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Here is an Acrobat PDF Web version of the February 2009 issue of WholeNote Magazine,
covering the period February 1 through March 7, 2009. This Web version contains the entire
magazine, including all advertisements. Our special feature this month – our annual Summer
Music Education Directory – is Web-based this year, and is accessible here. This Directory
provides detailed descriptions of 13 summer music opportunities — camps, schools, festivals,
workshops.
You may view our magazine using the Bookmarks at the left of your screen as a guide. Click on a
Bookmark to go to the desired page. Where you see a “+” sign, click on it and you will find sub-topics
underneath.
Be sure to visit our expanded WholeNote MarketPlace advertising feature on pages 47 and 54.
For another view of the magazine you may click on the Pages tab at the left for a thumbnail view of
each individual page. When you click on the thumbnail that full page will open.
Readers are reminded that concert venues, dates and times sometimes change from those shown in
our Listings or in advertisements. Please check with the concert presenters for up-to-date information,
or visit the listings on our main website for updates.
David Perlman, Editor
F EBRUARY 1 - M ARCH 7 2009
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February 21 at 7:30pm
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Midori, violin
Borodin: In the Steppes of Central Asia (Feb 18 & 19 only)
Shostakovich: Violin Concerto No. 1
Schumann: Symphony No. 1 “Spring”
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The Damnation of Faust
Charles Dutoit, conductor
Susanne Mentzer, mezzo-soprano (Marguerite)
Gregory Kunde, tenor (Faust)
Sir Willard White, bass-baritone (Mephistopheles)
Jonathan Lemalu, bass-baritone (Brander)
Toronto Mendelssohn Choir
Toronto Children’s Chorus
Berlioz: The Damnation of Faust
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Volume 14 #5: February 1 - March 7, 2009
06
07
10
EDITOR’S OPENER: Keeps rainin’ all the time David Perlman
COVER STORY: Our National Dett Colin Eatock
FEATURE: The Jazz Journey of Sheila Jordan Ori Dagan
BEAT BY BEAT (The Live Music Scene)
14
QuodLibet Allan Pulker
16
In with the New Jason van Eyk
18
Early Music Frank Nakashima
Choral Scene mJ buell
19
21
World View Karen Ages
22
Jazz Notes Jim Galloway
23
Jazz in the Clubs Ori Dagan
23
Band Stands and Podiums Jack MacQuarrie
25
On Opera Christopher Hoile
26
Opera at Home Phil Ehrensaft
CALENDAR (Live Music Listings)
28-41 Section 1: Concerts: Toronto & GTA
41-44 Section 2: Concerts: Beyond the GTA
44-45 Section 3: Jazz in the Clubs (listings)
45-46 Section 4: Announcements, Lectures, Workshops, ... Etcetera
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MUSICAL LIFE
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A Choral Life Q & A: Karen Burke mJ buell
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CONTEST: We Are All Music’s Children mJ buell
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Bookshelf Pamela Margles
51
MusEd Musings: Summer and Beyond Nick Torti
Matthew White
Suzie LeBlanc
Catherine Webster
Charles Daniels
Colin Balzer
Sumner Thompson
DISCOVERIES - Records Reviewed
55
Editor’s Corner David Olds
56
Vocal
56
Early, Classical and Beyond
Modern and Contemporary
57
59
Jazz and Improvised Music
61
Pot Pourri - Extended Play
62
Old Wine in New Bottles Bruce Surtees
Carnival is the world turned upside down,
the poor disguised as the rich, the rich
slumming it, fake priests and bawdy nuns,
women dressed as men, men being
walked by dogs dressed as men, and so
on in an interminable, almost mad jumble.
OTHER ELEMENTS
06
Contact Information and Deadlines
27
Index of Advertisers
47
WholeNote MarketPlace (1)
Classified Ads
49
54
WholeNote MarketPlace (2)
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IN THIS ISSUE
AT M AC L A S S I Q U E . C O M
Select ATMA titles now on sale
JAZZ, JOY & JUSTICE: SHEILA JORDAN
Page 10
SUMMER MUSIC EDUCATION
Pages 51-54
FEBRUARY’S CHILD ...
Page 48
5
FOR OPENERS
Keeps rainin’ all the time
It’s going to be a year of significant challenges for lots of us in the arts
community. (Notice, please, that I used the word “us” when I said arts community.
WholeNote magazine may not be arts or culture in the way the Arts Councils use
the words. But if phrases like labour of love and precariousness of livelihood are
part and parcel of your notion of community arts, then count us among your fellow
arts workers.) Now, where was I? Oh yes, significant challenges.
First, it is going to be a challenge to remain confident. “It’s not raining right now,
but they say there’s this huge storm about to break. So, better hunker down. Do
less. Give less. Save for that rainy day.”
Ever notice that they – i.e. the experts –have jobs, ... being experts. So they think the storm hasn’t hit yet. Well I have
some news for them. Down here, in community arts land, it’s raining already! In fact, in community arts land, as the song
says, it keeps rainin’ all the time.
So to those of you, hand in pocket, weighing up whether to give or save for a rainy day, I say give! In community arts
land , stormy economic times are good planting weather.
An even bigger challenge for the arts in these times is how to avoid becoming the whipping boy for ugly spirited governments
like some of the ones we tend to get. You know the scenario: “Of course we can still find money for the Canada Council so
they can give it to some artist to make a meat dress and then film it as it turns maggoty. We’ll just take the money from the
local food bank.” And zap! there we are again. The arts and culture scapegoat prancing around in the rain with a public opinion
lightning rod tied to our tail.
Well, to those of you getting ready to launch a thunderbolt’s worth of righteous indignation if government dares to
spend on “frills” in these times of uncertainty, I say give it a rest!
In community arts we make a dollar go further than any other sector of the economy. (I have experts to prove it!)
Because when it rains we fill our barrels with hope.
Want to know who “we” are? Take a walk through our listings pages and see. And then, take your hands out of your
pockets, with cash in them, and head on out! Now’s the time to keep local music alive.
David Perlman, editor
[email protected]
Main Telephone: 416-323-2232
THE TORONTO CONCERT-GOER’S GUIDE
Volume 14 #5, February 1 - March 7, 2009
Copyright © 2008/2009 WholeNote Media, Inc.
720 Bathurst St, Suite 503, Toronto ON M5S 2R4
Thanks to this month’s contributors
Beat by Beat:
Early – Frank Nakashima
QuodLibet – Allan Pulker
World – Karen Ages
Orchestra and Band – Jack MacQuarrie
Opera and Music Theatre
Christopher Hoile, Phil Ehrensaft
Choral – mJ buell
Musical Life – mJ buell
Books – Pamela Margles
Publisher: Allan Pulker – [email protected]
Editor: David Perlman – [email protected]
Editorial assistant: Nick Torti –
[email protected]
CD Editor: David Olds – [email protected]
Event advertising/membership:
Karen Ages – [email protected]
UPCOMING DATES AND DEADLINES
Next issue is Volume 14 #6
covering March 1 - April 7, 2009
Free Event Listings Deadline:
6pm Sunday February 15
Display Ad Reservations Deadline:
6pm Friday February 13
Advertising Materials Due:
6pm Tuesday February 17
Publication Date:
Friday February 27
Production liaison/retail &
educational advertising:
Jack Buell – [email protected]
WholeNote Media Inc. accepts no responsibility or liability
for claims made for any product or service reported on or
advertised in this issue.
Classified Advertising; Announcements, Etc:
Simone Desilets – [email protected]
Circulation Statement,
February 2009: 30,000 printed and distributed
CD Reviewers: Karen Ages, Ori Dagan, Seth Estrin,
Daniel Foley, Jim Galloway, Janos Gardonyi,
John S. Gray, Richard Haskell, Pamela Margles,
Richard Marsella, Cathy Riches, Terry Robbins,
Bruce Surtees, Ken Waxman, Dianne Wells
Listings department:
Colin Eatock – [email protected]
Printed in Canada by
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ISSN 14888-8785 WHOLENOTE
Photo and Editorial research: Nick Torti
Proofreading: Simone Desilets, Nick Torti,
Website:
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Listings: Colin Eatock, Richard Haskell, Felix Deak,
Ori Dagan
Circulation, Display Stands & Subscriptions:
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Layout and design: Verity Graphics,
Rocket Design (cover)
Production Management:
Peter Hobbs, [email protected]
Features: Ori Dagan, Colin Eatock, Nick Torti
6
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Return undeliverable Canadian
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www.thewholenote.com
COVER STORY
Brainerd Blyden-Taylor
I FIRST HEARD the Nathaniel Dett Chorale
about a year ago, in rehearsal at St. Timothy’s Anglican Church. In many ways, this
was a typical choir rehearsal, as the conductor, Brainerd Blyden-Taylor, coaxed a longer line from one section and a more pronounced dotted-rhythm from another.
However, it was obvious from the bright
focus of the voices that this group of 21
singers is no amateur choir. And the repertoire they were singing was unusual: Hiawatha’s Wedding Feast, by the 19th-century
Afro-British composer Samuel ColeridgeTaylor. As well, the ensemble has a distinctive appearance: it’s the only professional
choir in Canada made up largely (but not
entirely) of singers of African descent.
A few days later, the 55-year-old Trinidad-born conductor talked to me about his
choir over lunch. He’s clearly proud of how
his group has developed – but he also notes
that his reasons for creating the Nathaniel
Dett Chorale haven’t changed since its
founding, a decade ago.
“The idea was to do more that just sing
notes well. There was also a social component to it – to build bridges of caring, understanding and appreciation through the medium of music. And we wanted to do that
within what is perceived to be the larger
black community. When I started it, I decided that I didn’t want to name the group after
myself – I wanted a name that would honour
black Canadian heritage somehow.”
So who was Nathaniel Dett? According to
the Encyclopedia of Music in Canada, he was
born near Niagara Falls, Ontario, in 1882.
He studied music in the USA (where he spent
most of his life), and in 1925 went to Paris to
receive instruction from the famous musical
pedagogue Nadia Boulanger. Returning to
America, Dett established himself as a distinguished organist, composer and teacher,
who performed in Carnegie Hall and for
PHOTO
By Colin Eatock
The Nathaniel Dett Chorale is no stranger to prominent people and occasions: over its ten-year history,
the Toronto-based choir has sung at events honouring
Nelson Mandela, Desmond Tutu and Mohammed Ali.
But last month’s engagements in Washington DC were
in many ways unprecedented, thrusting the group onto
the world stage.
“We were pleased and flattered by the invitations,”
said the choir’s director, Brainerd Blyden-Taylor (with
understated delight), shortly before his choir sang at
the festivities surrounding Barack Obama’s inauguration. “We not only represent Afrocentric music, but
also a kind of diversity that’s responsive to Obama’s
ideas about community and coming together.”
The only Canadian musical group to take part in the
inauguration events, the choir performed on January
19 (Martin Luther King Day) at the Smithsonian Institution’s Museum of the American Indian. On January
20 – the day of Obama’s inauguration – the choir sang
a concert at the Canadian Embassy.
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American presidents. He died in 1943.
The encyclopedia makes no explicit mention of Dett’s race – although the entry notes that he served as president of the National
Association of Negro Musicians. However, a little more research
reveals that his ancestors made their way to Canada, via the Underground Railroad, before the American Civil War. “The name has
served us well in Canada, and internationally,” says Blyden-Taylor.
Dett was very well known in the United States, certainly among black
circles, and even beyond.”
Since its establishment, the Nathaniel Dett Chorale has become a
regular fixture of Toronto’s choral scene. The choir currently maintains an annual three-concert season, including its “Indigo Christmas” programme. They’ve performed with jazz pianist Joe Sealy
and soprano Kathleen Battle, among other prominent artists.
The choir has toured extensively, performing at France’s Polyfollia Festival, and throughout the United States: at New York’s Dance
Theater of Harlem, Washington’s Library of Congress, and in other
venues. There have also been tours to both Western and Eastern
Canada, including a recent trip to Halifax, where the choir sang at a
benefit concert for the Black Loyalist Heritage Society. This month
they’re out west again, singing in Alberta, BC and the Yukon.
And there have been recordings. The Nathaniel Dett Chorale can
be heard on two CDs: “Listen To the Lambs” (which American
Record Guide magazine called “most excellent”) and “An Indigo
Christmas.” There’s also an “Indigo Christmas” DVD available,
and a documentary film called “Carry Me Home.”
In addition to these accomplishments, Blyden-Taylor points out
that his choir has also made progress in the arena of public perception. “When the choir was starting, some people assumed we existed
just to support the music of Nathaniel Dett. That was a bit of a misconception.” And there were other misconceptions to overcome. It’s
often been assumed that the group is a gospel choir – an impression
that Blyden-Taylor has worked hard to dispel. “We can do gospel,
but we can also do spirituals and jazz. We’ve done whole programs
of Cuban, Brazilian and Ghanaian music. We can do a lot of things
– we could sing Mozart, Brahms or Poulenc, if we wanted to.”
From the start, the group’s diverse repertoire made it essential for
each and every member to be a classically trained musician, and so
Blyden-Taylor was highly selective when putting his choir together.
(One of the members in the first year was soprano Measha Brueggergosman.) “I needed singers who could read well,” he told Toronto’s Globe and Mail newspaper, in 1998. “There are any number of
phenomenal singers in the black community in Toronto, but many of
them are not formally trained in music – they learned by rote.”
Blyden-Taylor soon came to the conclusion that it simply wasn’t
possible to assemble an elite professional choir in Toronto entirely
made up entirely of singers of African descent. And so, with some
reluctance, he decided to open up membership in the group to people
of all races, while maintaining a policy of preference towards black
musicians. In adopting these criteria, he encountered inevitable criticisms: on one hand, there were those who believed that the choir
should be entirely black; on the other hand, some people felt that
musical skill should be the only basis for membership, and race
should not be a factor at all.
“If I had been able to find enough people of African heritage at
the beginning,” he says, “maybe it would have been all black. I
wanted black youth to know that if they want to have a career in
music, or to do something with their voices, there’s a place they
could come where they’ll be welcome. They need to be able to hear
their own music done by people whom they recognize as being predominantly of their kind, in order to feel empowered.”
He continues: “But it soon became clear that there was a real
benefit to the ensemble not being entirely of African heritage. We
have people who are white, South Asian, and mixes of various
things.” (He points out that he himself is part Scottish.) “People
understand that we’re an Afrocentric choir – but they also understand that you don’t have to be of African heritage to embrace and
perform this music.”
The musical and social ideals he speaks of are echoed by members
of his group. “This choir feels like a musical home to me,” says Ali
Garrison, a blonde-haired contralto who has sung in the choir since it
GREAT CHAMBER MUSIC DOWNTOWN
CECILIA QUARTET
PHOTO: HUDSON TAYLOR
first started. “We
sing many kinds of
music, but there’s
always a strong
sense of spirituality
– in a non-denominational way – in
everything we do.”
She also explains
that the choir has a
strong personal
significance to her,
as her Quaker
ancestors ran a
station on the Underground Railroad
in Michigan in the
19th century, and
helped slaves escape into Canada.
Another member of the chorale
is tenor Akufuna
Brainerd Blyden-Taylor
Sifuba, originally from
Zambia, who joined the choir when he came to Canada, two years
ago. “When I came here,” he recalls, “I knew African music – but
I’ve learned a lot about music from other countries.”
The choir makes sense as an expression of Canadian multiculturalism – but elsewhere the unique ensemble can raise eyebrows. When
the Nathaniel Dett Chorale performed at a convention of America’s
National Association of Negro Musicians, in Detroit in 2004, BlydenTaylor noticed a distinctly different attitude.
“Some people were openly skeptical about who we were, and why
we were there,” he recalls. “They said things like, ‘So you’re the
integrated choir – you’ve got white folks singing with you.’ But after
our concert, people said, ‘You are performing what we consider “our
music” at the highest level – and have literally shown us how it can be
done.’ The ripple effects from that performance can still be felt.”
Like many other choral conductors in Canada, Blyden-Taylor holds
down more than one job. He’s also director of St. Timothy’s Church
choir, often works with the Toronto Board of Education and recently
served as Artistic Director of the Roots Festival, in Chatham, Ontario.
But the Nathaniel Dett Chorale takes up most of his time – and he’s
always looking for new ways to expand upon the group’s activities.
This season he established a training programme for young singers.
“We asked teachers across Toronto to nominate students for the programme,” he explains. “The apprentices come out to our rehearsals
and are taught by members of the professional choir.” He also recently struck a deal with the Corporation of Massey Hall and Roy Thomson
Hall, which is co-presenting the choir’s 2008-09 season at the Glenn
Gould Studio.
And he has big plans for the future. “We have not yet done anything
with dance, and that’s something I’d like to do. It’s something that’s
going to happen soon. And we haven’t had the financial wherewithal to
get into the orchestral repertoire with Afrocentric composers, just
because of the cost of presenting an orchestra. But there are several
large works like that that I’d like to approach.”
Beyond all that, he’s open to proposals – and he receives them with
increasing frequency. “People are starting to compose things for us, or
to submit scores. In the early days it was difficult to find repertoire,
but now people are saying, ‘Oh, there’s a group in Canada that is not
just sacred, or not just secular.’”
“As well,” notes Blyden-Taylor, “people write to us from all over
the world, asking for Nathaniel Dett’s music. We’re considering resetting it – going into the publishing business – because nobody else is
doing it.”
The Nathaniel Dett Chorale returns home Wednesday and Saturday
February 25 & 28, at the Glenn Gould Studio, in a programme titled
Voices of the Diaspora...Dett to Africa.
Haydn, R. Murray Schafer
and a Brahms sextet with
Marina Hoover, cellist
and Hsin-Yun Huang, violist
Thursday February 5 at 8 pm
Tickets just $15.
PRAZAK QUARTET
with ROGER TAPPING
viola quintets of Brahms and Dvorak
Thursday March 5 at 8 pm
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Also coming March 5:
Announcement of our 2009-10 season!
Chamber at Lula Lounge
Friday March 27
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FEATURE
JOY AND JUSTICE: THE JAZZ JOURNEY OF SHEILA JORDAN
By Ori Dagan
From humble beginnings to painstaking
struggles and ultimately heroic triumphs,
the jazz life of Sheila Jordan could inspire
an epic play with a challenging lead to
cast. Blessed with a haunting voice that is
at once innocent and worldly, the animated
jazz legend nicknamed Lady Bird shares
the same birthday as Mickey Mouse. Sheila Jeanette Dawson was born on November 18, 1928 in Detroit to unwed teenagers. As a toddler she was sent to live with
her grandparents in Summerhill, a poverty-stricken coalmining town in rural Pennsylvania.
“I lost a lot of self-esteem as a kid,”
Sheila recalls. “Being one of the two poorest families in town, we were always
hounded in this coal mining area. There
was a lot of alcoholism in the family. My
grandfather was an alcoholic and most of
the kids in the family turned out to be alcoholics, including me, but not at that
time…”
It was in Summerhill that she began singing
regularly in the beer gardens for an inebriated crowd of coal miners. She returned to
Detroit at fourteen, but her alcoholic mother’s abusive husband drove the precocious
child to early independence. Thankfully by
10
now she had discovered her saviour in bebop.
The innovations of modern jazz, especially
those by its magical main man, Charlie
“Bird” Parker, struck a chord deep within
the adolescent. She inspired the song “Chasing the Bird” and he lauded her “million
dollar ears”. They were close friends until
his death in 1955.
“Bird was always very
supportive…he was just wonderful to
me…he never made a pass at me, he
treated me like I was his little sister. Even
with his heavy drug use and his heroin
addiction, there was a very sweet side of
him.”
In Detroit and even in New York
of the day, Sheila was persistently harassed for belonging to a predominantly
black community of jazz musicians.
“There was a lot of racial prejudice, but I knew I was right. These men
would stop me and ask me why I was
hanging out with black people – of course
that’s not the word that they would use –
but I never let them scare me into not
being what I believed in…I mean, I loved
these people! I loved the excitement of
finding this music and finding people like
Tommy Flanagan and Kenny Burrell and
Barry Harris, and Skeeter Speight and Leroy
Mitchell who took me in and taught me how
to scat sing. I loved these people. They
changed my whole life. I finally found a place
where I could be comfortable within…it was
Fresh from Amsterdam
the only thing that made me survive, in a sense…”
“The last time I got stopped in Detroit, the officer took me in a
room. He said to me ‘I’ve got something to tell you. Do you see this
gun in this holster? I’ve got a 9-year-old daughter at home, and if I
thought I was going to find her like I did you tonight, with those N’s, I
would take this gun out of its holster and go home and blow her brains
out.’ And that’s when I thought oh my God, I have to get out of here!”
A short-lived marriage to Bird’s piano player, Duke Jordan,
brought daughter Tracy (born 1955) into this world and the two
remain very close. Like most people in her family, Sheila battled
with addiction for years but thankfully managed to get out just in
time. Very rarely a composer, she wrote a poignant song, “The
Crossing”, about beating her addictions.
“I had a spiritual awakening. I just realized, I don’t want to end
up like my mother, I have many songs to sing and many kids to
teach, I don’t want to go out like that. I knew my spiritual awakening came from somebody much more powerful than I was, and it
was this message: ‘I gave you a gift, and if you don’t respect it
and take care of it, I’m going to take it away from you.’ I
stopped on my own for 8 years, but in the interim I got involved
with cocaine because I didn’t know it was addictive. I just thought it
was a rich person’s drug. It was very popular then…a lot of musicians were into it because they didn’t know. But thank God that
didn’t last. That voice came back to me again, and I said, oh, I gotta
get out of this, too.” For the past 32 years and in a sense, since
childhood, Sheila’s drug of choice has been the music. “It’s the best
addiction I’ve ever tried!” she chuckles warmly.
Sheila Jordan is known in the jazz world for being the first vocalist to work exclusively with the acoustic bass in a duo format; no
one has devoted more albums to this concept. Her first public performance was at a jam session with Charles Mingus in 1950, but
only in 1977 did she release the first “bass & voice” album with
Arild Andersen. Currently she works with the breathtaking Cameron Brown. Apart from the importance of being strongly connected, bass & voice demands that both musicians have excellent pairs
of ears and a rich musical imagination. When an audience member
once famously asked her where the piano and drums were, Sheila
said “In my head, man, in my head!” Unable to depend financially
on her singing career, Jordan was a legal secretary for over twenty
years while supporting daughter Tracy. At age 58 she finally retired
to focus on performing and teaching.
Sheila’s most recent recording, her 21st as leader, is on the prominent Canadian jazz record label, Justin Time. Just in time for Valentine’s Day 2008, Winter Sunshine was recorded live at Upstairs in
mid-February of last year. Sheila’s performance on this highly recommended recording is inspiring. She is sharp as tack throughout
and full of good ideas. Over the years the timbre of her voice has
grown fuller, but even if the voice weren’t as strong as it still is,
Sheila’s art is rooted, as it always has been, in groundbreaking creativity; lyrics are cleverly improvised throughout the album. “Lady
Be Good” is a precious cut that’s a testament to the artist’s sincere
modesty. An impressive medley of “All God’s Chillun’ Got
Rhythm” and “Little Willie Leaps” culminates in a memorable scat
solo. Also included on the album are three tracks of dialogue, all
examples of her spontaneous sense of humour. Has she always been
the consummate entertainer?
“Oh no! That only happened after years of doing it, and relaxing,
and getting my self-esteem back. Actually, a lot of it was because I
was in AA and I was dealing with my demons and realizing I’m not
such a bad person. Before that, I was really scared… if I stopped to
try and talk, I’d stutter and that would take away from the music…
now it feels like I’m related to my audience and we’re having a
conversation.”
Although she does scat sing on this recording and many others
since the 1970s, she has expressed a concern about a “scat virus”
that has been going around. Back at the Art of Jazz Celebration of
’07 she elaborated: “Jazz singers sometimes feel a pressure to scat –
A festival of Canadian
and Dutch Music, Film
& Literature
February 25-March 3 &
April 2, 2009
Feb 25
Authors at Harbourfront Centre
Feb 26
Dutch and Canadian film and video
| Harbourfront Centre
Feb 27
Toca Loca | Music Gallery
Feb 28
Continuum with the Ives Ensemble
| Harbourfront Centre
Mar 1
Quatuor Bozzini | Music Gallery
Mar 3
Ives Ensemble workshop for young
composers | Music Gallery
Apr 2
Opening night of The Images Festival
Notes on Composing: 5 collaborations
in film & music | Isabel Bader Theatre
Info
(416) 924-4945
[email protected]
www.shift-festival.ca
Presenting
Partners
11
Friday March 27
presents
Chamber at Lula Lounge
The Gryphon Trio
Brazilian piano sensation
Jovino Santos Neto
Phil Dwyer, sax
Roberto Occhipinti, bass
Mark Kelso, drums
Dinner and music from 6 pm
$65 416-588-0307
Limited seating guaranteed
with dinner reservations
Music from 8 pm
Tickets $25 at the door
www.lula.ca
08|09 season
FREE CONCERTS IN THE
RICHARD BRADSHAW AMPHITHEATRE
“Among the very best performances
being presented in the city – free or paid.”
Toronto Star
Music TORONTO
actually I don’t really like that word, let’s call it taking a solo – or
they don’t know why they are doing it. Like if you don’t do it the
instrumentalists won’t dig what you do. Well Billie Holiday never
scat sang and who wouldn’t call her a jazz singer? SINGERS: If you
don’t feel it, then why do it?”
Sheila’s workshops are consistently enlightening because she is a
fantastic teacher. In high demand as a jazz educator, she has mentored thousands of students over the past 30 years. Jordan began
teaching in New York’s City College 1978, is a current faculty
member of ”Jazz in July” at the University of Massachusetts at
Amherst and a visiting professor at Stanford University.
“I’m totally dedicated to this music, whether I’m singing it or
teaching it or going out to support it.” Now 80 years young, the
treasured performer, recording artist, educator and jazz ambassador
maintains a busy schedule. One might say she’s in the prime of her
career.
“I’m not as successful as most people think I am…not in America
anyway. But I don’t care! I never wanted to be, you know, ‘a star’.
That’s not my purpose, that’s not my calling. My calling is to be a
messenger of this music, and I’m very happy being that. I’m very
thrilled with the awards I’ve won and the recognition that I’ve
gotten.”
Fans are still waiting on the National Endowment of the Arts, but
recently Sheila has accepted numerous prestigious awards, including
the Manhattan Association of Cabarets & Clubs Lifetime Achievement Award (2006), the International Association of Jazz Educators
Humanitarian Award (2007) and the Mary Lou Williams Women in
Jazz for Lifetime of Service Award (2008).
“I used to just put all my little awards in the closet and my daughter got very upset. She said ‘Mom, you earned those. Put ’em up
on the wall.’ I said ‘That looks like I’m bragging’. She said
‘Brag’.”
LISA PARTICELLI’S GIRLS NIGHT OUT
& ART OF JAZZ PRESENT:
Sheila Jordan live in concert on Valentine’s Day
Saturday, February 14th (2 shows: 2-4pm, 6-8pm)
at Chalkers Pub, 247 Marlee Ave
Tickets: $25 each per concert
Vocal Jazz workshop with Sheila Jordan
Sunday, February 15th from 1-5pm
at Art of Jazz Studio in the Distillery Historic District.
$30-$60 for the workshop
Tickets from TicketWeb www.ticketweb.ca or by phone 1-888-2226608. www.girlsnightoutjazz.com, www.artofjazz.org
Music TORONTO
Jazz
Epiphanies
Join us at Eglinton St. George’s Church
during Sunday services at 10:30 am for
inspired messages and great jazz music.
Photo: Chris Hut
cheson
Most Tuesdays,
Wednesdays and Thursdays
at noon QUARTET
or 5:30 p.m.
CECILIA
QUARTET
PRAZAK
coc.ca
Thursday 416-363-8231
Thursday
February 5 at 8 pm
March 5 at 8 pm
February 1
February 8
February 15
February 22
Official Media Partners:
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Eglinton St. George’s United Church
35 Lytton Boulevard, Toronto, ON M4R 1L2
416-481-1141
Six blocks south of Lawrence Ave. one block west of Yonge St.
THE GREATEST MUSIC OF ALL TIME.
12
145 Queen St. W. (at University)
www.esgunited.org
Feb09_WholeNote_fp_bw 15/01/09 2:21 PM Page 1
DON’T MISS THIS UNPRECEDENTED OPPORTUNITY to enjoy extraordinarily great artists in a truly
extraordinary space, the new home of The Glenn Gould School and The Royal Conservatory.
PETER OUNDJIAN
ALEXANDER SEREDENKO
LI WANG
THE GLENN GOULD SCHOOL
PRESENTS
Friday, February 20, 2009, 8:00pm
The Royal Conservatory Orchestra
PETER OUNDJIAN, conductor
ALEXANDER SEREDENKO, piano
Programme: RAVEL Alborada del Gracioso
TCHAIKOVSKY Piano Concerto No. 1
ELGAR Enigma Variations
A dynamic presence in the orchestral world, Peter
Oundjian continues to make his mark as one of
today’s most exciting conductors. His probing
musicality and engaging personality have earned
him accolades and frequent re-engagements.
Currently Music Director of the Toronto Symphony
Orchestra, he also holds appointments at the
Caramoor International Music Festival (NY) and the
Colorado Symphony.
Location: Toronto Centre for the Arts –
George Weston Recital Hall, 5040 Yonge St.
Tickets: $20 adult, $10 students
Tickets available through Ticketmaster:
416.872.1111 or ticketmaster.ca
JOIN US FOR THE CONTINUING
BEETHOVEN PIANO CONCERTO LECTURE
SERIES WITH INTERNATIONALLY
ACCLAIMED PIANIST ANTON KUERTI
Friday, March 20, 2009 2:00pm at
The Royal Conservatory. Admission is free.
ANDREW MCCANDLESS
GORDON WOLFE
THE ROYAL CONSERVATORY
PRESENTS
Location: All concerts at Mazzoleni Hall –
The Royal Conservatory, 273 Bloor St. W.
TICKETS AVAILABLE THROUGH RCM BOX OFFICE
(General Admission)
Sunday, February 1, 2009, 4:00pm
Great Artists Series
LI WANG, piano
ANAGNOSON & KINTON
JACKSON & FEW
Thursday, February 19, 2009, 7:30 pm
World Music Concerts
AUTORICKSHAW, world music fusion
Hear contemporary jazz and funk fused with the
classical and popular music of India.
Sunday, March 1, 2009, 2:00 pm
ANAGNOSON & KINTON, piano duo
Programme: SCHUMANN Kinderszenen
CHOPIN Mazurkas, Op. 17
MUSSORGSKY Pictures at an Exhibition
Programme: ARENSKI Suite No. 1
BRAHMS Variation on a Theme by Haydn
DVORAK Selected Works
GERSHWIN Rhapsody in Blue
Sunday, February 8, 2009, 2:00pm
Sunday, March 8, 2009, 2:00 pm
The Glenn Gould School Brass Faculty
ANDREW MCCANDLESS, trumpet
GORDON WOLFE, trombone
NEIL DELAND, horn and colleagues
Join these GGS Brass Faculty artists and their
special guests, Julie Barnes Spring, harp, Mary
Alice Deland, bassoon, Stephanie Fung, piano,
Vanessa Lee, piano and Leonie Wall, flute as they
present a programme of transcriptions and
arrangements of works by Bach, Brahms,
Bernstein, Debussy and more.
Book Your tickets online
at rcmusic.ca
NEW!
for the
08.09 Season
Tickets also available by calling the RCM Box Office at 416.408.2824 x321
or in person* two hours prior to concert date performance
*On a first-come first-serve basis
AUTORICKSHAW
NADINA MACKIE JACKSON, bassoon
GUY FEW, trumpet and string quintet
Programme: BALDASSARE Sonata No. 1
VIVALDI Concerto No. 26
LACHNER Concertino Op 43
LUSSIER Bacchanale plus other chamber works
Please visit RCMUSIC.CA for a list of all
our other free concerts, master classes
and events.
BEAT BY BEAT
QUODLibet
by Allan Pulker
Two Cities, Four Orchestras,
a Flutist and her Nephew
THE CITIES ARE Toronto and Los Angeles; the orchestras are the Niagara Symphony, the Scarborough Philharmonic, Sinfonia Toronto and the New American Orchestra; the flutist is Louise
Di Tullio, and her nephew is Toronto composer and teacher, Ron Royer.
Let’s start with the flutist. You have probably never heard of Louise Di Tullio, but if you
ever watch American movies you are almost sure to have heard her play. Since she began
playing professionally in 1958 Ms. Di Tullio has been the flutist or principal flutist in at least
1200 films. She has played the music of all the great American film composers – Jerry Goldsmith, John Williams, Henry Mancini, David Rose, John Barry, Danny Elfman – the list
goes on and on.
She was born into a family of musicians in Los Angeles, and grew up
in a highly cultivated musical milieu. Her father and three uncles
were all members of the Los Angeles Philharmonic’s string section
as young men. Father, Joseph Di Tullio, and his brother-in-law Kurt
Reher later became first stand partners in the cello section of the
20th Century Fox orchestra. Reher later returned to the L.A Philharmonic as the principal cellist.
In the 1940s when Louise was still a child, her father and uncles
were instrumental figures in a series of concerts of contemporary
music, “Evenings on the Roof,” on the roof deck of the home of
concert pianist Francis Mullen Yates and her husband Pete Yates,
which overlooked the city. The series became popular with a host of
the century’s most prestigious composers who had come from Europe in the 1930s seeking refuge from Nazi persecution. They included Igor Stravinsky, Arnold Schoenberg, Erich Korngold, Darius
Milhaud, Max Stein, Nadia Boulanger, Ernst Krenek, Sergei Rachmaninoff and a good many others. It was in this stimulating and
nurturing environment that she grew up and at an early age began
piano lessons, but at the age of eleven began playing the flute.
Her instruction on flute was highly unorthodox. Her first and
primary teacher was her father, who was a cellist, not a flutist:
“Dad was instrumental in keeping me on the straight and narrow.
He helped me a great deal.” His methods were highly original, as
when he taught her how to produce a vibrato. He simply demonstrated vibrato on the cello and asked her to do the same thing on the
flute. This was so effective that none of the flutists with whom she
later studied ever asked her to change the way she produced vibrato.
In her teens she studied briefly with several flutist-teachers, one for
only six months, but “I’ve never worked so hard in my life as when
I studied with him,” and gained secure technique. Another introduced her to a lot of repertoire.
About the same time she, her sister Virginia and her father
formed the Di Tullio Trio, which performed chamber music all over
California and gave her a love of playing with others. Louise and
Virginia would play their newest repertoire at family get-togethers,
enabling her to practise in front of a very supportive but highly
discerning audience.
In her late teens and early twenties she played in the Los Angeles Philharmonic and various other orchestras. In the early 1960s,
the music contractor Phil Kahgan introduced her to Stravinsky, a
meeting which resulted in her playing principal flute for the recordings of his music done in California under his supervision. Eventually she left the Los Angeles Philharmonic to pursue a free-lance career which allowed her the freedom to take advantage of the vast
and varied musical opportunities in L.A. which included both classical performance and recording for films, TV and records.
This brings us to Louise’s nephew, the son of her pianist sister,
Virginia, Ron Royer. Himself a studio musician in L.A., Ron’s
marriage to clarinettist Kaye Powell brought him to Ontario in the
late 1980s. He played cello as a TSO sub for a year, among other
14
things, before a repetitive strain injury curtailed his ability to play.
He became the string teacher at UTS and continued his education at
the Faculty of Music at U of T, graduating in 1997 with a Ph.D. in
composition. Since then he has maintained a multi-faceted career as
a teacher, composer and conductor.
Back in the early 1980s Ron and his Aunt Louise both played in
the first of our story’s four orchestras, The New American Orchestra was founded in 1979 by conductors, Jack Elliott and Allyn Ferguson, to perform contemporary American music. It was, according
to Ron, an amazing orchestra and a really incredible experience to
play in it, rubbing shoulders not only with the crème de la crème of
Los Angeles musicians but also with leading composers who conducted works they had been commissioned to write for it. Louise,
who was the principal flute, with Elliott’s blessing asked David
Rose, one of the best and most prolific Hollywood composers of the
time, to write a work for her to perform with the orchestra. He
wrote Le Papillon, which she performed several times with The
New American Orchestra as well as with the Boston Pops. The
work, however, was never published and never recorded.
Fast forward to Toronto in late 2008.
Louise wanted to get the work out into the world so that it could
take its place in the flute repertoire, be performed and receive the
recognition it deserved. Family and friends had been urging her to
make a CD. There was, of course, the question of what else should
be on such a recording. All the mainstream flute repertoire has been
recorded many times over, but what hadn’t been recorded, and
which had been such a central part of her life, were flute solos from
Hollywood soundtracks.
She talked to Ron (who had just recently been involved in another recording project, and also had just finished writing the score for
the film “Gooby”) about the idea of making a CD which would
include Le Papillon, concert arrangements of some of her favourite
movie themes, and something for all four flutes that she frequently
is called upon to play in recording sessions: the “normal” flute, the
piccolo, the alto, and the bass flute. Ron agreed to write arrangements of the film music, to re-orchestrate the Le Papillon for chamber orchestra (thereby making it possible for more organizations to
do), and to write a new work – a suite in which each of the four
movements would be played on a different flute.
The other indispensable person on the team would be producer,
musicologist, composer and author, Jeannie Pool, who, with myriad
contacts in the film and music industries, has been able to arrange
the rights to perform and record the music.
This is where the other three orchestras come in. Ron is composer-in-residence of Sinfonia Toronto, interim conductor of the Scarborough Philharmonic, and has had a long association with the Niagara Symphony, which has commissioned his work and in which his
wife, Kaye, plays clarinet.
What has been arranged is that Louise and Jeannie are coming to
Toronto in mid February. Louise will play two concerts with the
F EBRUARY 1 – M ARCH 7 2009
Niagara Symphony on February 21 and 22, before which Ron, Jeannie and Louise will give a pre-concert talk, and in which Ron will
guest conduct the premiere of his piece, Short Stories for Flutes, and
his arrangement of Le Papillon. The following Saturday, February
28, Ron will conduct the Scarborough Philharmonic in a similar program, and the next day, Sunday March 1, he will conduct Sinfonia
Toronto, again in a similar program at Hart House.
On Monday and Tuesday, Louise and Sinfonia Toronto with Ron
conducting will record the whole program at Kick Audio’s studio with
engineer, Jeff Wolpert. The CD will be released by Cambria Master
Recordings in California.
Thus Louise De Tullio, probably the flutist whose playing has
been heard by more people than any other flutist ever, will give the
world a truly unique recording of solo flute music that has never been
recorded beyond the soundtracks that brought it into being, and will
provide a memento of her long and fascinating musical journey. Fortunately for us, and thanks in large part to Ron Royer, we will have
the opportunity to experience Ms. Di Tullio’s remarkable playing at
these four concerts he has arranged.
Two More Visiting Artists
There are two other visitors I’d
like to mention here. First, Russian viola virtuoso, Yuri Bashmet, and the Moscow Soloists
will perform at Roy Thomson
Hall on February 17.
Led by the charismatic Bashmet, the Moscow Soloists is
comprised of exceptional young
musicians nominated by professors at the Moscow Conservatory
as the very best of their generation. Formed in 1992 it is one of
the world’s most highly acclaimed chamber ensembles, and
has thrilled audiences in Moscow, Athens, London, Amsterdam and Paris. Their program will include Grieg’s Holberg Suite,
Stravinsky’s Apollo Concerto in D (for which the Moscow Soloists
won the 2008 Grammy Award in the Best Small Ensemble Performance category), Tchaikovsky’s Souvenir de Florence and Bruch’s Kol
Nidrei and Paganini’s Concertino in A Minor, in both of which Bashmet will be the viola soloist.
Just two days later on February 19 at Glenn Gould Studio American pianist Ivan Ilic will make his début Canadian recital with a programme that includes new works by Canadian composers as well as
six of Debussy’s Préludes, of which he has just released a CD (reviewed in this issue of the magazine on page 56). In addition, part of
the program will be repertoire for the left hand alone, works which
according to Ilic are rarely played but are enriching for the performer.
Canadian composer, Brian Current, whose composition, Banjo/
Continuum, is being premiered at the recital, will give a pre-concert
chat at 7:30.
FRIDAY FEBRUARY 20
SECONDE NATURE:
MARILYN LERNER
& DIANE LABROSSE
Free Improvisation for Piano & Electronics
(Toronto/Montreal)
SATURDAY FEBRUARY 21
MOTION
ENSEMBLE
New Music on Tour
from New Brunswick
BECOME A MUSIC GALLERY MEMBER AND SAVE
ON TICKET PRICES! Email [email protected]
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Queen of Puddings Music Theatre
presents the world premiere of
NÊS
a
Chamber Opera
inspired by
Portuguese
Fado music
A tragic love story
based on the
Portuguese legend
of Inês de Castro
Music by
james rolfe
Libretto by
paul bentley
Enwave Theatre
February 22 to
March 1, 2009
In association with
Harbourfront Centre
416.973.4000
www.harbourfrontcentre.com
15
In with the New
By Jason van Eyk
From Motion Ensemble
to Continuum SHIFT
*UDFH&KXUFKRQWKH+LOO
/RQVGDOH5G
www.sinfoniatoronto.com
416 499 0403 $40, $32, $12
$5 off online
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16
Even in these sharply cold months, Toronto’s new music community
offers some incredibly enticing events that encourage us to venture
out into the frost and snow.
First up, I’m eager to hear the New Brunswick-based Motion
Ensemble at the Music Gallery on February 21st. This post-classical
sextet hasn’t performed in Toronto since 2004, when they passed
through on a cross-country tour. Motion is best known for presenting new, experimental music that on occasion merges electronics
and visual media with live performance. They also have a penchant
for new Canadian works, especially those by their Atlantic colleagues. This time around, they are bringing a mix of Canadian
music from composers stationed across the country, and even south
of the border, in pieces specifically written for the ensemble. Many
of these works have never been heard outside of Atlantic Canada
and all are receiving their Toronto premiere.
