest things that I did not expect to get from playing
in big bands was such a strong sense of community from the members
of the band.”
Bassist of the University of Toronto Jazz Orchestra, Irene Harrett will
be performing at Lula Lounge on March 7. Dinner reservations guarantee
seating: consult our Jazz Club listings.
Never too late: Finally, to close on a cool note one whole month
ahead of April being Jazz Appreciation Month, it’s never too late to
pick up some jazz chops! If you know an adult who has been playing
jazz as a hobby and is looking to improve his/her skills, I invite you
to send them to Anthony Rice’s Vegas North school, which features a
variety of instrumental jazz workshops including adult jazz band, big
band and salsa, with new courses starting in April: vegasnorth.ca.
Ori Dagan is a Toronto-based jazz musician, writer and
educator who can be reached at oridagan.com.
Beat by Beat | World View
Persian Culture
ANDREW TIMAR
The 2015 Canadian census estimated that Iranian Canadians
number over 200,000. They have settled in significant numbers
in the greater Montreal and Vancouver regions but the largest
group – some estimates put the number at around 65,000 – lives in
the northern Toronto outliers of Richmond Hill, Vaughan, Markham
and Thornhill.
Over the past few decades, increasing numbers of singers, musicians,
composers, conductors and music teachers specializing in
many genres have joined their ranks, greatly enriching the musical
life of the GTA. They and musicians from many other lands, including
those native to Canada, are truly “making Toronto into a real music
city,” a politicized phrase I’m cheekily lifting from The WholeNote’s
Publisher/Editor In Chief David Perlman’s insightful Op-Ed last issue.
I have highlighted numerous concerts with a Persian theme in my
column over the years, however this March several presenters are
combining forces to highlight Persian culture alive and well right
here in the diaspora. Under the rubric of Nowruz, the Persian annual
New Year’s celebration welcoming the advent of spring, a museum
exhibition, epic shadow theatre, storytelling, educational workshops,
culinary experiences, children’s programs, cinema, dance and music
performances – even a Nowruz DJ party – will warm our burg residents’
late-winter blahs.
Mystic Persian Music and Poetry: March 4, the Aga Khan Museum
in partnership with Rumi Canada presents “Mystic Persian Music
and Poetry” with the Soley Ensemble at the museum’s auditorium.
The concert animates the current museum exhibition “Rebel, Jester,
Mystic, Poet: Contemporary Persians,” highlighting “cultural rebellion
and lyrical reflection” in the works of 23 artists who have chosen
self-expression over silence.
The Soley Ensemble is led by the veteran singer-songwriter
Soleyman Vaseghi. Born in Tehran in 1946 into a multi-generational
Sufi-centric family, he was already popularly known as “Soley”
throughout Iran by the age of 20, singing his own songs on National
Iranian Radio and Television. After the Iranian revolution in 1979,
however, Soley was prohibited from performing in public. He turned
intensive research into Persian literature, poetry and music. This work
eventually resulted in a series of new age-style albums aimed at international
audiences, inspired by the lessons of Sufism.
Soley left Iran in 1986 and by the early 2000s had joined forces
with the Lian Ensemble, a Los Angeles-based group of expat Iranian
virtuoso musicians and composers. Their common goal was to fuse
their classical Persian music heritage with contemporary jazz sensibilities,
aiming for a “synthesis of mystical world music.”
Soley now makes Toronto his home and his Soley Ensemble is
comprised primarily of several younger generation Toronto-area
musicians of Iranian origin playing traditional Persian instruments.
In Mystic Persian Music and Poetry, the Soley Ensemble performs
devotional Sufi music honouring Nowruz. They are joined by “sacred
whirling dancer” Farzad AttarJafari and Toronto-based spoken-word
artist Sheniz Janmohamad reciting her English-language poetry.
Nowruzgan Festival: Tirgan, a “non-profit, non-religious and nonpartisan
cultural organization committed to promoting a crosscultural
dialogue between the Iranian-Canadians and the larger
Canadian community,” is at the centre of Toronto’s Nowruz cultural
festivities this year. Intending to honour both Nowruz as well as
Canada’s sesquicentennial, Tirgan is producing the three-day
Nowruzgan Festival.
The festival posits a twin purpose, one that looks culturally to the
Persian homeland, but one which also embraces the community’s
presence within Canada’s multiple socio-cultural and political geography.
In addition, Tirgan’s Nowruzgan Festival mission statement
emphasizes not only the entertainment value of its programming but
also a didactic purpose.
“Daytime activities are geared toward youth and families and
22 | March 1, 2017 - April 7, 2017 thewholenote.com

Sahba Motallebi
combine Persian art/craft technique with
Canadian content.Using workshops and
performances, children, teens and young
adults have an opportunity to gain a
clearer perception of their roles in society’s
development as a cultural mosaic.
Evening activities are designed for family
and adult audiences.” It appears that the
Nowruzgan Festival also aims to encourage
younger Canadians of Iranian origin to
better understand Canadian society.
Running over the March 10 to March 12
weekend, in partnership with Toronto Centre for the Arts, North York
Arts and Aga Khan Museum, the Nowruzgan Festival events take place
at the Toronto Centre for the Arts. It’s strategically located in the lower
end of the heart of contemporary Toronto’s Iranian neighbourhood
centred on Yonge Street. Of the nearly 60 scheduled events let’s take a
closer look at a few with music as a key ingredient.
Feathers of Fire: A Persian Epic: The festival kicks off Friday
March 10 with the multidisciplinary shadow theatre production
Feathers of Fire: A Persian Epic which is repeated three more times
during the weekend. Billed as a “cinematic shadow play for all ages,”
the production is rooted in stories from the Shahnameh (The Book
of Kings), an epic literary milestone written by the great Persian poet
Ferdowsi roughly between 977 and 1010 CE.
Conceived, designed and directed by New York-based Iranian filmmaker,
playwright and graphic artist Hamid Rahmanian in collaboration
with the American shadow-theatre trailblazer Larry Reed,
Feathers of Fire features original music by composer/musician Loga
Ramin Torkian and vocalist Azam Ali, an Iranian American husbandand-wife
team. Torkian co-founded the groups Niyaz and Axiom of
Choice, both incorporating Persian and Middle Eastern music and
lyrics. Torkian performs on the Azerbaijani tar, the Turkish saz and,
a recent invention, the guitarviol, a new bowed hybrid of guitar and
viola da gamba. He has scored a number of films, a skill which comes
in handy supporting this epic production which employs eight actors,
160 puppets, 15 masks and many costumes. Its 158 animated backgrounds
are rear-projected onto a vast 15- by 30-foot screen.
Sahba Motallebi with Special Guest Maneli Jamal: Saturday,
March 11, at 5pm, the Aga Khan Museum and Tigran co-present Sahba
Motallebi with special guest Maneli Jamal at the Toronto Centre for
the Arts. Motallebi is that rare musician, a female soloist on the tar
and setar. Recognized internationally for her virtuosity for four years
running (1995-1998), she was named the Best Tar Player at the Iranian
Music Festival while still enrolled at the Teheran Conservatory of
Music. In 1997 she co-founded the groundbreaking women’s music
ensemble Chakaveh and was subsequently
invited to join the Iranian
National Orchestra.
Motallebi currently lives in Southern
California where she completed a degree
in world music performance at CalArts.
She performs worldwide and has released
a series of albums, the latest of which
is A Tear at the Crossroad of Time. She
has also pioneered Internet tar instruction.
Her online teaching has inspired a
renewed interest in the transmission of
this venerable art form.
Joining Motallebi on stage is the hot Iranian Canadian guitarist
Maneli Jamal. He won first place in the 2014 Harbourfront Centre’s
Soundclash Music Awards wowing audiences with his signature
approachable style of playing acoustic guitar with connections to
his Iranian roots. A Minor 7th review raved about his “mastery of
phrasing, a sumptuous tone and an ability to wrest emotion from
every note, even from the pauses between the notes.” I, for one, look
forward to the plucked-string heat generated by Motallebi and Jamal.
It will certainly put me in a proper celebratory Nowruz frame of mind.
Other Picks
Mar 4: The Church of St. Mary Magdalene provides an earthly
setting for the meeting of two musical choral worlds – the church’s
Schola Magdalena and their guest choir Darbazi, the latter singing the
polyphonic music from the Republic of Georgia. Schola Magdalena
supplies its trademark medieval-to-Renaissance liturgical repertoire of
Gregorian chant, Hildegard, Dufay, Dunstable, as well as Appalachian
folk song. Toronto’s first Georgian choir Darbazi, on the other hand,
performs selections from its extensive sacred and profane Georgian
repertoire. The listing also mentions the performance of the intriguing
but as yet undesignated “new music.” Will the two choirs jointly sing
a new Canadian work or two? My advice is to go and find out.
Mar 16 and 17: Rounding out the month York University Music
Department’s World Music Festival runs over two days, March 16 and
17, at the Tribute Communities Recital Hall, Martin Family Lounge and
Sterling Beckwith Studio, all in the Accolade East Building. The genres
on offer are wide-ranging: Chinese Classical Orchestra, Cuban and
Klezmer Ensembles, West African Ghanaian Drumming, Escola de
Samba, West African Mande and Caribbean Music. The Korean Drum,
the Celtic as well as the Balkan Music Ensembles, will also show what
they have learned this year. I’m willing to bet you’ll be impressed.
Andrew Timar is a Toronto musician and music writer. He
can be contacted at worldmusic@thewholenote.com.
QUINN DOMBROWSKI
TINARIWEN
With Dengue Fever
WED APR 12 ◆ 8 PM
Presented in partnership with
Batuki Music Society and Small World Music
FOR TICKETS CALL 416-872-4255
OR VISIT MASSEYHALL.COM
thewholenote.com March 1, 2017 - April 7, 2017 | 23

Beat by Beat | On Opera
Several Rarities
and Two
Premieres
CHRISTOPHER HOILE
This March offers a feast for opera lovers who fancy a taste of
something other than the standard opera fare. There are several
opera rarities and two world premieres on offer and they are so
scheduled that an intrepid operagoer can see them all.
The month begins with the world premiere of Odditorium from
Soundstreams running March 2 to 5, a theatrical presentation of
excerpts from R. Murray Schafer’s 12-opera Patria cycle. Director
Chris Abraham has taken four sections of the cycle to create a
75-minute theatre piece for two singers (Carla Huhtanen and Andrea
Ludwig) and two dancers in which Ariadne, one of the cycle’s reappearing
characters, goes deep into a labyrinth where she encounters
sideshows, lovers, buskers and Tantric experts. Schafer’s music has
been re-scored for harp, accordion and percussion. Since the company
devoted to presenting Patria last produced part of the cycle in 2013,
Odditorium will provide audiences with a rare chance to become
acquainted with Schafer’s magnum opus.
Krása’s Brundibár: Overlapping with Odditorium, running from
March 3 to 5, is the first-ever performance by the Canadian Children’s
Opera Company of Brundibár by Czech composer Hans Krása (1899-
1944). Brundibár is an important children’s opera since it was written
by a Jewish composer in Nazi-occupied Czechoslovakia and first
premiered in a children’s orphanage in Prague in 1942. By the time
of the performance, Krása had been transported to the concentration
camp in Terezin (then known as Theresienstadt). By the next year
almost all the chorus and staff had also been transported to Terezin.
Terezin was set up as a model camp for propaganda purposes and the
inmates were allowed to pursue the arts. From 1943 to 1944 Krása
and his casts performed the opera 55 times. (According to new CCOC
artistic director Dean Burry, the cast had to be constantly replaced as
children were sent on to Auschwitz for extermination.)
One would not know the gruesome circumstances surrounding the
opera from the work itself, though. It concerns a brother and a sister
who try to earn money for milk for their ailing mother by singing in
the town square. Brundibár, an evil organ-grinder with a moustache,
chases them away, but with the help of three animals and the children
of the town, the children chase him away.
I spoke with Burry, who was involved in the first production of
the opera in Toronto in 1996. He said, “Since the opera is only about
35-minutes long, the CCOC received permission to use the film The
Lady in Number 6 (2013) to frame the live performance. The film is
about Alice Herz-Somers, who played the piano for Terezin performances
and whose son was in the opera. We will also be using songs
from the cantata For the Children (1996) by Canadian composer
Robert Evans (1933-2005) that uses poetry written by the children of
Terezin.” The CCOC’s production will mark the 75th anniversary of
the work’s first performance in Prague. That the opera should have
been performed in a concentration camp, Burry says is “a testament to
the power of art.”
One question is how aware the young performers are of the historical
context of the opera. As CCOC’s managing director Ken Hall
wrote me, “As for the understanding of the kids, we have taken some
pains to educate them on the circumstances of the opera. They have
met John Freund, a Terezin survivor who attended the opera in the
camp and had a lecture session with children’s novelist and holocaust
educator Kathy Kacer. Some of children will be taking the production
on tour this summer where they will actually visit the Terezin
memorial.”
Juliet Palmer
Concerning what it is like to work with children, director Joel
Ivany wrote me, “What I enjoy about working with these younger
performers is the expectation that they have for this experience. They
know they are working with opera professionals and they’re trying
their best to think about stagecraft, musicality, character and focus.
Also, to see the sheer joy they get when you give them a prop to use is
a great reminder of why we do this.”
The Masqued Man: The
second world premiere
of the month, running
March 10 and 11, is Toronto
Masque Theatre’s The Man
Who Married Himself by
composer Juliet Palmer to a
libretto by Anna Chatterton
with choreography by Hari
Krishnan. The story derives
The Man Who Married Himself dancers
Jelani Ade-Lam and Sze-Yang Ade-Lam
from an Indian folktale about
a man who, unwilling to
marry a woman, creates a
lover from his own left side.
He is enchanted by her perfect beauty until he finds that this new
woman longs for freedom and desires someone else.
Chatterton describes the background of her libretto: “While writing
the libretto for The Man Who Married Himself, I was inspired by
the work of contemporary Indian poet, scholar and translator A.K.
Ramanujan. His renowned collection A Flowering Tree (1997) includes
the original folktale which underpins our contemporary masque.
Ramanujan’s work as a translator led me to the mid-17th-century
Telugu poet Kshetrayya, whose erotic devotional songs [or padams]
were written for, and in the voice of, the dancing courtesans who
performed for both gods and kings. For me, these padams bring to life
the sensual and intimate world of the original folktale The Man Who
Married His Own Left Side.”
Palmer mentions that she began writing the opera while in India:
“My earliest work on the piece was while I was in residence at the
Kattaikkuttu Sangam in Kanchipuram, Tamil Nadu. This is a training
school for girls and boys in the traditional vernacular music theatre
form of Kattaikkuttu. I worked collaboratively with students exploring
the original folk tale through vocal and movement-based improvisation…Members
of the creative team (Anna, Hari and myself) express
ourselves through our own creative voices, grounded in our respective
traditions. The dramatic combination of song and dance is common to
many Indian forms of music drama, but unlike the role of movement
in Western opera, dance is an equal partner in the work.”
AL UEHRE
24 | March 1, 2017 - April 7, 2017 thewholenote.com

The opera will feature countertenor Scott Belluz, jazz vocalist Alex
Samaras, improvisational Carnatic singer Susha and dancers Jelani
Ade-Lam and Sze-Yang Ade-Lam. The piece is directed by Marie-
Nathalie Lacoursière. Larry Beckwith conducts a six-member period
instrument ensemble. The percussionist’s set-up will include hurdygurdy,
tom-tom, cymbal, rattle, woodblocks, triangle, cowbell and
hand drum. Following TMT’s motto of presenting “performing arts
in fusion,” The Man Who Married Himself will thus combine song,
music and dance as well as East and West.
Two 18th-century rarities: Also noteworthy this month are two
18th-century rarities being presented by Toronto opera schools. On
March 15 and 17 the Glenn Gould School presents La cecchina (1760)
by Niccolò Piccinni (1728-1800). It is a perfectly delightful comic
opera that anticipates Mozart’s The Marriage of Figaro (1786) by
focusing not on the deeds of historical or mythological characters but
on the lives of ordinary people of the composer’s own time. Cecchina
is conducted by Les Dala and directed by Marilyn Gronsdal, a frequent
assistant director with the COC.
At the same time, March 16 to 19, University of Toronto Opera
presents the seldom-performed Handel opera Imeneo (1740), a piece
for only five soloists. The production is directed by Tim Albery, who
directed the COC’s fantastic Götterdämmerung. This opera is on a
much more intimate scale. As Albery describes it: “At an estate by the
sea five young people struggle with increasing desperation to unravel
a tangled, intractable web of love, gratitude, loyalty and friendship.”
This will be the Toronto premiere of Imeneo and, according to U of T
Opera Administrator Catherine Tait, likely “the Canadian premiere of
the original (1740) version in which the title role is sung by a bass.”
The work will be conducted by renowned countertenor and early
music specialist Daniel Taylor.
Christopher Hoile is a Toronto-based writer on opera and
theatre. He can be contacted at opera@thewholenote.com.
LAND OF THE
SILVER BIRCH
150 years: songs of Canada’s
first European settlers
MARCH 28 & 29, 2017, 8 PM
Whitney O’Hearn, mezzo soprano | Joel Allison,
baritone | John Fraser, reader
Trinity St. Paul’s Centre, 427 Bloor Street West
tickets: 416-978-8849 | uofttix.ca
www.taliskerplayers.ca
thewholenote.com March 1, 2017 - April 7, 2017 | 25

Beat by Beat | Art of Song
Magnus Opus
Bears Witness
LYDIA PEROVIĆ
The French Revolution is an inexhaustible source of fascinating
characters, but I would bet my culottes that most of us would
draw a blank before the name of Théroigne de Méricourt. This
goes even for those of us who seek out female characters in history
and for whom Olympe de Gouges, Charlotte Corday or Madame de
Staël do ring a bell or two. Yet de Méricourt was a figure of immense
notoriety in her own era, both veiled and amplified by myth, royalist
propaganda and gossip by her contemporaries and the 19th-century
historians alike.
She was a demimondaine who moved
from job to job and region to region, and
before 1789 mostly worked on trying to
build a singing career. She moved to Paris
when the Revolution called, attended the
debates at the National Assembly, joined
revolutionary clubs, argued for inclusion
of women in them, and founded her
own short-lived one before joining the
Cordeliers. (During this time, her alterego
concocted by the royalist pamphlets
lived a life of insatiable promiscuity
and fighting at the barricades. Plus
ça change for women in public life.)
Austrians arrested her as a “revolutionary
spy” during a visit to her home region,
then under Austrian occupation. She
spent several months in a fortress and in
between interrogations wrote her biography
which would have to wait 100
years to be published.
Freed thanks to the intervention of
the Austrian emperor, she returned to
Paris to find the tenor of the Revolution
radically changed. She sympathized with
the Girondins, but the Jacobins were
ascending, and during the Terror she
was captured and publicly whipped by a group
of sans-culottes women for her politics. This
brought about a breakdown from which she never recovered. Soon
after, de Méricourt was committed to an insane asylum and spent the
remaining years of her life locked in cells, increasingly demented,
occasionally under the watch of a conservative pioneer of clinical
psychiatry Dr. Esquirol who, like a great number of historians since,
argued that her life was proof that a revolutionary shakeup of the
hierarchies can clearly only have one outcome: madness. (In 1989,
Élisabeth Roudinesco made a better argument in her Théroigne de
Méricourt biography: a woman who found her voice during the
Revolution lost it – together with her reason and liberty – when the
Revolution betrayed its own ideals.)
It’s the Théroigne (her name brings to mind the word témoigne,
the French word for bearing witness) in Austrian captivity that we
will hear as one of the three voices in Magnus Lindberg’s Accused:
Three Interrogations for Soprano and Orchestra on March 22 and
23 with the Toronto Symphony Orchestra and Finnish soprano Anu
Komsi. The TSO co-commissioned the piece with Radio France, the
Gothenburg Symphony Orchestra, Cleveland Orchestra and NYC’s
Carnegie Hall. This will be its North American premiere. To quote
the composer’s publisher Boosey & Hawkes, “Accused explores three
documented cases of the individual under attack from the state, from
three countries and three different centuries.” The world premiere
took place in London in 2015. For the occasion the soprano (Barbara
Hannigan) was placed within the orchestra, vocal line at times intentionally
submerged by the orchestral forces. The text in the middle
part is from a 1960s Stasi interrogation in East Germany, while the
final one is adapted from the trial of Chelsea Manning, the US army
whistleblower sentenced by a military court to 35 years of imprisonment
for leaking 700,000 classified documents to WikiLeaks,
including the infamous 2007 US Apache gunsight video that shows
the killing in a public square in East Baghdad of a handful of Iraqi
civilians suspected of insurgency, a Reuters journalist holding a
camera and his driver. In one of the last acts of his presidency, U.S.
President Obama commuted Manning’s sentence (the 29-year-old is
expected to head home to Maryland in May this year). There is a final
twist to the story of Accused. The course of time has cast a shadow
over WikiLeaks itself, which was potentially enlisted by subterranean
actors with connections to the Russian government in an attempt
to influence the 2016 presidential election. But that’s material for
another composer.
There are few reviews around and no recording of Accused just yet.
The available accounts from concertgoers
suggest that Lindberg did not compose
the vocal line in concertante with the
orchestra, but in an often losing struggle
of contrast and friction against the orchestral
power. In interviews Lindberg cites
Luciano Berio’s 1965 Epifanie as a model.
Epifanie is a better-documented work,
with a recording on the Orfeo label available,
and a couple of streaming captures
on YouTube, all with Cathy Berberian in
the vocal role, and a good page on IRCAM
online archives, should the fancy strike.
The text for the Epifanie was built up
by none other than Umberto Eco from
quotes from Proust, Joyce, Brecht, Antonio
Machado, Edoardo Sanguinetti and
Claude Simon.
How to introduce oneself to Lindberg,
one of the busiest and most productive
European composers around, commissioned
by the Berlin Philharmoniker and
the Concergebouw, past composer-in-residence
at the New York Philharmonic and
London Philharmonic? Here are his own
words from the liner notes of a recent
recording: “Though my creative personality
and early works were formed from the
Théroigne de Méricourt
music of Zimmermann and Xenakis, and a
certain anarchy related to rock music of that period, I eventually realized
that everything goes back to the foundations of Schoenberg and
Stravinsky – how could music ever have taken another road? I see my
music now as a synthesis of these elements, combined with what I
learned from Grisey and the spectralists, and I detect from Kraft to my
latest pieces the same underlying tastes and sense of drama.” Kraft
is one of Lindberg’s earliest breakthroughs, a dramatic noise piece
for electronics, a large orchestra and an ensemble of soloists which
includes clarinet, two percussionists, piano, cello, a sound master
and a conductor, each of whom is expected to leave their respective
station and perform extended techniques on a set of makeshift instruments.
There’s a solid online record of Kraft performances and history,
including backstage and instructional videos, all of which is a hoot to
explore. If you prefer an intimate listening of a piece for which you
don’t have to do anything but let it wash over you, go for Lindberg’s
Second Cello Concerto (commissioned by the LAPhil in 2013), which
is a marvel.
Kurtag’s Fragments: A performance of Kafka Fragments is never to
be missed if opportunity presents itself. Last heard in Toronto in 2014,
the György Kurtág work for soprano and violin is an intense, technically
demanding set of short pieces with bits of text taken from Kafka’s
diaries and letters. Two of the world’s best known interpreters of the
26 | March 1, 2017 - April 7, 2017 thewholenote.com

work, soprano Tony Arnold (of
International Contemporary
Ensemble) and violinist Movses
Pogassian, will perform it in
Toronto and Kitchener-Waterloo
on March 26 and 27, respectively.
Both musicians rehearsed
the Fragments with Kurtág
himself in 2008 and preserved a
video document of the collaboration
on their Kafka Fragments
DVD+CD from 2009. The two
have performed the work in over
30 venues since. The Toronto
concert is a fundraiser for New
Music Concerts at Gallery 345
and it’ll include a screening of
the Kurtág collaboration, gourmet
comestibles and socializing with other new music lovers. The ticket
for the whole event is $100 ($150 for two), with charitable receipts
issued for the CRA allowable portion. For a regularly priced performance
($35) at an even cosier venue, head to Kitchener-Waterloo where
the K-W Chamber Music Society will be hosting the same concert the
day after. KWCMS is a chamber music series privately run by Jan and
Jean Narveson and hosted in the Music Room, a concert hall in his
own house, professionally equipped for recitals and seating 85. Kafka
Fragments in such a setting will
be quite an experience.
Royal Canadian College of
Organists is throwing a movable
Bach concert with walking,
organ showcasing and quite a
lot of singing: soprano Jennifer
Krabbe, tenor Matthew Dalen
and baritone Daniel Thielmann
are all listed as soloists. (Wo)
manning the organ in each of
the churches will be Michelle
Cheung, with Mel Hurst accompanying.
The program has not
been made available as of print
time, but the three church locations
have – the organ and the
acoustics will be put to test in
Kingsway Baptist, All Saints Kingsway Anglican and Our Lady of
Sorrows Roman Catholic. Rain or shine (or March sleet), March 18,
1pm to 3pm. starting at Kingsway Baptist. Free, though donations
are welcome.
Magnus Lindberg
Lydia Perović is an arts journalist in Toronto. Send her your
art-of-song news to artofsong@thewholenote.com.
HANYA CHLALA
SACRED MUSIC FOR
A SACRED SPACE
Take a moment for calm and reflection and
immerse yourself in contemplative music
surrounded by the beauty of St. Paul’s Basilica.
Enjoy the powerful experience of music floating
down from the loft—Sanders’ Reproaches,
Allegri’s stunning Miserere and Pärt’s A Deer’s Cry.
After intermission, works by Lotti, Willan, Elgar
and Mendelssohn complete the evening.
Wednesday, April 12 at 7:30 pm
Good Friday, April 14 at 7:30 pm
St. Paul’s Basilica – 83 Power Street
Tickets
$35 & $50,
$35 & $45 seniors
$20 VoxTix for patrons
30 and under
New This Year
Seat selection and printat-home
tickets available
through RCM Tickets.
Purchase online or call
416.408.0208.
tmchoir.org
Photo by Brian Summers
thewholenote.com March 1, 2017 - April 7, 2017 | 27

Beat by Beat | Early Music
Bosch’s Ergot
and Benedetti’s
Four Seasons
DAVID PODGORSKI
Not being an art critic, and indeed like most musicians
completely unable to draw anything beyond crude stick
figures, I find the iconography of Renaissance paintings
difficult to interpret. I am however, willing to bet that the images in
a typical painting by Hieronymous Bosch are bizarre enough to give
most art critics a conniption fit trying to figure out what they are
supposed to mean.
Some scholars argue that the Flemish painter’s fanciful and often
downright weird imagery should be read allegorically, as it was
intended to lampoon both contemporary mores as well as a hypocritical
clergy, while others argue it was proof that Bosch was on
a drug trip, specifically ergotism (google “St. Anthony’s Fire”). I’m
unwilling to come down on either side of the debate, but I would like
to volunteer the possibility that a certain amount of Bosch’s work was
a nascent form of art for art’s sake. I mean, given the opportunity, who
wouldn’t want to paint a man shitting out a flock of blackbirds while
being eaten by bluebird-headed monsters?
What’s interesting for musicians about Bosch is how much music is
in his work, and that he clearly finds a great deal of it immoral. Like
it isn’t even subtle. In The Ship of Fools, a monk and nun sing along
with the boat’s drunken passengers (one of whom is seen retching
over the side, having overimbibed) while accompanied by a lute. In
The Haywain, a cart of hay is being pulled by a creepy looking crowd
of animal-headed demons toward hell and everlasting damnation.
The haywain’s main passengers, a man and woman, are oblivious to
this despite the apparent entreaties of both a guardian angel and the
appearance of Christ a few feet above their heads – they’re too busy
studying a piece of printed music in front of them while a white-robed
lutenist plays for them, accompanied by a faceless blue demon on an
eldritch clarinet.
While I doubt the examples above mean Bosch was completely
against music in all its forms, they do show he was not only concerned
about music’s ability to corrupt otherwise good people, but was
someone who believed that music had a very real power to influence
the character of its practitioners and listeners, and that music-making
was just as much an ethical experience as it was an aesthetic one.
It’s perhaps in this spirit that the Toronto Consort is presenting the
Cappella Pratensis as part of its special guest series. The Canadian-led
ensemble – their artistic director is Stratton Bull, a native of Cobourg,
Ontario, with degrees from U of T and the Royal Conservatories of
Toronto and The Hague – is a Belgian-based group that has made
Franco-Flemish music its specialty, and their concert, on March 3 and
4 at 8 pm at Trinity-St. Paul’s Centre is devoted entirely to composers
based in Belgium whose music would have been performed in
Bosch’s lifetime.
Although few music lovers in Canada go out of their way to
praise Belgian composers, the country was the source of the leading
composers of polyphony from the early Renaissance, so Pratensis has
a wealth of music to choose from. This concert will likely feature the
Missa Cum Jocunditate by Pierre de la Rue from the group’s latest
album, released last year to commemorate the 500th anniversary of
the painter’s death. If you’re interested in Renaissance music, this is a
very interesting concept for a concert program and Cappella Pratensis
is a group that has mastered the art of polyphony.
Catch this concert if you can.
Cor Unum Ensemble
Nicola Benedetti: Cappella Pratensis isn’t the only international
early music group to show up in town this month. Already with eight
recordings under her belt, superstar 29-year-old Scottish violinist
Nicola Benedetti is a seasoned performer of violin pyrotechnics.
She’s already recorded the Bruch and Korngold violin concertos,
Vaughan Williams’ The Lark Ascending, Pärt’s Spiegel im Spiegel, and
Tchaikovsky’s Violin Concerto in D Major Op.35, which in the modern
classical world makes her a wunderkind. “But can she play early
music?” is probably the main question critics and concertgoers will
ask, and I’m excited to hear what the answer to that question will be.
Benedetti will answer it when she appears with the Venice Baroque
Orchestra, itself a very fine performing ensemble, under the direction
of the Italian harpsichordist Andrea Marcon.
They’ll be playing a massive program of Italian works meant, one
assumes, to highlight Benedetti’s formidable talents. But even a
talented young superstar and orchestra will have to work hard to hold
the audience’s attention for the entire Four Seasons by Vivaldi (itself
of full CD length); Avison and Geminiani concerti grossi, a Galuppi
concerto, and another Vivaldi concerto are tacked on to the program,
for good measure. This kind of show can easily clock in at two and a
half hours, and if done well can be an absolutely sublime experience –
anything less and the audience will feel like they’ve been beaten into
submission. Benedetti’s clearly intended to be the main event in this
concert, and this will be a great opportunity to get a look at a brilliant
young soloist who can cross over between modern and early repertoire
with ease. She has been a regular visitor to Toronto concert halls
and will hopefully return in a similar capacity. You can catch this
concert as part of the Royal Conservatory’s string series on March 3 at
8 pm at Koerner Hall.
Cor Unum: It’s always good to see new groups on the music scene,
and there’s a new group in particular in Toronto that I’ve been
meaning to write about for some time now. The Cor Unum Ensemble
formed late last year and despite being under a year old is already
putting together some ambitious concerts of difficult repertoire. This
month, they’ll be playing the St. John Passion by Bach along with the
violinist Adrian Butterfield, who will be filling in as guest director of
the ensemble. Butterfield is not so well known outside of the United
Kingdom, where he is one of the co-founders of the London Handel
Players, but he has a dozen recordings to his name that mainly feature
28 | March 1, 2017 - April 7, 2017 thewholenote.com

late-Baroque and early classical musical encyclopedias, but without the stylus fantasticus, Western
works. He also has the unique instrumental music as we know it would likely not exist. It was first
honour of being the resident Naxos mentioned by the Jesuit and polymath Athanasius Kircher, who,
recording artist for the label’s writing in 1650, described the stylus fantasticus as “the most free
collection of the complete sonatas and unrestrained method of composing, bound to nothing, neither
of Jean-Marie Leclair, so branching to any words nor to a melodic subject; [it] was instituted to display
out from Handel and the mid-18th genius and to teach the hidden design of harmony and the ingenious
composition of harmonic phrases and fugues.” Certainly before
century to Bach seems like a logical
shift in repertoire for this chamber the Baroque era, the chance to compose music freely wasn’t really a
player. For its part, Cor Unum is possibility for composers. Musical form was largely limited to either
mainly a group of younger players the repeating rhythms of dance forms or based on a set melody like a
who are both new to early music Gregorian chant. Not only was the stylus fantasticus the first chance
and the Toronto music scene, and for composers to test their creativity, but it brought new prominence
it will be interesting to see what to the potential of instrumental, rather than vocal, music.
the group will be able to accomplish
when under the direction of no instrumental music means no symphonies, and no freedom of
Four hundred years later, it’s easy to see what got Kircher so excited:
a veteran player like Butterfield. form means no sonatas or other compositions that can develop over
Youthful vigour applied to standard a couple hundred bars. For the first time, composers, or competent
repertoire like the St. John Passion improvisers, could let their imaginations roam freely, limited only
can make for exciting results, especially
combined with the guidance disclosure, I am a founding member of the group) will be performing
by their knowledge of harmony or their technique. Rezonance (full
of a leader who is experienced in Italian and Austrian works in this style from the early 17th century as
early music performance practice.
Catch this concert at Trinity in Hamilton (320 Charlton Avenue West) on March 18 at 4pm, and at
part of the Hammer Baroque series at St. John the Evangelist Church
College Chapel on March 12
Gallery 345 on March 19 at 3pm. If you’re looking for an out-of-thebox
chamber music concert this month, this is a concert that invites
at 7:30pm.
Stylus fantasticus: Finally, if you to enjoy composers who broke free from tradition and cliché and
your interests lean more towards gave listeners a chance to hear musical creativity at its most expressive.
You’ll definitely enjoy what they dreamt up.
chamber music than vocal or orchestral extravaganzas, consider
checking out a program dedicated to a musical movement from
the early Baroque known as the stylus fantasticus. It isn’t particularly
RCM_WHOLENOTE_4c_1/2_Mar.qxp_Layout well-known today, meriting a mere stub of 1 an 2017-02-17 article in most 6:30 PM Page teacher. 1 He can be contacted at
David Podgorski is a Toronto-based harpsichordist and music
earlymusic@thewholenote.com.
La Cecchina (La buona figliuola)
by Niccolò Piccinni
THE GLENN GOULD SCHOOL OPERA 2017 WED. MAR. 15 & FRI. MAR. 17, 7:30PM KOERNER HALL
The extraordinary artists of the Glenn Gould School vocal program and Royal Conservatory Orchestra
perform Piccinni’s opera buffa (comic opera) under the musical direction of Leslie Dala. One of the most
popular operas of its time, director Marilyn Gronsdal updates this story of love, jealousy, and social status,
by setting it in 1960s post-war Italy.
TICKETS START AT ONLY $25! WWW.PERFORMANCE.RCMUSIC.CA 416.408.0208
273 BLOOR STREET WEST
(BLOOR ST. & AVENUE RD.) TORONTO
thewholenote.com March 1, 2017 - April 7, 2017 | 29
WWW PERFORMANCE RCMUSIC CA

Beat by Beat | Choral Scene
The March of the
Mozart Requiems
BRIAN CHANG
Mozart’s Requiem has captured the imagination of singers for
centuries and continues to be a staple of choral repertoire
the world around. It is wrought with emotion and feeling.
Instrumentalists appreciate the compositional techniques and the
understandable, intuitive flow of the music. Singers love the shape,
grandness and dynamism of the music. Listeners love how it all fits
together. But the Requiem is unfinished, which makes it the greatest
piece of unfinished music ever written.
There is so much to like with the Requiem, from the powerful
choral exclamation of “Rex Tremendae” and the gentle fragility of
“Lacrimosa,” to the energetic fugue that finishes the written portion
with “Cum Sanctis.” Many a chorister has fallen in love with this piece
while hearing it or singing it for the first time. Many choristers are
choristers because they heard and fell in love with this piece at some
point in their life. Such is Mozart’s enduring legacy and ability. There
is an extraordinary number of Requiem performances in the month
ahead. It is also quite remarkable that none of these performances
conflict; you could, in theory, see every single performance.
March 4, 7:30pm, the MCS Chorus presents Mozart’s Requiem.
The program will also include Salieri’s Te Deum and short dramatic
excerpts from the play Amadeus by Peter Schaffer at First United
Church, Mississauga.
March 11, 8pm, Cathedral Bluffs Symphony Orchestra along with
the Hamilton Bach Elgar Choir, Saint Joseph’s Church Parish Choir
and the Grand River Chorus presents a requiem double bill with
Fauré’s Requiem and Mozart’s Requiem, both in D Minor at P.C. Ho
Theatre, Chinese Cultural Centre of Greater Toronto, Scarborough.
March 25, 8pm, Voices Chamber Choir presents “Tallis and Mozart.”
Ron Cheung conducts Mozart’s Requiem and Tallis’ Lamentations of
Jeremiah. Church of St Martin-in-the-Fields, Toronto.
March 26, 2pm, David Bowser, artistic director of the Mozart
Project, and newly appointed conductor of Pax Christi Chorale,
presents “Requiem and Farewell to a Soul Ascending.” Featuring a
world premiere of Bowser’s own work, Farewell to a Soul Ascending,
it will also include Mozart’s Requiem performed by the Toronto
Mozart Players and the Hart House Chorus at the Church of the
Redeemer.
April 1, 7:30pm, the Etobicoke Centennial Choir takes on the
Mozart Requiem under conductor Henry Renglich. Other smaller
works will be performed from Brahms, Rutter, Poulenc, Duruflé and
Schubert at Humber Valley United Church, Etobicoke.
April 2, 2pm, the Hart House Chorus presents Mozart’s Requiem.
This wonderfully unique, storied choir continues to be a high-quality
ensemble made up of students, faculty, staff and community at the
University of Toronto. David Bowser conducts at Hart House, Great
Hall, University of Toronto.
April 2, 4pm, the Eglinton St George’s United Church Choir
presents “Magnificent Mozart,” featuring a host of smaller works
including Handel’s Zadok the Priest, Whitacre’s Alleluia and Mozart’s
Requiem under conductor Shawn Grenke.
Get thee Hence, Elijah! Another great choral staple is Felix
Mendelssohn’s Elijah. As some readers will recall, in November last
year, three of the largest choral groups in Ontario performed it on
the same weekend, Pax Christi Chorale, Chorus Niagara and the
Toronto Mendelssohn Choir. This work is larger and more grand than
Mozart’s Requiem; as such, it is hard to marshal the necessary forces
to perform it effectively.
When sufficient power, technique, rehearsal and judicious artistic
interpretation combine, there is nothing quite like a full performance
Hart House Chorus performing Bruckner November 2015
of Elijah. It is discomforting with its praise and worship of Baal, it is
exalting with its “Thanks Be to God,” it is comforting with its hymns
“He Watching over Israel,” the ethereal “Lift Thine Eyes,” and the
heartbreaking “Cast Thy Burden upon the Lord.” Elijah has, in my
opinion, the most beautiful musical setting of the Beatitudes ever
composed with “Blessed Are the Men Who Fear Him.” Elijah also
has one of the most significant bass solos of any grand oratorio, “It Is
Enough; O Lord, Take My Life.” It is the song of a broken man, lost in
the wilderness, in need of guidance and love set to an evocative string
accompaniment featuring a solo cello. Mendelssohn accomplished
a unique success with Elijah. Once more popular than Handel’s
Messiah, it is easy to see why the piece is so loved.
featuring the magnificent lyric voice of
Isabel Bayrakdarian
This concert of Armenian sacred and secular music from
the 13th to 20th centuries will also include a work by
Serouj Kradjian composed specifically for this concert —
and will celebrate the release of Isabel’s latest CD.
Saturday, March 25 7:30 pm
St. Anne’s Anglican Church, 270 Gladstone Ave., Toronto
Tickets: $40 Seniors $35 Students $15
416-217-0537 www.elmeriselersingers.com
ONTARIO ARTS COUNCIL
CONCEIL DES ARTS DE L’ONTARIO
An Ontario govenrment agency
un organisme du gouvernement de l’Ontario
30 | March 1, 2017 - April 7, 2017 thewholenote.com

March 5, 2:30pm, the
Georgetown Bach Chorale will
be presenting “Choruses from
the Great Masses and Oratorios.”
The performance will include
Haydn’s “The Heavens Are
Telling” from the Creation,
“Qui Tolis” from Mozart’s Mass
in C Minor, “He Watching over
Israel” and “Thanks Be to God”
from Mendelssohn’s Elijah, as
well as selections from Brahms’
A German Requiem. Though
not an entire presentation of
Elijah, it will be a treat to hear
this work presented along with
other great songs from signature
oratorios and masses across the
choral canon.
March 25, 7:30pm, the
Stratford Concert Choir presents Mendelssohn’s Elijah. With a host of
soloists and a full orchestra, the ensemble will be led by Ian Sadler at
St. James Anglican Church, Stratford.
QUICK PICKS
If Mozart’s Requiem or Mendelssohn’s Elijah isn’t enough to satisfy
your thirst for the great symphonic choir, there are a host of other
grand options ahead. I’ve further highlighted a selection of other
interesting choral performances throughout the region.
Mar 3 and 4: The Toronto Consort has been providing some exceptionally
captivating music of late. For “Triptych: The Musical World
of Hieronymus Bosch,” they are welcoming Dutch early music group
Cappella Pratensis to Toronto. Conducted by Canadian Stratton Bull,
the eight-member, all-male ensemble specializes in the music of
Guelph Chamber Choir at the Commonwealth Carnival of Music, 2012
Josquin des Prez amongst other composers of Renaissance polyphony.
For this particular concert, they are presenting Triptych: The Musical
World of Hieronymus Bosch.Typical for the ensemble, they will
perform around one large book using original notation as well as the
Brabant pronunciation of Latin; at Trinity-St. Paul’s Centre.
Mar 19: York University’s Concert, Chamber and Men’s Choirs
present Carmina Burana. This big, bombastic, iconic choral work
of Carl Orff is well-loved for its eccentricity, technical breadth,
and satisfying aural experience. Lisette Canton conducts at Tribute
Communities Recital Hall, Accolade East Building, Toronto.
Apr 1:The York University Gospel Choir performs with Karen Burke
at the helm at the same venue.
Mar 19: Music At St. Thomas’ presents the “Choir of Men and
Boys from Christ Church Cathedral, Ottawa.” Matthew Larkin is the
conductor of this all-male choir that was founded in 1891 and remains
the only remaining all-male choir in service of an Anglican Cathedral
Canadian Children’s Opera Company
Eternal Light:
MUSIC FOR GOOD FRIDAY
METROPOLITAN FESTIVAL CHOIR,
SOLOISTS AND INSTRUMENTALISTS
DR. PATRICIA WRIGHT, CONDUCTOR
Motets by Monteverdi
on the 450th anniversary of his birth
Music from Canada by Daley, Martin, Teehan, Sirett & Enns
Eternal Light: A Requiem and
The Lord is My Shepherd both by Goodall
GOOD FRIDAY
APRIL 14, 2017, 7:30 P.M.
Metropolitan United Church
56 Queen Street East (at Church Street), Toronto, Ontario
TICKETS: $20/10 AGES 18 AND UNDER
Buy yours from the Met E-Store at www.metunited.org
or call 416-363-0331 ext. 26
Open House
Drama Instruction
Choral Singing
Staging an Opera
Free
Admission
Saturday
April 1
Auditions for 2017-18 Season
by appointment
canadianchildrensopera.com
JK - Gr. 7: 11am - 1:00pm
Gr. 6 - 12: 10am - 12pm
175 St Clair Ave. W
at First Unitarian Congregation
416-366-0467
thewholenote.com March 1, 2017 - April 7, 2017 | 31

in Canada. Here they
perform a run-out show
at St. Thomas’ Anglican
Church, Belleville.
Mar 25: The Elmer Iseler
Singers help celebrate
renowned soprano Isabel
Bayrakdarian’s new CD.
“The Journey to Canada
from Armenia” will feature
Armenian sacred music of
the 13th to 20th centuries
with Lydia Adams at
the helm; St. Anne’s
Anglican Church.
Apr 1: The Guelph
Chamber Choir presents
Bach’s St. John Passion.
This is another great staple
of grand symphonic choral
works, but like any Bach,
notoriously difficult to
Isabel Bayrakdarian
prepare and execute. The
Guelph Chamber Choir
under Gerald Neufield will present this concert with tenor James
McLean in the lead as the Evangelist; at River Run Centre, Guelph.
Apr 1 and Apr 2: Masterworks of Oakville Chorus and Orchestra
present Brahms’ German Requiem. Another great choral symphonic
work, Brahms’ Requiem is a musical setting of several passages
from the Bible selected by Brahms. It is not a Latin requiem mass
like Mozart’s or Verdi’s setting, but rather, a requiem in the German
language; at St. Matthew’s Catholic Church, Oakville.
Apr 4: Take advantage of this opportunity to see the University of
Toronto Faculty of Music’s “Annual High School Choral Festival.”
Local high schools like Unionville H.S. and Lawrence Park C.I., among
others, will be joining director of choral activities, Hilary Apfelstadt
and other faculty for a one-day intensive. Featuring individual
performances and workshopping, the various choirs will also workshop
a combined piece which they will perform together at the end of
the day with Faculty of Music ensembles including the Men’s Chorus,
the Women’s Chamber Choir and members of Young Voices Toronto.
The workshops are free to attend and run from 9am until 12pm and
then 1pm to 3pm at the Faculty of Music, University of Toronto.
Follow Brian on Twitter @bfchang Send info/media/
tips to choralscene@thewholenote.com
TICKETS:
www.ensemblevivant.com
ensemblevivant88@gmail.com
416-465-8856
$45.00 General Admission
Includes tax (Service charges are extra)
GRACE CHURCH ON THE HILL
300 LONSDALE RD (at Russell Hill Rd)
TORONTO
Ensemble Vivant
80TH BIRTHDAY TRIBUTE
TO JAZZ GREAT RICK WILKINS
Beat by Beat | Bandstand
Band Shells,
Literally
JACK MACQUARRIE
In last month’s column I focused on concert planning and
suggested repertoire for bands to consider to celebrate Canada’s
sesquicentennial year. What a pleasant surprise to learn of the
plans of a few groups which intend to incorporate some of those
suggestions into their programs. One of my top preferences in last
month’s column was Calixa Lavallée’s La Rose Nuptial (Bridal Rose).
So, very encouraging for me was news from the Wychwood Clarinet
Choir that they hope to have an arrangement of that work as part of
the Canadian celebration in their May concert. Choir members, and
skilled arrangers, Roy Greaves and Richard Moore are working on
that. This year’s winter concert “Midwinter Sweets” will not be at their
usual location, but at Knox United Church in Scarborough, on Sunday,
March 5 at 7:30. The program will also feature Concert Piece No. 2
for Two Clarinets by Felix Mendelssohn arranged by Richard Moore
and Roy Greaves, Holberg Suite by Edvard Grieg arranged by Greaves,
“Tonight” from West Side Story by Leonard Bernstein arranged
by Steve Macdonald and No More Blues by Antonio Carlos Jobim,
arranged by Macdonald. As usual, artistic director and clarinet soloist
Michele Jacot will be at the helm.
Concert Band Composition for Canada 150: I’ve also just heard
about another very encouraging project to celebrate this special year.
It is by local Toronto musicians Tom Fleming and Vern Kennedy.
About six months ago Fleming approached Kennedy, a longtime
Toronto musician and composer of over 60 band and vocal creations,
to compose a concert-band work to celebrate Canada’s sesquicentennial.
In Fleming’s words, “I had written a brief note meant to stir
Vern’s creative juices and inspire and challenge him to write something
patriotic and inspirational that spoke to Canada’s vast geography
and diversity. Vern responded by completing a composition for
band that does exactly that. It’s a six-movement suite that takes the
listener on a musical journey across Canada, ending with a stirring
tribute to the whole nation that includes optional vocals in both official
languages.”
Kennedy’s musical experience includes appearances on many CBC
television music shows and he was the composer of Run Terry Run for
the Canadian Cancer Society and In Love with an Island the official
A portion of proceeds will benefit
, a well-established
charity providing under-served
GTA children with access to live
high-caliber classical and jazz
concerts and music education, free
of charge.
Tax receipts available for donations
of $20.00 or more.
www.euterpemusicarts.com
Special guests
BRIAN
BARLOW
MIKE
MURLEY
GUIDO
BASSO
@ensemblevivant
GRACE CHURCH ON THE HILL
MAY 11, 2017 7:30pm
32 | March 1, 2017 - April 7, 2017 thewholenote.com

JACK MACQUARRIE
The Band Shells
song for PEI’s centennial.
Now that the work is ready for publication, Fleming has persuaded
a local band to rehearse in private and record it for demo purposes.
In addition, he has engaged a copywriter, an art director and an
online direct marketing expert to develop a program to market these
pieces to community concert bands and post-elementary school
bands across the country, at his own expense. When the recording
is complete the intention is to post excerpts of the music online and
invite decision makers from bands and music schools across the
country to listen to the music and hear for themselves that it is enjoyable
listening and eminently playable by most bands.
All conched out! Another sesquicentennial event is the “Canada
Celebrates 150” concert by the Navy Band of HMCS York at J. Clarke
Richardson C.V.I. in Ajax on March 4. This will feature the York full
concert band with a combined Richardson Collegiate and HMCS
York jazz set sandwiched in the middle. The program will also have
students from the school’s Vimy Ridge trip giving a presentation
during the concert about their trip to the Vimy Ridge 100th anniversary
commemoration ceremonies. This concert is not only a celebration
of Canada 150, but is also a veterans appreciation concert.
Admission is free for all veterans.
A special treat will be the opening played by the band’s conch
group, the only small ensemble from the band in this concert. YES!
You read that right. They will be playing on conch shells. Recently
I had the pleasure of hearing them in a concert at the Naval Club of
Toronto where several small ensembles from the band entertained
club members and any members of the community who wished
to attend. This small group had its beginning last year when they
played a fanfare for the visit of an admiral. The group consists of five
different-sized conch shells which produce different pitches when
the players move their hands in and out of the open end. Moving the
hand in lowers the pitch and moving it out raises the pitch. To make
these shells playable the tip has to be cut off and then they are basically
played by buzzing into them like a trumpet. This special ensemble
of five band members now has a name. They call themselves the
Band Shells.
The Band Shells are the brainchild of Leading Seaman James
Chilton, who is known in civilian life as James Chilton PhD. He is the
man who, last year, was featured at the Naval Club event playing the
didgeridoo. At this year’s event it was a duet with didgeridoo and tuba.
He also performed on an instrument of his own design. It is a sort of
“sliding didgeridoo” which is really played more like a trombone. He
calls this one a “didjeribone.” Another selection which he played was
done with a collection of variously pitched jaw harps and a looping
pedal so that he could play them all at once.
Then there was the trombone quartet which performed a number
of traditional sea songs. In some quarters you might find people
who look upon military reserve bands as amateurs. Not so here. In
that group, all four trombonists have degrees in music including one
doctorate and two master’s degrees. The fourth member is working on
a master’s degree. As for a name, members of this trombone quartet
haven’t yet decided. Some like to be called the Tromboats and others
prefer the Seabones.
Plumbing Factory and Northdale: While on the
subject of anniversaries and similar celebrations we
have just learned, from the indefatigable “Dr. Hank,”
Henry Meredith, that the Plumbing Factory Brass Band
is planning an evening of “19th Century Brass Band
Music” in April. Similarly, The Northdale Concert Band
is planning well in advance for a Gala Concert and
Banquet to celebrate their 50th anniversary during
Canada’s special year. This won’t be until November 4,
so we have lots of time to provide full details. As a
teaser though, it is safe to say that the concert will
feature Vanessa Fralick of the TSO performing two
solo pieces on trombone. The band has also commissioned
a special work by Gary Kulesha, in honour of
their 50th year, to be performed in the same concert.
New Horizons: In last month’s column I mentioned
that the North York New Horizons Band was being re-established, at
Long & McQuade on Steeles Ave. just east of Keele St. We have now
learned that the band is up and running under the direction of experienced
music teacher Susan Baskin. Their branch of New Horizons is
called: New Horizons Music North York, and they rehearse on Monday
nights from 6:45 to 8:45 in the Long & McQuade, North York, Lesson
Centre, at 2777 Steeles Ave. W. As is the case with all New Horizons
bands NHM NY Concert Band welcomes all adult woodwind, brass
and percussion players from beginners to advanced. They are especially
interested in bass clarinets, saxophones, trombones, baritones/
euphoniums and tubas. Remember the New Horizons slogan: “It’s
never too late!” Their email is: nhmnorthyork@gmail.com.
Kiwanis Music Festival Toronto: It has been many years since I had
any direct connection to the kind of music festival that was a part of
my life while playing in boys’ bands many long years ago. It was time
to see what they are like today. Where better to start than with the
community bands? Unfortunately, the Columbus Concert Band and
the Newmarket Citizens Band were the only two entries this year; still,
that was better than last year when there were no community band
entries. On the other hand, there were 150 school bands entered in
that class. The Wind Symphony of Cardinal Carter Academy took top
honours with a Platinum award of 96 percent. I dropped in on the
performance of the Newmarket Citizens Band and had an opportunity
to chat with the festival artistic director Giles Bryant and adjudicators
Dennis Beck and Michel Fortin. After the band’s performance
the adjudicators provided many constructive comments and
each conducted sections of the music to suggest possible options for
improvement. It was a very worthwhile evening, even for a spectator.
And speaking of concert bands, the Markham Concert Band will
present their Symphonic Pops Favourites Sunday, March 5, at 2pm
at the Flato Markham Theatre with a potpourri of familiar tunes.
A special treat: the band will be joined by pianist Ellen Meyer in a
performance of Mozart’s Piano Concerto No.21 with the full band
accompanying.
Gilbert and Sullivan again: This has nothing to do with bands or
band music, but once in a while I choose to digress a bit. For me,
attending the annual Gilbert and Sullivan production by Saint Anne’s
Music and Drama Society has been a longtime tradition. G&S has
been in my blood since I was born. My parents met in a G&S production
where my mother was “poor Little Buttercup.” For many years I
played in the pit orchestra at Saint Anne’s. When I started, Roy Schatz
was one of the leading figures in the production. His daughter Laura
Schatz was a little toddler who had chances to walk across the stage.
Some years later, as Laura grew up, she had singing parts. Fast forward
to this year’s production of The Grand Duke. Roy was the Prince of
Monte Carlo and Laura was the artistic director and the Baroness Von
Krakenfeldt. To complete the cast Laura Schatz’s two teenaged children
also sang in the production. What a family tradition with three
generations on stage!
Jack MacQuarrie plays several brass instruments and
has performed in many community ensembles. He can
be contacted at bandstand@thewholenote.com.
thewholenote.com March 1, 2017 - April 7, 2017 | 33