The concert will lead off with Martin Arnold’s Water Lens; Water
Limbus. Arnold was the toast of the Amsterdam leg of the SHIFT
Festival (more on that later), so now is the time to catch more of
this Toronto-based talent. Also on the program are recent works by
Montreal’s Michael Oesterle and Sackville’s W.L. Altman. Closing
out the concert will be Mnemosyne by Los Angeles-based Canadian
Veronika Krausas, which was developed as a collaborative project
with writer André Alexis and photographer Thaddeus Holownia.
If you want to prepare your ears for this concert, you can listen to
other works by Oesterle and Krausas online at the Canadian Music
Centre’s CentreStreams audio service (visit www.musiccentre.ca).
In fact, there is an alternate performance of Mnemosyne there,
which you can use for preparation or comparison’s sake.
I am a sucker for all things Dutch, and so the arrival of SHIFT
certainly is going to have me on the move from February 25th to
March 3rd. Curated by Continuum Ensemble’s Jennifer Waring, this
ambitious festival of Canadian and Dutch music, film and literature
arrives from Amsterdam, where all reports assure us that the hard
work has paid off. The name says it all: SHIFT follows centuries of
migration from Europe to North America and the resulting transformations that have taken place. It also creates a platform for contemporary shifts in understanding between the Netherlands and Canada,
challenging old clichés and offering fresh insights. SHIFT gets going with readings by Dutch authors and film screenings at Harbourfront Centre; the music gets going on February 27th at the Music Gallery in a Canadian/Dutch mixed program by new music mavericks Toca Loca, titled e1gh+¥ 31gh7. No, it’s not a typo. The
concert brings together new works by Canadians Aaron Gervais and
Chris Paul Harman, as well as existing pieces by crossover artists
Laura Barrett and Myra Davies, with their transatlantic counterparts
Hanna Kulenty, Guus Jansen and Mayke Nas. Toca Locans Simon
Docking and Gregory Oh will tackle keyboards of all shapes and
sizes alongside collaborators on banjo, tape recorder, saxophone,
bass, drumset and voice.
While I’m a Toca Loca fan, SHIFT’s true musical treats will be
local repeat performances of the critically acclaimed joint Ives Ensemble/Continuum concert (Feb 28), and the Bozzini Quartet at
Harbourfront Centre’s Brigantine Room (Mar 1). On February 28th,
Continuum and the Ives Ensemble will combine in works by Linda
Bouchard and Guus Janssen (Ex Tempore for mirrored ensembles),
while also each performing “solo” in new works by Mayke Nas
(Douze Mains, in which Continuum’s musicians play inside a single
piano) and Gyula Csapo. According to Festival Director Jennifer
Waring, this concert program embodies SHIFT’s spirit: two ensembles from different musical cultures coming together – not always
easily but with huge good will, determination and commitment – to
make something new. The result of their hard work was proclaimed
“dazzling” in the Dutch premiere, for which we will all hope for a
repeat in Toronto. The original concert was broadcast live on VPRO
FAC U LTY OF M U S I C
PHOTO: JOSH GROSSMAN
Upcoming Events
FEBRUARY HIGHLIGHTS
The Continuum Ensemble gives the North American premiere of
Mayke Nas's Douze Mains on February 28th. All six performers
explore the sonic possibilities of a single piano.
radio and can still be found online at http://www.vpro.nl/programma/avondconcert/afleveringen/40045256/.
Quatuor Bozzini will perform their well-received program, which
includes premieres of two Dutch works by Hanna Kulenty and Richard Ayres, the latter of which admittedly has had a previous partial
performance. The Bozzini’s are the first quartet to handle the whole
work to date, including its difficult middle movement. Other string
quartets on the program include those by Martijn Voorvelt, Michael
Oesterle and Martin Arnold. The prize of the concert in Amsterdam
was Arnold’s contact;vault, which Jarko Aikens (Artistic Coordinator of the Muziekgebouw) declared he would have Dutch string
quartets performing before the end of the year.
Finally, if I can sneak into the Ives Ensemble composer workshop
on March 3rd at the Music Gallery, you know I will. This unique
ensemble, instrumental to the development of so many composers
and aesthetic movements, has much to offer music creators. To be
able to witness their creative process at work would be a great experience.
In between Motion and SHIFT, I hope to catch a performance of
Inês, the new opera project from Queen of Puddings. It has a fiveshow run February 22nd to March 1st at the Enwave Theatre. Inês
is based on the famous medieval Portuguese story of Inês de Castro,
but adapted to depict life within Toronto’s Portuguese community in
the 1960’s. Composer James Rolfe, known for his excellent operas
(Beatrice Chancey, Rosa, Swoon), takes influences from Portuguese
Fado for this project - a living form of urban folk music for solo
voice. A deeply emotional genre, Fado matches well with the expressiveness of opera and intimacy of theatre. Portuguese singer
Inês de Santos and opera singers Shannon Mercer, Beth Turnbull,
Giles Tomkins, and Tom Goerz perform Rolfe’s setting of librettist
Paul Bentley’s text. Director Jennifer Tarver rounds out a highpowered creative team.
And on those nights when it is absolutely too cold to go out, I’ll
most likely be curling up with Paul Steenhuisen’s new book Sonic
Mosaics: Conversations with Composers. Beyond being a highly
accomplished composer in his own right, Steenhuisen is also a recognized interviewer of his creative colleagues. Over numerous
years, he has conducted and recorded dozens of one-on-one conversations with some of our country’s leading composers (many of
which appeared in these pages between 2001 and 2005). Now, after
much anticipation, these insightful interviews are available in one
volume. Paul’s well-documented conversations offer the reader entry
into the creative process and ways of listening to new musical
works. He calls on his own experience as a composer to lend these
32 interviews a colleague’s openness, understanding and expertise.
Sonic Mosaics: Conversations with Composers will be officially
released on February 18th by the University of Alberta Press. It is
available for purchase through the Canadian Music Centre, the U of
A Press website at www.uap.ualberta.ca, and through Amazon and
Indigo online stores. 50% of the royalties generated from sales of
the book will be donated to the Canadian Music Centre, in celebration of its 50th Anniversary.
Miró Quartet
The Chamber Music Series presents the Miró Quartet in
Mendelssohn’s Quartet Op. 44 No. 1, Dvorak’s “American”
Quartet, and the Toronto première of Credo by American
composer Kevin Puts. 2/2 - 7:30 p.m. Walter Hall. $25 ($15*)
Music and Poetry
Che Anne Loewen, piano; Eric Domville, speaker
2/5 - 12:10 p.m. Walter Hall. Free
French Piano Quartets
The Faculty Artist Series presents piano quartets by Fauré and
Chausson, performed by Henri-Paul Sicsic, piano, Jacques Israelievitch, violin, Teng Li, viola, and Shauna Rolston, cello
2/6 - 7:30 p.m. Walter Hall. $25 ($15*)
Choirs in Concert: Vox Femina
University Women’s Chorus, Robert Cooper, C.M., conductor;
University of Guelph Women’s Choir, Marta McCarthy, conductor.
2/13 - 7:30 p.m. Christ Church Deer Park, 1570 Yonge Street.
$14 ($8*)
Spotlight on Opera
A preview of Ravel’s operas L’enfant et les sortilèges and L’heure
espagnole, with excerpts performed by the cast. Performances
March 5 - 8.
2/26 - 12:10 p.m. Walter Hall. Free
Jamie Parker and Friends
The Faculty Artist Series presents pianist Jamie Parker and
guests in music by Brahms and Clara Schumann.
2/27 - 7:30 p.m. Walter Hall. $25 ($15*)
Choirs in Concert: Fauré Requiem
Brad Ratzlaff conducts the Master Chorale in Fauré’s Requiem
and J.S. Bach’s Cantata No. 78 “Jesu der du meine Seele”.
2/28 - 7:30 p.m. Victoria College Chapel. $14 ($8*)
*Senior/student price in brackets
BOX OFFICE: 416.978.3744
Walter Hall and MacMillan Theatre are located in the Edward Johnson
Building, 80 Queen’s Park (Museum subway stop).
08|09
www.music.utoronto.ca
17
EARLY Music
by Frank Nakashima
Love letters, stars,
and chocolate roads
Last month, Tafelmusik co-produced a marvellous concert program,
“The Galileo Project,” with The Banff Centre — an immersion in
the stories, people, and times of the 16th century, through a fusion
of arts, science, and culture. It was in 1609, you see, that Galileo
Galilei’s first demonstration of the telescope took place, and Monteverdi’s Orfeo was published. So, 400 years later, it was a natural
to jointly celebrate Galileo’s work and the music from that period.
The collaboration included the Orchestra, astronomers, a stage director, a filmmaker, a set and lighting designer, astronomical photographers, and a recording engineer. It was the kind of sensory
experience that gives us a context for our musical relationship with
the world, and a reminder that “the music of the spheres” is not a
phrase to take lightly.
This month, celebrating their 30th anniversary, and just returned
from their Carnegie Hall debut, Tafelmusik features a suite from
Rameau’s Dardanus and Handel’s Water Music (February 18 – 22).
Website: www.tafelmusik.org / www.myspace.com/mytafelmusik
Meanwhile, the Academy Concert Series also presents Handel
(February 7) – his charming Trio Sonatas performed by Nicolai
Tarasov (baroque oboe), Rona Goldensher (violin), Laura Jones
(viola da gamba), Paul Jenkins (organ). website:
www.academyconcertseries.com
A couple of days later, and a short way down the road, the ensemble known as Folia (Linda Melsted, baroque violin; Terry McKenna, lute and baroque guitar; Justin Haynes, viola da gamba; Borys
Medicky, harpsichord) explores The Chocolate Road, featuring the
music of chocolate-loving 17th century composers from Mexico,
Spain, Italy, France and England, accompanied by tasty readings
about chocolate from period diaries, letters and recipes (February
9). In this historical exploration, the fusion is not music and astronomy, but love, passion, chocolate addiction, and music. Chocolate
has been blamed for many things, but was it the cause of Baroque
music? Perhaps members of the Florentine camerata were “under the
influence” when they invented opera!
Speaking of love, Scaramella’s “Lettera Amorosa” (Love Letter)
program brings the sweet harmony of Monteverdi and his Venetian
contemporaries (February 14) with special guests, the Toronto Continuo Collective and their plucked and bowed instruments. Katherine
Hill (soprano), Lucas Harris (lute, theorbo), Julia Seager-Scott (triple harp), Joëlle Morton (violas da gamba), Valerie Sylvester (baroque violin), Sheila Smyth (baroque violin), and Linda Deshman
(viola da gamba) all perform. www.scaramella.ca
Sine Nomine explores another perfect relationship their program
of Medieval musical on February 20). The relationship of earthly
and heavenly time was a subject of great fascination to cosmologists
of the Middle Ages. See the Sine Nomine Ensemble for Medieval
Music website: www.pims.ca/amici/sinenomine.html
Nymphs and shepherds cavort in song when The Musicians In
Ordinary perform a concert entitled “Fair, Cruell Nymph: Songs
and Dialogues from 17th Century England” (February 28) with tenor
Darryl Edwards joining soprano Hallie Fishel and lutenist John Edwards. These songs are a strong reminder of the importance of communication in a good relationship. Settings by Ferrabosco (of texts
by Ben Jonson), and Henry Lawes (of John Milton), are exemplary
of this period’s refined marriage of music and words. Visit
www.musiciansinordinary.ca
Making a Canadian stop on their North American tour, The Flanders Recorder Quartet presents “Banchetto Musical” (February 27,
28). The Toronto Consort (www.torontoconsort.org) proudly
presents the world’s foremost recorder quartet in a program which
includes virtuoso recorder music from many centuries, including
works by Johannes Ciconia, J.H. Schein, and J.S. Bach. The FRQ
18
The Flanders Quartet
was presented not too long ago by the Women’s Musical Club of
Toronto (www.wmct.on.ca). If you missed their previous appearance, be sure to catch this one. By the way, the WMCT is presenting the inimitable and phenomenal Red Priest which is, sadly, sold
out.
Capella Intima, the newest member of Toronto’s early music
community, is an ensemble of singers and musicians specializing in
the sacred music of the 17th century. Their debut program, “Music
from the Collegium Germanicum,” will include motets for three
voices by Cavalli, Sances, Valentini, as well as a Mass by Giocomo
Carissimi (February 21, 22, 25). Bud Roach (tenor), Joseph Levesque (tenor), and Neil Aronoff (baritone) are accompanied by SaraAnne Churchill (organ) and Lucas Harris (theorbo).
Frank T. Nakashima ([email protected]) is the President of the
Toronto Early Music Centre, a non-profit charitable organization
which promotes the appreciation of historically-informed performances of early music.
DAME EMMA KIRKBY
DANIEL TAYLOR
THEATRE OF EARLY MUSIC
HANDEL DUETS
BENEFIT CONCERT
February 17, 2009 at 7:30PM
Trinity College Chapel
6 Hoskin Avenue, U of Toronto
Toronto, Ontario
Tickets $50 - $250 (ONLY 100 AVAILABLE)
514-982-2535
www.theatreofearlymusic.com
DANIEL TAYLOR THE VOICE OF BACH
CHOIR AND ORCHESTRA OF THE THEATRE OF EARLY MUSIC
Exclusively on SONY/BMG
Choral Scene
by mJ buell
Wake up and SING!
FROM Harmony, from heavenly Harmony
This universal frame began:
When Nature underneath a heap
Of jarring atoms lay
And could not heave her head,
The tuneful voice was heard from high,
Arise, ye more than dead!
(John Dryden, Song for St. Cecilia’s Day, 1687)
A FREEZING FEBRUARY MORNING makes a person want to play dead especially if you have to get up while it’s still dark outside. The
birds are NOT singing. A rooster with even half a brain in its head
would be snuggled up in the warmest corner of the henhouse, muttering “cock-a-doodle-don’t”.
No accident that we choose to wake to music, or try to, anyway.
We use clock-radios tuned to favourite or most annoying stations.
We programme computers and cell-phones with our favourite upbeat tunes, and use them like alarm clocks. This February is a short
dark month: we brood about the economy, essential arts funding,
and RRSPs. It’s the month of Valentine’s Day – somehow we’re
meant to feel romantic about expensive chocolates and bouquets of
roses. We have a brand-new holiday called “Family Day” - family
in February represented by either the mixed blessing of too many
filthy shoes, boots and mitts in the hall, or the barely disguised
gloating of relatives who have skipped the country to warm up.
Interestingly this is also a month when our choirs close ranks with
other choirs and other kinds of artists to co-present. Preparing and
performing these kinds of concerts and events involves extraordinary feats of scheduling and communication. The results are invigorating and heartening: true labours of love, all.
It’s well worth venturing out for these: and it really is a “something for everyone” kind of month.
On the first of the month: The Toronto Mendelssohn Choir
closes ranks with some of their favourite singers: you! Raised in
Song is their sing-along programme of hymns and choral favourites:
a fine opportunity to be part of one great and powerful voice. On the
same day, same time, Hart House will be hosting The Inter-Varsity
Choral Festival Gala Concert with a massed choir of The Hart
House Chorus , Simply Sweetly (McGill University), Trent Concert Choir (Trent University), and The University of Western
Ontario Choir.
And there’s more. The Toronto Mass Choir, the York University Gospel Choir and As the
Spirit Moves Dance Troupe
offer us some potent recharging
energy in The Evolution of Gospel Music (Feb. 6&7). The
Amadeus Choir’s Celtic Celebration (Feb 7) shares the stage
with the Celtic band Kettle’s
On, fiddler Chris MacDonald,
and some highland dancers. On
the same day, the North York
Concert Orchestra and the
NYCO Symphony Chorus offer
us Fauré’s Requiem; and the
Mississauga Festival Choir
hosts a Festival of Friends concert which includes the Cawthra
Park Chamber Choir, the Mississauga Festival Youth Choir,
and the Queensmen of Toronto.
CONTINUES
The St. John
Passion
by J.S. Bach
CONDUCTOR
Yannick Nézet-Séguin
Sunday, March 29, 3 pm
Eglinton St. George’s United Church
35 Lytton Boulevard, Toronto
TICKETS: $60.00 per person
To reserve tickets, call 416-481-1141, ext. 250
Visa and MasterCard
Proceeds shared by
Toronto Symphony Adopt-a-Player programme
and Eva’s Intiatives
Handel –
Holman
Hatzis – Willanich – Raminsh –
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– Bevan – Jenkins – Haydn –
Robert Cooper,
Pärt - Mendelssohn –artistic
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RobinovEdward Moroney,
accompanist
Halley – Tavener – Franck – Orff
Distler – Schumann – Mozart – Daley – Brahms
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Liszt – Borodin – Bruckner – Holst – Elgar
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ley – Tavener – Franck – Orff – Distler – Schumann –
Count yourself in!
Mozart – Daley – Brahms – Finzi – Liszt – Borodin
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– Holst – Elgar – Vaughan Williams –
Be a part of the final concert of our
2008-2009
season.–Nominate
your – Haydn
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– Holman
Bevan – Jenkins
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favourite choral piece(s) and then attend
– Hatzis – our
WillanPärt
- Mendelssohn
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on May
9, 2009 to –seeBach Robinov-
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Sales Representative
416-322-8000
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- Finzi – Liszt – Borodin – Bruckner – Holst – Elgar
or call 416-530-4428
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19
Thursday, January
22, 2009, Noel Edison was invested into
the Order of Ontario.
With him is The Honourable David C.
Onley, Lieutenant
Governor of Ontario.
Noel Edison is the
founder of the Elora
Festival Singers, and
has been the principal
conductor of the Toronto Mendelssohn
Choir since 1999. He
has a number of recordings to his credit,
and is a regular juror for the CBC, the OAC and the Juno awards.
Noel Edison also serves on the board of directors of the Association
of Choral Conductors of Canada. The Order of Ontario is the highest
individual honour bestowed by the province, and Noel Edison is the
only member of the arts community to be recognized this year.
Canada Council Conseil des Arts
du Canada
for the Arts
arts
’
GREAT CHORUSES FROM GREAT ORATORIOS
Sunday March 8, 2009 @ 4pm
Grace Church on-the-Hill
300 Lonsdale Road, Toronto
(Spadina Rd. and St. Clair Ave. W.)
David J. King
CONDUCTOR
$20 General Admission
Children 12 and under
FREE with an adult
FREE Refreshments and Parking
www.allthekingsvoices.ca Call 416-225-2255
www.gracechurchonthehill.ca
20
PHOTO: TESSA BUCHAN
The UofT Faculty of Music offers us Choirs in Concert – Vox
Femina (Feb 13) in which the University Women’s Chorus shares
an evening with the University of Guelph Women’s Choir. On the
same day, in Cambridge, Ben Heppner will add his voice to the Heritage Alumni Choir, with the Cambridge Community Orchestra in
Opera and Oratorio – a Benefit Concert.
How much more romantic can you get than the French Romantic
composer Hector Berlioz? Would you sell your soul to the Devil in
return for great knowledge? Dare to find out! Charles Dutoit conducts the Toronto Symphony Orchestra, The Toronto Mendelssohn Choir, the Toronto Children’s Chorus and a luminous
solo line-up in The Damnation of Faust (Feb.26 & 28).
In commemoration of International Holocaust Remembrance Day
the Bach Elgar Choir will perform Oratorio Terezin (Hamilton, Feb
28), with the Hamilton Children’s Choir, the Talisker Players
Orchestra and some fine solo singers. This full length work by Ruth
Fazal uses children’s poetry which miraculously survived from the
ghetto of Terezin, woven together with passages from the Hebrew
scriptures: powerful and unique.
On the same evening, in Toronto, the Jubilate Singers will heat up
the night as they invite us to An Evening in Spain with guitarist
Michael Savona and dancer Esmerelda Enrique. And as we sing our
way through the slush to March 1,Toronto Mass Choir is back inviting us all to Power Up - this massed choir concert is the grand finale
of a two day gospel workshop.
World View
we’ve been lucky
enough to work with
her and the crowds
have gone from 500
by Karen Ages
to 2,000 in that time.
Since 1997, Alan Davis, curator of Small World Music, has been introducing Tell me more about
Toronto audiences to some of the finest non-Western musicians from around
the fundraiser bethe world. We missed acknowledging Small World’s tenth anniversary season, fore the Feb. 26
but there’s no time like the present to have a chat with Alan about what’s
show, and how can
been, and what’s coming up.
our readers reserve
VIP reception tickHow did Small World Music come into being?
Small World grew out of my love of forms of music from outside the culture I ets?
February 26th is a
grew up with. Rock and jazz had always been my ‘world’ and remain very
night to celebrate
Third appearance by the Dhoad Gypsies in town
important to me, but somewhere around the early 80’s my ears were opened,
largely by some very influential ‘mainstream’ artists - Peter Gabriel and Brian Small World as it
Eno. Without a doubt, Gabriel’s creation of WOMAD, the festival which still enters its second decade and acknowledge its contribution to Toronto and to
South Asian culture. The fundraiser, including the VIP reception and silent
takes place in various locations around the globe each year, was a sea change
in music for many people. The festival’s presence in Toronto for several years auction is in support of our annual South Asian series in the spring. It’s going
at Harbourfront was a huge revelation to me and many others, who discovered to be a great party and concert. This is the third appearance by the Dhoad
a world of sounds that, while sung in languages we didn’t understand, touched Gypsies in town and they put on a spectacular show. Tickets and info can be
found at www.smallworldmusic.com.
a spiritual place that resonated deeply.
My work at the Music Gallery during those years gave me a platform to
What else do you have coming up this season that we should definitely
begin to ‘share’ the music. In those days, the notion of ‘world music’ was still not miss?
pretty obscure and it was a tremendous pleasure discovering local musicians
Attend all shows! But maybe that’s asking too much - there’s lots of good
who were playing under the radar in Toronto, and putting them on stage in
stuff, including Mali’s Habib Koite as part of la Semaine de Francophonie on
front of wider audiences. We were able to present many Toronto firsts during March 26th, the return of Japan’s amazing Yoshida Brothers June 2nd and
that time. When things changed at the Music Gallery, I stumbled into a situathree days later, Iran’s rising star singer, Homayoun Shajarian doing his first
tion where I took it upon myself to continue that activity.
tour as soloist.
Fortunately, the idea coincided with a gradual awakening on the part of
Can you give us a glimpse into what you’ve got planned, or who’s on
institutions like the funding agencies and CBC, that to represent Canadian
your “wish list” for the 2009/10 season or beyond?
culture meant going beyond supporting ‘white culture’ and including a wider
More free programming when we can, more family programming in associaspectrum of communities. Obviously, that support has been key in the growth
tion with a new Putumayo kid’s project in fall of 2010. A possible world
of the organization and has enabled us to survive over ten years and more than
music conference to coincide with the fall festival. Onward and upward!
300 presentations.
*****
What was the very first concert you presented, and what were some of the
Other events this period, in brief: From Mali, west Africa, kora master
challenges in making it happen?
Ballaké Sissoko gives a solo concert February 5 at York University’s Tribute
The Vancouver-based Vietnamese ensemble Khac Chi at Harbourfront. Often
Communities Recital Hall. York’s music department also presents a West
I think of the projects I embarked on and what it took to do them on my own
African drum and dance showcase at Founders Assembly Hall, February 28.
and I think, ‘damn I must’ve been crazy’. Well, I certainly had more energy
Persian musician and composer Reza Manbachi, along with several musithen, anyway!
cians from the Chakavak Ensemble give a CD release concert February 7 at
How do you select groups/artists that you’d like to perform, and how do
the Arbor Room, Hart House. Harbourfront Centre presents KUUMBA,
you go about contacting them? What are some of the challenges you face
African Heritage Month festival, February 7,8 and 14,15
when booking international artists?
(www.harbourfrontcentre.com). Latin-jazz singer Eliana Cuevas and her
Our profile internationally generates a lot of approaches from artists and
band perform February 15 at the Lula Lounge. Autorickshaw performs
agents from around the world, so there’s a fair degree of ‘push’. The ‘pull’
February 19 at the RCM, and March 7 at the Toronto Symphony afterside of the equation includes our special projects like the Canadian Crossconcert party. COBA (Collective of Black Artists) celebrates Black History
cultural Collaborations that have been presented in the last three fall festivals. Month with Banta, a program of dance and live music including a tribute to
With these, we’ve taken Canadian artists from a variety of traditions and given the late South African singer Miriam Makeba, February 20-22 at the Fleck
them time to create new repertoire, offer public workshops and a concert.
Dance Theatre. Nagata Shachu (Japanese Taiko ensemble) performs March
Drum Nation, World on a String and last year’s One Voice, have focused on
6 at McMaster University’s Convocation Hall. The Toronto Classical Turkvarious instrument groupings. These have been tremendously satisfying on a
ish Music Ensemble performs March 7 at the Noor Cultural Centre. See our
variety of levels. The music has been outstanding and it addresses what’s
listings for more information.
become increasingly important for me, the fostering of intercultural exchange.
Without being too cliche or naive, the future has to be about breaking down
the barriers which still exist in the multi-cultural mosaic that Toronto’s so
proud of. In terms of the logistics of getting people into the country to play,
let’s just say it’s not getting any easier. We’ve had significant challenges
CANADA’S STRING SHOP
getting entry for South Asian and Iranian artists in particular in recent years.
All we can do is try our best within the existing rules and systems.
Small World concerts take place in all kinds of venues, from the Lula
Violins, violas, cellos, and bows
Lounge to Roy Thomson Hall. What’s the most unusual venue you’ve
Complete line of strings and accessories
used?
Hmm... A toss-up between the ‘Fermenting Cellar’ at the Distillery District
Expert repairs and rehairs
four or five years ago, when it was still a very raw industrial space, or our
collaboration with the local Afrobeat band Mr. Something Something, who
Canada’s largest stock of string music
performed on their bicycle-powered stage at the Don Valley Brickworks this
Fast mail order service
fall.
Looking back over the years, is there a particular concert or two that
stands out for you as being particularly memorable?
Well, with over 300 to choose from, it’s not exactly easy to say! There’ve
been so many great moments. The vast majority of concerts are of incredibly
high quality, so it’s the combination of great music and great audience rewww.thesoundpost.com
sponse that really resonates with me. Just in the last year, there’s the [email protected]
fondo and Tinariwen nights at the Mod Club - full houses and fantastic
vibes. Working with an artist over the years as they grow is very fulfilling 93 Grenville St., Toronto M5S 1B4
Mariza’s February 13th performance at Massey Hall will be the fifth time
Small world, big difference
tel 416.971.6990 fax 416.597.9923
21
Jazz Notes
by Jim Galloway
Brother, Can You Spare A Dime
Greed and corruption have triumphed yet again. The financial world
is in meltdown – and we are all worse off than we used to be, with
every indication that, to borrow a line from President Ronald
Reagan (who in turn paraphrased a line spoken by Eddie Cantor in
the 1927 “The Jazz Singer”) “you ain’t seen nothin’ yet!”
The temptation is to compare today’s crises to the crash of 1929.
We haven’t had reports of businessmen throwing themselves from
skyscraper windows—but then maybe that’s because the windows in
today’s high rise buildings can’t open.
It is, however, impossible to compare the social circumstances of
then and now. We live in a different world and seventy years have
seen it transformed at an unprecedented rate. The winds of change
became a hurricane with television, LPs, Cassettes, iPods, MP3s,
DVDs, downloads - as well as music trends such as hip-hop, rap, heavy
metal, disco funk and whatever comes next. The innocence is gone.
Nonetheless, it did seem like an interesting idea to look at some of
the aftereffects of 1929 and their impact on jazz musicians. Who
knows, maybe there are some lessons (which we won’t learn, of
course) to be had.
The easy street of the 20s became the dead end of the 30s.
Musicians found themselves out of work. Bear in mind that there
were two main forms of mass communication in these years: radio
and the phonograph record. After the crash, record sales dropped
from 104 million in the late 20s to 6 million by 1932. Warehouses
were full of unsold product and with people spending less, musicians
were not making much money from the recording industry. Many of
the record companies went out of business . Columbia Records
declared bankruptcy early in the depression and the Victor Company
even stopped producing record players. Meanwhile, radio allowed
people to hear music free (after you bought the radio), but whatever
work there was in radio for musicians declined and fees fell.
Radio was the first mass medium and played a hugely important
role. It ended rural isolation, provided entertainment and connected
people with the outside world. I have spoken with musicians who
lived through those times and they all remember nightly broadcasts
by name bands from hotels and ballrooms. Radio spread music and
in particular jazz across the country. “Name” big bands (Chick
Webb, Fletcher Henderson, Duke Ellington) did enjoy something of a
boom and by the late thirties, a number of band leaders were
enjoying commercial success, among them Benny Goodman, Glenn
Miller, and Tommy Dorsey. Jazz in the form of danceable swing music
had become popular among millions, and radio played a huge role in this.
But the downside is that in 1928 the American Federation of
Musicians had 146,236 members and by 1934 the numbers were
down to 101,111. The Chicago local for example, held weekly
dances, hiring local members so that they could earn a few dollars
and membership fees were reduced from $50.00 to $25.00.
By 1932, Cook County, Chicago, was firing firemen, police and
teachers and soup kitchens were showing up all over the U.S.A.
We didn’t recover from the great depression until the end of the 30s,
even although it hit rock bottom in 1933, by which time stocks had
declined by 80% and wages by an average of 60%.
We can only hope that it doesn’t get as bad this time around.
Otherwise not only will they be passing the jar at The Rex in
Toronto, they might be passing collection plates at T.S.O. concerts!
The repeal of prohibition in 1933 was another blow to musicians.
Speakeasies and bootleg nightclubs used music to attract customers
and it is well documented that jazz musicians earned good money in
those gangster-run establishments. I recall “Wild Bill” Davison, the
veteran cornet player who lived and played throughout this era, telling
me about working mafia-run clubs. One of the ways a gangster could
show off to his girl friend was by tipping the band, making a big deal
of it as they danced past the bandstand, which of course meant that
other gang members would do the same thing in order not to lose face
with their ladies. Bill said it wasn’t uncommon to be on the receiving
end of a fifty dollar tip. To put that in perspective, you could buy a
22
new car for $600.00!
You might say it was the
best of times, it was the worst
of times - it certainly was a
Dickens of a time!
It is not all gloom and doom
when one looks back at the
depression years. The rise in
popularity of jazz in the 30s
and its ability to raise spirits in
a troubled age inspired Gerald
Early, the noted essayist and
American culture critic, to
say the following - “America
will be remembered for three
things: the Constitution,
baseball, and jazz. A certain
kind of paradox is built into
jazz music. You had people who created a music that’s really
celebrating democratic possibilities: liberation, freedom of the spirit,
a soaring above adversities… Jazz is a kind of lyricism about the
great American promise and our inability to live up to it... Jazz is
probably the most distinctive, the most complex musical art that
America produced. It’s also the most inclusive.”
Most of the references in this article have been to the United
States, but jazz was also making its mark in Canada, flourishing in
Montreal, for example where there was a booming night life in jazz
clubs such as the Hollywood Club and the Terminal Club - for those
with money to spend. Not fancy, these were what would be described
as “joints” - bare floors and a minimum of trimmings – but they were
certainly popular. More upscale was Connie’s Inn on St. Catherine
Street. One of the bands to play there was the first organized Black
jazz band in Canada, The Canadian Ambassadors, led by an alto
player called Myron Sutton. Indeed, Montreal attracted some of the
jazz greats because at a time when most North American clubs were
segregated, Montreal offered a much more integrated and tolerant
environment.
Oh, and by the way, one of the local musicians who was playing in
churches and community halls with the family band during the thirties
was a young piano player called Oscar Peterson.
A sense of humour was an essential part of survival. It still is and
being able to laugh at ourselves is part and parcel of the game.
So I leave you with this one:Q: What kind of calendar does a jazz musician use for his gigs?
A: Year-at-a-Glance.
And just remember, what goes down might come back up.
Good news and bad, I suppose.
Featuring some of Toronto’s best jazz musicians
with a brief reflection by Jazz Vespers Clergy
Sunday, February 1st at 4:30 p.m.
MIKE MURLEY (saxophone) and
DAVID OCCHIPINTI (guitar)
Sunday, February 8th at 4:30 p.m.
GEORGE MARTON (piano) and
JACK ZORAWSKI (bass)
Christ Church Deer Park, 1570 Yonge Street
(north of St. Clair at Heath St.) 416-920-5211
Admission is free.
Jazz in the Clubs:
BandStand and Podium
By: Ori Dagan
In 2005, fans of Canadian jazz
singer-songwriter Georgia
Ambros were saddened to
learn that she was battling
non-Hodgkins lymphoma and
held a benefit in her honour,
“Georgia on My Mind”.
After chemotherapy and two
invasive throat operations,
Georgia has made a remarkable recovery and last month
played her first gig in four
years at the intimate Upstairs
Cabaret at Statlers. Singing
an elegant cocktail-themed
90-minute set with venerable
gentlemen Gary Williamson
at the piano and Steve Wallace Betty Richardson comes to Hugh’s Room
on bass, her voice was in
pretty good shape and as always, every word was sincere. The lady’s
talents as a clever songwriter were proven when fans ended up singing along to “The Limousine Song”. Congratulations to sweet Georgia on coming back in style! To learn more about the artist visit:
www.agerecords.com
February concludes with two extremely promising shows at
Hugh’s Room. The first: Jane Bunnett and the Spirits of Havana
with Voices featuring Elizabeth Shepherd and Telmary Diaz on Friday, February 27. Bunnett is an award-winning multi-instrumentalist internationally recognized as one of Canada’s most significant
jazz artists. The latest album, “Embracing Voices”, is a large-scale
collaborative effort of epic proportions, remarkable depth and haunting beauty. Tickets are selling fast!
On Saturday February 28, Hugh’s Room presents a tremendously talented singer: Betty Richardson. Born to a supremely gifted
musical family that includes sister/actress Jackie, Betty started singing professionally at fifteen with Dr. Music’s Doug Riley and the
Silhouettes. Most of her career has been spent as a background
vocalist, but fans insist that powerhouse Betty belongs in the foreground. Her soulful performances are so heavenly that they border
on religious experiences. Reservations are strongly recommended.
PLEASE NOTE: as of February 18, Lisa Particelli’s Girls
Night Out vocalist-friendly jazz jam moves to WEDNESDAY nights
at Chalkers Pub. For more information visit
www.girlsnightoutjazz.com
And there’s more. See our CLUB LISTINGS starting on page 44.
by Jack MacQuarrie
On the serious side
of the silly season
In last September’s issue we talked about the challenges facing
community musical groups at the beginning of a new season, as if the
“advent of a new season” only happens once a year. No such luck! For
most community bands and orchestras there are two or three seasons
in each year. Now, for example, the dust has settled on the fall season
with its final December rush, trying to fit in all of the traditional offerings expected by audiences. Most groups are now entering a new winter season. With a clean slate, so to speak, many will explore previously untried works, and embark on new musical challenges for their
members.
For concert bands, available repertoire, one of the major differences between the modern concert band and a traditional symphony orchestra, will be a major influence in shaping their program content,
and may indeed be a stumbling block. For the traditional symphony
orchestra, there is an enormous legacy of what is often referred to as
the Standard Repertoire. True, there have always been changes in
orchestral instrumentation over the years. In the 250 years since the
days of Haydn, Handel and Mozart, however, the changes have been
relatively minor. With the exception of the introduction of valves on
brass instruments and modifications to the fingering systems of some
woodwind instruments, the instrumentation of a modern symphony
orchestra has remained relatively unchanged for over two centuries.
The modern orchestra can trace its roots back to sponsorship by the
nobility, their courts and the religious institutions of Europe. The
modern concert band, on the other hand has evolved into its present
form much more recently, with its origins stemming principally from
British and European military traditions. So, while the top symphony
orchestras of the world today are almost without exception civilian
organizations, to this day the finest bands of the world are almost all
financed and operated by military organizations. With the exception
of bands raised for specific occasions, such as Olympic Games or
Expo 67, one would be hard pressed to name many truly professional
concert bands which have performed regular concert schedules in this
country in the seventy years since the outbreak of World War II.
Perhaps as a consequence, few composers of so called serious
music have seen fit to write for concert band instrumentation. If they
wished to present a program made up entirely of works from the so
called serious canon, a community band would have to resort almost
exclusively to transcriptions from orchestral scores.
In the early 1920s, officials at The Royal Military School of Music
at Kneller Hall, lamenting this lack of original music for concert
band, commissioned Gustav Holst to write his Suites in Eb and F for
this instrumentation. At about the same time Ralph Vaughan Williams
produced his Folksong Suite for band. Aside from a few such notable
exceptions, and a plethora of excellent marches, little of music written
specifically for band over the past century has stood the test of time.
To appeal to audiences with a taste for the standard repertoire bands
have had to rely on transcriptions of varying degrees of merit. While
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there were many excellent such transcriptions
in the early part of the twentieth century, most
are now out of print and hard to find. In recent
years, Colin Clarke, a young Toronto based
conductor and clinician, produced a first rate
transcription of Holst’s orchestral suite The
Planets. Unfortunately, such endeavours are
rare.
A century ago concert bands reached their
zenith with several famous ones touring the
world. The bands of John Philip Sousa, Arthur
Pryor, Edwin Franko Goldman and Giuseppe
Creatore were household names in the early
1900’s. Although not as well known today as
Sousa, in his day, The Great Creatore was the
darling of concert audiences throughout North
America and in Europe. Creatore’s Band was
featured at the Canadian National Exhibition
no fewer than ten times between 1914 and
1926. Some years later, the great Canadian
author Robertson Davies reminisced about a
childhood visit to the CNE to hear one such
concert in an essay entitled I Remember Creatore.
What repertoire did The Great Creatore
select for his concerts? A brief internet
search turned up a copy of a complete program for one of this band’s concerts. A concert in the National Theatre in Washington D.
C. on May 3, 1908 included selections by
Mozart, Thomas, Clementi, Massenet,
Tchaikowsky, Donizetti, Berlioz and Leoncavallo. Undoubtedly, all of these would have
been transcriptions from the original scores. A modern community
concert band would be hard pressed to find music for any of the
selections on that program. For
most community bands, the spring
concert repertoire will consist of
Broadway show arrangements,
movie music and TV themes, perhaps with a march thrown in.
On the local band scene, The
Lydian Wind Ensemble, which has
been rehearsing in the Whitby area
for some years, is proposing both a
name change and a change in rehearsal nights. In recent times the
group has been experiencing some
difficulty attracting new members
to Thursday evening rehearsals
since many potential candidates
already have other musical commitments then. The proposed new
name would be The Whitby Concert Band (not to be confused with
the Whitby Brass Band) and rehearsals would be held on Wednesday evenings. Past members of
Lydian Wind Ensemble and any
others interested in the proposed
new Whitby Concert Band are
asked to contact Bill Patton at
[email protected]
Coming Events - Down the Road
Sunday, March 1, 3:00 pm Hannaford Street Silver Band with
Artistic Director Curtis Metcalf
continues the celebration of its 25th Anniversary season with Brass &
Steel: A Caribbean Celebration featuring steel pan virtuoso Liam
Teague. Jane Mallett Theatre, St. Lawrence Centre, 27 Front Street
East, Toronto.
Friday, March 6, 8:00 pm The Etobicoke Community Concert
Band, John Edward Liddle, Music Director present Last Night of the
Proms with Pomp and circumstance and much flag-waving - A nostalgic tribute to all things British from Parry’s Jerusalem to
Elgar’s Pomp and Circumstance and Thomas Arne’s Rule Britannia.
Etobicoke Collegiate Auditorium, 86 Montgomery Road, Etobicoke.
Sunday, March 8, 2:00 pm The Northdale Concert Band, with
Stephen Chenette, Music Director, present a concert at Hope United
Church, 2550 Danforth Avenue (corner of Main Street and Danforth
Avenue).
Please write to us: [email protected]
Classical Guitar Virtuoso
John Williams
Tuesday, March 31
Toronto Centre
for the Arts
416-872-1111
24
by Christopher Hoile
A HIGHLIGHT
OF FEBRUARY
will be the
world premiere of the
new Canadian chamber
opera “Inês”
produced by
Queen of
Puddings
Music Theatre. Founded by musicians John
Hess and
Dáirine Ní
Mheadhra in
1995, the
company has
an enviable
record of
Eponymous: Portugal’s celebrated singer
creating forwardInês Santos in QoP title role.
looking but immediately appealing new music theatre works like “Beatrice Chancy” by
James Rolfe and George Elliott Clarke in 1999 and “The Midnight
Court” by Ana Sokolovic and Paul Bentley in 2005. The latter became the first Canadian opera invited for performance at the Linbury
Studio of the Royal Opera House, Covent Garden. Currently, “Love
Songs”, a song-cycle by Ana Sokolovic that debuted in Toronto in
2008 is booked for tours to Montreal, Ljubljana, Zagreb and Paris.
“Inês” combines the talents of composer James Rolfe, who
also wrote the highly acclaimed “Swoon” for the COC, with those of
Paul Bentley, now famous for his libretti for Poul Ruders’ operas
“The Handmaid’s Tale” and “Kafka’s Trial”. “Inês” is inspired by
the famous Portuguese tale of Inês de Castro and will make use of
Portuguese “Fado” music. Interested in the genesis of new operas, I
wrote Ms. Ní Mheadhra, who explained how the idea for the work
came about. The seeds for “Inês” were planted about six years ago
when she and Hess went to hear the now-superstar Portuguese Fado
singer Mariza at Harbourfront. “It was the first time we heard Fado
and we were hooked.” “Fado”, which can be translated as “fate”, is
a uniquely Portuguese music form that can be traced to the early 19th
century but likely has its origins in Moorish song. As Ní Mheadhra
explains, “Portuguese Fado is a living form of urban folk music developed in Lisbon for solo voice. A deeply emotional music form, it
shares a visceral expressiveness with opera and a poetic intimacy
with theatre. In Fado, tears are communicated in worthy fashion,
with a loneliness that fadistas make attractive through their graceful
and supple singing.” They immediately thought, “Wouldn’t it be nice
to do an opera with Fado in it.”
Hess and Ní Mheadhra felt the opera would require a composer of a particular sensibility. “James Rolfe has displayed through
his music an appetite for contrast of diverse musical styles and has
frequently incorporated critical non-Western musical components.
And we’ve worked with James before on ‘Beatrice Chancy’ in which
he incorporated extant African-Canadian music.”
For a story they went to Ricardo Sternberg and Joe Blackmore of the Portuguese Department at University of Toronto. Of the
many tales they heard, the one that struck them most was the story of
Inês de Castro (1325-55). Inês came to Portugal in 1340 as a maid of
princess Constança of Castile, recently married to Prince Pedro, the
Guillermo Silva-Marin, General Director
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25
Inês de Castro (1325-55). Inês came to Portugal in 1340 as a maid of
princess Constança of Castile, recently married to Prince Pedro, the
heir to the throne. Pedro, as fate would have it, fell in love with Inês
and neglected Constança. Eventually Pedro’s father Alfonso IV
exiled Inês from court and ultimately ordered her murder. Pedro never
wavered in his devotion to Inês and in 1357 when he became king, he
declared the now-deceased Inês as his lawful wife, had her exhumed
and made the court swear allegiance to her corpse. Numerous plays
and over twenty operas have been written on the subject.
Yet, Hess and Ní Mheadhra wanted the opera to be relevant
rather than another retelling of the famous tale. In the QoP version
the legend is placed within Toronto’s Portuguese community in the
1960s. Pedro is married to Constança but falls fatally in love with the
beautiful fadista Inês. The opera unfolds against a backdrop of Portugal’s war in Angola, the Salazar dictatorship and the Portuguese
immigrant experience in Canada. “We asked Paul Bentley if he was
interested in writing the libretto and he came on board. He did loads
of research, even going to hear Fado in London and incorporated
everything we talked about—the nightmare for immigrants during
their first winter in Toronto, Portuguese cleaning ladies, the Catholic
church, etc. and came up with a libretto.” After their fourth workshop in May 2008, they knew they could proceed to a world premiere.
The opera has four opera singers and one Fado singer. In
“Inês”, “some of the music is Fado inflected, and there are also
some songs that are James’ version of a Fado and of course our Portuguese singer sings with Fado inflection. The instrumentation is
piano, violin, amplified/acoustic guitar, clarinet, double bass/electric
bass”. Meanwhile Mariza, is coming to Toronto on February 13th
and Ní Mheadhra plans “to phone her agent to tell him that she was
the inspiration for our opera”.
Portugal’s celebrated singer Inês Santos will be starring in
the title role. The production also features Giles Tomkins, Shannon
Mercer, Elizabeth Turnbull and Thomas Goerz with stage direction
by Jennifer Tarver. “Inês” premieres at the Enwave Theatre at
Harbourfront on Sunday, February 22 at 4pm and subsequently plays
February 25, 26, 28 and March 1. For tickets call 416-973-4000 or
for more information visit
www.queenofpuddingsmusictheatre.com.
©Christopher Hoile
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26
OPERA AT HOME
By Phil Ehrensaft
The Murder of Frederico Garcia Lorca:
Oswaldo Golijov’s Ainadamar (Fountain of Tears)
The fascist militia of Grenada, Spain, abducted one of
Europe’s great literary voices, Frederico Garcia Lorca,
and then murdered him on
August 19, 1936. The corpse
of this landmark poet-playwright-director-composerartist was dumped in an unmarked and still unknown
grave. Lorca was only 38
when his life was stolen, and
all that he would have created
was stolen from posterity.
Murdering Lorca was an
early act in the Spanish Civil War of 1936-38, which was itself a dry
run for World War II. Lorca’s fate announced a campaign of targeted mass murders that helped pave the way for General Francisco
Franco’s dictatorship, a regime that lasted until the General’s death
in 1975.
Oswaldo Golijov’s first opera bears the title of a location where
many think the fascist militia “disappeared” Lorca, to use modern
parlance: That location is a public fountain bearing the Arabic name
Ainadamar, meaning “fountain of tears.” Indeed.
The artistry of Ainadamar, which premiered at Tanglewood in
2003, and was then revisd for the 2005 Sante Fe Festival, does full
honour to Lorca’s life and work. It’s a partnership between a very hot
and unorthodox composer with two frequent collaborators, the librettist David Henry Hwang and the New Music diva Dawn Upshaw,
plus Peter Sellars as the stage director. Sellars, from my perspective, is beyond brilliant when he directs contemporary operas. He’s
an invaluable ally to a composer as an opera travels from an initial
gleam in the eye to its premiere. (When Sellars gets his hands on
Mozart however, oy.)
My original intention for this month’s column had been to tackle
Puccini’s penultimate opera, La Rondine, via a review of the recent
Met production plus a better than fine Hardy DVD which remasters a
1959 Italian television production. But on the way back from viewing
Obama’s inauguration from a comfortable perch in the Canadian
embassy, I managed to slip Deutsche Grammophon’s recording of
Ainadamar into the appropriate slot in my car’s radio despite the best
efforts of DG’s packaging people to make shrink wrapping impenetrable. Having reviewed earlier Golijov recordings, I had high expectations. But this one bowled me over, as was evidently the case for
the powers that be at the Metropolitan Opera, which has given a
prized commission to Golijov to create a new opera for the 2011
season.
Golijov was born and raised in
Buenos Aires’ large Jewish community. Anyone born in Argentina has a very direct knowledge of
government and para-military
thugs “disappearing” people.
Lorca’s plays were kept alive in
Latin America while Franco
banned them in his native Spain.
(In fact the central female character in Ainadamar is an aging
actress in Uruguay – Margarita
Xirgu, the actress who unsuc-
cessfully tried to get Lorca to get to safety by joining her in a tour to
Cuba.) Add in the experience of Golijov’s Eastern European Jewish
parents in getting out of Europe in time to avoid the concentration
camps, and it’s evident that creating this opera is far more than a
good gig. This scenario is very, very personal.
The musical means that Golijov has in hand to create this scenario
are unusually, perhaps uniquely, diverse – and deep. After completing his formal undergraduate training in Argentina, Golijov headed
to the rigorous conservatory in Jerusalem. In Israel, Golijov picked
up on the music of both Arabs and contemporary Israelis. His earlier informal training included immersion in Jewish liturgical music,
Tango as high art music, and Afro-Brazilian drumming. The multiple musical worlds that we hear in Golijov’s compositions are the
result of living and working in diverse contexts, not pastiche to be
plugged in here and there. Golijov doesn’t quote Afro-Brazilian
drumming or synagogue chants – he composes with them.
All of these elements had previously been wielded (and welded)
with seeming ease in La Pasión según San Marcos, Golijev’s massive choreographed oratorio that was one of four Passions commissioned by the International Bachakadamie Stuttgart in celebration of
both the new millennium and the 250th anniversary of Bach’s death.
Sofia Gubaidulina, Tan Dun, and Wolfgang Rim were the other
three invitees. This was heady company indeed for a young composer barely known a decade earlier.
La Pasión is an applied case of chaos theory, sparked by Golijov’s youthful experiences in synagogues. Traditional prayers often
call for each person to chant to their own drummer. It seems to be a
welter of confusion, but then the key prayers come. Everybody
shifts gears on the spot and participates in tight coordination. It’s
like the Count Basie Band’s legendary ability to turn on a dime.
Golijov noticed the same pattern in Catholic street parades.
None of the above is chaotic in the slightest. It’s the product of
practising for many years and knowing the signals and the repertoire. But it does build up dramatic tension and release.
Dramatic tension and release is the name of of the game in opera.
When I first heard La Pasión, my immediate read was that this composer ought to be writing operas. Golijov’s change of course in that
direction was thankfully not long in coming.
In contrast to La Pasión, Ainadamar employs smaller forces and
is all the more powerful for doing so. The scenario shifts back and
forth from the present of a dying actress to slices of the past. The
sounds of Muslim Spain are rekindled long after they’ve disappeared. Brazilian drumming ups the emotional pitch when the time
is right.
........ Postscript
Sometimes the complex
mathematics of power is almost
indistinguishable from the simple
arithmetic of age. Take the
Canadian Opera Company for
example.
The COC was shepherded to safe
haven in its House for All Seasons
by the indefatigable Richard
Bradshaw bearing the double
burden of General Director and
Music Director heroically up the
hill. His passing sent shock waves
of loss that still reverberate.
The COC started the
process of filling the organizational L.to r.: COC’s Neef and Debus
void with the appointment as
General Director of Alexander Neef in June 2008. Hiring a new
Music Director, the 34-year old Neef announced, would be top
priority. January 7, at the COC’s 09/10 season launch, Neef
announced “proudly” that the search was over. Johannes Debus,
also 34 years old, would be the COC’s new Music Director,
commencing with the 2009 season, with tenure till 2012/13.
So, thirty four plus thirty four equals sixty plus.
Please do not mistake my irreverence for disrespect. Richard
Bradshaw’s legacy is beyond dispute. And I really think he would
have approved. What could have been worse right now than one of
those drawn-out audition processes, bringing likely Music Directors
in to conduct, one production at a time, over the course of a year or
two (with one of the better opera orchestras around pining for a
boss)?
Instead swift action, and rapturously received, I might add,
albeit by a highly involved crowd. Granted, this is not your “So did
you hear the Leafs traded for Debus” water-cooler stuff. I didn’t
remember Debus by name from War and Peace in the fall but I
sure remember the music and the rapport. Funny, the launch also
had a “well-conducted” feel to it.
Will the COC’s two 34s be the formula for the times?
That’s something to follow.
David Perlman
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ACADEMY CONCERT SERIES 30
ALDEBURGH CONNECTION 30
ALL THE KING’S VOICES 20
AMOROSO 50
ART OF TIME ENSEMBLE 16
ASSOCIATES OF THE TSO 36
ATMA 5
BACH CONSORT 19
BACH ELGAR CHOIR 43
BLOOR CINEMA 54
BRIAN CURRENT 55
CANADIAN OPERA COMPANY 12
CANCLONE SERVICES 50
CAPELLA INTIMA 34
CATHEDRAL BLUFFS SYMPHONY
ORCHESTRA 38
CHALKERS PUB 44
CHOIRS ONTARIO 52
CHRIST CHURCH DEER PARK
JAZZ VESPERS 22
CIVIC LIGHT OPERA 26
CLASSICAL 96.3FM 63
CONTINUUM CONTEMPORARY
MUSIC 11,36,37,38,40
COSMO MUSIC 24
EGLINTON ST. GEORGES UNITED
CHURCH 12
ELMER ISELER SINGERS 31
ESPRIT ORCHESTRA 3
EXULTATE CHAMBER SINGERS 20
FINGERSTYLE GUITAR DOT CA
24
GEORGE HEINL 15
GLENVIEW PRESBYTERIAN 32
HARKNETT MUSICAL SERVICES
23
HELICONIAN HALL 52
HYMN SOCIETY 34
JOEL KATZ 47
JUBILATE SINGERS 38,46
KOFFLER CENTRE 35
LONG & MCQUADE 23
MASON AND HAMLIN 7
MISSISSAUGA CHORAL SOCIETY
39
MONICA CHAPMAN 44
MUSIC AT PORT MILFORD 52
MUSIC GALLERY 15
MUSIC ON CANVAS 34
MUSIC TORONTO 9,12,29,41
MUSICIANS IN ORDINARY 38
NATHANIEL DETT CHORALE 10
NORTH TORONTO PLAYERS 33
NORTH YORK CONCERT
ORCHESTRA 34
OFF CENTRE MUSIC SALONS 40
OPERA BY REQUEST 26,33,35
ORCHESTRAS MISSISSAUGA 32
ORIANA WOMEN’S CHOIR 41
ORPHEUS CHOIR 19
PASQUALE BROS. 51
PETER MAHON 19
PHILHARMONIC MUSIC LTD. 47
QUEEN OF PUDDINGS MUSIC
THEATRE 15
QUINTESSENCE HANDBELL
ENSEMBLE 34
RCCO/LAWRENCE PARK
CHURCH 37
ROY THOMSON HALL 2
ROYAL CONSERVATORY OF
MUSIC 13
SAINT BLAISE 32
SCARBOROUGH PHILHARMONIC
39
SECOND VINYL 50
SINE NOMINE 33
SINFONIA TORONTO 16
SOUND POST 21
ST. CLEMENT’S ANGLICAN
CHURCH 29
SYMPHONY TOURS 50
SYRINX CONCERT 39
TAFELMUSIK 64
TAFELMUSIK BAROQUE SUMMER
INSTITUTE 54
TALISKER PLAYERS 31
TALLIS CHOIR 39
THEATRE OF EARLY MUSIC 18
TORONTO CHILDREN’S CHORUS
33
TORONTO CLASSICAL SINGERS 35
TORONTO CONSORT 37
TORONTO MASS CHOIR 29,40
TORONTO OPERA REPERTOIRE 25
TORONTO OPERETTA THEATRE
25
TORONTO SUMMER MUSIC 51
TORONTO SYMPHONY
ORCHESTRA 4,8
TORONTO WELSH MALE VOICE
CHOIR 38
TRUE NORTH RECORDS / LINUS
ENTERTAINMENT 62
U OF T FACULTY OF MUSIC 17
VIA SALZBURG 36
VISUAL AND PERFORMING ARTS
NEWMARKET 43
WENDY LIMBERTIE 47
WHOLENOTE
MARKETPLACE (1) 47
WHOLENOTE
MARKETPLACE (2) 54
27
LISTINGS: SECTION 1
CONCERTS: Toronto and GTA
WHOLENOTE LISTINGS
SECTIONS 1-4: INTRODUCTION
WholeNote listings
arranged in
SECTIONS
1-4: are
INTRODUCTION
FOUR DISTINCT SECTIONS:
1) Toronto & GTA (Greater Toronto Area)
2) Beyond the GTA
3) Jazz in Clubs
4) Music-related events
(a.k.a. “Announcements ... EtCetera”)
This issue contains listings from
February 1 to March 7, 2009
SECTION 1: Toronto & GTA (pages 28-41) covers all of the
City of Toronto plus the adjoining “905” area - more or less corresponding to the areas accessible from Toronto by phone without
long distance charges. Section 1 includes communities as far west
as Oakville, as far north as Aurora and as far east as Pickering.
In this issue Section 1 includes:
Brampton, Kleinburg, Markham, Mississauga, Oakville,
Thornhill, Toronto and GTA, Vaughan
SECTION 2: Beyond the GTA (pages 41-44) covers many areas
of Southern Ontario, outside Toronto and GTA. The towns and
cities vary from month to month.
In this issue Section 2 includes:
Bancroft, Barrie, Burlington, Cambridge, Chatham,
Cobourg, Dundas, Guelph, Hamilton, Kingston,
Kitchener, Lindsay, London, Newmarket, Norval,
Orillia, Oshawa, Owen Sound, Port Hope, St.
Catharines, Waterloo
SECTION 3: Jazz in Clubs (pages 44-45) is organized alphabetically by club, and provides as much detail on what the clubs are
offering as we had at the time of publication, which varies greatly
from club to club. Phone numbers and website addresses are provided to facilitate access to more up-to-date information.
SECTION 4: Announcements, Lectures/Symposia, Master
Classes…EtCetera (page 45-46) is for music-related events and
activities, other than performances, which in our judgment will be
of interest to our readers.
A general word of caution: a phone number is provided with
every WholeNote listing; in fact, we won’t publish a listing without one. Concerts are sometimes cancelled or postponed; artists or
even venues change after the listings are published; or occasionally corrected information is not sent to us in time.
So please check before you go out to a concert.
HOW TO LIST
Listings in WholeNote Magazine in these four sections are a free
service available, in our discretion, to eligible presenters. If you
have an event, send us your information NO LATER than the 15th
of the month prior to the issue or issues in which your listing is
eligible to appear. Please note, the next issue covers the period
from March 1-April 7 2009 so listings must be received by February 15th.
Listings can be sent by e-mail to [email protected] or
by fax to 416-603-4791 or by regular mail (address on page 6) .
We do not receive listings by phone, but you can call 416-323-2232
x21 for further information on listings.
28
Note: Opera and music theatre productions
with extended runs appear in the daily
listings only on the first performance of
the month. Subsequent performance dates
appear at the end of that primary listing.
For show times, call the phone number
listed.
Listings for the following extended-run
productions my be found on the dates
below:
Dirty Dancing – Feb. 1
Happy Days – Feb. 3
Jersey Boys – Feb. 1
The Sound of Music – Feb. 1
We Will Rock You – Feb. 1
Sunday February 01
— 10:30am: Eglinton St. George’s United
Church. Jazz Epiphanies: Alex Dean Quartet. 35 Lytton Blvd. 416-481-1141. Free.
— 1:30: CAMMAC/McMichael Gallery.
Bethune Flute Ensemble. 10365 Islington
Ave, Kleinburg. 905-893-1121. $15; $9(sr/
st).
— 1:30: Mirvish Productions. The Sound
of Music. Rodgers & Hammerstein. Princess of Wales Theatre, 300 King St. W.
416-872-1212. $36-$200. Also Feb. 4-8,
11-15, 18-22, 25-Mar. 1, 4-7 and beyond.
— 2:00: City of Toronto. Sunday Concert
Series: Chinese New Year Celebration.
Scarborough Civic Centre, 150 Borough Dr.
416-486-3011. Free.
— 2:00: Dancap Productions. Jersey
Boys. Gaudio & Crewe. Eric Bates (Tommy
deVito), Joseph Leo Bwarie (Frankie Valli),
Andrew Rannells (Bob Gaudio), Steve
Gouveia (Nick Massi), and others; Des
McAnuff, director; Sergio Trujillo, choreographer. Toronto Centre for the Arts, 5040
Yonge St. 416-872-1111. $55-$125. Also
Feb 3-8, 10-15, 17-22, 24-Mar 1, 3-7 and
beyond.
— 2:00: Mirvish Productions. Dirty
Dancing. Bergstein. Royal Alexandra
Theatre, 260 King St. W. 416-872-1212.
$26-$99. Also Feb 3-8, 11-15, 17-22, 24Mar. 1, 3-7 and beyond.
— 2:00: Mirvish Productions. We Will
Rock You. Music of Queen. Panasonic
Theatre, 651 Yonge St. 416-872-1212.
$25-$85. Also Feb. 3-8, 10-15, 17-22, 24Mar 1, 3-7 and beyond.
— 2:00: St. Anne’s Music & Drama
Society. Gilbert & Sullivan’s Pirates of
Penzance. Maura McGroarty, music director; Laura Schatz, artistic director. St.
Anne’s Parish Hall, 651 Dufferin St. 416922-4451. $24,$19(sr/st).
— 2:00: Trio Bravo. Concert No.2. Reinecke: Trio in A; Schubert: Shepherd on the
Rock; Barnes: Four Songs; Mozart: Trio in E
flat K498 “Kegelstatt”. All Saints Kingsway Anglican Church, 2850 Bloor St. W.
416-242-2131. $20; $15(sr/st).
— 2:30: Opera in Concert. Il Mondo della
Luna. Haydn. Marcel van Neer, tenor
(Ecclitico); Deanna Hendriks, soprano
(Clarice); Aradia Ensemble, Kevin Mallon,
conductor; Opera in Concert Chorus. Jane
Mallett Theatre, 27 Front St. E. 416-3667723. $38; $28.
— 2:30: The Aldeburgh Connection. The
Wings of Song. A celebration of Men-
delssohn’s 200th birthday. Gillian Keith,
soprano; Elizabeth Turnbull, mezzo; Lawrence Wiliford, tenor; Stephen Ralls and
Bruce Ubukata, piano. Walter Hall, Edward
Johnson Building, 80 Queen’s Park. 416735-7982. $50; $12(student rush).
— 3:00: Canadian Sinfonietta. Chinese
New Year Fundraiser. Works include Mozart: Overture from Marriage of Figaro;
Mendelssohn: Violin Concerto in e, 1st mvt;
Chopin: Piano Concerto No. 1, 1st mvt;
Grieg: Piano Concerto in a, 1st mvt. Students from Aster’s Music House. Glenn
Gould Studio, 250 Front St. W. 416-8724255. $25; $15(sr/st).
— 3:00: Hart House Chorus. Inter-Varsity
Choral Festival 2009. Ontario university
choirs perform works by Brahms, Monteverdi and Handel. Christopher Dawes,
organ. Metropolitan United Church, 56
Queen St. E. 416-978-8849. $15, $10(sr/
st).
— 3:00: Hart House. CD Launch: “The
Garden of Peacocks.” Works arranged for
two harps, from Respighi to Clapton. Lori
Gemmell and Jennifer Swartz, harps. 7
Hart House Circle. 416-978-2452. Free.
— 3:00: Syrinx Sunday Salons. Winona
Zelenka, cello, Lydia Wong, piano. Schubert: “Arpeggione” Sonata; Prévost: Improvisation for solo cello; Brahms: Sonata
for Cello and Piano in D. Heliconian Hall, 35
Hazelton Ave. 416-654-0877. $20; $15(st).
— 3:00: Toronto Mendelssohn Choir.
Raised in Song. Hymns and choral favourites sing-along. Giles Bryant, narrator;
William Maddox, organ; Noel Edison,
conductor. Yorkminster Park Baptist
Church, 1585 Yonge St. 416-598-0422.
$35; $10(child).
— 4:00: Royal Conservatory of Music.
Great Artists Series: Li Wang, piano.
Schumann: Kinderszenen; Chopin: Mazurkas Op. 17; Mussorgsky: Pictures at an
Exhibition. Mazzoleni Hall, 273 Bloor St. W.
416-408-2824 x321. $30; $10(st).
— 4:00: St. James Cathedral. Twilight
Recital Series. Andrew Ager, organ. 65
Church St. 416-364-7865 x224. Free.
— 4:00: St. Olave’s Church. Amazing
Grace: Music for a Winter Afternoon. Music
from the film “Amazing Grace”; also festive
evensong for Candlemas. Janice Douglas,
piano; Jenni Hayman, soprano; John Floyd,
jazz piano; St. Olave’s Consort, and others.
360 Windermere Ave. 416-769-5686.
— 4:30: Christ Church Deer Park. Jazz
Vespers. Mike Murley, saxophone; David
Occhipinti. guitar. 1570 Yonge St. 416920-5211. Free, donations welcomed.
Monday February 02
— 7:30: University of Toronto Faculty
of Music. Chamber Music Series. Mendelssohn: Quartet Op.44 No.1; Puts: Credo;
Dvorak: Quartet Op.96 “American”. Miro
Quartet. Walter Hall, Edward Johnson
Building, 80 Queen’s Park. 416-978-3744.
$25; $15(sr/st).
Tuesday February 03
— 1:00: St. James Cathedral. Music at
Midday Series. Thomas Fitches, organ. 65
Church St. 416-364-7865 x224. Free.
— 7:30: Dancap Productions. Happy
Days. Marshall & Williams. Gordon Greenberg, director. Elgin Theatre, 189 Yonge St.
416-872-1111. $25-$95. Also Feb 4-8, 1015.
— 8:00: Gold Gramaphone. Gold Gramaphone Jubilee. Performers include Verka
Serduchka, Ani Lorak, Maksim Galkin, and
more. Roy Thomson Hall, 60 Simcoe St.
416-872-4255. $75-$350.
— 8:00: Rose Theatre. Ache Brazil. Music
and dance from Brazil. 1 Theatre Lane,
Brampton. 905-874-2800. $25-$40.
Music TORONTO
Wednesday February 04
— 12:00 noon: Royal Conservatory of
Music. Adrian Anantawan, violin. Works by
Saint-Saëns, Franck and Sarasate. Robert
Kortgard, piano. Mazzoleni Hall, 273 Bloor
St. W. 416-408-2824 x321. Free.
— 12:30: Yorkminster Park Baptist
Church. Noonhour Recital. Eric Osborne,
organ. 1585 Yonge St. 416-922-1167.
Free.
— 7:30: Canadian Opera Company.
Fidelio. Beethoven. Adriana Pieczonka,
soprano (Leonore); Jon Ketilsson (Feb 4,7),
Richard Margison (Feb 12-24) tenor
(Florestan); Gidon Saks, bass-baritone (Don
Pizarro); Mats Almgren, bass (Rocco); COC
Orchestra and Chorus; Andreas Baesler,
director; Gregor Buhl, conductor. Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. $60$290. Also Feb 12, 15, 18, 21, 24.
Thursday February 05
— 12:10: St. Paul’s Bloor Street Anglican Church. Noon Hour Organ Recital
Series. Andrew Adair, organ. 227 Bloor St.
E. 416-961-8116. Free.
of Music. Thursdays at Noon – Music and
Poetry. Che Anne Loewen, piano; Eric
Domville, speaker. Walter Hall, Edward
Johnson Building, 80 Queen’s Park. 416978-3744. Free.
— 12:15: Metropolitan United Church.
Noon at the Met. Matthew Coons, organ.
56 Queen St. E. 416-363-0331 x26. Free.
— 7:00: Lula Lounge. Eliana Cuevas
Quintet. Lula Lounge, 1585 Dundas St. W.
416-588-0307. $15; $10(advance).
Rusalka. Dvorak. Julie Makerov, soprano
(Rusalka); Irina Mishura, mezzo-soprano
(Jezibaba); Michael Schade, tenor (Prince);
Richard Paul Fink, baritone (Water Gnome);
COC Orchestra and Chorus; Dmitri Bertman, director; John Keenan, conductor.
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
$60-$290. Also Feb 11, 14, 17, 20, 23.
— 7:30: Toronto Beach Chorale. Broadway Bound in the Beach. Music from
Oliver!, The Sound of Music, Oklahoma and
more. Mervin Fick, conductor. Kingston
Road United Church. 975 Kingston Rd.
416-778-0949. $20; $10(under 18).
— 7:30: York University Dept. of Music.
Ballake Sissoko. Solo kora performance.
Tribute Communities Recital Hall, Accolade
East, 4700 Keele St. 416-736-5888. $25;
15(st).
— 8:00: Music Toronto. Cecilia Quartet.
Programme includes Haydn: String Quartet
in B flat Op.76 No.4 “Sunrise”; Brahms:
Sextet in G. Guests: Marina Hoover, cello;
CECILIA QUARTET
Thursday
February 5 at 8 pm
Hsin-Yun Huang, viola. Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27
Front St. E. 416-366-7723. $41-$45;
$5(st; accompanying adult pays half price);
pay your age (18-35).
— 8:00: Scarborough Music Theatre.
Urinetown. Hollmann & Kotis. J.P. Gedeon,
director; F. Darryl Burton, music director.
Scarborough Village Theatre. 3600 Kingston Rd. 416-396-4049. Also Feb 6-8, 1215, 19-21.
— 8:00: Toronto Philharmonia. Legendary
Favourites. Burry: Orchestra Suite from
“The Hobbit”; Glazunov: Violin Concerto;
Kodaly: Hary Janos Suite. Lance Elbeck,
violin; Kerry Stratton, conductor. George
Weston Recital Hall, Toronto Centre for the
Arts, 5040 Yonge St. 416-872-1111. $29$59; $25-$59(st); $25-$49(sr).
Friday February 06
— 12:30: York University Dept of Music.
Music at Midday: Oo La La! Recital featuring French mélodies, performed by singers
from the studios of Catherine Robbin,
Stephanie Bogle, Norma Burrowes, Michael
Donovan, Janet Obermeyer, Karen Rymal.
East, YU, 4700 Keele St. 416-736-2100 ext
22926. Free.
— 7:30: University of Toronto Faculty of
Music. Faculty Artist Series – French
Chamber Music. Chausson: Piano Quartet;
Faure: Piano Quartet. Jacques Israelievitch,
violin; Teng Li, viola; Shauna Rolston, cello;
Henri-Paul Sicsic, piano. Walter Hall,
Edward Johnson Bldg, 80 Queen’s Park.
416-978-3744. $25; $15(sr/st).
— 7:30: York University Department of
Music. The Evolution of Gospel Music.
Works by Dorsey, Jackson, Cleveland. York
U Gospel Choir; Toronto Mass Choir; Aidan
Church; Betty Lewis; As the Spirit Moves
dance troupe; Karen Burke, artistic director; Corey Butler, musical director. Tribute
Communities Recital Hall, Accolade East,
YU, 4700 Keele St. 416-736-5888. $20;
$10 (sr/st). Call to confirm if strike is over.
— 8:00: Esprit Orchestra. Breathless.
Chin: Double Concerto; Louie: Infinite Sky
with Birds; Rea: Figures hatives; Ades:
Three Studies from Couperin. Ryan Scott,
percussion; Stephen Clarke, piano; Marie
Berard, violin; Alex Pauk, artistic director.
Jane Mallett Theatre, 27 Front St. E. 416366-6754. $32; $24(sr); $15(st). 7:15: Preconcert talk.
Urinetown. See Feb. 5.
— 8:00: Sinfonia Toronto. The Glory of
Baroque Concerti. Bach: Concerto for Two
Violins; Tartini: Cello Concerto in A; Royer:
Viola Concerto (premiere); Vivaldi: Concerto
for Two Violins in A; Vitali (arr. Respighi):
Chaconne for Violin and Orchestra. Nurhan
Arman, conductor. Grace Church on-theHill, 300 Lonsdale Rd. 416-499-0403. $40;
$32(sr); $12(st & 16-29 years).
— 8:00-11:30: York University Dept of
Music. Improv Soiree. An evening of
improvisation in an “open mike” set-up,
hosted by the improv studios of Casey
Sokol. Sterling Beckwith Studio, 235
Accolade East, YU, 4700 Keele St. 416736-2100 ext 22926. Free.
— 7:30: Music on the Donway. Some Like
it Hot. Latin Jazz. Hilario Duran, piano;
with ensemble. Donway Covenant United
Church, 230 The Donway W. 416-4448444. $20 $12(children 12 and under).
Saturday February 07
February 7, 2009 at 7:30 p.m.
Global Kingdom Ministries
1250 Markham Rd.
— 2:00: Harbourfront Centre. Kuumba
Festival: Griots. Katenen “Cheka” Dioubaté,
vocalist. Brigantine Room, 235 Queen’s
Quay W. 416-973-4000. Free.
— 2:30 & 7:00: Amadeus Choir. A Celtic
Celebration. Lydia Adams, conductor;
guests: Kettle’s On (Celtic Band); Christopher MacDonald (fiddler); Highland Dancers. Toronto Botanical Gardens, 777
Lawrence Ave. E. 416-446-0188. $35;
$30(sr/st).
Fidelio. Beethoven. See Feb. 4
Festival: Hiplife. Fusion of Ghanian highlife
and hip-hop. Brigantine Room, 235 Queen’s
Quay W. 416-973-4000. Free.
— 7:00: York University Invitational
Festival of Bands. GTA’s Finest. Grade
nine and ten high school bands. Tribute
Communities Recital Hall, Accolade East,
YU, 4700 Keele St. 416-736-2100 x22926.
Free.
‘The Evolution of Gospel Music’
Music, Dance and Drama combine
to tell this powerful story
Artistic Director - Karen Burke
Featuring The Toronto Mass Choir,
members of the
York University Gospel Choir
Special Guests: Aadin Church,
Amoy Levy and Peter Moncrieffe
(Markham Rd./S. of 401)
Tickets $20/Adults, $10/students
Tickets available at the door
or on-line at www.tmc.ca
— 7:30 Toronto Mass Choir. The Evolution of Gospel Music. Music, dance and
drama. Guests: Aadin Church, Amoy Levy,
Peter Moncrieffe, vocalists; members of
York University Gospel Choir; Karen Burke,
artistic director. Global Kingdom Ministries,
1250 Markham Rd. 905-794-1139. $20;
$10 (sr/st).
— 8:00: Academy Concert Series. Not
just Messiah. Handel’s Baroque trio sonatas. Rona Goldensher, baroque violin;
Nicolai Tarasov, baroque oboe; Laura
Jones, viola da gamba; Paul Jenkins,
harpsichord/organ. Eastminster United
Church, 310 Danforth Ave. 416-927-9089.
$17; $11(sr/st).
Music at
St. Clement’s
Saturday, February 7, 2009, 8 pm
Mark Whale, violin; Brett Kingsbury, piano
Music by Bartok, Beethoven, Brahms, & Messiaen
Tickets: $15 regular, $5 students
Sunday, February 14, 2009, 3pm
Organist in Recital—Thomas Fitches
Dance music for the organ
Music by Buxtehude, Berthier, Cholley,
Hubert, Hakim, Ravel
Tickets: $15 regular, $10 students & seniors
St. Clement’s Anglican Church
59 Briar Hill Ave., 416-483-6664
29
... 1: CONCERTS: Toronto and GTA
— 8:00: Acoustic Harvest Folk Club.
Nathan Rogers. St. Nicholas Anglican
Church, 1412 Kingston Rd. 416-264-2235.
$18.
— 8:00: Brampton Lyric Opera. La Traviata in Concert. Verdi. Giovana Carini, soprano (Violetta); Keith Klassen, tenor
(Alfredo); Jay Stephenson, baritone (Germont); Shek Ko, conductor. Rose Theatre, 1
Theatre Lane, Brampton. 905-874-2800.
— 8:00: Hart House. CD Launch: Journey
of Love. Persian music. Reza Manbachi, tar,
setar, shoorangiz; Amaan Mehrabian,
santoor; Amir Manbachi, percussion; Ali
Sajjadi, barbat; Nargol Rezvani, cello;
Shahram Dehkhodaei, vocals. Arbor Room,
7 Hart House Circle, 416-978-2452. $30.
— 8:00: Markham Theatre. Tribute to
Victor Herbert. Highlights from the Red
Mill, Babes in Toyland, The Fortune Teller
and The Prima Donna. Iris Rodrigues,
vocalist; Kerry Stratton, conductor. 101
Town Centre Blvd. 905-305-7469. $45$56.
— 8:00: Massey Hall & Roy Thomson
Hall. Emm Gryner. Guest: Colin Devlin.
Glenn Gould Studio, 250 Front St. W. 416872-4255. $29.50.
— 8:00: Mississauga Festival Choir.
Festival of Friends. David Ambrose, conductor; guests: Cawthra Park Chamber Choir,
the Mississauga Festival Youth Choir; The
Queensmen of Toronto. Eden United
Church, 3051 Battleford Rd. Mississauga.
905-828-2280. $20; $15(sr/st).
— 8:00: Music Gallery. No Name Dance.
Improvised music and dance. Aimee Dawn
Robinson, dancer; guests: Eric Chenaux,
amplified sound; Jennifer Castle, guitar/
vocals; Nick Fraser, percussion; Allison
Cameron, toys/keyboards/banjo. 197 John
St. 416-204-1080. $10.
— 8:00: North York Concert Orchestra.
Fund Raising Concert. Fauré: Requiem. Iris
Krizmanic, soprano; Dorothy Krizmanic,
organ; NYCO Symphony Chorus; David
Bowser, conductor. Grace Church on-theHill, 300 Lonsdale Rd. 416-628-9195. $30.
— 8:00: St. Clement’s Anglican Church.
Mark Whale, violin, Brett Kingsbury, piano.
Music by Beethoven, Brahms, Bartok, and
— 4:30: Christ Church Deer Park. Jazz
Stephen Fuller, fiddle; Barbara Ackerman,
Vespers. George Marton, piano; Jack
flute; Karen Millyard, caller; Regency
Messiaen. 59 Briar Hill Ave. 416-483-6664. Zorawski, bass.1570 Yonge St. 416-920Dancers. Tribute Communities Recital Hall,
$15; $5(sr/st).
5211. Free, donations welcomed.
Accolade East, YU, 4700 Keele St. 416— 9:30: Harbourfront Centre/Batuki
736-5888. $15; $5 (sr/st).
Music. Kuumba Festival: Horn of Africa –
Festival: Hiplife. See Feb. 7.
— 8:00: Talisker Players Chamber
A Musical Odyssey. Kemer Yousef, vocalist.
Music. When We Were Young. Crumb:
Monday
February
09
Brigantine Room, 235 Queen’s Quay W.
Federico’s Little Songs for Children; Raum:
416-973-4000. $15.
— 8:00: Jazz FM.91. Sound of Jazz.
Renovated Rhymes; Brown: Where the
Lovesongs,
featuring
Guido
Basso,
flugelGeese Go Barefoot; Munn: What’s for
Sunday February 08
horn. Old Mill Inn, 21 Old Mill Rd. 416-595- Supper?; Greer: Palm Court Songs of the
— 10:30am: Eglinton St. George’s United 0404 x258. $30; $27(students).
Bubble Ring. Guests: Xin Wang, soprano;
Church. Jazz Epiphanies: Dixie Demons. 35
James McClennan, tenor; Peter Longworth,
Tuesday February 10
Lytton Blvd. at Duplex. 416-481-1141.
piano. Trinity St. Paul’s Centre, 427 Bloor
Free.
— 12:00 noon: Canadian Opera Company. St. W. 416-504-7529. $30; $20(sr);
Vocal Series: Schubert, Strauss and Sond- $10(st).
Festival: Soul Influence. A capella Afro-jazz. heim. Art songs from Schubert to SondheWednesday February 11
Brigantine Room, 235 Queen’s Quay W.
im. Gidon Saks, bass-baritone; Susan Ball,
416-973-4000. Free.
piano. Richard Bradshaw Amphitheatre,
— 12:15: Hart House. Midday Mosaics.
Four Seasons Centre for the Performing
Youkali Trio. 7 Hart House Circle. 416-978Rusalka. Dvorak. See Feb. 5.
Arts, 145 Queen St. W. 416-363-8231.
2452. Free.
— 2:00: City of Toronto. Sunday Concert Free.
Series: Syncona. Music from the Caribbean. — 1:00: St. James Cathedral. Music at
Church. Noonhour Recital. Andrei StreliScarborough Civic Centre, 150 Borough Dr. Midday Series. Melva Graham, organ;
aev, organ. 1585 Yonge St. 416-922-1167.
416-486-3011. Free.
Sarah Hicks, alto; Bev Jahnke, mezzo;
Free.
David Osborne and Jason Raetz, counter— 3:00: Dancemakers. It’s About Time:
Great Artists Series: Andrew McCandless, tenors. 65 Church St. 416-364-7865 x224. 60 Dances in 60 Minutes. Michael Trent,
trumpet. Works by Bach, Brahms, BernFree.
choreographer. Enwave Theatre, Harstein, Debussy and others. GGS faculty
— 7:30: Aldeburgh Connection Discovbourfront Centre, 235 Queens Quay W.
members. Mazzoleni Hall, 273 Bloor St. W. ery Series. Cycles of Love. Catherine
416-973-4000. $22-$38; $20-$33(sr/st).
416-408-2824 x321. $30; $10(st).
Marchant, soprano; Mia Harris, mezzo;
Patrick Jang, tenor; Giovanni Spanu,
Rusalka. Dvorak. See Feb 5.
baritone; Stephen Ralls, piano. Walter Hall, — 7:30: Toronto Opera Repertoire.
— 2:30: Toronto Early Music Centre.
Edward Johnson Building, 80 Queen’s Park. Cinderella. Rossini. Beatrice Carpino/Valeria
Musically Speaking. Works by Leclair,
416-735-7982. $18; $12(sr/st).
Kondrashov, sopranos (Cinderella); William
Rameau, and Telemann. Sara-Anne Church- — 7:30: York University Department of
Parker, baritone (Don Ramiro); Gerald
ill, harpsichord; Elyssa Lefurgey-Smith,
Music. Faculty Concert Series: “Flirting
Hannon, bass-baritone (Don Magnifico);
violin; Justin Haynes, viola da gamba.
with Mr. Darcy”. Music and dance from the Giuseppe Macina, director/conductor.
Church of the Holy Trinity, 10 Trinity Sq.
time of Jane Austen. Dorothy de Val, piano; Bickford Centre, 777 Bloor St. W. 416-978416-920-5025. Pwyc.
— 3:00: Kingsway-Lambton United
Church. Winter Interlude. Choir and soloCelebrating the
ists; Ruth Henderson, music director. 85
Art of Song
The Kingsway. 416-234-8224. $15;
free(16 and under).
Artistic Directors:
— 3:00: Penthelia Singers. Love Song.
Stephen Ralls and Bruce Ubukata
Brahms: Liebeslieder; Sullivan: Birdsongs
(premiere). Alice Malach, conductor; Judith
deHaney, piano. Rosedale Presbyterian
Church, 129 Mount Pleasant Rd. 416-2556359. $20; $15(sr/st).
Catherine Marchant
Recital Series. Airene Wong, piano; Shauna
soprano
Giovanni Spanu
Basiuk, flute. 65 Church St. 416-364-7865
baritone
x224. Free.
Discovery Series: Cycles of Love
Not just “Messiah”
Saturday, February 7th at 8 pm
Experience the genius of
Handel’s finest
Baroque Trio Sonatas.
on period
instrumets
Rona Goldensher, violin
Nicolai Tarasov, oboe
Paul Jenkins, organ
Laura Jones, viola da gamba
Eastminster United Church, 310 Danforth Avenue
Tickets: $17 (regular) /$11 (senior/student)
416-927-9089 or go to: www.academyconcertseries.com
30
Patrick Jang
tenor
Mia Harris
mezzo
Stephen Ralls, piano
Tuesday, February 10, 7:30 pm
Walter Hall, Edward Johnson Building
80 Queen’s Park
Tickets: $18 (Seniors/Students $12)
Call 416.978.3744
RBC
UNIVERSITY OF TORONTO
FACULTY OF MUSIC
RBC
Financial
Group
www.aldeburghconnection.org
’
arts
9949. $24; $15(sr/st). Also Feb 14, 20, 22,
25, 28,
Music. Jazz Series. Small Jazz Ensembles.