LISTINGS
The WholeNote listings are arranged in four sections:
A.
GTA (GREATER TORONTO AREA) covers all of Toronto
plus Halton, Peel, York and Durham regions.
B.
BEYOND THE GTA covers many areas of Southern
Ontario outside Toronto and the GTA. Starts on page 49.
C.
MUSIC THEATRE covers a wide range of music types:
from opera, operetta and musicals, to non-traditional
performance types where words and music are in some
fashion equal partners in the drama. Starts on page 52.
D.
IN THE CLUBS (MOSTLY JAZZ)
is organized alphabetically by club.
Starts on page 53.
E.
THE ETCETERAS is for galas, fundraisers, competitions,
screenings, lectures, symposia, masterclasses, workshops,
singalongs and other music-related events (except
performances) which may be of interest to our readers.
Starts on page 56.
A GENERAL WORD OF CAUTION. A phone number is provided
with every listing in The WholeNote — in fact, we won’t publish
a listing without one. Concerts are sometimes cancelled or postponed;
artists or venues may change after listings are published.
Please check before you go out to a concert.
HOW TO LIST. Listings in The WholeNote in the four sections above
are a free service available, at our discretion, to eligible presenters.
If you have an event, send us your information no later than the
8th of the month prior to the issue or issues in which your listing is
eligible to appear.
LISTINGS DEADLINE. The next issue covers the period from
April 1 to May 7, 2015. All listings must be received by
Midnight Wednesday March 8.
LISTINGS can be sent by e-mail to listings@thewholenote.com or
by fax to 416-603-4791 or by regular mail to the address on page 6.
We do not receive listings by phone, but you can call 416-323-2232
x27 for further information.
LISTINGS ZONE MAP. Visit our website to see a detailed version
of this map: thewholenote.com.
A. Concerts in the GTA
IN THIS ISSUE: Ajax, Aurora, Brampton, Burlington, Etobicoke,
Georgetown, Markham, Mississauga, Newmarket, North York,
Oakville, Oshawa, Port Perry, Richmond Hill, Scarborough, Thornhill,
Toronto, Toronto Island.
Wednesday March 1
●●10:15am: Young People’s Theatre. James
and the Giant Peach. Music and lyrics by Benj
Pasek and Justin Paul, book by Timothy Allen
McDonald, based on the book by Roald Dahl.
165 Front St. E. 416-862-2222. $10-$41; $10-
$36(sr/under 19). Runs to Mar. 18. Days and
times vary. Visit youngpeoplestheatre.ca for
details.
●●12:30: Organix Concerts/All Saints Kingsway.
Kingsway Organ Recital Series. John
Laing, organ; Roger Flock, percussion. All
Saints Kingsway Anglican Church, 2850 Bloor
St. W. 416-769-5224. Freewill offering.
●●7:30: Falun Dafa Association of Toronto.
Shen Yun Symphony Orchestra. Four Seasons
Centre for the Performing Arts, 145 Queen
St. W. 1-855-416-1800. $90-$150. Also
Mar 2(2:00 and 7:30).
●●7:30: University of Toronto Faculty of
Music. UofT 12tet. Jim Lewis, director. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Thursday March 2
●●10:15am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:00 noon: Roy Thomson Hall. Noon Hour
Concerts: Choral Gems through the Ages.
Mendelssohn Singers; David Briggs, organ;
Noel Edison, conductor. 60 Simcoe St. 416-872-
4255. Free. First-come, first-served seating.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Opera Spotlight.
A preview of UofT Opera’s production of Handel’s
Imeneo. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●12:30: York University Department of
Music. Jazz at Midday: The Shuffle Demons.
Martin Family Lounge, Accolade East Building,
YU, 4700 Keele St. 647-459-0701. Free.
●●1:00: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●2:00: Falun Dafa Association of Toronto.
Shen Yun Symphony Orchestra. Four Seasons
Centre for the Performing Arts, 145 Queen
St. W. 1-855-416-1800. $90-$150. Also Mar 1,
2(all 7:30).
●●5:30: Canadian Music Centre. Or Bow and
Breath. Works by Vivier, Baker, Tenney, Stevenson
and Foley. Sandra Baron, violin; Robert
W. Stevenson, clarinet and bass clarinet.
20 St. Joseph St. 416-961-6601 x202. $15;
$10(sr/st/arts workers).
●●7:30: Falun Dafa Association of Toronto.
Shen Yun Symphony Orchestra. Four Seasons
Centre for the Performing Arts, 145 Queen
St. W. 1-855-416-1800. $90-$150. Also Mar 1
(7:30), 2(2:00).
●●7:30: Living Arts Centre. Rémi Bolduc Jazz
Ensemble: Swinging with Oscar. RBC Theatre,
Living Arts Centre, 4141 Living Arts Dr.,
Mississauga. 905-306-6000. $30-$50.
●●7:30: Opera York. L’elisir d’amore. Donizetti.
Fully staged opera with chorus and orchestra.
Carla-Grace Colaguori, soprano (Giannetta);
Michael Robert-Broder, baritone (Dr.
Dulcamara); Geoffrey Butler, artistic director;
Renee Salewski, stage director. Richmond Hill
Centre for the Performing Arts, 10268 Yonge
St., Richmond Hill. 905-787-8811. $110(Gala
package); $40-$50. With supertitles. Also
Mar 4.
●●8:00: Soundstreams. R. Murray Schafer’s
Georgian
Bay
Lake
Huron
6
7
2 1
5
Lake Erie
8
3 4
City of Toronto
Lake Ontario
●●12:00 noon: Adam Sherkin/Steinway Piano
Gallery. Rachmaninoff: Let Hands Speak II.
Rachmaninoff: Variations on a Theme of Corelli
Op.42 (excerpts); ​Lullaby Op.16 (after
Tchaikovsky); Mélodie Op.3 No.3, 1940 version
(from Morceaux de Fantaisie); Sherkin:
Northern Frames; Sunderance. Adam Sherkin,
piano. St. Lawrence Centre for the Arts,
Bluma Appel Lobby, 27 Front St. E. 416-366-
7723. Free.
●●12:00 noon: Encore Symphonic Concert
Band. Monthly Concert. Big band, swing, jazz
and film scores. John Liddle, conductor. Wilmar
Heights Centre, 963 Pharmacy Ave.,
Scarborough. 416-346-3910 or 647-287-
5390. $10. First Thursday of each month.
Refreshments available or bring your lunch.
34 | March 1, 2017 - April 7, 2017 thewholenote.com

Odditorium. Excerpts from Schafer’s Patria
cycle. Chris Abraham, director. Crow’s Theatre,
345 Carlaw Ave. 647-341-7390. $57.50-
$67.50. Also Mar 3(7:00, 10:00), 4(7:00,
10:00), 5(4:00).
●●8:00: Music Toronto. Prazak Quartet.
Haydn: Quartet in B-flat Op.71 No.1; Bruckner:
Quartet; Dvořák: Quartet in F Op.96 “American.”
Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E. 416-366-
7723. $55; $10(st).
Friday March 3
●●10:15am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:10: Music at St. Andrew’s. Noontime
Recital. Burritt: Moon Loves Its Light;
Sokolovic: Tanzer Lieder; Arden: The House of
Martin Guerre. Allison Angelo, soprano; David
Eliakis, piano. St. Andrew’s Church (Toronto),
73 Simcoe St. 416-593-5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and other
genres. Gordon Murray, piano. Trinity-St. Paul’s
Centre (Chapel), 427 Bloor St. W. 416-631-
4300. PWYC. Lunch and snack friendly.
●●3:30: Emmanuel College. John Donne’s A
Nocturnall on S. Lucies Day. Works by Dowland
and his contemporaries. Ruby Joy,
reader; Hallie Fishel, soprano; John Edwards,
lute; Musicians In Ordinary. Emmanuel College
Chapel, 75 Queen’s Park Cr. E. 416-585-
4465. Free. Pre-concert talk.
●●7:00: Canadian Music Competition. A Little
Night Music. Classical music performed by
young stars from the Canadian Music Competition.
Yulai Duan, piano; Myriam Blardone,
harp; Julia Mirzoev, violin; Vivian Chen, piano;
Julia Debowska, soprano. Remenyi House of
Music, Music Room, 210 Bloor St. W. 416-723-
7409. $25; $10(st).
●●7:00: Soundstreams. R. Murray Schafer’s
Odditorium. See Mar 2. Also Mar 3(10:00);
4(7:00, 10:00), 5(4:00).
●●7:00: University Settlement Music and
Arts School. Chamber Music Student Concert.
St. George the Martyr Church, 197 John
St. 416-598-3444 x243/244. Free.
●●7:30: Toronto City Opera. Carmen. Bizet.
Fully staged opera. Bickford Centre Theatre,
777 Bloor St. W. 416-576-4029. $28; $20(sr);
$15(st). Also Mar 5(mat).
NEW SEASON
FRIDAY
NOONTIME
RECITALS
FEB 3 – MAY 26
12:10pm free
Bösendorfer Imperial
piano featured in
many recitals
St. Andrew’s Church
King & Simcoe Streets
standrewstoronto.org
March 3-5, 2017
Harbourfront Centre Theatre
canadianchildrensopera.com
●●7:30: Canadian Children’s Opera Company.
Brundibár. Music by Hans Krása; additional
music by Robert Evans. Members of the Canadian
Children’s Opera Company; Teri Dunn,
music director; Joel Ivany, stage director.
Harbourfront Centre Theatre, 235 Queens
Quay W. 416-973-4000. $33; $24(sr); $19(st).
Also Mar 4(mat/eve), 5(mat).
●●8:00: Alliance Française de Toronto. The
Work and Ideas of Pierre Schaeffer. Canadian
electroacoustic music from the 1950s
to the present day. Darren Copeland, electronics.
24 Spadina Rd. 416-922-2014 x37. $15;
$10(sr/st/member).
●●8:00: Etobicoke Philharmonic Orchestra.
Viva España! Bizet: Les Toréadors from
Carmen Suite No.1; Albéniz: Granada and
Espana from Suite Espanola Op.47; Chabrier:
España Rhapsody (with flamenco dancer);
Bizet: Entr’acte (Argonaise) from Carmen;
Falla: Ritual Fire Dance from El amor brujo.
Ritmo Flamenco, flamenco dancer with guitar
accompaniment. Martingrove Collegiate
Institute, 50 Winterton Dr., Etobicoke. 416-
239-5665. $30; $25/$22(sr/adv); $15(st).
●●8:00: Gallery 345/Jane Bunnett. Danae
Olano: Cuban Piano from the 1900s to
today! Works by Lecuona, Grenet, Cervantes
and Olano. Guests: Grupo Okan (Magdelys
Savigne; Elizabeth Rodriquez), Jane Bunnett,
flute, soprano sax; Danae Olano and Hilario
Duran, piano. Gallery 345, 345 Sorauren Ave.
416-822-9781. $20/$10(st).
●●8:00: North Toronto Players. Iolanthe.
Music by Sir Arthur Sullivan, lyrics and
book by W. S. Gilbert. Jubilee United Church,
40 Underhill Dr. 416-481-4867. $25; $22(sr);
$15(st); free(under 14). Opening night. Runs
to Mar 12. Fri-Sat(8:00), Sun(2:00). Also
Mar 11(2:00).
●●8:00: Royal Conservatory/Istituto Italiano
di Cultura. String Concert: Nicola Benedetti
and Venice Baroque Orchestra. Vivaldi:
The Four Seasons; works by Galuppi, Avison
and Geminiani. Nicola Benedetti, violin; Venice
Baroque Orchestra; Andrea Marcon, leader.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $40-$100.
●●8:00: Toronto Consort. Triptych: The
Musical World of Hieronymus Bosch. Works
by Pierre de la Rue, Clemens non Papa and
Jean Mouton. Guests: Cappella Pratensis.
Trinity-St. Paul’s Centre, Jeanne Lamon
Hall, 427 Bloor St. W. 416-964-6337. $24-$60;
$22-$55(sr); $15(st/35 and under). Also
Mar 4. Pre-concert lecture at 7:00.
●●8:00: York University Department of
Music. Improv Soiree. Participatory “open
mic” set-up. Improv studios of Casey Sokol,
hosts. Sterling Beckwith Studio, 235 Accolade
East Building, 4700 Keele St. 647-459-0701.
Free. Performers and observers welcome.
●●10:00: Soundstreams. R. Murray Schafer’s
Odditorium. See Mar 2. Also Mar 4(7:00,
10:00, 5(4:00)).
Saturday March 4
●●11:00am and 1:00: University Settlement
Music and Arts School. End of Term Student
Concert. St. George the Martyr Church,
197 John St. 416-598-3444 x243/244. Free.
Also at 1:00.
●●2:00: Canadian Children’s Opera Company.
Brundibár. See Mar 3. Also Mar 5(mat).
●●2:00: Paskke String Quartet. In Concert.
Brahms: Clarinet Quintet in B Minor; Borodin:
String Quartet No.2. Guest: Paul Weston,
clarinet. Aurora Cultural Centre, 22 Church
St., Aurora. 416-716-5469. $15; $10(sr/st).
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●3:00: Singing Out. Out in the Spotlight!
Cabaret. Annual cabaret fundraiser. The 519,
519 Church St. 416-392-6874. $20/$15(adv).
19+ only. Drinks available. Also 7:30.
●●4:00: Toronto Mendelssohn Choir. Sing
Joyfully! Minster Singers (Dawn King, conductor);
Rev. Dr. Peter Holmes, narrator; William
Maddox, organ; Jennifer Min-Young Lee,
associate conductor; Noel Edison, conductor.
Yorkminster Park Baptist Church, 1585 Yonge
St. 416-408-0208. $35; $20(VoxTix). Audience
sing-along.
●●7:00: Oakville Chamber Orchestra. Celebrating
Music in Oakville. Mozart: Violin
Concerto No.4; arias and songs by Delibes,
Gershwin, Porter, Puccini, and J. Strauss Jr.;
Calverley: rediscovered work; Demuynck:
world premiere. Stephen Sitarski, violin;
Tessa Laengert and Ashleigh Semkiw, sopranos.
St. John’s United Church (Oakville),
262 Randall St., Oakville. 905-483-6787. $30;
$25(sr); $20(st). Also Mar 5 (mat, St. Simon’s
Anglican Church, Oakville).
●●7:00: Soundstreams. R. Murray Schafer’s
Odditorium. See Mar 2. Also Mar 4(10:00),
5(4:00).
●●7:30: Academy Concert Series. A Frankly
Fabulous Foray. Franck: Piano Quintet in
F Minor; Fauré: Elégie for cello and piano;
Piano Quintet in C Minor. Leanne Regehr,
piano; Alexander Read, violin; Elizabeth
Loewen Andrews, violin; Emily Eng, viola;
Kerri McGonigle, cello. Eastminster United
Church, 310 Danforth Ave. 416-629-3716. $20;
$14(sr/st).
●●7:30: Canadian Children’s Opera Company.
Brundibár. See Mar 3. Also 2:00 and
Mar 5(2:00).
●●7:30: Jubilate Singers. African Connections.
Missa Kenya; Missa Luba; and other
works. Paul Therrien, percussion; Ubuntu
Youth Drummers; Isabel Bernaus, conductor;
Sherry Squires, accompanist. St. Simon-the-
Apostle Anglican Church, 525 Bloor St. E. 416-
488-1571. $25; $20(sr); $15(st); free(under
13).
●●7:30: MCS Chorus/Mississauga. Mozart
Requiem. Mozart: Requiem; Kyrie in D Minor;
Ave Verum; Salieri: Te Deum; short dramatic
enactments based on Mozart’s letters and
monologues from the play “Amadeus.” Jocelyn
Fralick, soprano; Lillian Brooks, alto; Ryan
Harper, tenor; Matthew Cassil, bass; Mervin
W. Fick, conductor. First United Church (Mississauga),
151 Lakeshore Rd. W., Mississauga.
416-762-7103. $25; $12(under 19). 7:00: preconcert
talk.
●●7:30: Opera by Request. Mozart Mania.
Excerpts from Così fan tutte, Le nozze di
Figaro, Don Giovanni and Die Zauberflöte;
complete performance of Der Schauspieldirektor.
Ontario Opera Collaborative
(Misty Banyard and Jennifer Fontaine, sopranos;
Tara St. Pierre, mezzo; Antonio Dirienzo,
tenor; Thomas Franzky, bass; D. Kai Ma,
piano and conductor). College Street United
Church, 452 College St. 416-455-2365. $20.
●●7:30: Opera York. L’elisir d’amore. Donizetti.
Fully staged opera with chorus and orchestra.
Carla-Grace Colaguori, soprano (Giannetta);
Michael Robert-Broder, baritone (Dr.
Dulcamara); Geoffrey Butler, artistic director;
Renee Salewski, stage director. Richmond Hill
Jubilate
singers
African
Connections
Featuring
MISSA KENYA
MISSA LUBA
with guests
Paul Therrien, percussion
uBunTu YOuTh DruMMerS
Saturday Mar 4, 7:30 pm
St. Simon-the-Apostle Church
jubilatesingers.ca
thewholenote.com March 1, 2017 - April 7, 2017 | 35

Centre for the Performing Arts, 10268 Yonge
St., Richmond Hill. 905-787-8811. $110(Gala
package); $40-$50. With supertitles. Also
Mar 2.
●●7:30: Singing Out. Out In The Spotlight!
Cabaret. Annual cabaret fundraiser. The 519,
519 Church St. 416-392-6874. $20/$15(adv).
19+ only. Drinks available. Also 3:00.
●●7:30: Southern Ontario Lyric Opera.
Tosca. Music by Giacomo Puccini. Libretto
by Luigi Illica and Giuseppe Giacosa. Jessica
Lane, soprano (Tosca); Romulo Delgado,
tenor (Cavaradossi); Nicolae Raiciu, baritone
(Scarpia). Burlington Performing Arts
Centre, 440 Locust St., Burlington. 905-681-
6000. $20-$55.
●●7:30: Tallis Choir. Requiem for a
March 5, 2017 | 3pm
France
Pre-concert Chats begin at 2:15
A. Concerts in the GTA
Subscriptions on sale now!
George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St.
Tickets are available at the TCA Box Office, ticketmaster.ca or 1-855-
985-2787. Season and Pick 3 Subscriptions, and Group Sales 416-250-
3708. Single tickets are $43 Adult, $37 Senior (60+), $15 Child and
OTOpus (15-29).
www.orchestratoronto.ca
Tom Mueller - Cello
Selections from Pelléas and Mélisande Suite Op. 80
by Gabriel Fauré
Tom Mueller performs
Cello Concerto No. 1 in A minor Op. 33
by Camille Saint-Saëns
La Mer by Claude Debussy
Renaissance King. Lobo: Requiem for 8
voices; Cardoso: Lamentations; Morago: Gaudete
cum laetitia; Juan IV of Portugal: Crux
fidelis; Escobar: Vergen bendita sin far; and
other works. St. Patrick’s Catholic Church
(Toronto), 131 McCaul St. 416-286-9798 or
416-978-8849. $30; $25(sr); $10(st).
●●7:30: Toronto City Opera. Merry Widow.
Lehár. Fully staged opera. Bickford Centre
Theatre, 777 Bloor St. W. 416-576-4029. $28;
$20(sr); $15(st).
●●7:30: Toronto Concert Band. Hallelujah!
Handel: Hallelujah Chorus; Copland: Appalachian
Spring; Smith: Purgatorio (The Divine
Comedy); works by Grainger, Whitacre,
Hazo and others. Les Dobbin and Ken Hazlett,
conductors. Humber Valley United Church,
Kevin Mallon, Musical Director
Season
76 Anglesey Blvd., Etobicoke. 647-479-2941.
$20.
●●7:30: York Chamber Ensemble. The New
World. Dvořák: New World Symphony; Mozart:
Clarinet Concerto. Patricia Wait, clarinet;
Mark Chambers, conductor. Trinity Anglican
Church (Aurora), 79 Victoria St., Aurora.
905-727-6101. $20; $15(sr/st).
●●8:00: Aga Khan Museum/Rumi Canada.
Mystic Persian Music and Poetry. Iranian
Qawwali-style Sufi music. Soley Ensemble.
Aga Khan Museum, 77 Wynford Dr. 416-646-
4677. Starting at $40; $36(Friends).
●●8:00: Canadian Sinfonietta. Lai Crinó Duo
Recital. Leclair: Sonata No.3; Stravsinky: Pulcinella
Suite; Pepa: Telemanna; Schumann:
Violin Sonata No.1. Joyce Lai, violin; Erika
Crinó, piano. Heliconian Hall, 35 Hazelton Ave.
647-223-2286. $30; $25(sr); $20(st).
●●8:00: Jazz Performance and Education
Centre (JPEC). Quintessential Quintets –
Words and Music: Barbra Lica Vocal Quintet.
Opening act: Amanda Tosoff Quintet. Greenwin
Theatre, Toronto Centre for the Arts,
5040 Yonge St. 1-855-985-2787. $35; $20(st).
●●8:00: Massey Hall/Small World Music.
Goran Bregović and His Wedding and Funeral
Band. Goran Bregović, guitar, synthesizer,
and vocals; Muharem Redžepi, vocals and
goc (traditional drum); Bokan Stanković and
Dragić Veličković, trumpets; Stojan Dimov,
saxophones and clarinet; and others. Massey
Hall, 178 Victoria St. 416-872-4255.
$49.50-$89.50.
●●8:00: Music Gallery/Thin Edge New Music
Collective. Raging Against the Machine:
Coming Together. Frederic Rzewski: Coming
Together; Yannis Kyriakides: Karaoke
Etudes; and works by Colin Labadie, James
O’Callaghan, and Anna Pidgorna. Ensemble
Paramirabo; Thin Edge New Music Collective.
Music Gallery, 197 John St. 416-204-1080.
$15/$20(adv); $15(members/st/arts). Admission
includes one pre-concert refreshment.
Album release for Thin Edge New Music Collective/Ensemble
Paramirabo’s recording
Raging Against the Machine.
●●8:00: North Toronto Players. Iolanthe.
Music by Sir Arthur Sullivan, lyrics and
book by W.S. Gilbert. Jubilee United Church,
40 Underhill Dr. 416-481-4867. $25; $22(sr);
$15(st); free(under 14). Opens Mar 3, 8:00.
Runs to Mar 12. Fri-Sat(8:00), Sun(2:00). Also
Mar 11(2:00).
●●8:00: Schola Magdalena. Weaving the
World: Schola Magdalena and Darbazi. Works
by Hildegard and Dunstable; Georgian folk
music; chant; new music. Guests: Darbazi
Georgian Choir. Church of St. Mary Magdalene
(Toronto), 477 Manning Ave. 416-531-
7955. PWYC.
●●8:00: Sinfonia Toronto. Cello Passion.
Morawetz: Sinfonietta; Saint-Saëns: Cello
Concerto No.1; Grieg: Sinfonia in G Minor.
Stéphane Tétreault, cello; Nurhan Arman,
conductor. Toronto Centre for the Arts,
5040 Yonge St., North York. 416-499-0403.
$42; $35(sr); $15(st).
●●8:00: Spectrum Music. Tales of the Unconscious.
New music for classical choir and
jazz trio by Spectrum composers and Roger
Bergs. Musicata Choir; Mike Murley, saxophone;
Chris Pruden, piano; Andrew Downing,
bass; Roger Burgs, conductor. Knox
Presbyterian Church (Toronto), 630 Spadina
Ave. 416-937-6180. $20/$15(adv);
$15(st)/$10(adv).
●●8:00: Toronto Consort. Triptych: The
Musical World of Hieronymus Bosch. Works
by Pierre de la Rue, Clemens non Papa and
Jean Mouton. Guests: Cappella Pratensis.
Trinity-St. Paul’s Centre, Jeanne Lamon Hall,
427 Bloor St. W. 416-964-6337. $24-$60; $22-
$55(sr); $15(st/35 and under). Also Mar 3.
Pre-concert lecture at 7:00.
●●8:00: Toronto Symphony Orchestra. New
Creations Festival: Tanya Tagaq. Andrew
Staniland: Reflections on O Canada after
Truth and Reconciliation: Sesquie for Canada’s
150th (world premiere); Jörg Widmann:
Trauermarsch for Piano and Orchestra (Canadian
premiere); Jordan Pal: Iris (world premiere);
Tanya Tagaq, Christine Duncan and
Jean Martin (orch. Christopher Mayo): Oiksaaktuq
(world premiere). Yefim Bronfman,
piano; Tanya Tagaq, vocalist; Christine Duncan,
improvisation leader; André de Ridder,
conductor; Peter Oundjian, conductor and
host. Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $33.75-$148.
●●10:00: Soundstreams. R. Murray Schafer’s
Odditorium. See Mar 2. Also Mar 5(4:00).
Sunday March 5
●●11:00am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●1:15: Mooredale Concerts. Music and Truffles.
Bach: Violin Sonata No.1 in G Minor
BWV1001; Ysaÿe: Sonata No.3 in D Minor
for Solo Violin Op.27 No.3 “Ballade;” Schumann:
Violin Sonata No.3 in A Minor WoO27;
Beethoven: Violin Sonata No.7 in C Minor
Op.30 No.2. In Mo Yang, violin; Renana Gutman,
piano. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
36 | March 1, 2017 - April 7, 2017 thewholenote.com

Park. 416-922-3714 x103. $20. For audiences
5-11; adults welcome. Also 3:15(main concert).
●●2:00: Canadian Children’s Opera Company.
Brundibár. See Mar 3.
●●2:00: Markham Concert Band. Symphonic
Pops Favourites. A tribute to great Canadian
and American music. Armenian Dances;
Glenn Miller in Concert; Mozart: Piano Concerto
No.21; The Great Race; As a Wind from
the North; and other works. Markham Concert
Band; Kennedy Public School Band. Flato
Markham Theatre, 171 Town Centre Blvd.,
Markham. 905-305-7469. $25; $20(sr/st).
●●2:00: MIYE. Khusugtun Ethnic Band. Traditional
Mongolian music. Greenwin Theatre,
Toronto Centre for the Arts, 5040 Yonge St.
1-855-985-2787. $45-$60.
●●2:00: Morgans on the Danforth. Tania Gill
and Beverly Taft. Jazz, blues, bossa, songs by
Frank Loesser and original works. Tania Gill,
keyboard; Beverly Taft, vocals. 1282 Danforth
Ave. 416-461-3020. No cover.
●●2:00: North Toronto Players. Iolanthe.
Music by Sir Arthur Sullivan, lyrics and
book by W.S. Gilbert. Jubilee United Church,
40 Underhill Dr. 416-481-4867. $25; $22(sr);
$15(st); free(under 14). Opens Mar 3, 8:00.
Runs to Mar 12. Fri-Sat(8:00), Sun(2:00). Also
Mar 11(2:00).
●●2:00: Royal Conservatory of Music. Sunday
Interludes: Fern Linzdon. Fern Lindzon,
piano and vocals; George Koller, bass; Nick
Fraser, drums. Mazzoleni Concert Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208. Free.
Ticket reservation required.
●●2:00: Toronto City Opera. Carmen. Bizet.
Fully staged opera. Bickford Centre Theatre,
777 Bloor St. W. 416-576-4029. $28; $20(sr);
$15(st). Also Mar 3(eve).
●●2:00: Visual and Performing Arts Newmarket
(VPAN). Maxim Bernard, Piano.
Newmarket Theatre, 505 Pickering Cres.,
Newmarket. 905-953-5122. $30; $25(sr);
$10(st).
●●2:30: Durham Chamber Orchestra. A Visit
to the British Isles. Duncan McIntyre, piper;
O’Donnell Irish Dancers; Lori Martin, vocalist.
St. Francis Centre, 78 Church St. S., Ajax.
905-493-4277. $15; free(under 12).
●●2:30: Georgetown Bach Chorale. Choruses
from the Great Masses and Oratorios.
Haydn: The Creation; Mendelssohn: Elijah;
Mozart: Mass in C Minor; Brahms: A German
Requiem. Christina Lamoureux, soprano; Bob
Knight, baritone. St. John’s United Church
(Georgetown), 11 Guelph St., Georgetown.
905-873-9909. $35; $10(st).
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●3:00: Oakville Chamber Orchestra. Celebrating
Music in Oakville. Mozart: Violin
Concerto No.4; arias and songs by Delibes,
Gershwin, Porter, Puccini, and J. Strauss Jr.;
Calverley: rediscovered work; Demuynck:
world premiere. Stephen Sitarski, violin;
Tessa Laengert and Ashleigh Semkiw, sopranos.
St. Simon’s Anglican Church (Oakville),
1450 Litchfield Rd., Oakville. 905-483-6787.
$30; $25(sr); $20(st). Also Mar 4 (eve, St.
John’s United Church, Oakville).
●●3:00: Orchestra Toronto. France. Fauré:
Pelléas et Mélisande Suite Op.80 (selections);
Saint-Saëns: Cello Concerto No.1 in A Minor
Op.33; Debussy: La mer. Tom Mueller, cello;
Kevin Mallon, conductor. George Weston
Recital Hall, 5040 Yonge St. 1-855-985-2787.
$43; $37(sr); $15(under 30).
●●3:00: Roy Thomson Hall. Boston Symphony
Orchestra. Beethoven: Piano Concerto No.2;
Berlioz: Symphonie fantastique. Emanuel Ax,
piano; Andris Nelsons, conductor. 60 Simcoe
St. 416-872-4255. $49.50-$169.50.
●●3:00: Oriana Women’s Choir. Journey
Around the Sun: Choral Masterworks.
Tormis: Looduspildid (Nature Pictures); Pergolesi:
Stabat Mater. Grace Church on-the-
Hill, 300 Lonsdale Rd. 416-978-8849. $25;
$20(sr/under 35); $10(st).
●●3:00: Royal Conservatory. Invesco Piano
Series: Sir András Schiff. Works by Schubert.
Koerner Hall, Telus Centre, 273 Bloor St.
W. 416-408-0208. $40-$95. 2:15: Pre-concert
chat.
●●3:00: Syrinx Concerts Toronto. In Concert.
Hétu: Sonata; Brahms: Op.118 (selections);
Beethoven: Sonata in A-flat Op.110; Prokofiev:
Sonata No.7. Peter Longworth, piano. Heliconian
Hall, 35 Hazelton Ave. 416-654-0877. $30;
$20(st). Post-concert reception.
●●3:00: Tudor Consort. Marian Music
through Six Centuries. Lobo: Ave Regina
Caelorum; L’Heritier: Alma Redemptoris
Mater; Morales: Regina Caeli Laetare; Josquin:
Gaude Virgo; Monteverdi: Ave Maris
Stella. Immaculate Conception Church,
1710 Scugog St., Port Perry. 705-357-2459.
Admission by donation.
●●3:15: Mooredale Concerts. In Concert.
Bach: Violin Sonata No.1 in G Minor BWV1001;
Ysaÿe: Sonata No.3 in D Minor for Solo Violin
Op.27 No.3 “Ballade;” Schumann: Violin
Sonata No.3 in A Minor WoO27; Beethoven:
Violin Sonata No.7 in C Minor Op.30 No.2. In
Mo Yang, violin; Renana Gutman, piano. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-922-3714
x103. $30; $20(under 30). Also 1:15(Music
and Truffles).
●●4:00: Church of St. Mary Magdalene
(Toronto). Organ Music by Bach. Andrew
Adair, organ. 477 Manning Ave. 416-531-
7955. Free.
●●4:00: Shevchenko Musical Ensemble. A
Choral Feast. Folk and contemporary songs
of Ukraine, Canada and other countries. Vlad
Praskurnin, guitar; Derrick Li, piano; Shevchenko
Choir of Toronto; Alexander Veprinskiy,
conductor. Trinity-St. Paul’s Centre, 427 Bloor
St. W. 416-533-2725. $25; $15(st/child).
●●4:00: Soundstreams. R. Murray Schafer’s
Odditorium. See Mar 2.
●●4:00: St. Olave’s Anglican Church. Monteverdi
450. Choral evensong for the First Sunday
in Lent. Monteverdi: Beatus vir and other
works. Schola Ecclesiam; Clem Carelse, director.
360 Windermere Ave. 416-769-5686.
CLASSICS FROM VIENNA
MEET VOICES OF BRITAIN
Ludwig van String Trio in G major,
Beethoven Op. 9 No.1
Wolfgang Amadeus Oboe Quartet in F major,
Mozart K.370
Benjamin Britten Phantasy Quartet for Oboe
and Strings, Op. 2
Contributions appreciated. Religious Service.
●●4:00: St. Philip’s Anglican Church. Jazz
Vespers. Amanda Tosoff Words Project
(Amanda Tosoff, piano; Felicity Williams,
voice; Alex Goodman, guitar; Dan Fortin, bass;
Morgan Childs, drums). 31 St. Phillips Rd.,
Etobicoke. 416-233-1125. Freewill donation.
Religious service.
●●7:00: Choirs Ontario. SingONtario! Massed
Choir Performance. Etobicoke Youth Choir;
University of Toronto Women’s Choir; ASLAN
Boys Choir; Ave Choir; Young Voices Toronto;
Toronto Youth Choir; Maria Guinand, conductor.
Christ Church Deer Park, 1570 Yonge
St. 416-923-1144. $10.
●●7:30: Victoria Scholars. Canadian Scholars.
Works by Denis Bédard, Stephen
Chatman, Eleanor Daley, Tomáš Dušatko,
Ernest MacMillan and others. Our Lady of
Sorrows Church, 3055 Bloor St. W., Etobicoke.
416-761-7776. $30; $25(sr/st).
●●7:30: Wychwood Clarinet Choir. Midwinter
Sweets. Mendelssohn (arr. Moore and
Greaves): Concert Piece No.2 for Two Clarinets;
Bernstein (arr. S. Macdonald): Tonight
from West Side Story; Jobim (arr. S. Macdonald):
No More Blues. Michele Jacot, clarinet
soloist and director. Knox United Church,
Agincourt, 2569 Midland Ave., Scarborough.
416-293-4424 x201. $25.
●●8:00: Mississauga Symphony Orchestra.
Symphonic Dance: Mississauga Symphony
Youth Orchestra. Dvořák: Slavonic Dances;
Haydn: Minuet from Symphony No.94; J.
Strauss: Emperor Waltz; Beethoven: Allegretto
from Symphony No.7; and other works.
Mississauga Symphony Youth Orchestra. RBC
Theatre, Living Arts Centre, 4141 Living Arts
Dr., Mississauga. 905-306-6000. $25.
Monday March 6
●●7:30: Associates of the Toronto Symphony
Orchestra. The Small Concerts: Classics
from Vienna Meet Voices of Britain.
Beethoven: String Trio in G Op.9 No.1; Mozart:
Oboe Quartet in F K370; Britten: Phantasy
Quartet for Oboe and Strings Op.2. Sarah
Lewis, oboe; Eri Kosaka, violin; Diane Leung,
viola; Emmanuelle Beaulieu Bergeron, cello.
Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-
282-6636. $22; $20(sr/st).
THE ASSOCIATES OF THE
TORONTO SYMPHONY ORCHESTRA
Monday, March 6, 2017, 7:30 p.m.
Tickets $22, Seniors & Students $20
Trinity-St. Paul’s Centre
427 Bloor St. W.
Box Office: 416-282-6636
www.associates-tso.org
thewholenote.com March 1, 2017 - April 7, 2017 | 37

Tuesday March 7
●●10:15am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Romantic Inspirations.
Works by Chopin, Schumann and Rachmaninoff.
Charissa Vandikas, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First-come, first-served. Late
seating not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music: Rising Stars Recital.
Students from the University of Toronto Faculty
of Music. Yorkminster Park Baptist
Church, 1585 Yonge St. 416-241-1298. Free.
Donations accepted.
●●1:00: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:30: Geringas Scholarship Foundation.
David Geringas in Concert. Bruch: Kol Nidrei
Op.47; Brahms: Cello Sonata No.1 in E Minor
Op.38; Tchaikovsky: Piano Trio in A Minor
Op.50. David Geringas, cello; Barry Shiffman,
violin; Vadim Serebryany, piano. Trinity-St.
Paul’s Centre, 427 Bloor St. W. 416-822-7752.
$30-$100. Proceeds to the Geringas Scholarship
Foundation.
●●7:30: University of Toronto Faculty of
Music. Kammerchor Stuttgart a cappella.
Works of Tallis, Gombert, Mendelssohn and
Fasch. Frieder Bernius, conductor; Daniel Taylor,
conductor. Trinity College Chapel, University
of Toronto, 6 Hoskin Ave. 416-408-0208.
$40; $25(sr); $10(st).
Wednesday March 8
●●10:15am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:30: Yorkminster Park Baptist
Church. Organ Recital. Conrad Gold, organ.
1585 Yonge St. 416-922-1167. Free.
●●6:00: University of Toronto Faculty of
Music. A 90th Celebration of John Beckwith.
Introductory remarks by Prof. Robin
Elliott. Beckwith: A Game of Bowls (1999); Follow
Me (2013); other works. Yang Chen, Kevin
A. Concerts in the GTA
Mulligan and Jonny Smith, percussion; Peter
Stoll, clarinet; Adam Zukiewicz, piano; and
others. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park.
416-408-0208. Free. 7:00: lecture by John
Beckwith.
●●7:30: Penthelia Singers. International
Women’s Day Concert. Celebration of
respect, appreciation and love towards
women for their economic, political and
social achievements. Sankaran: two songs for
mass choir. Alice Malach, conductor; Guests:
Cantala Women’s Choir; Echo Women’s
Choir; Lirit Women’s Chamber Choir; Street
Haven Women’s Choir; Suba Sankaran. Crescent
School, 2365 Bayview Ave. 647-248-
5079. PWYC. Proceeds to Street Haven at the
Crossroads.
●●8:00: Humber College. Evening Showcase.
Christian McBride, double bass. Lakeshore
Auditorium, Humber College, 3199 Lakeshore
Blvd. 416-675-6622. $20; $10(sr/st).
●●8:00: Toronto Symphony Orchestra.
New Creations Festival: James Ehnes. Harry
Stafylakis: Shadows Radiant: Sesquie for Canada’s
150th; Aaron Jay Kernis: Violin Concerto
(world premiere); Nico Muhly: Mixed Messages;
Owen Pallett: Songs from an Island
(world premiere). James Ehnes, violin; David
Okulitch, bass-baritone; André de Ridder,
conductor; Peter Oundjian, conductor/host.
Roy Thomson Hall, 60 Simcoe St. 416-598-
3375. $33.75-$148.
●●9:00: Swing Out Productions. A Bossa
Nova Breeze from Brazil. Works by Antonio
Carlos Jobim. Joel Sheridan, vocals; Nathan
Hiltz, guitar. Mezzetta Restaurant, 681 St.
Clair Ave. W. 416-658-5687. $10. Reservations
recommended.
Thursday March 9
●●10:15am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:00 noon: Canadian Opera Company.
Chamber Music Series: Contemporary Originals
- 13th Annual TSO New Creations Festival.
Contemporary works. In collaboration
with the Toronto Symphony Orchestra’s
New Creations Festival. Richard Bradshaw
Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-363-
8231. Free. First-come, first-served. Late seating
not available.
●●1:00: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
Women’s Musical Club of Toronto
Music in the Afternoon
TRIO SHAHAM EREZ
WALLFISCH
violin, piano, cello
Thursday, March 9, 1.30 p.m.
Tickets $45
416-923-7052
www.wmct.on.ca
●●1:30: Women’s Musical Club of Toronto.
Music in the Afternoon. Rachmaninoff: Trio
élégiaque No.1 in G Minor; Schumann: Piano
Trio in D Minor Op.63; Shostakovich: Piano
Trio No.2 in E Minor. Trio Shaham Erez Wallfisch
(Hagai Shaham, violin; Arnon Erez,
piano; Raphael Wallfisch, cello). Walter Hall,
Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-923-7052. $45.
Piano Bravura
The New Generation
●●8:00: Corktown Chamber Orchestra.
March Winds Blow. Sibelius: Symphony No.5;
Bizet: L’Arlésienne Suites Nos. 1 and 2. Paul
McCulloch, conductor. Little Trinity Anglican
Church, 425 King St. E. 647-528-7159. $10;
free(child).
●●8:00: Gallery 345. The Art of the Piano:
Richard J. Masters. J.S. Bach: Goldberg
Variations; Gluck: three transcriptions.
345 Sorauren Ave. 416-822-9781. $10-$20.
●●8:00: Rose Theatre. Vienna Boys Choir.
1 Theatre Ln., Brampton. 905-874-2800. $50
and up.
Friday March 10
●●12:10: Music at St. Andrew’s. Noontime
Recital. Works by Kevin Lau, Dan Visconti,
Kelly-Marie Murphy and Paul Schoenfield.
Amarok Ensemble, piano trio. St. Andrew’s
Church (Toronto), 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and
other genres. Gordon Murray, piano. Trinity-St.
Paul’s Centre (Chapel), 427 Bloor St.
W. 416-631-4300. PWYC. Lunch and snack
friendly.
●●7:30: Rouge River Winds. Sounds of Spring.
Young-Min Kim, French horn. St. Dunstan of
Canterbury, 56 Lawson Rd., Scarborough.
416-287-7176. $10; $5(st).
●●8:00: Aga Khan Museum/Tirgan. Feathers
of Fire: A Persian Epic. Toronto Centre for
the Arts, 5040 Yonge St., North York. 1-855-
985-2787. From $25. Also Mar 11(3:00 and
8:00); 12(3:00).
THE MAN WHO
MARRIED HIMSELF
By Juliet Palmer &
Anna Chatterton
An allegory told by
2 dancers, 3 singers
& 6 instrumentalists.
Angela Park
Thursday March 9, 7:30 pm
Church of the Holy Trinity
http://www.holytrinitytoronto.org/
wp/piano-bravura/
●●7:30: Church of the Holy Trinity/Steinway
Piano Gallery Toronto. Piano Bravura: The
New Generation. Angela Park, piano. Church
of the Holy Trinity, 10 Trinity Sq. 416-598-4521.
$30/$25(adv); $20/$15(st/adv).
●●8:00: Array Ensemble. The Rainbow of Forgetting.
Mozetich: Time to Leave; Linda Catlin
Smith: Stare at the River; Komorous: Dame’s
Rocket (the rainbow of forgetting 2); Sherlock:
Necklace; Bouchard: Ductwork; Martin
Arnold: (Damper) Coaster. Music Gallery,
197 John St. 416-532-3019. $20 or PWYC. Also
Mar 10(Kingston).
10 & 11 March
●●8:00: Toronto Masque Theatre. The Man
Who Married Himself. Scott Belluz, singer;
Subhiksha Rangarajan, singer; Alex Samaras,
singer; dancers from InDance Dance
Company; Hari Krishnan, stage director and
choreographer. Crow’s Theatre, 345 Carlaw
Ave. 416-410-4561. $50; $43(sr); $20(30
and under). Pre-show chat at 7:15. Also
Mar 11(2:00 and 8:00).
Saturday March 11
●●2:00: National Ballet of Canada. Pinocchio.
Music by Paul Englishby, with libretto
by Alasdair Middleton. Will Tuckett, choreographer.
Four Seasons Centre for the
38 | March 1, 2017 - April 7, 2017 thewholenote.com

Performing Arts, 145 Queen St. W. 416-345-
9595. $39-$265. Also Mar 12, 18, 19, 23(all
2:00); Mar 11, 15, 16, 17, 18, 23, 24(all 7:30).
THE MAN WHO
MARRIED HIMSELF
By Juliet Palmer &
Anna Chatterton
An allegory told by
2 dancers, 3 singers
& 6 instrumentalists.
10 & 11 March
●●2:00: Toronto Masque Theatre. The Man
Who Married Himself. See Mar 10. Also 8:00.
●●2:00: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●3:00: Aga Khan Museum/Tirgan. Feathers
of Fire: A Persian Epic. See Mar 10. Also
Mar 11(8:00); 12(3:00).
●●4:30: Royal Conservatory. Taylor Academy
Showcase Concert. Mazzoleni Concert Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
Free (ticket required).
●●5:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:30: Cantemus Singers. Glories of Venice.
Works by Monteverdi, De Rore, Merulo
and the Gabrielis. Church of the Holy Trinity,
10 Trinity Sq. 416-578-6602. $20; free(under
12). Also Mar 12(3:00).
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 12, 18, 19, 23(all 2:00);
Mar 15, 16, 17, 18, 23, 24(all 7:30).
●●7:30: Opera by Request. La Bohème. Puccini.
In concert with piano accompaniment.
Karina Bray, soprano (Mimi); Paul Williamson,
tenor (Rodolfo); Domenico Sanfilippo, baritone
(Marcello); Jennifer Ann Sullivan, soprano
(Musetta); Peter Warren, bass-baritone
(Colline); and others; William Shookhoff, piano
and music director. College Street United
Church, 452 College St. 416-455-2365. $20.
●●7:30: Toronto Symphony Orchestra. New
Creations Festival: Kronos Quartet. Nicole
Lizée: Zeiss After Dark: Sesquie for Canada’s
150th; Cassandra Miller: Round (world premiere);
Daniel Bjarnason: Emergence; Nicole
Lizée: Black MIDI (world premiere). Kronos
Quartet; André de Ridder, conductor; Peter
Oundjian, host. Roy Thomson Hall, 60 Simcoe
St. 416-598-3375. $33.75-$107.
●●7:30: University of Toronto Faculty of
Music. U of T Symphony Orchestra. R.
Strauss: Serenade Op.7 in E-flat; Wagner:
Siegfried Idyll; Brahms: Serenade No.1 Op.11 in
D. Uri Mayer, conductor. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. $30;
$20(sr); $10(st). 6:30: Symphony Talk preperformance
chat in Rm. 130.
thewholenote.com March 1, 2017 - April 7, 2017 | 39

●●8:00: Aga Khan Museum/Tirgan. Feathers
of Fire: A Persian Epic. See Mar 10. Also
Mar 12(3:00).
●●8:00: Cathedral Bluffs Symphony Orchestra.
In Concert. Fauré: Requiem in D Minor
Op.48; Mozart: Requiem in D Minor. Hamilton
Bach Elgar Choir; Saint Joseph’s R.C. Church
Parish Choir (Hamilton); Grand River Chorus
(Brantford). P.C. Ho Theatre, Chinese Cultural
Centre of Greater Toronto, 5183 Sheppard
Ave. E., Scarborough. 416-879-5566. $35;
$30(sr/st); free(under 12). 7:15: Pre-concert
talk.
●●8:00: Flato Markham Theatre. The Vienna
Boys Choir. 171 Town Centre Blvd., Markham.
905-305-7469. $69-$74.
●●8:00: Music Gallery/Cluster New Music
and Integrated Arts Festival. Many Visions:
Plumes Deconstructs the Music of Grimes +
David Jones. Music Gallery, 197 John St. 416-
204-1080. $15/$13(adv); $10(members/st).
●●8:00: Toronto Masque Theatre. The Man
Who Married Himself. See Mar 10.
●●9:00: Ugly Beauties. Lerner, Brubeck, Fraser.
CD launch of Strange Attractors. Marilyn
Lerner, piano; Matt Brubeck, cello; Nick Fraser,
drums. Jazz Bistro, 251 Victoria St. 416-
363-5299. $25; $20(st). 7:00: dinner. Show
also at 10:30.
Sunday March 12
●●2:00: Canzona Chamber Players. Duo
Rideau. Works by Mozart, Schubert, Grieg,
Rachmaninoff, Khachaturian and Donkin.
Amelie Langlois and Catherine Donkin,
piano. St. Andrew by-the-Lake Anglican
Church, Cibola Ave., Toronto Island. 416-
822-0613. $45(with brunch); $25. Reservations
required for brunch. Also Mar 13 (eve,
Music Gallery).
●●2:00: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 18, 19, 23(all 2:00);
Mar 15, 16, 17, 18, 23, 24(all 7:30).
●●2:30: Live at West Plains! Chroi Celtic
Band: Songs of Longing for Home. Celtic
inspired songs and stories in celebration
of St. Patrick’s Day. Jenna Gallagher, fiddle;
Doug MacNaughton, guitar; Gord Simmons,
bodhran; Christopher Dawes, piano.
West Plains United Church, 549 Plains Rd.
A. Concerts in the GTA
W., Burlington. 905-529-4871. $20; $12(st).
Wheelchair accessible.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●3:00: Aga Khan Museum/Tirgan. Feathers
of Fire: A Persian Epic. See Mar 10.
●●3:00: Cantemus Singers. Glories of Venice.
Works by Monteverdi, De Rore, Merulo
and the Gabrielis. Church of the Holy Trinity,
10 Trinity Sq. 416-578-6602. $20; free(under
12). Also Mar 11(7:30).
ukrainian art song project
PRESENTS
Shevchenko
&Shakespeare
March 12, 2017
Pavlo Hunka
& Albert Krywolt
Mazzoleni Hall,
Royal Conservatory of Music
www.ukrainianartsong.ca
●●3:00: Ukrainian Art Song Project. Art
Songs: Shevchenko and Shakespeare. Jakovchuk:
Song of Love; and other works. Pavlo
Hunka, bass-baritone; Albert Krywolt, piano.
Mazzoleni Concert Hall, Royal Conservatory,
273 Bloor St. W. 416-408-0208. $55; $35(st).
●●4:30: Christ Church Deer Park. Jazz Vespers.
Colleen Allen Trio. 1570 Yonge St. 416-
920-5211. Freewill offering. Religious Service.
●●4:30: Swing Out Productions. Sheridan
Sings Sinatra! Joel Sheridan, vocals;
Jordan O’Connor, bass. The Local Gest,
424 Parliament St. 416-961-9245. Free. No
cover.
●●7:30: Cor Unum Ensemble. Bach: St. John
Passion. Jonathan MacArthur (Evangelist);
Baroque orchestra and choir. Guest: Adrian
Butterfield, conductor. Trinity College Chapel,
University of Toronto, 6 Hoskin Ave. 226-980-
9828. By donation; free(under 13).
●●7:30: St. Anne’s Anglican Church. Medieval
Meditations. Junction Trio. Guests:
Schola Magdalena. St. Anne’s Parish Hall,
651 Dufferin St. 416-536-3160. PWYC; $20
suggested.
●●7:30: Toronto Early Music Centre. The
Toronto #TelemannFantasiaProject. Telemann:
Fantasias for solo viola da gamba.
Joëlle Morton, Coral Brennauer, Laura Jones,
Jeff Hamacher, Simone Desilets, and others.
Victoria College Chapel, 73 Queen’s Park Cr. E.
416-464-7610. Admission by donation. Part of
a #TeleManniaOrg worldwide celebration.
●●7:30: Tranzac Club. GUH in Concert.
292 Brunswick Ave. 416-923-8137. PWYC.
●●8:00: Ritual 7. The Announcement Made to
Mary. Miracle play with a new score by Anne
Bourne. Julian Butterfield, cello. Redd Flagg,
Second East Side Garage, St. Mathias Place,
off 899 Dundas St. W. 647-551-4296. Admission
by donation. Reserved seating.
Monday March 13
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:30: Canzona Chamber Players. Duo
Rideau. Works by Mozart, Schubert, Grieg,
Rachmaninoff, Khachaturian and Donkin.
Amelie Langlois and Catherine Donkin, piano.
Music Gallery, 197 John St. 416-822-0613. $25.
Also Mar 12 (mat, Toronto Island).
Tuesday March 14
●●11:00am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:00 noon: Canadian Opera Company.
Vocal Series: Millan and Faye Present Opera
for All Ages. Interactive concert. Favourite
operatic arias and sing-along choruses.
Young artists of the COC Ensemble Studio;
Kyra Millan, soprano; Christina Faye, piano.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Firstcome,
first-served. Late seating not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music: Matthew Ross, trumpet.
Yorkminster Park Baptist Church,
1585 Yonge St. 416-241-1298. Free. Donations
accepted.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:00: University of Toronto Faculty of
Music. Student Composers Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Wednesday March 15
●●12:30: Organix Concerts/All Saints Kingsway.
Kingsway Organ Recital Series. Wayne
Carroll, organ; Samuel Bisson, cello. All Saints
Kingsway Anglican Church, 2850 Bloor St. W.
416-769-5224. Freewill offering.
●●12:30: Yorkminster Park Baptist Church.
Organ Recital. Paul Grimwood, organ.
1585 Yonge St. 416-922-1167. Free.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 18, 19, 23(all 2:00);
Mar 16, 17, 18, 23, 24(all 7:30).
La Cecchina
(La buona figliuola)
by Niccolò Piccinni
THE GLENN GOULD SCHOOL OPERA 2016
WED. MAR. 15 & FRI. MAR. 17, 7:30PM
KOERNER HALL
TICKETS 0N SALE NOW: 416.408.0208
WWW.PERFORMANCE.RCMUSIC.CA
●●7:30: Royal Conservatory. Glenn Gould
School Opera: La cecchina. By Niccolò Piccinni.
Royal Conservatory Orchestra; Leslie
Dala, music director. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $25-$55.
Also March 17.
●●7:30: York University Department of
Music. York University Chamber Choir.
Lisette Canton, conductor; Ted Moroney,
accompanist. Tribute Communities Recital
Hall, Accolade East Building, YU, 4700 Keele
St. 416-736-5888. $15; $10(sr/st).
●●8:00: Massey Hall. Alejandra Ribera. Guest:
Calum Graham. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-872-4255. $39.50.
Thursday March 16
●●11:00am: York University Department of
Music. World Music Festival: Cuban Ensemble.
Rick Lazar/Anthony Michelli, conductors.
Tribute Communities Recital Hall, Accolade
East Building, YU, 4700 Keele St. 647-459-
0701. Free. World Music Festival runs Mar 16
and 17.
●●11:00am: Young People’s Theatre. James
and the Giant Peach. See Mar 2. Runs to
March 18.
●●12:00 noon: Canadian Opera Company.
Dance Series: Holy Cow(s)! Taboos of gender,
identity, sexuality and cultural (mis)appropriation
through a global dance lens. Chag:
Holy Cow(s)! Hari Krishnan, dancer. Guests:
Sean Curran, David Brick and Jay Hirabayash,
choroeography. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
Free. Most suitable for an adult audience.
First-come, first-served. Late seating not
available.
●●12:00 noon: York University Department
of Music. World Music Festival: Klezmer
Ensemble. Brian Katz, conductor. Martin
Family Lounge, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free. World
Music Festival runs Mar 16 and 17.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Student Chamber
Music Ensembles. Walter Hall, Edward
Johnson Building, University of Toronto,
40 | March 1, 2017 - April 7, 2017 thewholenote.com

80 Queen’s Park. 416-408-0208. Free.
●●1:00: York University Department of
Music. World Music Festival: West African
Drumming - Ghana. Kwasi Dunyo, conductor.
Tribute Communities Recital Hall, Accolade
East Building, YU, 4700 Keele St. 647-459-
0701. Free. World Music Festival runs Mar 16
and 17.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●3:00: York University Department of
Music. World Music Festival: Escola de
Samba. Rick Lazar, conductor. Sterling Beckwith
Studio, 235 Accolade East Building,
4700 Keele St. 647-459-0701. Free. Limited
seating. World Music Festival runs Mar 16
and 17.
●●4:00: York University Department of
Music. World Music Festival: West African
Mande. Anna Melnikoff, conductor. Martin
Family Lounge, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free. World
Music Festival runs Mar 16 and 17.
●●6:30: York University Department of
Music. World Music Festival: Caribbean
Music. Caribbean Music Ensemble; Linda
Burgess, director. Sterling Beckwith Studio,
235 Accolade East Building, 4700 Keele
St. 647-459-0701. Free. World Music Festival
runs Mar 16 and 17.
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 18, 19, 23(all 2:00);
Mar 17, 18, 23, 24(all 7:30).
●●7:30: University of Toronto Faculty of
Music. Spring Opera Production: Imeneo.
Performed with Surtitles. Handel. Tim Albery,
director; Daniel Taylor, countertenor; U of T
Opera, members of the UTSO. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s
Park. 416-408-0208. $40; $25(sr); $10(st).
7:00: Opera Talk, Rm. 130. Also Mar 17, 18,
19(mat). Call in advance for wheelchair
access.
●●8:00: Coleman Lemieux & Compagnie.
Love, Sex and Brahms. Opening night gala.
Brahms: Intermezzi for solo piano; dance.
Stephen Delaney, host; James Kudelka, choreography;
Andrew Burashko, piano; CLC dancers
(Evelyn Hart and others). Betty Oliphant
Theatre, 404 Jarvis St. 416-364-8011 x1. $100.
7:00: Introduction by James Kudelka. Also
Mar 17, 18 (both 8:00), 19(4:00).
●●8:00: Music Toronto. Philharmonia Quartett
Berlin. Haydn: Quartet in G Op.64 No.4;
Music
Philharmonia
Quarte Quarte Berlin
Beethoven: Quartet in B-flat Op.18 No.6; Schumann:
Quartet in A Minor Op.41 No.1. Jane
Mallett Theatre, St. Lawrence Centre for
the Arts, 27 Front St. E. 416-366-7723. $55;
$10(st).
Friday March 17
●●12:00 noon: York University Department
of Music. World Music Festival: Korean Drum
Ensemble. Charles Hong, conductor. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 647-459-0701.
Free. World Music Festival runs Mar 16 and 17.
●●12:10: Music at St. Andrew’s. Noontime
Recital. Nocturnes by Chopin, Field, Fauré and
others. Matthew Sotnik, piano. St. Andrew’s
Church (Toronto), 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:00: York University Department of
Music. World Music Festival: Celtic Ensemble.
Sherry Johnson, conductor. Martin
Family Lounge, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free. World
Music Festival runs Mar 16 and 17.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and
other genres. Gordon Murray, piano. Trinity-St.
Paul’s Centre (Chapel), 427 Bloor St.
W. 416-631-4300. PWYC. Lunch and snack
friendly.
●●2:30: York University Department of
Music. World Music Festival: Chinese Classical
Orchestra. Kim Chow-Morris, conductor.
Tribute Communities Recital Hall,
Accolade East Building, YU, 4700 Keele St.
647-459-0701. Free. World Music Festival
runs Mar 16 and 17.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2. Runs to March 18.
●●7:30: Heliconian Club. Voices of Spring.
Vivaldi: Spring from The Four Seasons;
Beethoven: Spring Sonata (excerpt); J.
Strauss II: Voices of Spring; Debussy:
Green; and other works. Jin Lee Youn, violin;
Velma Ko, violin; Louise Morley, piano;
Jane Blackstone, piano; Janet Catherine
Dea, soprano; Maria Soulis, mezzo. Heliconian
Hall, 35 Hazelton Ave. 416-922-3618.
$25; free(child). Includes post-concert
refreshments.
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 18, 19, 23(all 2:00);
Mar 18, 23, 24(all 7:30).
●●7:30: Royal Conservatory. Glenn Gould
School Opera: La cecchina. By Niccolò Piccinni.
Royal Conservatory Orchestra; Leslie
Dala, music director. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $25-$55.
Also March 15.
●●7:30: University of Toronto Faculty of
Music. Spring Opera Production: Imeneo.
See Mar 16. Also Mar 18, 19(mat).
●●7:30: York University Department of
Music. World Music Festival: Balkan Music
Ensemble. Irene Markoff, conductor. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 647-459-0701.
Free. World Music Festival runs Mar 16 and 17.
●●8:00: Coleman Lemieux & Compagnie.
Love, Sex and Brahms. See Mar 16. Also
Mar 18 (8:00), 19(4:00).
Lennie
Gallant
Friday, March 17,
8pm
auroraculturalcentre.ca
905 713-1818
●●8:00: Aurora Cultural Centre. Lennie Gallant
in Concert. 22 Church St., Aurora. 905-
713-1818. $35/$30(adv).
Saturday March 18
●●1:00: Royal Canadian College of Organists.
Bach Birthday Recitals and Walk. Stefani
Bedin, organ. All Saints Kingsway Anglican
Church, 2850 Bloor St. W. 416-489-1551 x28.
Free; donations welcome.
●●2:00: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 23(2:00); Mar 23,
24(all 7:30).
●●2:00: Royal Canadian College of Organists.
Bach Birthday Recitals and Walk. Jennifer
Krabbe, soprano; Matthew Dalen, tenor;
Daniel Thielmann, baritone; Michelle Cheung,
organ; Mel Hurst, organ accompaniment.
Kingsway Baptist Church, 41 Birchview Blvd,
Etobicoke. 416-489-1551 x28. Free; donations
welcome.
●●2:30: Young People’s Theatre. James and
the Giant Peach. See Mar 2.
●●3:00: Royal Canadian College of Organists.
Bach Birthday Recitals and Walk. Manuel
Piazza, organ. Our Lady Of Sorrows Catholic
Church, 3055 Bloor St. W. 416-489-1551 x28.
Free; donations welcome.
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 19, 23(all 2:00); Mar 23,
24(all 7:30).
●●7:30: University of Toronto Faculty of
Music. Spring Opera Production: Imeneo.
See Mar 16. Also Mar 19(mat).
●●8:00: Acoustic Harvest. In Concert.
Linda MacRae. St. Nicholas Anglican
Church, 1512 Kingston Rd. 416-729-7564.
$25/$22(adv).
●●8:00: Caution Tape Sound Collective. Quintile.
Arteaga: Mono, ON; Mermelstein: into
a landscape, unrest; Noseworthy: What a
Company; Lowrie: Bob Ross After Loss; Murphy-King:
Simul. Emilie Gelinas-Noble, viola;
Bianca Chambul, bassoon, contrabassoon;
Evan Bowen, percussion; Jana Luksts and
Marketa Ornova, keyboard and synthesizer.
Array Space, 155 Walnut Ave. 416-532-3019.
$15-$20.
●●8:00: Coleman Lemieux & Compagnie.
Love, Sex and Brahms. See Mar 16. Also
Mar 19(4:00).
Ella Fitzgerald’s
100 th Birthday Tribute
Darcy Hepner
Jazz Orchestra
Sophia Perlman, Vocals
March 18 , 8pm
●●8:00: Jazz Performance and Education
Centre (JPEC). Darcy Heppner Jazz Orchestra.
A Tribute to Ella Fitzgerald’s 100th Birthday.
Sophia Perlman, vocals. Studio Theatre,
Toronto Centre for the Arts, 5040 Yonge St.,
North York. 1-855-985-2787. $35; $20(st).
●●8:00: Roy Thomson Hall. Chris Botti.
60 Simcoe St. 416-872-4255. $59.50-$129.50.
●●8:00: Scaramella. Tastes: Old and New.
Works by F. Couperin le grand, Peter Hannan,
Grégoire Jeay and Terri Hron. Terri Hron,
recorders; Joëlle Morton, viola da gamba;
Katelyn Clark, harpsichord. Victoria College
Chapel, 73 Queen’s Park Cr. E. 416-760-8610.
$20-$30.
●●8:00: TO.U Collective/Music at St.
Andrew’s. TO.U Collective Contemporary
Music Series. Radulescu: Sonata No.3, Sonata
No.6. Stephen Clarke, piano. St. Andrew’s
Church (Toronto), 73 Simcoe St. 416-593-
5600 x231. $25; $15(st). Reception following.
●●8:00: Toronto Chamber Choir. Biber:
Requiem. Julia Wedman, violin; Christopher
March 16 at 8 pm
thewholenote.com March 1, 2017 - April 7, 2017 | 41

Verrette, violin. Grace Church on-the-Hill,
300 Lonsdale Rd. 416-763-1695. $30/$25;
$12.50(under 30). Pre-concert remarks at
7:15.
●●9:00: Alliance Française de Toronto. Concert
of Gnawa music with the group Marocouleurs.
Music of the Maghreb. Khalil Abou
Abdelmajid, vocals; Fath Allah Laghrizmi, director.
24 Spadina Rd. 416-922-2014 x37. $15;
$10(sr/st/member).
Sunday March 19
●●2:00: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 23(2:00); Mar 23,
24(all 7:30).
●●2:00: Royal Conservatory. Songmasters:
English Song Treasures. English songs
from the British Isles. Jason Howard, baritone;
Andrew Haji, tenor. Mazzoleni Concert
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $25.
●●2:30: University of Toronto Faculty of
Music. Electroacoustic Music Concerts.
Works by Ciamaga, Staniland, Viñao and
Davidovsky; Dennis and Barbara Patrick:
L’adesso infinito for organ, projections and
four-channel sound. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free. Also
5:00.
●●2:30: University of Toronto Faculty of
Music. Spring Opera Production: Imeneo.
See Mar 16.
●●3:00: Great Hall. And It Was Good. Phantasmagoria
Quartet. 1087 Queen St. W. 416-
792-1268. $20/$18(adv).
●●3:00: Hart House Singers. In Concert.
Beethoven: Mass in C Op.86. Orchestra and
soloists; David Arnot-Johnston, conductor.
Hart House, Great Hall, 7 Hart House Circle.
416-978-2452. Free. Donations to U of T Foodbank
welcome.
●●3:00: Rezonance Baroque Ensemble.
Fantasia 1700. Italian stil moderno to German
phantasticus, performed with art projections.
Works by Castello, Pandolfi, Biber
and Schmeltzer. Rezan Onen-Lapointe,
baroque violin; David Podgorski, harpsichord;
Rebecca Morton, baroque cello; Benjamin
Stein, theorbo; John Ens, curator.
Gallery 345, 345 Sorauren Ave. 647-206-
0353. $25/$20(adv); $10(child).
●●3:00: York University Department of
Music. Carmina Burana. Orff. York University
Concert, Chamber and Men’s Choirs;
Lisette Canton, conductor. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 416-736-5888. $15; $10(sr/st).
●●3:30: St. Anne’s Anglican Church. Organ
Benefit Concert. Guest organists and featuring
solos by St. Anne’s choral scholars.
270 Gladstone Ave. 416-536-3160. PWYC.
●●4:00: All Saints Kingsway Anglican
Church. Jazz Vespers. Mark Eisenman Trio.
2850 Bloor St. W. 416-233-1125. Freewill offering.
Religious service.
●●4:00: Coleman Lemieux & Compagnie.
Love, Sex and Brahms. See Mar 16.
●●5:00: University of Toronto Faculty of
Music. Electroacoustic Music Concerts.
Stockhausen: Kontakte; Chowning: Turenas;
Debussy: Afternoon of a Faun (arr. Tomita).
Radka Hanáková, piano; Jonathan Smith, percussion.
Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park.
416-408-0208. Free. Also 2:30.
A. Concerts in the GTA
Monday March 20
●●12:30: York University Department of
Music. Music at Midday: Classical Instrumental
Concert. Tribute Communities Recital Hall,
Accolade East Building, YU, 4700 Keele St.
647-459-0701. Free.
●●7:00: Gallery 345. Masters of the Baroque
Violin. J.S. Bach: Sonata No. 1 in G Minor; Partita
No. 1 in B Minor; Sonata No. 2 in A Minor;
Partita No. 2 in D Minor; Sonata No. 3 in C;
Partita No. 3 in E. Julia Wedman, Michelle
Odorico, Patricia Ahern, Valerie Gordon,
Elyssa Lefurgey-Smith and Aisslinn Nossky,
violins. 345 Sorauren Ave. 416-822-9781.
$15-$25.
●●7:30: York University Department of
Music. Jazz Festival: Jazz Combos. Roy Patterson/Lorne
Lofsky/Mark Eisenman, conductors.
Martin Family Lounge, Accolade East
Building, YU, 4700 Keele St. 647-459-0701.
Free. Jazz Festival runs Mar 20 to 23.
Tuesday March 21
●●12:00 noon: Canadian Opera Company.
Dance Series: Highlights from Swan Lake.
Tchaikovsky; new works from Canadian choreographers.
Ballet Jörgen. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First-come, first-served. Late
seating not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music: Rising Stars Recital.
Students from the University of Toronto Faculty
of Music. Yorkminster Park Baptist
Church, 1585 Yonge St. 416-241-1298. Free.
Donations accepted.
●●12:10: Trinity College Chapel. Bach Organ
Recital. Bach: Toccata in F; Sonata No.2 in C
Minor; These Are the Holy Ten Commandments;
Passacaglia in C Minor. John Tuttle,
organ and choirmaster. Trinity College
Chapel, University of Toronto, 6 Hoskin Ave.
416-978-3611. Free.
●●12:30: York University Department of
Music. Jazz Festival: Jazz Vocal Ensemble.
Mike Cadó, conductor. Martin Family Lounge,
Accolade East Building, YU, 4700 Keele St.
647-459-0701. Free. Jazz Festival runs Mar 20
to 23.
●●8:00: York University Department of
Music. Jazz Festival: Jazz Combos. Artie
Roth/Anthony Michelli/Kelly Jefferson, conductors.
Martin Family Lounge, Accolade East
Building, YU, 4700 Keele St. 647-459-0701.
Free. Jazz Festival runs Mar 20 to 23.
Wednesday March 22
●●12:30: Yorkminster Park Baptist Church.
Organ Recital. Imre Olah, organ. 1585 Yonge
St. 416-922-1167. Free.
●●5:30: Canadian Opera Company. Jazz Series:
Spring into Jazz! Jazz, folk, pop and contemporary
vocal arrangements. Humber
Vocal Jazz Ensemble; Lisa Martinelli, conductor.
Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Firstcome,
first-served. Late seating not available.
●●7:30: Westwood Concerts. From the Black
Sea to Paris. Works by Bartók, Milhaud, Khachaturian
and Cardy; Armenian folk music.
Rebekah Wolkstein, violin; Michael Westwood,
clarinet; Shoshanna Telner, piano.
Gallery 345, 345 Sorauren Ave. 416-822-9781.
$20; $15(sr/st).
●●7:30: York University Department of
Music. Jazz Festival: Jazz Combos. Kevin Turcotte/Jim
Vivian/Frank Falco, conductors.
Martin Family Lounge, Accolade East Building,
YU, 4700 Keele St. 647-459-0701. Free. Jazz
Festival runs Mar 20 to 23.
●●8:00: Rose Theatre. Glenn Miller Orchestra.
1 Theatre Ln., Brampton. 905-874-2800.
$48 and up.
●●8:00: Showone Productions. In Recital:
Dmitry Masleev. Rachmaninoff: Préludes and
Études-Tableaux; Liszt: Totentanz; works by
Beethoven, Scarlatti and Prokofiev. Dmitry
Masleev, piano. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $40-$75;
$40-$70(sr/st).
●●8:00: Toronto Symphony Orchestra.
Beethoven: Symphony 6. Kati Agócs: A Hero’s
Welcome: Sesquie for Canada’s 150th; Sibelius:
Suite from The Tempest: Magnus Lindberg:
Accused: Three Interrogations for
Soprano and Orchestra (North American
premiere); Beethoven: Symphony No.6 in F
“Pastoral.” Anu Komsi, soprano; Hannu Lintu,
conductor. Roy Thomson Hall, 60 Simcoe St.
416-598-3375. From $33.75. Also Mar 23.
Thursday March 23
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Joseph Johnson,
Cello. Bach: Suite No.3 in C; Britten: Suite
No.3. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park. 416-
408-0208. Free.
●●12:30: York University Department of
Music. Jazz Festival: Jazz Vocal Ensembles.
Richard Whiteman, conductor. Martin
Family Lounge, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free. Jazz Festival
runs Mar 20 to 23.
●●1:00: Charm of Finches. Out and About.
Music for flute ensemble. Works by Saint-
Saëns, Pascual, Hétu, Beach, Charke and
others. Laura Chambers, Tristan Durie, Terry
Lim, Amelia Lyon and Dakota Martin, assorted
flutes. Port Credit Library, 20 Lakeshore Rd
E., Mississauga. 905-848-0015. Free.
●●2:00: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 23, 24(all 7:30).
●●6:30: York University Department of
Music. Jazz Festival: Jazz Choirs. Mim
Adams, conductor. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free. Jazz Festival
runs Mar 20 to 23.
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11. Also Mar 24(7:30).
●●7:30: University of Toronto Faculty of
Music. UTJO, 11 O’Clock Jazz Orchestra and
John LaBarbera. Gordon Foote and Noam
univox
presents
Lemish, directors; guest: John LaBarbera,
conductor. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. $20; $10(st).
●●7:30: York University Department of Music.
Jazz Festival: York U Jazz Orchestra. Mike
Cadó, conductor. Martin Family Lounge, Accolade
East Building, YU, 4700 Keele St. 647-459-
0701. Free. Jazz Festival runs Mar 20 to 23.
Great Artist
Music Series
presents
Janina
Fialkowska,
piano
Thurs., March 23,
8pm
auroraculturalcentre.ca
905 713-1818
●●8:00: Aurora Cultural Centre. Great Artist
Music Series. Works by Chopin. Janina Fialkowska,
piano. 22 Church St., Aurora. 905-
713-1818. $34; $28(sr/st).
●●8:00: Music Toronto. Marc-André Hamelin.
Music TORONTO
Marc-André
Hamelin
March 23 at 8 pm
Dallas Bergen
Conductor
March 25, 8pm
Christ Church Deer Park
univoxchoir.org/tickets
$25 / $20
(sr, st, adv)
42 | March 1, 2017 - April 7, 2017 thewholenote.com

Haydn: Sonata in C Hob.XVI:48; Feinberg:
Sonata No.2 in A Minor Op.2; Feinberg:
Sonata No.1 in A Op.1; Beethoven: Sonata in F
Minor Op.57 “Appassionata;” Scriabin: Sonata
No.7 Op.64 “White Mass;” Chopin: Sonata No.2
in B-flat Minor Op.35. Marc-André Hamelin,
piano. Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E. 416-366-
7723. $60, $10(st).
Karina Gauvin image credit: Michael Slobodian
THE BAROQUE DIVA
Featuring Karina Gauvin,
soprano and Guest Director
Rodolfo Richter, violin
Mar 23–26, Koerner Hall
(416) 408-0208
tafelmusik.org
●●8:00: Tafelmusik. The Baroque Diva.
Opera arias by Handel; Vivaldi: motet; Telemann:
Concerto in A “The Frog;” C. Labadie:
world premiere; and other works. Guests:
Karina Gauvin, soprano; Rodolfo Richter, conductor.
Koerner Hall, Telus Centre, 273 Bloor
St. W. 416-408-0208. $49 and up; $40 and
up(sr); $26 and up(under 36). Also Mar 24,
25, 26(mat).
●●8:00: Toronto Symphony Orchestra.
Beethoven: Symphony 6. Sibelius: Suite from
The Tempest: Magnus Lindberg: Accused:
Three Interrogations for Soprano and
Orchestra (North American premiere);
Beethoven: Symphony No.6 in F “Pastoral.”
Anu Komsi, soprano; Hannu Lintu, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-598-
3375. From $33.75. Also Mar 22.
Beethoven
Symphony 6
Mar 22 & 23
Hannu Lintu, conductor
TSO.CA
Friday March 24
●●12:10: Music at St. Andrew’s. Noontime
Recital. Sacred music by Byrd, Pärt and
Muhly. University of Toronto Faculty of Music
woodwind students. St. Andrew’s Church
(Toronto), 73 Simcoe St. 416-593-5600 x231.
Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and
other genres. Gordon Murray, piano. Trinity-St.
Paul’s Centre (Chapel), 427 Bloor St.
W. 416-631-4300. PWYC. Lunch and snack
friendly.
●●7:30: Music on Main. Organ Recital. Works
by Saint-Saëns, Vierne, Messiaen, Langlais,
Dupré and Marchand. Thomas Bell, organ.
Calvary Baptist Church, 72 Main St. 416-
691-4271. $10. Refreshments follow. Also
Mar 26(St. Paul’s Bloor Street)(mat).
●●7:30: National Ballet of Canada. Pinocchio.
See Mar 11.
●●8:00: Exultate Chamber Singers. A Time
for Praise: Music to Uplift the Spirit. Vaughan
Williams: Antiphon (Let All the World in Every
Corner Sing); Watson Henderson: Make Me a
World; Pachelbel: Singet dem Herrn; Finzi: My
Spirit Sang All Day; and other works. Hilary
Apfelstadt, conductor. St. Thomas’s Anglican
Church (Toronto), 383 Huron St. 416-971-
9229. $25; $20(sr); $10(st).
●●8:00: Gallery 345. Trio Masterpieces. Mozart:
Trio in E-flat for Clarinet, Viola and Piano;
Bernstein: Sonata for Clarinet and Piano;
Bruch: Eight Pieces for Clarinet, Viola and
Piano. James Shields, clarinet; Keith Hamm,
viola; Peter Longworth, piano. 345 Sorauren
Ave. 416-822-9781. $15-$25.
●●8:00: Tafelmusik. The Baroque Diva. See
Mar 23. Also Mar 25, 26(mat).
●●8:00: University of Toronto Faculty of
Music. Vocalis and Instrumentalis Masters/
DMA Series. Victoria Chapel, 91 Charles St. W.
416-408-0208. Free.
●●9:00: Snaggle. Snarky Puppy Tribute.
Snaggle; Brownman Ali, trumpet. Mây Cafe,
876 Dundas St. W. 416-389-2643. $10.
Saturday March 25
●●2:00 and 4:00: Toronto Symphony Orchestra.
How the Gimquat Found Her Song. Platypus
Theatre, actors; Georgia Lin, soprano;
Martin MacDonald, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $20.50-
$32.75. Also at 4:00.
●●7:00: University of Toronto Scarborough.
Spring Awakening: Roots and Traditions.
Holst: Second Suite in F; Boyce: Symphony
No.1; Folk Song: The Water Is Wide. UTSC’s
Concert Band, Concert Choir, and String
Orchestra. University of Toronto Scarborough
Campus, Room AC223, 1265 Military
Trail. 416-208-4769. Free.
●●7:30: Chorus York. Spring Sing. Stephane
Potvin, artistic director; Krista Rhodes,
accompanist. St. Matthew’s United Church,
DENIS MASTROMONACO
MUSIC DIRECTOR &
C O N D U C T O R
333 Crosby Ave., Richmond Hill. 905-884-
7922. $25; $20(sr); $15(st). Also Mar 26
(Thornhill).
●●7:30: Counterpoint Community Orchestra.
Counterpoint in Nature. Rossini: Overture
to L’italiana in Algeri; Dvořák: Symphony No.8;
Raum: Sherwood Legend. Chris Gongos, horn.
Music To Uplift
the Spirit
Friday, March 24, 2017, 8pm
Featuring music ranging
from William Byrd (Sing
Joyfully) to Moses Hogan
(I’m gonna sing with the
spirit). Join us for an
evening of joyful music
making that will delight
you!
383 Huron Street, Toronto
416-971-9229 www.exultate.net
an Ontario government agency
un organisme du gouvernement de l’Ontario
MSOMasterwks
thewholenote.com March 1, 2017 - April 7, 2017 | 43

St. Luke’s United Church, 353 Sherbourne St.
416-762-9257. $20; $15(st); $10(under 13). Dedicated
to William McQueen.
●●7:30: Elmer Iseler Singers. The Journey
to Canada from Armenia. Armenian sacred
music of the 13th to 20th centuries. Launch of
Isabel Bayrakdarian’s new CD. Kradjian: New
work. Isabel Bayrakdarian, soprano; Elmer
Iseler Singers; Lydia Adams, conductor. St.
Anne’s Anglican Church, 270 Gladstone Ave.
416-217-0537. $40; $35(sr); $15(st).
www.operainconcert.com
VOICE
B OX
OPERA IN CONCERT
Guillermo Silva-Marin, General Director
A. Concerts in the GTA
●●7:30: University of Toronto Faculty of
Music. Tallis Scholars: Miserere. With student
soloists from the Historical Performance
Area. St. Paul’s Basilica, 83 Power St.
416-408-0208. $40; $25(sr); $10(st).
●●8:00: Alliance Française de Toronto.
Mehdi Cayenne. Groove, funk, punk and pop.
24 Spadina Rd. 416-922-2014 x37. $15; $10(sr/
st/teachers); free(under 19).
NORTHERN LIGHTS
a program of music from
around the Arctic Circle
Saturday, March 25 th 8:00 pm
First United Church, Port Credit
Mussorgsky is gloriously front
and centre in this gripping
tale of conflict between the
old ways of the ancient Rus
and the new world introduced
by Peter the Great.
Khovanshchina Хованщина
The Khovansky Affair
by Modest Mussorgsky in Russian with English Surtitles
Narmina Afandiyeva, Music Director and Pianist
Emilia Boteva Andrey
Andreychik
Michael
Robert-Broder
●●8:00: Mississauga Festival Choir. Northern
Lights. Works by Rachmaninoff, Sibelius,
Gjeilo and Daley. First United Church (Port
Dion
Mazerolle
with
Lynn Isnar, Cian Horrobin, Hassan Anami, Mikhail Shemet
The VOICEBOX Chorus, Robert Cooper, Chorus Director
SUNDAY, MARCH 26 AT 2:30 P.M.
416-366-7723 | 1-800-708-6754 | www.stlc.com
Credit), 151 Lakeshore Rd W., Mississauga.
905-306-6000. $25.
●●8:00: Continuum Contemporary Music/
Canadian Music Centre/Canadian League of
Composers. Pivot. World premieres of works
by Rebecca Bruton, Maxime Corbeil-Perron,
Juro Kim Feliz, Beavan Flanagan, Evelin
Ramon and Bekah Simms. Music Gallery,
197 John St. 416-924-4945. $30; $20(sr/arts
worker/member); $10(st).
●●8:00: Guitar Society of Toronto. Duo Scarlatti.
Nicola Pignatiello and Daniele Sardone,
guitars. Heliconian Hall, 35 Hazelton
Ave. 416-964-8298. $35/$30(adv); $30(sr/
st)/$25(adv).
●●8:00: Mississauga Symphony Orchestra.
Glorious Winds. Hue: Fantasie for Flute;
Busoni: Concertino for Clarinet; Dolin: Isometric
Variables; Arnold: English Dances
No.2; Beethoven: Symphony No.4. Carol
Ann Savage, flute; Colin Savage, clarinet;
Ondrej Golias, bassoon; Paul Weston, guest
conductor; Denis Mastromonaco, conductor.
Hammerson Hall, Living Arts Centre,
4141 Living Arts Dr., Mississauga. 905-306-
6000. $50-$65.
●●8:00: Ontario Philharmonic. Pops Series:
Steven Page in Concert. IOUT Regent Theatre
(Oshawa), 50 King St. E., Oshawa. 905-721-
3399 x2. From $55. Benefit concert.
●●8:00: Tafelmusik. The Baroque Diva. See
Mar 23. Also Mar 26(mat).
●●8:00: Univox. Promise, Purpose, Presence.
A cappella choral works by Skinner, Guillaume,
Sixten, Gjeilo, Rautavaara and Allan.
Dallas Bergen, conductor. Christ Church
Deer Park, 1570 Yonge St. 416-697-9561.
$25/$20(adv); $20(sr/st).
●●8:00: Voices Chamber Choir. Tallis and
Mozart. Performance with soloists and
orchestra. Tallis: Lamentations of Jeremiah;
Mozart: Requiem. Cheryl Campbell, soprano;
Monica Zerbe, mezzo; Lenard Whiting, tenor;
Steven Henrikson, baritone; Ron Ka Ming
Cheung, conductor. Church of St. Martin-inthe-Fields,
151 Glenlake Ave. 416-519-0528.
$30; $25(sr/st).
●●8:10: G. Murray Presents. Baroque to
Blues #3. Works by G. Murray. Gordon Murray,
piano and vocals. Trinity-St. Paul’s Centre
(Chapel), 427 Bloor St. W. 416-631-4300.
PWYC. Concert finishes at about 9:10.
Sunday March 26
●●2:00: Mozart Project. Requiem and Farewell
to a Soul Ascending. Mozart: Requiem;
Bowser: Farewell to a Soul Ascending for
violin and string orchestra (world premiere).
Toronto Mozart Players; Toronto Mozart
Vocal Competition winners; Hart House
Chorus; David Bowser, conductor. Church of
the Redeemer, 162 Bloor St. W. 416-922-4948.
$35; $15(st).
●●2:30: Chorus York. Spring Sing. Stephane
Potvin, artistic director; Krista Rhodes,
accompanist. Thornhill Presbyterian Church,
271 Centre St., Thornhill. 905-884-7922. $25;
$20(sr); $15(st). Also Mar 25 (Richmond Hill).
●●2:30: University of Toronto Faculty of
Music. There Will Be Stars: Music of Stephen
Chatman and other contemporary
composers. Contemporary treble settings
of texts by women. Works by Ramsay, Parker,
Hagen, Chatman and Brandon. MacMillan
Singers and Women’s Chamber Choir;
Hilary Apfelstadt and Tracy Wong, conductors.
MacMillan Theatre, Edward Johnson
Building, 80 Queen’s Park. 416-408-0208.
$30; $20(sr); $10(st).
●●2:30: Voicebox/Opera in Concert. Khovanshchina
(The Khovansky Affair). Mussorgsky.
Emiolia Boteva; Michael Robert-Broder;
Andrey Andreychik; Dion Mazerolle; Voicebox
Opera in Concert Chorus; Robert Cooper,
chorus director; Narmina Afandiyeva, music
director and piano. St. Lawrence Centre
for the Arts, 27 Front St. E. 416-366-7723.
$22-$52.
●●3:00: St. Paul’s Bloor Street. Organ Recital.
Works by Saint-Saëns, Vierne, Messiaen, Langlais,
Dupré and Marchand. Thomas Bell,
organ. 227 Bloor St. E. 416-961-8116. Free.
Also Mar 24(Calvary Baptist Church)(eve).
●●3:30: Tafelmusik. The Baroque Diva. See
Mar 23
●●4:30: Christ Church Deer Park. Jazz Vespers.
Rob Piltch Trio. 1570 Yonge St. 416-920-
5211. Freewill offering. Religious Service.
●●5:00: Nocturnes in the City. In Concert.
Radim Zenkl, flute, guitar and mandolin.
Restaurant Praha, Masaryktown,
450 Scarborough Golf Club Rd. 416-481-7294.
$25; $15(st).
KURTÁG Kafka Fragments
Sunday March 26 | Gallery 345
www.NewMusicConcerts.com
●●7:00: New Music Concerts. György
Kurtág’s “Kafka Fragments.” Tony Arnold,
soprano; Movses Pogossian, violin.
44 | March 1, 2017 - April 7, 2017 thewholenote.com

Gallery 345, 345 Sorauren Ave. 416-961-9594.
$100. Includes a video presentation of a
masterclass with the composer. Door prizes,
gourmet delights and libations with proceeds
to benefit New Music Concerts.
●●7:00: Tri-City Gospel Chorus. A Singsperational
Concert. A variety of barbershop and
gospel music. Tri-City Gospel male voice a
cappella chorus and Barbershop Quartet.
Humber Valley United Church, 76 Anglesey
Blvd., Etobicoke. 416-231-2263. Freewill
offering.
●●7:30: University of Toronto Faculty of
Music. Percussion Ensemble Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Monday March 27
●●7:30: University of St. Michael’s College.
Christ My Hope: Music for Lent. Works
by Schütz, Scheidt and others. Musicians
In Ordinary Ensemble (Christopher Verrette,
director); St Michael’s Schola Cantorum
(Michael O’Connor, director). St. Basil’s
Church, University of St. Michael’s College,
50 St. Joseph St. 416-926-7148. Free. Donations
welcome.
●●7:30: University of Toronto Faculty of
Music. Gryphon Trio. Beethoven: Piano Trio in
B-flat Op.11; Wijeratne: Love Triangle; Brahms:
Piano Quartet No.1 in G Minor Op.25. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
$40; $25(sr); $10(st).
Tuesday March 28
●●12:00 noon: Canadian Opera Company.
World Music Series: Synthesis. Combining
creative jazz and Indian classical music. Indo-
Jazz. Justin Gray, bass veena. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First-come, first-served. Late
seating not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music: Rising Stars Recital.
Students from the Glenn Gould School. Yorkminster
Park Baptist Church, 1585 Yonge St.
416-241-1298. Free. Donations accepted.
●●12:30: York University Department of
Music. Music at Midday: York University
Chamber Strings. Mark Chambers, conductor.
Tribute Communities Recital Hall,
Accolade East Building, YU, 4700 Keele St.
647-459-0701. Free.
●●7:30: Jubilee Order of Good Cheer. The
Band of the Royal Regiment of Canada. Celebrating
the Dominion of Canada’s 150th birthday.
Jubilee United Church, 40 Underhill Dr.
416-447-6846. $10; free(youth).
●●7:30: University of Toronto Faculty of
Music. Woodwind Chamber Ensembles.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. Free.
●●8:00: Royal Conservatory. Invesco Piano
Series: Daniil Trifonov. Works by Schumann,
Shostakovich and Stravinsky. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
$40-$95. 7:15: Prelude Recital.
●●8:00: Talisker Players. Land of the Silverbirch.
Songs of Canada’s first European
settlers. Beethoven: Scottish Folk Songs;
Vaughan Williams: Three Old English Folk
Songs; Kolinski: Six French Folk Songs;
LAND OF THE
SILVER BIRCH
Songs of Canada’s first
European settlers
MARCH 28 & 29, 8 PM
www.taliskerplayers.ca
Talisker Players Music
MacMillan: Three French Canadian Sea
Songs; Patenaude: Six Chansons du Détroit;
Rapoport: Four Canadian Folk Songs. Whitney
O’Hearn, mezzo; Joel Allison, baritone;
John Fraser, reader. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-466-1800. $45; $35(sr);
$10(st). 7:15: Pre-concert chat. Also Mar 29.
Wednesday March 29
●●12:00 noon: York University Department of
Music. Music at Midday: New Music Ensemble.
Matt Brubeck, conductor. Tribute Communities
Recital Hall, Accolade East Building,
YU, 4700 Keele St. 647-459-0701. Free.
●●12:30: Organix Concerts/All Saints Kingsway.
Kingsway Organ Recital Series. J.
Thomas Gonder, organ. All Saints Kingsway
Anglican Church, 2850 Bloor St. W. 416-769-
5224. Freewill offering.
●●12:30: Yorkminster Park Baptist Church.
Organ Recital. John Tuttle, organ. 1585 Yonge
St. 416-922-1167. Free.
●●7:00: Civic Light Opera Company. Simply
Barbra. Zion Cultural Centre, 1650 Finch Ave.
E. 416-755-1717. $28. Runs to Apr 9. Days and
times vary. See Listings Secion C, page 52.
●●7:30: National Ballet of Canada. Genus, Tarantella,
Self and Soul, and The Concert. Music
by Joby Talbot, Deru, and Chopin; orchestrated
by Clare Grundman. Wayne McGregor,
choreographer; Jerome Robbins, choreographer.
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-345-9595.
$39-$265. Also Mar 30, 31, Apr 1(all 7:30);
Mar 30, Apr 1, 2(all 2:00).
●●7:30: St. George’s Evangelical Lutheran
Church. Simrit. 410 College St. 416-921-2687.
Free.
●●7:30: Toronto Symphony Orchestra. Indiana
Jones and the Raiders of the Lost Ark
with Live Orchestra. Steven Reineke, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. From $46.
●●7:30: University of Toronto Faculty of
Music. Vocal Jazz Ensemble. Christine Duncan,
conductor. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●8:00: Talisker Players. Land of the Silverbirch.Songs
of Canada’s first European
settlers. Beethoven: Scottish Folk Songs;
Vaughan Williams: Three Old English Folk
Songs; Kolinski: Six French Folk Songs;
MacMillan: Three French Canadian Sea
Songs; Patenaude: Six Chansons du Détroit;
Rapoport: Four Canadian Folk Songs. Whitney
O’Hearn, mezzo; Joel Allison, baritone;
John Fraser, reader. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-466-1800. $45; $35(sr);
$10(st). 7:15: Pre-concert chat. Also Mar 28.
Thursday March 30
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Winners’ Recital.
Joel Allison, winner of the Jim and Charlotte
Norcop Prize in Song; Mélisande Sinsoulier,
winner of the Gwendolyn Williams Koldofsky
Prize in Accompanying. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free.
●●12:30: York University Department of
Music. Music at Midday: Classical Piano
Showcase. Tribute Communities Recital Hall,
Accolade East Building, YU, 4700 Keele St.
647-459-0701. Free.
●●2:00: National Ballet of Canada. Genus,
Tarantella, Self and Soul, and The Concert.
See Mar 29. Also Mar 30(7:30), 31, Apr 1(all
7:30); Apr 1, 2(all 2:00).
●●7:00: Native Earth Performing Arts/
Danceworks Coworks. Niimi’iwe. Margaret
Grenier and Karen Jamieson: light breaking
broken; the NDN way by Brian Solom Electric
Moose. Aki Studio, Daniels Spectrum,
585 Dundas St. E. 416-531-1402. $25. Also
Mar 31 & Apr 1.
●●7:30: National Ballet of Canada. Genus, Tarantella,
Self and Soul, and The Concert. See
Mar 29. Also Mar 31, Apr 1(all 7:30); Mar 30,
Apr 1, 2(all 2:00).
●●7:30: University of Toronto Faculty of
Music. World Music Ensembles. African
Drumming and Dancing Ensemble, Latin-
American Percussion Ensemble and Steel
Pan Ensemble. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●7:30: York University Department of
Music. York University Symphony Orchestra.
Mark Chambers, conductor. Tribute
The Musicians In Ordinary for the Lutes and Voices
7:30PM March 27, 2017
St. Basil’s Church, St. Michael’s College
50 St. Joseph Street at Bay
Christ My Hope
Lenten music by Schütz,
Scheidt, and others
The Musicians In Ordinary ensemble
led by Christopher Verrette,
St Michael's Schola Cantorum
directed by Michael O’Connor
Admission free, donations welcome
Communities Recital Hall, Accolade East Building,
YU, 4700 Keele St. 416-736-5888. $15;
$10(sr/st).
Friday March 31
●●12:10: Music at St. Andrew’s. Noontime
Recital. Carl Vine: Piano Sonata; Mozart:
Piano Sonata; Debussy: Les Fées sont
d’exquises; Danseuses; Général Lavine. Tristan
Savella, piano. St. Andrew’s Church (Toronto),
73 Simcoe St. 416-593-5600 x231. Free.
●●12:30: York University Department of
Music. Music at Midday: York University Brass
and Percussion Ensembles. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and other
genres. Gordon Murray, piano. Trinity-St. Paul’s
Centre (Chapel), 427 Bloor St. W. 416-631-
4300. PWYC. Lunch and snack friendly.
●●5:00: University of Toronto Faculty of
Music. Porgi Amor: The Operatic Music of
Wolfgang Amadeus Mozart. Costumed and
staged scenes. Excerpts from Die Zauberflöte,
Le nozze di Figaro, Don Giovanni, Così
fan tutte and Die Entführung aus dem Serail.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. $20; $10(st).
●●7:00: Native Earth Performing Arts/
Danceworks Coworks. Niimi’iwe. Margaret
Grenier and Karen Jamieson: light breaking
broken; the NDN way by Brian Solom Electric
Moose. Aki Studio, Daniels Spectrum,
585 Dundas St. E. 416-531-1402. $25. Also
Mar 30 & Apr 1.
●●7:30: National Ballet of Canada. Genus, Tarantella,
Self and Soul, and The Concert.See
Mar 29. Also Apr 1(2:00 & 7:30).
●●7:30: Opus 8. Magic of the Madrigal. Secular
partsongs spanning the centuries. St.
Clement’s Anglican, 70 St. Clements Avenue.
416-821-7286. Free. Reception following.
●●7:30: Toronto Recorder Players’ Society.
proudly presents
Simply
Barbra
starring
STEVEN BRINBERG
ZION CULTURAL CENTRE
1650 Finch Avenue East
TICKETS - $24.78 + HST
MARCH 29 to APRIL 11
(416) 755-1212
www.MusicTheatreToronto.com
thewholenote.com March 1, 2017 - April 7, 2017 | 45

Workshop. Amateur recorder players are
invited to join in the playing of early music.
Guest coach: Janos Ungvary. Mount Pleasant
Road Baptist Church, 527 Mount Pleasant Rd.
416-597-0485. $20(non-members). Memberships
available. Refreshments.
●●7:30: University of Toronto Faculty of
Music. Wind Symphony. Wilson: Shortcut
Home; Langford: Rhapsody for Trombone;
Bennet: Suite of Old American Dances; Persichetti:
Divertimento for Band; Maslanka:
Liberation. Ann-Merrie Leung, trombone; Jeffrey
Reynolds, conductor. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s Park.
416-408-0208. $30; $20(sr); $10(st).
●●7:30: York University Department of
Music. York U Gospel Choir. Karen Burke,
conductor. Sandra Faire and Ivan Fecan Theatre,
Accolade East Building, 4700 Keele St.
416-736-5888. $15; $10(sr/st). Also Apr 1.
●●8:00: Alliance Française de Toronto.
Tango! Music and Dance. 24 Spadina Rd. 416-
922-2014 x37. $15; $10 (member/sr/st).
●●8:00: Art of Time Ensemble. Johannes
Brahms: Portrait of a Musical Genius. Intermezzi
for Solo Piano (selected); Piano Quartet
No.1 Op.25; Violin Sonata No.2 in A Op.100;
Lieder (selected). Benjamin Bowman, violin;
Andrew Burashko, piano; Jethro Marks, violin;
Rachel Mercer, cello; Sarah Slean, singer;
and others. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $25-$64;
$25(arts); $15(under 30/st). Also Apr 1.
●●8:00: Etobicoke Community Concert Band.
What Happens in Vegas. Songs from Elvis,
Sinatra, Michael Jackson, Stevie Wonder and
others; tribute to Count Basie Orchestra.
Guests: Etobicoke Swing Orchestra. Etobicoke
Collegiate Auditorium, 86 Montgomery
Rd., Etobicoke. 416-410-1570. $15; free(under
12).
●●8:00: Gallery 345. The Art of the Piano: Alejandro
Vela. Beethoven: Sonata No.32 in C
Minor; Sonata No.14 in C-sharp Minor; J.S.
Bach: Overture in the French Style in B Minor.
345 Sorauren Ave. 416-822-9781. $10-$25.
●●8:00: Music Gallery. Sky High: New Music
for Strings, Harp and Guitar. Omar Daniel:
Only the Eagle Flies the Storm; Andrew Staniland:
Equations/Constellations; Scott Good:
A. Concerts in the GTA
Sonata; Yoko Ono: Sky Piece for Jesus Christ.
Madawaska Quartet; Rob MacDonald, guitar;
Sanya Eng, harp; Sonja Rainey, stage design.
197 John St. 416-204-1080. $20/$15(adv);
$10(st/members).
FIND OUT MORE AT SPO.CA OR TORONTOCHORALSOCIETY.ORG
A NIGHT AT THE OPERA
PRESENTED BY THE SCARBOROUGH PHILHARMONIC
ORCHESTRA AND THE TORONTO CHORAL SOCIETY
APRIL 1, 2017: 8PM
Alina Ibragimova and
Cédric Tiberghien Duo
frI., mAr. 31, 8pm KOErNEr HALL
prE-CONCErT CHAT 7:15pm
TICKETS ON SALE NOW! 416.408.0208
WWW.pErfOrmANCE.rCmuSIC.CA
●●8:00: Royal Conservatory. String Concert:
Alina Ibragimova and Cédric Tiberghien.
John Cage: Six Melodies; and sonatas
by Bach, Brahms, and Schumann. Alina
Ibragimova, violin; Cédric Tiberghien, piano.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $35-$70. Pre-concert talk
at 7:15.
●●8:00: St. Jude’s Celebration of the Arts.
In Night’s Deep Silence. Classical and Celtic
works by Wallace, Ortiz and Piazzolla. Winter’s
Eve Trio (Sharlene Wallace, Celtic harp;
Joseph Macerollo, accordion; George Koller,
double bass). St. Jude’s Anglican Church,
160 William St., Oakville. 905-844-3972. $30.
SALVATION ARMY SCARBOROUGH CITADEL
2021 LAWRENCE AVENUE EAST (AT WARDEN)
Toronto
Choral
Society
Saturday April 1
●●2:00: National Ballet of Canada. Genus,
Tarantella, Self and Soul, and The Concert.
See Mar 29. Also Apr 2(2:00).
●●7:00: Native Earth Performing Arts/
Danceworks Coworks. Niimi’iwe. Margaret
Grenier and Karen Jamieson: light breaking
broken; the NDN way by Brian Solom Electric
Moose. Aki Studio, Daniels Spectrum,
585 Dundas St. E. 416-531-1402. $25. Also
Mar 30 & 31.
●●7:30: Etobicoke Centennial Choir. The Mozart
Requiem. Mozart: Requiem; Brahms: How
Lovely Is Thy Dwelling Place; Rutter: The Lord
Is My Shepherd; Poulenc: Gloria and Laudamus
Te; Duruflé: Sanctus and Pie Jesu from
Requiem. Shana Brown, soprano; Erin Ronningen,
alto; Lance Keiser, tenor; Lawrence
Shirkie, baritone; Carl Steinhauser, piano
and organ. Humber Valley United Church,
76 Anglesey Blvd., Etobicoke. 416-769-9271.
$30.
●●7:30: National Ballet of Canada. Genus, Tarantella,
Self and Soul, and The Concert. See
Mar 29. Also Apr 1, 2(all 2:00).
●●7:30: University of Toronto Faculty of
Music. Wind Ensemble. McCune: Caveat; Bartók:
Folk Suite; Wijeratne: Invisible Cities.
TorQ Percussion Quartet; Gillian Mackay conductor.
MacMillan Theatre, Edward Johnson
Building, 80 Queen’s Park. 416-408-0208.
$30; $20(sr); $10(st).
●●7:30: York University Department of
Music. York U Gospel Choir. Karen Burke,
conductor. Sandra Faire and Ivan Fecan Theatre,
Accolade East Building, 4700 Keele St.
416-736-5888. $15; $10(sr/st). Also Mar 31.
●●7:30: Toronto Symphony Orchestra.
Beethoven: Violin Concerto. Cheryl Cooney:
Are We Not Drawn Onward, We Few, Drawn
Onward to (a) New Era?: Sesquie for Canada’s
150th; Beethoven: Violin Concerto;
Brahms
Stravinsky: Petrouchka (1947). Karen Gomyo,
violin; Robert Trevino, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $33.75-
$107. Also Apr 2(mat) at George Weston
Recital Hall.
●●8:00: Acoustic Harvest. In Concert. Dave
Gunning, singer/songwriter. St. Nicholas
Anglican Church, 1512 Kingston Rd. 416-729-
7564. $25/$22(adv).
●●8:00: Art of Time Ensemble. Johannes
Brahms: Portrait of a Musical Genius. Intermezzi
for Solo Piano (selected); Piano Quartet
No.1 Op.25; Violin Sonata No.2 in A Op.100;
Lieder (selected). Benjamin Bowman, violin;
Andrew Burashko, piano; Jethro Marks, violin;
Rachel Mercer, cello; Sarah Slean, singer;
and others. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $25-$64;
$25(arts); $15(under 30/st). Also Mar 31.
●●8:00: Canadian Sinfonietta. Violin, Cello
and Piano Recital. Rachmaninoff: Sonata
for Cello and Piano; Handel-Halvorsen: Passacaglia
for Violin and Cello; An Lun Huang:
Piano Trio. Angela Park, piano; Joyce Lai, violin;
András Weber, cello. Heliconian Hall,
35 Hazelton Ave. 647-223-2286. $30; $25(sr);
$20(st).
●●8:00: Masterworks of Oakville Chorus
and Orchestra. A German Requiem. Brahms.
Clodagh Earls, soprano; Jeremy Ludwig, baritone;
full orchestra and choir. St. Matthew’s
Catholic Church, 1150 Monks Passage, Oakville.
905-399-9732. $30; $25(sr); $10(st);
free(under 11 with adult). Also Apr 2(mat).
●●8:00: Royal Conservatory. TD Jazz: The
Art of the Trio. Jason Moran and The Bandwagon;
Alexander Brown Trio. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
From $40.
German
Requiem
Saturday, April 1/8 pm & Sunday, April 2/3 pm
St. Matthews Catholic Church
1150 Monks Passage, Oakville
TS
Toronto
Symphony
Orchestra
Beethoven
Violin Concerto
Apr 1 & 2
Karen Gomyo, violin
TSO.CA
Clodagh Earls, soprano
Jeremy Ludwig, baritone
Adult $30, Senior $25, Student $10, Child 10 and under FREE
www.masterworksofoakville.ca
46 | March 1, 2017 - April 7, 2017 thewholenote.com