Walter Hall, Edward Johnson Building, 80
Queen’s Park. 416-978-3744. Free.
— 8:00: Rose Theatre. Sophie Milman.
Jazz vocals. 1 Theatre Lane, Brampton.
905-874-2800. $50-$65.
— 8:00: Talisker Players Chamber
Music. When We Were Young. See Feb. 10.
368-3310. $22-$40. Also Feb.13-5, 18-22,
24 - 28, Mar 1.
— 8:00: Fox Theatre. Blue Martini Jazz.
Jeanine Mackie, vocals; Pat Perez, saxophone; Brian Dickinson, piano; Neil Swainson, bass; Terry Clarke, drums. 2236
Queen St. E. 416-691-7335. $25; $20(advance).
— 8:00: Hart House Orchestra. In Concert. Beethoven: Symphony No. 7; concerto
featuring winner of HHO Concerto Competition. Henry Janzen, conductor. Great Hall,
7 Hart House Circle. 416-978-2452. Free.
— 12:00 noon: Canadian Opera Company. — 8:00: Music Gallery. Wavelength 450.
Vocal Series: Chansons d’amour. Art songs Dorit Chrysler, theremin; Ghost Bees;
with a love theme by Monteverdi, MenTimber Timbre. 197 John St. 416-204delssohn, Brahms, Faure, Weill, and Sond1080. Pwyc. ($5-$10 suggested).
heim; traditional songs from Greece, Ireland — 8:00: Scarborough Music Theatre.
and Scotland. Frances Pappas, mezzoUrinetown. See Feb. 5.
soprano; Monica Whicher, soprano; Liz
— 8:00: Toronto Symphony Orchestra.
Upchurch, piano. Richard Bradshaw Amphi- Lupu Plays Beethoven. Stravinsky: Scherzo
theatre, Four Seasons Centre for the
fantastique; Beethoven: Piano Concerto
Performing Arts, 145 Queen St. W. 415No.3; Rachmaninoff: Symphonic Dances.
363-8231. Free.
Radu Lupu, piano; Peter Oundjian, conduc— 12:10: St. Paul’s Bloor Street Anglitor. Roy Thomson Hall, 60 Simcoe St. 416can Church. Noon Hour Organ Recital
593-4828. $42-$132. 7:15: pre-concert
Series. Sharon Beckstead, organ. 227 Bloor chat.
St. E. 416-961-8116. Free.
Friday February 13
Noon at the Met. Andre Rakus, organ. 56
— 7:00: Elmer Iseler Singers. Classics.
Queen St. E. 416-363-0331 x26. Free.
Bach: Motet BWV 230 “Lobet den Herrn”;
— 1:30: Women’s Musical Club of Toron- Mass BWV 236 “Lutheran Mass No. 4”;
to. Music in the Afternoon. Works by Bach, Tavener: Responsorium in Memorium Annon
Telemann, Mackintosh, van Eyck, Vivaldi,
Lee Silver; Part: Berliner Mass. Lydia
Tartini, Leclair and Corelli. Red Priest
Adams, conductor. Glenn Gould Studio, 250
Baroque Ensemble. Walter Hall, Edward
Front St. W. 416-217-0537. $35; $30(sr/
Johnson Building, 80 Queen’s Park. 416st).
923-7052. SOLD OUT (wait list for single
— 7:00: Timothy Eaton Memorial
tickets).
Church. Songs of Love and Passion. Clas— 2:00: Northern District Library.
sic opera arias. 230 St. Clair Ave. W. 416Orchardviewers. Advanced students from
925-5977. $20; $15(st).
the studio of Lawrence Pitchko. 40 Orchard — 7:30: Cantabile Chorale of York
View Blvd. 416-393-7610. Free.
Region. Love Canada! Ingrid Takahashi,
flute; Lona Richardson, accompanist. Holy
Fidelio. Beethoven. See Feb.4
Trinity Anglican Church, Brooke St., Thorn— 8:00: Acting Up Theatre Company. A
hill. 905-731-8318. $20; $15(sr); $10(chilNew Brain. Finn and Lapine. Steven Galdren).
lagher, Barbara Barsky, Thom Allison, Juan — 7:30: Toronto Opera Repertoire.
Chioran; Daryl Cloran, director; Mitchell
Carmen. Bizet. Beatrice Carpino/Maria
Marcus, artistic producer. Berkeley Street
Knight, mezzo-sopranos (Carmen); Jay
Theatre Downstairs, 26 Berkeley St. 416-
Lambie/Slava Serebrianik, tenors (Don
Jose); Hanny Djuwati/Terri Mandel, sopranos (Micaela); Giuseppe Macina, director/
conductor. Bickford Centre, 777 Bloor St.
W. 416-978-8849. $24; $15(sr/st). Also
Feb. 15, 18, 21, 27, Mar 1.
Music. Choirs in Concert – Vox Femina.
University Women’s Chorus, Robert Cooper,
conductor; University of Guelph Women’s
Choir, Marta McCarthy, conductor. Christ
Church Deer Park, 1570 Yonge St. 416978-3744. $14; $8(sr/st).
— 8:00: Acting Up Theatre Company. A
New Brain. See Feb. 12.
— 8:00: Masterworks of Oakville. Bach,
Handel and Vivaldi. Charles Demuynck,
music director; guest: Ashleigh Semkiw,
soprano. Glen Abbey United Church, 1469
Nottinghill Way, Oakville. 905-844-5501.
$25; $23(sr/st); $20(children 12 and
under).
— 8:00: Rose Theatre. Dirty Rotten
Scoundrels. Yazbek & Lane. 1 Theatre
Lane, Brampton. 905-874-2800. $85-$100.
Also Feb. 14.
— 8:00: Small World Music Society.
Mariza. Massey Hall, 15 Shuter St. 416872-4255. $39.50-$69.50.
— 8:00: Toy Piano Composers. Cage the
Bird. New works for string quartet by Dan
Brophy, Monica Clorey, Igor Correia, Elisha
Denburg, Fiona Ryan, Chris Thornborrow.
Jennifer Burford, Valerie Gordon, violins;
Mohsin Bhujwalla, viola; Lydia Munchinsky,
cello; guest: Lea Manning, conductor.
Gallery 345, 345 Sorauren Ave. 416-8863242. $15; $10(adv).
Music. Performing Diaspora: Randy Weston’s African Rhythms Solo Piano Concert.
East, YU, 4700 Keele St. 416-736-5888.
$40; $25 (sr/st).
— 2:00 & 8:00: Rose Theatre. Dirty
Rotten Scoundrels. See Feb 13.
— 2:30 & 6:30: Art of Jazz/Girls Night
Out. Valentine’s Day Concert. Sheila
Jordan, vocalist; Dave Restivo, piano; Don
Thompson, bass. Chalkers Pub, 247 Marlee
Ave. 1-888-222-6608. $35; $25(advance).
Festival: Muhtad International Drumming.
Lakeside Terrace, 235 Queen’s Quay W.
416-973-4000. Free.
— 7:30: Toronto Opera Repertoire.
Cinderella. See Feb. 11.
— 8:00: Guitar Society of Toronto. EdenStell Duo. Heliconian Hall, 35 Hazelton Ave.
416-922-8002. $25; $15(sr/st).
Hall. The Jim Cuddy Band. Guests: The
Skydiggers. Massey Hall, 15 Shuter St.
416-872-4255. $49-$29.
Hall. Valentine’s Day Show with Robert
Michaels. Glenn Gould Studio, 250 Front
St. W. 416-872-4255. $45.
Elmer Iseler Singers
Lydia Adams, Conductor
2008-2009: 30th Anniversary Season
Friday, February 13, 2009 at 7:00 pm
CLASSICS
WITH ORCHESTRA
when we were young
GLENN GOULD STUDIO
250 Front Street West, Toronto
talisker
players
chamber
music
Beautiful Bach, serene Tavener and moving Pärt, all
with orchestral forces, will lift our spirits and warm
our hearts as we continue our 30th Anniversary
Season with the magnificent voices of the Elmer
Iseler Singers.
Programme includes:
Xin Wang, SOPRANO
James McLennan, TENOR
Peter Longworth, PIANO
The Talisker Players
February 10 & 11, 2009, 8 pm
Trinity St. Paul’s Centre
Tickets: $30 / $20 / $10
Box Office: 416-504-7529
www.taliskerplayers.ca
Motet BWV 230
“Lobet den Herrn”
Mass, BWV 236 in G Major
(Lutheran Mass #4)
Responsorium in Memorium
Annon Lee Silver
Berliner Mass
Canada Council Conseil des Arts
du Canada
for the Arts
J. S. Bach
John Tavener
Arvo Pärt
For ti ckets, call 416-217-0537
arts
J. S. Bach
’
www.elmeris elersingers.com
31
— 8:00: Masterworks of Oakville. Bach,
Handel and Vivaldi. See Feb. 13.
— 8:00: Orchestras Mississauga. For
the Love of Music. Rachmaninoff: Second
Piano Concerto, 1st mvmnt; Addinsell:
Warsaw Concerto; Ravel: La Valse; Morricone: Toccata; de Falla: Three-Cornered
Hat Suite; Chopin: Second Piano Concerto,
Romance. Andrew Burashko, piano;
Mississauga Symphony Orchestra; John
Barnum, conductor. Hammerson Hall,
Living Arts Centre, 4141 Living Arts Dr.,
Mississauga. 905-306-6000. $35-$45;
$31.50-$40.50(sr); $15(st/child).
— 8:00: Scaramella. Lettera Amorosa.
Music by Monteverdi and his Venetian
contemporaries. Katherine Hill, soprano;
Lucas Harris, theorbo; Julia Seager-Scott,
triple harp; Joëlle Morton, gamba. Victoria
College Chapel, 91 Charles St. W. 416760-8610. $25; $20(sr); $15(st).
— 8:00: St. Blaise. St. Blaise & St.
Valentine. Richard Whittall, countertenor;
James Tuttle, tenor; Andrew Mahon,
baritone. Trinity College Chapel, 6 Hoskin
Ave. 416-356-6179. $25; $15(sr); $5(st).
Lupu Plays Beethoven. See Feb. 12 (no
pre-concert chat).
Sunday February 15
— 10:30am: Eglinton St. George’s
United Church. Jazz Epiphanies: Don
Thompson Quartet. 35 Lytton Blvd. 416-
Lupu Plays Beethoven. See Feb. 12. George
Weston Recital Hall, Toronto Centre for
the Arts, 5040 Yonge St. 416-593-4828.
$39-$89 (no pre-concert chat).
Recital Series. David Bazett-Jones, organ.
65 Church St. 416-364-7865 x224. Free.
— 7:30: Glenview Presbyterian Church.
Sunday Evening Series: Organ Sparks.
Music by Bach, Bridge, Capon, and Sousa.
Michael Capon, organ; Marty Spellerberg,
visuals. 1 Glenview Ave. 416-488-1156.
Freewill offering. Reception follows.
Stockings. Music and lyrics by Porter. Joe
Cascone, director & designer. Fairview
481-1141. Free.
Library Theatre, 35 Fairview Mall Drive.
— 1:00: HarbourKIDS Music with Bite/
416-755-1717. $25; $20. Feb 18 SOLD
Jeunesses Musicales Ontario. Aché
OUT. Also Feb 19-22, 25-28, Mar 1-7.
Brasil. Brazilian dance, music and martial
— 7:00: Tafelmusik. Handel’s Water
arts/acrobatics presenting Brazil’s cultural
Music. Handel: Water Music; Rameau: Suite
heritage. Brigantine Room, Harbourfront
from Dardanus. Tafelmusik Baroque OrchesCentre, 235 Queen’s Quay W. 416-973tra; Jeanne Lamon, director. Trinity-St.
4000. Free.
Paul’s Centre, 427 Bloor St. W. 416-964— 1:30: CAMMAC/McMichael Gallery.
6337. $39-$79.
Coyotoes. Folk ensemble. 10365 Islington
Ave, Kleinburg. 905-893-1121. $15; $9(sr/
Fidelio. Beethoven. See Feb 4.
st).
— 7:30: Mozart Society. Zemlinsky String
Quartet. Works by Myslivecek, Mozart and
Beethoven. First Unitarian Congregation,
175 St. Clair Ave. W. 416-201-3338. $20;
Tuesday February 17
Series: Ulster Accordion Band. Scarborough
free(members).
Civic Centre, 150 Borough Dr. 416-486— 12:00 noon: Canadian Opera Compa— 8:00: Acting Up Theatre Company. A
3011. Free.
ny. Chamber Music Series: Dance Music.
Acoustic and electroacoustic compositions — 8:00: Toronto Symphony Orchestra.
by John Oliver, Joshua Penman, David
Midori. Borodin: In the Steppes of Central
Smooke, Paul Richards, Kristi McGarity,
Asia; Shostakovich: Violin Concerto No.1;
Carmen. See Feb. 13.
Chiel Miejering, Jason Taylor, and Anthony Schumann: Symphony No.1 “Spring”.
Joseph performed by Duo Vita. Richard
Midori, violin; Jun Maerkl, guest conductor.
Festival: Muhtad International Drumming.
Bradshaw Amphitheatre, Four Seasons
Roy Thomson Hall, 60 Simcoe St. 416-593See Feb. 14.
Centre for the Performing Arts, 145 Queen 4828. $42-$132.
— 3:00: Jeunesses Musicales Ontario.
St. W. 416-353-8231. Free.
Sunday Musical Matinees at the Gladstone: — 1:00: St. James Cathedral. Music at
Riverin & Gaulin. Works by Schmitt, Mati- Midday Series. Mark Toews, organ. 65
— 12:00 noon: Canadian Opera Company.
tia and Albright; and original arrangements. Church St. 416-364-7865 x224. Free.
Vocal Series: Czech Program. Czech arias
Gladstone Hotel, 1214 Queen St. W. 416— 7:30: Canadian Opera Company.
and art songs. Members of the COC Ensem538-3333. $15; $10 (sr/st).
Rusalka. Dvorak. See Feb 5
ble Studio. Richard Bradshaw Amphithea— 3:00: St. Clement’s Anglican Church. — 7:30: Theatre of Early Music. Handel
tre, Four Seasons Centre for the Performing
Organist in Recital: Thomas Fitches. Dance Duets. Emma Kirkby, soprano; Daniel
Arts, 145 Queen St. W. 416-363-8231.
music for organ by Buxtehude, Berthier,
Taylor, countertenor. Trinity College
Free.
Cholley, Hakim, Houbart, Ravel. 59 Briar
Chapel, 6 Hoskin Ave. 514-982-2535. $50- — 12:10: St. Paul’s Bloor Street AngliHill Ave. 416-483-6664. $15; $10(sr/st).
$250.
can Church. Noon Hour Organ Recital
— 8:00: Les Amis. Duo Vita. New works
Series. Edward Norman, organ. 227 Bloor
by Oliver and others. Gallery 345, 345
St. E. 416-961-8116. Free.
Sorauren Ave. 905-773-7712. $20;
$15(sr); $10(st).
Noon at the Met. Gordon Mansell, organ. 56
— 8:00: Show One Productions. Yuri
Queen St. E. 416-363-0331 x26. Free.
Bashmet and Moscow Soloists. Grieg:
Holberg Suite; Paganini: Concertino in a;
World Music Concerts: Autorickshaw.
Bruch: Kol Nidrei; and more. Roy Thomson Mazzoleni Hall, 273 Bloor St. W. 416-408Hall, 60 Simcoe St. 416-872-4255. $452824 x321. $20; $10(st).
$90.
— 8:00: Adlers Agency. Ivan Ilic, piano.
Makan: Afterglow; Debussy: 6 Préludes;
Church. Noonhour Recital. John Sigerson, Current: Banjo/Continuum; Bach-Brahms:
organ. 1585 Yonge St. 416-922-1167.
Chaconne for the left hand alone; Brahms:
Free.
Two Ballades, Op. 10; Chopin-Godowsky:
— 7:00: Civic Light Opera Company. Silk Four Études for the left hand alone; Met-
- presents -
St Blaise & St Valentine
and Marty Spellerberg, Visuals
An evening of three part
madrigals in English French
German Italian and Spanish
14 February 2009 8 pm
Trinity College Chapel U of T
6 Hoskin Ave
$25/$15 senior/$5 student
Tickets available at the door
32
www.saintblaise.ca
calf: Endless Song; Appassionata. Glenn
Gould Studio, 250 Front St. W. 416-8724255. $25-$30. 7:30: Pre-concert chat by
Brian Current.
— 8:00: Civic Light Opera Company. Silk
Stockings. See Feb. 18.
Music. See Feb. 18.
Midori. See Feb. 18. 7:15: pre-concert chat.
Friday February 20
— 7:00: Music Gallery. Seconde Nature.
Improvised music. Marilyn Lerner, piano;
Diane Labrosse, electronics. 197 John St.
416-204-1080. $15; $10(st/sr).
Cinderella. See Feb 11.
— 8:00: JSL Musical Productions. A
Bounty of Music. Joy Juckes, vocals;
Roselyn Brown, flute/sax; other artists.
Concert-In-Studio, 9 Davies Ave, Suite 301.
416-727-6970. $20.
— 8:00: Music Theatre Mississauga.
Evita. Webber & Rice. Meadowvale Theatre, 6315 Montevideo Rd., Mississauga.
905-615-4720. $23; $21(sr/st). Also Feb.
21, 22, 26-28.
— 8:00: North Toronto Players. Iolanthe
– or the Fairy and the Federalist. Gilbert &
Sullivan. Amy Steggles (Iolanthe); Michael
Harms, stage director; John Ricciardelli,
music director. City Playhouse, 1000 New
Westminster Dr. Vaughan. 905-882-7469.
$25; $20(sr); $15(st). Also Feb 21, 22, 27,
28, Mar. 1.
— 8:00: Opera by Request. The Telephone; Old Maid and the Thief. Menotti.
Nicole Bower, soprano (Lucy and Laetitia);
Lucy Bledig, soprano (Miss Pinkerton);
Loralie Kirkpatrick, mezzo-soprano (Miss
Todd); Michael Broder, baritone (Ben and
Bob); William Shookhoff, music director.
College Street United Church, 454 College
St. 416-455-2365. $20.
Royal Conservatory Orchestra. Ravel:
Alborada del Gracioso; Tchaikovsky: Piano
Concerto No. 1; Elgar: Enigma Variations.
Alexander Seredenko, piano; Peter Oundjian, conductor. George Weston Recital
Hall, Toronto Centre for the Arts, 5040
Yonge St. 416-872-1111. $20; $10.
— 8:00: Sine Nomine Ensemble for
Medieval Music. Fixed forever in its
motion: Medieval musical reflections on
Time and Eternity. Saint Thomas’s Anglican
Church, 383 Huron St. 416-638-9445. $18;
$12(sr/st/unwaged).
Music. See Feb. 18.
— 8:00: Toronto Operetta Theatre.
Knickerbocker Holiday. Weill. Curtis Sullivan, David Ludwig, baritone; Guillermo
Silva-Marin, director; David Spears, conductor. Jane Mallett Theatre, 27 Front St. E.
416-366-723/800-708-6754. $39-$78.
Also Feb 21, 22.
moral Dr., Brampton. 905-793-7534. $15;
$12(sr/st); $5(5-10 years).
— 7:30: Quintessence Handbell EnsemUrinetown. See Feb. 5.
ble. English Handbell Music. Heather and
— 4:00: Toronto Children’s Chorus.
David Keith, soloists. St. Andrew’s PresbyAnimal Magic and A Teddy Bear’s Picnic.
terian Church, 115 St. Andrews Rd. 416Toronto Children’s Chorus Training and
264-4264. Donations to the James Fund
Boys’ Choirs; Elise Bradley, Teri Dunn,
for Neuroblastoma Research accepted.
Carole Anderson, and Marie-Claire Gervaso- — 7:30: Toronto Opera Repertoire.
ni, conductors. Yorkminster Park Baptist
Church, 1585 Yonge St. 416-932-8666
x231. $25; $20(sr/st). Separate fee for
Midori. See Feb. 18 (without Borodin). $29Teddy Bear’s Picnic.
$84.
— 7:00: North Toronto Players. Iolanthe — 8:00: Acting Up Theatre Company. A
– or the Fairy and the Federalist. See Feb. New Brain. See Feb. 12.
20.
— 8:00: Healey Willan Singers. Young
Artist in Recital. Ileana Montalbetti, soFebruary Follies. Annual variety show. 56
prano; Kate Carver, piano. Works by
Queen St. E. 416-363-0331. $20.
Beethoven, Berlioz, R. Strauss and Larsen.
— 7:30: Peel Choral Society. Broadway in Church of St. Martin in-the-Fields, 151
Love. Emmanuel United Church, 420 BalGlenlake Ave. 416-519-0528. $15; $10(sr/st).
Opera by Request
presents
Friday, February 20, 8:00 pm
Menotti’s
THE TELEPHONE and
THE OLD MAID
and THE THIEF
in concert
starring Nicole Bower,
Michael Broder, Loralie
Kirkpatrick and Lucy Bledig
Friday, February 27, 8:00 pm
Wagner’s
!"# DIE WALKURE, Act 1
plus Lieder Abend
toronto children’s chorus
starring Caroline Johnston,
Lenard Whiting and Robert Hall
Elise Bradley, Artistic Director
William Shookhoff, Director
Both performances at
College Street United Church
(College and Bathurs t)
$20 general admis sion
Call 416 455-2365 for info
www.operabyrequest.com
Enjoy the Live Orchestra!
A fun, modern adaptation of this classic, family musical!
Proudly
Presents
Show Times: Friday, February 20 & 27 at 8 p.m.
Saturday, February 21 & 28 at 7 p.m.
Sunday, February 22 & March 1 at 2 p.m.
Admission
Adult $25!GESs3ENIOR$20YEARSOVER
Child/Student $15 (18 years & under)
SPECIAL TICKET OFFERS
*KIDS NIGHT OUT! (Fridays, February 20 & 27)
"UYONEADULTSENIORTICKETANDRECEIVEONEFREE
TICKETFORACHILDSTUDENTYEARSANDUNDER
**FAMILY NIGHT! (Saturdays, February 21 & 28)
0URCHASEADULTSENIOR
PLUSCHILDSTUDENTTICKETSFOR
Ticket Ordering Information
Order Direct from North Toronto Players:
Call (905) 727-2209
North Toronto Players, 57 Brookland Ave,
Aurora,ON L4G 2H9
The City Playhouse:
Box Office: (905) 882-7469
Animal Magic and a
Teddy Bears’ Picnic*
Lions and tigers and teddy bears, oh my!
The Toronto Children’s Chorus Training and
Boy’s Choirs present a thrilling treat for all
ages. The whole family is sure to enjoy this
afternoon of music, food and fun!
Sat Feb 21 2009 - 4:00 p.m.
Yorkminster Park Baptist Church - 1585 Yonge Street
Tickets: $20-$25 *Seperate fee for Teddy Bears’ Picnic
"4-08"4
"$0/$&35
5PQVSDIBTFUJDLFUTJOGP!UPSPOUPDIJMESFOTDIPSVTDPN
FYUXXXUPSPOUPDIJMESFOTDIPSVTDPN
www.northtorontoplayers.com
33
— 8:00: Meadowvale Music Theatre.
Evita. See Feb. 20.
— 8:00: Music Gallery. Motion Ensemble.
Arnold: Water Lens, Water Limbus; Oesterle: Secular Rotation; Altman: I Love;
Krausas: Mnemosyne. 197 John St. 416204-1080. $15; $10(st/sr).
— 8:00: North York Concert Orchestra.
Second subscription series concert. Mozart: Concerto for Flute and Harp; Mendelssohn: Hebrides Overture; Tchaikovsky:
Marche Slav; Romeo and Juliette Fantasy
Overture. Soloists: Laurie Hamilton, flute;
English Handbells
ring for a cause...
In concert
Saturday, February 21
7:30 pm
St. Andrew’s Presbyterian
Church, 115 St. Andrews
Rd, Scarborough
Admission - Free
Donations gratefully
accepted for The James
Fund for Neuroblastoma
Research at SickKids
Pearl Schachter, harp; David Bowser, con— 2:00: Meadowvale Music Theatre.
ductor. Grace Church on-the-Hill, 300 LonsEvita. See Feb. 20.
dale Road. 416-628-9195. $20; $15(sr/st).
— 2:00: North Toronto Players. Iolanthe –
— 8:00: Oakville Symphony Orchestra.
or the Fairy and the Federalist. See Feb. 20.
Music From the Heart. Mozart: Piano
— 2:00: Oakville Symphony Orchestra.
Concerto No.23; Tchaikovsky: Symphony
Music From the Heart. See Feb. 21
No.4. Judith Kenedi-Peleg, piano; Roberto
— 2:00: ORMTA Etobicoke-Mississauga.
De Clara, conductor. Oakville Centre, 130
Teachers in Concert. Irina Semenova,
Navy St., Oakville. 905-815-2021. $45;
Adelaide Bell, Larissa Zoubareva, Charlotte
$40(sr); $20(st).
Sherriff, Yasmin Moosa, piano; and others.
Christ Church, 1700 Mazo Cres., MissisMusic. See Feb. 18.
sauga. 416-742-6429. $20(suggested
— 8:00: Toronto Operetta Theatre.
donation).
Knickerbocker Holiday. See Feb 20.
— 8:00 & 10:30: Tater Touring. Ron
Cinderella. See. Feb.11.
White. Massey Hall, 15 Shuter St. 416-872- — 2:00: Toronto Operetta Theatre.
4255. $59.50.
Knickerbocker Holiday. See Feb 20.
— 8:30: Gladstone Hotel. 14th Annual
— 2:30: Alicier Arts Chamber Music.
Mardi Gras & Masquerade. Swamperella.
Sweets and Suites. Bach: Suite No.1 in G
1214 Queen St. W. 416-588-9227. $10.
for solo cello; Debussy: Suite Bergamasque;
Prokofiev: Sonata in D Major Op. 94 for
Sunday February 22
flute & piano. Mariko Kamachi, Stephanie
— 10:30am: Eglinton St. George’s United Chua, piano; Peter Cosbey, cello; Kimberley
Church. Jazz Epiphanies: Guido Basso
Schemeit, flute. St George’s on-the-Hill
Quartet. 35 Lytton Blvd. 416-481-1141.
Anglican Church, 4600 Dundas St W. 416Free.
731-3599. $20; $15(sr/st). $15(advance).
— 1:00: Gladstone Hotel. Elyssa Carroll
— 3:00: Capella Intima. Vocal Chamber
Goldman in Concert. Soulful pop. 1214
Music Influenced by the Collegium GermaniQueen St. W. 416-531-4635. Free.
cum in Rome. Carissimi: Mass for Three
— 2:00: CAMMAC. Ontario Music Centre
Voices, and motets by Sances, Cavalli, and
Participants Concert. Northern District
Valentini. Bud Roach, Joseph Levesque,
Library, 40 Orchard View Blvd. 416-393tenors; Neil Aronoff, baritone; Sara-Anne
7610. Free (donations welcome).
Churchill, organ; Lucas Harris, theorbo.
Heliconian Hall, 35 Hazelton Ave. 905-517Series: Brian Rose Little Big Band. Scar3594. $20-$15.
borough Civic Centre, 150 Borough Dr.
— 3:00: Hymn Society. Still Singing.
416-486-3011. Free.
Calvin: Hymns and Psalms. Bert Polman,
conductor and lecturer. Kingsway Lambton
United Church, 83 The Kingsway. 416-3246034. Free. Refreshments at 2:30.
— 3:00: Music on Canvas. Viva Carnival!
Jeanjean: Carnival of Venice; Stravinsky:
Suite Italienne; Mignone & Guarnieri:
Brazilian Dances; works by Cavallini,
Vivaldi, Rossini, Piazzolla, and others.
Pavel Markelov, clarinet; John Lettieri,
accordion; Corey Gemmell, violin; Maria
Dolnycky, piano. Toronto Centre for the
Arts, Studio Theatre, 5040 Yonge St. 416872-1111. $25; $20(sr/st).
— 3:00: Orchestra Toronto. Celebrating
Creative Lives. Corrin: How the Orchestra
Grew; Haydn: Symphony No.45 “Farewell”.
John Barnum, guest conductor; Gary
Corrin, narrator. George Weston Recital
Hall, Toronto Centre for the Arts, 5040
Yonge St. 416-872-1111. $35; $30(sr/st);
$10(18 & under). 2:15: Pre-concert talk.
—3:00: sUnDO SOUND(word/
time)SCAPES. Making Music Time. Music
for piano, percussion and speakers. Udo
Kasemets, Richard Sacks, Susan Layard,
Carissimi, Sances,
Cavalli, Valentini
Sacred music from Rome’s Collegium
Germanicum presented by
Capella Intima
An early music ensemble exploring the
sacred vocal music of the 17th century
Featuring
Bud Roach and Joseph Levesque,
tenors; Neil Aronoff, baritone;
Sara-Anne Churchill, organ;
Lucas Harris, theorbo.
Saturday, February 21, 3pm
MacNeill Baptist Church, Hamilton
Sunday, February 22, 3pm
Heliconian Hall, Toronto
Wednesday, February 25, 8pm
Kingston Road United Church
975 Kingston Rd., Toronto
Tickets: $20-$15 Call (905) 517-3594
[email protected]
on
in the United States and Canada
anvas
presents
Southern Ontario Chapter
Still Singing
John Calvin -
500 years of
Hymns and Psalms
Join Bert Polman of
Calvin College, Grand Rapids,
for Singing & Commentary
No Charge
Sunday, February 22, 2009
Kingsway Lambton United Church
85 The Kingsway, Etobicoke, ON
Street Parking
Refreshments @ 2:30
Singing @ 3:00 - 4:00
416-341-6034
www.sochs.org
34
Viva
Carnival!
Festive Italian and
Latin American music
Sunday, Feb. 22 at 3 pm
Toronto Centre for the Arts
Studio Theatre
Pavel Markelov, clarinet
John Lettieri, accordion
Corey Gemmell, violin
Maria Dolnycky, piano
In collaboration with the
Italian Cultural Institute
www.mariadolnycky.com
Linda Catlin Smith. Victoria University,
Emmanuel College Chapel, 75 Queen’s Park.
416-929-5849. Free.
— 3:30: Koffler Chamber Orchestra. Folk
Feast. Music by Panufnik, Hattori, Britten,
Puccini, Bartok, Kreisler and Van de Ven.
Guests: Semyon Pertsovsky, violin; Martin
van de Ven, clarinet. Temple Emanu-El, 120
Old Colony Rd. 416-636-1880 x222. $20;
$10(st).
Music. See Feb. 18.
— 4:00: Queen of Puddings Music Theatre. Inês. Rolfe & Bentley. Inês Santos,
fado singer; Giles Tomkins, baritone;
Shannon Mercer, soprano; Elizabeth Turnbull, mezzo; and Thomas Goerz, bassbaritone. Enwave Theatre, 231 Queen’s
Quay W. 416-973-4000. $35-$59. Also
Feb. 25, 26, 28 and Mar. 1.
Recital Series. John Gardham, organ. 65
Church St. 416-364-7865 x224. Free.
— 4:00: Toronto Classical Singers.
Petite Messe Solennelle. Rossini. Sheila
Dietrich, soprano; Jennifer Enns Modolo,
mezzo; Stephen McClare, tenor; Bruce
Kelly, baritone; Linda Roedl, piano; Ian
Grundy, organ; Jurgen Petrenko, conductor. Christ Church Deer Park, 1570 Yonge
St. 416-443-1490. $25; $20(sr/st).
— 7:00: Project Hope. Bridge to Palestine. Dance, poetry and music. Maryem
Tollar, vocalist; Mraya, Samah Sabawi
and Nano. Lula Lounge, 1585 Dundas St.
W., 416-879-8939. $35. Proceeds to
Project Hope.
— 7:00: Rose Theatre. Louise Pitre. Songs
from Broadway. 1 Theatre Lane, Brampton.
905-874-2800. $55-$70.
Trinity-St.Paul’s Centre, 427 Bloor St. W.
416-485-2717. $18; $15(sr/st); $10(child).
See ad next page.
— 8:00: Jazz FM.91. Sound of Jazz. Elizabeth Shepherd Trio and Laila Biali Trio.
Old Mill Inn, 21 Old Mill Rd. 416-595-
Monday February 23
— 7:00: Attila Glatz. The National
Acrobats of China. Massey Hall, 15
Shuter St. 416-872-4255. $29.50$49.50.
— 7:30: Associates of the TSO. Five
Small Concerts: Ensembles from the
Toronto Symphony Youth Orchestra.
ERROL GAY, MUSIC DIRECTOR AND CONDUCTOR
Catherine Manoukian, Artist-in-Residence
Celebrating Creative Lives
Sunday, February 22, 2009 at 3pm
Toronto Centre for the Arts, 5040 Yonge St.
John Barnum
Toronto Classical Singers
Rossini Petite Messe Sollenelle
Guest Conductor
Gary Corrin
Compiler and
Narrator
S U N D A Y FEBRUARY 22, 2008
Conductor, Jurgen Petrenko
CORRIN
HAYDN
Featuring: Linda Roedl, Pianist
Ian Grundy, Organist
How the Orchestra Grew
Symphony #45 (”Farewell”)
Instrument Petting Zoo
Soloists
Sheila Dietrich, soprano
Jennifer Enns Modolo, mezzo-soprano
Stephen McClare, tenor
Bruce Kelly, baritone
Location
Christ Church Deer Park
1570 Yonge Street (at Heath W)
Tickets: Adult $25 Senior & Student: $20
T: 416-443-1490 On Line: www.totix.ca
Tickets: Adults $35, Sr/Std $30 at the TCA Box Office or TicketMaster
Special Rates: Children/Youth up to 18 years $10 and groups of 10 or
more $22. Call Orchestra Toronto office
. at 416-467-7142 for information.
[email protected]
www.orchestratoronto.ca
Season Presenter:
www.torontoclassicalsingers.org
An opportunity for children, youth and even parents and grandparents
to try out some instruments used in the orchestra; in the lobby prior to
and during concert intermission.
arts
Concert sponsor:
Orchestra Toronto Board of Directors
’
35
...
1: CONCERTS: Toronto and GTA
...1:
Midday Series. Marty Smyth, organ. 65
Church St. 416-364-7865 x224. Free.
Music. Faculty Concert Series: Al HenderTuesday February 24
son Septet featuring original compositions
— 12:00 noon: Canadian Opera Company. by Henderson. Al Henderson, bass; Pat
Labarbera, saxophones and flute; Alex
Jazz Series: Midwinter Latin Heat. Latin
music for a winter’s day. Humber Latin Big Dean, saxophones, oboe, flute, bass clarinet; Matt Brubeck, Mark Chambers, cello;
Band, Luis Mario Ochoa, conductor. Richard Bradshaw Amphitheatre, Four Seasons Richard Whiteman, piano; Barry Romberg,
Centre for the Performing Arts, 145 Queen drums. Tribute Communities Recital Hall,
Accolade East, YU, 4700 Keele St. 416St. W. 416-363-8231. Free.
0404 x258. $30; $27(students).
— 8:00: Oakville Centre for the Performing Arts. Dhoad Gypsies of Rajasthan.
130 Navy St., Oakville. 905-815-2021.
— 8:00: Toronto Organ Club. Cole Holland. St. James United Church, 400
Burnhamthorpe Rd. 905-824-4667. $12;
free(under 10 years).
Associates of the
Toronto
Symphony
Orchestra
Presenting
Toronto Symphony Youth Orchestra
736-5888. $15; $5 (sr/st).
— 8:00: Rose Theatre. Dhoad Gypsies of
Rajasthan. 1 Theatre Lane, Brampton.
905-874-2800. $25-$40.
Church. Noonhour Recital. Dan Amorim,
organ. 1585 Yonge St. 416-922-1167. Free.
— 1:30 & 8:00: Acting Up Theatre
Company. A New Brain. See Feb. 12.
Music. Jazz Series. Small Jazz Ensembles.
Music Influenced by the Collegium Germanicum in Rome. Carissimi: Mass for Three
Voices, and motets by Sances, Cavalli, and
Valentini. Bud Roach, Joseph Levesque,
tenors; Neil Aronoff, baritone; Sara-Anne
Kingston Road United Church, 975 Kingston Rd. 905-517-3594. $20-$15.
— 8:00: Nathaniel Dett Chorale. Voices of
the Diaspora: Dett to Africa. Tate: Africa;
Guillaume: Mama Africa; and other works.
Brainerd Blyden-Taylor, conductor. Glenn
Gould Studio, 250 Front St. W. 416-8724255. $39.50; $35(sr/st).
— 8:00: Queen of Puddings Music Thea-
Monday, February 23, 2009 7:30 pm
Ensembles from the Toronto Symphony
Youth Orchestra will present a varied program.
This inspiring concert demonstrates the
exciting musicianship of talented young
performers who are the solo artists and
orchestral musicians of the future.
Trinity-St. Paul’s Centre
427 Bloor Street West, Toronto
Tickets: Reg. $18; Sen./Std. $15
Elem. Stu $10
For tickets call 416-485-2717
www.associates-tso.org
36
tre. Inês. See Feb. 22.
—9:00: Continuum Contemporary Music.
Shift: Piano Concert and Opening Reception. Guus Janssen, piano. Gallery 345,
345 Sorauren Ave. 416-924-4945. $10.
Dance Series: String Trio Classics. Music
for string trio by Beethoven and Schubert.
Marie Berard, violin; Teng Li, viola, Winona
Zelenka, cello. Richard Bradshaw Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416363-8231. Free.
— 12:10: St. Paul’s Bloor Street Anglican Church. Noon Hour Organ Recital
Series. Aaron James, organ. 227 Bloor St.
E. 416-961-8116. Free.
of Music. Thursdays at Noon - Spotlight
on Opera. Preview of Ravel’s L’Enfant et
les sortilèges and L’heure espagnole. Walter
Hall, Edward Johnson Building, 80 Queen’s
Park. 416-978-3744. Free.
— 12:15: Metropolitan United Chuch.
Noon at the Met. Ron Jordan, organ. 56
Queen St.E. 416-363-0331. x26. Free.
— 6:30: Northern District Library.
Evening Music. Brahms: viola sonatas.
Katharine Rapoport, viola. 40 Orchard View
Blvd. 416-393-7610. Free.
Evita. See Feb. 20.
— 8:00: Queen of Puddings Music Theatre. Inês. See Feb. 22.
The Damnation of Faust. Berlioz. Susanne
Mentzer, mezzo (Marguerite); Gregory
Kunde, tenor (Faust); Willard White, bassbaritone (Mephistopheles); Jonathan
Lemalu, bass-baritone (Brander); Toronto
Mendelssohn Choir; Toronto Children’s
Chorus; Charles Dutoit, guest conductor.
Roy Thomson Hall, 60 Simcoe St. 416-5934828. $37-$125. 7:15: pre-concert chat.
— 8:00: Via Salzburg. Quickening Breath.
Suk: Serenade for Strings Op.6 in E Flat;
Oesterle: Archimedes Codex (premiere);
Sallinen: Chamber Music V: Barrabas
Variations Op.80 for Accordion and Strings;
Piazzolla: Tango Sensations for Accordion
and String Orchestra. Via Salzburg Chamber Orchestra; guest: Coco Trivisonno,
bandoneon. Glenn Gould Studio, 250 Front
St. W. 416-872-4255. $50; $45(sr);
$20(st).
— 10:00: Small World Music Society.
Dhoad Gypsies of Rajasthan. Revival, 783
College St. 416-536-5439. $25; $100(special VIP reception).
2; Anyone can do it; Janssen: Veranderingen for 2 pianos; Gervais: Sensational Revolution in Medicine (premiere); Blais: Con
Stella; Smalloochi: Pierogie State Fair;
Barrett: Robot Ponies; Davies: No Time.
Toca Loca. Music Gallery, 197 John St.
416-204-1080. $25; $15(sr/st).
Friday February 27
— 8:00: Etobicoke Philharmonic Orches— 2:00: Kiwanis Music Festival of
tra. Passionate Strings. Mozart: Overture,
Greater Toronto. Senior Trophy Finals:
La Clemenza di Tito; Suk: Phadka; Dvorak:
Intermediate Piano. St. Cuthbert’s Anglican Cello Concerto Op.104. Jeremy Findlay,
Church, 1399 Bayview Ave. 416-487-5885. cello; Roberto De Clara, music director.
$5.
Scarlett Heights Entrepreneurial Academy,
— 3:30: Kiwanis Music Festival of
15 Trehorne Drive, 416-239-5665. $20;
$15; $10(st/ch).
Intermediate Voice. Calvin Presbyterian
— 8:00: Fridays @ 8/RCCO/Organ HoriChurch, 26 Delisle Ave. 416-487-5885. $5. zons. Thomas Trotter, organ. Lawrence
Park Community Church, 2180 Bayview
Ave. 416-489-1551. $20-$15.
Guitar. Donway Covenant United Church,
230 The Donway W. 416-487-5885. $5.
Evita. See Feb. 20.
– or the Fairy and the Federalist. See Feb.
Strings. Armour Heights Presbyterian
20.
Church, 105 Wilson Ave. 416-487-5885.
— 8:00: Opera by Request. Die Walkure
$5.
(Act 1); Wesendonck Lieder. Wagner.