●●8:00: Scarborough Philharmonic Orchestra.
A Night at the Opera. Strauss: Die
Fledermaus Overture; Borodin: Polovetsian
Dances; Mozart: Voyager’s Chorus from
Idomeneo; Puccini: O mio babbino from
Gianni Schicchi; Verdi: Overture to La forza
del destino. Toronto Choral Society; Ronald
Royer, conductor. Salvation Army Scarborough
Citadel, 2021 Lawrence Ave. E.,
Scarborough. 416-429-0007. $30; $25(sr);
$15(st).
Sunday April 2
●●2:00: Hart House Chorus. Mozart’s
Requiem. Hart House, Great Hall, 7 Hart
House Circle. 647-774-0755/416-978-2452.
Free.
●●2:00: National Ballet of Canada. Genus,
Tarantella, Self and Soul, and The Concert.
See Mar 29.
●●2:00: Royal Conservatory. Sunday Interludes:
Anton Nel. Works by Mozart and Schumann.
Anton Nel, piano. Mazzoleni Concert
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. Free (ticket required).
●●2:30: University of Toronto Faculty of
Music. Choral Kaleidoscope. Works by
Brahms, Daley, Enns, Fauré and others;
Webb: premiere. Men’s Chorus; Women’s
Chorus; Mark Ramsay, Elaine Choi and Melissa
Lalonde, conductors. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s Park.
416-408-0208. $30; $20(sr); $10(st).
●●3:00: Masterworks of Oakville Chorus
and Orchestra. A German Requiem. Brahms.
Clodagh Earls, soprano; Jeremy Ludwig,
baritone; full orchestra and choir. St. Matthew’s
Catholic Church, 1150 Monks Passage,
Inna Perkis & Boris Zarankin
FOUNDERS AND ARTISTIC DIRECTORS
SUNDAY APRIL 2, 2017 | 3PM
Oakville. 905-399-9732. $30; $25(sr); $10(st);
free(under 11 with adult). Also Apr 1(eve).
●●3:00: Off Centre Music Salon. A Musical
Invasion of Paris: The Mighty Four. Michèle
Bogdanowicz, Lucia Cesaroni, Lara Dodds-
Eden, Inna Perkis, Boris Zarankin, and others.
Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-
466-1870. $50; $40(sr/st); $15(young adult);
$5(child).
22 nd Anniversary Season
2016/2017
concerts take place at
TRINITY-ST. PAUL’S CENTRE
427 Bloor Street West
A MUSICAL INVASION OF PARIS:
THE MIGHTY FOUR
featuring
Michèle BOGDANOWICZ
Lucia CESARONI
Lara DODDS-EDEN
Peter McGILLIVRAY
Inna PERKIS
Boris ZARANKIN
●●3:00: Weston Silver Band. Brassapalooza.
Glenn Gould Studio, 250 Front St. W. 1-866-
908-9090. $27/$25(adv); $22(sr)/$20(adv);
$17(st)/$15(adv).
●●3:00: Toronto Symphony Orchestra.
Beethoven: Violin Concerto. Beethoven: Violin
Concerto; Debussy: Prelude to the Afternoon
of a Faun; Stravinsky: Petrouchka
(1947). Karen Gomyo, violin; Robert Trevino,
conductor. George Weston Recital
Hall, 5040 Yonge St. 416-598-3375. $44.25-
$100.50. Also Apr 1(7:30, Roy Thomson Hall).
●●3:00: Windermere String Quartet. Mozart
by Any Other Name. Chevalier de Saint-Georges:
Quartet in C Minor; Rossini: Grand Sonata
No.2 in A; Kraus: Quartet Op.1 No.3; Mozart:
Eine kleine Nachtmusik. St. Olave’s Anglican
Church, 360 Windermere Ave. 416-769-0952.
$25; $20(sr); $10(st). On period instruments.
●●3:00: York University Department of
Music. York U Wind Symphony. James
McDonald/David Lum, conductors. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 416-736-5888.
$15; $10(sr/st).
●●4:00: Church of St. Mary Magdalene
(Toronto). Organ Music for Lent. Andrew
Adair, organ. 477 Manning Ave. 416-531-
7955. Free.
●●4:00: Church of St. Peter and St. Simonthe-Apostle.
Passiontide Concert. Bach:
Johannes (St. John) Passion. Choir of St.
Peter and Simon-the-Apostle Anglican
Church; Lenard Whiting, tenor (Evangelist);
members of the Canadian Sinfonietta; Robin
Davis, conductor. 525 Bloor St. E. 416-923-
8714. $30; $25(sr/st/underwaged).
●●4:00: Eglinton St. George’s United Church
Choir. Magnificent Mozart. Parry: I Was Glad;
Handel: Zadok the Priest; Mozart: Regina
Coeli, Ave Verum, Requiem. ESG Choir and
Orchestra; Simon Walker, organ; Shawn
Grenke, conductor. Eglinton St. George’s
United Church, 35 Lytton Blvd. 416-481-1141.
$35; $25(st).
●●4:00: Gallery 345. Judith Owen In Concert.
CD release of Somebody’s Child. Judith Owen,
piano and vocals; Leland (Lee) Sklar, bass;
Gabriella Swallow, cello; Pedro Sugundo, percussion;
and others. 345 Sorauren Ave. 416-
822-9781. $25.
Piano Bravura
The New Generation
Tony Yike Yang
Sunday April 2, 4:00 pm
Church of the Holy Trinity
http://www.holytrinitytoronto.org/
wp/piano-bravura/
on period instruments
Mozart
By Any Other Name
April 2, 3:00
2016–2017 ConCert SerieS
SUndAy, APriL 2 nd At 4 P.m.
eSG mASSed CHoir
WitH orCHeStrA
Featuring Parry’s Psalm 122
‘i Was Glad’, Handel’s ‘
Zadok the Priest’, and mozart’s
‘regnia Coeli, Ave verum’ and
hauntingly beautiful ‘requiem’
Simon WALker, orGAniSt
SHAWn Grenke, CondUCtor
tiCketS: $35
TO ORDER TICKETS, please call 416.466.6323
offcentremusic.com
●●4:00: Church of the Holy Trinity/Steinway
Piano Gallery Toronto. Piano Bravura:
The New Generation. Tony Yike Yang, piano.
Church of the Holy Trinity, 10 Trinity Sq. 416-
598-4521. $30/$25(adv); $20/$15(st/adv).
35 Lytton BLvd., toronto
416.481.1141
www.esgunited.org
thewholenote.com March 1, 2017 - April 7, 2017 | 47

●●7:30: University of Toronto Faculty of
Music. Percussion Ensemble Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Overdrive
●●8:00: Esprit Orchestra. Overdrive. Adès:
Violin Concerto (Concentric Paths); Honegger:
Pacific 231; Mosolov: The Iron Foundry;
John Adams: Short Ride in a Fast Machine;
Harman: Blur. Véronique Mathieu, violin; Alex
Pauk, conductor. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $40-
$60; $40-$55(sr); $22-$32(under 30);
$20-$25(st).
Monday April 3
●●12:30: York University Department of
Music. Music at Midday: Instrumental
Masterclass in Concert. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free.
●●7:30: University of Toronto Faculty of
Music. Brass Chamber Ensembles Concert.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. Free.
A. Concerts in the GTA
Sunday
April 2
2017
8pm Concert
Koerner Hall
ESPRIT
ORCHESTRA
espritorchestra.com
NEW ALBUM OUT 3/3/17
Tuesday April 4
●●9:00am: University of Toronto Faculty of
Music. Annual High School Choral Festival.
Local high school choirs and U of T choral faculty;
Men’s Chorus, Women’s Chamber Choir,
members of Young Voices Toronto. Mac-
Millan Theatre, Edward Johnson Building,
80 Queen’s Park. 416-408-0208. Free. Choirs
sing from 9:00 to noon and 1:00 to 3:00.
●●12:00 noon: Canadian Opera Company.
Chamber Music Series: Partita Perfection.
Ysaÿe: Ballade; Bach/Harman: Partitas. Mark
Fewer, violin. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231. Free.
First-come, first-served. Late seating not
available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music: Omar Ho, Clarinet.
Yorkminster Park Baptist Church, 1585 Yonge
St. 416-241-1298. Free. Donations accepted.
●●7:30: University of Toronto Faculty of
Music. gamUT: Contemporary Music Ensemble.
Wallace Halladay, conductor. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Wednesday April 5
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Piano Panache. Bach:
Toccata in C Minor; Liszt: Piano Sonata in B
Minor. Rossina Grieco, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First-come, first-served. Late
seating not available.
●●12:30: Yorkminster Park Baptist Church.
Organ Recital. Joshua Ehlebracht, organ.
1585 Yonge St. 416-922-1167. Free.
●●7:00: Tafelmusik. Bach: Keeping it in the
Family. J.S. Bach: Ouverture BWV 194A,
reconst. by A. Bernardini; Concerto for violin
in E Major, BWV 1042; C.P.E. Bach: Concerto
for oboe in E-flat Major, W1. 165; W.F. Bach:
Sinfonia in F Major, Fk 67; Telemann: Orchestral
suite in D Minor, TWV 55:d3. Guest directors:
Alfredo Bernardini, oboe and Cecilia
JUDITH OWEN
Featuring
Legendary LELAND SKLAR (Bass)
PEDRO SEGUNDO (PERCUSSION)
GABRIELLA SWALLOW (CELLO)
LIZZIE BALL (VIOLIN)
GALLERY 345
345 SORAUREN AVE #3, TORONTO, ON
APRIL 2ND
4PM | SHOW
SOMEBODY’S CHILD
debuted in Toronto on
JUDITHOWEN.NET
OFFICIALJUDITHOWEN JUDITHOWEN JUDITHOWENMUSIC
Photo: Matthew Becker
BACH: KEEPING IT
IN THE FAMILY
Directed by Alfredo Bernardini, oboe,
and Cecilia Bernardini, violin
April 5-9, Jeanne Lamon Hall,
Trinity-St. Paul’s Centre
(416) 964-6337
tafelmusik.org
Bernardini, violin. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-964-6337. $39-$93. Also
April 6,7,8 (8:00pm) and April 9(3:30pm).
●●7:30: University of Toronto Faculty of
Music. Guitar Orchestra Concert. Jeffrey
McFadden, conductor. Art Museum of U of T,
7 Hart House Circle. 416-408-0208. Free.
Thursday April 6
●●12:00 noon: Adam Sherkin/Steinway
Piano Gallery. Chopin: Poetic Jest II. Chopin:
Scherzo No.3 Op.39; Scherzo No.4 Op.54​
; Sherkin: Tagish Fires; Somers: Strangeness
of Heart; Three Sonnets. Adam Sherkin,
piano. St. Lawrence Centre for the Arts,
Bluma Appel Lobby, 27 Front St. E. 416-366-
7723. Free.
●●12:00 noon: Encore Symphonic Concert
Band. Monthly Concert. Big band, swing, jazz
and film scores. John Liddle, conductor. Wilmar
Heights Centre, 963 Pharmacy Ave.,
Scarborough. 416-346-3910 or 647-287-
5390. $10. First Thursday of each month.
Refreshments available or bring your lunch.
●●1:30: Women’s Musical Club of Toronto.
Music in the Afternoon. Works by Beethoven,
Caroline Shaw, Webern and Mendelssohn.
Aizuri Quartet (Miho Saegusa, violin; Ariana
Kim, violin; Ayane Kozasa, viola; Karen
Women’s Musical Club of Toronto
Music in the Afternoon
AIZURI QUARTET
violins, viola, cello
Thursday, April 6, 1.30 p.m.
Tickets $45
416-923-7052
www.wmct.on.ca
Ouzounian, cello). Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-923-7052. $45.
●●7:30: University of Toronto Faculty of
Music. U of T Concert Orchestra. Paul Widner,
conductor. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●8:00: Tafelmusik. Bach: Keeping it in the
Family. See April 5, (7:00pm); Also April 7,8
(8:00pm) and April 9(3:30pm).
●●8:00: Toronto Symphony Orchestra. Mahler:
Symphony 10. William Rowson: Fanfare:
Sesquie for Canada’s 150th (World premiere/
TSO co-commission); Schumann: Cello Concerto;
Mahler/Cooke: Symphony No.10.
Joseph Johnson, cello; Thomas Dausgaard,
conductor. Roy Thomson Hall, 60 Simcoe St.
416-598-3375. $33.75-$148. Also Apr 7(7:30).
Friday April 7
●●12:00 noon: Roy Thomson Hall. Noon Hour
Concerts: Spirituals, Blues, Jazz and Classics.
Nathaniel Dett Chorale; Andrew Adair, organ;
Brainerd Blyden-Taylor, conductor. 60 Simcoe
St. 416-872-4255. Free. First-come, firstserved
seating.
●●12:10: Music at St. Andrew’s. Noontime
Recital. Andrew Fu, piano. St. Andrew’s
Church (Toronto), 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Featuring classics, opera, operetta,
musicals, ragtime, pop, international and
other genres. Gordon Murray, piano. Trinity-St.
Paul’s Centre (Chapel), 427 Bloor St.
W. 416-631-4300. PWYC. Lunch and snack
friendly.
●●7:30: Leaside United Church. An Anniversary
Celebration. 60th Anniversary of
the Pipe Organ and Canada’s 150th Anniversary.
Chancel Choir; Cynda Fleming, trumpet;
William Maddox, organ; Sharon Beckstead,
music director. 822 Millwood Rd. 416-425-
1253. Free.
●●7:30: Toronto Symphony Orchestra. Mahler:
Symphony 10. Schumann: Cello Concerto;
Mahler/Cooke: Symphony No.10. Joseph
Johnson, cello; Thomas Dausgaard, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $33.75-$148. Also Apr 6(8:00).
●●8:00: Nagata Shachu. Toronto Taiko Tales.
Aki Studio, Daniels Spectrum, 585 Dundas
48 | March 1, 2017 - April 7, 2017 thewholenote.com

●●8:00: Music Gallery. Emergents III:
Castle If + Laura Swankey. Joe Strutt, curator.
197 John St. 416-204-1080. $12; $8(st/
members).
●●8:00: Aurora Cultural Centre. John
Sheard Presents Lynn Miles. 22 Church St.,
Aurora. 905-713-1818. $35/$30(adv).
●●8:00: Royal Conservatory. RCO and Opera
Concert. Korngold: Violin Concerto in D; Kelly-
Marie Murphy: A Thousand Natural Shocks;
R. Strauss: Ein Heldenleben. Jennifer Murphy,
violin; Royal Conservatory Orchestra; Bramwell
Tovey, conductor. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208. From
$25. 6:45: Prelude recital.
●●8:00: Tafelmusik. Bach: Keeping it in the
Family. See April 5, (7:00pm); Also April 8
(8:00pm) and April 9(3:30pm).
B. Concerts Beyond the GTA
●●8:00: Sinfonia Toronto. Distant Light. Evangelista:
Spanish Airs; Vasks: Violin Concerto
“Distant Light;” R. Strauss: Metamorphosen.
Andréa Tyniec, violin; Nurhan Arman, conductor.
Glenn Gould Studio, 250 Front St. W.
416-499-0403. $42; $35(sr); $15(st).
St. E. 416-651-4227. $30; $20(sr/st). Also
Apr 8(2:00 and 8:00); Apr 9(2:00).
20 TH ANNUAL
FREE NOON
HOUR CHOIR
& ORGAN
CONCERTS
IN THIS ISSUE: Barrie, Belleville, Cambridge, Cobourg, Fergus,
Guelph, Hamilton, Kingston, Kitchener, London, Niagara-on-the-Lake,
Peterborough, Port Hope, St. Catharines, Stratford, Waterloo, Welland.
Wednesday March 1
●●12:00 noon: Midday Music with Shigeru.
Catherine Robbin with Music Students of
York University. Hi-Way Pentecostal Church,
50 Anne St. N., Barrie. 705-726-1181. $5;
free(st).
●●7:00: Stratford Concert Band.
1 Bandarama 2017. Guests: Bands from
area high schools. Northwestern Secondary
School, 428 Forman Ave., Stratford. 519-
301-2516. Admission by donation to The Local
Community Food Centre.
Thursday March 2
●●7:00: Don Wright Faculty of Music. Western
Performs! Concert Series: Jazz Ensemble.
Aeolian Hall, 795 Dundas St. E., London.
519-661-3767. Free.
Friday March 3
●●12:30: Don Wright Faculty of Music. Fridays
at 12:30 Concert Series: What Is a Song? Dr.
Marc Neufeld, composer; Gabrielle Heidinger
Baerg, mezzo; Ted Baerg, baritone; and Daniel
Baerg, percussion. Von Kuster Hall, Music
Building, Western University, 1151 Richmond
St. N., London. 519-661-3767. Free.
●●7:30: Isabel Bader Centre for the Performing
Arts. Ensemble Series: Cecilia String
Quartet. Purcell (arr. Britten): Chacony in G;
Rubbra: Amoretti for tenor and string quartet
Op.43; Mozetich: On the Beach at Night;
Schubert: String Quartet D810 “Death and
the Maiden.” Guest: Lawrence Wiliford, tenor.
390 King St. W., Kingston. 613-533-2424. $28-
$52; $24-$48(faculty/staff); $26(st).
●●8:00: Jeffery Concerts. Simon Aldrich,
Clarinet and Janelle Fung, Piano. Bartók:
Romanian Folk Dances; Mahler: Five Lieder;
Glick: Suite Hébraïque; Guastavino: Cantilène;
Brahms: Sonata in F Minor Op.120 No.1;
and other works. Wolf Performance Hall,
251 Dundas St., London. 519-672-8800. $35;
$30(sr); $15(st).
Saturday March 4
●●3:00: 5 at the First Chamber Music Series.
Sound the Trumpet...and Violin! Works by
Biber, Barnes, Ewazen and Piazzolla. Bethany
Bergman, violin; Michael Fedyshyn, trumpet;
Angela Park, piano; Rachel Mercer, cello. First
Unitarian Church of Hamilton, 170 Dundurn
St. S., Hamilton. 905-399-5125. $20; $15(sr);
$5(st/unwaged); free(under 12).
●●7:30: Acoustic Muse Concerts. RPR: The
Big Voices from Tanglefoot. Jack Richardson
Ballroom, London Music Hall of Fame,
182 Dundas St., London. 519-432-1107.
$25/$20(adv).
●●7:30: Barrie Concerts. The Magic of Mozart.
Mozart: Symphony No. 29; Concerto for
Flute and Harp. Kaili Maimets, flute; Andrew
Chan, harp. Hi-Way Pentecostal Church,
50 Anne St. N., Barrie. 705-726-1181. $85.
●●7:30: Chorus Niagara. The Farthest Shore:
A Celtic Celebration. Paul Mealor: The Farthest
Shore. Guests: Chorus Niagara Children’s
Choir; Airfid Celtic Ensemble; Flohertyh
De Menezes Academy Irish Dancers. FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 1-855-515-0722 or 905-688-
5550 x0722. $42; $40(sr); $27(under 30);
$17(st); $15(child) $5(high school).
●●7:30: Grand Philharmonic Choir. Bellows
and Brass. Works by Gabrieli, Schütz,
Halley, Gilliland and others. Kitchener-Waterloo
Symphony Brass Quintet; Mark Vuorinen,
conductor. St. Peter’s Lutheran Church,
49 Queen St. N., Kitchener. 519-578-6885.
$30.
●●8:00: DaCapo Chamber Choir. Mid-Winter
Songs. Esenvalds: Northern Lights; Lauridsen:
Mid-Winters Songs; Mechem: Earth
My Song; Donkin: This Fragile Web; L. Enns: I
Saw Eternity. Lance Ouellette, violin; Catherine
Robertson, piano. St. John the Evangelist
Anglican Church, 23 Water St. N., Kitchener.
519-725-7549. $25; $20(sr); $15(st);
$5(eyeGO). Also Mar 5(mat; Waterloo).
Sunday March 5
●●2:00: Chamber Music Hamilton. Trio con
Brio Copenhagen. Sven-David Sandstrom:
4 pieces; Schumann: Piano Trio in G Minor
Op.110; Schubert: Piano Trio in B-flat Op.99.
Art Gallery of Hamilton, 123 King St. W., Hamilton.
905-525-7429. $30; $27(sr); $10(st).
●●2:00: Don Wright Faculty of Music. Studies
in Motion 2017: Dance Showcase. Paul
Davenport Theatre, Talbot College, Western
University, 1151 Richmond St. N., London. 519-
661-3767. $10.
●●2:00: Don Wright Faculty of Music. Jazz
Ensemble Concert: Traditions. Mocha Shrine
Centre, 468 Colborne St., London. 519-661-
3767. Member and non-member pricing.
●●3:00: DaCapo Chamber Choir. Mid-Winter
Songs. Esenvalds: Northern Lights; Lauridsen:
Mid-Winters Songs; Mechem: Earth
My Song; Donkin: This Fragile Web; L. Enns:
I Saw Eternity. Lance Ouellette, violin; Catherine
Robertson, piano. St. John’s Lutheran
(Waterloo), 22 Willow St., Waterloo. 519-725-
7549. $25; $20(sr); $15(st); $5(eyeGO). Also
Mar 4(eve; Kitchener).
●●3:00: Musicata - Hamilton’s Voices.
Tales of the Unconscious. Musicata; Mike
Murley, saxophone; Chris Pruden, piano;
Andrew Downing, bass; Roger Burgs, conductor.
Church of St. John the Evangelist,
320 Charlton Ave. W., Hamilton. 905-628-
5238. $25; $20(sr); $5(st); free(child). Preconcert
talk at 2:30.
●●3:00: Wellington Winds. In the European
Tradition. Guilmant: Morceau symphonique
for Trombone; Mahler: Symphony No.3 1st
mvt (transcription); works by Mendelssohn,
Tull and Arnold. Rachel Thomas, trombone;
Daniel Warren, conductor. Knox Presbyterian
Church (Waterloo), 50 Erb St. W., Waterloo.
519-669-1327. $20; $15(sr); free(st). Also
Mar 12(Kitchener).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Mozart’s “Great” Quartets Concert 1.
Mozart: Quartets K387, K458 and K465. Aviv
String Quartet. KWCMS Music Room, 57 Young
St. W., Waterloo. 519-886-1673. $35; $20(st).
Tuesday March 7
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
RBC Foundation Music@Noon. Walker String
Quartet: Vera Alekseeva and Anna Hughes,
violins; Andrée Simard, viola; Gordon Cleland,
cello. Cairns Hall, FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
905-688-5550 x3817. Free.
●●8:00: FirstOntario Performing Arts Centre.
Mouse on the Keys. FirstOntario Performing
Arts Centre, Robertson Theatre,
250 St. Paul St., St. Catharines. 905-688-
0722. $30. Standing general admission.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Mozart’s “Great” Quartets Concert
2. Mozart: Quartets K421, K499, K589
and K575. Aviv String Quartet. KWCMS Music
Room, 57 Young St. W., Waterloo. 519-886-
1673. $35; $20(st).
5 at the First
— PRESENTS —
Sound
the
Trumpet
… and
Violin!
SAT MARCH 4, 3PM
Hamilton
WWW.5ATTHEFIRST.COM
thewholenote.com March 1, 2017 - April 7, 2017 | 49

B. Concerts Beyond the GTA
Wednesday March 8
●●12:30: University of Waterloo Department
of Music. Noon Hour Concerts: Cello
and Piano, Russian Style. Sonatas by Prokofiev
and Schnittke. Chiharu Iinuma, piano;
Thomas Wiebe, cello. Conrad Grebel University
College, 140 Westmount Rd. N., Waterloo.
519-885-0220 x24226. Free.
●●2:30: Seniors Serenade. Music for Springtime.
Karina Bray, soprano; Ryan Harper,
tenor; William Shookhoff, piano. Grace United
Church (Barrie), 350 Grove St. E., Barrie.
705-726-1181. Free. 3:30: tea and goodies $5.
●●8:00: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. Music
Ed Plus Chamber Music Ensembles. Jazz
standards and old favourites, as well as classical
chamber music. Student jazz and chamber
ensembles. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St., St.
Catharines. 905-688-5550 x3817. Free.
Thursday March 9
●●8:00: Kitchener-Waterloo Chamber Music
Society. Mozart’s “Great” Quartets Concert
3. Mozart: Quartets K428, 464 and 590.
Aviv String Quartet. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$35; $20(st).
Friday March 10
●●7:30: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. Encore!
Professional Concert Series: Anagnoson and
Kinton. Anagnoson and Kinton, piano duo.
Partridge Hall, FirstOntario Performing Arts
Centre, 250 St. Paul St., St. Catharines. 905-
688-0722 or 1-855-515-0722. $25; $20(sr/st);
$10(child); $5(eyeGo).
●●8:00: Array Ensemble. The Rainbow of Forgetting.
Mozetich: Time to Leave; Linda Catlin
Smith: Stare at the River; Komorous: Dame’s
Rocket (the rainbow of forgetting 2); Sherlock:
Necklace; Bouchard: Ductwork; Martin
Arnold: (Damper) Coaster. Isabel Bader
Centre for the Performing Arts, 390 King St.
W., Kingston. 416-532-3019. Price TBA. Also
Mar 9(Toronto).
●●8:00: Music by Daly Entertainment. Winter
Concert Series: St. Paddy’s Shin Dig with
Mystic. Revival House, 70 Brunswick St.,
Stratford. 519-273-3424. $25. Contact Revival
House for dinner reservations. Proceeds support
United Way Perth-Huron.
Saturday March 11
●●2:00: King Edward Choir. Petite Messe
Solennelle. Rossini. Lesley Bouza, Alexandra
Asher, Michael Nyby and Ernesto Ramírez,
vocal solos; Dan McCoy, harmonium; Mélisande
Sinsoulier, piano; Floydd Ricketts,
conductor. Collier Street United Church,
112 Collier St., Barrie. 705-305-6797. $25;
$15(st). Also 7:30.
●●4:30: Fran Harkness. Birthday Concert
for David Cameron. Michael Capon,
Holly Gwynne-Timothy, Fran Harkness and
others. St. George’s Cathedral Great Hall,
129 Wellington St., Kingston. 613-549-7125.
Admission by monetary or non-perishable
food donation to Lunch by George. Reception
follows.
●●7:30: Hamilton Philharmonic Orchestra.
Sibelius Seven. Pärt: Cantus in Memoriam
of Benjamin Britten; Bartók: Music for
Strings, Percussion and Celeste; Lau: Voices
of Time - A Portrait of Lake Moraine; Sibelius:
Symphony No.7. Gemma New, conductor.
Hamilton Place, 10 MacNab St. S., Hamilton.
905-526-7756. $10-$67. 6:30: Pre-concert
talk.
●●7:30: King Edward Choir. Petite Messe
Solennelle. Rossini. Lesley Bouza, Alexandra
Asher, Michael Nyby and Ernesto Ramírez,
vocal solos; Dan McCoy, harmonium; Mélisande
Sinsoulier, piano; Floydd Ricketts,
conductor. Collier Street United Church,
112 Collier St., Barrie. 705-305-6797. $25;
$15(st). Also 2:00.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Guitar Recital. Pachelbel: Lute Suite
in E Minor; Matiegka/Haydn: Sonata Op.23;
Ginastera: Sonata Op.47; Leisner: Labyrinths;
Villa-Lobos: Études Nos.7-12. David Leisner,
guitar. KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
Sunday March 12
●●3:00: Wellington Winds. In the European
Tradition. Guilmant: Morceau symphonique
for Trombone; Mahler: Symphony No.3 1st
mvt. (transcription); works by Mendelssohn,
Tull and Arnold. Rachel Thomas, trombone;
Daniel Warren, conductor. Grandview Baptist
Church, 250 Old Chicopee Dr., Kitchener.
519-669-1327. $20; $15(sr); free(st). Also
Mar 5(Waterloo).
●●6:00: INNERchamber Concerts. The Rush.
Marek Norman: Wanderlust Dance Suite;
Piazzolla: The Seasons; Turina: Trio No.2. Factory
Arts Ensemble; Neesa Kenemy, dancer.
Factory 163, 163 King St., Stratford. 519-271-
5140. $42; $10(st).
●●7:00: Guitar Hamilton. David Leisner. Hamilton
Conservatory for the Arts, 126 James St.
S, Hamilton. 905-807-4792. $25; $15(st).
●●7:30: Cuckoo’s Nest Folk Club. Clan Hannigan.
Chaucer’s Pub, 122 Carling St., London.
519-473-2099. $20/$25(adv).
Tuesday March 14
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
RBC Foundation Music@Noon. Piano
and guitar students. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St., St.
Catharines. 905-688-5550 x3817. Free.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Piano Recital. Hummel: 24 Grandes
Études; Brahms: Waltzes Op. 39; Shostakovich:
two preludes and fugues. Shoshana Telner,
piano. KWCMS Music Room, 57 Young St.
W., Waterloo. 519-886-1673. $30; $20(st).
Wednesday March 15
●●12:00 noon: Music at St. Andrew’s. Daniel
Webb, organ. St. Andrew’s Presbyterian
Church (Barrie), 47 Owen St., Barrie. 705-
726-1181. $5; free(st).
●●12:30: University of Waterloo Department
of Music. Noon Hour Concerts: Birdwatching.
A mix of classical and popular music. Licorice
Allsorts Clarinet Quartet. Conrad Grebel University
College, 140 Westmount Rd. N., Waterloo.
519-885-0220 x24226. Free.
Thursday March 16
●●8:00: Bill Craig. Irish Entertainer Bill Craig
@ Molly Bloom’s. Molly Bloom’s Irish Pub,
26 Brunswick St., Stratford. 519-271-2778.
No cover.
Saturday March 18
●●11:00am: CFUW Belleville and District and
Belleville Public Library. The Great Rhythmobile
Adventure (ages 3-6). Humourous,
educational and interactive experience for
children. Bruno Roy and Marton Maderspach,
percussion (Jeunesses Musicales Canada).
Belleville Public Library, Parrott Gallery,
254 Pinnacle Street, Belleville. 613-968-9382
or 613-967-1415. $5; free(under 2 y.o.). Also
1:30 (ages 7-12). Free refreshments.
●●1:30: CFUW Belleville and District and
Belleville Public Library. The Great Rhythmobile
Adventure (ages 7-12). Humourous,
educational and interactive experience
for children. Bruno Roy and Marton Maderspach,
percussion (Jeunesses Musicales Canada).
Belleville Public Library, Parrott Gallery,
254 Pinnacle Street, Belleville. 613-968-9382
or 613-967-1415. $5; free(under 2 y.o.). Also
11:00am (ages 3-6). Free refreshments.
●●3:30: Kingston Centre of the Royal Canadian
College of Organists. Community of
Organists Concert. Organ scholarship students
and organists from Kingston area
churches. St. Andrew’s Presbyterian Church
(Kingston), 130 Clergy St. E., Kingston. 613-
546-6316. Free. Donations accepted toward
organ scholarship program.
●●4:00: Hammer Baroque. Fantasia 1700.
Featuring art projections curated by Toronto
artist John Ens. Rezonance Baroque Ensemble;
Rezan Onen-Lapointe; baroque violin;
David Podgorski, harpsichord; Rebecca Morton,
baroque cello; Benjamin Stein, theorbo.
St. John the Evangelist Church (Hamilton),
320 Charlton Ave. W., Hamilton. 905-522-
0602. $15.
●●7:30: Isabel Bader Centre for the Performing
Arts. Jazz Series: The Big Band
Sound - John McLeod and His Rex Hotel
Orchestra. 390 King St. W., Kingston. 613-
533-2424. $28-$52; $24-$48(faculty/staff);
$26(st).
●●7:30: Niagara Symphony Orchestra. String
Theory. Barber: Adagio for Strings; Brahms:
Violin Concerto; Morawetz: Serenade for
Strings; Beethoven: Symphony No.1. Jonathan
Crow, violin; Bradley Thachuk, conductor.
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 905-688-0722 or
1-855-515-0722. $69; $64(sr); $34(30 and
under); $14(st); $12(child); $5(eyeGO). Also
Mar 19(2:30).
Sunday March 19
●●2:30: Isabel Bader Centre for the Performing
Arts. Piano Series: Marc-André
Hamelin. Haydn: Sonata in C Hob.XVI:48; Feinberg:
Sonata No.2 in A Minor Op.2, Sonata
No.1 in A Op.1; Beethoven: Sonata in F Minor
Op.57 “Appassionata.” 390 King St. W., Kingston.
613-533-2424. $28-$52; $24-$48(faculty/
staff); $26(st).
●●2:30: Niagara Symphony Orchestra. String
Theory. Barber: Adagio for Strings; Brahms:
Violin Concerto; Morawetz: Serenade for
Strings; Beethoven: Symphony No.1. Jonathan
Crow, violin; Bradley Thachuk, conductor.
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 905-688-0722 or
1-855-515-0722. $69; $64(sr); $34(30 and
under); $14(st); $12(child); $5(eyeGO). Also
Mar 18(7:30).
Les AMIS Concert
Scott St. John
March 19 at 3 pm
St. Peter’s, Cobourg
●●3:00: Les Amis. In Concert. Works by Vivaldi,
Pepa and Bach. Scott St. John, violin;
Erika Crinó, piano; members of the Canadian
Sinfonietta. St. Peter’s Anglican Church
(Cobourg), 240 College St., Cobourg. 905-
372-2210. $35/$30(adv); $15/$10(st/adv).
●●4:30: Music At St. Thomas’. Choir of
Men and Boys from Christ Church Cathedral,
Ottawa. Matthew Larkin, conductor.
St. Thomas’ Anglican Church (Belleville),
201 Church St., Belleville. 613-962-3636.
PWYC.
Tuesday March 21
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
RBC Foundation Music@Noon. Instrumental
students. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St., St.
Catharines. 905-688-5550 x3817. Free.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Solo Bach I. Bach: Partita No.2 in
D Minor, Partita No.3 in E, Sonata No.2 in A
Minor. Movses Pogossian, violin. KWCMS
Music Room, 57 Young St. W., Waterloo. 519-
886-1673. $35; $20(st).
Wednesday March 22
●●8:00: Kitchener-Waterloo Chamber
Music Society. Piano Recital. Bach: French
Suite No.4, Toccatas in D Minor and G Minor;
@ QUEEN’S UNIVERSITY
Marc-André
Hamelin
Haydn, Beethoven,
Feinberg, Brahms & Ravel
Sun, Mar 19, 2:30 PM
theisabel.ca
50 | March 1, 2017 - April 7, 2017 thewholenote.com

Beethoven: Sonata No.17 “Tempest;” Mennin:
Piano Sonata. Peter Vinograde, piano.
KWCMS Music Room, 57 Young St. W., Waterloo.
519-886-1673. $35; $20(st).
Thursday March 23
●●8:00: Kitchener-Waterloo Chamber Music
Society. Solo Bach II. Bach: Sonatas No.1 in G
Minor and No.3 in C, Partita No.1 in B Minor.
Movses Pogossian, violin. KWCMS Music
Room, 57 Young St. W., Waterloo. 519-886-
1673. $35; $20(st).
Friday March 24
●●8:00: Kitchener-Waterloo Symphony.
Beethoven’s Fifth. Verdi: Overture to La
forza del destino; Estacio: Trumpet Concerto
(premiere); Beethoven: Symphony No.5
in C Minor. Larry Larson, trumpet; Michael
Christie, conductor. Centre in the Square,
101 Queen St. N., Kitchener. 519-745-4711 or
1-888-745-4717. $19-$82. Also Mar 25.
Saturday March 25
●●2:30: Kitchener-Waterloo Symphony. How
Harmony Happens. Interactive concert. Daniel
Bartholomew-Poyser, conductor. Centre in
the Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $18; $11(child).
1:15: Pre-concert activities (free with concert
ticket).
●●7:30: Grand Philharmonic Choir. Immortal
Bach. Works by J.S. Bach, J.C. Bach, J.L.
Bach, Mendelssohn and Nystedt. Grand Philharmonic
Chamber Singers; Mark Vuorinen,
conductor. St. John the Evangelist Anglican
Church, 23 Water St. N., Kitchener. 519-578-
6885. $30.
●●7:30: Lyrica Chamber Choir of Barrie.
Exquisite Rheinberger. Rheinberger: Missa
(St. Crucis) Op.151; Vaughan Williams: Five
Mystical Songs. Steve Winfield, conductor;
Brent Mayhew, piano. Burton Avenue United
Church, 37 Burton Ave., Barrie. 705-722-0271.
$17; $14(sr/st).
●●7:30: Peterborough Symphony Orchestra.
A Life’s Work. Chopin: Piano Concerto
No.1; Schubert: Symphony No.4; Beethoven:
Egmont Overture. Janina Fialkowska, piano;
Michael Newnham, conductor. Showplace
Performance Centre, 290 George St. N.,
Peterborough. 705-742-7469. $20-$48.50;
$10(st).
Welland-Port Colborne
Concert Association
Presents
Ensemble Vivant
MARCH 25
CENTENNIAL
SECONDARY SCHOOL
Welland, Ontario
●●7:30: Welland-Port Colborne Concert
Association. Ensemble Vivant. Jazzinfused
styles from Latin to ragtime to the
Great American Songbook. Dr. J. M. Ennis
Auditorium, Centennial Secondary School,
240 Thorold Rd. W., Welland. 905-658-
9983. Admission included in association
membership.
●●7:30: Stratford Concert Choir. Concert III:
Elijah. Mendelssohn. Catharine Sadler, soprano;
Anna Tamm Relyea, alto; Mathias Memmel,
tenor; Gary Relyea, bass; Ian Sadler,
conductor. St. James Anglican Church (Stratford),
6 Hamilton St., Stratford. 519-393-
6879. $25/$20(adv).
●●8:00: Jeffery Concerts. In Concert. Program
to be announced. Wolf Performance
Hall, 251 Dundas St., London. 519-672-8800.
$35; $30(sr); $15(st).
●●8:00: Kitchener-Waterloo Symphony.
Beethoven’s Fifth. Verdi: Overture to La
forza del destino; Estacio: Trumpet Concerto
(premiere); Beethoven: Symphony No.5
in C Minor. Larry Larson, trumpet; Michael
Christie, conductor. Centre in the Square,
101 Queen St. N., Kitchener. 519-745-4711 or
1-888-745-4717. $19-$82. Also Mar 24.
Sunday March 26
●●4:00: Folk Under the Clock. Lennie Gallant.
Market Hall Performing Arts Centre,
140 Charlotte St., Peterborough. 705-742-
9425 or 705-749-1146. $35; $25(st).
Monday March 27
●●8:00: Kitchener-Waterloo Chamber Music
Society. Chamber Music Recital. Kurtág:
Kafka Fragments. Movses Pogossian, violin;
Tony Arnold, soprano. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$35; $20(st).
Tuesday March 28
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
RBC Foundation Music@Noon. Voice students.
Cairns Hall, FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
905-688-5550 x3817. Free.
●●7:30: Isabel Bader Centre for the Performing
Arts. Human Rights Arts Festival:
Songs of Sovereignty. Indigenous Music of
Today. L’Hirondelle, selections from Why the
Caged Bird Sings and Singing Land projects;
Newman, works by Cusson, Croall, and Newman;
Dutcher: Lintuwakon ciw Mehcinut;
Pomok naka Poktoinskwes; Honour Song; Lintuwakon
‘ciw Oqiton. Cheryl L’Hirondelle,vocal
artist with Adam Saifer, guitar; Marion Newman,
mezzo, with Gregory Oh, piano; Jeremy
Dutcher, tenor. 390 King St. W., Kingston. 613-
533-2424. Student $10 - Faculty/Staff $19 $24;
$19(faculty/staff); $10(st).
Wednesday March 29
@ QUEEN’S UNIVERSITY
Measha
Brueggergosman
Songs of Freedom
Wed, Mar 29, 7:30 PM
theisabel.ca
●●7:30: Isabel Bader Centre for the Performing
Arts. Human Rights Arts Festival:
Measha Brueggergosman - Songs of Freedom.
Measha Brueggergosman, soprano.
390 King St. W., Kingston. 613-533-2424. $38-
$52; $34-$48(faculty/staff); $18-$26(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Chamber Music Recital. Daniel:
String quintet for guitar and quartet; Good:
new work for harp and string quartet; Staniland:
new duo for guitar and harp. Madawaska
Quartet; Rob MacDonald, guitar; Sanya
Eng, harp. KWCMS Music Room, 57 Young St.
W., Waterloo. 519-886-1673. $35; $20(st).
Friday March 31
●●8:00: Kitchener-Waterloo Symphony.
Charlie Chaplin’s Modern Times. Screening
of Chaplin’s film Modern Times with orchestral
score performance. Timothy Brock, conductor.
Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$19-$86. Also Apr 1.
Saturday April 1
●●1:00 and 3:30: Academy Ballet Classique/
Slant. River Flow: Confluence of Music, Words,
and Dance. Interdisciplinary work celebrating
rivers. Bloomfield: River Flow (world
premiere). Slant: Marion Samuel-Stevens,
soprano; Tilly Kooyman, bass clarinet; Owen
Bloomfield, piano; Rae Crossman, speaker; students
from Academy Ballet Classique; guests:
Mateo Galindo Torres and Clara Isley, dancers;
Michele Hopkins, choreographer. Cambridge
Centre for the Arts, 60 Dickson St.,
Cambridge. 519-339-9150. $20; $15(under 13).
Cash only at door. Also at 3:30.
●●7:00: Grand Philharmonic Choir. Classical
Connections. Grand Philharmonic Youth
Choir. Guests: Kitchener-Waterloo Symphony
Youth Orchestra; Joseph Gaucho, conductor.
St. John’s Lutheran Church, 22 Willow St.,
Waterloo. 519-578-6885. $15.
●●7:30: Guelph Chamber Choir. Bach’s St.
John Passion. Sheila Dietrich, soprano; Jennifer
Enns-Modolo, alto; James McLean, tenor
(Evangelist); Daniel Lichti, bass-baritone
(Jesus); Gordon Burnett, baritone (Pilate,
Peter); Orchestra Viva; Gerald Neufeld, conductor.
River Run Centre, 35 Woolwich St.,
Guelph. 519-763-3000. $35; $10(st/under 31);
$5(under 15/eyeGO). Sung in English. On period
instruments. Infants not admitted. 6:30:
pre-concert talk with John Buttars.
●●7:30: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. Viva
Voce! Choral Series: Finale. Brock University
Choirs, Brock Music Alumni. Cairns Hall,
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 905-688-0722 or
1-855-515-0722. $15; $10(sr/st); $5(eyeGo).
●●8:00: Kitchener-Waterloo Symphony.
Charlie Chaplin’s Modern Times. Screening
of Chaplin’s film Modern Times with orchestral
score performance. Timothy Brock, conductor.
Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$19-$86. Also Mar 31.
Sunday April 2
●●3:00: Elora Festival Singers. Bach Motets.
St. Joseph’s Catholic Church (Fergus), 760 St.
David St. N., Fergus. 519-846-0331. $40;
$17(st); $6(child).
●●3:30: Hamilton Cello Extravaganza.
Cello Extravanganza IV. Treasa Levasseur,
host; VC2. First Unitarian Church of Hamilton,
170 Dundurn St. S., Hamilton. 905-399-
5125. $25.
●●4:00: Oriana Singers of Northumberland.
Requiem and Rebirth. Rutter: Requiem; and
other choral works. Guests: La Movida Chamber
Choir of Toronto. St. Paul’s Presbyterian
Church, 131 Walton St., Port Hope. 613-392-
7423. $25; $22(sr/adv); $10(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Shostakovich Quartets 1. Shostakovich:
Quartets Nos. 1-3. Lafayette String Quartet.
KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
Tuesday April 4
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
RBC Foundation Music@Noon. Piano
RIVER FLOW:
Confluence of Music,
Words, and Dance.
An interdisciplinary work
celebrating rivers.
April 1, 1pm and 3:30pm
Cambridge
SlanT-arts.com
thewholenote.com March 1, 2017 - April 7, 2017 | 51

and guitar students. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St., St.
Catharines. 905-688-5550 x3817. Free.
●●7:30: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. University
Wind Ensemble. Partridge Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 905-688-0722 or 1-855-515-
0722. $10; $5(under 15/eyeGo); free(current
MIWSFPA students).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Shostakovich Quartets 2. Shostakovich:
Quartets Nos. 4-6. Lafayette String
Quartet. KWCMS Music Room, 57 Young St.
W., Waterloo. 519-886-1673. $35; $20(st).
Wednesday April 5
●●12:00 noon: Midday Music with Shigeru.
Daniel Johnston and Music Students from
Bear Creek Secondary School. Hi-Way Pentecostal
Church, 50 Anne St. N., Barrie. 705-
726-1181. $5; free(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Shostakovich Quartets 3. Shostakovich:
Quartets Nos. 7-9. Lafayette String Quartet.
KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
●●8:00: Kitchener-Waterloo Symphony. Stravinsky
and Beethoven: Baroque. J.S. Bach:
Chorale Nos.253, 254, 255 and 256; Stravinsky:
Pulcinella Suite; Vivaldi: La Follia; Beethoven:
String Quartet No.15 3rd mvt. “Heiliger Dankgesang”.
Bénédicte Lauzière, curator/leader/
violin; Daniel Bartholomew-Poyser, conductor.
First United Church (Waterloo), 16 William St.
W., Waterloo. 519-745-4711 or 1-888-745-4717.
$36. Also Apr 7(Guelph), 8(Cambridge).
B. Concerts Beyond the GTA C. Music Theatre
Friday April 7
●●12:00 noon: Marilyn I. Walker School of
Fine and Performing Arts, Brock University.
Music in the Hallway. Jazz standards and old
favourites, as well as classical chamber music.
Music Ed, student jazz and chamber ensembles.
Dr. Charles A. Sankey Chamber (hallway
outside), MacKenzie Chown Complex Brock
University, 1812 Sir Isaac Brock Way, St. Catharines.
905-688-5550 x3817. Free.
●●3:00: Stratford Concert Band. A Trip Across
Canada! Celebrating Canada’s 150th anniversary.
Ali Matthews, singer/songwriter.
Avondale United Church, 194 Avondale Ave.,
Stratford. 519-301-2516. $15; $5(st).
●●7:30: Bravo Niagara! Festival of the Arts.
Jon Kimura Parker, Piano. Beethoven: Appassionata;
Hirtz: Bernard Herrmann Fantasy;
Fantasy on The Wizard of Oz; Louie: Scenes
from a Jade Terrace; Ravel: Jeux d’eau. St.
Mark’s Anglican Church, 41 Byron St., Niagaraon-the-Lake.
289-868-9177. $25-$65.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Shostakovich Quartets 4. Shostakovich:
Quartets Nos. 10-13. Lafayette String
Quartet. KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
●●8:00: Kitchener-Waterloo Symphony. Stravinsky
and Beethoven: Baroque. J.S. Bach:
Chorale Nos.253, 254, 255 and 256; Stravinsky:
Pulcinella Suite; Vivaldi: La Follia; Beethoven:
String Quartet No.15 3rd mvt. “Heiliger Dankgesang.”
Bénédicte Lauzière, curator/leader/
violin; Daniel Bartholomew-Poyser, conductor.
Harcourt Memorial United Church, 87 Dean
Ave., Guelph. 519-745-4711 or 1-888-745-4717.
$36. Also Apr 5(Waterloo), 8(Cambridge).
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Find what you like online at
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These music theatre listings contain a wide range of music theatre types including opera,
operetta, musicals and other performance genres where music and drama combine. Listings
in this section are sorted alphabetically by presenter.
●●Alexander Showcase Theatre. Kiss Me,
Kate. Music and lyrics by Cole Porter, book by
Samuel and Bella Spewack. Fairview Library
Theatre, 35 Fairview Mall Drive. 416-324-1259.
$32, $27(sr/st). Opens Mar 31, 7:30pm. Runs
to Apr 8. Wed-Sat(7:30pm), Sun(2:00pm).
●●Angelwalk Theatre. Any Dream Will
Do: The Music of Andrew Lloyd Webber.
Lyric Theatre, Toronto Centre for the Arts,
5040 Yonge St. 416-901-2299. $39. Opens
Mar 30, 8:00pm. Runs to Apr 1.
●●Brampton Music Theatre. The Little Mermaid.
Music by Alan Menken, lyrics by Howard
Ashman with Glenn Slater, book by Doug
Wright. Rose Theatre, 1 Theatre Ln, Brampton.
905-874-2800. $35; $28(sr/st); $22(ch).
Opens Mar 30, 7:30pm. Runs to Apr 8.
Thurs-Sat(7:30pm).
●●Canadian Children’s Opera Company.
Brundibár. Music by Hans Krása; additional
music by Robert Evans. Members of the Canadian
Children’s Opera Company; Teri Dunn,
music director; Joel Ivany, stage director.
Harbourfront Centre Theatre, 235 Queens
Quay W. 416-973-4000. $33; $24(sr/st);
$19(child). Opens Mar 3, 7:30pm. Also
Mar 4(2:00pm/7:30pm), 5(2:00pm).
●●Canadian Opera Company. Vocal Series:
Millan and Faye Present Opera for All Ages.
Interactive concert. Favourite operatic arias
and sing-along choruses. Young artists of the
COC Ensemble Studio; Kyra Millan, soprano;
Christina Faye, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-363-
8231. Free. Mar 14, 12:00pm.
●●City Centre Musical Productions. Oklahoma!
Music by Richard Rodgers, lyrics and
book by Oscar Hammerstein II. Meadowvale
Theatre, 6315 Montevideo Rd, Mississauga.
905-615-4720. $30; $28(sr/st). Opens Mar 17,
8:00pm. Runs to Mar 26. Thurs-Sat(8:00pm),
Sun(2:00pm). Also Mar 25(2:00pm).
●●Civic Light Opera Company. Simply Barbra.
Steven Brinberg (Barbra). Zion Cultural
Centre, 1650 Finch Ave. E. 416-755-1717. $28.
Opens Mar 29, 7:00pm. Runs to Apr 9. Days
and times vary. Visit civiclightoperacompany.
com for details.
●●Mirvish. The Bodyguard. Written by Alexander
Dinelaris, based on the film, featuring
songs recorded by Whitney Houston. Ed Mirvish
Theatre, 244 Victoria St. 416-872-1212.
$38-$175. Runs to Mar 26. Tues-Sat(8:00pm),
Wed/Sat/Sun(2:00pm).
●●Mirvish. The Book of Mormon. Music,
lyrics and book by Trey Parker, Robert Lopez,
and Matt Stone. Princess of Wales Theatre,
300 King St.W. 416-872-1212. $49-$200. Runs
to Apr 16. Tues-Sat(8:00pm), Sat(2:00pm),
Sun(1:30pm, 7:30pm).
●●Mirvish. Mrs Henderson Presents. Music
by George Fenton and Simon Chamberlain,
lyrics by Don Black, book by Terry Johnson,
based on the film. Royal Alexandra Theatre,
260 King St. W. 416-872-1212. $38-$175.
Opens Mar 12, 2:00pm. Runs to Apr 23. Tues-
Sat(8:00pm), Wed/Sat/Sun(2:00pm).
●●National Ballet of Canada. Pinocchio. Music
by Paul Englishby, with libretto by Alasdair
Middleton. Will Tuckett, choreographer. Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-345-9595. $39-$265.
Opens Mar 11, 2:00pm. Runs to Mar 24. Times
vary. Visit national.ballet.ca for details.
●●National Ballet of Canada. Genus & The
Concert. Music by Joby Talbot, Deru and Frédéric
Chopin, orchestrated by Clare Grundman.
Wayne McGregor and Jerome Robbins,
choreographers. Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
345-9595. $39-$265. Opens Mar 29, 7:30pm.
Runs to Apr 2. Wed-Sat(7:30pm), Thurs/Sat/
Sun(2:00pm).
●●North Toronto Players. Iolanthe. Music by
Arthur Sullivan, lyrics and book by W. S. Gilbert.
Jubilee United Church, 40 Underhill
Dr. 416-481-4867. $25; $22(sr); $15(st);
free(ch). Opens Mar 3, 8:00pm. Runs to
Mar 12. Fri-Sat(8:00pm), Sun(2:00pm). Also
Mar 11(2:00pm).
●●Onstage Uxbridge. Little Shop of Horrors.
Music by Alan Menken, lyrics and book
by Howard Ashman. Uxbridge Music Hall,
16 Main St. S., Uxbridge. Onstageuxbridge.
com. $20. Opens Mar 30, 7:30pm. Runs to
Apr 8. Thurs-Sat(7:30pm), Sat/Sun(2:00pm).
Note: Apr 8(aft only).
●●Opera by Request. Mozart Mania. Excerpts
from Così fan tutte, Le nozze di Figaro, Don
Giovanni and Die Zauberflöte; complete performance
of Der Schauspieldirektor. Ontario
Opera Collaborative (Misty Banyard/Jennifer
Fontaine, sopranos; Tara St. Pierre, mezzo;
Antonio Dirienzo, tenor; Thomas Franzky,
bass; D. Kai Ma, piano/conductor). College
Street United Church, 452 College St. 416-
455-2365. $20. Mar 4, 7:30pm.
●●Opera by Request. La Bohème. Music by
Giacomo Puccini, libretto by Luigi Illica and
Giuseppe Giacosa. In concert with piano
accompaniment. Karina Bray, soprano
(Mimi); Paul Williamson, tenor (Rodolfo);
Domenico Sanfilippo, baritone (Marcello);
Jennifer Ann Sullivan, soprano (Musetta);
Peter Warren, bass-baritone (Colline); Gregory
Finney, baritone (Schaunard); Larry Tozer,
baritone (Benoit/Alcindoro); William Shookhoff,
piano and music director. College Street
United Church, 452 College St. 416-455-2365.
$20. Mar 11, 7:30pm.
●●Opera York. L’elisir d’Amore. Music by Gaetano
Donizetti, libretto by Felice Romani.
Fully staged opera with chorus and orchestra.
Carla-Grace Colaguori, soprano (Giannetta);
Michael Robert-Broder, baritone (Dr.
Dulcamara); Geoffrey Butler, artistic director;
Renee Salewski, stage director. Richmond Hill
Centre for the Performing Arts, 10268 Yonge
St., Richmond Hill. 905-787-8811. $110(Gala
package); $40-$50. With supertitles. Opens
Mar 2, 7:30pm. Also Mar 4.
●●Royal Conservatory. Glenn Gould School
Opera: La cecchina. Music by Niccolò Piccinni,
libretto by Carlo Goldoni. Royal Conservatory
Orchestra. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208. $25-
$55. Mar 15, 7:30pm. Also Mar 17.
●●Scarborough Philharmonic Orchestra. A
Night at the Opera. Strauss: Die Fledermaus
Overture; Borodin: Polovetsian Dances;
Mozart: Voyager’s Chorus from Idomeneo;
Puccini: O mio babbino from Gianni Schicchi;
Verdi: Overture to La Forza Del destino.
52 | March 1, 2017 - April 7, 2017 thewholenote.com