Caroline Johnston, soprano (Sieglinde);
Lenard Whiting, tenor (Siegmund); Robert
Senior Piano. St. Cuthbert’s Anglican
Hall, baritone (Hunding); William Shookhoff,
Church, 1399 Bayview Ave. 416-487-5885. music director. College St. United Church,
$5.
452 College St. 416-455-2365. $20.
— 8:00: Rose Theatre. Montreal Guitar
Trio. 1 Theatre Lane, Brampton. 905-874Brass and Woodwind. Donway Covenant
2800. $30-$45.
United Church, 230 The Donway W. 416— 8:00: Toronto Consort. Banchetto
487-5885. $5.
Musicale. Virtuoso recorder works by
Ciconia, Schein, Bach and others. Guest:
Flanders Recorder Quartet. David Fallis,
Senior Voice. Calvin Presbyterian Church,
music director. Trinity-St.Paul’s Centre.
26 Delisle Ave. 416-487-5885. $5.
427 Bloor St. W. 416-964-6337. $14-$53.
— 8:00: Via Salzburg. Quickening Breath.
See Apr. 26.
Music. Faculty Artist Series. Music by
Brahms, Robert and Clara Schumann.
— 12:15: St. Andrew’s United Church.
Jamie Parker, piano, and others. Walter
Noonhour Recital. Patrick Dewell, organ.
Hall, Edward Johnson Building, 80 Queen’s 32 Main St. N., Markham. 905-294-0351.
Park. 416-978-3744. $25; $15(r/st)
Free.
— 2:00 & 8:00: Meadowvale Music
Theatre. Evita. See Feb. 20.
— 8:00: Civic Light Opera Company. Silk — 3:00: Oakville Children’s Choir. My
Favourite Things! Musical theatre medley.
— 8:00: Continuum Contemporary MuSarah Morrison, music director; Janet
sic. Shift: e1gh+¥ 31gh7. Nas: DiGiT No. Stachow, associate music director; guest:
Erica Peck, vocalist. Clearview Christian
Reformed Church, 2300 Sheridan Garden
Dr., Oakville. 905-337-7104. $25; $20(st);
$15(sr/child under 12).
20.
Music. Performing Diaspora: Rights/Rites
of Passage. West African drum and dance
showcase with Malinke masters, djembe
drummer Billy Nankouma Konaté and
dancer/choreographer Sani Abu, local
students and guest artists. Founders
Assembly Hall, 152 Founders College, YU,
4700 Keele St. 416-736-5888. $10.
— 7:30: Classical Music Consort. Haydn
Bicentenary Concerts. Symphonies Nos.
94, 98, 97. Ashiq Aziz, conductor. Knox
College Chapel, 59 St. George St. 416-9788849. $30; $15(sr/st).
— 7:30: Tallis Choir. Holy Week and
Easter in the Renaissance. Josquin: Missa
Pange Lingua; Taverner: Dum Transiss et
Sabbatum. Peter Mahon, director. St.
Patrick’s Church, 141 McCaul St. 416286-9798. $25, $20 (sr), $10 (st).
— 7:30: Toronto Welsh Male Voice
Choir. St. David’s Day Concert. Christo-
pher Thomas, emcee; Gwyndaf Jones,
tenor; Clement Carelse, organ; Gerald
Martindale, carillon; William Woloschuk,
artistic director; Julie Loveless, accompanist. Metropolitan United Church, 56
Queen St. E. 416-410-2254. $25.
Royal Canadian College of
Organists
Organ Horizons
&
Fridays @ 8
present
English virtuoso organist
Thomas Trotter
February 27, 2009
8:00 pm
music of Bach, Handel, Mendelssohn &
Tchaikovsky
Lawrence Park Community Church
2180 Bayview Avenue (south of Lawrence)
Toronto ON M4N 3K7
Tickets: $20 ($15 Senior/Student/RCCO Members)
call 416-489-1551
www.lawrenceparkchurch.ca
The Flanders Recorder Quartet Presents
BªNCHETTO MUSICªLE
February 27 & 28 at 8 pm
As our guest ensemble this season, the Toronto Consort
presents the world’s foremost recorder quartet in the only
Canadian stop on their North American tour. Their program is
a veritable musical banquet, ranging over many centuries of
virtuoso recorder music, including works by Johannes Ciconia,
J. H. Schein, and J. S. Bach. Don’t miss the chance to hear this
ensemble of whom the new York Times wrote, “The players
swayed and swooned with the expressive interplay of a fine
string quartet”, while Fanfare Magazine raved over their
“beguiling lightness of touch and clarity of texture…The
performances are brilliant.”
Order online at www.torontoconsort.org
For Tickets call 416-964-6337
Trinity-St. Paul’s Centre, 427 Bloor St. West
37
Music. Choirs in Concert. Faure: Requiem; Bach Cantata No.78 “Jesu der du
meine Seele”. Master Chorale, Brad
Ratzlaff, conductor. Victoria College
Chapel, 91 Charles St. W. 416-978-3744.
$14; $8(sr/st).
— 8:00: Bell’Arte Singers. Singers of
Note: Youth and Youthful. Guests: Dr.
Norman Bethune Collegiate Institute Choir;
Camilla Rayman-Bricknell, conductor; Men
of Note; Margot Rejskind, conductor.
Christ Church Deer Park, 1570 Yonge St.
416-699 5879. $15-$20.
— 8:00: Brampton Concert Band. BCB
Idol. Darryl Eaton, conductor. 1 Theatre
Lane, Brampton. 905-874-2800. $20;
— 8:00: Continuum Contemporary Music.
Shift: Continuum and Ives Ensemble.
Bouchard: Joint Venture; Janssen: Ex
the
Scarborough Philharmonic
presents
Cathedral Bluffs
Symphony Orchestra
Norman Reintamm, Principal Conductor
Pops program featuring
Jim Galloway
8:00 p.m. February 28
P.C. Ho Theatre
5183 Sheppard Ave. East
$18(sr/st); $10(child).
— 8:00: Cathedral Bluffs Symphony
Orchestra. Subscription Concert No.3,
Pops. Pops favourites. Guest: Jim Galloway, saxophone; Norman Reintamm,
conductor. P.C. Ho Theatre, Chinese
Cultural Centre, 5183 Sheppard Ave. E.
416-879-5566. $20-$25. 7:30: pre-concert
chat.
38
g renowned L.A. studio flutist
Featuring
Louise DiTullio
performing some of the greatest
film music ever written, including the
world premiere of new a concert suite
from Hook by John Williams
Ronald Royer, conductor
www.spo.ca
Sat., Feb. 28th, 8 pm (see listing)
GALA at FRIDA
An intimate evening with
Louise DiTullio and Jeannie Pool
(Paramount Studios) as they share their
experiences with music and Hollywood.
Wed., February 25th, 6:30 pm
tickets: $100 ($50 tax receipt)
FRIDA Restaurant and Bar
999 Eglinton Ave. West
(416) 787-2221
Tempore; Csapo: Parmi les Blancs et
Noirs ... at ... Intervals ... from the Cabin;
Nas: Douze mains; Barry: Piano Quartet
No. 1. Brigantine Room, Harbourfront
Centre, 235 Queen’s Quay W. 416-9734000. $25; $15(sr/arts workers); $5(st).
— 8:00: Jubilate Singers. An Evening in
Spain. Guests: Michael Savona, guitar;
Esmerelda Enrique, dancer; Isabel Bernaus,
music director. Grace Church-on-the-Hill,
300 Lonsdale Rd. 416-536-5750. $20;
$15(sr); $10(st).
— 8:00: Musicians in Ordinary. Fair,
Cruel Nymph: Songs and Dialogues from
17th-Century England. Music by the Lawes
brothers, Lanier, and Ferrabosco. Hallie
Fishel, soprano; John Edwards, lute; guest:
Darryl Edwards, tenor. Heliconian Hall, 35
Hazelton Ave. 416-535-9956. $15-$20.
— 8:00: Nathaniel Dett Chorale. Voices of
the Diaspora: Dett to Africa. See Feb 25.
— 8:00: Scarborough Philharmonic.
Music from the Movies. Barry: Out of
Africa; Dances with Wolves; Elfman:
Charlotte’s Web; Williams: Schindler’s List;
Bernstein: Magnificent Seven; others.
Louise DiTullio, flute; Ronald Royer, conductor. Birchmount Park Collegiate Institute, 3663 Danforth Ave. 416-429-0007.
$30; $25(sr); $10(st).
— 8:00: Toronto Consort. Banchetto
Musicale. See Feb. 27.
— 8:00: Toronto Mendelssohn Youth
Choir. North Meets South. Works by
Watson Henderson, Hatfield, Raminsh,
Copland, Barber and Whitacre. Lynn Janes
and Larry Beckwith, conductors; Arts York
Strings. Calvin Presbyterian Church, 26
Delisle Ave. 416-598-0422. $30; $25(sr);
$15(st 15-25 years); $10(child under 10).
The Damnation of Faust. See Feb. 26 (no
pre-concert chat).
Sunday March 01
— 1:30: CAMMAC/McMichael Gallery.
Christopher Lee and Adam Sherkin, flute and
piano. 10365 Islington Ave, Kleinburg. 905893-1121. $15; $9(sr/st).
Series: DCAT Chorus. Scarborough Civic
Centre, 150 Borough Dr. 416-486-3011.
Free.
20.
— 2:00: Off Centre Music Salon. Russian
Hungarian Salon. Works by Russian and
Hungarian composers. Allison Angelo, Joni
Henson, sopranos; Krisztina Szabo, mezzo;
Giles Tomkins, baritone; Marie Berard,
violin; Winona Zelenka, cello; Joel Quarrington, double-bass; Inna Perkis, Boris
Zarankin, pianos. Glenn Gould Studio, 250
Front St. W. 416-872-4255. $50; $40(sr/
st).
—2:00: Royal Conservatory of Music.
Anagnoson & Kinton. Arenski: Suite No. 1;
Brahms: Variation on a Theme by Haydn;
Dvorak: selected works for 1 piano 4
hands; Gershwin: Rhapsody in Blue. Mazzoleni Hall, 273 Bloor St. W. 416-408-2824
x321. $30; $10(st).
— 2:00 & 7:00: Massey Hall & Roy
Thomson Hall. International Vocal Recitals: Cecilia Bartoli. Programme includes
Mendelssohn: Infelice; Persiani: Cari giorni;
Rossini: Tempest from Il Barbiere di Siviglia. Roy Thomson Hall, 60 Simcoe St.
416-872-4255. $75-$195.
— 3:00 Mississauga Choral Society. The
Creation. Haydn. Mississauga Sinfonia
Orchestra; Janet Obermeyer, Sean Clark,
Michael Downie, soloists; Mervin Fick,
interim conductor. St. Patrick’s Church,
921 Flagship Drive, Mississauga. 905306-6000. $25; $20(sr); $15(st).
— 3:00: Hannaford Street Silver Band.
Brass & Steel: a Caribbean Celebration.
Programme includes Borgeois: Calypso; De
Haan: Caribbean Variations; Ross: new work.
Curtis Metcalf, conductor; guest: Liam
Teague, steelpan. Jane Mallett Theatre, St.
Lawrence Centre for the Arts, 27 Front St. E.
416-366-7723. $39; $33(sr); $25(st).
— 3:00: Markham Concert Band. Family
Concert. Popular music from classical to
Broadway. Doug Manning, artistic director.
Markham Theatre, 171 Town Centre Blvd.,
Markham. 905-305-7469. $20.50;
$15.50(sr/st).
— 3:00: Syrinx Sunday Salons. Quatuor
Arthur-Leblanc. Ravel: String Quartet;
Prévost: String Quartet No. 3; Haydn:
String Quartet Op.64 No.2 in b. Heliconian
Hall, 35 Hazelton Ave. 416-654-0877. $20;
$15(st).
Syrinx Sunday Salons
presents
Quatuor
Arthur-Leblanc
Ravel: String Quartet
Prévost: String Quartet #3
Haydn: String Quartet Op.64 #2 in B-
Sunday March 1, 2009 3pm
Heliconian Hall, 35 Hazelton Avenue
Tickets $20, students $15
info: 416.654.0877 www.syrinxconcerts.org
$//,6&+2,5
MISSISSAUGA
Choral Society
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Recital Series. Andrew Ager, organ. 65
Church St. 416-364-7865 x224. Free.
— 6:30: Toronto Mass Choir. Power-Up
Concert. Toronto International Celebration
Church, 190 Railside Rd. 905-794-1139.
Freewill offering.
— 7:30: Hart House. Louise diTullio and
Sinfonia Toronto. Film music for flute and
orchestra. Great Hall, 7 Hart House Circle.
416-978-2452. Free.
— 8:00: Continuum Contemporary Music. Shift: Quatuor Bozzini. Ayres: No. 38
Three Small Pieces for String Quartet;
Kulenty: String Quartet No. 3 (Tell me
about it); Voorvelt: 4/4 for string quartet;
Boudreau: Le grand meridian. Music Gallery,
197 John St. 416-204-1080. $20; $10(st).
Mervin Fick, Interim Conductor
Haydn's joyous Oratorio The Creation
Sunday, March 1 at 3:00 pm
St. Patrick's Church, 921 Flagship Drive, Mississauga
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Janet Obermeyer, Soprano; Sean Clark, Tenor
Michael Downie, Bass
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Mississauga Living Arts Centre Box Office 905-306-6000
Adult $25, Senior $20, Student $15
GUEST SOLOISTS:
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ACCOMPANIED BY:
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PURCHASE CONCERT TICKETS AT:
TICKETS AVAILABLE AT THE DOOR
WWW.MCS-ON.CA
MISSISSAUGA
O N TA RI O A R T S
Leading today for tomorrow
Nesbit Burns
MAYOR'S
GALA FUND
905-278-7059
D E S A R T S D E L’ O N T A R I O
Bank of Montreal
’
39
Wednesday March 04
Noon at the Met. Elisa Mangina, organ. 56
Thursday March 05
Queen St. E. 416-363-0331 x26. Free.
Piano Virtuoso Series: E-Gre Winner Per— 12:00 noon: Canadian Opera Company. — 7:30: University of Toronto Faculty of
forms E-Gre. Schumann: Piano Sonata No.
Piano Virtuoso Series: Prokofiev Piano
Music. Opera Series: Ravel’s L’enfant et
1; Eckhardt-Gramatte: Piano Sonata No.6
Sonata No. 9. Stephane Sylvestre, piano.
les sortilèges and L’Heure espagnole.
(first movement). Su Jeon, piano. Richard
Richard Bradshaw Amphitheatre, Four
Michael Patrick Albano, director; Sandra
Seasons Centre for the Performing Arts,
Horst, conductor. MacMillan Theatre,
Centre for the Performing Arts, 145 Queen
145 Queen St. W. 416-363-8231. Free.
Edward Johnson Building, 80 Queen’s Park.
St. W. 416-363-8231. Free.
— 12:10: St. Paul’s Bloor Street Angli416-978-3744. $26; $16(sr/st). Also Mar.
— 12:15: Hart House. Midday Mosaics.
can Church. Noon Hour Organ Recital
6, 7 and 8.
Lucy Zhang, soprano. 7 Hart House Circle.
Series. Kirkland Adsett, organ. 227 Bloor
416-978-2452. Free.
St. E. 416-961-8116. Free.
Church. Noonhour Recital. Andrew Adair,
of Music. Thursdays at Noon - 2 x 10. A
organ. 1585 Yonge St. 416-922-1167. Free.
newly commissioned work by Alice Ho.
Midori Koga, Lydia Wong, duo pianos.
Music TORONTO
— 8:00: Rose Theatre. African Footprint.
Music and dance from South Africa. 1
Theatre Lane, Brampton. 905-874-2800.
$75-$90.
Monday March 02
Music. Sounds of Our Time. Student composers concert. Walter Hall, Edward Johnson
Building, 80 Queen’s Park. 416-978-3744.
Free.
Hall. Liza Minelli. Roy Thomson Hall, 60
Simcoe St. 416-872-4255. $59.50$189.50.
— 8:00: Rose Theatre. African Footprint.
See Mar. 1.
PRAZAK QUARTET
Thursday
March 5 at 8 pm
— 8:00: Music Toronto. Prazak Quartet.
Guest: Roger Tapping, viola. Brahms:
String Quintet in G Op.111; Richter:
Divertimento for String Quartet Op.5
No.1; Dvorák: String Quartet in E flat
Op.97. Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front St. E.
416-366-7723. $41-$45; $5(st; accompanying adult pays half price); pay your age
(18-35).
— 8:00: Rose Theatre. Dervish. Music
from Ireland. 1 Theatre Lane, Brampton.
905-874-2800. $40-$55.
— 8:00: Toronto Philharmonia. Journeys.
Raminsh: Suite for Orchestra; Haydn:
Symphony No.99; Villa-Lobos: Sinfonietta
No.1 in B flat. Kerry Stratton, conductor.
George Weston Recital Hall, Toronto Centre
for the Arts, 5040 Yonge St. 416-872-1111.
$29-$59; $25-$59(st); $25-$49(sr).
Tuesday March 03
Vocal Series: Here and There and Everywhere- A Canopy of English Language
Song. English language songs from the
19th to 21st centuries. Graduate students
from the U of T Faculty of Music. Richard
Centre for the Performing Arts, 145 Queen
St. W. 416-363-8231. Free.
Midday Series. Matthew Coons, organ. 65
Church St. 416-364-7865 x224. Free.
— 8:00: Soundstreams. Les Jeunes
Solistes. Works by Debussy, Vivier, Ravel,
and Monteverdi. Rachid Safir, conductor.
Jane Mallett Theatre, 27 Front St. E. 416366-7723. $37; $29(sr); $15(st).
The Toronto Mass Choir presents
Power Up 2009 Gospel Music Conference
February 27, 28, & March 1
Featuring mass choir rehearsals, workshops,
and a Saturday evening showcase
Registration information at www.tmc.ca
Price: $65 adults, $40 students or groups of 10 or more
Power Up 2009 Finale Concert
Sunday, March 1st at 6:30 p.m. Free Admission
Toronto International Celebration Church
190 Railside Rd., Toronto, ON (DVP/Lawrence)
for more info visit www.tmc.ca or call 905 794 1139
40
New Creations Festival: Asian Inspiration.
Schipizky: Odyssey; Takemitsu: A String
Around Autumn; Tan Dun: The Map (Concerto
for Cello, Video, and Orchestra). Teng Li, viola;
Anssi Karttunen, cello; Peter Oundjian and Tan
Dun, conductors. Roy Thomson Hall, 60
Simcoe St. 416-593-4828. $37-$125.
Saint-Saens: Cello Concerto No. 1 arranged for solo cello and strings by
Nurhan Arman; Shostakovich Chamber
Symphony Op. 73 (arr. Arman). Denise
Djokic, cello; Nurhan Arman, conductor.
Grace Church on-the-Hill, 300 Lonsdale
Rd. 416-499-0403. $40, $32(sr), $12(1629/st).
McIntyre: Sometimes I hear the Dreamy
Brown, artistic director; Gergely
Whitethroat. Terry Kowalczuk, conductor. Szokolay, piano; guests: Chinese CanadiSt. Luke’s United Church, 353 Sherbourne an Choir of Toronto. Grace Church on-theSt. 416-925-9872 x2066. $20; $16(adHill, 300 Lonsdale Rd. 416-236-0948. $25;
vance); $5(youth 13 and under).
$20(sr); $10(st).
— 8:00: Orchestras Mississauga. Illumi- — 8:00: Toronto Symphony Orchestra.
nating Music. Tchaikovsky: Serenade for
New Creations Festival: Eastern Portraits.
Strings Op. 48; Elgar: Serenade; Britten:
Tan Dun: Secret Land for Twelve Cellos;
Les Illuminations. Sinfonia Mississauga;
Pipa Concerto; Louie: Concerto for String
Friday March 06
Saturday March 07
Janet Obermeyer, soprano; John Barnum,
Quartet and Orchestra. Wu Man, pipa;
— 7:30: Israelievitch and Goodman.
conductor. First United Church, 151 LakeTokyo String Quartet; Peter Oundjian and
Violin and Harp in Recital. Noon: Sonata
Greater Toronto. President’s Trophy
shore Rd. W., Mississauga. 905-306-6000. Tan Dun, conductors. Roy Thomson Hall, 60
(premiere); also works by Saint-Saens,
Competition and Showcase of Stars.
$30; $27(sr); $15(st/child).
Simcoe St. 416-593-4828. $37-$125.
Polgar, Bloch, Adaskin, Tournier and Spohr. Cardinal Carter Academy, 36 Greenfield
— 8:00: Oriana Women’s Choir. Music of
Jacques Israelievitch, violin; Erica GoodAve. 416-487-5885. $5.
Asia, Australia and Europe. Programme
man, harp. Heliconian Hall, 35 Hazelton
— 2:00 & 8:00: Civic Light Opera Compa- includes new work by Chan. William
Ave. 416-964-6398. $30;$20(sr/st).
ny. Silk Stockings. See Feb 18.
— 7:30: University of Toronto Faculty of — 7:30: Oakville Chamber Orchestra. In
Music. Opera Series: Ravel’s L’enfant et les
Concert. Haydn: Cello Concerto in C; Desortilèges and L’Heure espagnole. See Mar 5. muynck: Exuberant for Cello and Orchestra;
BEYOND THE GTA
— 8:00: Civic Light Opera Company. Silk Buhr: Jyotir (Brilliance); Tchaikovsky: Suite
No.4. Jonathan Tortolano, cello; Charles
— 8:00: Etobicoke Community Concert
Demuynck, conductor. Central Baptist Church,
N.B. For a list of communities in section 2
Band. Last Night of the Proms. Parry:
340 Rebecca St., Oakville. 905-483-6787.
see LISTINGS INTRODUCTION, page 28
Jerusalem; Elgar: Pomp and Circumstance
$25; $20(sr); $15(st); $10(child).
March; Arne: Rule Britannia; also songs of — 7:30: Toronto Classical Turkish Music
bassoon. Von Kuster Hall, Music Building,
Sunday
February 01
World War I. John Edward Liddle, music
Ensemble. In Concert. Songs in the rast
UWO, London. 519-661-2043. Free.
director. Etobicoke Collegiate Auditorium,
mode, solo songs and Thracian folk songs. — 2:00: Gallery Players of Niagara. The
86 Montgomery Rd. 416-410-1570. $18;
Eybler Quartet. Vanhal: String Quartet;
Noor Cultural Centre, 123 Wynford Dr.
$15(sr); $5(st); free to children under 12.
Mendelssohn: String Quartet Op.87;
416-817-2665. $20.
— 10:00am: University of Western On— 8:00: Performing Arts York Region.
Michael Haydn: String Quartet in C.
— 7:30: U of T Faculty of Music. Opera
tario. Wind Ensemble: Making Connections.
Fabulous Fridays. Marie Bérard, violin,
Aisslinn Nosky, Julia Wedman, violins;
Series: Ravel’s L’enfant et les sortilèges
Sousa: Nobles of the Mystic Shrine; ResTeng Li, viola; Winona Zelenka, cello.
Patrick Jordan, viola; Margaret Gay, cello; pighi: Huntingtower Ballad; Grainger: Counand L’Heure espagnole. See Mar 5.
Thornhill Presbyterian Church, 271 Centre St., — 8:00: Counterpoint Community Orguest: Max Mandel, viola. St. Barnabas’
try Gardens; Granger/Goldman: Handel In
Thornhill. 905-881-1344. $25; $20(sr);
Church, 33 Queenston St., St. Catharines. The Strand; Handel: Finale from Water Muchestra. Magnificent Music for March.
$10(st).
905-468-1525. $24-$27.
Mendelssohn: Fingal’s Cave; Symphony
sic; Brouwer: Cancion de Gesta. Lucas Sec— 8:00: Sinfonia Toronto. Cellissimo!
No. 5 (selections); Mussorgsky: The Great — 2:30: Kingston Symphony Orchestra. ondary School, 656 Tennent Ave., London.
Slimacek: Partita Danzante and Sonatina; Gate of Kiev; Williams: Raiders March;
Virtuoso Variations. Brahms: Piano Concer- 519-661-2043. Free.
to No.1; Elgar: Enigma Variations. Angela
— 7:30: Queen’s University Department
Cheng, piano; Glen Fast, conductor. Grand of Music. Purcell’s Dido and Aeneas. Grand
Theatre, 218 Princess Street, Kingston.
Theatre, 218 Princess St. Kingston. 613613-530-2050. $36-$45; $33-$41(sr); $15- 533-2066. Also Feb. 6, 7.
$25(st); $10(ch).
— 8:00. Numus/Guelph Jazz Festival.
— 3:00: John Laing Singers. Gala ConStructured Improvisation/Improvising Struccert. Laing: Songs from Greenhayes (pretures: Concert 1. Kevin Breit, guitar; Jesse
miere);
also
works
by
Purcell,
Rutter,
Liszt.
13&4&/54
Stewart, percussion. Macdonald Stewart
Guests: Valerie Tryon, piano; Janet OberArt Centre, 358 Gordon Street, Guelph.
meyer, soprano. Central Presbyterian
519-837-0010. $20; $12(st).
Church. 165 Charlton Ave. W. Hamilton.
— 8:00: Kitchener-Waterloo Chamber
905-628-5238. $25; $20(sr); $10(st).
Music Society. Anya Alexeyev & Irina
LISTINGS: SECTION 2
CONCERTS
AdkZI]nCZ^\]Wdjg
Nuzova, piano duo. Debussy: Petite Suite;
Two Preludes; Rimsky-Korsakov: Shehere— 12:30: McMaster University. Lunchzade (excerpts); Ravel: Alborada del Graziotime Concerts: David Gerry, flute. Works by so; Scriabin: Sonata No.2; Tchaikovsky:
Wallace, Hartwell and Glick. Convocation
Nutcracker Suite. KWCMS Music Room, 57
Hall, University Hall, 1 Scholar’s Rd., Ham- Young St. W., Waterloo. 519-886-1673.
ilton. 905-525-9140 x24246. Free.
$20; $15(sr); $10(st/ch).
Friday February 06
Tuesday February 03
Music of Asia, Australia,
and Europe
william brown – "SUJTUJD%JSFDUPSGergely Szokolay – 1JBOJTU
4"563%":."3$)t1.
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Special Guest Artists:
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By:
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5FM
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— 12:00 noon: Midday Music With
Shigeru. Jay Rothenburg, piano. Guests:
students from the music programme of
Barrie North Collegiate. Hi-Way Pentecostal
Church, 50 Anne St. N., Barrie. 705-7261181. $5, free(st).
— 7:30: Perimeter Institute. Gil Shaham
and Friends. Mike Lazaridis Theatre of Ideas, Perimeter Institute, 31 Caroline St. N.,
Waterloo. 519-883-4480. SOLD OUT.
of Music. Mosaic Concert. Music by students enrolled in electroacoustic and acoustic composition courses. 120 HarrisonLeCaine Hall, 39 Bader Lane, Kingston.
613-533-2066. Free.
— 8:00: University of Western Ontario.
Chamber Music Recital. Robert Riseling,
clarinet; Mark Payne, piano; David Haward,
12:30 Fridays. True North Brass. Von
Kuster Hall, Music Building, UWO, London.
519-661-2043. Free.
of Music. Purcell’s Dido and Aeneas. See
Feb. 5.
— 8:00: McMaster University. Celebrity
Concert Series: Suzanne Ramsay Quintet.
Jazz. Convocation Hall, University Hall, 1
Scholar’s Rd., Hamilton. 905-525-9140
x24246. $17; $12(sr); $5(st).
— 8:00: Numus/Guelph Jazz Festival.
Structured Improvisation/Improvising Structures: Concert 2. David Mott Quintet. Macdonald Stewart Art Centre, 358 Gordon
Street, Guelph. 519-837-0010. $20;
$12(st).
41
...SECTION 2: Beyond the GTA
A Mozart Operatic Gala. Arias, duets and
ensembles from Le nozze di Figaro and Cosi
fan tutte. Members of the UWOpera Workshop; Opera Orchestra; Theodore Baerg,
director; James McKay, conductor. Windermere on the Mount, 1486 Richmond St.,
London. 519-679-8778. $15; $10. Also
Feb. 7.
Tuesday February 10
Early Music Studio. Von Kuster Hall, Music
Building, University of Western Ontario,
London. 519-661-2043. Free.
Studio Recital: Vogel Studio. Violin students from the studio of Annette-Barbara
Vogel. Von Kuster Hall, Music Building,
— 8:00: Orchestra London Canada. Pops
Series – A Love Affair with Broadway.
Love themes from the world of musical
theatre. Brian Jackson, conductor.
Chatham Cultural Centre, 75 William St.
N., Chatham. 519-354-8338. $38.
Perimeter Institute, 31 Caroline St. N., Waterloo. 519-883-4480. $72 (includes dinner). SOLD OUT.
Music Influenced by the Collegium Germanicum in Rome. Carissimi: Mass for Three
— 7:30: Burlington Civic Chorale. Heart
Voices; motets by Sances, Cavalli, and ValSongs. Music for Valentine’s Day featuring entini. Bud Roach, Joseph Levesque, tenBroadway, opera, and folksongs. Also siors; Neil Aronoff, baritone; Sara-Anne
lent auction. Gary Fisher, music director,
Laura Pin, accompanist. St. Christopher’s
MacNeill Baptist Church, 1145 King St. W.,
Anglican Church, 662 Guelph Line, Burling- Hamilton. 905-517-3594. $20-$15.
ton. 905-549-5897. $18; $15(advance).
— 8:00: Georgetown Bach Chorale. Early
of Music. Purcell’s Dido and Aeneas. See
—
12:30:
University of Western Ontario. — 7:30: Hamilton Philharmonic Orches- Music Concert. Vivaldi: Four Seasons (SumFeb. 6.
Ensemble Series. Works by Mozart and
tra. Amore! Opera to Tin Pan Alley, Broad- mer and Winter); Handel: Organ Concerto.
— 8:00: Karen Schuessler Singers. CD
Mendelssohn. UWO Singers. Von Kuster
way to the Silver Screen. James SommerGuests: Elyssa Lefurgey-Smith, Elizabeth
Launch: “Road to Freedom.” The story of
ville, conductor; Kathleen Brett, soprano;
Lowen, violins; Georgetown Baroque Solothe Underground Railroad in music. Denise Hall, Music Building, London. 519-6612043. Free.
Kurt Lehmann, tenor. Hamilton Place, 1
ists, Ron Greidanus, conductor. Norval
Pelley, vocalist; Stephen Holowitz, piano
Summers Lane, Hamilton. 905-526-7756. Presbyterian Church, 499 Guelph St., Norand band; Brian and Shannon Prince, narra- — 12:30: University of Waterloo. Noon
$59-$36; $54-$32(sr); $10(st); $5(child).
val. 905-873-1213. $20.
tors. Wesley-Knox United Church, 91 Askin Hour Concert – Digital Prowess. Kathryn
— 8:00: Niagara Symphony Orchestra. A
St., London. 519-858-3202. $20; $18(ad- Ladano, bass clarinet; Jason White, piano; — 8:00: Kitchener-Waterloo Symphony
Richard Burrows, percussion; Thomas Bou- Orchestra. Romancing the Violin. See Feb Flute in the City of Angels. Williams: Hook;
vance); $17(sr); $15(sr advance); $10(st);
da, double bass, Joe Ryan, drums. Conrad
13.
Barry: Out of Africa; and other film scores.
free(6-12 yrs).
Grebel University College Chapel, 140
— 8:00: Orchestra London Canada. Pops Louise DiTullio, flute; Laura Thomas, con— 8:00: Kitchener-Waterloo Chamber
Westmount Rd. N. Waterloo. 519-885Series – A Love Affair with Broadway. See ductor. Sean O’Sullivan Theatre, 500 GlenOrchestra. Haydn Anniversary. Haydn:
Feb 13. Centennial Hall, 550 Wellington
ridge Ave., St. Catharines. 905-687-4993.
Symphonies No.6 and 75; various operatic 0220 x24226. Free.
St., London. 519-679-8778. $37.73$35-$40; $16(st). 7:15: pre-concert chat.
arias. Cheryl Campbell, soprano; Graham
Ensemble Series: Dance Rhythms. Works by $53.20.
Coles, music director. Maureen Forrester
Sunday February 22
Hovhaness, Britten, and Grainger. Sym— 8:00: Performing Arts Bancroft. The
Recital Hall, Wilfrid Laurier University, 75
phonic
Band.
Westminster
Secondary
Legend
in
Black.
A
tribute
to
the
music
of
—
2:30:
Kingston
Chamber Choir. MajesUniversity Ave. W., Waterloo. 519-744School, 230 Base Line Rd. W. London.
Johnny Cash. Three-piece band; Bill Cayley, tic Flourish. St. George’s Cathedral, 270
3828. $20; $15(sr/st); children free.
vocals. Bancroft Village Playhouse, 5 Hast- King St. E., Kingston. 613-548-4617. $25;
— 8:00: Queen’s University Department 519-661-2111 x80532. Free.
ings St. South, Bancroft. 1-888-474-1556. $20; $10.
of Music. Faculty Artist Series – Camarata — 7:30: University of Western Ontario.
Ensemble Series: Concert at Wolf Hall. Jazz $25.
— 2:30: Niagara Symphony Orchestra. A
Guitara. Jeff Hanlon, William Beauvais,
Ensemble. 251 Dundas St. London. 519— 8:00: Port Hope Friends of Music.
Flute in the City of Angels. See Feb 21.
guitars; guests: Greg Runions, percussion;
Monica Whicher & Friends. Guests: Frances 1:45: pre-concert chat.
Dave Barton, bass. Dunning Auditorium, 94 661-2111 x 80532. Free.
Pappas, mezzo; Elizabeth Upchurch, piano. — 3:00: Guelph Symphony Orchestra.
University Ave., Kingston. 613-533-2558.
Cameco Capitol Arts Centre, 14 Queen St., Popera! Arias, duets and trios from Car$10; $8(sr); $5(st).
— 12:30: University of Western Ontario. Port Hope. 905-372-2210. $35; $15(st).
men, Faust, Tosca, La Traviata, The Barber
Choral Series: The Thames Scholars. Early
of Seville, and other operas. Katie Murphy,
A Mozart Operatic Gala. See Feb 6.
Sunday February 15
music of love and life. Von Kuster Hall, Musoprano; Andrew Tees, baritone; Lenard
Sunday February 08
sic Building, UWO., London. 519-661— 2:00: Kitchener-Waterloo Symphony
Whiting, tenor; Guelph Youth Singers; Si2043. Free.
Orchestra. Romancing the Violin. River
mon Irving, conductor. River Run Centre,
— 12:00 noon: Orchestra London CanaRun Centre, 35 Woolwich St., Guelph. See 35 Woolwich St., Guelph. 519-763-3000.
da. Serenade Brunch Series – Winterlude
Friday February 13
Feb 13. $20-$50.
$28-$35; $14-$17(st); $9(child 12 and unBrunch. Mary-Elizabeth Brown, violin. Best
—
7:30:
Oshawa
Durham Symphony Or- — 2:30: Orchestra London Canada. Pops der).
Western Lamplighter Inn, 591 Wellington
chestra. Mahler’s Magic Horn. Strauss:
Series – A Love Affair with Broadway. See — 4:00: St. James Anglican Church. ChoRd. London. 519-679-8778. $45.36.
Four Last Songs; Mahler: Symphony No.4
Feb 13. Centennial Hall, 550 Wellington
ral Evensong and Recital. Music by Morley,
— 2:30: Georgian Music. In Concert.
in G. Hasmik Papian, soprano; Marco Pari- St., London. 519-679-8778. $37.73Bach, also choral and organ music by black
Saint-Saëns: Piano Quintet. Serouj Kradsotto, conductor. University of Ontario Rec- $53.20.
composers honouring Black History month.
jian, piano; Hausmann String Quartet. Hireation Hall, 2000 Simcoe St. N., Oshawa. — 2:30: The Georgian Bay Symphony.
137 Melville St., Dundas. 905-627-1424.
Way Pentecostal Church, 50 Anne St. N.,
Tales from the Forefathers. Bissell: How
Freewill offering.
Barrie. 705-726-1181. Subscriptions only. 905-579-6711. $40; $15(st).
— 8:00: Heritage College and Seminary. the Loon Got its Necklace: Mascall: Ojib— 7:30: Durham Philharmonic Choir.
— 4:00: St. James Anglican Church..
Opera and Oratorio – a Benefit Concert.
way Tales. Knox United Church, 890 4th
Sing with the Spirit. Spirituals and tradiJazz Vespers. 137 Melville St., Dundas.
Ben Heppner, tenor; Heritage Alumni Choir; Ave. E. Owen Sound. 519-372-0212. $17; tional arrangements. Guests: Kristine Dan905-627-1424. Freewill offering.
Cambridge Community Orchestra. Forward $15(sr); free(ch).
davino, Renee Trepanier, Mary-Ruth RoadMonday February 09
Baptist Church, 455 Myers Rd. Cam— 3:00: La Jeunesse Youth Orchestra. In house, Yma Frison and Monica Cotton, vobridge. 1-800-465-1961. $25; $20(adthe Spotlight. Works by Pergolesi, Shostak- calists. St. George’s Anglican Church, Os— 8:00: Folia. Chocolate Road. Baroque
vance).
ovich, Tanner, Vivaldi and Weber. Victoria
hawa. 905-728-1739. $25; $20(advance).
music from Mexico, Spain, Italy, France
Hall, 55 King St. W., Cobourg. 1-866-460and England. Linda Melsted, baroque violin; — 8:00: Kitchener-Waterloo Chamber
Tuesday February 24
Music Society. Zemlinsky Quartet. Mo5596. $15; $12(st); $40(family).
Terry McKenna, lute and baroque guitar;
zart:
Quartet
in
C
K465
“Dissonant”;
Zem—
12:30:
McMaster
University. LunchJustin Haynes, viola da gamba; Borys
Tuesday February 17
linsky: Quartet No. 4; Smetana: Quartet
time Concerts: Trio D’Argento. Works by
Medicky, harpsichord. Registry Theatre,
No. 2. KWCMS Music Room, 57 Young St. — 8:00: Kitchener-Waterloo Chamber
C.P.E. Bach, Emmanuel, Shostakovich and
122 Frederick St., Kitchener. 519-745W., Waterloo. 519-886-1673. $25;
Music Society. Janina Fialkowska, piano. Bolling. Convocation Hall, University Hall, 1
6565. $20; $15(sr/st); $5(18 years and
$20(sr); $15(st).
Mozart: Fantasy K475; Variations on “Ah,
Scholar’s Rd., Hamilton. 905-525-9140
under).
— 8:00: Kitchener-Waterloo Symphony
vous dirai-je, Maman” K265; Schumann:
x24246. Free.
Orchestra. Romancing the Violin. Delius:
“Faschingsschwank aus Wien” (Vienna CarMusic Society. Eden Stell guitar duo.
The Walk to the Paradise Garden; Mennival); Ravel: Sonatine; Chopin: 2 Preludes;
Bach: Concerto after Marcello; Brouwer:
delssohn:
Violin
Concerto
in
e
Op.64;
Scherzo
No.
4
in
E.
KWCMS
Music
Room,
—
12:30
noon: University of Waterloo.
Per Suonare a Due; Bowers: Fantasy from
Tchaikovsky: Symphony No.4 in f Op.36.
57 Young St. W., Waterloo. 519-886Noon Hour Concert. Contemporary music
Old English Melody; Torroba: Esampas;
Stefan Sanderling, guest conductor; Soovin 1673. $30; $25(sr); $20(st).
for piano. Cheryl Pauls, piano. Conrad
Mompou: Cancio y Danza; and others.
Kim, violin. Centre in the Square, 101
KWCMS Music Room, 57 Young St. W.,
Friday February 20
Queen St. N., Kitchener. 519-578-1570.
Westmount Rd. N., Waterloo. 519-885Waterloo. 519-886-1673. $25; $20(sr);
$20-$75; $20(st).
— 5:30: Perimeter Institute. Dinner Con- 0220 x24226. Free.
$15(st).
cert – L’Accordéoniste. Black Hole Bistro,
42
Music Society. Herzog/McEvoy Trio.
Beethoven “Archduke”; Mozetich: Scales of
Joy, Sorrow; Shostakovich: Trio No. 2.
KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $20; $15(sr);
$10(st).
ty Church, 3725 Bostwick Rd. London.
519-679-8778. $15.
Faculty Recital: Anagnoson/Kinton Piano
Duo. Von Kuster Hall, Music Building, UWO,
London. 519-661-2043. Free.
— 7:30: Bach Elgar Choir. Oratorio Terezin. Fazal. Sheila Dietrich, soprano;
James McLennan, tenor; Nathaniel Watson,
baritone; Talisker Players Orchestra;
Orchestra. Bold and Brassy. Works by
Howard Dyck, conductor; guests: Hamilton
Wagner, Ellington and others. KWSO brass Children’s Choir. Hamilton Place, 1 Sumsection; Alain Trudel, guest conductor. Hu- mers Lane, Hamilton. 905 527-5995. $29manities Theatre, 200 University Ave. W.,
$49; $24-$44(sr); $10(st); $5(child).
Waterloo. 519-745-4711. $35; $20(st).
— 7:30: Hamilton Philharmonic Orchestra. Fire. Gounod: Petite symphonie; Bach:
Friday February 27
Brandenburg Concerto No.6; Brahms: Sere— 12:30: University of Western Ontario. nade No.2 Op.73. James Sommerville, con12:30 Fridays: Chamber Jazz. David Ocductor. Central Presbyterian Church, 165
chipinti, guitar; Kevin Turcotte, trumpet;
Charlton Ave. W., Hamilton. 905-526Joe Phillips, bass; Andrew Downing, bass/ 7756. $25.
cello. Von Kuster Hall, Music Building,
— 7:30: Orillia Wind Ensemble. Focus on
Flute. Mozart: Concerto in D (arr. for band);
— 7:30: Brock University. Encore Profes- Chaminade: Concertino; Leonard: Introduzisional Concerts: John Sherwood and The
one e Tarantella. Sergio Pallottelli, flute;
Jazz Nine. Sean O’Sullivan Theatre, 500
Roy Menagh, conductor. St. Paul’s United
Glenridge Ave., St. Catharines. 905-688Church, 62 Peter St. N., Orillia. 705-3265550 x3257. $28.50; $22.50(sr/st).
8011. $18; $15(sr); $5(st).
— 8:00: Barrie Concerts. The Four SeaOrchestra. Bold and Brassy. River Run
sons. Music by Vivaldi and Piazzolla. Kai
Centre, 35 Woolwich St., Guelph. See Feb Gleusteen, violin, Orchestra of the Glenn
26.
Gould. Hi-Way Pentecostal Church, 50 Anne
— 7:30: Lindsay Concert Foundation.
St. North, Barrie. 705-726-1181. $160;
Tafelmusik Baroque Orchestra. Jeanne La- $80(st). Subscription only.
mon, music director; guest: Sean Smyth,
— 8:00: Georgian Bay Symphony. Sax
actor. Cambridge Street United Church, 61 and Violins. Ravel: Bolero; Mussorgsky:
Cambridge St. N., Lindsay. 705-878-5625. Pictures at an Exhibition; Prokofiev: Lieu$30; $10(st).
tenant Kije (excerpts); Cimarosa: Concerto
for Soprano Saxophone. OSCVI Regional
Music Society. Till Fellner, piano.
Auditorium, 1550 8th St. E. Owen Sound.
Beethoven Sonatas: Op. 2, Nos. 1-3, and
519-372-0212. $26; $24(sr).
Op. 57 “Appassionata”. KWCMS Music
Room, 57 Young St. W., Waterloo. 519Music Society. Trio Savitri. Telemann:
886-1673. $30; $25(sr); $20(st).
Trio Sonata in A; Haydn: “London” Trio
— 8:00: Northumberland Players. Hair.
TBA; Adaskin: Canzona and Rondo; MarRagni, Rado & MacDermot. Shannon Oliver, tinu: Promenades. KWCMS Music Room, 57
director. Capitol Arts Centre, 20 Queen St., Young St. W., Waterloo. 519-886-1673.
Port Hope. 905-372-2105. $25. Also Feb. $20; $15(sr); $10(st).
28, Mar. 1, 5, 6 and 7.
See Feb. 27.
Sunday March 01
— 1:30: Orchestra London Canada. Special Events Series: Robin Hood Family Spe- — 2:00: Gallery Players of Niagara. Niacial. Music by Korngold. Guest: the Duffle- gara Winds. Taffanel: Quintet; Milhaud: La
Bag Theatre Troupe. Forest City Communi-
Cheminee du roi; Francaix: Wind Quintet
No.1; Barthe: Passacaille. Douglas Miller,
flute; Christie Goodwin, oboe; Zoltan Kalman, clarinet; Christian Sharpe, bassoon;
Tim Lockwood, French horn. St. Barnabas’
Church, 33 Queenston St., St. Catharines.
905-468-1525. $24-$27.
See Feb. 27.
— 2:00: Visual and Performing Arts
Newmarket. In Concert. Rivka Golani,
viola; Joel Quarrington, double bass; Jean
Desmarais, piano. Newmarket Theatre,
505 Pickering Cresc. 905-953-5122. $24;
$19(sr); $10(st).
— 2:30: Kingston Symphony Orchestra.
Grieg, Haydn (and a little Schnittke too!).
Grieg: Holberg Suite; Schnittke: Concerto
Grosso No.1; Haydn: Symphony No.85.
David Stewart, violin & guest conductor;
Katherine Unrau, violin; Glen Fast, conductor. Grand Theatre, 218 Princess St., Kingston. 613-530-2050. $36-$45; $33$41(sr); $15-$25(st); $10(ch).
— 3:00: MacNeill Baptist Church. Erika
Reiman, piano. Works by Schumann and
Brahms from the year 1853. 1145 King St.
W., Hamilton. 905-528-2861. $15; 10(sr/
st).
Faculty Recital: Piano Plus Commentary.
Gwen Beamish, piano.Von Kuster Hall, Music Building, UWO, London. 519-661-2043.
Free.
— 3:00: Wellington Winds. Potpourri: 400
Years of Great French Music. Michael
Purves-Smith, conductor.; Caroline Déry,
soprano. First United Church, 16 William
St., Waterloo. 519-579-3097. $20;
$15(sr); $5(st).
— 4:00: Halton Youth Symphony. Spring
Concert. Nicolai: The Merry Wives of Windsor; Brahms: Hungarian Dance No.7; Vivaldi: Concerto for Two Violins; Accolai: Concerto for Violin; Tchaikovsky: Suite No.4
“Mozartiana”. Janez Govednik, conductor;
guests: Oakville Chamber Orchestra;
Charles Demuynck, conductor. Corpus
Christi High School, 5150 Upper Middle
Road, Burlington. 905-616-2760. $15;
$10(sr/st).
— 8:00: Numus. The Ives Continuum. Fox:
Straight lines in broken times; A. Clementi:
Scherzo; Cameron: 4 Postcards; Bouchard:
THE
CHOIR
Howard Dyck CM, Director
Ruth Fazal
dŚĞ,ĂŵŝůƚŽŶŚŝůĚƌĞŶ͛ƐŚŽŝƌ
RivkaGolani,
JoelQuarrington,
JeanDesmarais
VIOLA, DOUBLE BASS, PIANO
Sunday, March 1, 2009 • 2:00 pm
Sheila Dietrich ʹ soprano, James McLennan ʹ tenor
Nathaniel Watson ʹ Baritone, Talisker Players Orchestra
Great Hall, Hamilton Place
Newmarket Theatre
505 Pickering Crescent
February 28, 2009 ʹ 7:30 p.m.
Tickets: Adults: $29.00 - $49.00 Seniors: $24.00 - $44.00
Students: $10.00
Children: $5.00
Bach Elgar Office: 905 527-5995
www.bachelgar.com
Box Office tel: 905 953 5122
www.newmarkettheatre.ca
Adults: $24.00 Seniors: $19.00
Students: $10.00
new work; Janssen: new work. Continuum
Contemporary Music; Ives Ensemble. Maureen Forrester Recital Hall, Wilfrid Laurier
University, Waterloo. 519-896-3662. $20;
$12(st).
Wednesday March 04
— 12:00 noon: Midday Music With
Shigeru. Samuel Bisson, cello, and Nadia
Boucher, piano. Hi-Way Pentecostal
Church, 50 Anne St. N., Barrie. 705-7261181. $5; free(students).
— 12:30 noon: University of Waterloo.
Noon Hour Concert - Remembering Africa.
Carol Ann Weaver, piano; Ben Bolt-Martin,
cello; Ann Lindsay, violin; Emma Elkinson,
flute; Rebecca Campbell, vocals. Conrad
Westmount Rd. N. Waterloo. 519-8850220 x24226. Free.
— 8:00: Orchestra London Canada. Cathedral Series – Music from the Magic
Flute. Corelli: Concerto Grosso; Mozart:
Music from the Magic Flute; Beethoven:
Symphony No.4. Jeanne Lamon, conductor.
St. Paul’s Cathedral, 427 Richmond St.,
London. 519-679-8778. $45.36; $45.24.
Thursday March 05
Music Society. Leslie Ting, violin, Olena
Klyucharova, piano. Prokofiev: Sonata No.
2 in D; Chausson: Poeme; Schubert: Sonata
“Grand Duo” Op. 162; Mozart: “Little
Gigue” K574. KWCMS Music Room, 57
Young St. W., Waterloo. 519-886-1673.
$20; $15(sr); $10(st).
See Feb. 27.
Friday March 06
12:30 Fridays: Extended Clarinets. Newlycommissioned works for clarinet. Rebecca
Danard, clarinet. Von Kuster Hall, Music
Building, UWO, London. 519-661-2043.
Free.
— 7:30: Oshawa Durham Symphony Orchestra. Operafest with Puccini. Works by
Verdi, Puccini, Ponchielli, Strauss & Denzi.
Natalia Voronkina, soprano; Jose Luis Duval, tenor; Marco Parisotto, conductor.
University of Ontario Recreation Hall, 2000
Simcoe St. N., Oshawa. 905-579-6711.
$40; $15(st).
Ensemble Series. Durufle: Requiem; Poulenc: Litanies a la Vierge noire; other works.
Les Choristes and Chorale, Victoria Meredith, conductor. St. Paul’s Cathedral, 472
Richmond St. London. 519-434-3225. Free
to UWO students.
Orchestra. The Curse of the Ninth. John
Adams: Tromba lontana; Mahler: Symphony
No.9 in D. Edwin Outwater, conductor.
Centre in the Square, 101 Queen St. N.,
Kitchener. 519-578-1570. $20-$75;
$20(st).
— 8:00: McMaster University. Celebrity
Concert Series: Nagatu Shachu. Taiko Japanese drums. Convocation Hall, University
Hall, 1 Scholar’s Rd., Hamilton. 905-5259140 x24246. $17; $12(sr); $5(st).
See Feb. 27.
43
...SECTION 2: Beyond the GTA
Dominion on Queen
500 Queen St. East 416-368-6893
Saturday March 07
www.dominiononqueen.com
— 8:00: Clearly Classic Concerts. Solo
Braid. David Braid, jazz piano. St. James Every Tue French Gypsy Jazz Jam with host
— 2:00 & 8:00: Northumberland PlayWayne Nakamura. 8:30pm, pwyc.; Every
Anglican Church, 137 Melville St. Duners. Hair. See Feb. 27.
Wed Corktown Ukulele Jam
das. 905-627-4265/905-304-3767. $25;
— 7:30: Cantabile Choirs of Kingston.
Feb 1 Next Generation Jazz Jam with host
$22(sr/st).
Inventions. Sydenham Street United
— 8:00: Da Capo Chamber Choir. Water: Robert Scott. Feb 6 Maureen Kennedy Sings.
Church, 82 Sydenham St., Kingston.
holding mystery, destruction and healing. Feb 7 Bill Colgate with special guests. Feb 8
613-530-2050. $18; $15(sr/st).
Buhr: Richot Mass; Schafer: Snowstorms; Guitarist Sean Pinchon Plays the Blues. Feb
— 7:30: Chorus Niagara. Mass in B mi12 Mega City Big Band. Feb 13 George Grosnor. Bach. Laura Albino, soprano; Jennif- Whitacre: Cloudburst. Guests: Henry Zieman’s Bohemian Swing. Feb 14 Valentines
linski, Karen Zielinski, violins; Elspeth
er Enns, alto; Lawrence Wiliford, tenor;
Day Special: Dorit Chrysler, Dr Mysterion and
Thomson, viola; Ben Bolt-Martin, cello;
Alexander Dobson, bass; Niagara Symsurprise band. Feb 15 Next Generation Jazz
phony, Robert Cooper, conductor. Cathe- Leonard Enns, music director. St. John
the Evangelist Anglican Church, 23 Water Jam with host Robert Scott. Feb 28 Bill Coldral of St. Catherine of Alexandria, 67
gate, East End Comedy Revue.
St. N. Kitchener. 519-725-7549. $20;
Church St., St. Catharines. 905-688$15(sr/st).
Drake Hotel, The
5550. $34; $32(sr); $15(st).
1150 Queen Street West 416-531-5042
— 7:30: King Edward Choir. Midwinter
www.thedrakehotel.ca
Magic. Collier Street United Church, 112 Orchestra. The Curse of the Ninth. See
Mar 6.
Collier St., Barrie. 705-726-1916. $20.
Gate 403
403 Roncesvalles 416-588-2930
www.gate403.com
NO COVER, Pay What You Can
Feb 1 Clela Errington Jazz Brunch, Aaron
Carter Jazz Band, Steve-Paul Simms Blues
Chalkers Pub Billiards & Bistro
Alleycatz
Duo. Feb 2 Double A Jazz Duo, Araujo/Har247 Marlee Avenue, 416-789-2531
2409 Yonge St. 416-481-6865
nett/Rahbek Jazz Trio. Feb 3 Joshua Goodwww.chalkerspub.com
www.alleycatz.ca
man Jazz Band, Julian Fauth and James
Every
Mon
Brand
New
Jazz
Series
7-11;
Every Mon Salsa Night with Frank Bischun;
Thomson Blues Duo. Feb 4 Tova Kardonne &
Every Tue Whitney Smith’s “Swing House” Every Tue starting Feb 9: Blues and Cues;
Amy Medvick Bossa Nova Duo. Feb 5 Sarah
with vocalist Jen Sagar; Every Wed Jasmine Every Wed as of Feb 18: Girls Night Out VoJerrom Jazz Duo, Joanna Moon Flamencocalist-Friendly Jazz Jam w/ Lisa Particelli
Bailey & Co. Jazz & Soul.
Latino with Quebec Edge Quartet, Feb 6 Mor8:30-12;
Thu
5,
12
Girls
Night
Out
VocalistFeb 5 Soular. Feb 6 Soular. Feb 7 Liquid.
gan Sadler Piano Solo, Denise Leslie Jazz Trio.
Feb 12 Graffiti Park. Feb 13 Lady Kane. Feb Friendly Jazz Jam w/ Lisa Particelli 8:30-12
Feb 7 Bill Heffernan & Friends, The Café Olé.
Every Thu as of Feb 19: International Latin
14 Lady Kane. Feb 19 Lady Kane. Feb 20
Night with the Hilario Duran Orchestra; Every Feb 8 Kenny Simon Guitar Solo, Graeme
Graffiti Park. Feb 21 Graffiti Park. Feb 26
Sat Dinner Jazz 6-9; Every Sun Jazz Up Your Thomson Jazz Band. Feb 9 Matt Newton
Soular. Feb 27 Lady Kane. Feb 28 Lady
Sundays 7-10; as of Feb 15 Blues Matinee 2-6 Jazz Band, Sean Bellaviti Jazz Band. Feb 10
Kane
Jonathan Wong Jazz Band, Julian Fauth and
Feb 1 Lorne Lofsky Quartet. Feb 2 Don
Anabella Lounge, The (basement of Piccolo Thompson Reg Schwager Big Band. Feb 7
James Thomson Jazz Band. Feb 11 Sarah
restaurant) 226 Carlton St 416-944-3738
John Macleod Quartet. Feb 8 Brian Dickinson Bégin’s Speakeasy, Patrick Tevlin’s New Orleans Rhythm. Feb 12 Miss Emily and the Blue
Black Swan, The
Quartet. Feb 9 TBA. Feb 14 Girls Night Out
Callers, Kevin Laliberté Jazz Band. Feb 13
154 Danforth Ave. 416-469-0537
and Art of Jazz present: SHEILA JORDAN
Donna Green Swing Band, Nadia Hosko Jazz
Every Wed The Danforth Jam w/ Jon Long
with Dave Restivo and Don Thompson: two
Band. Feb 14 Bill Heffernan & Friends, Elizaand Friends.
shows, 2:00 and 6:00, tickets $25. Feb 15
beth Shepherd Jazz Band. Feb 15 Joanna
Dave Young Quartet. Feb 16 The Sisters of
Morra & France Street Trio, Joe van Rossen
Sheynville. Feb 21 TBA. Feb 22 Richard
Jazz Band. Feb 16 Jorge Gavidia Jazz &
Whiteman CD Release. Feb 23 Humber ColBlues Duo, Ali Berkok Jazz Duo. Feb 17 Darrlege Jazz Ensembles. Feb 28 Dave Restivo
yl Orr Jazz Band, Julian Fauth and James
Quartet.
Thomson Duo. Feb 18 Tom Juhas Jazz Duo,
Chick N’ Deli
Patrick Tevlin’s New Orleans Rhythm. Feb 19
744 Mount Pleasant Rd. 416-489-3363
Donna Garner Piano Solo, String Theory. Feb
www.chickndeli.com
20 Ventana 5 Jazz Band, Jake Chisholm Blues
Every Mon Big Band Night; Every Tue Jam
Band. Feb 21 Bill Heffernan & Friends, Peter
Night; Every Sat Climax Jazz Band 4-7.
Hill Jazz Band. Feb 22 Amy Noubarian Jazz
Cobourg, The
Duo, Ryan Oliver Jazz Quartet. Feb 23
533 Parliament St. 416-913-7538
Michele Lawrence Jazz Trio, Carolyn SteinJazz Sundays 9PM
gard Jazz Duo. Feb 24 Bossa Tres, Julian
NO COVER
Fauth and James Thomson Duo. Feb 25 Patricia Duffy Jazz Duo, Patrick Tevlin’s New OrleCommensal, Le
ans Rhythm. Feb 26 Joel Hartt Jazz Duo,
655 Bay St. 416-596-9364
Cyndi Carleton Jazz Duo. Feb 27 Fraser
www.commensal.ca
Melvin Blues Band, Suzana de Camara Jazz
Live Jazz Fridays 6:30pm - 9:30pm
Band. Feb 28 Bill Heffernan & Friends, MelisNO COVER
sa Boyce & Kevin Laliberté Jazz & Blues Duo.
Concord Café, The
Gladstone Hotel
937 Bloor Street W 416-532-3989
Corktown, The
www.gladstonehotel.ca
175 Young St. Hamilton 905-572-9242
Feb 19 Joel Hartt Trio with Leon Kingstone
www.thecorktownpub.ca
and Rachel Melas. Feb 26 Julie Mahendran.
Every Wed Jazz @ The Corktown hosted by
Grossman’s Tavern
Darcy Hepner
379 Spadina Ave. 416-977-1210
Dave’s Gourmet Pizza
www.grossmanstavern.com
730 St. Clair Ave. West 416-652-2020
NO COVER
Live music, call ahead. PWYC.
Every Mon Laura Hubert Band; Every Tue
Every Thu Uncle Herb Dale & Friends Open
Brokenjoe ol’ timey Tuesdays; Every Sat
Mic; Feb 6 Drew Austin Jazz Jam. Feb 7 The
Matinee The Happy Pals; Every Sun Nicola
Collector.
44
SECTION 3: jazz in the clubs
Vaughan Acoustic Jam, The Nationals with
Brian Cober: Double Slide Guitar Open Stage
Jam
Joe Mama’s
317 King Street West 416-340-6469
Live music every night, specializing in Motown
and Rhythm & Blues
Every Sun Bernie Senensky Organ Trio with
Nathan Hiltz & Sly Juhas.
Latinada
1671 Bloor Street West 416-913-9716
www.latinada.com
Live Music Wed-Sun, call ahead for info.
Lula Lounge
1585 Dundas West 416-588-0307
www.lula.ca
Feb 1 Afrolatin Dance Company Winter 2009
Party. Feb 5 Kellylee Evans. Feb 6 Toronto
Dance Salsa Party. Feb 7 Salsa Dance Party
with Caché. Feb 13 The Son Ache Party with
DJ Billy Bryans. Feb 14 Latin Jazz Valentine’s
Package with JAZZ.FM’s Laura Fernandez 58, Salsa Valentines with Ricky Franco and his
P-Crew Orchestra, 8:30. Feb 15 Valentines
Concert with Eliana Cuevas. Feb 18 Pacifika
with DJ Medicine Man. Feb 19 Winter Blues
Fest: a charity benefit for Operation Springboard’s Services for the Developmentally Disabled. Feb 20 Luis Mario Ochoa and Cimarrón.
Feb 21 Alberto Alberto y su Orquesta. Feb 26
Dominic Mancuso CD Release Party. Feb 27
Samba Squad Brazilian Dance Party.
Manhattan’s Music Club
951 Gordon St., Guelph. 519-767-2440
www.manhattans.ca
Feb 14 Valentine’s Day Special: Love
Songs with vocalist Monica Chapman,
Mark Kieswetter on piano and Abbey Leon
Sholzberg on bass.
GUELPH
Monica Chapman
vocalist, with
Mark Kieswetter, piano and
Abbey Leon Sholzberg, bass
“Valentine’s Day”
Sat., Feb. 14th, 8 - 11 pm
Manhattans Jazz Club in Guelph
Call 519-767-2440 to reserve.
www.manhattans.ca
Momo’s Bistro
664 The Queensway, Etobicoke 416-2525560
www.momosbistro.com
N’Awlins Jazz Bar and Dining
299 King St. W. 416-595-1958
www.nawlins.ca
Every Mon Terry Logan.
Every Tue Stacie McGregor.
Every Wed Jim Heineman Trio.
Every Thu Blues Night with Guest Vocalists.
Every Fri/Sat All Star Bourbon St. Band.
Every Sun Terry Logan.
Old Mill, The
Home Smith Bar & Grill, 21 Old Mill Rd.
416-236-2641
www.oldmilltoronto.com
Jazz Fridays & Saturdays, Cover Charge
$12.
Feb 6 Sultans of String Duo. Feb 7 Sultans
of String Duo. Feb 13 Vickie Van Dyke. Feb
14 Vicke Van Dyke. Feb 20 Rosemary Galloway Trio. Feb 21 Rosemary Galloway
Trio. Feb 27 Tara Davidson Duo. Feb 28
Tara Davidson Duo.
Pantages Martini Bar and Lounge
200 Victoria St. 416-362-1777
Every Fri Robert Scott.
Every Sat Solo Piano: Various artists.
Pilot Tavern, The
22 Cumberland 416-923-5716
www.thepilot.ca
Jazz Saturdays 3:30 – 6:30
NO COVER
Feb 7 Barry Elmes Quartet. Feb 14 Richard
Underhill Quartet. Feb 21 TBA. Feb 28 Robi
Botos Quartet.
Polar Ice Lounge see “Upstairs Cabaret”
under Statlers Piano Lounge
Quotes
220 King Street West 416-979-7697
NO COVER
“Fridays at Five” with Canadian Jazz Quartet:
Gary Benson on guitar, Frank Wright on vibes,
Duncan Hopkins on bass, musical director Don
Vickery on drums plus featured guest:
Feb 6 Jim Galloway. Feb 13 William Carn.
Feb 20 TBA. Feb 27 TBA.
Reservoir Lounge, The
52 Wellington St. E. 416-955-0887
www.reservoirlounge.com
Every Mon Sophia Perlman and the Vipers.
Every Tue Tyler Yarema and his Rhythm.
Every Wed Bradley and the Bouncers.
Every Thu Janice Hagen.
Every Fri Chet Valient Combo.
Every Sat Tory Cassis.
Every Sun Luke Nicholson and the Sunday
Night Service.
Rex Hotel Jazz and Blues Bar, The
194 Queen St. W. 416-598-2475
www.therex.ca
Feb 1 Excelsior Dixieland Jazz Band, Club
Django, Don Scott Trio, Kiki Misumi Quartet.
Feb 2 U of T Student Jazz Ensembles, Humber
College Student Jazz Ensembles. Feb 3 Mr.
Marbles, Classic Rex Jazz Jam hosted by Sly
Juhas. Feb 4 Peach Trio, Andre Roy Trio. Feb
5 Michelle Willis Duo, N.O.J.O. presents a jazz
tribute to Pink Floyd’s “Dark Side of the
Moon”. Feb 6 Hogtown Syncopators, Artie
Roth Trio, Oz Noy Trio. Feb 7 Abbey’s Meltdown, Homeless Blues, Justin Bacchus, Oz
Noy Trio. Feb 8 Excelsior Dixieland Jazz Band,
Bohemian Swing, Don Scott Trio, The Vacant
Project. Feb 9 U of T Student Jazz Ensembles,
Humber College Student Jazz Ensembles. Feb
10 Mr. Marbles, Classic Rex Jazz Jam hosted by Sly Juhas. Feb 11 Peach Trio, Thyron
Whyte. Feb 12 Michelle Willis Duo, Gary
Smulyan Nonet. Feb 13 Hogtown Syncopators, Artie Roth Trio, Gary Smulyan Nonet.
Feb 14 Abbey’s Meltdown, Chris Hunt Tentet+2, Leah State Trio, Jake Chisholm. Feb
15 Excelsior Dixieland Jazz Band, Dr. Nick
Blues, Don Scott Trio, Paul DeLong Quartet.
Feb 16 Peter Hill Quintet, Circles Quartet.
Feb 17 Mr. Marbles, Classic Rex Jazz Jam
hosted by Sly Juhas. Feb 18 Peach Trio,
Rhythm & Truth Brass Band. Feb 19
Michelle Willis Duo, Mike Webster Nonet.
Dann, Jim Sexton, Steve Ward. Feb 23 See
Feb 20 Hogtown Syncopators, Artie Roth
Through Trio: Tania Gill, Mark Laver, Pete
Trio, Mike Webster Nonet. Feb 21 Abbey’s Johnson. Feb 26 Malcolm Sinclair: Karen
Meltdown, Laura Hubert Band, Leah State
Ng, Nick Teehan, Aurora Cowie, Scott McCanTrio, Field Trip with Kelly Jefferson. Feb 22 nell, Will Fisher. Feb 28 Will Fisher Quintet.
Excelsior Dixieland Jazz Band, Freeway
Trane Studio
Dixieland, Folkjazz Project, Barry Romberg’s 964 Bathurst St. 416-913-8197
Random Access Big Band. Feb 23 Peter Hill www.tranestudio.com
Quintet, John MacLeod’s Rex Hotel Orches- Listings unavailable at press time, see webtra. Feb 24 Mr. Marbles, Classic Rex Jazz
site for updates.
Jam with host Sly Juhas. Feb 25 Peach
Tranzac
Trio, Ryan Oliver. Feb 26 Michelle Willis
292 Brunswick Ave. 416-923-8137
Duo, Dave Restivo Trio featuring Alyssa
www.tranzac.org
Falk. Feb 27 Hogtown Syncopators, Artie
Roth Trio, Dave Restivo Trio featuring Alys- Live music every night, various styles: more
sa Falk. Feb 28 Abbey’s Meltdown, Swing details/listings at www.tranzac.org
Every Sat Jamzac Open Acoustic Jam 3pm
Shift Big Band, Leah State Trio, Pat Carey
and the Jazz Navigators.
Saint Tropez, Le
315 King St. W. 416-591-3600
Live piano jazz 7 days a week
www.lesainttropez.com
Spezzo Restorante
ANNOUNCEMENTS
140 York Blvd. Richmond Hill 905-886-9703
*February 14 8:00: Palais Royale. Big Band
Live jazz Every Saturday.
Valentine’s Dance. Dance to big band classics
www.spezzo.com
of Glenn Miller, Nelson Riddle, Count Basie,
Statlers Piano Lounge
The Dorsey Brothers Orchestra & others. Fea487 Church Street 416-962-1209
turing Glenn Chipkar, vocals & the 18 piece
www.statlersonchurch.com
Swing Shift Big Band Orchestra; guests: LariMAIN FLOOR: NO COVER
sa Renee, Trio Bella; DJ Theresa Yuan. Light
Every Mon Curtains Down Cabaret Open Mic food menu; dress to impress. 1601 Lake Shore
with Jenni Burke & Michael Barber
Boulevard West. 416-533-3553. $50.
Every Tue One Night Stand with Deb Pearce.
*February 17-27: Kiwanis Music Festival.
Every Wed Julie Michels and Kevin Barrett.
Two-week competition held in locations
Every Thu Ken & Michael’s Cocktail Party,
throughout the GTA, providing performance
Open Mic with Anne-Marie Leonard. Feb 6
opportunities for talented young people. LocaMiss Carrie Chesnutt. Feb 7 Gillian Margot.
tions at various venues in the GTA.
Feb 13 Ricki Yorke Hates Valentine’s Day!
www.kiwanismusictoronto.org
Feb 14 Terra Hazelton. Feb 20 Thyron Lee
White. Feb 21 Jennifer Ryan. Feb 27 Lyne
*February 25 6:30: Scarborough PhilTremblay. Feb 28 Bonnie Brett.
harmonic Orchestra/ FRIDA Restaurant
Upstairs Cabaret in the Polar Ice Lounge
and Bar. An Intimate Evening with Louise
upstairs at Statlers:
diTullio, Jeannie Pool and Ron Royer. InLIMITED SEATING, Cover Charge + $10
cludes dinner, a $50.00 tax receipt and an
minimum
opportunity to hear and meet Louise, JeanReservations: [email protected] nie and Ron as they share their experience
Feb 6 Derrick Paul Miller. Feb 7 Judy Marwith music and Hollywood. 999 Eglinton
shak. Feb 8 Scott Pietrangelo: “Twentysome- Ave. West. 416-787-2221. $100.
thing” Feb 14 Valentines Day Single’s Event. *February 25 7:30: Soundstreams Canada.
Feb 20 Sharon Smith. Feb 21 Ilana Waldson. Salon 21 with Patricia O’Callaghan: Love
Feb 27 Debbie Fleming. Feb 28 David Lopez. Songs. Bring your favourite love song. Sing it
Stone Grill, The
yourself or bring a recording. We bring Mon51B Winchester 416-967-6565
teverdi’s, Ravel’s, Debussy’s, Vivier’s love
www.stonegrillonwinchester.com
songs. Bata Shoe Museum, 327 Bloor St.
Every Sun Jazz Brunch with Archie AlWest. 416-504-1282. Free.
leyne, Artie Roth and Special Guests
*February 28 6:00: Pax Christi Chorale.
Ten Feet Tall
Savoury Duets. A soirée of creative pairings
1381 Danforth Avenue, 416-778-7333
of wine and gourmet food, with musical
www.tenfeettall.ca
vignettes, live & silent auctions. WestFirst Saturday of each month Live R&B 9pm mount Gallery, 88 Advance Rd. 416-491Sunday Jazz Matinee 3:30-6:30
8542. $125.
NO COVER
Feb 1 Kiki Misumi & Reg Schwager. Fri Feb LECTURES/SYMPOSIA
6 Shannon Butcher. Feb 8 Bobby Hsu. Feb
*February 9 8:00: Toronto Wagner Socie15 Sophia Perlman. Feb 22 Tina Nodwell’s ty. Richard Paul Fink, the Alberich of ToronBirthday Bash w/ Special Guests.
to’s Ring Cycle, speaks to the Society on singTequila Bookworm
ing Wagner. The Arts and Letters Club, 14 Elm
St. www.torontowagner.org Members free,
Modern/Experimental Jazz Monday, Thurs- non-members by donation ($5-$10 suggested).
day, Saturday at 9pm, PWYC
*February 22 2:00: Toronto Opera Club.
Feb 2 Nancy & Co.: Vita Carlino and Sandra Guest speaker Editor Wayne Gooding celeSalverda. Feb 5 Teri Parker. Feb 7 Half-Beat brates five decades of opera in Canada, and
Mishap: Ken McDonald, Karen Ng, Demetri Canadians in opera around the world. An audio
Petsalkis, Jay Sussman. Feb 9 Nico Dann/
presentation. Room 330, Edward Johnson
Chris Willis/Steve Ward. Feb 12 Ali Berkok. Bldg., 80 Queen’s Park. 416-924-3940. $10
Feb 14 Kerrs/Seggers. Feb 19 Jess Malone (includes refreshments).
Quintet. Feb 21 Three Times Fast: Nico
Every Mon Open Mic Music Nights with
Guest Hosts, 10pm
Every Mon Angela Bower AKA Christine
Bougie and Dafydd Hughes 7:30
Every Fri The Foolish Things, 5pm
Feb 4 Victor Bateman. Feb 5 Chris Banks &
Chris Gale. Feb 8 Lina Allemano Four. Feb 11
Victor Bateman. Feb 10 St. Dirt Elementary
School. Feb 12 Chris Banks & Chris Gale. Feb
13 Shunga. Feb 17 St. Dirt Elementary
School. Feb 24 St. Dirt Elementary School.
Feb 25 Victor Bateman. Feb 27 Ryan Driver
Quartet.
Zemra Bar & Lounge
778 St. Clair Ave. W 416-651-3123
www.zemrabarlounge.com
SECTION 4: announcements,
masterclasses. etcetera
*March 7 7:30: Toronto Gilbert and Sullivan Society. Talk on Julian Slade, composer of Salad Days, with music. St. Andrew’s
Church, 117 Bloor St. East. 416-763-0832. $5.
MASTER CLASSES
*February 3 10:00am: University of Toronto Faculty of Music. Chamber music
master class with Miró Quartet. Dining Hall,
90 Wellesley St. West. 416-978-3744. Free.
*February 8 2:00-5:30: Singing Studio of
Deborah Staiman. Master class in musical
theatre/audition preparation, using textual
analysis and other interpretative tools for the
“sung monologue”. Yonge & Eglinton area please call for exact location. 416-483-9532,
www.singingstudio.ca
*February 13 3:10: University of Toronto
Faculty of Music Jazz Studies. Ken Page
Master Class Series. Master class with Andrew Downing’s Arts & Letters Quartet w/
Patricia O’Callaghan. Boyd Neel Room, 80
Queen’s Park. 416-978-3744. Free and open
to the public.
*February 20 time tbd: Royal Conservatory of Music. Piano master class with André
Laplante. 273 Bloor St. West. 416-408-2824
x321. Free.
*February 22 2:00-5:30: Singing Studio
of Deborah Staiman. Master class in musical
theatre/audition preparation. See February 8.
*February 28 10am-12 noon: RCCO. Organ
master class with Tom Trotter. Lawrence
Park Community Church, 2180 Bayview Ave.
416-489-1551. $10, free for RCCO members.
*March 1 time tba: Orillia Wind Ensemble.
Flute master class with Sergio Pallottelli.
Players at all levels welcome. Venue tba. To
register: 705-327-3105.
*March 2 time tba: Royal Conservatory of
Music. Piano master class with John
O’Conor. 273 Bloor St. West. 416-408-2824
x321. Free.
WORKSHOPS
*February 1 1:30-4:00: Toronto Early Music Players Organization. Recorder Virtuosity: Music of Scotland and Scandinavia. Workshop by Alison Melville, recorder and flute.
Bring your early instruments & stand; music
available at the door. Lansing United Church,
49 Bogert Ave. 705-653-5480, 416-5373733. $20.
45
*February 6 7:15: Recorder Players’
Society. Recorder and/or other early instrument players are invited to participate
in small, informal groups (uncoached) to
play Renaissance and Baroque music.
Church of the Transfiguration, 111 Manor
Rd. East. 416-694-9266. $10(members),
$12(non-members).
*February 14 10:30am -1:00: Toronto
Mendelssohn Choir. Singsation Saturday:
Mendelssohn’s Elijah. Presented by TMC
Assistant Conductor Ross Inglis. Cameron
Hall; Yorkminster Park Baptist Church,
1585 Yonge St. Pre register: 416 598-0422
x24. $10 including refreshments.
*February 15 1:00-5:00: Girls Night Out
Jazz/Art of Jazz. Intensive Vocal Jazz Workshop with Sheila Jordan. Explore the art of
improvisation, vocal technique, methods of
practice, repertoire choices and proper lead
sheets. Open to a limited number of participants; auditors welcome. Art of Jazz Studio,
Distillery Historic District, 55 Mill St. 888222-6608. $60 (participant), $30 (auditor).
*February 18 7:30: Toronto Shapenote
Singing from Sacred Harp. Beginners welcome. Music Room, Bloor Street United
Church, 300 Bloor St. W. (at Huron). 416922-7997 or [email protected]
*February 21 9:20am-1:30: CAMMAC,
Toronto Region. Chamber music workshop
for pre-formed string, wind or mixed ensembles, with or without piano. Depending on
enrollment, coaches may include Rona
Goldensher, violin; Leonie Wall, flute; Jenny Crober, piano. York Mills / Bayview
area. For details: 416-356-2303.
$200(members); $150(ensembles comprised
only of students); $20(non-members),
$10(st), auditors $15 for one session, $25
for 2 sessions.
*February 23 7:30: Toronto Early Music
Centre. Vocal Circle. Recreational reading
of early choral music. Ability to read music
is desirable but not essential. For more
information: 416-920-5025. $5(non-members), members free.
*February 24 8:00: Toronto Folk Singers’ Club. An informal group that meets
for the purpose of performance & exchange
of songs. Audiences are welcome. Tranzac
Club, 292 Brunswick Ave. 416-532-0900.
*February 27 7:15: Recorder Players’
Society. Recorder and/or other early instrument players are invited to participate
in small groups, coached by Scott Paterson, to play Renaissance and Baroque music. Church of the Transfiguration, 111
Manor Rd. East. 416-694-9266. $15(members), $20(non-members).
*February 27 to March 1: Toronto Mass
Choir. Power Up 2009. Gospel music workshop weekend where the public is invited
to learn how to sing gospel music as well
as take a variety of workshops to improve
musical skills. Ends with a massed choir
concert (see daily listings). Toronto International Celebration Church, 190 Railside
Rd. For more info: 905-794-1139,
www.tmc.ca. $65.
*February 28 9:20am-1:30: CAMMAC,
Toronto Region. Chamber music workshop. See Feb 21.
*March 1 9:00am-4:00: Toronto Early
Music Players Organization. Consorting
with Recorder. Workshop led by Joris van
Goethem and Bart Spanhove of the Flanders Recorded Quartet. Bring your recorders & stand; music available at the door.
Armour Heights Community Centre, 2140
Avenue Road. 705-653-5480, 416-5373733. $40.
*March 1 2:00: CAMMAC, Toronto Region. Singers and instrumentalists are invited to participate in a reading of Schubert’s Mass in A flat under the leadership
of Eric Gero. Elliott Hall, Christ Church
Deer Park, 1570 Yonge Street. 416-4210779. $10(non-members), members/students free.
*March 7 2:30-5:00: CAMMAC, Toronto
Region. Workshop in Spanish dance, led
by Esmeralda Enrique. Location tba. 416421-0079.
MUSICAL LIFE:
A Choral Life Q&A
compiled and edited by mJ buell
FEATURING Karen Burke
What was your first ever choral experience?
My earliest choral memories: singing in the May Festivals that were
held in Brantford, Ontario, where I
grew up, and run by Frank Holton
for selected singers from elementary
schools. We all had to wear white
dresses and we felt so important.
These were tremendous experiences.
My grandmother, Florence Drake,
was a huge musical influence in my
life: we spent weekends at her
house, listened to great choral music
on Sunday mornings on CBC radio
before church. She was also my
first choral director!
PHOTO: ROSWELL ANDERSON
... SECTION 4: announcements,
. . . . . LISTINGS:
SECTION etcetera
4
masterclasses.
JAZZ IN THE CLUBS, CONTINUED
What choirs have you sung with?
Grandma’s choir at the small British Methodist Episcopal Church that
I grew up in, of course, and our youth choir. I sang in the McMaster
University Choir under Wayne Strongman for 4 years. He was an
excellent conductor and helped me not only to broaden my knowledge
of choral repertoire but recognized my keyboard skills by having me
accompany the choir in my second and third year. In my final year, I
was president of the McMaster University Choir.
I also sang in the Bach Elgar Choir in Hamilton for a couple of years
which was a thrill. In my third year at McMaster, I took a vocal
methods course under visiting professor Denise Narcisse-Mair and
she took me under her wing and mentored me. Both Brainerd
Blyden -Taylor (Nathaniel Dett Chorale) and myself were protégés
of Ms. Narcisse-Mair. She got me my first job as a conductor and I
never looked back.
Currently?
It’s been a very long time since I’ve sung in a choir and frankly, I
miss the experience of being ‘directed’. My joy these days is educating and mentoring: I am especially interested in encouraging young
people who have conducting skills. Our schools and communities
need good conductors. I believe in choirs and particularly gospel
choirs as a wonderful communal activity which is accessible and
powerful. I enjoy offering gospel music workshops in a variety of
venues. I especially enjoy teaching teachers how to energize their
students/choirs by including gospel music in their repertoire.
I’ve directed and recorded with the Toronto Mass Choir for the past
20 years and we are out on the road two to three times a month.
The York University Gospel Choir also keeps me busy.
What kind of concerts do you like to attend?
I am so busy performing, I have to admit that I don’t get to as many
concerts as I would like to. But when I can…definitely jazz! I am a
huge jazz fan and I have gotten to ‘scratch that itch’ more since joining the Department of Music at
York University full time in
Philharmonic Music Ltd.
2005. We have such great talent
^ĐŚŽŽůĚƵĐĂƟŽŶ
Sales
here. I own many great vintage
We
provide
training
in
recordings of jazz music, but I
sŝŽůŝŶ͕ǀŝŽůĂ͕ĐĞůůŽĂŶĚďŽǁƐ
ƚŚĞŽƌĞƟĐĂůĂŶĚƉƌĂĐƟĐĂů
am especially pleased to hear the
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next generation of young CanadiDƵƐŝĐƐŚĞĞƚƐ
ƉŝĂŶŽ͕ŐƵŝƚĂƌĂŶĚŇƵƚĞŝŶĐůƵĚŝŶŐ ans discover, fall in love with and
Repair Services
ƉƌŝǀĂƚĞůĞƐƐŽŶƐĂŶĚŽƌĐŚĞƐƚƌĂů
then lend their own interpretation
of this great music.
WƌŽĨĞƐƐŝŽŶĂůǀŝŽůŝŶŵĂŬĞƌĂŶĚ ƚƌĂŝŶŝŶŐ͘tĞĂůƐŽŽīĞƌ
ƌĞƉĂŝƌĞƌĨŽƌŽǀĞƌĮŌĞĞŶǇĞĂƌƐ͘ ƉƌŽŐƌĂŵƐƐƵĐŚĂƐƌƵĚŝŵĞŶƚĂƌǇ
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ĂŶĚƉŽƉŵƵƐŝĐƚƌĂŝŶŝŶŐ͘
46
80 Acadia Avenue, Unit 309, Markham ON L3R 9V1
Tel: 905-784-2028 www.philharmoniccanada.com
What qualities make you admire
a choral conductor?