Toronto Choral Society; Ronald Royer, conductor.
Salvation Army Scarborough Citadel,
2021 Lawrence Ave. E., Scarborough.
416-429-0007. $30; $25(sr); $15(st). Apr 1,
8:00pm.
●●Shaw Festival. Me and My Girl. Music by
Noel Gay, book and lyrics by L. Arthur Rose
and Douglas Furber, with revisions by Stephen
Fry and Mike Ockrent. Festival Theatre,
10 Queen’s Parade, Niagara-on-the-lake.
1-800-511-7429. $35 and up. Previews begin
Apr 5, 2:00pm. Runs to Oct 15. Days and times
vary. Visit shawfest.com for details.
●●Soulpepper Concert Series. Manhattan
Concert Cycle Vol 1: Downtown – The Melting
Pot. Immigration, innovation, vaudeville,
organized crime and the birth of American
song. Young Centre for the Performing Arts,
50 Tank House Lane. 416-866-8666. $25-$69.
Mar 4, 1:30pm. Also Mar 18, 1:00pm.
●●Soulpepper Concert Series. Manhattan
Concert Cycle Vol 2: Midtown – 42nd
Street and Broadway. Grand Central Station,
Times Square, Broadway and the Brill Building.
Young Centre for the Performing Arts,
50 Tank House Lane. 416-866-8666. $25-$69.
Mar 7, 7:30pm. Also Mar 18, 4:00pm.
●●Soulpepper Concert Series. Manhattan
Concert Cycle Vol 3: Uptown – Harlem. 52nd
Street, Central Park and the Harlem Renaissance.
Young Centre for the Performing Arts,
50 Tank House Lane. 416-866-8666. $25-$69.
Mar 10, 7:30pm. Also Mar 18.
●●Southern Ontario Lyric Opera. Tosca.
Music by Giacomo Puccini, libretto by Luigi
Illica and Giuseppe Giacosa. Jessica Lane,
soprano (Tosca); Romulo Delgado, tenor
(Cavaradossi); Nicolae Raiciu, baritone
(Scarpia). Burlington Performing Arts Centre,
440 Locust St., Burlington. 905-681-
6000. $20-$55. Mar 4, 7:30pm.
●●Stepping Out Theatrical Productions. 13,
The Musical. Music and lyrics by Jason Robert
Brown, book by Dan Elish and Robert
Horn. Richmond Hill Centre For Performing
Arts, 10268 Yonge St. 905-787-8811. $28-
$34. Opens Mar 23, 7:30pm. Runs to Mar 25.
Thurs-Sat(7:30pm), Sat(1:30pm).
●●Talisker Players. Land of the Silver Birch.
Folk songs and writings of early Canadian settlers.
Trinity St. Paul’s Centre, 427 Bloor St. W.
416-466-1800. $45; $35(sr); $10(st). Mar 28,
8:00pm. Also Mar 29.
●●Talk Is Free Theatre. Offline. Music by Colleen
Dauncey. Lyrics by Akiva Romer-Segal.
Park Place Theatre, Mady Centre for the Performing
Arts, 1 Dunlop St. W., Barrie. 705-739-
4228. $37.50-$40.80. Mar 3-11, 8:00.
●●Teatro Proscenium Limited Partnership/
Garth Drabinsky. Sousatzka. Music and lyrics
by Richard Maltby, Jr and David Shire, book
by Craig Lucas, based on the novel by Bernice
Rubens. Elgin Theatre, 189 Yonge St. 1-855-
985-5000. $60-$175. Runs to Apr 9. Tues-
Sat(8:00pm), Wed/Sat/Sun(2:00pm).
●●Theatre Passe Muraille. Stupidhead! Written
and performed by Katherine Cullen and
Britta Johnson. Theatre Passe Muraille
Mainspace, 16 Ryerson Ave. 416-504-7529.
$38; $33(sr); $17(under 30). Opens Mar 16,
7:30pm. Runs to Apr 2. Tues-Sat(7:30pm),
Sat/Sun(2:00pm).
●●Toronto City Opera. Merry Widow. Music
by Franz Lehár, libretto by Viktor Léon and
Leo Stein. Fully staged opera. Bickford Centre
Theatre, 777 Bloor St. W. 416-576-4029. $28;
$20(sr); $15(st). Mar 4, 7:30.
●●Toronto City Opera. Carmen. Music by
Georges Bizet, libretto by Henri Meilhac and
Ludovic Halévy. Fully staged opera. Bickford
Centre Theatre, 777 Bloor St. W. 416-576-
4029. $28; $20(sr); $15(st). Mar 3(8:00pm),
Mar 5(2:00pm).
●●Toronto Masque Theatre. The Man
Who Married Himself. Crow’s Theatre,
345 Carlaw Ave. 416-410-4561. $50; $43(sr);
$20(st). Opens Mar 10, 8:00pm. Also
Mar 11(2:00/8:00pm).
●●University of Toronto Faculty of Music.
Thursdays at Noon: Opera Spotlight. A preview
of UofT Opera’s production of Handel’s
Imeneo. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park.
416-408-0208. Free. Mar 2, 12:10pm.
●●University of Toronto Faculty of Music.
Spring Opera Production: Imeneo. Performed
with Surtitles. Music by George Frideric
Handel. Tim Albery, director; Daniel
120 Diner
120 Church St. 416-792-7725
120diner.com (full schedule)
All shows: PWYC ($10-$20 suggested)
Every Tue 6pm Leslie Huyler; 8pm Annie Bonsignore;
10pm Chris Brikett. Every Wed 6pm
Kathleen Gorman; 8pm Lisa Particelli’s GNO
Jazz Jam. Every Sat 6pm John Alcorn Songbooks
Series: Cole Porter (March 4), Dorothy
Fields (March 11), Johnny Mercer (March
18), Best of (March 25) $20. March 2 6pm
Julie Michels & Kevin Barrett; 9pm Genevieve
Marentette. March 3 6pm Bianca. March 5
6pm Jacob Macinnis: The Woman in Me $20;
8:30pm Eliza Blue Musselwhite $20. March
9 6pm Paul Lamarche; 9pm Nashville-Style
Songwriters In The Round. March 10 6pm
Howard Willett & Denise Leslie: The Music of
Ray Charles. March 12 3pm Jazz Vocal Workshop
with Renee Yoxon; 6pm Renee Yoxon
& Ilana Waldston sing Dave Frishberg $20;
8:30pm Whit 4 Waits: Whitney Ross-Barris
sings Tom Waits $20. March 16 6pm Bobby
Hsu (sax) Trio with Bob Ben (drums, piano),
Chris Adriaanse (bass); 9pm Mandy Goodhandy’s
Music & Madness Show. March 17
6pm Levi Collins Band. March 19 6pm Tracy
Michailidis $20; 8:30pm A Rat Pack Cabaret:
Daniel Abrahamson, Jeremy Carver, Sayer
Roberts $20. March 23 6pm Jessica Lalonde.
March 24 6pm Carolyn Dawe. March 26
6pm Bobby Hsu’s Ob-Sessions feat. Michael
Hughes $20; 8:30pm Mary Pitt & David Warrack
$20. March 30 6pm Laura Fernandez.
March 31 6pm Valeria Matzner.
Alleycatz
2409 Yonge St. 416-481-6865
alleycatz.ca
All shows: 9pm unless otherwise indicated.
Call for cover charge info.
Artword Artbar
15 Colbourne St., Hamilton. 905-543-8512
artword.net (full schedule)
March 1 8pm Alex Tomowich & Jesse Martel
$5. March 2 8pm Samuel Bonnet Trio feat.
Brad Cheeseman $15. March 8 8pm Adrean
Farrugia hosts Mohawk Music Showcase
$10. March 17 8pm Adrean Farrugia Trio feat.
Drew Jurecka $15. March 18 8pm Sufjan Stevens
Tribute Night with Brad Cheeseman
Taylor, countertenor; U of T Opera, members
of the UTSO. MacMillan Theatre, Edward
Johnson Building, 80 Queen’s Park. 416-408-
0208. $40; $25(sr); $10(st). Opens Mar 16,
7:30pm. Runs to Mar 19. Thurs-Sat(7:30pm),
Sun(2:30pm).
●●University of Toronto Faculty of Music.
Porgi Amor: The Operatic Music of Wolfgang
Amadeus Mozart. Costumed and staged
scenes. Excerpts from Die Zauberflöte, Le
nozze di Figaro, Don Giovanni, Così fan tutte
and Die Entführung aus dem Serail. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
$20; $10(st). Mar 31, 5:00pm.
●●Voicebox/Opera in Concert. Khovanshchina
(The Khovansky Affair). Music and
libretto by Modest Mussorgsky. Emiolia
Boteva; Andrey Andreychik; Dion Mazerolle;
D. In the Clubs (Mostly Jazz)
$10. March 23 8pm Hisaka with George
Koller $15.
Bloom
2315 Bloor St. W. 416-767-1315
bloomrestaurant.com
All shows: 19+. Call for reservations.
March 30 7pm Eliana Cuevas Trio $45
(includes dinner).
Blue Goose Tavern, The
1 Blue Goose St. 416-255-2442
thebluegoosetavern.com
Every Sun 5pm Blues at the Goose with the
Big Groove Rhythm Section w/ Steve Grisbrook
& Jenie Thai (March 5)/ Michael
Schatte & Shakey Dagenais (March 12)/
Sugar Brown & Rockin’ Johnny Burgin
(March 19)/Jerome Godboo & Eric Schenkman
(March 26).
Burdock
1184 Bloor St. W. 416-546-4033
burdockto.com (full schedule)
All shows: 9pm
March 19 8:30pm Six Saxes Sing for
Spring with Monsoon Trio & Dialectica
$15(adv)/$20(door).
Cameron House, The
408 Queen St. W. 416-703-0811
thecameron.com (full schedule)
Castro’s Lounge
2116e Queen St. E. 416-699-8272
castroslounge.com (full schedule)
All shows: no cover /PWYC
Voicebox Opera in Concert Chorus; Robert
Cooper, chorus director; Narmina Afandiyeva,
music director/piano. St. Lawrence Centre
for the Arts, 27 Front St. E. 416-366-7723. $22-
$52. Mar 26, 2:30pm.
●●Victoria College Drama Society. Assassins:
The Musical. Music and lyrics by Stephen
Sondheim, book by John Weidman. Isabel
Bader Theatre, 93 Charles St. W. 416-978-
8849. $15; $10(sr/st). Opens Mar 9, 8:00pm.
Runs to Mar 11.
●●Young People’s Theatre. James and the
Giant Peach. Music and lyrics by Benj Pasek
and Justin Paul, book by Timothy Allen
McDonald, based on the book by Roald Dahl.
Young People’s Theatre, 165 Front St.E. 416-
862-2222. $15-41. Runs to Mar 18. Days and
times vary. Visit youngpeoplestheatre.ca for
details.
Cavern Bar, The
76 Church St. 416-971-4440
thecavernbar.ca (full schedule)
C’est What
67 Front St. E. (416) 867-9499
cestwhat.com (full schedule)
March 4, 18 3pm The Hot Five Jazzmakers.
De Sotos
1079 St. Clair Ave. W. 416-651-2109
desotos.ca (full schedule)
Every Sun 11am Sunday Live Jazz Brunch
No cover.
Emmet Ray, The
924 College St. 416-792-4497
theemmetray.com (full schedule)
All shows: no cover /PWYC
March 2 9pm John-Wayne Swingtet: John
Farrell (guitar), Abbey Sholzberg (bass),
Wayne Nakamura (guitar), Alexander
Tikhonov (clarinet). March 9 9pm Bossa Tres
PWYC.
Gate 403
403 Roncesvalles Ave. 416-588-2930
gate403.com
All shows: PWYC.
Gift Shop Gallery
21 Rebecca St., Hamilton
Grossman’s Tavern
379 Spadina Ave. 416-977-7000
grossmanstavern.com (full schedule)
All shows: no cover (unless otherwise noted).
Featuring some of Toronto’s best jazz musicians
with a brief reflection by Jazz Vespers Clergy
March 12 at 4:30 pm
COLLEEN ALLEN TRIO
March 26 at 4:30 pm
ROB PILTCH TRIO
Christ Church Deer Park, 1570 Yonge St. 416-920-5211
(north of St. Clair at Heath St.)
www.thereslifehere.org Admission is free; donations are welcome.
thewholenote.com March 1, 2017 - April 7, 2017 | 53

MUSE MOHAMMED
Beat by Beat | Mainly Clubs, Mostly Jazz!
Travel Broadens
the Music
BOB BEN
I
really hate the term “world music,” as it’s used today. It seems to
me that it oversimplifies things. It lumps music that isn’t familiar to
North American ears all in together and calls it foreign and exotic
(as though North American is not part of the world). It implies that
some musics are worthy of being divided up by genre and closely
examined, and some musics aren’t.
With that said, I think jazz, at its best, can rightly be called world
music. Jazz has been called a uniquely American art form, but I
like to think of it as a music that only gestated in America, but was
conceived elsewhere. Loath as I am to oversimplify things, European
harmony and African rhythm and melody came together to make this
music possible.
As more and more distinct cultures with distinct musical traditions
adopted and blended – and continue to adopt and blend – with jazz, it
became closer to what I would call an international, or worldly, music
than a uniquely American one.
I love listening to jazz
musicians who have lived in
Renée
another country or two. Moving
Yoxon
place to place (Place to Place
being the title of a Robi Botos
album; Botos is a good example of
this.), I think, especially if you’ve
grown attached to those places
and been uprooted, gives one a
unique perspective on music.
That’s one of the reasons I’m
excited to see the Israeli-born and
Parisian-raised guitarist Samuel
Bonnet doing his first mini tour
of Southern Ontario this month,
playing dates in Toronto, Guelph,
Hamilton and more.
Bonnet’s music is hard to nail
down, because the influences
are not only wide-ranging, they are compartmentalized to some
degree. He is a formidable classical guitarist; he plays jazz and funk;
D. In the Clubs (Mostly Jazz)
Samuel Bonnet
much of his compositional output reflects a love of traditional Jewish
musics; some of his solo works sound like explorative improvisations,
others sound like pristine and carefully crafted compositions. These
different sides of him can be exposed on various recordings; I recommend
Aotefeis, New York Shuffle, and Two Preludes to get an introductory
sense of who Bonnet is as a musician and perhaps where it all
comes from.
The common thread amongst all of this is a virtuosic skill which
enables completely authentic communication; when you listen to
Bonnet, there’s no mistaking who you are listening to, or what he’s
saying to you.
There’s one more gig I’d like to mention for now: singers in town –
amateur and professionals alike – may be interested in knowing that
Renée Yoxon, the crossover jazz-folk-pop etc. singer from Montreal,
will be performing and running a vocal workshop at 120 Diner on the
afternoon and evening of March 12. The young Yoxon’s voice is clear
and precise, the manner of delivery, frank and direct, honest. You may
feel as though they are speaking directly to you. Adept at interpreting
standards, covering and writing pop songs, scat singing, blending in
with horns as though their voice were one, and so on – it seems that
taking the opportunity to participate in this workshop would be a
wise choice.
I hope to see you folks in at least one of the clubs, without your
winter coats. Happy March! Happy vernal equinox! Be well!
Bob Ben is The WholeNote’s jazz listings editor. He
can be reached at jazz@thewholenote.com.
YOANN BEROS
Every Sat The Happy Pals Dixieland jazz jam.
Every Sun 10pm The National Blues Jam
with Brian Cober. Every Wed 10pm Bruce
Domoney.
Harlem Restaurant
67 Richmond St. E. 416-368-1920
harlemrestaurant.com (full schedule)
All shows: 7:30-11pm (unless otherwise
noted). Call for cover charge info.
March 3 JWT. March 4 Gyles. March
11 Fibralou. March 17 Madette. March
18 Kristin Fung. March 25 Jan-Jan.
Hirut Cafe and Restaurant
2050 Danforth Ave. 416-551-7560
Every Sun 3pm Open Mic with Nicola
Vaughan PWYC. March 3 8pm In The Round
Master Concert Series with Tony Quarrington,
Herb Dale, Boris Buhot PWYC. March 7
8pm Finger Style Guitar Association PWYC.
March 10 8pm Don Naduriak & Friends
PWYC. March 11 8pm Ernest Lee Band
PWYC/$10. March 30 9pm Hirut Hoot Cabaret
$5.
Home Smith Bar – See Old Mill, The
Jazz Bistro, The
251 Victoria St. 416-363-5299
jazzbistro.ca
March 2 8:30pm Colin Hunter & the Anthony
Terpstra Seventet - Mostly Frank $15. March
3, 4 8:30pm Colin Hunter & the Joe Sealy
Quartet $15.
Jazz Room, The
Located in the Huether Hotel, 59 King St. N.,
Waterloo. 226-476-1565
kwjazzroom.com (full schedule)
All shows: 8:30pm-11:30pm unless otherwise
indicated. Attendees must be 19+.
March 5 4pm Canefire $20. March 10
$16 Dave Wiffen. March 11 $18 Beverly Taft.
March 17 $16 Phoenix Jazz Group. March 18
$18 Peripheral Vision. March 24 $16 Carey
West. March 25 $18 Mica Barnes. March 31
$16 Andy Klaehn.
La Revolucion
2848 Dundas St. W. 416-766-0746
larev.webs.com
Every Tue 9pm Duets with Peter Hill and featured
guests. Every Fri Les Petits Noveaux.
Every Sat 7:30pm Saturday Night Jazz
(lineup TBA).
Local Gest, The
424 Parliament St. 416-961-9425
March 5 4:30pm Sherie Marshall & Mike
Cado.
Local Pub, The
396 Roncesvalles Ave. 416-535-6225
localpub.ca (full schedule)
March 1 9pm Kitchen Orkestra.
Lula Lounge
1585 Dundas St. W. 416-588-0307
lula.ca (full schedule)
March 1 7:30pm Mardis Gras Madness
feat. Alex Pangman & Her Alleycats, Red
Hot Ramble $15(adv)/$20(door). March 2
7:30pm Vanito Brown $20(adv)/$22(door).
March 3 7:30pm Samuel Bonnet Trio $15;
10:30pm Yani Borrell & DJ Suave $15. March
4 10:30pm Viva Colombia & DJ Santiago
Valasquez $15. March 5 7pm SHINE! Concert
in support of the Shine Music Bursary.
$25. March 7 7pm JAZZ.FM91 Youth
Big Band Meets the U of T Jazz Orchestra
$10(general)/$8(students). March 9 7:30pm
Swingin’ With Oscar with The Remi Bolduc
Jazz Ensemble $22(adv)/$30(door). March
10 7:30pm Evaristo Machado $15; 10:30pm
Marta Elena & Salsa Star & DJ Suave $15.
March 11 10:30pm Conjunto Lacalu & DJ
Santiago Valasquez $15. March 17 7:30pm
Bob Brough $15; 10:30pm Cafe Cubano
54 | March 1, 2017 - April 7, 2017 thewholenote.com

$15. March 18 10:30pm Ricky Franco & The
P-Crew Orchestra & DJ Santiago Valasquez
$15. March 22 7:30pm Influenced: A Tribute
to Neo-Soul $12(adv)/$18(door). March
24 7:30pm Diane Roblin’s RECONNECT $15;
10:30pm Papiosco y los Ritmicos & DJ Suave
$15. March 25 10:30pm La Borinqueña & DJ
Santiago Valasquez $15. March 31 7:30pm
Joanna Moon $15; 10:30pm Charangón del
Norte & DJ Suave $15.
Manhattans Pizza Bistro & Music Club
951 Gordon St., Guelph 519-767-2440
manhattans.ca (full schedule)
All shows: PWYC.
March 4 Samuel Bonnet Trio.
Mây Cafe
876 Dundas St. W. 647-607-2032
maytoronto.com (full schedule)
March 24 Snaggle: Snarky Puppy Tribute.
Mezzetta Restaurant
681 St. Clair Ave. W. 416-658-5687
mezzettarestaurant.com (full schedule)
All shows: 9pm, $8 (unless otherwise noted).
March 1 Roland Hunter Duo. March 8 Joel
Sheridan (voice) with Nathan Hiltz (guitar).
Monarch Tavern
12 Clinton St. 416-531-5833
themonarchtavern.com (full schedule)
March 13 7:30pm Martin Loomer & His
Orange Devils Orchestra $10.
Morgans on the Danforth
1282 Danforth Ave. 416-461-3020
morgansonthedanforth.com (full schedule)
All shows: 2pm-5pm. No cover.
March 5 Tania Gill & Beverly Taft. March
26 Lisa Particelli’s Girls’ Night Out East Jazz
Jam.
N’awlins Jazz Bar & Dining
299 King St. W. 416-595-1958
nawlins.ca
All shows: no cover /PWYC.
Every Tue 6:30pm Stacie McGregor. Every
Wed 7pm Jim Heineman Trio. Every Thu 8pm
Nothin’ But the Blues w/ Joe Bowden (drums)
and featured vocalists. Every Fri, Sat 8:30pm
N’awlins All Star Band. Every Sun 7pm
Brooke Blackburn.
Nice Bistro, The
117 Brock St. N., Whitby. 905-668-8839
nicebistro.com (full schedule)
Old Mill, The
21 Old Mill Rd. 416-236-2641
oldmilltoronto.com
The Home Smith Bar: No reservations. No
cover. $20 food/drink minimum. All shows:
7:30pm-10:30pm
March 2 Hilario Duran (piano) Trio with
Roberto Occhipinti (bass), Amhed Mitchel
(drums). March 3 Canadian Jazz Quartet:
Frank Wright (vibes), Nathan Hiltz (guitar),
Pat Collins (bass), Don Vickery (drums)
feat. Alison Young. March 4 Shannon Butcher
(voice) Trio with Michel Shand (piano), Ross
MacIntyre (bass). March 7 In Concert & Conversation
with Gene DiNovi. March 9 Alex
Pangman (voice) & Her Alleycats: Peter Hill
(piano), Brigham Phillips (trumpet), Glenn
Anderson (drums). March 10 Vaughan Misener
(bass) Trio with Ted Quinlan (guitar),
Kevin Dempsey (drums). March 11 Brian
Blain’s ‘Second Saturdays’ Blues Campfire
feat. Ken Whiteley (piano, guitar, mandolin),
Paul Reddick (harmonica). March 16 Brigham
Phillips (piano) Trio with Ted Quinlan (guitar),
John Maharaj (bass). March 17 Andrew
Scott (guitar) Trio with Jake Wilkinson
(trumpet, piano), Jon Meyer (bass). March
18 Whitney Ross-Barris (voice) Trio with
Attila Filas (piano), Jordan O’Connor (bass).
March 23 Bernie Senensky (piano) Trio with
Dave Young (bass), Ben Riley (drums). March
24 Zoe Chilco (voice) Quartet with John Deehan
(sax), Danny McErlain (piano), Ron Johnston
(bass). March 25 Pat Collins (bass) Trio
with Tom Szczesniak (accordion, piano), Reg
Schwager (guitar). March 30 Fern Lindzon
(piano, voice) Trio with George Koller
(bass), Nick Fraser (drums). March 31 Terry
Promane (trombone) Trio with Ted Quinlan
(guitar), Pat Collins (bass).
Only Café, The
972 Danforth Ave. 416-463-7843
theonlycafe.com (full schedule)
All shows: 8pm unless otherwise indicated.
Paintbox Bistro
555 Dundas St. E. 647-748-0555
paintboxbistro.ca (full schedule)
Pilot Tavern, The
22 Cumberland Ave. 416-923-5716
thepilot.ca
All shows: 3:30pm. No cover.
March 4 Richard Underhill Quartet. March
11 Roberto Occhipinti (bass) Quartet with
Luis Deniz (sax), Ewen Farncombe (piano),
Ian Wright (drums). March 18 Jazz Collective
with Alexis Baro (trumpet), Luis Deniz, Jeff
King (saxes), Stu Harrison (piano), Artie Roth
(bass), Joel Haynes (drums). March 25 Sugar
Daddies.
Poetry Jazz Café
224 Augusta Ave. 416-599-5299
poetryjazzcafe.com (full schedule)
Remix Lounge
1305 Dundas St. W.
remixlounge.ca (full schedule)
Reposado Bar & Lounge
136 Ossington Ave. 416-532-6474
reposadobar.com (full schedule)
Every Wed Spy vs. Sly vs. Spy. Every Thu,
Fri 10pm Reposadists Quartet: Tim Hamel
(trumpet), Jon Meyer (bass), Jeff Halischuck
(drums), Roberto Rosenman (guitar).
Reservoir Lounge, The
52 Wellington St. E. 416-955-0887
reservoirlounge.com (full schedule).
All shows: 9:45pm
Every Tue, Sat Tyler Yarema and his Rhythm.
Every Wed The Digs. Every Thu Stacey
Kaniuk, Mary McKay. Every Fri Dee Dee and
the Dirty Martinis.
Rex Hotel Jazz & Blues Bar, The
194 Queen St. W. 416-598-2475
therex.ca (full schedule)
Call for cover charge info.
March 1 6:30pm Johnny Griffith Trio; 9:30pm
New York’s Harold Mabern with Kirk MacDonald
Quartet. March 2 6:30pm Kevin Quain;
9:30pm New York’s Harold Mabern with
Kirk MacDonald Quartet. March 3 4pm Hogtown
Syncopators; 6:30pm Lester McLean
Trio; 9:45pm New York’s Dave Liebman with
Mike Murley Quartet. March 4 12pm The Sinners
Choir; 3:30pm John Cheeseman Big
Band; 7:30pm Justin Bacchus; 9:45pm Marito
Marques Group. March 5 12pm Excelsior Dixieland
Jazz; 3:30pm Red Hot Ramble; 7pm Chase
Sanborn & Bossa Trio; 9:30pm Montreal’s Sam
Bonnet Trio. March 6 6:30pm University of
Toronto student jazz ensembles; 9:30pm Humber
College student jazz ensembles. March 7
6:30pm Julian Anderson-Bowes; 9:30pm Classic
Rex Jazz Jam hosted by Chris Gale. March
8 6:30pm Johnny Griffith Trio; 9:30pm The
Further Adventures of Jazz Money. March
9 6:30pm Kevin Quain; 9:45pm Mark Eisenman
Quintet. March 10 4pm Hogtown Syncopators;
6:30pm Lester McLean Trio; 9:45pm
Mark Eisenman Quintet. March 11 12pm The
Sinners Choir; 3:30pm Swing Shift Big Band;
7:30pm Justin Bacchus; 9:45pm Dave Young
Quintet. March 12 12pm Excelsior Dixieland
Jazz; 3:30pm Club Django; 7pm Chase Sanborn
& Bossa Trio; 9:30pm TBA. March 13 6:30pm
University of Toronto student jazz ensembles;
9:30pm Humber College student jazz ensembles.
March 14 6:30pm Julian Anderson-
Bowes; 9:30pm Classic Rex Jazz Jam hosted
by Chris Gale. March 15 6:30pm Johnny Griffith
Trio; 9:30pm Soren Nissen. March 16
6:30pm Kevin Quain; 9:30pm Attila Fias Trio +1.
March 17 4pm Hogtown Syncopators; 6:30pm
Lester McLean Trio; 9:45pm Freeman Dre &
The Kitchen Party. March 18 12pm The Sinners
Choir; 3:30pm Jerome Godboo; 7:30pm
Justin Bacchus; 9:45pm New York’s Dave Liebman
with Mike Murley Quartet. March 19
12pm Excelsior Dixieland Jazz; 3:30pm Jake
Chisholm Quartet; 7pm Ken Aldcroft’s Hat &
Beard Monk Tribute; 9:30pm New York’s Eric
Divito Trio. March 20 6:30pm University of
Toronto student jazz ensembles; 9:30pm Humber
College student jazz ensembles. March
21 6:30pm Tonight @ Noon; 9:30pm Classic
Rex Jazz Jam hosted by Chris Gale. March
22 6:30pm Ernesto Cervini Trio; 9:30pm New
York’s John Raymond Trio. March 23 6:30pm
Kevin Quain; 9:30pm Hannah Barstow Trio.
March 24 4pm Hogtown Syncopators; 6:30pm
Laura Hubert Band; 9:45pm Lorne Lofsky
Quartet. March 25 12pm The Sinners Choir;
March 4
Quintessential
Quintets: Words
and Music
Amanda Tosoff Quintet,
Barbra Lica Quintet
March 18
Ella Fitzgerald’s
100 th Birthday Tribute
Darcy Hepner
Jazz Orchestra
Sophia Perlman, Vocals
Toronto Centre for the Arts
$35 regular • $20 students (with ID at box office).
INFO: jazzcentre.ca •
Ticketmaster 1.855.985.2787
3:30pm George Lake Big Band; 7:30pm Justin
Bacchus; 9:45pm William & William Sextet.
March 26 12pm Excelsior Dixieland Jazz;
3:30pm Freeway Dixieland; 7pm Ken Aldcroft;
9:30pm Three Blind Mice. March 27
6:30pm University of Toronto student jazz
ensembles; 8:30pm John McLeod’s Rex Hotel
Orchestra. March 28 6:30pm Tonight @ Noon;
9:30pm Montreal’s Sam Dickinson Trio. March
29 6:30pm Ernesto Cervini Trio; 9:30pm
Ernesto Cervini’s Turboprop feat. New York’s
Joel Frahm. March 30 6:30pm Kevin Quain;
9:30pm Ernesto Cervini’s Turboprop feat. New
York’s Joel Frahm. March 31 4pm Hogtown
Syncopators; 6:30pm Laura Hubert Band;
9:45pm Lorne Lofsky Quartet.
Salty Dog Bar & Grill, The
1980 Queen St. E. 416-849-5064
thesaltydog.ca (full schedule)
Every Tue, Wed Jazz Night.
Sauce on the Danforth
1376 Danforth Ave. 647-748-1376
sauceondanforth.com
All shows: no cover .
March 4 Stephen Stanley. March 11 Michelle
Rumball. March 18 John Borra & Sam Ferrera.
March 25 Catfish Blues.
Seven44
(Formerly Chick ’n’ Deli/The People’s Chicken)
744 Mount Pleasant Rd. 416-489-7931
seven44.com (full schedule)
All shows: 7:30pm
Every Mon Big Band night.
Tranzac
292 Brunswick Ave. 416-923-8137
tranzac.org
3-4 shows daily, various styles. Mostly PWYC.
Every Mon 10pm Open Mic Mondays. Every
Fri 5pm The Friends of Hugh Oliver (folk).
This month’s shows include: March 5, 19
5pm Monk’s Music. March 7 10pm Peripheral
Vision. March 12 10pm The Lina Allemano
Four. March 14 10pm Michael Davidson.
March 19 7:30pm Connect. March 21 10pm
Ryan Driver. March 28 10pm Nick Fraser Presents;
The Brodie West Quintet.
Presents
April 8
Dueling Pianos
Father & Son
Eddie & Quincy Bullen
plus Caribbean
Jazz Collective
LEAD SPONSOR
MEDIA
SPONSOR
thewholenote.com March 1, 2017 - April 7, 2017 | 55

Celebration of Life
● ● Mar 05 3:00: VOICEBOX / Opera in Concert.
The Stuart Hamilton Memorial Celebration
of His Life and Legacy. The OIC Chorus,
Robert Cooper and many artists directly
associated with Stuart Hamilton will participate
in this tribute. St. Lawrence Centre for
the Arts, 27 Front St. E. Free with advance
reservation: 416-366-7723.
Galas and Fundraisers
● ● Mar 06 7:00: Indian River Festival. 2nd
Annual Midwinter Magic Fundraiser. Funfilled
evening of entertainment featuring Rebecca
Caine, Brett Polegato, Robert Kortgaard,
Peter Tiefenbach and additional guests.
Music, PEI oysters, wine. Heliconian Hall,
35 Hazelton Ave. Information and tickets:
1-888-311-9090; indianriverfestival.com. $60.
Lectures, Salons, Symposia
● ● Mar 02 3:30: U of T Faculty of Music.
Musicology, Ethnomusicology, and Theory
Research Colloquium. Led by Dr. Carolyn
Ramzy, assistant professor of music at Carleton
University, specialist in music of the Middle
East. Room 130, Edward Johnson Bldg.,
80 Queen’s Park. 416-978-3750. Free.
● ● Mar 05 2:00: Toronto Opera Club. Bel
Canto in 20th and 21st Century Opera. Guest
speaker: Sue Elliott, opera producer and lecturer.
Room 330, Edward Johnson Bldg.
U of Toronto Faculty of Music, 80 Queen’s
Park Cres. W. 416-924-3940. $10.
● ● Mar 08 6:00: University of Toronto Faculty
of Music. A 90th Celebration of John
Beckwith (6:00) followed by a lecture by John
Beckwith, Wilma & Clifford Smith Visitor in
Music (7:00). Walter Hall, 80 Queen’s Park.
416-978-3750. Free.
● ● Mar 08 6:30: Royal Conservatory of
Music. Women Who Write. Live round-table
discussion with eminent Canadian women
E. The ETCeteras Open House
THE ETCETERAS is our affectionate “catch-all” phrase for
the myriad of other events (galas, fundraisers, competitions,
screenings, lectures, symposia, masterclasses,
workshops, singalongs, et cetera) which don’t quite fit our regular
concert listings. Send all requests to etcetera@thewholenote.com
Join Toronto’s voice of
excellence for our
40th Anniversary Season
May auditions for 2017/18:
torontochildrenschorus.com/
join-us/
composers Norma Beecroft, Juliet Palmer,
Tara Kannangara. Hosted by flutist and The
WholeNote author Sara Constant, the roundtable
will reveal the joys and triumphs of each
composer as they find their voices in the Canadian
music scene. Featuring live music and
refreshments. Mazzoleni Hall, 273 Bloor St.
W. 416-408-2824 x363. $15.
● ● Mar 26 2:00: Classical Music Club
Toronto. In Memoriam: Nikolaus Harnoncourt.
A selection of recordings (both audio
and video) will be presented highlighting the
career of this prolific conductor who left
us in March 2016. For information and location
contact John Sharpe: 416-898-2549.
$25 (annual membership fee); no charge for
first-time visitors. Nominal donation to defray
refreshments cost.
● ● Mar 31 6:00: Music Gallery. Music Gallery
History Series: David Jaeger. Exploring
developments in electronic and new music
during the 1970s. 197 John St. 416-204-1080.
Free.
Masterclasses
● ● Mar 03 5:30: University of Toronto Faculty
of Music. Masterclass in Collaborative
Piano with Warren Jones. Walter Hall,
80 Queen’s Park. 416-978-3750. Free. Also
Mar 4 10:00am.
● ● Mar 04 10:00am: University of Toronto
Faculty of Music. Masterclass in Collaborative
Piano with Warren Jones. See Mar 3
listing.
● ● Mar 09 11:30am: York University Department
of Music. Piano Masterclass with
Shoshana Telner. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free.
● ● Mar 14 11:30am: York University Department
of Music. Vocal Masterclass with Bruce
Ubukata. Young singers from the studios of
Catherine Robbin, Stephanie Bogle, Norma
Burrowes, Michael Donovan and Karen
Rymal. Observers welcome. Tribute Communities
Recital Hall, Accolade East Building,
YU, 4700 Keele St. 647-459-0701. Free.
● ● Mar 21 7:00: Show One Productions /
Remenyi House of Music. Remenyi Master
Class Series: Masterclass with pianist Dmitry
Masleev. Remenyi House of Music, 210 Bloor
St. W. To reserve: 416-961-3111. $20 (limited
seating).
● ● Mar 26 2:00-5:00: ORMTA (Toronto Central
Branch). Piano and Vocal Coaching
Masterclass. With Professor Leslie De’Ath
(concert pianist, professor, conductor, director
of Wilfrid Laurier University’s opera program).
Covering repertoire from RCM Grade
9 and up. Canadian Music Centre, 20 St.
Joseph St. 416-532-1539; registration online
with payment to: ormta.ctbtreasurer@gmail.
com Participants $75 / $90(non-ORMTA
members); auditors $15 / $25 (non-ORMTA
members).
● ● Apr 01 10:00am: Canadian Children’s
Opera Company. Open House. First Unitarian
Congregation of Ontario, Sutherland Hall,
175 St. Clair Ave. W. 416-366-0467. Free.
Screenings
● ● Mar 28 6:30: Royal Conservatory of Music
/ Hot Docs. Music on Film: I Am the Blues.
Musical travelogue that immerses the audience
in the heart of the American South, featuring
the last of the original blues legends.
Raoul Bhaneja, from celebrated local blues
act Raoul and The Big Time, will be in attendance
for a post-screening Q&A. Hot Docs Ted
Rogers Cinema, 506 Bloor St. W. 416-408-
2824; www.hotdocscinema.ca $16; Hot Docs
members: $12, $10, free.
Singalongs, Circles
● ● Mar 15 7:30: Toronto Shape Note Singing
Community. Monthly Sacred Harp Singing.
Everyone is welcome, no experience necessary.
There are songbooks to borrow. Music
room, Bloor Street United Church, 300 Bloor
St. W. 647-838-8764. PWYC donation. 7:00:
Short introductory workshop.
● ● Apr 01 7:00: Toronto Gilbert and Sullivan
Society. Join us for a fun evening
of music and song. St. Andrew’s United
Church, 117 Bloor St. E. 416-763-0832. $5
(non-members).
●●Apr 07 5:30: Rusty Musicians. Baroque
Jam. For woodwinds, strings, keyboard,
recorder, flute, oboe, viola de gamba, harpsichord,
cello and violin players to meet and
play together. St. Michael’s and All Angels,
611 St. Clair Ave. W. 647-303-2199. Free.
Tours
● ● Mar 05 10:30am: Canadian Opera Company.
90-Minute Tour of the Four Seasons
Centre. Led by a trained docent; includes
information and access to the Isadore and
Rosalie Sharp City Room, the Richard Bradshaw
Amphitheatre and R. Fraser Elliott Hall,
as well as backstage areas like wig rooms and
dressing rooms, the orchestra pit, and other
spaces that only a stage door pass could
unlock. Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231;
coc.ca $20 (adults); $15 (sr/st). Also Mar 12,
19, 26, Apr 02.
● ● Mar 12 10:30am: Canadian Opera Company.
90-Minute Tour of the Four Seasons
Centre. See Mar 05 listing. Also Mar 19, 26,
Apr 02.
● ● Mar 19 10:30am: Canadian Opera Company.
90-Minute Tour of the Four Seasons
Centre. See Mar 05 listing. Also Mar 12, 26,
Apr 02.
● ● Mar 26 10:30am: Canadian Opera Company.
90-Minute Tour of the Four Seasons
Centre. See Mar 05 listing. Also Mar 12, 19,
Apr 02.
● ● Apr 02 10:30am: Canadian Opera Company.
90-Minute Tour of the Four Seasons
Centre. See Mar 05 listing. Also Mar 12, 19, 26.
Workshops
● ● Mar 03 7:30: Toronto Recorder Players’
Society. Amateur recorder players are
invited to join in the playing of early music.
Refreshments. Mount Pleasant Road Baptist
Church, 527 Mount Pleasant Rd. 416-
597-0485; torecorder.wordpress.com $15
(non-members).
● ● Mar 04 1:00: Toronto Early Music Centre
/ Toronto Consort. Performing Polyphony
from Original Sources. Choral workshop
with Holland-based vocal ensemble Cappella
Pratensis, offering the chance to sing
Franco-Flemish polyphony from mensural
notation, working from a facsimile choir book
on a large central music stand. Members of
the ensemble, led by artistic director Stratton
Bull, will share their experience with
this way of performing. No prior experience
with mensural notation is required. Trinity-
St Paul’s Centre, 427 Bloor St. W. $10 (participants);
auditors free. 416-464-7610;
info@torontoearlymusic.org
● ● Mar 05 1:00: World Fiddle Day Toronto.
Workshop led by musician Anne Lederman.
Join players of bowed string instruments to
learn tunes from world string traditions for
our community World Fiddle Day event at
the Aga Khan, May 20 2017. Long & McQuade
Clinic Space, 935 Bloor St. W. 647-217-4620;
worldfiddledaytoronto.ca Practice sessions
by donation. Also Mar 19 1:00; Mar 29 6:45.
● ● Mar 05 1:30-4:00: Toronto Early Music
Players Organization. Workshop coached by
sackbut/recorder player Peter Christensen.
Bring your early instruments and a music
stand. Armour Heights Community Centre,
2140 Avenue Road. 416-779-5750. $20.
●●Mar 15 10:00am: Royal Canadian College
of Organists. Pedals, Pipes and Pizza. Experience
an organ demo led by TEMC organist
Stephen Boda, tour the organ pipes, and
bring your piano music to play yourself. Children
12 and under (accompanied by a parent
or guardian) come at 10am, children 13
and over come at 1pm. Pizza served for all
at 12 noon. Timothy Eaton Memorial Church,
230 St. Clair Ave. W. 416-925-5977. Free.
● ● Mar 18 10:30am: Toronto Mendelssohn
Choir. Singsation Saturday. A rare opportunity
to sing Elgar’s The Apostles with guest
conductor Stephanie Martin, artistic director
of Pax Christi Chorale. Yorkminster Park
Baptist Church, Cameron Hall, 1585 Yonge St.
Register at the door. 416-598-0422;
www.tmchoir.org $10, includes
refreshments.
● ● Mar 19 1:00-3:30: World Fiddle Day
Toronto. Workshop led by musician Anne
Lederman. See Mar 5. Also Mar 26 6:45.
● ● Mar 26 2:00-4:30: CAMMAC Toronto
Region. Reading for singers and instrumentalists
of Mozart’s Mass in C Minor. Mitchell
Pady, conductor. Christ Church Deer
Park, 1570 Yonge St. 416-605-2793. $10;
$6(members).
● ● Mar 29 6:45-8:45: World Fiddle Day
Toronto. Workshop led by musician Anne
Lederman. See Mar 5. Also Mar 19 1:00.
● ● Mar 31 7:30: Toronto Recorder Players’
Society. Amateur recorder players
are invited to join in the playing of
early music. Guest coach: Janos Ungvary.
Refreshments. Mount Pleasant Road Baptist
Church, 527 Mount Pleasant Rd. 416-
597-0485; torecorder.wordpress.com $15
(non-members).
● ● Apr 02 1:30-4:00: Toronto Early Music
Players Organization. Workshop coached by
recorder player Matthias Maute. Bring your
early instruments and a music stand. Armour
Heights Community Centre, 2140 Avenue
Road. 416-779-5750. $20.
56 | March 1, 2017 - April 7, 2017 thewholenote.com

WholeNote CLASSIFIEDS can help you
recruit new members for your choir or band
/ orchestra or find a new music director!
Advertise your help wanted needs or
promote your services starting at only $24/
issue. INQUIRE BY March 24 for the APRIL
issue. classad@thewholenote.com
AUDITIONS & OPPORTUNITIES
COUNTERPOINT COMMUNITY ORCHESTRA
invites volunteer 1st & 2nd violinists and
other musicians in all sections including
percussionists to play with us in our 33rd
Season. Monday evening rehearsals.
Concerts upcoming on March 25 & June 10th
Contact us at info@ccorchestra.org
www.ccorchestra.org
NEW MUSIC DIRECTOR NEEDED: THE
CELTIC FIDDLE ORCHESTRA OF SOUTHERN
ONTARIO performs Celtic music - airs,
marches, strathspeys, reels and jigs -
arranged for strings and flute. Rehearsals
2x/mo, Sept–May (Oakville). Performances
2-4x/yr. If you have conducting skills and
interest in music of this style please contact
Duncan Fraser at cfoso.exec@gmail.com or
226-929-5759
PLAYERS NEEDED for children’s concert band
program children at St. Albans Boys and Girls
Club. Please contact Michelle Clarke 416-534-
8461. stalbansclub.ca/st-albans-band
PLAYERS NEEDED FOR THE SCARBOROUGH
CONCERT BAND! Special need for clarinet,
bari sax, trumpet, and percussion.
Rehearsals Wednesdays at Winston Churchill
Collegiate (Lawrence and Kennedy) 7:15-9:30.
Email recruitment@scband.ca.
THE CELTIC FIDDLE ORCHESTRA OF
SOUTHERN ONTARIO is looking for additional
musicians: violin, viola, cello, bass and flute.
We practice twice a month on Sunday
afternoons from 1:30 to 4:00 at the QEPCCC
in Oakville. Please contact Jill Yokoyama at
905-635-8079 or email
cfoso.exec@gmail.com
UPRIGHT / CONTRA / DOUBLE
BASS
SALES • REPAIRS • ACCESSORIES
We buy basses and take trade-ins
Stand Up Guy
standupguy@rogers.com
www.standupguybasses.com
BUSINESS
CLASSIFIEDS
Economical and visible!
Promote your services
& products to our
musically engaged readers,
in print and on-line.
APRIL EDITION DEADLINE : MARCH 17
classad@thewholenote.com
Classified Advertising | classad@thewholenote.com
INSTRUCTION & COURSES
CLARINET, SAXOPHONE, FLUTE,
RECORDER, TRUMPET, TROMBONE, PIANO
LESSONS. PhD in music from UofT, 28 years
of experience. Leo 416-879-9679;
yanalo1@yahoo.com
*FLUTE, PIANO, THEORY LESSONS. RCM
exam preparation. RCM certified advanced
specialist. Samantha Chang, FTCL, FLCM,
Royal Academy of Music PGDip, LRAM,
ARCT. Toronto, Scarborough 416-293-1302,
samantha.studio@gmail.com.
www.samanthaflute.com.
I TEACH TO PLAY BY EAR anything you like!
Children play piano after very first lesson!
416-831-8131. www.music4youand4me.ca
doremilounge@gmail.com
LESSONS FOR ALL! Friendly and firm - I’m
an experienced musician and mom teaching
piano and singing to children (and young at
heart) in my Toronto home (East Leslieville).
To discuss your child’s need for music-making
please contact kskwhite@gmail.com.
ON A HAPPY NOTE PIANO LESSONS
Experienced teacher: classical, popular
music, and theory. Students of all ages
welcome, Bathurst and Eglinton area.
416-783-9517
PIANO LESSONS IN YOUR HOME from
award-winning European pianist. Beginners
to Advanced students welcome. City of
Toronto. Anna www.annashalaykevych.com,
647-870-5297.
PIANO LESSONS WITH CONCERT PIANIST
EVE EGOYAN eveegoyan.com All ages,
all levels welcome, at Earwitness Studio,
Artscape Youngplace (downtown Toronto).
Eve’s own exposure to exceptional teachers
during her developmental years makes her a
communicative, intuitive and creative teacher
with over 25 years teaching experience
(private lessons, masterclasses, adjudication)
Each student is an individual. Email Eve to set
up a free introductory meeting at
eve.egoyan@bell.net
The Best Music
Teachers Are Here!
Ontario Registered
Music Teachers
Association, Est. 1936
ormta.org
416-694-0296
PIANO, VOCAL and THEORY LESSONS,
MUSIC THERAPY SERVICES and ADAPTED
LESSONS at Larissa’s Music & Music Therapy
Studio in Mississauga. www.lmmtstudio.com
416-574-0018
www.MosePianoForAll.com - Friendly
Cabbagetown teaching studio welcomes
nervous adult hobby pianists, teen washouts,
and normal kids. Uncommonly patient
and encouraging piano teacher with loyal
following. Peter Kristian Mose, 416-923-3060.
“Now there’s a teacher!” R.D., age 13
FOR SALE / WANTED
17TH CENTURY DOUBLE MANUAL FRENCH
HARPSICHORD KIT (HUBBARD) for sale.
Case done. Any reasonable offer. Must sell.
Contact joclsmiii@gmail.com.
BEAUTIFUL ANTIQUE VIOLIN MADE
AND SIGNED BY SEBASTIAN KLOTZ in
MITTENWALD GERMANY, 1740. Very good
playing condition. LEO: 416-879-9679;
yanalo1@yahoo.com
CLASSICAL RECORD AND CD COLLECTIONS
WANTED. Minimum 350 units. Call, text or
e-mail Aaron 416-471-8169 or A@A31.CA.
TRUMPET Bach Stradivarius model 37 (never
used); SAXOPHONE Bundy Selmer alto;
BASSOON Linton; TUBA Besson compact, in
hard case with wheels. Phone 416-964-3642.
PIANO AND VOCAL SHEET MUSIC AND
MUSIC BOOKS: RCM teaching materials
(piano), also classical, jazz, Broadway,
Christmas etc. Best offer. 905-477-1135
sfowler6@icloud.com
SPRING CLEANING TIME! Does your old
guitar gently weep? Are your band days just
a hazy memory? Someone out there would
love to give your nice old clarinet / drum kit
a new life. Buy or sell unused instruments
with a WholeNote classified ad! INQUIRE BY
MARCH 24 for the APRIL issue.
classad@thewholenote.com
RESTORE & PRESERVE
YOUR MEMORIES
Recital and gig tapes | 78’s
& LPs | VHS and Hi8 | 35mm
Slides |News clippings | Photos
& more, transferred to
digital files: CD’s, DVD’s,
or Video slideshow
ArtsMediaProjects
416.910.1091
ADVERTISE
music-related needs, skills and services
Recruit new members for choirs, bands, orchestras.
Find a new music director | Find a music teacher | Buy or sell
Just $24 for the first 20 words. $1.20 for each additional word.
Discounts for 3x, 5x and 10x insertions.
INQUIRE BY MARCH 24 for the APRIL issue.
classad@thewholenote.com
MUSICIANS AVAILABLE / WANTED
KARAOKE FUN ON-SITE FOR YOUR EVENT!
We offer on-site karaoke services for your
team-building event, fund-raiser or private
party. All equipment provided plus a skilled
and friendly karaoke host to run things
smoothly and make your guests feel like
stars. Musical Theatre, Frank Sinatra and
Billie Holiday to Beatles and Arctic Monkeys,
and everything in between. For info contact
jason@jasonrolland.com or call 416-809-4311.
WEDDINGS, ROASTS & RETIREMENTS! Do
you provide music services? Advertise right
here for as little as $24 plus tax! INQUIRE BY
MARCH 24 for April the issue.
classad@thewholenote.com
SERVICES
ACCOUNTING AND INCOME TAX SERVICE
for small business and individuals, to save
you time and money, customized to meet
your needs. Norm Pulker, B. Math. CMA.
905-251-0309 or 905-830-2985
CD LINER NOTES, PROMO MATERIAL,
CONCERT PROGRAMS, LIBRETTI, WEB SITE
CONTENT AND MEMOIRS need proofreading
and editing for correct spelling and grammar,
clarity and consistency. Contact Vanessa
Wells, wellsread@editors.ca, for a copy editor
with a music background. Quick turnaround
and reasonable rates! wellsreadediting.ca
VENUES AVAILABLE / WANTED
ARE YOU PLANNING A CONCERT OR
RECITAL? Looking for a venue? Consider
Bloor Street United Church. Phone: 416-924-
7439 x22. Email: tina@bloorstreetunited.org.
PERFORMANCE / REHEARSAL / STUDIO
SPACE AVAILABLE: great acoustics,
reasonable rates, close to Green P Parking,
cafés & restaurants. Historic church at
College & Bellevue, near Spadina. Phone
416-921-6350. E-mail
ststepheninthefields@gmail.com.
NEED HELP WITH
YOUR TAXES?
Specializing in personal
and business tax returns
including prior years
and adjustments
HORIZON TAX SERVICES INC.
• free consultation • accurate work
For CRA stress relief call:
1-866-268-1319
hts@horizontax.ca
www.horizontax.ca
DO YOU DRIVE?
Do you love
The WholeNote?
Share the love and earn a little
money! Join The WholeNote’s
circulation team: 9 times a year,
GTA and well beyond. Interested?
Contact:
circulation@thewholenote.com
thewholenote.com March 1, 2017 - April 7, 2017 | 57