I admire a clear, strong and accurate conducting ‘hand’ – I preF EBRUARY 1 – M ARCH 7 2009
MarketPlace: Education
fer the hand to the stick; a confident stance
which ‘draws out’ your singers; thorough
preparation of the music (don’t waste your
chorister’s time!); an obvious love of the
music but evidence of even more love and
respect for your choristers; contagious passion for choral music and choirs in general;
and height! I have always wished that I was
about 6 inches taller!
Singing Lessons
Sing with technical ease and vocal beauty
Opera – Pops – Broadway
www.JanetCatherineDea.com
Coming up ?
The Evolution of Gospel Music (Feb. 6&7)
is my first time role as a co-producer and
conductor of such a large event. It features
some of Toronto’s finest singers, actors,
dancers and musicians in a cast of 80+,
taking the audience on a 2 hour journey from
spirituals to present day gospel.
Power Up 2009 (Feb. 27/28/Mar. 1) The
5th annual offering of this event by the
Toronto Mass Choir: it’s always a highlight
of my year. One to two hundred people on
average come out to this workshop weekend.
I teach gospel music in a massed choir setting to all of the participants, and a special
class for choral conductors.
We cap off the weekend with a finale
concert by TMC which includes this huge
massed choir accompanied by a live rhythm
section. It is always an electrifying evening.
An event not to be missed. (www.tmc.ca)
call now: (416) 429-4502
Restaurants
MUSIC EDUCATION
Summer and Beyond
Find out about summer
activities on the WholeNote
website:
Health, Professional and Home
Release pain.
Relax. Breathe. Move.
Dr. Katarina Bulat B.SC. D.C. (& MUSICIAN)
Chiropractor 416-461-1906
Private practice. Coxwell & Danforth area.
Joel Katz Voice Studio
Internationally renowned teacher
specializing in Opera training
for the serious student. Audition
preparation, resolution of fach
issues, technical problems.
Present this ad for a free consult!
Amateur or Student all levels, Call
all ages!
Call
416-467 7289
For more information, visit:
www.voiceandoperatraining.com [email protected]
47
MUSICAL LIFE:
FEBRUARY’s Child …
Photo: circa 1958, near Belleville Ontario.
Don’t be fooled by the Grand Salon gravitas!
This young man would later be known
as”extroverted”: Toronto-based with a life in
international touring.
WE ARE ALL MUSIC’S CHILDREN
DECEMBER’s CHILD ...
Denise Djokic
Halifax-born cellist Denise Djokic has appeared with orchestras across the continent.
As a recitalist, she performs with her longtime musical partner, pianist David Jalbert.
They also tour with Piano Plus, an organization which brings live performances to rural
communities across Canada. Denise’s love of
chamber music brings her to many festivals.
A BRAVO! TV documentary entitled “Seven
Days, Seven Nights” follows Denise through
a week-long recital tour.
Denise’s self-titled debut recording ( Sony
Classical) received a 2002 East Coast Music
Award. Her next recording, “Folklore”,
(Allegro/Endeavor) received a JUNO nomination as well as an ECMA, and hit the Billboard Chart’s top 15 Classical CD’s. “Folklore” was also featured on NPR’s “All
Things Considered”.
Denise has been speaker at IdeaCity in
Toronto and keynote speaker at the Queen’s
Women In Leadership Conference. She was
named by MacLean’s Magazine as one of the
top “25 Canadians who are Changing our
World”, and by ELLE Magazine as one of
“Canada’s Most Powerful Women”.
Left: Mom…where’s the endpin on this
thing? Right: Hmmm, this one doesn’t seem
to have an endpin either! (“Dodger” front
right, belongs to Dan McDonough - cellist
of the Jupiter Quartet)
music with others. I remember feeling a bit
overwhelmed, being in the same room with
so many other musicians! I studied piano for
a while too. But at 9 when I started playing
the cello I knew it was my voice.
My first cello was a little cello that my
uncle used when he first started. I think it’s
still sitting in my grandparents’ closet, waiting for the next generation. I moved on to a
full size cello that belonged to my uncle. I
feel very fortunate to have had such nice
instruments to play when I was beginning.
The point at which you began to think of
yourself as a musician?
For sure that feeling was always there. Surrounded by musicians all the time, I thought
of myself as part of a big family. Being a
Earliest musical memory?
I was lucky to be born into a musical family; musician never seemed like a profession to
my mother and father play piano and violin. me, but rather a way of life.
In fact, I probably heard them rehearsing
Did you ever think you would do anything
before I was even born! There was always
else?
music in our house..my younger brother is a I’ve always really loved animals, and thought
violinist, and I have an uncle and aunt who
about work with animals.I was also fascinatare both cellists.
ed with genetics, and was a competitive
At the time the photograph was taken?
Hearing music around me was very natural.
My parents tell me that I liked to dance to
music when I was little. (I still do!) Later
in my childhood, I sat next to my brother in
formal concerts. We had to behave quietly
during the concerts, but we would always
find ourselves trying not to laugh! It took a
while for us to get used to this, because music-making was more casual at home.
swimmer. While I never considered pursuing
any of those things as seriously as the cello the cello was really my calling - all of those
things remain very close to me as interests.
If you could travel back through time and
meet face to face with the young person in
that childhood photo (or maybe just a little
older), is there anything you would like to
say to her?
I might have told her to stick with the violin
so that I wouldn’t have to pay for an extra
First experiences of making music?
My parents say that I liked singing fragments seat every time I travel with my cello! Maybe I would have told myself to be more paof tunes, or finishing tunes that were left
tient, or to not be so serious, because I used
unfinished. I had a toy xylophone that I
loved. At 4 I started violin, and played with a to get frustrated very easily if I couldn’t tackle something right away.
Suzuki group - my first experience making
More Blue Pages Contest Winners!
Remember the contest in the October issue?
We announced our two early-bird prize winners in the November issue, and gave an
official deadline of November 10th for entries.
Here’s an update!
Myrna Foley was the third reader to correctly identify all eleven photos. She and a guest
will enjoy a pair of tickets to the Canadian Opera Company’s production of Beethoven’s
Fidelio, on Tuesday February 24 2009 (7:30pm).
Of the remaining entries, we drew four from among those who correctly identified 10
out of 11 photos. We’ll be contacting them and announcing their prizes in the March
issue.
48
Mother says it’s all about how you conduct
yourself. If I’m really good maybe she’ll let
me drive! Hmm … Montreal …Vienna
…Prague...
Think you know who FEBRUARY’s child is?
Send your best guess to musicschildren@
thewholenote.com (Be sure to send us your
mailing address, just in case your name is
drawn!)
Winners will be selected by random draw
among correct replies received by February
15, 2009.
!!Tickets & Recordings!!
CONGRATULATIONS TO OUR
WINNERS
Phoebe Cleverly and Shirley MacDougall
each win a pair of tickets to hear Sinfonia
Toronto’s Cellissimo! (March 6, at Grace
Church on-the-Hill) The programme includes
Slimacek, Shostakovitch, and a performance
of the Saint-Saens’ Cello Concerto #1. Denise Djokic is the soloist.
Erika Nielsen and Peggy Walt each win a
copy of Denise’s brand new recording Benjamin Britten THREE SUITES FOR CELLO (ATMA 22524). “…a project that I’ve
always wanted to dig in to, and it feels nice to
have finally recorded it.” Britten wrote his
Three Suites for Cello between 1964 and 1971
for his friend, the legendary cellist Mstislav
Rostropovich.
Music’s Children gratefully acknowledges
Margaret Chasins, Sinfonia Toronto, Luisa
Trisi, Richard Paul, Linda Litwack, the good
folk at ATMA, and the moms of Music’s
Children everywhere.
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MISCELLANEOUS
JAZZ PIANO LESSONS FOR ADULTS … ARE YOU PLANNING A CONCERT or reworking or retired. Play standards withcital? Looking for a venue? Consider Bloor
out sheet music. Swing, blues, boogie,
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Matt Pines 416-234-5500.
BARD – EARLY MUSIC DUO playing recordMARILYN LERNER is currently accepting a er and virginal available to provide backlimited number of advanced piano students ground atmosphere for teas, receptions or
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Hour, Dinner music, Concerts, Shows; ClasFeel the joy of making music! Peter Ness,
sical, Contemporary, Dixieland, Traditional
ARCT. 416-767-9747.
and Smooth Jazz! JSL Musical Productions
905-276-3373.
MUSICIANS WANTED
INSTRUCTION
An ENTHUSIASTIC AND INSPIRING
PIANO/ VOICE TEACHER is accepting
students. RCM, Broadway, Jazz, Classical
styles. Beginning and Advanced students.
Nancy Singla M.Mus. 416-629-8805.
[email protected]
MUSICIANS & VOCALISTS WANTED for charitable fundraising projects.
Saxophones / Trumpets / Trombones /
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www.sheratoncadwell.com Phone
416-712-2555.
RYERSON UNIVERSITY OAKHAM
HOUSE CHOIR Established choir performing classical repertoire seeks new
members to perform Haydn’s “The Creation” with Toronto Sinfonietta orchestra
on May 2. Choral experience, reading ability helpful, but not essential. Rehearsals
7:00 p.m. Monday nights Ryerson campus. 416-763-8746.
TORONTO WELSH MALE VOICE CHOIR
has immediate openings in our Baritone and
Bass sections. This is a wonderful opportunity to join a world-class Male Voice chorus.
The TWMVC performs a wide range
of musical genres with acclaimed performances throughout Ontario and the GTA.
Most recently the TWMVC performed in
Carnegie Hall, New York. The choir has travelled to sold-out performances in the
U.S and the U.K. Upcoming events include
the performance of F. Liszt’s Faust with the
Oshawa Durham Symphony Orchestra
2009, a second tour of Wales and to Ireland. This is a limited time opportunity to
join us. Please visit www.twmvc.com Contact: 416-410-2254 or [email protected]
SERVICES
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save you time and money, customized to
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49
Dresden
by Lord Berners
forward by Peter Dickinson
Turtle Point Press & Helen Marx Books
134 pages, paper; $9.95 US
Book Shelf
by Pamela Margles
For those of us whose passion for the music
of Berlioz is greater than his usual position in
music history would warrant, this collection
of twelve essays
holds special appeal.
For one thing, rather
British composer Gerald Hugh Tyrwhittthan merely offering
There’s
certainly
Wilson was decidedly eccentric - even among
analyses of individuno
dearth
of
books
his notoriously odd
al works, it examon
Mozart’s
operfellow British aristoines the place of his
as,
But
Mary
Huntcrats. He was famous
music in his own
er’s
companion
for dyeing the pigeons
time and milieu. The
stands
out
for
its
on his ancestral esemphasis on his
ability
to
appeal
to
tate in bright colours
writings about music
both
aficionados
(aided by the woman
throws light on both
and
those
just
startwho became Stravinthe music and the
ing
to
explore
the
sky’s second wife)
man.
operas.
True,
her
and keeping a claviEditor Peter Bloom has gathered essays
plot
summaries
can
chord in his chaufferfrom the heavyweights of Berlioz scholarship
easily
be
found
driven Rolls Royce.
to pin down what makes Berlioz unique.
elsewhere. And
But in fact he devoted
Cultural historian Jacques Barzun, whose
while
she
assumes
that
readers
don’t
know
his life to artistic
pioneering two volume biography Berlioz
the
meaning
of
basic
concepts
like
‘aria’
and
activity, especially after 1918, when he inand the Romantic Century revolutionized the
‘recitative’,
a
frequently
misused
term
like
herited a title, money and estates from his
study of Berlioz’s music when it was pub‘rococo’
is
left
unexplained.
Indeed,
some
of
uncle and became the fourteenth Lord Bernlished almost sixty years ago, sets the tone
her
definitions
are
not
very
helpful,
such
as
ers.
for this collection by linking Berlioz’s music
describing
‘castrati’
as
‘castrated
men’.
Berners was a fine and entertaining writwith his life and his writings. It’s not, as is
But
when
it
comes
to
the
history
and
meaner. His paintings sold well. Songs like Come
often said, his use of descriptive titles, most
ing
of
the
operas,
Hunter
offers
informed
and
on Algernon were popular. His ballet scores
notably in Symphonie fantastique, that makes
thought-provoking
insights.
Her
thorough
were commissioned by Diaghilev and set by
his music sound like no-one else’s. “Nobody
knowledge
of
all
things
Mozartean
–
not
just
Balanchine and Ashton, and his chamber
but the tone-deaf”, writes Barzun, “could
the
operas
illuminates
this
study.
Her
emworks are still performed. He even shows up
believe a piece of music could tell a story.”
phasis
not
only
on
Mozart’s
setting
of
voices
in novels, including his own Far From the
Instead, for Barzun, it’s his use of melody as
but
also
his
use
of
the
orchestra
provides
Madding War (included in Collected Tales
a structural element that defines him.
fruitful
perspectives
on
Mozart’s
ability
to
and Fantasies (Turtle Point)), as Lord FitGérard Condé, like Berlioz both a critic
bring
the
librettos
to
life.
zCricket, and his friend Nancy Mitford’s
and composer, reveals Berlioz’s “astonishing
Opera-goers
will
especially
appreciate
The Pursuit of Love as Lord Merlin.
capacity to find equivalents in speech to the
Dresden is the fourth installment of Bern- Hunter’s examination of performance values subjective effects produced by the music.” In
as
documented
in
historical
accounts,
recorders’ autobiography. Like his songs, this
this way he accentuates why something is
ings, film and video. She looks at the existvolume is short but eloquent. It covers a
done in the music rather than how it’s done.
ing
theatres
where
Mozart’s
operas
were
period starting in 1901,when he was eightDavid Cairns, translator of Berlioz’s Memfirst
performed,
as
well
as
at
audiences
of
een, and went to Germany to study for diplooirs and author of his own biography of
the
times,
who
would
bring
servants
to
cook
matic service. He was a remarkably cultivatBerlioz, recalls how he first encountered
and
serve
food
during
the
performance.
ed, observant and enthusiastic young man.
Berlioz through the Memoirs. Cairns quotes
Needless
to
say,
audiences
tended
towards
“When first Richard Strauss swam in to my
Berlioz’s dying words, “They are finally
‘boisterous
inattentiveness.’
ken,’ he writes, ‘I could think of little else.
going to play my music,” to show that he
Although
Hunter
has
criticisms
of
direcThe sight of a Richard Strauss score in a
never lost his irrepressible playfulness. But
tor-centered
performances,
she
emphasizes
shop window was like meeting the beloved
Bloom, who has also written a biography of
the
benefits
of
modernizing
operas.
‘If
Moone at a street corner.” Although he thinks
Berlioz, underscores how crotchety and
zart
and
his
librettists’
characters
are
made
about writing a play when trying to write
spiteful Berlioz could be as well. In fact, it
to
live
and
act
in
circumstances
that
the
audimusic, and, when working on the play,
would seem, Berlioz needed enemies to stimence
deeply
recognizes,
it
makes
Mozart
an
thinks about painting, he was by no means,
ulate his writing. In his Memoirs he says
essentially
modern
man,’
she
writes.
Fureven then, a mere dilettante. We see the
farewell to his friends by writing “I curse
ther,
by
updating
Mozart’s
operas,
‘every
formation of an imaginative and original
you and hope to forget you before I die.”
age
has
found
its
own
meaning
in
them.’
early 20th century composer with a refreshThrough their evident passion for Berlioz,
The
text
is
clearly
laid
out,
with
each
opera
ingly modernist outlook.
the contributors to this book all communicate
discussed
in
a
separate
chapter.
On
each
What makes his memoir especially detheir conviction that Berlioz is, as Bloom
page
the
chapter
heading
is
placed
clearly
at
lightful is Berners’ highly evolved selfputs it, “a contender, one of the B’s, one of
the
top
–
an
obvious
but
too-rare
convenawareness. We get no hint of his flamboyant
the best.”
ience
for
readers.
homosexuality, which is hardly surprising
given the repressive laws in Britain when
The Toronto Symphony Orchestra performs
this was written, a few years before his
The Damnation of Faust by Berlioz on FebBerlioz:
Scenes
From
The
Life
And
Work
death in 1950. But we do get suggestions of
ruary 26 and 28 at 8.00 in Roy Thomson
edited
by
Peter
Bloom
the depression – which he here calls ‘acciHall.
University
of
Rochester
Press
die’ – which plagued him in later life and
270
pages,
musical
examples;
$75.00
US
apparently contributed to his creativity.
50
Mozart’s Operas: A Companion
By Mary Hunter
Yale University Press
280 pages, photos; $35.00 US
Mus.Ed Musings
Summer
& beyond
compiled and edited by Nick Torti
February may be the month of love, but its glum weather is not the
most affectionate. To entertain with the thought of warmer times,
we’ve quizzed a handful of musicians on summer flings with their
love, including advice based on their many experiences.
Featured below are summer musings from four musicians of
varying ages, and at different stages in their musical lives — tidbits
of their summers, what it is they look forward to, and what keeps
them coming back year after year.
Rozalyn Chok
(studying at
Juilliard Conservatory in New
York with Matti
Raekallio).
“I got a relatively
late start—by
today’s standards,” Rozalyn
says of her
summer music
involvement,
which only stretches back to ’07. “…it was not until my first summer
program that I realized how exciting and energizing it is to be in an
environment where everyone shares common interests and experiences.”
Unhindered by the late start, she seems headed in the right direction—in recent years winning top prizes in the TSO Bosendorfer and
the IIYM (International Institute for Young Musicians) piano
competitions. But if she could start all over again, she’d send herself
right back where she started, to IIYM, only “at a much earlier
age... I was one of the older students.”
Rozalyn appreciates the benefits of a solo performance program, but
summer has brought home to her the value of the company of other
musicians. “[My opinion of music has] changed from being a
somewhat isolating, solitary pursuit to an invigorating dynamic
choice. My interactions with other musicians through summer
programs have led me to a deeper understanding of the relevance
and importance of classical music.”
And while the musical environment is of great importance, the
natural environment itself isn’t to be forgotten. “...the combination
of quiet and the beauty of nature is extremely conducive to productive, inspiring practice,” she says, recalling an experience at the
Adamant Summer School in Vermont. “Located in the tiny town of
Montpelier, Adamant is nestled amongst thickets of trees, wild
flowers, and even running brooks. There are thirty practice cottages
scattered throughout the forest, each with a Steinway grand piano
and a uniquely decorated interior, complete with art on the walls and
rustic furniture. Almost all of the participants agreed that we
practiced more at Adamant than anywhere else, because the setting
was so tranquil and idyllic.”
MusEd Musings continues next page
july 20 – august 16
2009
ACADEMY
PROGRAM
for musicians at the threshold of their professional careers
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PIANO WOODWINDS
CHAMBER MUSIC OPERA
COMPOSITION STRINGS
ANTON KUERTI, piano
ANDRÉ LAPLANTE, piano
MARIETTA ORLOV, piano
MENAHEM PRESSLER, piano
LEE KUM SING, piano
DENIS BROTT, violoncello
PATRICK GALLOIS, flute
CHRISTOS HATZIS, composition
TERENCE HELMER, viola
KARL LEISTER, clarinet
ANTONIO LYSY, violoncello
MAYUMI SEILER, violin
IAN SWENSEN, violin
ANDRÉ ROY, viola
JANOS STARKER, violoncello
TSUYOSHI TSUTSUMI, violoncello
LEIPZIG STRING QUARTET
PENDERECKI STRING QUARTET
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51
MusEd Musings – Summer and Beyond
Margaret Little
(viola da gamba player in duo Les voix humaines)
From age four to eighteen,
Margaret spent her summers
studying at CAMMAC Lake
MacDonald, 80 minutes
north of Montreal. “At
CAMMAC you are either
beginner, intermediate, or
advanced for any course in
particular. You just participate at whatever level you
are and enjoy.”
It was where she discovered the viola da gamba at age 11, which she
has played ever since. From her numerous experiences at the camp,
she observes: “Music and musicians cannot thrive in a stressful
environment. Music is about people, about communicating, having a
good time together, be it at any level.”
Margaret continues her involvement at CAMMAC to this day as an
instructor, where the open and wide-ranging setting allows her to
extend her experience to both students and colleagues. With such a
variety of mixed activities, it can’t help but be inclusive. “Once
you’ve spent a whole week with [others], playing tennis and ping
pong with them, ... you meet in the concert hall and something very
special happens. You’ve already shared so much that it’s only
natural to feel very connected during the performance.”
Adult “Vocal” Week
Vocal classes and choral sessions for adult choral singers
Back by popular demand!
Brian Jackson, conductor
Marjorie Sparks, Paul Massel, clinicians
July 8 – 11, 2009
Registration Deadline: May 15, 2009
Participants: $300 Auditors: $225
Information & registration
Choirs Ontario
330 Walmer Road
Toronto, ON M5R 2Y4
t: 416 923 1144 • f: 416 929 0415 • toll free: 866 935 1144
[email protected] • www.choirsontario.org
Connect Chorally. Make life sing!
And what else can one expect from a retreat up in the Laurentians?
“No laundry or cooking to do, no tv, no radio, no computer, no
phone, etc. Total
disconnection is
GREAT!”
Avan Yu
(studying at the University of Fine Arts in
Berlin with Klaus
Hellwig)
Avan is in concert
throughout the year,
giving a mix of solo and
group performances. When the time arrives to choose a summer
program, solo and group options are both equally attractive to him.
”I don’t really have a preference,” he says, having participated in
several piano programs since 2001. “It depends on which area [I]
want to focus on.” Of the Young Artists Program in Ottawa, he
recalls: “...my friends and I would actually sight-read until 2
o’clock in the morning! We didn’t have schoolwork to worry about,
and we could experience music in a relaxing setting.”
The element of learning is never an exclusively solo experience,
even in a solo program. “When I listened to other students’ lessons
or masterclasses, sometimes I learned more than if I were the
student taking the lesson. When you are the one playing, you can get
so stressed out trying to do what the teacher is telling you that you
stop listening.”
Learning with others and learning from them both appear to be
valuable selections. “Summer programs are a great way to broaden
your repertoire, share musical ideas with others, learn from great
teachers and make good contacts.” This time of the year brings a
scenic change for Avan, with varied options as it is during the year.
Solo or with others, he’s in a change of place—though never out of
place.
MusEd Musings continues page 54
52
Aisslinn Nosky
June 4–17, 2009
At the University of Toronto
Toronto, Canada
Join some of the world’s finest musicians in the field of baroque
performance for this 14-day training programme in instrumental
and vocal performance practice. Classes are offered in strings
(violin, viola, viola d’amore, cello and bass), woodwinds
(flute, oboe and bassoon), harpsichord, lute, guitar and voice.
A programme for conductors/directors is also available.
Advanced students, pre-professional and
professional musicians are invited to apply.
The Institute Offers:
• Masterclasses for solo
• Baroque opera workshops led
instrument and voice
by Marshall Pynkoski of
• Orchestra and choir rehearsals
Opera Atelier
led by Jeanne Lamon and
• Baroque dance workshops
Ivars Taurins
led by Jeannette Zingg of
• Instrumental and vocal
Opera Atelier
chamber ensembles
• Participant performances
including a Grand Finale concert
• Private lessons by Tafelmusik
with the Tafelmusik Baroque
musicians
• Lectures/workshops on baroque
Orchestra and Chamber Choir
performance practice, theatre & art
Aisslinn’s early summers were quite distinct
from one another, bringing her to places all over
Canada as well as south
of the border.
“I feel very lucky to
have gone to so many
fun music programs as a
child, [but] I was a pretty single-minded young
person...if I could go
back, I think I would tell
myself to go to a camp that had nothing to do with music, or at least
something that wasn’t violin, just to broaden my extra-musical horizons a little.” That said, she wouldn’t remove her later teenage self
from repeated musical visits to the Banff Centre, where she would
“get inspiration for the rest of the year.”
PHOTO: PAULA WILSON
Baroque Summer Institute
violinist with Tafelmusik
Baroque Orchestra,
I FURIOSI Baroque
Ensemble, Eybler
Quartet, and
Kirby String Quartet
Having gained so much as a student, Aisslinn in turn runs a program with fellow Kirby Quartet members Julia Wedman, Max Mandel, and Carina Reeves. The week-long chamber music workshop
allows her to maintain her summer involvement from a teaching
role. “When all the students perform the works they have been
pouring their heart and souls into [it] is invariably the most moving
concert I attend all year.”
As it had been at Banff, it appears as though Aisslinn is once again
inspired by her musical endeavours of the summer.
For information visit www.tafelmusik.org
Or call 416.964.9562, ext.241 Email: [email protected]
Application Deadline:
March 20, 2009
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54
recordings reviewed
EDITOR’S CORNER
December 2008 marked the 100th birthdays of
two very significant 20th century composers,
Olivier Messiaen and Elliott Carter. Carter is
still very much alive and continues to make significant contributions to the repertoire. You can
read Pamela Margles’ comments on some of
his recent works in her review of Ursula Oppens’ recording of his complete (at least to this
date) piano works elsewhere in these pages,
and next month we will feature a review of
Toronto’s New Music Concerts centenary tribute to the American master. As for Messiaen,
who died in 1991, there is a wealth of material
being released to celebrate his centennial. I
would highly recommend La Fête des belles
eaux, a new Ensemble d’Ondes de Montréal
release (ATMA ACD2 2621). This work is
scored for six ondes Martenot, one of the first
commercially produced
electronic instruments,
and one which Messiaen
used extensively. Due to
the rarity of the ondes this
breathtaking work is seldom performed. In addition the CD includes
four Feuillets inédits (late, unpublished works)
for ondes and piano performed by Estelle Lemire and Louise Bessette and an arrangement of
the first movement of Ravel’s String Quartet for
four ondes Martenot. I find the haunting sound of
the ondes particularly well-suited to Ravel.
We are still four years away from Benjamin
Britten’s Centenary year, but Bruce Surtees’
Old Wine in New Bottles column in this issue
brought to mind my own favourite pieces of this
British master. In February 2002 I wrote in
these pages: “Two recent recordings of Benjamin Britten’s complete works for solo cello
are welcome additions to the available discography of these highly regarded but all too rarely
heard masterpieces. All
three solo suites were
written for Mstislav Rostropovich … [and] with
this in mind, all subsequent recordings must be
measured against Rostropovich’s classic 1968
Decca performance,
marvellously remastered for CD release in
1989. I’m pleased to report that both of the current releases pass muster with flying colours…
Both the Norwegian
Truls Mørk (Virgin
Classics 45399) and
Dutchman Peter Wispelwey (Channel Classics
CCS 17198) bring a wealth of technique and
experience to their interpretations, and they both
seem to have made these pieces their own.”
Rostropovich himself never recorded the
third suite in which Britten incorporated several Russian melodies. My first exposure to that
piece was through a 1995 recording featuring a
young Israeli-born cellist Matt Haimovitz who
Leonard Rose at the Juilliard School described as
“probably the greatest talent I have ever taught”.
At 17 Haimovitz signed
an exclusive recording
contract with Deutsche
Grammophon and several of his recordings of standard and non-standard repertoire won international awards over
the next 12 years. Three of those discs have
been re-issued on DG’s budget “Trio” line. The
20th Century Cello (80004505) now comprises 3 CDs and almost 4 hours of music including
all three Benjamin Britten Cello Suites along
with important works by Crumb, Kodaly, Dutilleux, Henze, Berio, Ligeti and many others.
I’m here to tell you now that the playing field
has become even more crowded with the new
ATMA (ACD2 2524) release of the Britten
Cello Suites performed by Denise Djokic. This
Halifax native who
comes from a large musical family – her father
Philippe is a former concertmaster of Symphony
Nova Scotia - was at the
tender age of 21 named
by MacLean’s as one of
“25 Young Canadians who are changing our
World”, and by ELLE as one of “Canada’s 30
most Powerful Women”. Djokic has shown a
strong affinity for modern repertoire; in her
debut recording of music by Barber, Martinu
and Britten (Suite No.3) for Sony Classical which
won an East Coast Music Award for Best Classical Recording in 2002, and the subsequent
“Folklore” on Endeavour Classics which included works by Vaughan Williams, Stravinsky, Janacek and Cassadó. On the current
ATMA release, recorded at Domaine Forget
last February, the cellist revisits Britten’s third
suite with even more confidence and aplomb
than the Sony recording from six years earlier, and adds brilliant performances of the first
and second suites to complete the set. With this
recording Djokic proves herself to be living up
to the high expectations generated in her formative years.
My final selection for the month combines
the cello playing, singing and song-writing skills
of multi-talented local musician Kevin Fox. The
self-stated purpose of
Songs for Cello & Voice
(www.kevinfox.ca) was
to produce a pop record
which would feature only
Fox’s voice and cello.
There is some overdubbing involved, but nevertheless the result is a stunning achievement.
Comprised of eight original compositions and
two covers - Kate Bush’s Army Dreamer’s and
the Eurythmics’ Sweet Dreams (are made of
this) - the collection rises above usual “pop”
fare with its thoughtful lyrics, sparse orchestration and pure, unadorned vocal stylings. The
diverse offerings touch on swing, doo-wop and
straight ahead pop with a fine balance of melodic flair and emotional expression. The instrumental final track cleverly invokes memories
of such iconic cello pieces as Saint-Saëns’ The
Swan and Bach’s solo suites without seeming unduly derivative. This is a very refreshing disc.
We welcome your feedback and invite submissions. CDs and comments should be sent
to: The WholeNote, 503 – 720 Bathurst St. Toronto ON M5S 2R4. We also welcome your
input via our website, www.thewholenote.com.
David Olds
DISCoveries Editor
[email protected]
Juno Nominee
THIS ISN’T SILENCE
Works for Symphony Orchestra
CD Available at
www.briancurrent.com
“Boisterous good fun”
- San Francisco Chronicle
“Intoxicating”
- The Villager (NY)
“Miraculous”
- The Globe & Mail
55
VOCAL
Be Thou My Vision
Oriana Women’s Choir; William Brown
Independent WRC8-8072
While this fifth recording
by Oriana consists of
popular hymns, anthems
and psalm settings, it is a
treat to hear them set for
women’s voices with six
new arrangements commissioned by the choir by
John Beckwith, Eleanor Daley, Derek Holman,
Leonard Enns, Jon Washburn and Ruth Watson
Henderson. Added to the stellar list of Canadian
composers represented on this CD are psalm
settings by Srul Irving Glick, two of which are
sung in Hebrew. The women’s voices blend
superbly and this repertoire is performed with
skilful beauty thanks to the direction of William
Brown, with expert accompaniment by James
Bourne on piano or Michael Bloss on organ.
Two absolute gems stand out on this recording:
Fairest Lord Jesus arranged by Leonard Enns
and All Things Bright and Beautiful in an arrangement by Mack Wilberg. Both employ the
services of Leslie Newman, flute and Clare
Scholtz, oboe with parts creatively interwoven
through the fabric of these well-known melodies. Add to that the light-hearted There’s a
Little Wheel A-Turnin’ in my Heart (arr. Robert
A. Harris) and a heartfelt Kumbaya (arr. Paul
Sjolund) at the end of the recording; this is an
offering sure to inspire the spirit.
Dianne Wells
are taken by singers of lesser talents. The Orchestra La Scintilla of the Zurich Opera House
provides authentic period instrument accompaniment, and is beautifully conducted by Alessandro De Marchi. Though there is much here to
enjoy, those looking for a recording of the opera
in modern sound would be better off with Natalie Dessay in the title role on a recent Virgin
Records release.
Seth Estrin
EARLY, CLASSICAL
AND BEYOND
Schumann - Kreisleriana; Fantasie
Henri-Paul Sicsic
(www.henripaulsicsic.com)
For those who believe, the
bible tells us that the Lord
created the world in six
days – it took Robert
Concert Note: Orchestra La Scintilla accompanies Cecilia Bartoli in a program cele- Schumann only four to
write his famous piano set
brating the life and art of the great 19th cenKreisleriana in 1838, not
tury opera singer Maria Malibran, a superbad for a mere mortal!
star of her era and inspiration for such comThe equally famous Fantasie Op.17 - arguably
posers as Rossini and Donizetti, at Roy
his most famous piano work - took consideraThomson Hall on March 1.
bly longer, almost two years from conception
to completion. Both pieces require extraordiHarrison Birtwistle - The Minotaur
Tomlinson; Reuter; Rice; Watts; Langridge; nary technique, a deeply rooted sensitivity, and
most importantly, a keen understanding of SchuRoyal Opera House Orchestra and Chorus;
mann’s own complex personality. FortunateAntonio Pappano
ly, all these qualities are in abundance in this
OpusArte OA 1000 D
recording featuring French-born pianist HenHarrison Birtwistle’s most
ri-Paul Sicsic, released on a private label.
recent opera created a senOriginally from Nice, Sicsic studied in his
sation when it was prenative city where he was awarded a first
miered at London’s Royal
prize with highest honours in piano, a first
Opera House last spring.
prize in chamber–music, and a diploma in
This DVD, recorded during
orchestral conducting. Between 1986 and
the run, shows why – and
1992, he taught at Rice University, Houston,
why Birtwistle is generally
and then at the University of British Columbia
considered the leading combefore accepting a position with the Universiposer of his generation in England.
ty of Toronto’s Faculty of Music in 2007.
In this telling of the ancient Greek myth, the
Schumann wrote of his Kreisleriana: “My
Minotaur - half human, half beast – develops a
music seems so wonderfully complicated, for
soul. By the end, he comes to realize that he
all its simplicity.” Indeed, the set is truly a
must die unloved because his actions are so
Bellini - La Sonnambula
study in contrasts, as emotionally complex as
vile. As John Tomlinson sang the Minotaur’s
Bartoli; Flórez; D’Arcangelo; Orchestra La
Schumann himself. Not surprisingly, Sicsic
dying aria, I actually felt sympathy for this
Scintilla; Alessandro De Marchi
rises to the challenges admirably – how effeclonely guy just looking for love – Tomlinson’s
Decca 478 1084
tively he conveys the contrasting moods withacting is as riveting as his singing.
in, playing with a solid self-assurance, while
The raison d’être of any
Ariadne is not merely devious here. She is
recording of Bellini’s La
complicit in her half-brother’s murderous ram- treating the more languid movements with a
Sonnambula, one of the
pages. She does help Theseus into the labyrinth quiet introspection. Similarly, his treatment of
most charming bel canto
to kill the Minotaur, but only after the beast has the Fantasie is always boldly coloured, from
operas, is a great coloratdispatched the twelve young Innocents sent from the noble and grand opening measures to the
tender finale, music clearly written with his
ura soprano. This recordAthens as annual tribute. And not without baring offers something difgaining with Theseus – the robust Johan Reuter beloved Clara in mind. In all, this is a fine
performance by an artist the Music Faculty
ferent – a great coloratura
– to take her away with him. Christine Rice’s
mezzo. Cecilia Bartoli is a remarkable singer, nuanced performance justifies the composer keep- should be rightly proud to have on staff!
Richard Haskell
commanding a huge range, stunning agility, and ing Ariadne on stage for the whole opera.
overwhelming dramatic inclinations. But her
Birtwistle’s pacing is expert. His angular but Concert Note: Henri-Paul Sicsic joins Jacques
idiosyncratic mannerisms – excessive breathiIsraelievitch, Teng Li and Shauna Rolston for
lyrical vocal lines have a natural flow, and he
ness, quiet cooing noises, heavily aspirated
piano quartets by Chausson and Fauré in a
sets David Harsent’s poetic libretto so that the
coloratura – are cloying, especially when she is voices can project over the colourful, often
Faculty Recital at Walter Hall on February 6.
allowed to indulge in them as often as here.
violent orchestrations. The staging is powerful, The quartet can be heard live in a preview
While she makes great efforts to lighten and
showcase at noon on February 3rd on Classical
although during the graphic on-stage rape and
soften her voice, her rich mezzo with its tightly- slaughter of the youths I did wish I was seeing
96.3 FM.
wound vibrato is the wrong colour for the sleep- this opera from a seat in the Royal Opera
walking Amina. And transposing three scenes
Debussy - Preludes for Piano Books 1 & 2
House instead of up close on this DVD.
down to accommodate her lower range makes
Ivan Ilic
It is heartening – and rare – to be able to
the recording more about Bartoli than Bellini.
PARATY 108.105
watch a composer and librettist come on stage
No transpositions are needed for tenor Juan
to accept cheering curtain calls. When Theseus We are fortunate to have this recording come
Diego Flórez, who gives one of the finest perclaims that only the shedding of blood can stop
out this particular time. Although Debussy’s
formances of Elvino on record. Flórez sails
bloodshed, little does he understand how futile
Preludes have been recorded a number of times
through this difficult part with accuracy and
that is. This landmark production reminds us
previously, I find this issue far more successful.
élan, confirming his reputation as the finest bel how opera can so effectively provide searing
Many earlier releases have been discontinued
canto tenor on stage today. Ildebrando
commentary on our times.
or suffer from outdated recording quality or
D’Arcangelo gives a warm, commanding perPamela Margles somewhat unengaged playing. This new high
formance as Rodolfo, though the smaller roles
56
quality disc on the French
Paraty label played on a
magnificent Steinway by
young American artist of
Serbian origin, Ivan Ilic,
is now an outstanding
recommendation.
Debussy, like his predecessor Chopin whom he admired tremendously, also wrote 24 preludes in two books.
While Chopin’s Preludes are short pieces of
emotional states and based on varying techniques, Debussy’s Preludes invoke impressions of an imaginary universe and are generally longer and more complex than Chopin’s.
Nature, in form of water, fog, winds and
landscapes figure heavily, but some capricious
humour and dances also occur.
Due to the many images of varying moods,
impressions and atmospheres, it requires a
pianist of phenomenal technique, utmost sensitivity and playing with élan, colour, restrained
but pronounced emotional engagement and an
extraordinary imagination. All these are presented here in abundance, with the natural
resonances of the Steinway just as Debussy
intended it. Each piece has its own atmosphere and structure that the pianist never fails
to bring out. As random examples, Ce qu’a vu
le Vent d’Ouest is a very dynamic piece simulating the powerful, menacing wind, perhaps
the loudest in the series, but even here the
pianist never pounds the piano. It comes as a
breathtaking climax. Or La Cathedrale engloutie with its archaic harmonies and long
sustained pedal notes suggesting the texture of
deep water. I could go on…
Janos Gardonyi
Concert Note: Ivan Ilic performs music of
Debussy and Canadian premières of works by
Brian Current, Keeril Makan and John Metcalf
at Glenn Gould Studio on February 19.
Homage
James Ehnes
ONYX 4038
David Fulton has spent
years assembling an
astonishing collection of
instruments by the great
Cremonese makers, and Canadian violinist
James Ehnes has selected nine violins - 6
Stradivari, 2 Guarneri ‘del Gesu’ and a Pietro Guarneri - and three violas for a dazzling
recital programme designed to showcase the
specific qualities of each instrument. Several, like the 1709 Stradivari ‘La Pucelle’, have
never been recorded before, and one - the 1715
Stradivari ‘Marsick’ - has been Ehnes’ concert
instrument since 1999. Seven different bows
from Fulton’s equally superb collection of bows
by Tourte and Peccatte were used in the recording, each hand-picked to complement the
strengths of the particular instrument.
In addition to a CD, the ONYX release includes a 100-minute DVD which features the
entire 21-piece CD recital, with Ehnes describing the instrument and its qualities before each
track, plus selection options and a 30-minute
Extras chapter that includes the audio compariF EBRUARY 1 - M ARCH 7 2009
son tracks from the CD and extended commentary clips by Ehnes and Fulton.
Ehnes hardly moves when he plays, but the
close-up camerawork still manages to make it
difficult to see exactly what he’s doing at times,
especially his deceptively effortless bowing.
The filming of the instruments is beautiful,
though, and Ehnes is in spectacular form, with
the opening track, Bazzini’s La Ronde des
Lutins, worth the price of the set on its own.
The violinist remarks in his outstanding booklet notes that “the difference in tone between
instruments is often very subtle indeed”, especially when it’s the same player, of course, and
it will take a professional ear to identify significant differences between the instruments. Still,
a wonderful record of a remarkable project.
Terry Robbins
El Dorado
Caroline Leonardelli
Centaur Classics
CEN1021
Ottawa-based harpist
Caroline Léonardelli’s
fourth album to date offers an enticing mix of
old and new: a program of beloved French
standards by Debussy, Tournier and Damase
book-ended by compositions by Canada’s
leading composer for the harp.
Devising convincing music for the so-called
“naked piano” involves technical and conceptual
challenges exasperating enough to discourage
many a composer. Marjan Mozetich, however,
composes in a style ideally suited for the instrument and has contributed greatly to its repertoire. His El Dorado was commissioned in 1981
Sibelius - Compositions for Piano
for harpist Erica Goodman by Toronto’s New
Heidi Saario
Music Concerts and was followed by several
Independent
further works for the instrument. There is a
(www.CDBaby.com/heidisaario)
pronounced minimalist influence detectable in
As a young boy, I used to the evocative oscillations of Mozetich’s early
delight in leafing though
works which have since given way to a more
my grandmother’s old
supple and idyllic approach. Originally scored
sheet-music from the
with string orchestra and formerly available on
1920s, and one piece I
a now deleted CBC recording of the premiere
recall in particular was
performance, El Dorado is admirably revived
the Sibelius Romance
here in a budget-conscious arrangement featurOp.24 #9. I can still
ing the Penderecki String Quartet and double
envision it – the heavy yellowed score with the
bassist Joel Quarrington. The album also feabright orange cover, and the title in a bold black tures the third (!) recording of Mozetich’s 1988
script across the front. Admittedly, I had forgot- cycle of four solo pieces, Song of Nymphs, in an
ten all about the piece until I came across it on
exceptionally scintillating performance. Among
this disc of piano music by Sibelius played by
the French solo pieces placed between these
Heidi Saario on the Aspasia label. A native of
Canadian works Marcel Tournier’s Féerie
Finland, Saario moved to Canada six years ago stands out for its rhapsodic and dramatic sweep,
in order to undertake graduate-work at the
a welcome antidote to the comparative bucolic
Glenn Gould School. Since completing her
placidity of its neighbours. The recording boasts
studies, she has made a determined effort to
outstanding sound engineered by celebrity tonpromote the piano music of Sibelius, a genre too meister Anton Kwiatkowski.
often overlooked. After all, the composer is
Daniel Foley
much better known for his vibrant and nationalist tone-poems and symphonies than for his
Quos Ego - Complete Piano Works of
small output for the piano.