Springing
Into Summer
Sweetness
What good is the warmth of summer, without
the joy of music to give it sweetness? And sweet
as listening to music can be when the restraints of
our regular schedules have been lifted, how much
more so to engage in summer music-making! To
remind ourselves of why we pour passion into
musical activity in a context that leaves us feeling
refreshed and rejuvenated, because it is out of the
ordinary.
If you are thinking about music programs for yourself, your
children or your whole family, our annual Summer Music
Education directory is a great place to start (whether you are
raring to go this summer, or already kicking yourself for leaving
things too late again!
There are many options to choose from here, whether you
are an amateur musician or an emerging professional. The 35
profiles below, written by the organizations themselves, offer
a singular insight into the range of musical opportunity that
awaits.
There are programs for musicians young and old, geared
toward classical music, vocals, songwriting, jazz, rock, music
theatre, guitar and much more. Residential programs will
get you out of the city, province, or even country, while day
camps are available for those who are looking for something
closer to home. Though some of these programs have application
deadlines that may have passed or are fast approaching,
it is not too late to apply to most of them. We are confident
that you’ll find something that suits your interests, whether
for this summer or for many summers to come!
This directory will be maintained and updated online on
an ongoing basis, year round, so check back at thewholenote.
com/resources for updates.
To join The WholeNote Summer Music Education Directory:
address inquiries to karen@thewholenote.com or call 416-
323-2232 x26.
The WholeNote Directory Team:
Project Manager: Karen Ages
Project Editor: Kevin King
Layout and design: Bryson Winchester
Proofreading: Sara Constant
●●
Canadian Opera Company’s Scotiabank
Summer Opera Camps
Four Seasons Centre for the Performing Arts, 145 Queen St. W.,
Toronto, Ontario
July 10 to 29, 2017 (Little Company: July 10 to 14; Junior Company:
July 17 to 21; Senior Company: July 24 to 29)
Contact: Katherine Semcesen, associate director, education and
outreach
416-363-8231 (COC Box Office)
education@coc.ca
www.coc.ca/camps
Deadline: Until full
Cost: $310 (Little and Junior companies) / $360 (Senior Company)
Camp Hours: 9am - 3:30pm (Little and Junior Companies)
9am - 4pm (Senior Company)
!!
The Canadian Opera Company’s Scotiabank Summer Opera Camps
offer children and youth entering grades 1 to 12 an immersive operatic
experience. Participants playfully explore opera as both creators and
performers, while developing their skills in a fun yet intensive one-week
camp. Weekly activities include story creation, singing, composing, acting,
improvisation, and costume, props and set design. Each week ends in
a special rehearsal open to family and friends.
●●
Centre for Opera Studies in Italy: COSI
Academy for Pianists, Singers and Students
of Italian Language & Culture
Sulmona, Italy
July 6 to 16, 2017
Contact: Katrina King
416-766-7817
cosi.program.manager@gmail.com
www.co-si.com/cosi-academy
Cost: $1,990 (including tuition, accommodation and two meals daily)
Residential program
!!
The COSI Academy is a ten-day intensive enrichment program for
students aged 17 to 19 who are interested in music and language studies
in Italy.
The Music program for singers and pianists includes: private lessons,
repertoire coaching, masterclasses and recitals. Seminars focus on audition
preparation, musicianship and artistic collaboration. The Italian
Language Studies program includes Italian language training along with
varied opportunities for practical application. Topics include common
phrases, grammar, spelling and pronunciation. Interactive cultural experiences
(market trips, a cooking class) are also included. Evenings will be
spent taking in concerts and performances in Sulmona. Exciting group
excursions, at an additional cost, will be arranged. The COSI Academy
changes lives! It is an amazing experience you’ll remember forever.
58 | March 1, 2017 - April 7, 2017 thewholenote.com

●●Classical Pursuits
Toronto, Ontario and worldwide
July 16 to 21, 2017 and year-round
Contact: Melanie Blake
647-846-3422
info@classicalpursuits.com
www.classicalpursuits.com
Deadline: Varies
Cost: $1,485 to $4,990
Day and residential programs
!!
Travel the world – or your own hometown – with the world’s best books,
art and music as your guides. Classical Pursuits offers two unique ways
to share your passion for culture and conversation with other adults.
Toronto Pursuits is a week of discussion-based seminars on topics from
Plato to the history of the symphony and includes a five-part lecture series
by opera expert Iain Scott. Travel Pursuits combines cultural travel with
literary discussion. In 2017/18, our program includes journeys to Mexico
for Day of the Dead and the Somme battlefields of WWI. With Classical
Pursuits, enjoy meaningful learning experiences and time to relax, reflect
and spend time with friends old and new.
●●Le Domaine Forget International
Music and Dance Academy
5, rang Saint-Antoine, C.P. 672, Saint-Irénée, Québec
June 4 to August 20, 2017
Contact: Rachel Tremblay
418-452-8111
admission@domaineforget.com
www.domaineforget.com/en/academy
Deadline: February 15, 2017, except Guitar, Dance and Pop Singing &
Production (April 1, 2017) and Choir (May 1, 2017)
Cost: $710 CDN - $3660 CDN
Residential program
!!
Le Domaine Forget Academy offers serious students the opportunity
to perfect their skills under the auspices of world-renowned artists. The
beauty and tranquility of the setting at Domaine Forget inspire creativity
and the facilities are perfectly suited to the needs of both students and
teachers. Whether you are a young professional or an advanced student,
you will benefit from the opportunity to further your musical training
through the tutelage of established teachers and the participation in
masterclasses given by distinguished international artists.
●●Don Wright Faculty of Music Summer Programs
Western University, 1151 Richmond St., North London, Ontario
Programs for all ages\ May 1 to August 30, 2017
Contact: Program coordinator
519-661-2043
music@uwo.ca
www.music.uwo.ca/outreach
Deadline: open
Cost: Varied
Day programs
!!
The Don Wright Faculty of Music offers several musical workshops this
summer tailored to various ages, experience levels of musicians and music
educators. Summer opera intensives: Canadian Operatic Arts Academy
(COAA) and the Accademia Europea Dell’Opera (AEDO) provide singers,
pianists and directors with the skills to obtain, realize, and sustain a
career in the operatic profession; Kodály Certification Program: engages
music educators in an innovative pedagogical workshop, strengthening
their musicianship and enhancing their teaching ability; and Choral
Music Education - Explorations in Gesture, Sound and Pedagogy: A five-day
intensive course, for choral music educators at all levels of experience.
Canadian Opera Company’s Scotiabank Summer Opera Camps
COAA (May 1 to 27, $700); AEDO (July 3 to August 13, €3000 incl. housing in
Lucca, Italy); Kodály (July 2 to 14; $695). Choral workshop (August 26 to 30,
$595 or $125 by day).
●●Don Wright Faculty of Music: Western
360 Summer Music Festival
Western University, 1151 Richmond St., North London, Ontario
August 10 to 13, 2017
Contact: Thea Boyd
519-661-2111 x81410 or 519-495-1660
tboyd23@uwo.ca
www.music.uwo.ca/events/360-summer-festival
Deadline: March 19, 2017 (contact coordinator for availability if date
has passed)
Cost: $400
Day program (daily hours vary)
!!
A new chamber music festival designed to look at music from every
angle. Open to senior high school students (grades 11 and 12) and undergraduate
college/university students of violin, viola and cello. With an emphasis
on new music, First Nations influences and Canadian music, learn
about new trends in a wholly non-competitive environment. Includes
chamber music coaching and health-and-wellness activities specifically
curated for the well-rounded musician. Workshops range from Haydn
to website design. Opening night jam party features Canadian fiddler
Shane Cook. Three concerts anchor the festival featuring Ensemble Made
in Canada, Geoff Nuttall, Western University faculty members and festival
participants. Preference given to artistically-inclined applicants looking
to be global citizens who are curious about how to break out from traditions.
●●Guitar Workshop Plus
Toronto, ON; July 23 to 28, 2017
San Diego, CA; June 18 to 23, 2017
Nashville, TN; July 30 to August 4, 2017
Seattle, WA; August 13 to 18, 2017
Contact: 905-567-8000
www.guitarworkshopplus.com
For ages 10 to 90, beginner to professional
!!
Guitar Workshop Plus offers week-long workshops in a musical environment
at superb facilities. Professional music faculty and world-famous
thewholenote.com March 1, 2017 - April 7, 2017 | 59

Deadline: July 17, 2017
Cost: Music fee $440 plus accommodations fee
Residential program
!!
JazzWorks’ unique 3-day weekend jazz workshop is an intensive learning
opportunity for adult jazz musicians of all levels, beginner through
professional, and advanced high school musicians. Participants immerse
themselves in a program that includes small group combo rehearsals,
masterclasses, improvisation classes, jazz history, arranging and composition,
and jam sessions, plus a Vocal Intensive Program for singers.
JazzWorks also offers an optional 2-day Composers’ Symposium/Independent
Practice from August 15 to 17 with private studios and consultations
for composing and/or practising. All will give a public concert on Sunday,
August 20 at 12:30pm. JazzWorks gratefully acknowledges the support of
the City of Ottawa.
●●JVL Summer School for Performing Arts
International “Music in the Summer” Festival
Guitar Workshop Plus
guest artists teach and perform for our participants. Guitar, bass, drum,
keyboard, songwriting and vocal courses are offered for all levels, ages
and styles including rock, blues, jazz, acoustic and classical. Our topranked
summer music program provides the opportunity to participate
in daily classes, clinics, ensemble and student performances, and evening
concerts. Participants also take away a DVD of their live performances!
Past guest instructors include Steve Vai, Alex Lifeson, John Scofield, Robben
Ford, Tommy Emmanuel, Andy Summers, Billy Sheehan and many
others! GWP is much more than just a guitar camp or summer music
camp. You’ve seen the rest…now come learn from the best!
●●Interprovincial Music Camp
Camp Manitou, McKellar, Ontario
August 20 to 25, August 26 to September 3, 2017
Contact: Anne Fleming-Read
416-488-3316
anne@campimc.ca
www.campimc.ca
Cost: $799 - $998
Residential programs
!!
IMC offers programs for orchestra, band, rock, jazz, choir, musical
theatre, songwriting and sound engineering. The camp has been
providing young musicians exceptional musical training and unforgettable
summer-camp experiences since 1961. Campers fine-tune skills as
musicians, develop friendships and forge a lifelong love of music while
enjoying the setting of one of Canada’s finest camp facilities. The IMC
experience includes housing, meals, masterclasses, sectionals, large and
small ensembles, faculty concerts, recreational activities and evening
programs. Each session, IMC concludes with performances for family and
friends. Our faculty includes Canada’s finest performers and educators.
For more information, visit www.campIMC.ca. IMC - the highlight of a
young musician’s summer!
●●JazzWorks Jazz Camp & Composer’s
Symposium / Independent Practice
Geneva Park on Lake Couchiching, Orillia, Ontario
July 1 to 11, 2017
Contact: Jacob Lakirovich
416-735-7499
jvl@musicintheusmmer.com
www.musicinthesummer.com
Deadline: May 1, 2017
Residential programs
!!
The Festival will feature a full program of masterclasses, concerts and
competitions. The programs of the school encompass private instrumental
lessons with internationally renowned teachers, masterclasses and
workshops, chamber music classes, orchestral and ensemble classes, concert
solo performances with the Academy orchestras, solo and chamber
music recitals, as well as special seminars for Ear Training, Composition
and Theory of Music. Performances in an acoustically superb concert hall
and Serenade Concerts under the moonlight shore of Lake Couchiching
will mesmerize our audiences and guests. Participation in the festival
is incredibly valuable for musicians of all ages and levels. The extensive
musical training they will receive during this period will inevitably have a
great impact on their personal growth as musicians and as individuals.
●●Kingsway Conservatory Summer Music 2017
Kingsway Conservatory of Music,
2848 Bloor Street W., Toronto, Ontario
Weekly programs from July 3 to August 18, 2017
Contact: Kingsway Conservatory of Music
416-234-0121
info@kingswayconservatory.ca
www.kingswayconservatory.ca
Deadline: Open, early-bird discount deadline April 30
Day programs
!!
Committed to “Inspired Learning,” the Kingsway Conservatory of Music
provides summer programs for various ages and experience levels that
engage, challenge and excite on many levels. Offerings for summer 2017
include: Kingsway Chamber Music Festival - Strings & Piano for Intermediate
& Senior levels (strings min. RCM Gr 3, piano min. RCM Gr 5) including
chamber coaching, orchestra rehearsals, group composition, workshops
and guest artists; “Annie KIDS” (8 to 12 years) and “Guys and Dolls JR” (13
to 17 years) Musical Theatre Camps - preparing and presenting fantastic,
full-scale musical productions on a professional stage; Triple-Threat Arts
Discovery Camp (4 to 8 years) inspiring self-expression through music, art
and drama; Suzuki/Traditional Strings Camp (4 to 10 years) for string players
in their beginning years; Private instruction on all instruments.
CAMMAC Music Centre, Harrington, Quebec
August 17 to 20 & optional August 15 to 17, 2017
Contact: Anna Frlan, administrator
613-523-0316
jazz@jazzworkscanada.com
www.jazzworkscanada.com
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●●Lake Field Music Camp
●●Michael Warren Vocal Intensive at Westben
Lakefield College School, Lakefield, Ontario
August 13 to 20, 2017
Contact: Andrew Wolf
647-692-3463
info@lakefieldmusic.ca
www.lakefieldmusic.ca
Deadline: June 30, 2017
Residential program
!!
Lake Field Music Camp brings together adult amateur musicians of all
ages with intermediate to advanced skills in a friendly and supportive
environment. The one-week program focuses on classical and jazz with
a sampling of world and popular music. Participants build their own
program from more than 50 workshops, technique and masterclasses,
choirs and instrumental ensembles coached by 20 experienced instructors
specializing in vocals, strings, woodwinds, brass, piano, guitar, bass
and percussion. Classes for beginners are also offered for those wanting to
try something new. Evening concerts provide performance opportunities
and a chance to hear the instructors. The beautiful waterfront campus
includes air-conditioned classrooms and a theatre. Dormitory (air-conditioned
and fresh-air) and meal plans are available.
Westben Clock Tower Cultural Centre, Campbellford, Ontario
June 22 to 24, 2017
Contact: Donna Bennett
877-883-5777
groups@westben.ca
www.westben.ca
Deadline: June 15, 2017
Cost: $25 - $235
Camp Hours: 1pm - 9pm
!!
Sing along with Westben! We welcome back Dr. Michael Warren for
another powerful 3-day immersion experience designed for all levels and
genres of singers, age 16 and older. Sessions are aimed at heightening a
singer’s vocal and artistic development in a group setting. Participants
work one-on-one with Dr. Warren in half-hour lessons that are observed
by the other participants. Limited number of private lessons will also be
available. A gifted and positive teacher, Dr. Warren has helped students
who have sung leading roles in all the major opera houses of the world,
performed leading roles on Broadway, or sung in major jazz venues globally.
Some may be your favourite stars – some may even be your neighbours!
Contact the Westben Box Office for the schedule and fees.
●●Laurier Faculty of Music Summer Programs
Wilfrid Laurier University, 75 University Ave. W., Waterloo, Ontario
May to August 2017 (contact for details)
Contact: Outreach coordinator
519-884-1970 x2492
choosemusic@wlu.ca
www.wlu.ca/music
Deadline: Open
Cost: Based on program
Day and residential programs available
!!
Laurier’s Faculty of Music offers summer programs for students of all
abilities. New for 2017, Laurier will host a three-week professional training
Music Theatre Academy (May 8 to 26, $950) focusing on improving skills
in acting, dance and belt/mix vocalization for classically-trained singers.
QuartetFest, Laurier’s international intensive chamber music workshop
for young artists is led by the Penderecki String Quartet and is open to
string quartets and string ensembles with piano (May 26 to June 11, $600).
The Faculty of Music’s Conservatory (Beckett) offers summer programs in
Music and Drama Magic (ages 7 to 13, $260), Art n’ Play (ages 5 to 7, $130),
Music Mania (ages 5 to 7, $130), Music Explorers (ages 7 to 10, $130), Art
Incubator (ages 7 to 10, $130) and Jazz for Adults (ages 18+, $260).
●●Little Voices, Dancing Feet
2171 Queen St. E., Toronto, Ontario (plus 2 other Beach & Leslieville
locations during the rest of the year)
June 27 to August 3, 2017
Contact: Jodie Friesen
416-461-9989
littlevoices@sympatico.ca
www.littlevoices.ca
Cost: $99 / 6-week session
Day program
!!
Active, interactive, age-appropriate, educational and FUN! Quality, small
group Music & Movement classes for babies, toddlers & preschoolers with
their parent/caregiver, led by an experienced and enthusiastic Master
Orff teacher. Classes feature traditional, global, classical and original
songs & rhymes for clapping, tickling, peekaboo, bouncing, swinging &
rocking, plus instruments (drums, tambourines, shakers, bells, castanets,
rhythm sticks and much more!), scarves to dance with, musical books and
friendly singing puppets. Helping children discover the joy of music for
over 25 years!
A summer choral training program...
for youth ages 16-23 providing the highest
quality choral training and performance
opportunities to young singers.
Elise Bradley, Conductor
August 11 to 20, 2017
Carleton University
Auditions: March 2017
More Info: www.choirsontario.org
thewholenote.com March 1, 2017 - April 7, 2017 | 61

Afiara Collective, Tokai String Quartet, and members of the Canadian
Opera Company, Toronto Symphony Orchestra and National Ballet of
Canada.
●●Music Niagara Performance Academy
No Strings Theatre Summer Programs
●●
Midsummer Sound Festival
Midhurst, Ontario (just outside of Barrie)
July 10 to 14 and 17 to 21, 2017
Contact: Nena LaMarre
705-737-9342
play88@rogers.com
www.midsummersound.org
Deadline: May 1, 2017
Cost: $410
Camp Hours: 9am - 4pm
!!
Midsummer Sound Festival is a fun and immersive learning environment
for students to receive top-level instruction in their instrument.
Faculty consists of Suzuki-certified, Dalcroze-certified, and Universitytrained
musicians, including Juilliard, Yale, Western and UofT alumni
with extensive teaching and international performing experience. Teachers
instruct, mentor and perform alongside a group of young musicians
aged 6 to 24 in Midhurst, Ontario, for an inspiring summer course in
violin, viola, cello, piano, voice and guitar. Classes in music theory, history
and musicianship are designed for children and adapted from the current
teaching methods of premier music institutions. Teens and university
students perform concerts with their faculty coaches, and may enroll as a
pre-formed group. Daily classes in jazz, improv, orchestra, art, chess and
tennis round out the day. The program runs twice, for five days. Each week
culminates in a solo recital and final concert. Beginners are welcome.
●●Music at Port Milford
Prince Edward County, Ontario
Session I: July 16 to July 30; Session II: July 31 to Aug 13, 2017
Contact: Meg Hill
914-439-5039
director@mpmcamp.org
www.musicatportmilford.org
Deadline: Rolling admissions
Cost: $900/week
Residential program
!!
2017 marks Music at Port Milford’s 31st year of bringing internationallyrenowned
artist faculty and students with a passion for chamber music
together to create an inspiring summer music experience. Throughout
July and August, this experience is proudly shared with Prince Edward
County, as the students and faculty bring the highest calibre of chamber
music to Ontario. 2017 Faculty Artists include Canadian ensembles: The
St. Mark’s Anglican Church, Niagara-on-the-Lake, Ontario
July 22 to July 31, 2017
Contact: Barbara Worthy
905-468-0092 or 905-468-5566
bworthy@musicniagara.org
www.musicniagara.org
Deadline: May 31, 2017
Cost: $900 +HST
10-Day Residential Program, all students billeted in Niagara-on-the-Lake
!!
Music Niagara’s Performance Academy’s 10-day program offers a unique
curriculum of experiential arts workshops for gifted young musicians,
aged 11 to 21, to complement, enhance and improve overall musical performance,
plus masterclasses with acclaimed visiting artists.
Overview: masterclasses - open lessons and solo/group chamber music
instruction with festival artists; public presentation - vocal skills, body
language and performance presentation style; drama - from Shakespeare
to improvisation, scenes, games, text and activities; poetry - working
with language and rhythm to appreciate composition; period dance -
body movement and fitness, dancing to the music they play; Alexander
technique - relieve physical stress, improve performance strength and
potential.
Students are also guaranteed two public performances. Personal practice
time is reserved in the daily schedule.
●●Niagara Symphony Orchestra Summer Music Camp
Ridley College, St. Catharines, Ontario
Session 1: July 3 to 14, 2017
Session 2: July 17 to 28, 2017
Contact: SMC Administrator
905-687-4993 x228
smcadmin@niagarasymphony.org
www.niagarasymphony.com
Deadline: Ongoing to the beginning of each session
Cost: $170 - $390 depending on class choices
Camp Hours: 9am - 3:30pm, extended care to 5pm
!!
SMC offers classes for children 18 months to Grade 12. Primary programs
include Orff, MYC, Ukulele Kids, Harpsicles, and Rainbow Voices and
Percussion. Grades 3 and up, beginners or experienced, choose instruction
in orchestral instruments and participate in Concert Band and SMC
orchestra, or combine two half day programs of Choral, Piano, Handbells,
Recorder or Guitar for a full day. Experienced students study Composition
or take Jazz Band; all campers perform a concert. Advanced music
students attend the 3- or 4-week Academy for intensive theory, repertoire
development, private and ensemble coaching and mock auditions. SMC
and Academy instructors are dedicated music educators; SMC includes
daily recitals, music appreciation activities, crafts and sports. SMC now
welcomes third generation campers – Join us!
●●No Strings Theatre Summer Programs
Artscape Wychwood Barns, 601 Christie St., Toronto, Ontario
Summer Youth Intensive: July 4 to 30, 2017
Summer Weekly Programs: July 11 to 15, 2017
Contact: Denise Williams
416-551-2093
directors@nostringstheatre.com
www.nostringstheatre.com
Deadline: June 15, 2017
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Cost: $300 - $400/week
Camp Hours: 9am - 5:30pm
!!
Music Theatre training and performance programs for youth in Toronto
led by industry professionals; workshops in singing, acting, dancing, creative
writing, audition prep, acting on camera, masterclasses and rehearsals.
This season will feature the Tony Award-winning Canadian musical
theatre show ‘The Drowsy Chaperone’ by Lisa Lambert and Greg Carpenter
in July (Youth Program) and a new Canadian musical by Tyler Check and
Tristan Hernandez in August (EAP). Tween Program (10 to 13), Youth Program
(12 to 21), Emerging Professional Artist Program, EAP (19 to 35).
●●Ontario Youth Choir
Carleton University, Ottawa, Ontario
August 11 to 20, 2017
Contact: Elena Koneva, office manager
416-923-1144
info@choirsontario.org
www.choirsontario.org/ontarioyouthchoir
Deadline: February 27, 2017 (possibly extended)
Cost: audition fee $40; camp fee $695
Residential program
!!
Ontario Youth Choir (OYC) is an annual summer choral program for
youth from across the province. OYC provides the highest quality choral
training and performance opportunities to young singers (ages 16 to 23),
offers a rare bridge from school choirs to professional choirs and develops
choral skills under the direction of some of Canada’s outstanding choral
leaders. The Ontario Youth Choir offers an unforgettable experience, fun,
and friendship.
The program consists of rehearsals, masterclasses, voice lessons, social
activities and a short tour. In 2017, the OYC resides at Carleton University
training for 7 days and spending 3 days performing in communities
across Ontario. Limited bursary assistance is available in certain situations
and may be applied upon acceptance into the program.
Musical Theatre Creation Lab: $650
Both MTCL Camps: $1,200
Camp Hours: 9am - 5pm
!!
Randolph Kids are encouraged to express themselves and be inspired
to learn within a safe and nurturing environment. Campers spend an unforgettable
summer immersed in the arts while also learning valuable life
skills, creating lasting friendships, and building confidence that extends
beyond the studio and the stage.
Musical Theatre Creation Lab (Grades 9 to 12): Students spend 9 days
immersed in intense creation, exploration and performance work to
conceive, write and star in an original one-act musical.
Glee (Grades 3 to 8): Hip hop, vocal, and acting improv classes, plus special
creative electives, coupled with choreographed Glee routines.
Broadway Babies (Grades 1 to 2): A four-day camp with singing, acting,
dancing and crafts.
●●Royal Conservatory School Summer Camps
273 Bloor St. W., Toronto, Ontario
July and August 2017 (varies by program)
Contact: Conservatory School
416-408-2825
conservatoryschool@rcmusic.ca
www.rcmusic.ca/camps
Deadline: various
Cost: $250 - $1500
Day programs
!!
Play, sing, and perform at the Royal Conservatory School this summer!
We offer camps for ages 4 through adult. Try out different instruments at
Instrument Exploration Camp (ages 5 to 8), sing at a themed vocal camp
(ages 6 to 10), or explore the violin, viola, cello, or double bass at the Summer
String Institute (ages 4+). Want to experience all the musical fun in
French? In partnership with Alliance Française, we are excited to bring
●●Opera for All
The Miles Nadal Jewish Community Centre, 750 Spadina Ave.,
Toronto, Ontario
June 19 to July 31, 2017
Contact: Deanna Di Lello
416-924-6211 x250
deannad@mnjcc.org
www.mnjcc.org (search: Opera for All)
Cost: $120 (no HST)
!!
Visiting Artist, Maestro Alvaro Lozano Gutierrez, returns for this hit
program. Whether you are an amateur singer or experienced chorister,
this is for you. Learn popular opera choruses in Italian and French. Choose
between June 19 to July 24 daytime rehearsal or June 21 to July 26 evening
rehearsal. All levels welcome. Learning materials provided. Participant
concert on July 31.
Lake Field Music Camp
August
13 - 20
2017
●●Randolph Kids Camp: Musical Theatre
Creation Lab, Broadway Babies, Glee
736 Bathurst Street, Toronto, Ontario
August 8 to 31, 2017
Contact: Lee-Anne Galloway, Kids Program coordinator
416-924-2243 x225
kidscoordinator@randolphacademy.com
www.randolphkids.com
Deadline: Registrations accepted until first day of each camp
Cost: Broadway Babies: $299
Both BB Camps: $550
Glee: $550
Both Glee Camps: $1,000
adult amateur singers + instrumentalists
choirs ~ ensembles ~ workshops ~ concerts
classical ~ jazz ~ world
www.lakefieldmusic.ca
thewholenote.com March 1, 2017 - April 7, 2017 | 63

is required to ensure you enjoy your time to the fullest.
●●Southampton Summer Music
back our Camp en français (ages 5 to 8). Students starting or continuing
a band instrument are invited to join our Band Camp (ages 9 to 14).
For teens, we offer the Summer High School Voice/Opera Intensive to
help refine vocal technique. For teen and adults, the Cadence A Cappella
Bootcamp – taught by renowned vocal group, Cadence – will provide the
opportunity to sing in a fun and relaxed environment. Camps sold out
early last year, so register now!
●●SICA: Opera
The Miles Nadal Jewish Community Centre, 750 Spadina Ave.,
Toronto, Ontario
July 17 to 21, 2017
Contact: Deanna Di Lello
416-924-6211 x250
deannad@mnjcc.org
www.mnjcc.org (search: SICA)
Cost: $250 (no HST)
Camp Hours: 10am - 1pm
!!
Intensive half-day summer vocal camp for adults, focus on Opera, Musical
Theatre and Vocal Technique. Exclusively with Visiting Artist, Maestro
Alvaro Lozano Gutierrez. All levels welcome, and be prepared to work
hard!
●●SICA: Singers
Summer at Eastman
The Miles Nadal Jewish Community Centre, 750 Spadina Ave.,
Toronto, Ontario
July 10 to 14, 2017
Contact: Deanna Di Lello
416-924-6211 x250
deannad@mnjcc.org
www.mnjcc.org (search: SICA)
Cost: $400 (no HST)
Camp Hours: 9:30am - 4:30pm
!!
Want a singing stay-cation? Our goal is to excite participants about
what they can do with their voice, determination, and exposure to different
musical genres. Experience over 25 hours of musical instruction,
including group work and masterclasses, in vocal production, choral
singing, jazz, cabaret, opera, performance strategies and more. Classes are
hands-on. Great faculty include Micah Barnes, Dylan Bell, Adi Braun, Ori
Dagan, Aaron Jensen, Heather Bambrick and Gillian Stecyk. All teachers
love to work with adult learners. Some amateur choral/singing experience
Southampton, Ontario
July 24 to 28, 2017
Contact: Laura McDonald
519-372-8281
information@summermusic.com
www.summermusic.com
Deadline: July 15, 2017
Cost: $255 - $300
Camp Hours: 9am - 3:45pm
!!
Summer Music provides the best quality music instruction available
through a broad range of musical programs in a safe and inclusive environment.
Participants experience growth in their music skills and music
appreciation while becoming part of the music community. Through
community partnership and generous supporters, we strive to make the
programs financially accessible to all.
Our classes are taught by master teachers from Canada and the US. We
offer classes in band instruments, guitar, and jazz for students of all ages,
musical theatre for young singers, early childhood programs, and an art
and music class for children.
The camp runs for the week of July 24 to 28 and features several concerts
by students and a professional concert presented by the teachers and
expert community members. Visit the beautiful community of Southampton
Ontario and enjoy a wonderful educational experience.
●●Southwestern Ontario Suzuki Institute (SOSI)
Wilfrid Laurier University, Waterloo, Ontario
August 13 to 18, 2017 (students)
August 12 to 20, 2017 (teachers)
Contact: Tracy Jewell
519-240-6995
sosi@artset.net
www.mysosi.ca
Deadline: Early bird May 1, 2017
Cost: Varies with program
Day programs; accommodation on campus available
Camp Hours: 8:30am to 4pm; evening activities also available
!!
SOSI is an annual learning holiday for junior to advanced students,
their parents, and teachers. Student programs in violin, viola, cello, bass,
and piano include private lessons, group activities, enrichment classes,
exciting optional classes, play-ins, and concerts. Our Mini-Institute
provides a taste of the Institute to our younger first-time registrants who
would like a half-day schedule. Our Suzuki Early Childhood Education
program offers classes for infants to age three. SOSI’s Young Artist Program
for violin, cello, and piano offers instruction for advanced students.
For parents, SOSI provides an opportunity to share ideas and learn new
skills in working with their children. Teachers can develop and enhance
their teaching skills during courses with outstanding instructors. See our
website for full details.
●●Summer@Eastman
Rochester, NY, USA
June 26 to August 4, 2017 (varies by program)
Contact: Andrea Schuler
585-274-1074 or toll-free 1-844-820-3766
summer@esm.rochester.edu
summer.esm.rochester.edu
Deadline: June 1, 2017 (some programs have earlier deadlines; see
website for details)
Cost: $265 - $4650
Day and Residential programs
!!
The Eastman School of Music’s Summer at Eastman program offers
64 | March 1, 2017 - April 7, 2017 thewholenote.com

students and the community an individualized and world-class music
education experience. Choose between residential music programs and
camps for middle- and high-school students (Summer Jazz Studies, Music
Horizons, and Eastman at Keuka), week-long institutes devoted to various
instruments or specialties (for students and adults), half-day music workshops
for youth, and collegiate classes in music education, music history
and music theory. New programs this year include the Eastman Trumpet
Retreat at Keuka (for adult students), Level 1 Dalcroze certification, Alexander
Technique for Musicians, Beyond Performance Anxiety: A Workshop,
Cello and Guitar institutes, and Schubert to Sondheim: Pedagogy for the
Male Voice. Visit www.summer.esm.rochester.edu for course information,
schedules and registration details.
●●Suzuki Music Camp
The Miles Nadal Jewish Community Centre, 750 Spadina Ave.,
Toronto, Ontario
July 3 to 7, 2017
Contact: Gretchen Paxson-Abberger
416-924-6211 x0
suzuki@mnjcc.org
www.mnjcc.org (search: camps, suzuki)
Camp Hours: 9am - 4pm (Extended care 8am - 9am, 4pm - 6pm)
!!
Our 2017 MNjcc Suzuki Summer Music Camp, running July 3 to 7, is
open to all violin, viola, cello, and piano students who study by the Suzuki
method. We offer all levels, from those who have learned Twinkles with
fingers to beyond Suzuki Book 8. Along with a basic daily foundation of
semi-private lessons and Suzuki group repertoire lessons, campers will
also participate in three enrichment classes. All camp activities will take
place within the MNjcc facility.
If you would like more information, and/or would like to be mailed a
brochure with registration forms, please contact camp director, Gretchen
Paxson-Abberger at suzuki@mnjcc.org. Registration can also be done in
person at the MNjcc Info Desk.
www.torontoschoolforstrings.com
Deadline: June 1, 2017
Camp Hours: 9am - 4pm
!!
The TSSP Summer Music and Arts Day Camp offers children ages 4 to
12 an enriched artistic experience featuring strings (Suzuki, Traditional
and Fiddling), piano and guitar, as well as art, Orff music and movement,
theory, orchestra, chamber music, African drumming and music theatre.
The faculty are highly trained, experienced professionals. Each week concludes
with a concert showcasing what the children have learned. Friendships
are made that continue from year to year. Teenagers are welcome
to apply to volunteer to receive community service hours. The camp has
been running for 8 years.
●●Toronto Summer Music Community Academy
Toronto, Ontario
July 30 to August 5, 2017
Contact: Eli
647-430-5699
info@torontosummermusic.com
www.torontosummermusic.com
Deadline: Rolling until June 1, 2017
Cost: $525 - $800
Camp Hours: 9am - 11pm
!!
Adult Amateur Musicians! Join us for one week of playing with some
of the best professional classical musicians in Canada. Choose from three
streams - choir, chamber music, or piano masterclass.
●●Tafelmusik Baroque Summer Institute
Faculty of Music, University of Toronto,
80 Queen’s Park, Toronto, Ontario
May 29 to June 11, 2017
Contact: Caitlin Cross
416-964-9562 x241
tbsi@tafelmusik.org
www.tafelmusik.org/TBSI
Deadline: March 3, 2017
Cost: $1,375
Day program
!!
The Tafelmusik Baroque Summer Institute (TBSI) is a world-renowned
training program in instrumental and vocal baroque-performance
practice, led by some of the world’s finest musicians in the field. This comprehensive
training program includes orchestra and choir rehearsals,
masterclasses in solo repertoire, chamber ensembles, opera scene study
for singers, private lessons, lectures and workshops, classes in baroque
dance and concerts by both participants and faculty. The Institute is held
at the Faculty of Music, University of Toronto. Advanced students and
professional musicians are invited to apply. Visit www.tafelmusik.org/TBSI
for details.
●●Toronto School for Strings Music and Arts Day Camp
Central Toronto,Ontario. Location TBA
July 17 to 21 and July 24 to 28, 2017
Contact: Mary Fisher
416-968-0303
info@torontoschoolforstrings.com
Opera
for
All
with Maestro Alvaro
Lozano Gutierrez
Learn popular Opera Choruses
Summer 2017
The Miles Nadal JCC at 750 Spadina Ave
www.mnjcc.org | operaforall@mnjcc.org
(416) 924-6211 x0
thewholenote.com March 1, 2017 - April 7, 2017 | 65

20
UKRAINIAN ART SONG
SUMMER INSTITUTE 2017
AUGUST 7-13
The Royal Conservatory’s TELUS Centre
For Performance and Learning
1 7
20
17
The first Ukrainian Art Song Summer Institute will be
a unique dramatic experience for young professionals/
emerging artists in the field of classical music to further
develop their skills in singing classical song and new
repertoire: Ukrainian art songs that reflect a spirit of
love, poetry and history. Students will come away with
a clearer understanding of how to express an art song, no
matter what form, no matter what language.
The renowned Royal Conservatory of Music in Toronto
is pleased to partner with Ukrainian Art Song Project in
offering this musically rich program to emerging artists and
will serve as the venue for this inaugural Summer Institute.
Summer Institute Faculty
Pavlo Hunka - Bass-baritone
Albert Krywolt - Pianist
Melanie Turgeon - Choral Director
Robert Kortgaard - Pianist
Young professionals and emerging artists
are invited to audition for the
Ukrainian Art Song Summer Institute.
Deadline for applications and submission
of all supporting materials and guidelines are
available on-line at ukrainianartsong.ca
For more information please go to
www.ukrainianartsong.ca
Imagine being a part of this
●●Ukrainian Art Song Summer Institute
The Royal Conservatory’s TELUS Centre for Performance and
Learning, 273 Bloor St. W., Toronto, Ontario
August 7 to 13, 2017
Contact: Marianna Zaparyniuk, Lessia Tkach
Ciarlo Communications 416-763-3783
si@ukrainianartsong.ca
www.ukrainianartsong.ca
Deadline: April 1, 2017 (with some flexibility)
Cost: $50 Application fee (non-refundable); $500 Tuition fee (includes
tuition, use of practice rooms and pianos, and course materials)
Day program, accommodation available
Camp Hours: 9:30am - 6pm, assigned rehearsals in evening
!!
The first Ukrainian Art Song Summer Institute is a unique dramatic experience
for approximately 12 young professionals/emerging artists in the
field of classical music to further develop their skills in singing classical
song and new repertoire: Ukrainian art songs that reflect a spirit of love,
poetry and history. Students will develop a clearer understanding of how
to express an art song, no matter what form, no matter what language.
Students will be presented with a book of scores of all 32 Ukrainian art
songs, to be rehearsed throughout the week and performed at the open
concert. Each student is required to start the program, having learned
and memorized four assigned art songs. Faculty include: Pavlo Hunka,
Albert Krywolt, Dr. Melanie Turgeon and Robert Kortgaard.
●●Vancouver Symphony Orchestral
Institute at Whistler
Whistler and Vancouver, British Columbia
June 25 to July 4, 2017
Contact: Christin Reardon MacLellan
604-684-9100 x246
info@vsoinstitute.ca
www.vsoinstitute.ca
Deadline: March 12, 2017
Cost: $1,350
Residential program
!!
The Vancouver Symphony Orchestral Institute at Whistler offers young
musicians an experience and education like no other, joining together
the GRAMMY® and JUNO Award-winning VSO with Whistler, one of the
world’s finest mountain resorts. Students will be immersed in a collaborative
musical environment alongside and mentored by a world-class
symphony orchestra, under the direction of the VSO’s internationally
acclaimed music director, Maestro Bramwell Tovey. Participation in two
performances of the Whistler Institute Orchestra, chamber music, instrumental
coaching, as well as a variety of unique performance opportunities
will fill students’ warm summer days and cool, refreshing evenings in
the mountains of beautiful British Columbia.
KALIMIN
FOUNDATION
OLZYCH
FOUNDATION
UKRAINIAN ART SONG
SUMMER INSTITUTE 2017 AUGUST 7-13
The Royal Conservatory’s TELUS Centre For Performance and Learning
www.ukrainianartsong.ca
Classical Pursuits
66 | March 1, 2017 - April 7, 2017 thewholenote.com

WE ARE ALL MUSIC’S CHILDREN
March’s Child
Julia Wedman
MJ BUELL
Julia Wedman lives in Toronto’s Bloordale Village, in the beautiful main floor apartment of a
house owned by her dear friends Sue and Jubal and their adorable two-year-old son Oskar, who
live upstairs. She enjoys spending time with her beloved family and friends, teaching, travelling,
going to beaches, gardens and museums, learning about art and history, summer backyard
parties that include dear friends eating at a long table filled with delicious food, and days that
start out horribly but take unexpectedly wonderful turns.
NEW CONTEST!
Who is
April’s child?
MATTHEW SMITH
Violinist Julia Wedman first caught the attention of Southern
Ontario audiences in a 1998 concert with the innovative I
FURIOSI Baroque Ensemble. A core member of that ensemble
from 1999 to this day, she joined the Tafelmusik Baroque Orchestra in
2005. Wedman is regularly featured as a soloist in Tafelmusik’s home
concerts as well as their international tours, and contributes her skills
and creative thinking as an occasional leader and collaborator in the
development of new programming. Wedman is also a member of the
Eybler Quartet, a period-instrument ensemble that plays well-known
but also often relatively unknown classical repertoire. Increasingly
busy with additional engagements outside of Canada, Wedman is also
a sought-after teacher and coach in Canada and abroad.
Born in Prince George, B.C., Wedman and her family moved to
Saskatoon when she was six. After high school, a former violin
teacher helped Wedman move to London, ON, where she enrolled at
Western University, followed by studies at Indiana University and the
University of Toronto.
Your absolute earliest musical memory? Probably my dad (a financial
advisor) playing some tunes on his violin – he would take out his
violin and play from a book with old folk songs like Amazing Grace
and Jeannie with the Light Brown Hair. I loved that book.
Why the violin? One day driving home in the car, my dad said to
my older brother
and me, “Okay, kids,
would you like to
play violin or cello?”
Already I had a wacky
sense of humour, and I
thought he said “jello”
and started laughing
hysterically. “How
can you play jello? I
can’t play such a silly
instrument! I’ll take
the violin!”
Do you remember
that childhood photo
being taken? No, but
I definitely remember
“October 2016 with the Saskatoon Symphony, with family in the
audience, dear friends and former teachers onstage and off. A
wonderful concert, surrounded by love.” -Julia Wedman
practising as a child
and those pajamas were
my favourite ones! My
earliest memory of
playing violin was that
I had a little box and a
stick. We had to wait for
a violin to be ordered
because I was too small
for the ones available. I
remember the excitement
of my first real instrument!
It was so beautiful,
and it made a sound!
My mom used to put
on recordings of music
at 6:15am, then bring
hot chocolate up to our
rooms at 6:30 to get all
of the kids up to practise
before school. My sister
and I often produced
recitals,
complete with
programs, for
our dolls. We
all played or
sang at church,
and sometimes
under great
Victoria BC circa 1935
Halfway between childhood & manhood,
More than a hoop but never a car,
The bicycle talks gravel and rain pavement
On the highway where the dead frogs are.
~ from Twelve Letters to a
Small Town (1964) by longtime
collaborator James Reaney
~ ~ Composer, teacher, pianist, author,
journalist, administrator, bicycle
enthusiast, father, grandfather and
consummate Canadian.
~ ~ Recently: Toronto Consort
~ ~ In March: University of Toronto
~ ~ In April: New Music Concerts
Know our Mystery Child’s name?
WIN PRIZES! Send your best
guess by March 24 to
musicschildren@thewholenote.com
duress played for guests that came to the house. My siblings
and I would often raid our parents’ record collection and
dance around the living room. Favourites were Mini-
Pops, Grease, and Jascha Heifetz playing the Tchaikovsky
violin concerto…
Please read Julia Wedman’s extended interview at
thewholenote.com
CONGRATULATIONS TO OUR WINNERS! HERE’S WHAT THEY WON
Biber: Requiem (March 18): Toronto Chamber Choir performs Heinrich Biber’s Requiem in F Minor and some of his innovative
motets and sacred cantatas with a string ensemble led by Julia Wedman and Christopher Verrette, violins. They will also join the
7:15pm pre-concert chat. A pair of tickets for Mary Louis
Masters of the Baroque Violin: (March 20) Julia Wedman, Michelle Odorico, Patricia Ahern, Valerie Gordon, Elyssa Lefurgey-Smith and Aisslinn
Nossky continue their six-year exploration of Bach’s Solo Sonatas and Partitas. ”An incredible, character-building, humbling, inspiring journey!” Tickets
for Richard Smith.
Fork in the Road (April 21): “You have a choice to make. Slay the dragon? Drink the hemlock? Cross the Alps? “I FUROSI Baroque
ensemble is joined by Debra Nagy, oboe, and Lucas Harris, lutes and theorbo. A pair of tickets goes to Al Forest
Haydn Central and Vanhal CD release concert! (April 27): The Eybler Quartet, presented by The Heliconian Club of Toronto, plays
quartets by Vanhal, Mozart and Haydn and introduces their new CD of Vanhal quartets. Nancy Martin gets a pair of tickets and the new CD!
(Note: this concert can also be heard April 30 in St Catharines).
Biber: Mystery Sonatas is Julia Wedman’s rare recoding of this unusual collection for solo violin and continuo. There are 16 sonatas, 14
featuring scordatura tuning, including a final solo Passacaglia. Each, with a title related to the Christian rosary, has a unique voice. Completed
sometime around 1676 they remained undiscovered until the late 19th century. A copy of this beautiful recording goes to Christian Mueller.
thewholenote.com March 1, 2017 - April 7, 2017 | 67

DISCOVERIES | RECORDINGS REVIEWED
I
was thrilled to receive the latest shipment
of Centrediscs from the Canadian
Music Centre (CMC) shortly after filing my
February column and several days before that
month’s issue hit the streets. I knew exactly
what would take pride of place in my March
column: Harry Freedman – The Concert
Recordings (CMCCD 23517). I was therefore
a little dismayed when I did see the February
WholeNote and found that David Jaeger had stolen my thunder. His
excellent and extended article about Freedman’s orchestral music
and the particular pieces included on the disc, from his perspective
as producer of a number of those recordings, would seemingly make
anything I had to say redundant. But perhaps not irrelevant. In my
own years as a broadcaster (at CKLN and CJRT) I met Freedman on
a number of occasions and got to know him fairly well, but it is his
music that made a real impression on me. In my formative years this
was the music, particularly Freedman’s orchestral works, that I grew
up understanding to define what made Canadian music Canadian:
aural landscapes reminiscent of the North, stark and angular, crisp
and rugged, but at the same time lush and evocative.
All of the tracks are exceptional, but there are two real standouts
for me. Borealis for orchestra (TSO) and a (heavenly) host of choirs
(Danish National Radio Choir, Elmer Iseler Singers, Swedish Radio
Choir and Toronto Children’s Chorus) was written for and performed
in the towering Barbara Frum Atrium in the CBC Broadcast Centre
as part of Soundstreams’ Northern Encounters Festival of the Arts in
1997 with the orchestra and choirs surrounding the ground floor audience
from the balconies above. Images predates Borealis by almost
four decades (1960) and is heard here in a 1979 performance with
Sir Andrew Davis at the helm of the TSO. It is a three-movement
work inspired by Canadian artists Lawren Harris, Kazuo Nakamura
and Jean-Pierre Riopelle which in the words of the composer is “not
so much concerned with the content of the paintings as with their
design…in effect, a translation into musical terms of the artists’ styles.”
As a reflection of that aspect of the CMC’s mandate to preserve
and promote the history of our musical heritage, I feel this is one of
the most significant releases from Centrediscs’ in recent years and
as we enter Canada’s sesquicentennial an important reminder of our
artistic heritage.
The other disc in the shipment from the
CMC has left me scratching my head. I understand
that an important part of the CMC’s
mandate is to promote the music of our emerging
composers and to reflect changing
concerns and aesthetics, but I would still
expect that to be done within the context of
art music. Ravens (CMCCD 23217) features
the music of Yellowknife-based composer Carmen Braden and it is
a truly eclectic recording that would, I feel, be most at home in The
WholeNote’s Pot Pourri section. Please don’t get me wrong, I like
the disc very much and there are indeed some “classical” compositions
included – a brief excerpt from Candle Ice for piano trio and
field recordings of melting ice; Magnetic North for violin and piano;
and Waltz of Wing and Claw “a string quartet of ravens playing in the
wind” which turns out to be another excerpt from a larger work The
Raven Conspiracy – but the bulk of the album consists of quirky and
clever pop songs with occasional nods to jazz (à la Joni Mitchell) and
even a twangy ode – Small Town Song – explained in the composer’s
notes with the statement “The banjo is wonderful, but it scares me a
DAVID OLDS
little.” Braden seems to have overcome her fear of this predominantly
southern instrument and this rousing sing-along brings an intriguing
northern journey to a satisfying end. I just wish we could have heard
the instrumental compositions in their entirety.
Another truly eclectic disc has come to my attention in the context
of an upcoming Toronto performance. Vocalist and songwriter
Simrit was born in Athens, Greece, but adopted and brought up in
South Carolina by Greek immigrants. Her music draws on the Greek
Orthodox chants of her heritage and on the pulse and melodic sensibilities
of West African traditions which she has studied intensely.
Add to this such influences as Mazzy Star, Jeff Buckley, Loreena
McKennitt, roots reggae and world music from the Mediterranean to
the Subcontinent and I’m not sure quite what you get, but I’ve been
captivated by its compelling ambience for several weeks now.
As well as her haunting vocals, on Songs
of Resilience (simritkaurmusic.com) Simrit
plays harmonium and mellotron and is
accompanied by a septet who between them
play kora, pueblo log drums, congas, cello,
electronics, electric and acoustic guitars, drum
kit and miscellaneous percussion. Simrit says
“This music changes consciousness, and that
is where we can start. For the world to shift
into a potentially peaceful place, we must start with ourselves first.”
But as the press release assures us “the central message is not sappy or
facile. It’s about finding the sounds to aid change, to expand what you
can see and embrace.”
Concert note: You can find out what Simrit’s music and message is all
about at St. George’s Lutheran Church at 410 College St. in Toronto on
March 29 at 7:30.
Sticking with my Pot Pourri theme, I had
the pleasure of meeting up with a friend
from my early childhood at Winterfolk on
the Family Day Weekend. David Storey and
I knew each other back in our pre-school
days, attending the same Anglican church
and each other’s birthday parties. Somewhere
around our teenage years we lost track of
each other as he went off to choir school and I attended York County’s
experiment with open plan education in the early years of Thornlea
Secondary School. Evidently Storey spent some years as a singer-songwriter
before taking a 25-year hiatus to direct television and film
productions, including the iconic Corner Gas. When this last had
run its course, Storey returned to his first love, playing the guitar and
turning some wonderful stories into song.
He recently released his first full-length CD Coming Home
(davidstoreymusic.com) and the name is particularly apt. The songs
tell tales (tall and otherwise) of his life and adventures and although
they are complete in themselves it was a treat to hear some of their
background in intros and asides during his performance at the Black
Swan on the Danforth, the central venue of Winterfolk. Performing
with Lawrie Ingles (keyboard), Henry Lees (harmony vocals) and
Bob Cohen (bass and something that seemed to be an eight-string
ukulele, a new one on me) Storey was able to recreate a bare-bones
version of the arrangements from the album, with Ingles providing
some convincing fiddle lines on his electronic keyboard and adding
a third voice to some tight harmonies. Cohen shone with fluid solos
on two cover tunes, Little Feat’s Willin’ and Van Morrison’s Crazy
Love but the rest of the hour-long set was devoted to original material
68 | March 1, 2017 - April 7, 2017 thewholenote.com

from the CD.
All in all it was a lovely outing with my mother, who was once
Storey’s Sunday-school teacher, and if you missed it – there was a
good crowd, but I didn’t see you there – you should check out the
album. Highlights for me include Saint Adelaide (Who knew there
was a Catholic saint of abuse victims; brides; empresses; exiles; in-law
problems; parenthood; parents of large families; princesses; prisoners;
second marriages; step-parents; and widows? She must be
very busy!); the cancer survivor’s anthem Crusty – “I’m crusty and
I’m chuff [look it up if you need to, this is a great word!], and I refuse
to die, I’m gonna stare this crazy world straight in the eye…” and
Last Loon on the Lake where Storey is joined by the bluegrass band
Traditionally Wound. You really owe it to yourself to visit the website
to hear this track (and then buy the CD or download).
Lest it seem that I have spent most of my time this month awash in
Pot Pourri, I’ll mention that I have been practising my cello diligently
for the upcoming term-end recital at University Settlement Music and
Arts School (March 3 at 7pm at the Church of St. George the Martyr).
This time around I am playing in two string trios and immersing
myself in the music of Johann Sebastian Bach. My regular group will
play selected movements of Dmitry Sitkovetsky’s arrangement of
the Goldberg Variations and I managed to talk my way into another
which will be doing a trio arrangement of the Concerto for Two
Violins in D Minor BWV1043. So it’s been quite a challenging couple
of months preparing and “I’m playing as fast as I can!” An initial frustration
as I sought out recordings to study was that current day period
orchestras tune substantially lower than the modern concert pitch
of A440 making playing along impractical unless I want to retune
my cello each time. Fortunately I found that my old trusty Columbia
LP recording with Isaac Stern and Itzhak Perlman and the New York
Philharmonic under Zubin Mehta was indeed at modern pitch and so
all I had to do was aspire to their tempos…
Elsewhere in these pages you can read
Bruce Surtees’ impressions of The David
Oistrakh Edition which includes among a
host of other recordings David and son Igor
playing works for two violins by Bach and
Vivaldi. It was a great pleasure to find in my
inbox just two days before I sat down to write
this, a new Berlin Classics reissue of the Bach
Concerto for Two Violins BWV 1043 and the
Vivaldi Concerto Grosso Op.3 No.8 with David and Igor Oistrach [sic]
(010084BC) remastered from 1957 Eterna mono recordings. So now I
have two fabulous models to work from (both at A440) and the Berlin
Classics recording comes with the added bonus of one of my very
favourite violin pieces, the Franck Violin Sonata in A Major featuring
David Oistrakh and Anton Ginsburg (piano) from 1958. I must admit
that it was a relief to find that without losing any of the bright and
lively feel of the outer movements, the Oistrakhs take slightly more
relaxed tempos than Stern and Perlman, leaving me with the hope
that in the next two weeks I can actually get up to speed after all. On
both recordings the gorgeous Largo middle movement is to die for.
We welcome your feedback and invite submissions. CDs and
comments should be sent to: DISCoveries, WholeNote Media Inc., The
Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S
2R4. We also encourage you to visit our website
thewholenote.com where you can find enhanced reviews in the
Listening Room with audio samples, upcoming performance details
and direct links to performers, composers and record labels.
David Olds, DISCoveries Editor
discoveries@thewholenote.com
Strings
Attached
TERRY ROBBINS
L/R
If you’re a regular listener to Tom Allen’s
Shift program on CBC Radio then you’ve
probably already heard two of the tracks
from DANZAS, the new CD of Spanish guitar
music from MG3, the Montréal Guitare Trio of
Glenn Lévesque, Sébastien Dufour and Marc
Morin (Analekta AN 2 8791).
By pure coincidence the CD arrived in the
mail the same afternoon that Allen played a movement from Agustín
Barrios Mangoré’s La Catedral, so I knew how good the CD was going
to be before even opening it. And “good” is putting it mildly. From the
dazzling flamenco runs and rhythms of the opening track of Al Di
Meola’s Mediterranean Sundance and Paco De Lucía’s Rio Ancho, the
MG3 return to the Spanish roots of their student days with a program
of terrific arrangements of mostly standard works.
In addition to the Mangoré Catedral there are six tracks of dances
and songs by Manuel De Falla, De Lucia’s Canción de amor and
finally Charlie Haden’s Our Spanish Love Song. All arrangements are
by the guitarists, either together or as individual efforts by Dufour
or Lévesque. The outstanding playing is beautifully captured in a
resonant recording made last October in the St-Benoît-de-Mirabel
Church in Québec.
L/R
There’s more terrific guitar playing on
Mappa Mundi, the new CD with a mixture of
old and new works from the Canadian Guitar
Quartet of Julien Bisaillon, Renaud Côté-
Giguère, Bruno Roussel and Louis Trépanier
(ATMA Classique ACD2 2750).
Vivaldi’s Concerto in G Minor for Two Cellos
RV531 works extremely well in Roussel’s
arrangement, with all four guitarists sharing
the two solo lines at some point in the three movements.
The other four works on the CD are all comparatively recent
compositions. Fille de cuivre (Copper Girl) by quartet member Côté-
Giguère explores the conflicting emotions when outward persona is
not matched by inner self; it was inspired by the metal-welding works
of Québecois sculptor Jean-Louis Émond, whose sculptures include a
woman with a perfectly polished front but an open back revealing the
rough inner welds.
Concierto Tradicionuevo by Patrick Roux (b.1962) is a terrific
homage to the Argentinian tango, with particular nods to the 1930s
singer Carlos Gardel and – in a particularly dazzling movement –
Astor Piazzolla.
Octopus, by the German composer Hans Brüderl (b.1959) was
originally a work for eight guitars (hence the title pun: Oct-Opus)
written for the Canadian Guitar Quartet and the Salzburg Guitar
Quartet; the former enjoyed it so much that Brüderl adapted it for four
guitars. It’s a delightful piece with a real “Wow!” factor.
The CD’s title work Mappa Mundi was written by the Canadian
composer Christine Donkin (b.1976) and is a portrayal of four of the
images on the 14th-century world map held at Hereford Cathedral in
England. Cellist Rachel Mercer joins the quartet in the Tower of Babel
movement, the cello representing the voice of God!
These are all substantial, captivating works, beautifully played
and recorded.
thewholenote.com March 1, 2017 - April 7, 2017 | 69

Butterflies in the Labyrinth of Silence
features the guitar music of the Swiss
composer Georges Raillard (b.1957) in
performances by the American guitarist David
William Ross (Navona Records NV6071).
Raillard studied classical guitar and composition
in the mid-1970s, and his guitar compositions
are available for download through his
website at georges-raillard.com.
The works here date from 1999 to 2008 and,
with titles like Shells on the Beach, Summer
Evening at the Rhine, Butterfly and Measuring Clouds, are clearly
essentially light classical pieces. Although somewhat limited in technical
range in comparison to many contemporary works – often with
the feel of classical guitar études – they are consistently pleasant,
well-written and competent pieces by someone who clearly loves and
understands the instrument. There is lovely clean playing from Ross
throughout a thoroughly enjoyable CD.
The Cypress String Quartet celebrated its
20th anniversary and its final season in 2016,
and for its final recording in April chose the
two String Sextets by Brahms, asking longtime
friends and collaborators violist Barry
Shiffman and cellist Zuill Bailey to join them
(Avie Records AV2294). The performers also
opted to make the recordings in front of a live
studio audience, although there is no hint of
audience presence on the CD.
The Sextets No.1 in B-flat Major Op.18 and No.2 in G Major Op.36
are given simply beautiful performances. Brahms always seems to
have that quality of wistfulness and yearning, but the G Major work
is particularly appropriate here, Brahms having learned from Robert
Schumann the device of using musical notation to denote the names
of people in one’s life and consequently turning this work into an
emotional farewell to his lost love Agathe von Siebold.
It is hardly surprising then that this work should make such a fitting
conclusion to the Cypress Quartet’s career. As the quartet members
note, the works were an obvious choice for this final CD: “these
monumental String Sextets . . . with their warmth and reflective qualities,
are perfectly suited to saying farewell.”
The Cypress Quartet will be greatly missed, but this CD is a
wonderful tribute to their talents.
The outstanding French cellist Emmanuelle
Bertrand is back with another excellent CD,
this time featuring the Cello Concerto No.1 in
A Minor Op.33 by Camille Saint-Saëns with
the Luzerner Sinfonieorchester under James
Gaffigan and also the Cello Sonatas Nos.2 & 3
with Bertrand’s partner, pianist Pascal Amoyel
(harmonia mundi HMM 902210).
Saint-Saëns clearly had a great love for
the cello, and it shows throughout these works. Bertrand gives a
passionate and convincing performance of the concerto, with excellent
orchestral support. Bertrand and Amoyel are, as usual, as one
voice in beautifully judged readings of the two sonatas. All of the
usual outstanding Bertrand qualities – tone, phrasing, sensitivity and
musical intelligence – are here in abundance.
The Sonata No.3 is a late work that occupied the composer from
1913 to 1919, but unfortunately the final two movements have been
lost, and the first two exist only in manuscript. This lovely performance
is the first recording of the work and leaves us wondering just
what we are missing in the two lost movements.
I could easily use an entire column to review Cello Stories – The
Cello in the 17th and 18th Centuries, the quite remarkable hardcover
book and 5-CD set featuring the French cellist Bruno Cocset and his
group Les Basses Réunies, with text by the Baroque cellist and musicologist
Marc Vanscheeuwijck (Alpha Classics ALPHA 890).
Cocset says that the intention is to show how an instrument and its
repertoire have taken shape, and he has selected the musical program
from his recordings for Alpha – some of them previously unreleased
– made between 1998 and 2013. The five discs are: The Origins, with
music by Ortiz, Bonizzi, Frescobaldi, Vitali, Galli and Degli Antonii;
Italy-France, with music by Marcello, Vivaldi and Barrière; Johann
Sebastian Bach, two CDs of cello sonatas, choral preludes, movements
from the Cello Suites Nos. 1, 2 and 4 and the complete Suites 3, 5 and
6; and From Geminiani to Boccherini, including a short sonata by
Giovanni Cirri.
The book is in English and French, with full track listings and
recording details, and there are 15 pages of full-colour contemporary
illustrations. The astonishingly detailed and researched text portion on
the history and development of the instrument and its playing techniques
runs to about 50 pages and has 386 footnotes.
The playing throughout is quite superb. It’s a simply astonishing
project, completed in quite brilliant fashion.
Some reviews in this section have a little arrow like this above the cover:
All these reviews (see ads below) have been enhanced online at TheWholeNote.com/Listening
L/R
Danzas - Montréal Guitare Trio
Danzas : Spanish Guitar by the
Montreal Guitare Trio is an album of
great classics. Spanish music at its
most vibrant and colourful best!
Mappa Mundi
For its first album on the ATMA
Classique label, the Canadian
Guitar Quartet pairs works by
contemporary composers with
Vivaldi’s Concerto R.V. 531.
Chopin: Piano Concerto No. 1 / 4
Ballades
Available at L’Atelier Grigorian
70 Yorkville Ave, Toronto &
Grigorian.com
Opus 8: Melancholy & Mirth
Available at L’Atelier Grigorian, 70
Yorkville Ave, Toronto
grigorian.com and www.
opus8choir.com/store
70 | March 1, 2017 - April 7, 2017 thewholenote.com

Melia Watras: 26 (Sono Luminus
SLE-70007) is a fascinating CD inspired by
the concept of violists performing and sharing
their own compositions. Violists Watras, Atar
Arad and Garth Knox (here playing viola
d’amore) are joined by violinist Michael Jinsoo
Lim in five works by Watras, two by Arad, one
by Knox and a duo by American composer
Richard Karpen.
All the players have extensive chamber
music experience, Arad with the Cleveland
Quartet, Knox with the Arditti Quartet
and Watras and Lim as co-founders of the
Corigliano Quartet. The playing is of the highest standard throughout.
All of the nine works – there are three duos for two violas and two
for violin and viola, three solo viola works and a solo violin piece – are
world premiere recordings, and each one is a real gem. It’s a terrific
CD, and one which should appeal to a much wider audience than just
lovers of the viola.
The CD title, incidentally, represents the combined number of
strings on the four instruments used.
SPHERES – Music of Robert Paterson is the
new CD from the Claremont Trio – violinist
Emily Bruskin, cellist Julia Bruskin and pianist
Andrea Lam (American Modern Recordings
AMR 1046).
The two major works by this American
composer are quite different but form a pair,
the shorter and sweeter 2015 Moon Trio,
commissioned by the Claremont Trio, being
a sister piece for the much longer and more strident Sun Trio, a 1995
work revised in 2008; Donna Kwong, who was a founding member
and pianist of the Trio for 12 years from its foundation at the Juilliard
School in 1999, is the pianist in the latter work.
The Toronto-born cellist Karen Ouzounian joins Andrea Lam and
Julia Bruskin in the Elegy for Two Cellos and Piano, a 2006 work
originally written for two bassoons in memory of a well-known
New York cellist, and transcribed for two cellos in 2007-08. Quoting
liberally from the Bach cello works, it’s a simply lovely piece.
And finally, Henning Kraggerud is the brilliant
soloist leading the Norwegian Chamber
Orchestra on MOZART Violin Concertos Nos.3,
4 and 5 and the Adagio in E, K.261, a Naxos
Music in Motion DVD (2.110368).
Filmed before a small audience in the
intimate but resonant Akershus Castle Church
in Oslo in January 2015, the camera work is
understandably a bit limited, with cameras in
front on the left, right and centre providing close-ups and occasional
tracking. The picture quality could perhaps be a little sharper, but
colour and sound are fine.
It’s the playing we’re here for, though, and it’s simply sublime.
Kraggerud’s 1744 Guarneri Del Gesù has surely never sounded warmer
or brighter, and the joy, exuberance and perfect communication
between soloist and orchestral players is a delight to see. The performances
throughout are superb, with brilliant outer movements and
beautifully judged slow movements.
Kraggerud, who provides his own cadenzas, gives introductions
to each work (in Norwegian with English subtitles) with fascinating
insight and stories, including what may well be the historical source
of all viola jokes; and there is a brief Behind the Scenes bonus track
showing preparations for the concert.
Keyed In
ALEX BARAN
Adam Kośmieja plays a remarkable
contemporary program in his recording
Serocki – Complete works for solo
piano (Dux 1284). The music of Kazimierz
Serocki (1922-1981) is regrettably unfamiliar to
most North American audiences. Its uniqueness
lies in his 12-tone style. Serocki demonstrates
a strong affinity for rhythm and texture
as the key drivers in his music. Whether
he’s drawing out a languorous elegy or spinning a feverish virtuosic
passage, he writes for clarity using very little pedal and favouring
generous application of staccato. On rare occasions he will seem
impressionistic and reveal the French influences he absorbed as a
student in Paris. More curious and delightful is the unmistakable,
if subtle, flavour of something that is teasingly Broadway and flirts
with jazz.
Pianist Adam Kośmieja does an extraordinary job of playing this
music. He obviously has a deep understanding of what Serocki is
saying and how he means it to be said. Kośmieja’s ability to meet the
widely different interpretive demands of the music is impressive. He
lists, among his teachers, names like Gary Grafman, Paul Badura-
Skoda, Ivan Moravec, Lang Lang and numerous others.
The Sonata for Piano has two wonderfully maniacal movements,
veloce and barbaro, that contrast sharply with the other two
inquietamente and elegiaco. It’s a substantial work, rich in variety and
it’s exceptionally well-played.
The Gnomes: Childrens’ Miniatures is fascinating for its simplicity
as repertoire for children yet intriguing for the way it introduces
them to the 12-tone system through the strategic placement of gentle
dissonances. The disc is a wonderful issue from Polish Radio.
Ukrainian-born pianist Irena Portenko has
conceived a yin-yang study of contrasting
concertos that may have more in common
with each other than meets the ear. Her new
release Versus: Prokofiev Piano Concerto
No.2; Tchaikovsky Piano Concerto No.1;
Ukrainian National Symphony Orchestra;
Volodymyr Sirenko (Blue Griffin Recording
BGR417) opens with an intense performance of the Prokofiev
Concerto No.2. Actually, there’s no other way to play it. It’s dramatic,
dark and relentless.
Prokofiev’s first few performances met with uneven success. He
cites generally better public acceptance with each performance,
but it was a rocky start. The work was, for 1913, a challenging audience
experience. Dense and replete with rhythmic and melodic
complexities, it left first-time listeners dealing mainly with the heavy
emotional experience. Stravinsky, however, was impressed. Diaghilev,
too, was complimentary and reportedly invited Prokofiev to play it
as a stage production while dancers moved around him on the stage.
Curiously the third movement has the feel of Prokofiev’s Romeo and
Juliet with the strong bass pulse that drives the dance, Montagues and
Capulets.
The writing is undeniably brilliant and is matched by the performance.
Portenko is satisfyingly at home with this music, meeting its
technical and interpretive challenges with confidence and style. She
brings the same energy to the Tchaikovsky Concerto No.1 in B-flat
Minor Op.23. It too, is grand and relentless. Although she is very
clear in her notes that she sees this as the counterbalance of light and
positive energy to the Prokofiev. Noteworthy in this performance is
the way some of the inner wind voices are brought forward in the
second movement, creating the impression of familiar music never
heard before.
A very impressive recording.
thewholenote.com March 1, 2017 - April 7, 2017 | 71

L/R
Seong-Jin Cho won the 17th International
Chopin Piano Competition in 2015, the first
Korean to do so. His latest recording Chopin
– Piano Concerto No.1; Ballades; London
Symphony Orchestra; Gianandrea Noseda
(Deutsche Grammophon 4795941) shows how
his focus on the singing qualities of Chopin’s
ideas won him that coveted prize. Cho’s treatment
of the principal melodic ideas in the
opening movement is fluid and lyrical. Even his ornaments come
across more as small eddies in a current than clusters of notes on a
page. The second movement Romance is exquisite. Cho manages to
retain a fragility about his playing, even through the slightly more
assertive middle section. His technical display in the final movement
is flawlessly clear.
The Ballades too, reveal Cho’s fascination with the singing qualities
of Chopin’s ideas. Much of the Ballade No. 1 in G Minor Op.23
is remarkably understated, making for a starker contrast with the
outburst of the middle section as well as the closing measures. The
Ballade No.2 follows in a similar vein. The effectiveness of Cho’s
playing lies as much in his virtuosity as in his ability to fall into
Chopin’s moments of repose with a delicacy that transcends the pianissimo
markings. He’s a tall young man whose interviews reveal a
shyness, a non-star-like simplicity that seems to suit him perfectly for
this music.
Garrick Ohlsson won the Chopin
International Piano Competition more than 45
years ago and has, since then, been a recognized
and respected interpreter of Chopin’s
music. The way in which Chopin expanded
musical boundaries in his own time, is very
much echoed in the evolution of Alexander
Scriabin’s piano music. So it seems a natural
choice for Ohlsson to make a recording of
Scriabin – The Ten Piano Sonatas; Fantasy Op.28 (Bridge 9468A/B).
The ten sonatas chart a dramatic course of evolution in both form
and tonality with the Sonata No.5 in F-sharp Major Op.53 being the
significant turning point. The 1907 work is the first to break free of
individual movements, and Scriabin himself referred to it as a “large
poem for piano.” Perhaps more importantly, it moves fearlessly and
convincingly in the direction of atonality. Ohlsson captures this new
freedom from tonal centre and form with breathtaking virtuosic
energy. The Sonata No.6 Op.62 is different again. While still a single
movement, it’s a work that Scriabin never played in public, despite his
habit of premiering his own compositions. He is said to have feared
the darkness inherent in the writing. Ohlsson explores this without
reservation and reveals something of what may have perturbed the
composer so much about his own creation. The 2-disc set is a welcome
and revealing document that sheds valuable light on the development
of a composer who saw himself as something of a mystic whose music
might change the world.
Organ recordings appear infrequently in
this column. It’s of special interest therefore,
that organist Erik Simmons’ latest
release, Hymnus – Music for Organ by Carson
Cooman, Divine Art (dda 25147) demonstrates
how new technology and contemporary music
can be a winning formula for an older genre.
Producers of organ recordings have always
wrestled with microphone placement in the
quest for the right balance of acoustic space and the instrument’s
presence. The problem becomes more complex when organ pipes
are located in different places throughout a building. Enter digital
technology.
Anyone can now purchase a digitally sampled pipe organ, recorded
as individual notes from an optimal acoustic location, and play that
library of samples through a midi system from a compatible keyboard.
That’s exactly how this 1787 organ in Weissenau, Germany, appears in
this recording. Every actual sound from the initial speaking attack of a
pipe to its final decay and slight pitch drop is captured faithfully with
every note. The authenticity of the performance location sounds so
complete, it makes the likelihood of the recording being done in the
comfort of his living room, even more astounding.
American composer Carson Cooman, in his mid-30s, has a body
of works that numbers well over a thousand. Most are short pieces,
three to six minutes, and designed as music for church services where
preludes, postludes and interludes on that scale are best suited. His
style is fairly traditional, and contemporary in the lightest sense,
engaging only occasionally with atonality. The variety of his writing
is impressive and he’s capable of evoking greatly contrasting moods.
This is especially effective as Erik Simmons uses the Weissenau organ
to maximum colouristic effect, whether drawing a single flute rank or
the full organ registration.
It’s a terrific recording for three reasons: superb playing, fine
composition and technological astonishment.
Pianist Boris Giltburg’s discography
expands yet again with Shostakovich – Piano
Concertos; String Quartet No.8 (transcribed
for piano) Royal Liverpool Philharmonic;
Vasily Petrenko (Naxos 8.573666). As he
often does, Giltburg writes his own notes for
the recording, exploring the circumstances
around the creation of these works by a
composer admittedly close to his own heart.
Giltburg relates the historical events with academic precision and
L/R
Like the review? Listen to some tracks from all the recordings in the ads
below at The WholeNote.com/Listening
L/R
Alma oppressa - Julie Boulianne
The magnificent mezzo-soprano
Julie Boulianne gives these Handel
and Vivaldi arias all their grandeur,
their grace and their beauty.
Gorgeous!
Up in the Morning Early
—Baroque Music from Celtic
Countries performed on period
instruments
Mussorgsky: Pictures At An
Exhibition
Available at L’Atelier Grigorian
70 Yorkville Ave, Toronto &
Grigorian.com
Weinberg /Chamber Symphonies;
Piano Quintet
Available at L’Atelier Grigorian
70 Yorkville Ave, Toronto &
Grigorian.com
72 | March 1, 2017 - April 7, 2017 thewholenote.com

links them to the subtlest aspects of Shostakovich’s music with the
knowing intimacy of a soulmate. His exceptional performances of the
Piano Concertos No.1 in C Minor and No.2 in F Major reflect this deep
understanding. In the case of the Concerto No.2, Giltburg brings ebullience
to the music that captures the paternal joy of its dedication to
his son Maxim on his birthday in 1957. The earlier concerto predates it
by more than two decades and is more formal, but Giltburg finds the
positive energy that Shostakovich was soon to have repressed under
the attack of the Soviet party establishment.
The transcription for piano of the string quartet material is a fascinating
and ambitious undertaking. Wanting to have a larger-scale
Shostakovich work for solo piano available to him, Giltburg has transcribed
the String Quartet in C Minor Op.110. Being as thorough as
he is, he sought and received permission of the Shostakovich family
for special access to resource materials for this project. The result is a
new iteration of a work from a dark and discouraging period in the
composer’s life. In a curious way, Shostakovich never surrendered the
skill of his craft to the hopelessness of his present condition. Giltburg
has inexplicably and beautifully captured this moment of genius slipping
into despair.
Another recording of comparisons is on the
shelves this month in Natalia Andreeva plays
Preludes and Fugues; Bach, Liszt, Franck
and Shostakovich (Divine Art dda 25139).
This Russian pianist has given considerable
thought to her program and liner notes, and
lays out a wonderful rationale for the enjoyment
of a series of preludes and fugues that
includes some form of shared material.
She begins, logically, with Bach, giving the Prelude and Fugue
in C-sharp Minor BWV 849 a disciplined and sensitive reading.
Proceeding through Liszt’s transcription of Bach’s Prelude and Fugue
in A Minor S462 No.1 she arrives at Franck’s Prelude, Chorale and
Fugue in B Minor Op 21. By now it’s clear that Andreeva is making
serious connections. She concludes with Shostakovich’s Prelude and
Fugue in C Minor Op.87 No.20 leaving the impression that 350 years
have not diminished the appeal of fugal form, especially when paired
with the Prelude. Altogether a very worthwhile artistic and intellectual
exercise.
VOCAL
Ars elaboratio
Ensembe Scholastica
ATMA ACD2 2755
!!
These days,
the kids call them
remixes, but in the
hands of musicologist
Rebecca Bain, the
music on Ars elaboratio
is the product of
taking plainchant and
adding tropes from
other sources to create new versions. This was
not unheard of in the millennium that was
not litigious about intellectual property and it
was common because of a more flexible and
oral, rather than notated, tradition of handing
music down. Think of this as more serious
Mediæval Babes repertoire with scholastically
informed liberties, which in that era were
called elaborations.
The result is litanies, antiphons, poetry
and scripture that are often mesmerizing
and calming, especially with the addition of
symphonia or, in the instrumental version
of Claris vocibus, of organetto, a portable
precursor to the pipe organ, played with one
hand on the keyboard and the other working
the bellows. The medieval pronunciation
charmed this Latinist, although I may have
heard some elision, as in spoken Latin poetry
recitation, which may throw some listeners.
And there are spots in the CD booklet
that omit the original liturgical text that is
discussed (e.g. the melisma on “mulierum” in
Velox impulit) so that only the tropes can be
followed, if that is your wont.
The fascinating background to some of the
elaborations contains some ballsy feminist
stuff (praise of the chastity of innocent virgins
aside), such as the one in Dilexisti iustitiam,
in which St. Catherine of Alexandria kicks
some male philosophical-debate butt. The
approachable narrative in Sancti baptiste of
“amice Christi Johannes” ([O] John, friend
of Christ) reflects the presumed (relative)
egalitarianism of the coeducational abbey of
St. Martial de Limoges in the 1100s.
The acoustics of the Chapelle Notre-Damede-Bon-Secours
in Old Montreal lend themselves
to a lovely presentation of the organic
nine-voice Ensemble Scholastica. Hildegard
of Bingen must be pumping her fist in coelis.
Vanessa Wells
Melancholy &
Opus 8
Independent OPUS001 (opus8choir.com)
L/R
!!
Opus 8 is a new
Toronto ensemble.
This is their first disc.
The ensemble consists
of eight singers and it
is directed by Robert
Busiakiewicz, who
also sings tenor.
Busiakiewicz is the director of the choir of
St. James Cathedral in Toronto and a number
of the singers in Opus 8 are members of the
cathedral choir.
Great care has been taken on this disc to
provide songs from different periods. The
oldest is Josquin des Prez’s great elegy on
the death of Johannes Ockeghem; the most
recent is a folk-song arrangement by Keith
Roberts, who was born in 1971 (when I myself
was in my early 30s). In between we have
Renaissance madrigals (Thomas Weelkes
and John Ward), part-songs by Delius and
Parry and 20th-century works by Ravel and
Schoenberg, Stockhausen and Maconchy.
There is also variation in the number of
singers employed: the three Ravel songs take
the form of a duet between mezzo and tenor;
the Stockhausen sets a soprano soloist against
the choir.
Different listeners will like different things.
I myself could do without the Martinů with
which the disc opens. On the other hand, I
was very moved by How are the mighty fallen
by Robert Ramsey, an early 17th-century
work, perhaps an elegy written on the death
of Prince Henry, the British Crown Prince. I
was also much taken by Elizabeth Maconchy’s
piece on the burial of a dead cat, sad and skittish
at the same time.
The performances are very fine in terms of
rhythmic precision and purity of intonation. I
look forward to the group’s next concert and
their next CD.
Hans de Groot
Concert notes: Opus 8 has two upcoming
performances in Toronto: “The Magic of
the Madrigal” (secular partsongs spanning
the centuries unfold in playful polyphony,
melancholy laments and colourful songs
that cover a multitude of topics from sex and
dancing to youth and obesity) on March 31
at St. Clement’s Anglican Church and “H2O”
(no mere offering of sea shanties, but a phantasmagoria
of all things aquatic, shipwrecked
and watery) on May 17 at Trinity College
Chapel. Both events start at 7:30.
Alma Oppressa – Vivaldi; Handel – Arias
Julie Boulianne; Clavecin en Concert; Luc
Beauséjour
Analekta AN 2 8780
L/R
!!
There are on this
recital disc six arias
by Handel and three
by Vivaldi; there are
also several instrumental
interludes by
both. Care has been
taken to pair the very
well-known Lascia
ch’io pianga from Handel’s Rinaldo as well
as the relatively well-known arias from his
Giulio Cesare and Ariodante with the less
familiar arias from Imeneo and from Arianna
in Creta. Of the Vivaldi arias I was especially
moved by the extract from Andromeda
liberata. This serenata was apparently
composed by a number of composers but Luc
Beauséjour assures us that Vivaldi “almost
certainly” wrote this particular aria. What
thewholenote.com March 1, 2017 - April 7, 2017 | 73

I think this means is that there is no real
evidence who wrote it but that it is so fine
that it has to be Vivaldi. I don’t think that
argument would stand up in a court of law
but the aria is indeed so good that it would be
hard to contradict it.
Julie Boulianne, the mezzo-soprano soloist,
is moving in the slow arias and very impressive
in the technically demanding fast items.
Clavecin en Concert is a crack ensemble of
13 players. There is especially fine work from
the cellist Amanda Keesmaat and the lutenist
Sylvain Bergeron.
Hans de Groot
Concert Note: The University of Toronto
Opera School will perform Handel’s Imeneo
at MacMillan Theatre March 17 to 19.
Paderewski – Piesni/Songs
Anna Radziejewska; Karol Kozlowski;
Agnieszka Hoszowska-Jablonska
Dux 1246 (dux.pl)
!!
Not many
composers can
honestly say that
they have changed
the world. Ignacy
Jan Paderewski has
that distinction. Not
through his music,
but rather through
his political and diplomatic activities. He was
instrumental in persuading President Wilson
to take up the cause of an independent Poland
at the Versailles Conference. Quick historical
recap: the once-mighty Poland fell to the
surrounding empires of Russia, Germany and
Austro-Hungary and disappeared from the
map of Europe in 1795. No small feat, then,
was the recreation of the Republic of Poland
after the Great War. Paderewski was also wellknown
and regarded in the United States as a
virtuoso pianist and his lobbying efforts paid
off. He also served briefly as the Polish prime
minister, before returning for good to North
America in 1922.
It is small wonder that in this larger
context, his compositional output has
been overlooked. This disc is a part of a
series attempting to correct that oversight
by publishing all of his music. He was
not a groundbreaking musician. Rather, he
worked happily within an established idiom,
adding to the catalogue of Polish songs so
monumentally established by Chopin and
Szymanowski. Here, the settings of poems by
the “Polish Bard” Adam Mickiewicz, and the
works of Théophile Gautier and of his sonin-law,
Catulle Mendès, are rendered brilliantly
(emphasis mine!) by the tremendous
tenor Karol Kozlowski and equally formidable
mezzo, Anna Radziejewska. A long-overdue
tribute to the “Father of modern Poland.”
Robert Tomas
Schoenberg – Gurre-lieder
Soloists; choirs; Bergen Philharmonic
Orchestra; Edward Gardner
Chandos CHSA 5172
!!
This is an astonishingly
fine performance
of this mighty
work composed
in the early part of
the 20th-century.
Along with Verklärte
Nacht, Gurre-lieder
gave little hint of the
path Schoenberg was soon to follow through
almost half a century, producing works
that many think of at the mere mention of
his name.
A few months ago I was very enthusiastic
about the recent version conducted
by Markus Stenz with the Gürzenich-
Orchester Köln and now, so soon as Gurrelieders
go, here is another new performance
to be considered. Stenz has the measure of
the work, as does Gardner, but Gardner’s
expertise developed during his years in
Glyndebourne and the English National
Opera serves the entire work perfectly. He
builds a more atmospheric, larger-scaled
and, to my ears, a better-balanced performance.
The mood-setting orchestral interludes
demonstrate this perfectly, particularly
the important opening prelude evoking the
serene lake beside the Gurre castle at twilight
and the set-up for the Wood Dove. Without
going into comparisons, Gardner’s cast are all
very convincing including the now deservedly
ubiquitous heroic tenor, Stuart Skelton as
King Waldemar whose mistress Tove (soprano
Alwyn Mellor) is murdered by the jealous
Queen Helwig. The news of Tove’s death is
brought to Waldemar in the tragic narrative
delivered by the Wood Dove sung by mezzo
Anna Larsson.
Heard in Part Three are Wolfgang Ablinger-
Sperrhacke singing Klaus-Narr, the Fool,
and James Creswell as Bauer, the Peasant.
The speaker is Sir Thomas Allen. There were
350 performers on stage in the orchestra’s
home, the Grieghallen in Bergen over four
days of performances in December 2015
comprising, in addition to the soloists,
the Bergen Philharmonic Choir, Choir of
Collegium Musicum, the Edvard Grieg Choir,
the Orphei Dränger, students from The
Royal Northern College of Music, musicians
from the Gothenburg Symphony Orchestra,
the Bergen Philharmonic Orchestra and,
of course, conductor Edward Gardner. This
recording is based on live recordings made of
these concerts.
In this performance, as the sequence of
events unfolds, there is palpable tension,
holding the listener’s rapt attention through
to the awe-inspiring radiance of the colossal
choral sunrise. The sound is brilliant.
Chandos’ multi-channel SACD recording,
heard in two channels in my case, effortlessly
captures every nuance of the huge augmented
orchestra including four harps, multiple sets
of timpani, extra brass, etc. All are heard in
their natural perspective, as are the massed
voices of the choirs. A spectacular work, a
spectacular performance, accorded spectacular
sound!
Bruce Surtees
L/R
Like the review? Listen to some tracks from all the recordings in the ads
below at The WholeNote.com/Listening
L/R
One Way Up – Dave Young
Blurb - “2017 Juno Nominee: Jazz
Album of the Year / Best Group
Performance”
UPC number: 29982 17716
Ni Eira
Marito Marques´ New Album
STABILIMENTO,the latest recording
of veteran bassist/producer
Roberto Occhipinti. Drawing upon
wide variety of musical influences,
he is joined on this musical journey
with a stellar cast of musicians.
Johann Gottlieb Goldberg might
just be the most famous composer
whose music remains largely
unheard.
74 | March 1, 2017 - April 7, 2017 thewholenote.com

Peter Eötvös – Paradise Reloaded (Lilith)
Annette Schoenmueller; Rebecca Nelsen;
Eric Stoklossa; Hungarian RSO; Gregory
Vajda
BMC Records CD 226 (bmcrecords.hu)
!!
In the newly
emboldened theocracy,
also known as
the United States of
America, the phrase
“God created Adam
and Eve” is bandied
about to score
specific political points. The majority of Biblethumpers
forget, however, that at first it was
actually Adam and Lilith. Not created from
Adam’s rib, rather, his equal and a powerful
being. This is Lilith, who we are pressured to
forget in favour of the more feminine, easily
yielding Eve. Here we have a major revision of
Eötvös’ 2010 opera The Tragedy of the Devil
and, in effect, it is an entirely new work.
The axis is the conflict between Lilith and
Eve and an exploration of what might have
happened, if the first wife of Adam was not
thwarted in her efforts to reconcile with him.
Lilith, the exiled demon-mother attempts to
reload Paradise, and yet loses again. Eötvös, a
composer as highly regarded, as he is at times
controversial, in this, one of his 12 operas,
draws equally on the Viennese tradition of
Schoenberg and Berg and on post-war serialism.
The fascinating libretto is the work of
the Munich-based writer, Albert Ostermaier.
The three protagonists and a cast of other
characters are accompanied by the Hungarian
Radio Symphonic Orchestra, guest-conducted
here by Gregory Vajda. This same podium
was shared in the past by such titans, as John
Barbirolli, Antal Doráti, István Kertész, Otto
Klemperer, Neville Mariner and Leopold
Stokowski. Biblical proportions, indeed!
Robert Tomas
CLASSICAL AND BEYOND
Up in the Morning Early – Baroque Music
from Celtic Countries
Ensemble La Cigale
Leaf Music LM 211 (leaf-music.ca)
L/R
!!
Quebec-based
early music ensemble
La Cigale has a hit on
its hands with this
collection of Baroque
instrumental music
from Celtic countries.
The tight ensemble
playing, sensitivity to style and musical
moods, and clear production values, showcase
a range of performances from the witty
to the danceable to thoughtful to florid.
The large number of works featured is
mind-boggling and educational for any Celtic
music fan. The opening track is the ensemble’s
arrangement of the Scottish song John
Come Kiss Me Now. Complete with the
lilt and bounce of the faster sections, and
lyrical recorder in the slower sections, it is
a successful combination of classical with
Celtic folk traditions, and foreshadows the
flavourful music to follow. Scottish music is
the big feature, with works by James Oswald,
William McGibbon and General John Reid.
Five short Scottish lute works from the
Rowallan and Straloch Lute Books circa early
1600s are given a breathless rendition by
artistic director Madeleine Owen, especially
in the waltzing songbird tune The Canaries.
Irish composer Turlough O’Carolan’s
Carolan’s Concerto is a curious mix of Irish
folk and serious Italian art music.
The touching closing track is the group’s
very loyal, respectful arrangement of the
Canadian fiddler Oliver Schroer’s (1956-2008)
modern day lyrical Celtic work A Thousand
Thank-yous.
And more than a thousand thank yous
to director Madeline Owen (lute, theorbo,
Baroque guitar), Sara Lackie (harp), Vincent
Lauzer (recorders), Marie-Laurence Primeau
(viola da gamba) and Sari Tsuji (violin) for
this joyous music!
Tiina Kiik
Richard Galliano Mozart
Richard Galliano; Bertrand Cervera;
Stephane Henoch; J-P Minale-Bella;
Raphael Perraud; Syvain Le Provost
Deutsche Grammophon 4812662
!!
French accordionist
Richard
Galliano is world
renowned for his jazz
stylings. He goes back
again to his classical
music roots with this
all-Mozart release,
the third in a series of
performing select classical masters on accordion.
Supported by a superb string quintet,
Galliano explores new sounds in some
familiar works.
The strongest performance by far is
Mozart’s Rondo alla Turka (Piano Sonata
No. 11 in A Major K.331). The Turkish Rondo
lends itself well to an accordion arrangement
– a Palmer Hughes Accordion Course version
of it is on the RCM Grade 6 accordion exam
repertoire list. Galliano’s version showcases
his effortless florid technique and musical
nuances. There is nice dialogue between him
and the strings, with a solid, never-rushed,
low-end support from the double bass.
Another appealing dialogue can be heard on
the Adagio from Flute Quartet in D Major
K.285 where the long tones created by steady
bellows pressure are in stark contrast to the
strings’ pizzicato parts. More exploration of
breaths between phrases would elevate the
musicality dramatically. Not too keen on the
unison playing of accordion and strings in
Eine kleine Nachmusik as the work’s inherent
colours are lost by too many instruments
playing the same thing. Nice decision to use
bandoneon in Laudate Dominum as Mozart
is thrust into the 20th century with Galliano’s
nod to Astor Piazzolla.
Galliano’s Mozart CD is an interesting and
satisfying listen to some of Mozart’s compositions
from unique instrumentation and
arrangement standpoints.
Tiina Kiik
Freedom of the City
The Band of the Royal Regiment of Canada
RRC009 (band.rregtc.ca)
!!
In 1962 the City of
Toronto granted the
Freedom of the City
to the Royal Regiment
of Canada to honour
the regiment for their
100 years of service.
On May 15, 2016, the
city reaffirmed this
Freedom. As part of that ceremony the band
and regiment marched through the streets of
Toronto. Production of this recording, with
the Pipes and Drums of the 48th Highlanders
and vocalist Danielle Bourré, is part of their
thanks to the city for a century and a half
of support.
This CD has a wealth of variety from such
works as Elgar’s Pomp and Circumstance
Military March No.2 and Sibelius’ Finlandia
to film classics such as The Magnificent Seven
and The Great Escape. The Pipes and Drums
of the 48th Highlanders blend in with the
band on The Magnificent Seven so well that
one could well think that this was the original
arrangement. Similarly, Bourré’s rendition
of the English folk song O’er the Hills and
Far Away is enhanced with blending of the
pipes. Among the lesser-known works, I have
two personal favourites on this CD. They are
The Two Imps, a novelty xylophone duet by
Kenneth Alford of Colonel Bogey fame, and
Serenade for Wind Band by British composer
Derek Bourgeois. This number, written for
guests at his own wedding to walk out of the
church by, has a very tricky rhythm. In the
composer’s words he was “[n]ot wishing to
allow them the luxury of proceeding in an
orderly 2/4.”
All in all this is a fine combination of
familiar classics and entertaining music
which we rarely have an opportunity to hear.
It is well-performed, well-recorded and
comes with clearly written program notes for
all numbers.
Jack MacQuarrie
Végh conducts Schubert
Camerata Salzberg; Sándor Végh
BMC Records CD 201 (bmcrecords.hu)
!!
Best known as violinist leader of string
quartets, Sándor Végh (1912-1997) in later
life conducted the chamber orchestra now
known as Camerata Salzburg; it attained a
high standard as is evidenced by these discs.
thewholenote.com March 1, 2017 - April 7, 2017 | 75

The opening introduction
of Symphony
No.1 in D Major (1813)
leads into the Allegro
through an attractive
chain of suspended
notes, a feature that
recurs as the Allegro
theme returns. Végh shapes the lyrical second
theme beautifully. The lilting Andante and the
Trio of the Menuetto movement are also fine
examples of the lyrical style, with strings and
winds equally integrated. Symphony No. 2 in
B-flat Major (1814-15) opens more promisingly
with woodwinds in dialogue, followed
by an Allegro energetic and melodic in turn.
Clarity in the strings is matched even by the
cellos and bass; the winds are flawless.
In Symphony No. 3 (1815) Schubert
returned to the key of D Major with more
formal assurance and ability to develop
first-movement themes. The charming
Allegretto that follows is the highlight of the
work for me. Symphony No. 4 in C Minor
“Tragic” (1816) reinforces our astonishment
at Schubert’s rapid progress before
he reached the age of 20! The Introduction
of this minor-key work is moving indeed
and Végh communicates the changed mood
convincingly throughout. Good intonation,
excellent ensemble and orchestral balance
prevail. Idiomatic and elegant performances
have raised my estimation of all these works
and of Végh as conductor; they will receive
many hearings.
Roger Knox
Mussorgsky – Pictures at an Exhibition
Wiener Philharmonic; Gustavo Dudamel
Deutsche Grammophon 479 6297
L/R
!!
Of all the
composers in the
Russian nationalist
school “The Mighty
Handful,” Mussorgsky
is arguably the
greatest. True,
Rimsky-Korsakov’s
highly colourful style
left its mark on Glazunov and Stravinsky, but
it was Mussorgsky’s works that were groundbreaking.
And though Rimski-Korsakov
disparaged Mussorgsky’s work as having
“absurd, disconnected harmony, ugly partwriting,
sometimes strikingly illogical modulation…”
these characteristics were grist to
the mill for Mussorgsky’s power, earthiness
and sheer musical invention that inform, for
instance, the mighty work: Pictures at an
Exhibition (1874). This tribute to the architect
and painter Victor Hartmann was written as a
suite of piano pieces and, like other versions,
not performed until after Mussorgsky’s death.
This Wiener Philharmoniker version
conducted by Gustavo Dudamel comes
from Maurice Ravel’s 1922 orchestration.
Unlike every previous recording of Pictures
at an Exhibition – including Berliner
Philharmoniker and Claudio Abbado’s – in
this interpretation (of Ravel’s Mussorgsky)
Dudamel restores Mussorgsky’s Pictures to
its architectural grandeur. The ten pictures
– each one an atmospheric miniature –
are connected by a recurring theme (the
Promenade) and suggest Liszt’s influence,
but with a greater psychological insight. The
sinister melancholy of Gnomus, playfulness
of Tuileries and grand triumphalism of The
Great Gate of Kiev are dazzling. The intense
beauty of the performance is completed by
Mussorgsky’s Night on Bald Mountain and
the Waltz from Tchaikovsky’s Swan Lake.
Now all we need is a documentary of the 900
Superar children aged 5 to 16, from Vienna’s
tenth district that contributed to this project.
Raul da Gama
Editor’s Note: Superar is a high quality
musical program for young people. The
program is free for participants and offers
courses in choirs and orchestras. Superar
is an offer to young people who for various
reasons have little or no access to cultural
education. Superar was founded in 2009 by
Vienna’s renowned institutions the Wiener
Sängerknaben, the Caritas of the Archdiocese
of Vienna and the Wiener Konzerthaus.
Bruckner – Samliche Sinfonien
(Symphonies 1–9; Student Symphony;
Symphony “0” – Original versions)
Philharmoniker Hamburg; Simone Young
Oehms Classics OC 026
!!
The legendary
Sergiu Celibidache,
perhaps the greatest
Bruckner conductor
ever, once said:
“Time for the average
person begins at the
beginning, but for
Bruckner time begins
after the last note has been heard.” This
distinguishes his music from, say, Beethoven
or Brahms which moves logically from beginning
to end. A Bruckner symphony must
be heard in its entirety to begin percolating
through one’s senses with the full effect
emerging from the subconscious, sometimes
as a jolt like the conversion of Saul on the
road to Damascus. Bruckner is in no hurry.
He ambles along at a leisurely pace, often
stopping for breath or a backward glance. His
music is “elemental rather than intellectual, it
is hypnotic and incantatory” (Richard Capell).
A great live performance could be breathtaking
and cataclysmic.
This new set of complete Bruckner
symphonies has been released one by one
over the past few years and reviewed extensively
by the most respectable music journals
to rave reviews. After listening to every
single one of them I most emphatically
concur; in fact it’s been hard to contain my
enthusiasm. And the conductor? Simone
Young, a young lady from Sidney, Australia,
who arrived in Germany in her 20s and
quickly became assistant to Daniel Barenboim
at the Berlin Staatsoper and soon thereafter
took over the entire musical life of Hamburg
(i.e. the Symphony and the Opera that dates
back to the 17th century under such directors
as Telemann, Gluck, Handel, Bulow,
Mahler and a list of venerable conductors
like Klemperer, Wand and Nagano). Now, this
already indicates an extraordinary and enormously
gifted musician, but a first foray into
the recording world with a statement on one
of the most complex and difficult composers,
Bruckner (who conductors have spent a lifetime
studying and struggling to interpret) is a
feat no less than miraculous. Notable also that
she opts for the original versions (Urfassung)
unlike most other conductors who use one of
the many revised versions. Minor point, but
Symphony No.4 is completely unrecognizable
in its original form; the 1880 version is the
way it’s always performed and as such is sadly
missing from this set.
Bruckner’s oeuvre divides itself into three
categories, the early symphonies (1 - 4),
the middle period (5 and 6) and the final
masterworks (7, 8 and 9). Symphony No.1 is
youthful, tempestuous, strongly rhythmic and
then there is a curiosity, Symphony 0, a piece
Bruckner rejected as “not good enough” so it
became known as the Die Nullte (annulled)
but luckily survived. Both of these are driven
joyfully with exuberance, very un-Bruckner
as it were, but in the Third Symphony (1873,
D Minor) Young passes the first real hurdle
with great aplomb showing youthful lightheartedness
in the lovely Scherzo that really
dances; it’s an absolute delight. The second
movement with its Tristan quotations is
majestically developed with beautiful lyricism
and an almost Schubertian joy in melodies.
The fourth movement is fast and turbulent,
exciting and suspenseful with a nice
Brucknerian finale.
As we now enter the middle period there
is a quantum leap in Bruckner’s output and
although he keeps to his original format
the music is entirely different like the giant
Fifth Symphony of churchlike solemnity
and unheard-of complexity. A real stumbling
block for conductors, it is rarely performed
but – and here comes the miracle – she is
simply magnificent. “Probably the finest [new
performance] I’ve heard for a long time…
Young manages the rare feat of honouring
all Bruckner’s changes of gear and tempo
while keeping a powerful forward flow…
no doubt I shall listen to other accounts
which are as fine, but for the moment I find
that hard to believe” (BBC Music Magazine,
December 2015). I would love to watch her
do the giant fugue of the last movement at
the helm of the thundering orchestra like
a Napoleon commanding his armies. And
what made Napoleon able to conquer most
of Europe was not the size of his armies, but
his uncanny ability to manipulate his troops
and outwit the enemy, much the same as
what Young does. With a tremendous insight
and overview of the score she always has the
76 | March 1, 2017 - April 7, 2017 thewholenote.com

ending in sight and by shifting the emphasis
of the thematic material the progress is kept
interesting, never boring.
The last three symphonies are the pinnacle
of Bruckner’s art and this is where Young
brings out the big guns. The unfinished,
enigmatic and otherworldly Ninth with its
valedictory Adagio is simply musical heaven
and the greatest thing he ever wrote, but
the monumental 90-minute long Eighth
Symphony, being 100 percent complete, is
also an incredibly satisfying, glorious work
to which she brings grace and lightness in
the Scherzo, and a hushed intensity to the
Largo like a long, long prayer with a single
earth-shattering fortissimo climax achieved
after a long sustained crescendo of some
22 minutes. Big guns, indeed. Unhesitating
recommendation.
Janos Gardonyi
Mahler – Symphony No.3
Gerhild Romberger; Augsburger
Domsingknaben; Frauenchor und
Symphonieorchester des Bayerischen
Rundfunks; Bernard Haitink
BR Klassik 900149
!!
This is Bernard
Haitink’s most recent
recording of Mahler’s
monumental Third
Symphony, preceded
by a boatload of
discs from his days
leading Amsterdam’s
Concertgebouw
(five versions) and subsequent recordings
with the orchestras of Berlin, Chicago
and London. Despite his apparent affection
for Mahler’s work in general and this
symphony in particular, his name does not
often rise to the top of the list in this repertoire
as often as those of Bernstein, Kubelik or
Abbado. This latest incarnation may settle the
score in this regard, thanks to the excellence
of the Bavarian Radio Symphony Orchestra
in this splendidly recorded disc. Haitink is
particularly fine in the central sections of this
sprawling six-movement work, the lengthiest
symphony in the standard symphonic
repertoire. The fleetness of the second movement
is utterly charming while the third
movement’s vivid rusticity includes a very
simply played posthorn solo, which is too
often over-sentimentalized. The fourth and
fifth movements introduce vocal elements to
the work and feature mezzo-soprano Gerhild
Romberger in a merely adequate reading of
Mahler’s setting of Nietzsche’s Midnight Song;
the oboe solo here also skirts around the
quite striking minor-third glissando called
for by Mahler. The pace picks up again with
the excellent Augsburger Domsingknaben
boys’ choir joining Frau Romberger and the
BRSO women’s chorus for the following Es
sungen drei Engel movement. I was quite
pleased with the well-nigh perfect Finale,
which builds inexorably to a masterful climax
marked by mellifluous contributions from
the admirable brass section. My only major
reservation concerns the vast first movement,
which Mahler subtitled with the motto,
“Pan awakes – Summer marches in;” I did
not feel Haitink’s circumspect approach
completely exploited the chaotic play of
elemental forces at work here. However, the
fluidity of the finale more than makes up for
this shortcoming and I have no hesitation
in recommending this live recording from
June of 2016.
Daniel Foley
Strauss – Ein Alpensinfonie; Tod und
Verklarung
Symphonieorchester des Bayerischen
Rundfunks; Mariss Jansons
BR Klassik 900148
!!
Long in gestation
with its roots
extending down
to the composer’s
teenage years, Richard
Strauss’ Alpine
Symphony is the
last and arguably the
greatest of his series
of orchestral tone poems. After many false
starts, he began to work seriously on the score
in 1911, prompted in part by circumstances
surrounding the death of his esteemed
colleague Gustav Mahler. It was completed
and premiered in 1915 under the composer’s
direction. Strauss proudly proclaimed that
with this work, which is scored for a gargantuan
ensemble of 130 musicians, he finally
understood how to orchestrate. You can take
his word for that!
Strauss indicated 22 distinct scenarios,
some lasting less than half a minute, in the
score of this musical depiction of a hike up
and down the Bavarian Alps through forests
and meadows in weather both fair and foul.
The work is on one level naively descriptive
(some might say crassly cinematic) yet
there remains a greater dimension to the
Alpine Symphony in its vivid celebration
of the power of Nature, comparable in an
oblique way with Mahler’s Third Symphony.
It hardly comes as a surprise that the exemplary
Munich orchestra does their level best
to honour the reputation of Bavaria’s greatest
composer, nor that they are in complete
accord with their cherished principal
conductor (Jansons’ contract was recently
extended to the year 2023, a commitment of
20 years since his arrival). The performance
is utterly transcendent and the live recording
from October of 2016 is richly detailed. A
significant bonus is included in the form of an
equally fine 2014 live performance of Strauss’
popular tone poem of 1888, Death and
Transfiguration. Of the numerous renderings
currently available of this grandiose Alpine
work this one rises triumphantly to the
summit with the greats. Not to be missed!
Daniel Foley
MODERN AND CONTEMPORARY
Romanza – Music from Spain and South
America
Azuline Duo
Independent (azulineduo.com)
!!
The Azuline Duo’s
program on this,
their first CD, is a
winning combination
of well-known pieces
by Granados, Villa-
Lobos, da Falla and
Piazzolla and music
new to most of us by two Argentinean guitarists/composers,
José Luís Merlin and Máximo
Diego Pujol.
Some highlights are Villa-Lobos’
Distribuiçao los flores, where flutist Sara
Traficante’s controlled vibrato and evocative
changes of tone colour and dynamics are just
right. In Piazzolla’s Libertango her extended
technique tone-bending gets things off to a
great start and she plays the tango as if she
knows how to dance the tango (maybe she
does!). She brings a lovely, haunting sound
– a bit husky and not too loud – to Merlin’s
Evocacion – conjuring up an air of mystery;
and in his Joropo (a joyful Venezuelan dance,
according to the notes) she handles the technical
challenges with verve. However, particularly
in the Spanish Dances by da Falla and
Granados and in the Suite by Pujol I longed to
hear more depth in her sound.
Emma Rush is a fine guitarist, a rock of
stability, poised and rhythmically solid – a joy
to play with, I’m sure Traficante would agree
– although sometimes I found myself wishing
she would let down her hair a bit and let her
guitar “gently weep.”
These qualities, we all understand, take
time and life experience to develop, and the
excellent work so evident in this CD gives me
confidence that they will come.
Allan Pulker
Garden of Joys and Sorrows
Hat Trick
Bridge Records 9472 bridgerecords.com
!!
This CD features
the first recording
of Debussy’s Sonata
for Flute, Viola, and
Harp (1915) using
the new Carl Fischer
edition, incorporating
original score
details differing from
the initial publication. The opening Pastorale
is somewhat reminiscent of Debussy’s piano
prelude The Girl with the Flaxen Hair, yet
more mysterious. The New York-based trio
Hat Trick plays it with suggestions of light
and colour, but without the languorous
drooping at cadences I have heard sometimes.
In the Interlude following, Hat Trick again
thewholenote.com March 1, 2017 - April 7, 2017 | 77

esists over-interpretation, letting the tonal
feast proceed unhindered. Articulation and
ensemble are precise in their spirited Finale.
A conventional Terzettino (1905) by
Théodore Dubois was the first piece for flute,
viola, and harp, given here with appealing
French sentiment. Uruguayan-born Miguel
del Aguila’s commissioned work Submerged
(2013) here receives its CD premiere. Hat
Trick brings excitement and commitment to
its dance rhythms and under-the-sea imagery.
The group plays Toro Takemitsu’s And then I
knew ’twas Wind (1992) with sensitivity to
evocative contemporary timbres and textures,
the work’s main attractions. I find the tonal
material much derived from Messiaen’s
scales, though. Sofia Gubaidulina`s 1980
Garten von Freuden und Traurigkeiten
(Garden of Joys and Sorrows) is the lengthiest
work. Its extended exploration of harmonics,
glissandi, percussive harp and many other
effects is realized here with maximal facility.
Altogether this is a stellar production by Hat
Trick – April Clayton, flute; David Wallace,
viola; and Kristi Shade, harp – who indeed
make every shot count.
Roger Knox
Mieczyslav Weinberg – Chamber
Symphonies; Piano Quintet
Kremerata Baltica; Gidon Kremer
ECM New Series 2538/39
!!
In his late 60s,
Mieczyslav Weinberg
began reaching back
over 40 years, transforming
three unpublished
string quartets
into three Chamber
Symphonies for string
orchestra, making
numerous changes and composing new
L/R
movements for each. Many Hindemith-like
neo-Baroque melodies and sequences indicate
Weinberg’s early stylistic orientation.
Chamber Symphony No.1 (1986) is sunny,
graceful and dance-like, its Presto finale
resembling an episode from Prokofiev’s
Romeo and Juliet. No.2 (1987) is darker
and more dramatic, the newly composed
middle movement a wry Mahlerian ländler.
No.3 (1990), based on a quartet from 1945,
is darker still, its first and third movements
sombre reflections of their wartime origins.
The vigorous second movement suggests the
influence of Shostakovich, Weinberg’s friend
and mentor whose stylistic fingerprints cover
many pages of Weinberg’s scores, including
the newly composed, eerily haunting
Andantino that ends No.3.
As much as I enjoyed No.3, I was unprepared
for the emotional impact of Chamber
Symphony No.4 (1992), Weinberg’s last
completed work, containing quotations from
several of his mature compositions. Here,
Weinberg truly sounds like no one else but
himself. In this profoundly affecting music,
I hear a lifetime of experiences – long-ago
loves, losses, pleasures and griefs, the klezmer
clarinet an aching echo from Weinberg’s
childhood in Poland, before he fled the Nazis
to live in Russia. I consider it a masterpiece.
Weinberg’s youthfully robust Piano
Quintet (1944), arranged by Weinberg
enthusiast Gidon Kremer and percussionist
Andrei Pushkarev, completes this very significant
and satisfying 2-CD set.
Michael Schulman
György and Márta Kurtág play Kurtág
György Kurtág; Márta Kurtág
BMC Records CD 233 (bmcrecords.hu)
!!
In February 2016
the city of Budapest
celebrated György
Kurtág’s 90th
birthday with something
few living
composers receive:
an eight-day festival.
The internationally renowned Hungarian
composer is also a pianist, who for decades
served as an influential professor of piano
and later of chamber music at the Franz
Liszt Academy of Music. Márta, his wife
of over 65 years, is also a pianist, and they
have performed and recorded together for
almost as long.
Of the 43 pieces/tracks on the CD, 39 are
from the composer’s Játékok (Games). Begun
in 1973, Játékok is an ever-growing extensive
collection of aphoristic solo and duo
piano “pedagogical performance pieces.”
Presently numbering eight volumes, they
mark significant stages in the development of
Kurtág’s oeuvre.
Kurtág explains his initial motivation for
the Játékok series was “suggested by children
playing spontaneously…for whom the piano
still means a toy.…They pile up seemingly
disconnected sounds, and if this happens
to arouse their musical instinct they look
consciously for some of the harmonies found
by chance and keep repeating them.”
This disc presents previously unreleased
live concert recordings as well as those made
by the Kurtágs for Hungarian Radio over a
period of 23 years. Performed close to the
date they were composed, they preserve
the composer’s germinal vision for the
works, many of which are meant as miniature
memorials for friends or musicians.
Here is one of the paradoxes of these works:
the remarkable power of a sonic fragment to
suggest vast space or timelessness.
Not simply a series of dry pedagogic piano
exercises, Játékok explores Kurtag’s signature
sound world marked by concentration
and sonic intensity hand in hand with the
exploration of a very wide range of human
experience. It’s a world in turns playful and
intellectually exploratory, evoking flowers as
much as death and tears. This is music which
richly rewards repeated visits.
Andrew Timar
Concert note: New Music Concerts presents
soprano Tony Arnold and violinist Movses
Pogossian performing Kurtág’s iconic Kafka
Fragments on March 26 at Gallery 345.
Eliot Britton – Metatron
Architek Percussion
ambiences magnetiques AM 232 CD
(actuellecd.com)
!!
Metatron was
composed as part
of Eliot Britton’s
doctoral dissertation
at McGill a couple of
years ago, and it has
now happily been
recorded by Montrealbased
quartet
Architek Percussion. This music is the result
of a very purposeful collision of two different
sound worlds: the kaleidoscopic sounds of
Architek’s drums, cymbals, other percussive
instruments and synthesizers are woven
together with recorded samples of old vinyl,
mostly jazz and swing music. Britton has
deftly integrated these two sources, not only
exploiting the obvious sonic dissonances
between them, but also finding surprising
ways to bring them into harmony with
each other.
The liner notes say that Britton was partly
inspired by memories of destroying his childhood
piano with a chainsaw, an experience
that led him to reflect on the relationships
between technology, history, and our musical
lives. At times the pummelling power of the
percussion certainly feels like it is annihilating
the sampled music, but Britton also
reserves sparser passages for the samples to
stand on their own, offering brief glimpses
of earlier musical aesthetics between the
percussion and electronics.
Metatron is a thrilling record, though
perhaps not one for all occasions. Bristling
with a youthful energy and fearlessness, at
times it reaches the same rhythmic intensity
as techno, making it a record that is more
likely to give you a jolt than soothe you.
Will Pearson
JAZZ AND IMPROVISED MUSIC
Is That All There Is
Misses Satchmo
Bros BROS11602 (missessatchmo.com)
!!
In their third offering, this delightful
Montreal-based quintet has released a
project that literally drips with authenticity
from “The Big Easy” and fully embraces the
multi-cultural, Afro-Creole-Acadian-infused
mojo that has made sultry New Orleans the
musical crossroads of the world since the
17th century. This elegant ensemble presents
a spicy étoufée of 13 sassy, eclectic
tunes, embracing traditional spiritual material,
as well as compositions from the great
Louis Armstrong, the Gershwins, Fats Waller,
78 | March 1, 2017 - April 7, 2017 thewholenote.com

early pop hit-makers
Leiber and Stoller
and more.
The tight and
talented group
includes the luminous
Lysandre
Champagne on
trumpet and voice, Blanche Baillargeon on
acoustic bass, Marton Maderspach on drums,
Yvan Belleau on clarinet and saxophones, Jeff
Moseley on guitar and banjo.
Following a brief guitar/whistle intro, the
CD kicks off with a distinctly Depression-era
medley of My Babe/Muddy Water, which
features authentic front line drumming, call
and response as well as sexy, unpretentious
vocals. A standout is the Gershwins’ It Ain’t
Necessarily So (written for the opera Porgy
and Bess). All at once sweltering, swinging
and sensual, this interpretation takes things
to a fresh, contemporary stylistic level. Also
charming is Why Don’t You Do Right (J.J.
McCoy) which is arranged with a strippeddown
distillation that includes double bass
stops and lovely marimba accents from
Maderspach. The title track is certainly one of
the strongest cuts on the CD – a savvy rendition
of the Leiber and Stoller hit, Is That All
There Is (made famous by Peggy Lee) which
is enhanced not only by the spot-on, ironic,
no-nonsense vocal, but also by the clever
addition of slide guitar and theremin into the
inspired arrangement.
Lesley Mitchell-Clarke
The Twilight Fall
Chelsea McBride’s Socialist Night School
Browntasauras Records NCC-1701J
(browntasauras.com)
!!
Twenty-fouryear-old
composer,
orchestrator and tenor
saxophonist Chelsea
McBride’s debut
recording features
ten original compositions
performed
by an energetic
19-piece ensemble, including solid vocals
from noted jazz chanteur, Alex Samaras.
With hints of compositional influences from
Maria Schneider, Bob Brookmeyer and Gil
Evans, McBride has described the evocative
project as “the soundtrack to your travelling
daydreams, the story of your life,”
with each composition poetically and musically
defining a segment of the shared human
journey. Unusually, the CD booklet itself
includes a “Compositional Narrative” which
outlines how McBride would suggest the
listener envision each track, as they walk the
wheel of McBride’s “Lifecycle.”
Members of the Socialist Night School
include the gifted Colleen Allen on reeds,
Brownman Ali on trumpet and flugelhorn
(who also serves as executive producer here)
and William Carn on trombone. The song
cycle begins with Ambleside, which establishes
the cinematic and emotional tone
of the CD. McBride’s haunting tenor saxophone,
Chris Bruder’s piano and Samaras’
voice conjure a vision of spacious austerity
and alienation. Other standouts include
Intransitory, which features the potent
Allen on alto sax and guitarist Dave Riddel
weaving a complex, high-energy expression
echoing the working person spinning on the
proverbial hamster wheel. Also of note are
the mind-bending title track and the funky
cool confessional Smooth (or What I Should
Have Said Instead). The recording closes
with Something Simple, a joyous dénouement
encapsulating our brief, but luminous
life experience here on planet Earth. Tenorist
McBride soars, dips, digs and intertwines
with Samaras’ fine vocal instrument.
Certainly this is one of the most intriguing
recordings of the year thus far, and a defining
debut from the intensely gifted McBride.
Lesley Mitchell-Clarke
Hold On, Let Go
Steve Amirault
Independent (steveamirault.com)
Steve Amirault’s
solo CD Hold On, Let
Go is a wry commentary
on life. This mood
continues throughout
the 11 songs on the
disc and is sometimes
made intricately droll
perhaps, by the fact that he sits in splendid
isolation at the piano, interweaving the lyrics
with the shimmering sonority and yearning
rapture of his accompaniment. Any form
of solo performance is a lonely pursuit. The
artist and the engineer are inevitably separated
by glass which invariably accentuates the
experience. It is in this very atmosphere that
Amirault’s music rustles like raw silk.
The listener is treated to spiritual flights far
above the mundane and journeys through
worlds at once zealous, reflective and transcendent.
Amirault’s Dindi is a little gem,
elementally melancholic yet infinitely
hopeful. On Moon River and God Bless the
Child, he uses elongated syllables to evoke
the crepuscular and the dramatic. In this way,
Amirault shapes every phrase with ardent
sensitivity, lingering or propelling the narratives
as they heighten the music’s ineffable
meanings. There is, of course, a lot more.
Steve Amirault is an exceptional artist and
he proves time and again on Hold On, Let Go
that he has an innate ability to find a keen
balance between poetry and intensity. His
pianism, albeit featured here in the shadow of
his spotlighted voice, provides a superb brand
of animation, meeting the needs of the music
exquisitely and fittingly, as equal to the loneliness
of this music.
Raul da Gama
Alom Mola
Michel Lambert
Jazz from Rant 1650
(jazzfromrant.com)
!!
Any music that has
been inspired by the
work of Michelangelo
Caravaggio (1571-
1610), the Baroque
artist who worked
in Naples, Sicily and
Malta, and flavoured
by the rumblings
of Steve Lacy’s legendary French bassist
Jean-Jacques Avenel as well as Jan Jarcyzk,
the pianist and pedagogue from Montreal,
has to be symphonically beguiling. Or put
another way: why expect anything less from
a riveting musician enthralled by three
iconic characters from three disparate timespace
continuums? Still you would be remiss
if you did not admit to many moments of
breathlessness not only during Caravaggio,
ténèbres et lumières, but all through Alom
Mola, as you might expect from the ingenious
drummer Michel Lambert, whose inspiration
is drawn from Mayan mythology as well as
the Baroque and modern art history.
The musicians’ traversal of Lambert’s
complex music is remarkable. The music
throughout Alom Mola is crafted on an
orchestral soundscape that manages –
somehow – to be monumentally miniscule,
enormously small. Each of the five works
presents a sound environment of wisps,
susurrations, noises and the odd pitched
note. Key to the music’s success, though, is
Lambert’s subtle layering of different instrument
groups – brass, woodwind, strings,
piano and a whole universe of percussion
instruments and devices. The resultant music
is impossibly brilliant; evoked by different
shades and densities of an aural patina passed
around various orchestral permutations to
produce a veritable ecosystem of music that is
at once delicate and powerful.
Raul da Gama
Freedom Is Space for the Spirit
Francois Carrier; Michel Lambert; Alexey
Lapin
FMR Records FMRCD425
(fmr-records.com)
!!
The milieu of
spatial freedom can
be noisy. If that were
not so, nothing would
be heard or written
in tabula rasa in
corde suo, “the blank
slate of the heart” so
to speak. Fortunately, where there is sound,
there is also silence, more so in this music
by saxophonist François Carrier, drummer
Michel Lambert and pianist Alexey Lapin.
Each musician leads this performance, which
is surprisingly formed and visceral despite
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suggestions of the formlessness of “Space”
and “Spirit.” Another curiosity in the presentation
is that the music has five distinct
parts (one would have expected a continuous
musical flow); each reaching the gossamer
fragility of the best of free-improvised music.
The music is imbued with a sense of languor
and immediacy and richness in abundance in
saxophone and piano parts.
That’s not to say that textures clot: flecks of
melody flicker in the ear, enticing and disappearing
in a moment; the balancing that
makes that possible is admirable and it has
much to do with the incessant tattoo of the
drummer’s alternately placid and volcanic
intercessions. The musicians’ work comes
off in rather special ways. In Keep Calm,
for instance, the saxophone, caustic and
stark, smacks at the winging, indeterminate
piano and in Nevsky Prospect, drummer
and pianist come up against the saxophonist’s
snarling, nasty layering in the climactic,
dying sections of the piece. Everywhere in the
program, are muscularity and the mystery of
Space and Spirit in abundance.
Raul da Gama
The Rhythm Method
Brian Dickinson Quintet
Addo Records AJR033 (addorecords.com)
!!
The last couple of
decades have seen a
rise in new rhythmic
concepts in jazz,
arguably making it
the area of greatest
creative growth in
the music. Brian
Dickinson, one of Canada’s top pianists and
composers, has delved deeply into this subject
matter in The Rhythm Method. Whether it’s
a compound time signature or an unusual
rhythmic grouping in 4/4 time, Dickinson
has explored some challenging new territory
in the album’s ten tunes. That he has wedded
these concepts with another jazz tradition,
the contrafact, a new melody written over
the chord changes to a standard tune, is a
remarkable achievement.
Open Season starts with an odd time vamp
before settling into 4/4. Dickinson, a pianist
who has thoroughly digested his influences
into a distinctive voice, solos with sophistication,
soul and variety, expertly negotiating
the composition’s twists and turns. Tenor
saxophonist Kelly Jefferson begins patiently,
building into angular lines and inspired
double time. Luis Deniz displays fluidity and
lyricism on alto saxophone over the powerhouse
rhythm section of drummer Ted
Warren and bassist Neil Swainson.
Lennie’s Loonies, the title a play on Lennie
Tristano’s Lennie’s Pennies, uses the chord
changes of You’d Be So Nice to Come Home To
to support a brilliantly convoluted line, played
to perfection by the front line. Swainson
opens with an extraordinarily melodic bass
solo. Jefferson and Dickinson take a cue from
the tune’s melody, breaking up their lines in
unusual ways and incorporating its complex
rhythms into seamless improvisation.
Ted Quinlan
Frontiers
Azar Lawrence; Al McLean; Adrian Vedady;
Paul Shrofel; Greg Ritchie
Cellar Live CL073116 (cellarlive.com)
!!
Frontiers is a
dynamic blowing
session that feels
more like a live set
at a club than a
studio recording.
The spirit of John
Coltrane looms large
here and the front line of tenor saxophonists
Azar Lawrence, a veteran of Elvin Jones’,
McCoy Tyner’s, Woodie Shaw’s and Freddie
Hubbard’s bands, and Al McLean, a stalwart
of Montreal’s jazz scene who is equally
steeped in this deep tradition, more than does
justice to the seven tunes contained here.
The material is a mix of originals and standards.
Lawrence’s Mystic Journey immediately
establishes the vibe with an Elvin
Jones-inspired Afro-Cuban groove from
drummer Greg Ritchie and bassist Adrian
Vedady. The harmonic structure of the
composition, much like several tunes on
the album, has a strong modal feel, leaving
the soloists plenty of room to express themselves.
Lawrence leads off with lines that
move in and out of the harmony effortlessly,
displaying a complete command of post-
Coltrane language with the virtuosity and
musicality to back it up. Pianist Paul Shrofel
plays thematic ideas over the rhythm section’s
broken feel before breaking into hard
swinging improvisation. McLean is equally
adept in this demanding language and solos
with complete assurance and abandon, going
toe to toe with Lawrence.
The 16-minute version of Coltrane’s
Lonnie’s Lament is an appropriate tribute to
the late genius as is McLean’s Get Up, based
loosely on Impressions. This is a feast for the
tenor saxophone and Lawrence and McLean
are clearly enjoying each other’s company.
Ted Quinlan
Dave Young Quintet featuring Renee
Rosnes
Modica Music (modicamusic.com)
L/R
!!
Toronto bassist
Dave Young has
had a distinguished
career, including
duet recordings
with pianists Oscar
Peterson, Kenny
Barron and Cedar
Walton. In recent years, he’s led a fine quintet
reworking classic modernist repertoire,
including compositions by Charles Mingus
and Horace Silver. On One Way Up, the group
includes regulars Kevin Turcotte on trumpet,
Perry White on tenor saxophone and Terry
Clarke on drums, with a special guest, the
Vancouver-raised, New York-based pianist
Renee Rosnes.
This time the group explores hard bop and
post-bop compositions by icons like Walton,
Joe Henderson and Freddie Hubbard as well
as three of Young’s own pieces. This is the
most muscular of jazz idioms (think Blue
Note records of the late 50s to mid-60s),
and the band brings real heft to every tune,
some characterized by anthemic themes and
punchy vamps and ostinatos. As the program
moves along it makes perfect sense for
Turcotte to be spinning long, bright lines on
Hubbard’s Intrepid Fox or White finding the
perfect degree of reflection for Henderson’s
Inner Urge: it’s not imitation, but the original
inspiration is clear in both cases, and there’s
no more apt Canadian choice for any chair in
the band. (It’s also true when regular pianist
Gary Williamson is present.)
The requisite combination of vibrant
subtlety and polished force begins in the
foundations with Young and Clarke, who
often come to the fore, and continues with
Rosnes’ sparkling comping and soloing,
particularly brilliant on Henderson’s
Serenity. Walton’s Holy Land is a hymnlike
piece thoughtfully arranged to include
Young’s somber arco bass and Turcotte’s
elegiac trumpet.
Stuart Broomer
Alexandra Park
Brodie West
Pleasence Records PRO12
(pleasencerecords.com)
!!
Alto saxophonist
Brodie West is a
significant presence
in the Toronto free
jazz and improvised
music communities,
whether leading
his own groups,
like Eucalyptus, or
contributing to Drumheller and the Lena
Allemano Four. He has also established an
international reputation, working with
drummer Han Bennink, the band The Ex and
the great Ethiopian saxophonist Getatchew
Mekurya. Alexandra Park, named for the
Toronto park where West used to practise, is
a solo saxophone LP, a brief but challenging
expedition into West’s sonic world.
The LP begins with a brief tape of West
literally playing in the park, his quiet tones
accompanied by children’s voices and recurring
sounds, perhaps someone shooting
hoops. This soon gives way to close recording
in a studio: brief runs and muffled asides
alternate with long tones, some beginning
as multiphonic split tones, others
gradually developing emphatic overtones.
West produces gentle, flute-like timbres,
80 | March 1, 2017 - April 7, 2017 thewholenote.com

sometimes merging them with suddenly
articulated, hard-edged saxophone notes and
whistling harmonics.
Some may hear this recording as an exploration
in technique, but West’s intent seems
to be very different. Though numerous techniques
are present, this is absolutely human
music, recorded so closely that West’s breath
is an integral part of his saxophone sound; at
times he’s literally mixing his own simultaneous
mouth sounds with the horn. Silence
too, is a significant presence, with the tape
left running in the pauses between episodes.
West reaches his highest level of expression
on Side II, pressing from sustained shakuhachi-like
cries to higher pitches that first
turn to trills, then to multiphonics. It’s as
impassioned as music gets.
Stuart Broomer
Concert note: Brodie West has several
upcoming performances with his group
projects, including a live album recording
with the Brodie West Quintet, March 28 at
the Tranzac Club; Eucalyptus will be in residency
at Hirut Ethiopian Restaurant, 2050
Danforth Ave. Sunday evenings in April.
Sensations of Tone
Ellery Eskelin; Christian Weber; Michael
Griener
Intakt Records CD 276/2017 (intaktrec.ch)
!!
2017 marks the
centenary of jazz
recording, commemorating
the Original
Dixieland Jazz Band’s
Dixieland Jass Band
One-Step and Livery
Stable Blues released
on March 7, 1917. Few
recordings are likely to bridge that century
as imaginatively as Sensations of Tone. New
York-based tenor saxophonist Ellery Eskelin
first worked with bassist Christian Weber and
drummer Michael Griener playing improvised
music on a tour of their native Switzerland.
During their time together the three discovered
a mutual love of early jazz. Five years
later, they’ve amalgamated those interests,
creating a CD that alternates free improvisations
with contemporary interpretations of
classic tunes.
Ellery Eskelin is a brilliant inside-outside
player, as adept at negotiating chord changes
as he is in a free exchange of musical ideas.
He’s the master of a continuously inflected,
speech-like line, reminiscent of Sonny Rollins
in his prime, and in Weber and Griener
he has ideal partners, whether they’re
supporting, challenging or peppering each
other with new data. Together the three
maintain open space and real momentum in
a group dialogue. Leads shift comfortably in
the free improvisations, whether it’s Eskelin
muttering a multiphonic complaint, Weber
delineating a spontaneous melody or Griener
essaying the sonic recesses of his kit.
That conversational principle is just as alive
when they mine the decade between 1922
(China Boy) and 1932 (Moten Swing), with
Jelly Roll Morton’s Shreveport Stomp (1924)
and Fats Waller’s Ain’t Misbehavin’ (1929)
in between. With a playful sense of period
detail, the trio imbues the songs with spontaneous
wit and warmth that recall their
original spirit.
Stuart Broomer
Not This Time
Dog Leg Dilemma
Independent (doglegdilemma.com)
!!
Like the apocryphal
teenager
who asked “Paul
McCartney was in
another group before
Wings?” members of
Toronto-based Dog
Leg Dilemma (DLD)
sound as if they figure
jazz was invented in the 1970s, with touchstones
fusion, John Zorn and Frank Zappa’s
instrumentals. Still, DLD’s core of alto saxophonist
Anthony Argatoff, guitarist Nick
Lavkulik, drummer Noah Sherman and Peter
Bull who plays basses, ancillary instruments
and composed all tunes, are a change from
bands mired in the 1960s. Starting the CD
with This Must Be Why I Came Home with an
ersatz emcee’s comments leading into a jazzrock
polka also shows a sense of self-deprecating
fun.
DLD creates foot-tapping sounds featuring
drum smacks and tough guitar chops
approaching punk-rock stamina. But an
outstanding group must transcend its influences.
With no tone flattened or torqued,
sentiment is obvious, but passion is missing.
On a track like Part One – Are You Sure
about This Argatoff squeezes out plumy notes
harmonized with Lavkulik’s framing strums,
but the effect is like hearing an overwrought
crooner. However Equestrian Playtime
gallops along with a Latin-tinged guitar solo
and violinist Natalie Wong overdubbed into a
string section. Although its allegiances are as
noticeable as if tattooed on the musicians, the
flexibility obvious in Roll with the Hunches
makes it more notable. Melding licks from
Zappa’s Peaches en Regalia, a Good King
Wenceslas quote, a rumbling bass line, violin
sweeps and reed honks, it demonstrates how
DLD could up its game. DLD has a leg up on
creating original statements, but more originality
and discipline are needed. Not This Time
perhaps, but maybe the next.
Ken Waxman
Live in Texas
Sandy Ewen; Damon Smith; Weasel Walter
Balance Point Acoustics BPALTD-808
(balancepointacoustics.bandcamp.com)
!!
Set up like a rock power trio, this 73-minute
extravaganza features a guitar, bass and
drums lineup, but offers more than rhythmic
formulae. Not that
there isn’t musical
strength expressed.
Houston-based Sandy
Ewen, who plays
guitar and objects on
the CD, grew up in
Oshawa and seems
able to transfer some of the noisy industrialization
from that city’s auto plants into
powerful crackles and flanges. Like an up-todate
assembly line however, despite emphatic
knob-twisting and string-snapping each tune
moves resolutely forward.
As attuned to the dual demands of rock
and jazz as any General Motors technician
who moves between the car and truck lines
would be up-to-date in his field, Ewen’s associates
lock into the groove as handily as a
car body is bolted to a chassis. Percussionist
Weasel Walter and Damon Smith, who
plays double bass and seven-string electric
upright, don’t stint when it comes to placemarking,
suturing the beat as carefully as if
rolling a vehicle off the factory floor. At the
same time, tracks like NMASS 3 and Avant
Garden 1 find the drummer downplaying
rather than pounding the beat so as not to
obliterate the others’ solos. As for Smith, his
string command is such that during NMASS 1,
the buzzy bass line advances with the thrust
of a souped-up hot rod to eventually handle
as smoothly as a sports car. Smith also bows
so delicately that he could be playing in a
chamber recital. Just as you can’t tell how a
car operates by examining its trim and paint
job, Ewen/Smith/Walter take guitar-bassdrum
sounds to places you wouldn’t imagine.
Ken Waxman
POT POURRI
Na Eira
Marito Marques
Independent (maritomarques.com)
L/R
!!
We are oh so
very lucky to have
the Portugueseborn
percussionist/
composer/producer/
arranger Marito
Marques residing in
Toronto now. If you
can’t catch him live, his multifaceted talents
are showcased on this, his third CD release.
His musical sensitivity shines throughout this
jazz/pop/PALOP roots music project which
features a plethora of 15 international and
local world-class performers playing at their
very best.
Marques’ most striking talent is his ability
to adjust his performance depending on the
context. In Dia Chuvoso, his funky rhythms
and continuous driving spirit timekeeping
are in the forefront yet never overpower the
sing-along vocals and instrumentals from
the band members. In contrast, the slower
thewholenote.com March 1, 2017 - April 7, 2017 | 81

allad-like Rosa features the versatile soaring
vocal lines of Senegalese Woz Kaly beside
sensitive accordion lines by João Frade while
Marques, acoustic guitarist Munir Hossn and
bassist Rich Brown provide a subtle backdrop.
The aptly titled Bird’s Shadow features
flutist Jorge Pardo on rapid warbling lines,
held notes and wind duets with accordion,
with Marques’ busy drums, percussion and
programming setting the mood. Ernie Tollar’s
superb bansuri playing is featured in the title
track while vocalist/lyricist Yvette Tollar sets
the upbeat mood in the more pop/jazz standard-flavoured
Scábias.
There is never a dull moment as Na Eira
(“the threshing floor”), with artists too many
to mention, weave together the traditional
with the contemporary, the popular with
the folk to create a truly unique listening
experience.
Tiina Kiik
Concert note: The Marito Marques Quintet
performs at The Rex Hotel on March 4.
Natural Conclusion
Rose Cousins
Old Farm Pony Records OFPR021
(rosecousins.com)
!!
I first heard
Halifax-based, singersongwriter
Rose
Cousins live at a café
in Vancouver (my
then home), almost
nine years ago. I’d
discovered her two
days earlier, listening
to a CBC Radio broadcast of a concert that had
been recorded in Halifax a month before. As
I tuned in, I caught this soul-searing voice,
mid-song. “Who IS that?” I shouted at the
radio. When her name was announced, I
immediately googled it, and found out that
Cousins was scheduled to play at this café two
days later. Talk about timing!
Since then, Cousins has garnered international
accolades, won several East Coast
Music and Canadian Folk Music awards and
a JUNO, and released a variety of CDs and
singles. Natural Conclusion, her fourth and
latest, full-length album, is a real stunner!
Each track displays Cousins’ gifts as a storyteller.
Achingly beautiful lyrics are perfectly
paired with the emotional intensity of her
music. And then there’s her striking voice
that simply will transport you.
Freedom is an evocative take on letting go,
knowing it comes with loss and heartbreak.
Cousins calls it a “wreckoning.” White Flag
and Lock and Key might make you cry – a
common reaction to much of her affecting
work. Cousins’ response to the teary-eyed?
“You’re welcome.”
Rose Cousins is the real McCoy: a songwriter’s
songwriter; an open-hearted troubadour;
a gracious collaborator who consistently
works with some of the best in the biz.
Natural Conclusion is testament to all that. A
truly authentic voice, this rose is on the rise!
Sharna Searle
Something in the Air
Slovenia – of All Places – Continues Its Long Jazz Tradition
Perhaps now unfairly best known as the
birthplace of Donald Trump’s most
recent wife, Slovenia, the northern-most
country of the former Yugoslavia, abutting
Austria, Italy and Hungary, is a stable member
of the European Union. Plus this tiny country,
whose population of slightly more than two
million is less than that of the city of Toronto,
has long had an affiliation with the arts, especially improvised music.
In fact, one of Slovenia’s jazz festival’s is 55 years old this year, making
Canadian efforts seem like Johnny-come-latelies. Although better
known in Europe than North America, several Slovenian players are
also making their presence felt internationally.
Veteran percussionist Zlatko Kaučič has, in his 40-year career,
worked with everyone from Evan Parker to Paul Bley, playing in aggregations
ranging from duos to big bands. He provides the underpinning
for a live program on Il Sogno Di Una Cosa (Caligola 2213 caligola.
it), in the company of Spanish saxophonist Javier Girotto and two
Italians, pianist Bruno Cesselli and flutist Massimo De Mattia. With
Italy so close, such cross-border collaborations are the norm rather
than unique and, like Italian pasta complemented by Slovenian wine,
the drummer’s accents help the others create a palatable repast.
With all tunes composed by the quartet members, the horn players’
Mediterranean sensibility gives many melodies a sunny lightness. The
dance-like sensibility is especially noticeable on Il sogno di una cosa,
where Cesselli’s staccato chording and the drummer’s patterned rolls
elasticize the peppy theme at the same time as Girotto’s soprano saxophone’s
split tones break it at points. Tremolo piano lines create an
extension midway between nursery rhyme and natural swing which
De Mattia ornaments with pneumatic peeps. Kaučič enlivens De
Mattia’s bass-register flute variations on Truth and Death, with its
echoes of Ornette Coleman’s Lonely Woman, by regularizing the beat
via mallets and kettle drum suggestions. Meanwhile the concluding
Reflettiva, a Kaučič composition, cements and echoes moods
KEN WAXMAN
expressed throughout the concert, aided by balanced puffs from the
flutist and saxophonist. In contrast jagged flute calisthenics and a
snorting ostinato from Girotto on Cerca cibo finds each player striving
to bond musical atoms into a single tune that miraculously ends up
swinging. Julijske barve, the drummer’s other composition, is also the
most expansive, mixing hard keyboard stresses from Cesselli, percussion
smacks and pops, a parallel flute exposition that coats the theme
like a boot spray, and most spectacularly the saxophonist’s solo which
moves from disruptive triple tonguing at the top to doubling back
onto exposition, expressing reflective harmonies by the end.
A younger percussionist following Kaučič’s
breadth of expression is Marko Lasič. His
groove, refined with cymbal slaps, maracaslike
shakes and positioned clatters defines
the bottom of the eight-part The Labour
Suite (giovannimaier.it). Composed by and
directed by Italian bassist Giovanni Maier,
who often works with Kaučič, he and the
other members of the Kača, Sraka in Lev Quintet – cornetist Gabriele
Cancelli, bass clarinetist Mimo Cogliandro and flutist Paolo Pascolo –
display sophisticated jazz smarts while confirming the advantage of
equitable cross-border creation. Built up from the bassist’s droning
ostinato and drummer’s pops and smacks, the narrative soon surges
into a pumping stop-time theme that allows each of the musicianworkers
to demonstrate his contribution to the means of production.
Transforming assembly-line precision into faultless swing which
makes the group sound larger than it is, Cancelli’s clear grace notes
and Cogliandro’s elastic triple tonguing create a contrapuntal proletarian
challenge to Pascolo’s upper management-like penthouse twitters.
With Maier’s walking bass sometimes doubling the horn players’
exposition, the suite reaches its climax on The Labour Suite part #5
and The Labour Suite part #6 as the musicians join for a cohesively
layered improvisation, with flute peeps on top, plunger excavations
82 | March 1, 2017 - April 7, 2017 thewholenote.com

from the cornet in the middle and ratcheting vibrations from the
bass clarinet on the bottom. Coupling and splintering into duos and
trios with amoeba-like intensity, the matches between various instruments
are finally curtailed and the prevailing theme reasserted by
Maier’s slurred fingering with Lasič’s rebounding strokes seconding
him. Like a play’s cast taking their bows, each soloist then illustrates
his sonic talents as a coda, with each speciality backed by drum
double thumping.
Dre Hocevar, another Slovenian percussionist,
takes group music in another
direction. Established in New York, his
Transcendental Within the Sphere of
Indivisible Remainder (Clean Feed CF 393 CD
cleanfeed-records.com), played by a mixed
European-North American nonet is a composition
that mixes jazz elements via the saxophones
of Bryan Qu and Mette Rasmussen and
Aaron Larson Tevis’ trumpet, notated music suggestions via pianist
Jeremy Corren, cellist Lester St. Louis and bassist Henry Fraser, plus
upfront judder and drones sourced from Zack Clarke’s synthesizer
and Sam Pluta’s live electronics and signal processing. During its 48
minutes the polyphonic piece could be an offspring of John Coltrane’s
Ascension and Karlheinz Stockhausen’s Electronic Studies. Although
blurry electronic gurgles dominate the initial sequence, the processing
gradually makes room for hunt-and-peck pianism and Tevis’ grace
notes and reed squeals. From that point, like parallel props needed to
shore up a house, the composition shows disparate faces at different
times. At one junction the rubbing staccato strings and ghostly vibrations
from the horns put the track firmly in free jazz territory; shortly
afterwards watery growls and oscillated grumbles celebrate the rise
of electronic pulses. Throughout, Hocevar uses his cymbal resonation
as a sort of J. Arthur Rank-like place marker, keeping the multiphonic
interaction from becoming so opaque that all players can be heard.
With each musician given space, the composition is never overloaded
enough to slide into any one genre. Eventually the thickened brew
reaches its simmering climax and in the final sequence downshifts
tacitly so that reed whines, computer gulps and a string ostinato have
the same weight and bond. The composer’s single cymbal clap, like a
period at the end of a sentence, confirms the conclusion.
Despite appearances, all Slovenian improvisers
aren’t drummers. Another player with
an international profile is guitarist Samo
Salamon, whose most recent CD is a chamberstyled
duo with Italian pianist Stefano
Battaglia. Although titled windS (Klopotec
Records IZK CD 03 samosalamon.com), the
effect is distinctively percussive not airy, with
Battaglia’s stopped vibraphone-like key strokes creating a juddering
continuum on top of which Salamon and Battaglia intersect with variants
that range from romantic to rugged. This is especially notable on
Hammer where the excitement level rises as the pianist’s pummelling
pops, following an emotional single-string solo from the guitarist.
This same sort of wispy invention is present on Girl with a Nicotine
Kiss as Battaglia’s elaborations are melded with vocalized single notes
from Salamon. Moving through echoing chords from both string sets,
the CD attains its climax with the concluding Sleepy Burja. Here,
wavering whistles from both instruments suggest the sort of wind
rustling that the set celebrates.
Of course, Slovenia isn’t the only part of
the former Yugoslavia with innovative musicians.
For the past several years Serbian
violist Szilárd Mezei has had his compositions
played by different-sized local ensembles,
whose nucleus is the Septet featured
on CET (Odradek Records ODR CD 506
odradek-records.com). A member of Serbia’s
Hungarian minority, his seven compositions here are infectious,
hummable and rhythmically sophisticated, with room for cerebral
solos, yet with themes that allow the entire band to function as
one. A composition like the diagram-titled second track for instance
moves from Magyar intonation to a Middle Eastern melody, working
through Máté Pozsár’s piano vibrations to Branislav Aksin’s trombone
tones, climaxing in tutti cross-fertilization with echoes of the
earlier themes. Modern influences aren’t far from the surface either.
For example, the chirpy almost whistleable melody that characterizes
the title track encompassing bellicose counterpoint between
strings and horns could be a theme from a cop show that becomes a
hit song on its own. Mezei’s fiddle taps, contrasting with the trombonist’s
pushes and growling bass clarinet from Bogdan Rankovič,
bring the same sort of private eye-like toughness to Hep 10. The violist
also manages to replicate the equivalent of an elephant fitting into a
kids’ wading pool by shrinking symphonic traditions into this unit.
Tracks such as None Step and Elm convey clear usage of 19th-century
traditions from so-called classical music. But nothing is that simple
since Elm adds double bass strokes, tremolo piano fills and swinging
percussion rattles that surge beneath a keening altissimo showcase for
Rankovič’s alto saxophone. Subtitled Hommage à Mal Waldron, None
Step incongruously incorporates obvious romantic-era references with
arco echoes from Ervin Malina’s double bass while advancing the tune
in tonal variations. Finally a combination of Pozár’s rugged comping
and Mezei’s brittle strokes resurrect the initial theme with hints of
Waldron’s boppish toughness.
Over the past few decades many parts of the former Yugoslavia have
suffered from military incursions and political instability. While the
first groups mentioned here substantiate the notion that Slovenia’s
stability helps promote stimulating musical sounds, paradoxically
Mezei’s work does the same for more rambunctious Serbia.
Order today at
ensemblelacigale.ca
Sara Lackie, harp; Madeleine Owen, theorbo & lute; Marie-Laurence
Primeau, viola da gamba; Vincent Lauzer, recorders; Sari Tsuji, violin
thewholenote.com March 1, 2017 - April 7, 2017 | 83

Old Wine, New Bottles | Fine Old Recordings Re-Released
The International Classical Music Awards
(which replaced the Cannes Classical
Awards in 2011), a European organization
with a jury of 16 professional music
critics from 14 countries including Russia,
this year gave an award to a set of CDs simply
called Maureen Forrester and issued by
Audite (audite 21.437 3 CDs). We thought of
this Canadian contralto mainly as a Mahler
interpreter, as did Bruno Walter, but there was much more to her
repertoire. We remember her as the witch in Hansel and Gretel,
in Dialogues des Carmelites and others but she also sang lieder as
this collections affirms. Her accompanists were Hertha Klust, Felix
Schroeder and the legendary Michael Raucheisen who did much more
than accompany: he tutored.
There are songs and cycles by Brahms, Britten, Haydn, Carl Loewe,
Mahler, Poulenc, Schubert, Schumann, Wagner, Johann Wolfgang
Franck and Barber, among others. The mono recordings were made in
Berlin during 1955, 1958, 1960 and 1963. Most gratifying is the opportunity
of hearing and appreciating the purity of her younger voice. It
really does bring a smile to your face. Clearly, Forrester was the best of
the best. These discs document this.
In 1955 the music world was falling all over itself in admiration of
the recently emerged Russian pianist Emil Gilels who countered with
“Wait till you hear Richter.” We certainly did hear Richter and through
the 1950s and the1960s many other musicians, instrumentalists and
singers newly arrived from the Soviet Union. Two such masters were
violinist David Oistrakh and cellist Mstislav Rostropovich.
Oistrakh (1908-1974) was one of the many great violinists from
Odessa. He was renowned in his own country but only after WWII
was he allowed to travel outside the Soviet Union, giving his first
concert in Helsinki in 1949. He was permitted to visit the United
States in 1955 and was lionized worldwide.
All Oistrakh recordings for DG, Decca and
Philips are contained in The David Oistrakh
Edition, a collection that also includes the
treasured Westminster discs licensed from
Melodiya (DG 4796580, 22 CDs, 70-page
booklet). Assisting artists include Igor
Oistrakh, Frida Bauer, Lev Oborin and
Vladimir Yampolsky (pianists), Sviatoslav
Knushevitsky (cello) and Hans Pischner
(harpsichord). Conductors are Eugene Goossens, Bernard Haitink,
Paul Hindemith, Jascha Horenstein, Dmitry Kabalevsky, Kirill
Kondrashin, Franz Konwitschny and Gavril Yudin. The works for two
violins find the two Oistrakhs, father and son, playing together; works
by Bach, Vivaldi, Mozart, Sarasate and Wieniawski, and in Vivaldi’s
Concerto Op.3 No.8, which David also conducts. From 1962 there are
the complete Violin Sonatas of Beethoven with Lev Oborin recorded
in Paris, formerly released by Philips. The Stravinsky Violin Concerto
and the Mozart B-flat Major K207 were recorded there the next year
with Bernard Haitink conducting the Lamoureux Orchestra. This is
not a collection of the usual works by the usual composers to be found
endlessly duplicated in omnibus packages. There are some favourites
but many pieces may be fresh and in these hands, quite engaging.
Many musicians, mainly violinists, still hold Oistrakh, all qualities
considered, as the greatest master of his instrument. It is easy to hear
and know why. Complete contents at arkivmusic.com.
Rostropovich’s story is somewhat different. Born in Baku,
Azerbaijan SSR in1927, at the age of four he began learning piano
with his mother and a few years later he began studying cello with
BRUCE SURTEES
his father. In 1943 the family moved to Moscow and he entered the
Moscow Conservatory studying cello, conducting and composing.
One of his teachers was Dmitri Shostakovich. He graduated in 1948
and became a professor of cello there in 1956. He did rather well and
composers Prokofiev and Shostakovich dedicated major works to him.
He made recordings for Melodiya and some of those were issued in
North America by the new and flourishing label, Westminster. The
performances were so strikingly powerful that when he debuted in the
West he was eagerly awaited. His first concert was at the Conservatoire
in Liège in 1963 in association with conductor Kirill Kondrashin.
When the word got out his international career took off. Kondrashin
himself had achieved international recognition in the West in 1958,
conducting for Van Cliburn’s First Prize in the First International
Tchaikovsky Competition in Moscow and later on tour together. Soon
audiences around the world were lining up to see and hear that cellist
with the big sound, Mstislav Rostropovich.
All the recordings that he made for
DG, Decca and Philips are in Mstislav
Rostropovich complete recordings on
Deutsche Grammophon plus the Russian
Melodiya discs that were issued by
Westminster (DG 4796789, 37 CDs, 72-page
booklet). It is not possible to list all the extraordinary
performances gathered here but
there are some timeless performances, newly
remastered: the Beethoven String Trios with Anne-Sophie Mutter and
Bruno Giuranna; Beethoven’s Five Cello Sonatas with Richter; the
two Brahms Cello Sonatas with Rudolf Serkin; conducting Schumann
and Chopin Second Concertos with Argerich and the National
Symphony Orchestra; Dvořák’s Cello Concerto and Tchaikovsky
Rococo Variations with Karajan and the BPO; Rachmaninoff, Glinka,
Mussorgsky, Tchaikovsky and Prokofiev songs as pianist with Galina
Vishnevskaya. And finally, lest this begins to resemble a laundry list,
three different performances of the heavenly Schubert String Quintet
in C Major D956: with the Taneyev Quartet, Leningrad, 1963; with the
Melos Quartet, Zurich, 1977 and with the Emerson Quartet, Speyer,
1990. Each performance is better than the other two. Again, check
arkivmusic.com for complete contents.
For over half a century serious collectors
have sought out recordings by the late
Yevgeny Mravinsky (1903-1988) conducting
the Leningrad Philharmonic Orchestra.
It didn’t matter the repertoire, just seeing
Mravinsky on the record cover was usually
all that mattered. We heard them here In
November 1973 when they played Toronto’s
Massey Hall to overwhelming success, in spite
of an organized protest. Profil has launched a Yevgeny Mravinsky
Edition with Volume 1 containing a cross-section of the issued recordings
from Haydn to Shostakovich (PH15000, 6 CDs). This is at least
the third label to have such a collection. BMG’s collection amounted
to only 20 CDs, Erato managed to issue 10 CDs. This new edition
contains Tchaikovsky’s Fourth, Fifth and Sixth, Haydn 101, Mozart 39,
Shostakovich 12, Debussy’s La Mer and two Nocturnes and Ravel’s
Boléro and Pavane pour une infante défunte. In complete editions of
any artist or ensemble, correct recording dates are important. Unless
my records are in error, there are three entries new to these former
collections: the Brahms Second and the Tchaikovsky First Concertos
with Richter from May 14, 1951, and July 24, 1959, and a Shostakovich
Sixth from 1946.
84 | March 1, 2017 - April 7, 2017 thewholenote.com

KOERNER HALL IS:
“
A beautiful space for music “
THE GLOBE AND MAIL
Alina Ibragimova and
Cédric Tiberghien Duo
frIDAY, mArCH 31, 8pm
prE-CONCErT CHAT WITH rICK pHILLIpS 7:15pm
KOErNEr HALL
Tickets start at only $35
Ibragimova and pianist Cédric Tiberghien perform
sonatas by Bach, Brahms, and Schumann, as well
as Six Melodies by John Cage.
Generously supported by David G. Broadhurst
Presented in association with
the Consulat Général de France à Toronto.
Jason Moran and
The Bandwagon &
Alexander Brown Trio
SATurDAY, AprIL 1, 8pm KOErNEr HALL
Tickets start at only $40
“Moran is like no other pianist at work. His
improvisations are dynamic, eruptive, keyed to
the compositions at hand.” (Village Voice)
Alexander Brown’s music mingles classical, rhythm
& blues, hip-hop, Afro-Caribbean, and Brazilian styles.
“Brown can play!” (DownBeat)
Anton Nel
SuNDAY, AprIL 2, 2pm
mAZZOLENI CONCErT HALL
Free (Ticket Required)
pianist Nel, who has a “rare ability to lift
music off the page and into the hearts and
minds of his listeners,” (La Scena Musicale)
will perform works by mozart and Schumann.
Generously supported by Dorothy Cohen Shoichet
Bramwell Tovey conducts
the Royal Conservatory
Orchestra with
Jennifer Murphy, violin
frIDAY, AprIL 7, 8pm / prELuDE rECITAL 6:45pm
KOErNEr HALL
Tickets start at only $25
Bramwell Tovey conducts the rCO and violinist
Jennifer murphy in a performance of Korngold’s
Violin Concerto in D major, Kelly-marie murphy’s
A Thousand Natural Shocks, and richard Strauss’s
Ein Heldenleben.
Part of the Temerty Orchestral Program
Generously Supported by Leslie and Anna Dan
Rebanks Family Fellowship Concert
WEDNESDAY, AprIL 12, 7:30pm mAZZOLENI CONCErT HALL
Free (ticket required)
Hear artists on the cusp of major careers. These concerts feature solo and chamber works
performed by Rebanks Fellows currently enrolled in the one-year Rebanks Family Fellowship
and International Performance Residency Program at The Glenn Gould School.
Presented with the generous support of the Rebanks Family
and The W. Garfield Weston Foundation
Les Violons du Roy
with Philippe Jaroussky
THurSDAY, AprIL 13, 8pm mAZZOLENI CONCErT HALL
Tickets start at only $40
Québec City’s chamber orchestra and resident ensemble at the Palais Montcalm, will be
conducted by Mathieu Lussier and joined by the ethereal, sensuously beautiful voice of
extraordinary French countertenor Philippe Jaroussky for a program of Baroque works
by Händel, Bach, Fux, and Graun.
Generously supported by by David G. Broadhurst
TICKETS & ROYAL SUBSCRIPTIONS ON SALE NOW! 416.408.0208 www.performance.rcmusic.ca
273 BLOOR STREET WEST
(BLOOR 237 BLOOr ST. & AVENUE STrEET RD.) WEST
TORONTO (BLOOr ST. & AVENuE rD.) TOrONTO

CBC Radio Two: The Living Legacy
continued from page 10
Recording Arts and Sciences (CARAS), convinced CARAS
that the category was needed to more completely represent
the spectrum of music in Canada. Deborah MacCallum,
hired by Harold Redekopp as manager of CBC Records
in 1985, and Norman Miller of CBS Records Canada were
the primary voices pushing for the creation of this new
category. MacCallum told me that Daisy Falle, president of
CARAS, wanted assurance that the category was sustainable.
MacCallum needed only to point out the collaboration
between Two New Hours and Centrediscs as evidence
that the production of contemporary Canadian repertoire
had increased and that this had strengthened the storehouse
of recordings in this category. Interestingly enough, the
very first JUNO for Classical Composition, awarded in 1987,
went to the late Malcolm Forsyth, for his orchestral work,
Atayoskewin, on CBC Records.
Centrediscs recordings continued to garner nominations
in the new classical composition category, year after
year. It wasn’t until 1991 that the CMC’s label would actually
win a JUNO when Schafer Five, the Orford String Quartet
performing five string quartets by Murray Schafer won not
one, but two JUNOS: Best Canadian Classical Composition
for Schafer’s String Quartet No. 5, and also Best Canadian
Chamber Music recording for the set of five Schafer quartets.
It was a rewarding way to finally break into the winners’
circle! And in fact, in this case, the recording was independently
produced by the CMC, as the collaborative arrangement
with CBC Radio Music had by then expired. Nonetheless, it
was the same team, but working outside the CBC, of David
“Stretch” Quinney and me who delivered the finished master
to the CMC.
Another of my independent productions for Centrediscs
won the Best Classical Composition JUNO in 2011, and
this time it was another Schafer work, his Duo for Violin
and Piano, in a recording with Duo Concertante, the husband and
wife team of Nancy Dahn, violin, and Timothy Steeves, piano. The
recording was produced at Glenn Gould Studio with engineer Dennis
Patterson. In fact it was Schafer’s fourth JUNO in the Best Classical
Composition category and his fifth overall. Schafer has won the most
JUNOS to date in the classical composition category.
Centrediscs’ most recent JUNO came in 2012, when Patterson and
I recorded the St. Lawrence String Quartet during their 20th anniversary
tour. To celebrate the anniversary, the St. Lawrence commissioned
five Canadian composers from different regions of Canada to
create five new quartets which constituted their 2012 touring program.
The live recording, made at the University of Toronto for broadcast on
CBC Radio 2’s Sunday afternoon network classical music program, In
Concert, was leased by Centrediscs from the CBC and mastered for CD
release. Of the five newly commissioned string quartets, it was Nova
Scotia composer Derek Charke’s Sepia Fragments that won the Best
Classical Composition JUNO.
In a curious coincidence harkening back to 1987, when CBC’s
Deborah MacCallum and CBS’ Norman Miller championed the addition
of the Best Classical Composition category, another classical
category was also added that year: that of Best Classical Recording,
Vocal or Choral. These two additions 30 years ago made it possible
for Dark Star Requiem, by composer Andrew Staniland and poet
Jill Battson to earn nominations in both those categories in 2017.
Commissioned by the Luminato Festival and Tapestry New Opera, it
premiered at the Luminato festival in 2010 at Koerner Hall, Toronto.
Recording Engineer Steve Sweeney and I recorded Dark Star Requiem
for broadcast on CBC Radio 2’s The Signal. The CMC subsequently
leased the master from CBC Radio Archives for release on Centrediscs.
Composer Staniland explains the piece as follows: “Jill and I had the
very best of circumstances to develop this work: take four incredible
(above) Christos Hatzis
(right) Andrew Staniland
singers (Neema Bickersteth, Krisztina Szabó, Peter McGillivray, Marcus
Nance), Canada’s foremost chamber ensemble, The Gryphon Trio,
the legendary Elmer Iseler Singers, and percussionists Ryan Scott and
Mark Duggan. Add a lengthy and meticulous development process
spearheaded by Tapestry New Opera, and a premiere that would open
Luminato, a world-class international festival. Such a constellation
of circumstances is quite special. I am thrilled to be able to share this
remarkable live recording through this release on Centrediscs.
“Dark Star Requiem is in every way my most ambitious artistic
endeavour to date. It is at once intended to be challenging and
joyous, complex and beautiful. A sequence of 19 poems charting
a short history of HIV/AIDS unfolds over the course of 14 movements.
The poems vary stylistically from linked haikus, to ghazals,
to praise poems and back to free verse. The musical movements are
unified through a haunting melody and driving rhythm derived
from the numbers attributed to HIV-1 and HIV-2 by the International
Committee on Taxonomy of Viruses: 00.061.1.06.009. and
00.061.1.06.010. In musical terms these numbers are interpreted in
both melody and rhythm.
“It is difficult, from an artistic point of view, to approach a subject
as multifaceted as AIDS with its myriad attendant themes including
disinformation, illness, death, infection, sexual and social taboos,
colonialism, fear and guilt – and still maintain a message of hope.
My and Jill’s hope is that after listening to Dark Star Requiem you
will leave inspired to contribute to the fight against AIDS in your
own way. AIDS, despite outliving its own media fatigue, has killed
over 25 million people. Forty million people worldwide live with the
disease today.”
David Jaeger is a composer, producer and
broadcaster based in Toronto.
BO HUANG GREG LOCKE
86 | March 1, 2017 - April 7, 2017 thewholenote.com

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