Zoltán Kodaly
In the past, certain critics have dismissed
Mary Kenedi
Sibelius’ piano works as nothing more than
Echiquier Records ECD009
salon-music. Unfair! While perhaps not great,
(www.marykenedi.com)
these miniatures nevertheless seem well-craftZoltán Kodaly, Hungary’s
ed, containing a charm all their own, and as
Composer Laureate of the
such, have much to offer the listener. What is
latter half of the 20th cenparticularly striking is the wide variety of
tury, is mostly known by
moods achieved on a relatively small scale.
his orchestral, chamber
These range from the gentle introspection of the
and choral works. His
Berceuse Op.104 #1 to the robust virtuosity of
piano music was mostly
the finale from the Piano Sonata in F major.
neglected, so this collecSaarios’s playing is polished and self-assured, at
tion performed by acclaimed Toronto pianist
all times displaying a real affinity for the music.
of Hungarian origin, Mary Kenedi, is welIs it the Nordic blood? Quite possibly - for alcome. Although by no means complete, it is
though these pieces cannot honestly take their
still rewarding to follow the composer’s
place beside those by a Beethoven or a Chopin,
evolution from his youthful attempts towards
her elegant and heartfelt interpretation makes
his mature style.
them particularly endearing, and well worth
The 9 Pieces for Piano, Op.3 date back to
investigating. Recommended.
1907, when the 25 year old Kodaly in Paris fell
Richard Haskell
under the spell of Debussy. The talented, somewhat rebellious young fellow experimented by
MODERN AND
mingling impressionism with radical new
rhythms and original harmonies of the pentatonCONTEMPORARY
ic scale, which is the basis of Hungarian folk
57
idiom. His predominantly serious mood is
sometimes relieved with humorous pieces
showing Kodaly’s lighter side that later became so irresistible in his famous Hary Janos
singspiel.
In the 7 pieces, Op.11 one can see how much
Kodaly developed in less than 10 years. Themes
are more meaningful, full of feeling and the
ideas previously experimented with have become integrated into the music’s message.
Some of the pieces are based on haunting, lamenting melodies of Transylvania, that foreboding, mysterious region of the Carpathians where
much of Kodaly’s research took place. Ms
Kenedi’s firm, authoritative hands are most
impressive in No.18 Rubato where she carries
the assertive, long melodic line with wonderful
atmosphere. The pièce de resistance is the well
known Dances of Marosszek (1927) in its original version, a formidably difficult, colourful
bravura piece that reminds me of Liszt’s piano
transcriptions. Here Kenedi pulls out all the
stops and brings this disc to an exciting close.
Perhaps due to the recording, some harsh
tones are noticeable that detract from the otherwise very fine performances.
Janos Gardonyi
Manhattan Music
Canadian Brass; Eastman Wind Ensemble
Opening Day Records OD 7368
The Eastman Wind Ensemble (EWE) is a celebrated student ensemble
at the University of
Rochester with a tradition of very high standards honed through extensive rehearsals. Tuba player Chuck Dallenbach of the Canadian Brass was a student at
the Eastman School of Music in the 1960s,
where he shared lodgings with the producer of
this recent souvenir album, fellow tubist Dixon
van Winkle.
The title track, British composer and conductor Bramwell Tovey’s Manhattan Music, is a
brash and bountiful set of seven variations
which somehow manages to hang together quite
nicely. Originally commissioned for the Canadian Brass, Tovey has recast the work for wind
ensemble since leading the premiere with the
Vancouver Symphony in 2005. A subsequent
suite carved from Leonard Bernstein’s controversial Mass wrests the most attractive sections
of music from this sadly dated 1971 work, while
sparing us the cringe-worthy theatrical scenarRemembered Voices
io. The arrangement by Michael Sweeney
Ralitsa Tcholakova; Elaine Keillor
highlights the quintet most effectively. Rayburn
Carleton Sound CSCD-1012
Wright’s Shaker Suite tills the familiar ground
As a violin and piano recording, this one is
appropriated long ago by Aaron Copland but
immediately evident as being at the top of the falls short of Copland’s level of inspiration. Jeff
genre. Performers are first rate, and playing Tyck’s eclectic, over-the-top New York Citywith a passion. Audio production is unusually scape suite brings the proceedings to an approwell done, with none of
priately rambunctious close. Mark Scatterday
the bizarre qualities one
conducts the fine-sounding, slightly slap-happy
finds so often nowadays,
ensemble with vigour.
either of the violinist
The perplexing liner notes include a pleonassounding as if she is
tic encomium touting the virtues of the 1950s
larger than the accompaMercury record label (marketer of some two
nist, or the listener being
dozen EWE Frederick Fennell albums back in
right inside the piano.
their glory days) and a stint of shameless pimpExcellent choices were made for the music ing for the founders of ArkivMusic, who, it
on this CD, with special emphasis on Bulgari- seems, will burn you a copy of this disc for a
an iconic figure Pantcho Vladiguerov, who is fee should you happen to hear of it.
represented by the Chant from his larger
Daniel Foley
Bulgarian Suite, the widely-known Rhapsody
Vardar, a Humoreske, plus an encore arOppens plays Carter - Elliott Carter at 100
rangement of Dinicu’s Hora Staccato.
The Complete Piano Music
Tcholakova and Keillor show an admirable Ursula Oppens
commitment to Canadian repertoire, beginCedille CDR 90000108
ning with Gena Branscombe’s unjustly neglected A minor Sonata, well represented in In 1997 Charles Rosen
recorded all of Elliott
this performance. Violet Archer’s Fantasy
and Prelude and the Prelude and Allegro are Carter’s piano music for
equally well served. But the best is saved for a disc called “The Complete Music for Piano”.
last: we get to hear the violin version of the
At that time, the composlate Patrick Cardy’s Liessel, Suse, Ilze, and
er was over ninety years
Gerda, and Mary Gardiner’s monumental
Remembered Voices, here finally blossoming old. Now, some ten
years later, Ursula Oppens offers “The Comin a hall vastly superior to the Heliconian
plete Piano Music”, with six new works. All
Club.
shorter than the earlier pieces, none is a masThe Glenn Gould Studio’s hand-picked
terwork like Night Fantasies. But what they lack
Steinway is on its best behaviour. No fewer
in monumentality, they compensate for in
than three sound engineers did the microwarmth and charm, especially the lovely
phone wizardry. All photos are posed, with
Matribute and the ebulliently virtuosic
none showing the actual recording sessions.
Caténaires. Both are recorded here for the first
An excellent CD.
John S. Gray time.
Oppens has long been recognized as a singu-
58
larly eloquent interpreter of contemporary
music. She has worked closely with Carter for
many years, and was one of the four pianists
responsible for commissioning Night Fantasies,
along with Rosen, Paul Jacobs and Gilbert
Kalish. In fact, she gave the premiere performance at the Bath Festival in 1980.
Oppens’ luminous performances of Mozart
piano concertos with Mark Morris’ dance
troupe during last summer’s Luminato Festival
in Toronto attested to the breadth of her musical
scope. This stands her in good stead here as she
illuminates Carter’s complex textures with
musical insight, revealing the poetry in this
expressive music. This is a disc to treasure, and
would serve as a fine introduction to a seminal
composer of our time.
Carter just turned one hundred, and is still
composing brilliantly - a miracle of creative
activity surely unmatched in the history of music. I hope the next complete piano recording
offers even more new works.
Pamela Margles
Nicole Lizée - This Will Not Be Televised
Various artists
Centrediscs CMCCD 13508
Not all CDs were created equal. This CD wipes
a smile across my beard.
After listening to it over
and over, it’s apparent:
Nicole Lizée knows the
good stuff. I began doing
anthropological studies by
having this recording playing in the background
and watching people’s reactions. What I deduced is that “This is not background music”
could have been an easy alternate title to “This
Will Not be Televised”.
The title composition is a wonderfully creepy
musical adventure. The music goes in so many
interesting directions. In the liner notes of this
2008 Centrediscs release, it’s mentioned that
this piece was named a Top 10 recommended
work at the 2008 International Rostrum of Composers. I would agree that this piece sets the bar
for great contemporary music!
The piece RPM blends turntables with a
larger orchestra. I love this sound, and I think
the symphony orchestras of the future should
make it standard to include an entire turntable
section. It’s very difficult to describe the magical combination of turntables and ensemble that
Lizée has achieved. It is obvious that every
sample she uses is carefully chosen and appropriately placed. I love the sense of play in this
music, from the live mimicking of skipping
records, to the nostalgic use of cheesy 1980s
heavy metal albums. When I close my eyes, a
lot of this music is the soundtrack to the cartoon
in my mind.
Girl You’re Living a Life of Crime is a popbased piece, reminding the listener that the
composer is also a multi-instrumentalist in the
successful Montreal pop outfit Besnard Lakes.
This piece certainly is not a standard pop tune
though as it messes with the idea of tape-splicing and in the end the musicians create a shaky
ostinato and eventually drive it off a cliff.
This CD does such a genuine job in celebratgroups of musicians all
ing jazz music, improvisation, pop music, conover the world.
temporary music and everything in between.
This recording features
Lizée’s music clearly reflects the many identithree stalwarts of the
ties of Canadians, and the next generation of its
Toronto traditional scene:
composers. Her fearless approach is engaging
Patrick Tevlin on trumand I highly recommend raising children on this
pet, Roberta Hunt on
music…
piano and Colin Bray on
Richard Marsella bass, all of them members of the popular Toronto group, The Happy Pals. They are joined
by Brian Carrick one of England’s leading New
JAZZ AND IMPROVIZED
Orleans style clarinet players with a strong
George Lewis influence.
Phénix
This music is unpretentious and sincere and,
Les Poules
in truth, at its most enjoyable when heard live.
ambiences magnétiques
That’s the case with any music, but none more
AM 176 CD
so than traditional jazz with its direct emotional
Sampling everyday
communication with the audience. That is not to
sounds while electronicaldetract from the listening pleasure to be found in
ly mixing them with exthis CD which is a collection of mostly familiar
tended and unusual techtraditional themes like the title song, Willie The
niques; the MontrealWeeper, I’m Confessin’ and Martha along with
based Les Poules produca few lesser known pieces such as the old rag,
es music that is both subtly feminist and sonical- Trombonium, the 1924 Armand Piron Bright
ly expressive. On their own, each of Les Poules Star Blues and, adding a Jamaican touch, the
(“the hens” in English) – alto saxophonist Joane 1925 Sly Mongoose.
Hétu, percussionist Danielle Palardy Roger and
The musicians convey an infectious enthusisampler-manipulator Diane Labrosse – also
asm and lovers of traditional jazz will find
composes for dance and theatre companies
much to enjoy in this recording.
and performs with such associates as guitarist
Jim Galloway
Fred Frith (Roger); pianist Marilyn Lerner
(Labrosse) and saxophonist Jean Derome
Extended Play – LOCAL JAZZ
(Hétu). Arriving at their second decade as a trio
By Ori Dagan
however, “Phénix” is an unbeatable demonstration of their interactive prowess.
The artistry of Ron Davis is revealed not solely
Over the course of 24 miniatures, lasting
from barely a minute to slightly less than three, by his playfulness on the piano, but all the more
by his creative decisions as leader. Davis has
the trio creates unique juxtapositions that for
achieved critical acclaim for his pristine presexample contrast the percussiveness of bass
entation of, and devotion to, the jazz tradition.
drum thumps and a sewing machine motor; or
On The Bestseller
alternately compare approximations of infant
(Minerva/Davinor
cries, the power of a passing freight train and
233377), his sixth rethe rattling of a bell tree. Mostly narrowing her
cording, he has pared it
focus to timbres scraped and scratched on cymway down. Aside from
bals, Roger’s abrasions dovetail with the
two solo piano tracks,
shrill reed bites, unattached mouthpiece
this is an entire album of
peeps and wide-vibrato growls that Hétu
piano/clarinet duets with
forces from her horn. Meantime Labrosse’s
ring-modulator flanging, droning loops of buzz- Sasha Boychouk, a formidable Ukrainian musiing static and motor-driven grinding underline cian who has recently relocated to Canada.
Playing with remarkable virtuosity and a fine
or connect the shifting tonal centres.
sense of humour, Boychouk is an ideal musiWith each woman vocalizing a babble of
nonsense syllables, gargles, scat singing, snores cal match for Davis. In addition to nine coland juicy quacking, the jocular result is as much laborative interludes, the original material is
mostly penned by Davis, with several gems
musique de maison as musique concrète. In
worth citing: Rhythmaron plants a fresh twist on
short Phénix is one hen party you’d be wellthe Gershwin standard I Got Rhythm, Allelujah
advised to attend.
Ken Waxman is a luminous, pensive waltz and Street Stomp is
the Klezmer answer to Dancing in the Streets.
Concert Note: Diane Labrosse will join Mari- For good measure, a few covers, including the
lyn Lerner in “Seconde Nature” at The Music
Sesame Street/Muppet Show anthem Manha
Gallery on February 20.
Manha. Humorous, bold, engaging and energetic, “The Bestseller” is a sure-fire winner.
Willie the Weeper
(www.rondavismusic.com)
Patrick Tevlin’s New Orleans Rhythm
Known for his fiery tone and flair for burning
New Orleans North CD-008
tempi, Juno award winner Kirk MacDonald is
one of Canada’s pre-eminent jazz saxophonists.
Some of the delights of any art form lie in the
Since the release of his first album nearly twenrich diversities to be found. Jazz has evolved
ty years ago, MacDonald has gradually graviinto a multi-faceted sophisticated culture, but
tated towards the strength of his own original
the simple joys of the music in its early form
compositions. Family Suite (Romhog Records
can still be heard, thanks to small, dedicated
116), MacDonald’s sixth
album as leader, is a personal affair. The poignant
opening and closing theme,
Dark Autumn, refers to the
fall of 2002, an arduous
time in which MacDonald
lost his mother while still
mourning the deaths of long-time collaborators
Jerry Fuller and Joe Bendzsa. Each movement
in the suite is meaningfully titled and dedicated.
One of the liveliest, Four Shades of Light, features an electrifying tête-à-tête between the
leader and Barry Romberg on drums, as well
as Romberg trading fours with the exquisite
Brian Dickinson on piano. Along with bassist
Jim Vivian, the sensitive rhythm section is as
good as it gets. Musically multifaceted as always, MacDonald delivers a highly rewarding,
emotionally raw performance on this unquestionably cathartic recording.
(www.kirkmacdonald.com)
A first-rate guitarist, composer and arranger, Michael Occhipinti is
best-known for co-leading
the spirited NOJO (Neufeld-Occhipinti Jazz Orchestra) and has also previously released four titles
under his own name. His
2000 release, “Creation
Dream”, offered jazz renditions of Bruce
Cockburn’s music. Conceptually similar, Occhipinti’s ambitious fifth outing The Sicilian
Jazz Project (True North Records TND 516),
pays tribute to his roots by reinventing traditional Sicilian folk repertoire. The selected material
is tastefully steeped in jazz without sacrificing
its authentic folk flavour. Occhipinti’s arrangements emphasize strings and percussion, along
with Kevin Turcotte on trumpet, Louis Simao
on accordion and Ernie Tollar on saxophone and
flute. Five of the nine tracks feature heartfelt
vocals by Dominic Mancuso and Maryem
Tollar, both impeccable storytellers. Brother
Roberto Occhipinti lays down the bass and
wears the producer’s hat. Ultimately what
comes through in this recording is a deep dedication to the material. Extensive liner notes
effectively introduce the listener to each song’s
meaning, origin and the leader’s intention. If
one is of Sicilian lineage, this recording is essential; for everyone else, it is a recommendable labour of love.
(www.michaelocchipinti.com)
The elder brother of Michael and a cousin of
guitarist David, Roberto
Occhipinti has enjoyed a
productive career primarily as bassist, secondarily
as producer. Initially
mentored by Joel Quarrington and Dave Young,
he spent decades as an
orchestral player and sideman before releasing
his first album as leader at the turn of the century. Occhipinti’s fourth release, A Bend in the
River (Alma Records ACD11182), showcases
his refined skills as player, producer, arranger
and composer. The core personnel consists of
pianist David Virelles, drummer Dafnis Prie59
to, Occhipinti on bass and Luis Deniz on alto
saxophone. Collectively the group outlines each
composition’s shape, but the canvas is splashed
with many other colours, including guest appearances by flautist Les Allt, bass clarinettist
John Johnson, trumpeter Kevin Turcotte and a
full string orchestra on three of the seven cuts.
The title track is a memorable standout for its
logically flowing melody, sweeping harmonic
movement and a rhythmically inventive saxophone solo by Deniz. Occhipinti’s string arrangements, especially those featuring the
Globalis String Orchestra, create a lush lyricism that lingers long after the disc plays out.
(www.robertoocchipinti.com)
Extended play – VOCAL JAZZ
By Cathy Riches
A passel of new discs by Canadian singers –
some relative newcomers, others more experienced – ended off 2008 in style. The first, and
most notable, is by Yvette Tollar, an independent release entitled Ima (ROM 10). The Tollar
name may be familiar to
some, as brother Ernie is
an established woodwind
player in Toronto who
lends his talents to this
collection of Canadian
songs. Most are written
by local players like keyboardist Dave Restivo (the gorgeous Prayer for
Human Kindness appears twice on the disc,
once with just piano accompaniment and the
other with nimble tabla playing by Ravi Naimpally), guitar guru Kevin Breit and Tollar herself, but Joni Mitchell’s Edith and the Kingpin is
also here and given a funky but reverential
treatment. Tollar sings with a jazz sensibility
underpinned with a gospel/soul sound that
makes for a rich, appealing combination. But
what is most compelling is her complete lack of
affectation. She is a singer who has chosen and
written songs that have a lot of meaning for her
and while she takes care with her craft, it’s
apparent her main aim is to get the songs across
rather than to sound a certain way. Having
some of the heaviest and most inventive players
in Toronto collaborating on your disc helps too –
the aforementioned Kevin Breit and Dave Restivo, piano player Robi Botos and Tollar’s husband and phenomenal bassist, Rich Brown,
played and co-produced. It all adds up to one of
the most genuine and moving discs from a local
talent in 2008. (www.yvettetollar.com)
Montreal-based Susie Arioli and partner
Jordan Officer have released their 5th CD
Night Lights (Spectra Musique SPECD7806).
Officer’s steady acoustic
guitar comping and agile
soloing along with Arioli’s
light touch on snare, gives
it a Hot Club of France
sound, while the blend of
sophisticated nostalgia and
French and Latin tinges
reminds me of the hip, Oregon-based “little
orchestra” Pink Martini. The clever way that
Arioli’s breathy alto is recorded — close-up,
with no reverb — gives the songs an engaging
60
intimacy, as if she’s sitting just over there on
the couch doing a few numbers just for you. The
phrasing is straight and unadorned on standards
like I Can’t Get Started, Blue Skies and You Go
to My Head with Officer’s original Basswalk
(featuring bassist Bill Gossage) rounding out this
breezy, satisfying record. Arioli and Officer
are playing several dates in Quebec in February
and March and info can be found at
www.nuland.ca/arioli.
Daniela Nardi first graced the Toronto music
scene with her personal
songwriting style and
smooth, earthy voice in
2003, but took a hiatus to
nurse her mother through
cancer. So it’s no surprise
that her second CD Rose
Tattoo (MIN003) is rife
with self-examination and introspective lyrics.
Produced by Greg Kavanagh, the disc is polished and richly arranged — lots of percussion,
backing vocals, horns and subtle electronica —
but never loses its earnest intensity. Rich Brown
and George Koller share bass duties, Davide
Direnzo drums and Nardi does the keyboard
work. Ranging from the urban funkiness of 485
to the Calabrian folk singing that precedes the
touching ballad Rosetta, to the Middle Eastern
bluesiness of Longest Road, the record covers
diverse musical and emotional ground.
(www.danielanardi.com)
Two discs with similar offerings — standards
played with traditional jazz treatments and
instrumentation (no djembe or oud here) and
straight forward vocal interpretations — round
out the latest batch of releases. First is Molly
Johnson’s Lucky (Universal 0251786014).
Johnson is a popular singer
in Toronto not only for her
performances but also her
fundraising work and,
lately, radio hosting on
CBC 2. Her mature,
chesty voice imbues the
songs on “Lucky” with a
world-weariness that makes Lush Life and I
Loves You Porgy utterly believable. While
swingy, up-tempo treatments — courtesy of
backing trio Phil Dwyer, piano and sax, Mike
Downes, bass, and Mark McLean/Ben Riley,
drums — take the normally sombre Mean to Me
and Ode to Billie Joe (which could be renamed
Ode to Killer Joe for the debt the arrangement
owes to that song) to new, light-hearted places.
(www.mollyjohnson.com)
Founder of Alma Records and bass player,
Peter Cardinali, produced his daughter Kristy’s
debut My Romance (Alma Records
ACD11082) and for it enlisted Robi Botos’
sensitive support on piano.
Kristy croons her way
matter-of-factly through
such familiar tunes as I
Remember You, Taking a
Chance On Love and,
incongruously for one of
such tender years, In the
Wee Small Hours of the Morning, with guest bits
from renowns Don Thompson on bass, Guido
Basso on flugelhorn and Kevin Breit on guitar.
The standout track is the almost a capella version of A Sleeping Bee. Uber arranger Dylan
Bell’s sumptuous, complex voicings, sung by
fellow Cadence members Kevin Fox, Carl
Berger and Ross Lynde, add a dash of verve to
an otherwise straight forward record.
(www.almarecords.com)
Extended play – AIMToronto
By Ken Waxman
Barely four years since its founding, The Association of Improvising Musicians Toronto
(AIMToronto), has raised the profile of local
improvisers, while nurturing the scene. This
almost 200-member, non-profit collective helps
find venues in which to hear improvised music –
most prominently Somewhere There in Parkdale – presents concerts featuring visiting musicians interacting with locals, and has organized
a large improvisers orchestra. One of AIMToronto’s highest profile gigs took place at the
Guelph Jazz Festival in 2007, where 18
AIMToronto members played the music of the
American improv guru Anthony Braxton with
the composer on soprano saxophone. The result
was Creative Orchestra (Guelph) (Spool Line
SPL 130). It showcases the AIMToronto members following the evershifting tonal centres in
five Braxton compositions.
Throughout these sequences and intervals it’s evident that overtones and
undertones are as audible
as the melodies, so the
aural coloration takes on a 3-D-like effect.
Germane to these tracks are the bravura contributions of vocalist Christine Duncan, who personifies the program not only with guttural or
bel canto warbling plus inflated or truncated
syllables, but also with parlando declarations.
Another connecting thread is percussive – with
strokes, vibrations and rattles apparent in varied
pitches and pressures from Nick Fraser’s and
Joe Sorbara’s drums and Brandon Valdivia’s
clattering xylophone. Most characteristic of the
pieces is Composition 307, a variation of
sprechstimme, with Duncan’s falsetto dramatics sharing space with antiphonal vamps from
the horns or gong-ringing and rim shots from
the percussion. As the resonance arranges itself
architecturally, slurs, syllables and sequences
peep from the layering, with particularly noteworthy contributions from tenor saxophonist
Colin Fisher, growls from Ronda Rindone’s
clarinet and Scott Thomson’s shaggy trombone
triplets. (www.spoolmusic.com)
The Orchestra’s artistic director, saxophonist
Kyle Brenders, studied with Anthony Braxton
at Wesleyan University
and his recording Flows
and Intensities suggests
one of Braxton’s solo outings. Each of the eight
compositions – all but two
by Brenders – is oriented
around a specific theme or
motif played on soprano or tenor saxophone.
Working with extended reed techniques and
circular breathing, the results are alternately
pretty or gritty. Not conventionally “pretty”
however, since the modus operandi involves
chunky air blown through the horns’ body tubes,
echoing ghost notes, adagio pitch-sliding plus
extended meditative and undulating textures
where audible air intake alternates with flutter
tonguing. Repetition of selected clusters or tones
are part of the strategy as are times where
Brenders seems to be playing two parallel reed
lines – one consisting of puffing notes, the other
ornamenting them with ghost tones.
(www.aimtoronto.org)
Another alumnus of the orchestra’s Guelph
foray is guitarist Ken Aldcroft, whose solo
guitar lexicon on VoCaBuLaRy (Trio Records
TRP-SS01-008) is as varied as Brenders’ is for
saxophone. Using diverse
tunings, the guitarist’s
distinctive flattish tone
makes full use of flanging
and reverb. Some tracks
become exercises in controlled feedback, others are built around metallic micro tones and snapping flat picking. Sometimes his spiky runs reference Monkish licks;
other times, loops, claw-hammer banjo tones or
serrated rock-music extensions are present.
Like Brenders he creates a call-and-response
pattern as if a guitar duo is present. However
his repeated phrases often fade into silences or
transform themselves into patterns that form a
combination of slack-key and microtonal slurs.
These spidery, interlaced textures reverberating
back onto one another are most accessible on
Sterling Road Blues, which matches a nonshowy blues progression that emphasizes the
bass, with hesitant string-clumping, finally
downshifting into ringing, but not reverberating
timbres. (www.kenaldcroft.com)
Bringing this game plan to group improv,
Trolleys (Trio Records TRP-009) finds Aldcroft’s Convergence Ensemble meandering
between group and solo
work. Trombonist Thomson, alto saxophonist
Evan Shaw, drummer
Joe Sorbara and bassist
Wes Neal join Aldcroft
here for an outing where
pauses are as much a
part of the sound as polyphony, though there are
points at which disconnect is evident between
soloists and band. Individually each player
impresses, especially Sorbara with drum stick
nerve beats, thick ruffs and distinct hi-hat bops;
Shaw, who undulates accentuated lines with a
wide vibrato and snorting obbligatos; plus
Thomson’s tongue-blurring plunger work and
staccato grace notes. At points the trombonist’s
blustery braying corrals the others into a bluesy
stop-time amble which moves forward for a
period until all the players disperse on individual
paths. A rubato near-ballad, Apples showcases
the most co-operation, involving multilayered
counterpoint from each player. Shaw’s irregularly shaped reed osculation makes common
cause with Aldcroft’s rhythmically sophisticated
echoing fills, while walking bass propels the
intersection of burbling trombone runs and
ringing guitar licks. Before the climax, Sorbara
Mamagoto, literally “child’s play”. Koe Narashi
is purely vocal. Percussion lovers won’t be
disappointed though; this is primarily a drumming ensemble, featuring Taiko drums of all
shapes and sizes generously donated by their
drum-manufacturing sponsors in Japan. Expertly engineered, this CD is dedicated to the memof Nagata’s teacher Oguchi Daihachi (1924POT POURRI – Extended Play ory
2008). (www.nagatashachu.com)
WORLDS OF MUSIC IN TORONTO
Husband and wife team Maryem and Ernie
by Karen Ages
Tollar need no introduction here; Maryem is
probably this country’s best known Arabic
The Toronto area boasts some of the finest
talent representing non-Western and traditional vocalist, while Ernie is a multi-instrumental
music, and four recently released CDs attest to wind player and composer. Cairo to Toronto
(ROM 09) is their third
the rich diversity of the city’s cultural fabric.
CD together, and is to a
The Georgian vocal ensemble Darbazi has
certain extent an autobiobeen around since 1995,
graphical account of
performing music from
Maryem’s own journey,
the Caucasus region that
exploring themes from
bridges Europe and Asia.
alienation and longing to
While director Shalva
freedom and hope for a
Makharashvilli hails from
better future. The title also refers to the two
that region, the other nine
guest artists on this recording, Dr. Alfred Gamor so members are primarily local, but you wouldn’t know it, listening to il (violin) and Mohamed Aly (violin and oud),
who came here from Egypt to work and perthis CD entitled Vakhtanguri. This is folk
music and vocal polyphony at its finest, and it’s form with Maryem and her ensemble this past
year. This is a stunning recording all around - a
easy to hear why Darbazi has been so well
received during visits to Georgia. The ensemble melding of traditional Arabic-rooted melodic
and soloists deliver each number with that won- style with jazz and pop nuances.The vocal selections are sung and primarily composed by
derful open-throated vocal style characteristic
of Georgian music, good diction, and outstand- Maryem, with some of the lyrics by her uncle
Ehab Lotayef. Some of my favourite tracks
ing harmonic intonation. The title song, described as a table song, is one of the most intri- however are among the five purely instrumental
numbers, three of which are composed by Ernie
cate, and features yodelling from member
Tollar, the other two by Alfred Gamil. These
David Anderson (of Clay and Paper Theatre
sound the most authentically traditional Arabic,
fame). The dance song Kakhuri Satsekvao
though are not quite. The track Duetto Nahafeatures Makharashvilli as melismatic vocal
soloist. Some of the numbers are accompanied wand, a violin duet featuring Gamil and Aly
closes the CD. The other musicians are familby traditional instruments; both plucked and
bowed, expertly played by ensemble members. iar to Toronto audiences: Levon Ichkhanian
All songs are traditional, and include “toasting” (guitar), Andrew Stewart and Rich Brown
(bass), Deb Sinha (various percussion), Alan
songs, dance, love, and work songs, liturgical
Hetherington and Daniel Barnes (drums).
and epic poem settings, and songs about life in
general. The CD is dedicated to the memory of (www.cdbaby.com/cd/maryemernietollar)
When we think of sitar and tabla, the vast
ensemble member John Martin, who passed
tradition of Indian classical music comes to
away in 2007. (www.darbazi.com)
mind. But United Voices departs from this
Having celebrated its tenth anniversary,
path. Described as “An Indo-Canadian venture
Nagata Shachu (forof world Christian hymns”, produced by Hamilmerly the Kiyoshi Nagata Ensemble) recently ton-based sitarist Neeraj Prem, this is gospel
with an Indian twist.
released its sixth CD,
While the overall sound is
Tsuzure (Tapestry).
decidedly Indian, the texts
Toronto’s best known
and musical settings are
Japanese Taiko ensemindicative of another East
ble delivers polished
meets West endeavour.
performances of eleven works, composed by
The recording opens with
founder and director Kiyoshi Nagata and ena lively rendition of The
semble member Aki Takahashi. These compositions are very much rooted in Japanese tradi- Lord’s Prayer (composed by Manick Deep
Masih), and includes settings of other Christian
tion, however with what Nagata, a former
Kodo Drummers protégé, refers to as “looking hymns arranged Prem. Two songs (My Heart
within the box”. What distinguishes this ensem- and My Offering) written by Prem, were inble is its use of instruments in addition to Taiko spired by ancient Hindi hymns. The “band”
includes sarangi (bowed lute), shehnai (Indian
drums. The title piece of this CD is a good
example of this, employing the zither-like koto, oboe), keyboards, saxophone, guitar, percussion, and several fine vocalists. The closing
shinobue (transverse flute) and ankle bells
alongside the drums, weaving a delicate texture number, Amazing Grace, is a seventeen minute
of sound. Other instruments used include shaku- meditation (Prem and Margaret Bárdos vocals),
retaining the melody that we’re all familiar with
hachi (end blown flute), and shamisen (lute),
but employing Indian vocal/melodic techniques
with various others added for the final piece,
gooses the tempo as the piece speedily double
then triples in time, adding discursive riffs from
Thomson and Shaw.
Impressive as part of an orchestra, AIMToronto members are just as estimable individually.
61
and instrumental accompaniment that reminds me of the arrhythmic “alap” section of
some Indian classical pieces. This CD is
dedicated to the memory of Prem’s parents.
(www.ragamusicschool.com)
holds a special place. He had a
rather short career but while
his playing was well in the
league of the superstars of the
era, Heifetz, Oistrakh and
Francescatti, he suffered from
depression which eventually led him to
OLD WINE IN NEW BOTTLES severe
end his life. His achievements from an early
Fine old recordings re-released age were so sensational that EMI placed him in
their top line-up along with Menuhin and Oistraby Bruce Surtees
kh. His success was such that the powerhouse
DGG picked him to assume the top position on
The Hidden Heart is a DVD of a
their roster. In short time he recorded the four
2001 TV documentary by Jake
most popular concertos of the repertoire,
Martin concerning Benjamin
Tchaikovsky, Brahms, Beethoven and Sibelius
Britten, his compositions and his
with Karajan and his Berlin Philharmonic.
relationship with Peter Pears
These marvellous recordings remained in the
(EMI 50999 21657191). Following
active catalogue for over forty years. DOREthe immediate success of Peter
MI’s 2cd set of four live concerto performancGrimes in 1945, Britten was acclaimed and
es from Paris confirms his place in the violinmusic lovers around the world waited for his
next opera. Then came The Rape of Lucretia in ists’ pantheon (DHR-7880/1). The Men1946, Albert Herring in 1947 and The Beggar’s delssohn E minor (1965) is beautifully communicative; Tchaikovsky (1968) impassioned;
Opera in 1948. The relationship between the
composer and his tenor was no secret but it was Mozart K.219 (1955) pure and stylistic while
Jean Martinon’s intriguing, post-Berg 2nd
against the law in Britain in those days. “The
concerto (1968) is brilliant. Derived from reHidden Heart” leads us through their lives to
cently discovered pristine radio archives, this is
the last opera, Death in Venice. Some of their
an attractive collection.
private correspondence is read and it is their
last words which close this exceptionally well
The illustrious Zino Francescatti (France 1902fashioned appreciation of their special relation- 1981) had a totally different kind of career and
ship. Film clips of Britten, the operas, rehears- personal life. For more than half a century he
als, and many new and archival videos around
was a frequent and favourite guest of almost
The War Requiem are featured in this memora- every important orchestra in the world. We
ble presentation. Get It.
know him from his many Columbia recordings
A recent Britten-Pears DVD
from the BBC archives (DECCA
0743257) contains a formal Winterreise produced by John
Culshaw in 1970 with Britten
accompanying off-stage and also
three of the songs filmed in rehearsals at home. Many of Britten’s arrangements of folk songs are heard in a recital before
a select audience in 1946. For me, these little
songs were worth the price of the disc... The
Foggy Foggy Dew; The Ploughboy; O Waly,
Waly; Oliver Cromwell; and many others. Oh,
by the way... Decca has assembled their Britten
recordings into several packages: Operas,
volume 1 on 8CDs (4756020): Operas, volume
2 on 10CDs (4756029): Choral works on 10CDs
(4656040); and a mainly instrumental collection
of 7CDs (4756051). Check out the contents with
your dealer or on the Decca site at http://
www.deccaclassics.com.
with the New York, Philadelphia and Cleveland orchestras
but none with Boston, with
whom he often performed.
DOREMI has corrected this
in Volume 3 of their Francescatti discs (DHR-7888) with Charles Munch
conducting the Tchaikovsky (1958, stereo) and
Brahms Double (1956) with first chair cellist
Samuel Mayes. Hear Francescatti in his prime
and his distinctive sonority and characteristic
artistry. I have reservations about the sound but
the three bonus tracks from The Bell Telephone
Hour of 1952 are very good.
Silvia Marcovici (Romania b.1952) had a sparkling career during the last three decades of the
century. Lesser known than the above, judging
from these live performances she well deserved
prime billing on a major label but was only
heard on a number of lesser ones, except for
the Sibelius on BIS and the Glazunov with
Stokowski on Decca. Marcovici’s complete
mastery of the instrument is amply conveyed
playing seven concertos in the new DOREMI
set (DHR-7942-4) containing 2 CDs and a
DVD. Her characteristic sensitivity and
warmth illuminate the Tchaikovsky, Brahms,
Beethoven, and Saint-Saëns
No.3 on the CD. On the DVD
she plays Lalo, the Bruch no.1
and the Bartok 2nd to perfection, made all the more enjoyable by her striking, charismatic
stage presence.
Last year’s MET production of Peter Grimes,
as seen live in high definition on
movie screens around the world,
is available on an EMI DVD
exactly as seen live, plus interviews and behind the scenes activities (EMI 509921 741494, 2
DVDs). Donald Runnicles conducts with Anthony Dean Giffey perfectly cast
as the unfortunate Grimes. Watching at home is
quite an experience, arguably better than sitting
in the opera house, especially with the (optional)
English subtitles to clarify the text.
Among the foremost violin exponents of the 20th
Century, Christian Ferras (France 1933-1982)
62
pretty or gritty. Not conventionally “pretty”
however, since the modus operandi involves
chunky air blown through the horns’ body tubes,
echoing ghost notes, adagio pitch-sliding plus
extended meditative and undulating textures
where audible air intake alternates with flutter
tonguing. Repetition of selected clusters or tones
are part of the strategy as are times where
Brenders seems to be playing two parallel reed
lines – one consisting of puffing notes, the other
ornamenting them with ghost tones.
(www.aimtoronto.org)
Another alumnus of the orchestra’s Guelph
foray is guitarist Ken Aldcroft, whose solo
guitar lexicon on VoCaBuLaRy (Trio Records
TRP-SS01-008) is as varied as Brenders’ is for
saxophone. Using diverse
tunings, the guitarist’s
distinctive flattish tone
makes full use of flanging
and reverb. Some tracks
become exercises in controlled feedback, others are built around metallic micro tones and snapping flat picking. Sometimes his spiky runs reference Monkish licks;
other times, loops, claw-hammer banjo tones or
serrated rock-music extensions are present.
Like Brenders he creates a call-and-response
pattern as if a guitar duo is present. However
his repeated phrases often fade into silences or
transform themselves into patterns that form a
combination of slack-key and microtonal slurs.
These spidery, interlaced textures reverberating
back onto one another are most accessible on
Sterling Road Blues, which matches a nonshowy blues progression that emphasizes the
bass, with hesitant string-clumping, finally
downshifting into ringing, but not reverberating
timbres. (www.kenaldcroft.com)
Bringing this game plan to group improv,
Trolleys (Trio Records TRP-009) finds Aldcroft’s Convergence Ensemble meandering
between group and solo
work. Trombonist Thomson, alto saxophonist
Evan Shaw, drummer
Joe Sorbara and bassist
Wes Neal join Aldcroft
here for an outing where
pauses are as much a
part of the sound as polyphony, though there are
points at which disconnect is evident between
soloists and band. Individually each player
impresses, especially Sorbara with drum stick
nerve beats, thick ruffs and distinct hi-hat bops;
Shaw, who undulates accentuated lines with a
wide vibrato and snorting obbligatos; plus
Thomson’s tongue-blurring plunger work and
staccato grace notes. At points the trombonist’s
blustery braying corrals the others into a bluesy
stop-time amble which moves forward for a
period until all the players disperse on individual
paths. A rubato near-ballad, Apples showcases
the most co-operation, involving multilayered
counterpoint from each player. Shaw’s irregularly shaped reed osculation makes common
cause with Aldcroft’s rhythmically sophisticated
echoing fills, while walking bass propels the
intersection of burbling trombone runs and
ringing guitar licks. Before the climax, Sorbara
Mamagoto, literally “child’s play”. Koe Narashi
is purely vocal. Percussion lovers won’t be
disappointed though; this is primarily a drumming ensemble, featuring Taiko drums of all
shapes and sizes generously donated by their
drum-manufacturing sponsors in Japan. Expertly engineered, this CD is dedicated to the memof Nagata’s teacher Oguchi Daihachi (1924POT POURRI – Extended Play ory
2008). (www.nagatashachu.com)
WORLDS OF MUSIC IN TORONTO
Husband and wife team Maryem and Ernie
by Karen Ages
Tollar need no introduction here; Maryem is
probably this country’s best known Arabic
The Toronto area boasts some of the finest
talent representing non-Western and traditional vocalist, while Ernie is a multi-instrumental
music, and four recently released CDs attest to wind player and composer. Cairo to Toronto
(ROM 09) is their third
the rich diversity of the city’s cultural fabric.
CD together, and is to a
The Georgian vocal ensemble Darbazi has
certain extent an autobiobeen around since 1995,
graphical account of
performing music from
Maryem’s own journey,
the Caucasus region that
exploring themes from
bridges Europe and Asia.
alienation and longing to
While director Shalva
freedom and hope for a
Makharashvilli hails from
better future. The title also refers to the two
that region, the other nine
guest artists on this recording, Dr. Alfred Gamor so members are primarily local, but you wouldn’t know it, listening to il (violin) and Mohamed Aly (violin and oud),
who came here from Egypt to work and perthis CD entitled Vakhtanguri. This is folk
music and vocal polyphony at its finest, and it’s form with Maryem and her ensemble this past
year. This is a stunning recording all around - a
easy to hear why Darbazi has been so well
received during visits to Georgia. The ensemble melding of traditional Arabic-rooted melodic
and soloists deliver each number with that won- style with jazz and pop nuances.The vocal selections are sung and primarily composed by
derful open-throated vocal style characteristic
of Georgian music, good diction, and outstand- Maryem, with some of the lyrics by her uncle
Ehab Lotayef. Some of my favourite tracks
ing harmonic intonation. The title song, described as a table song, is one of the most intri- however are among the five purely instrumental
numbers, three of which are composed by Ernie
cate, and features yodelling from member
Tollar, the other two by Alfred Gamil. These
David Anderson (of Clay and Paper Theatre
sound the most authentically traditional Arabic,
fame). The dance song Kakhuri Satsekvao
though are not quite. The track Duetto Nahafeatures Makharashvilli as melismatic vocal
soloist. Some of the numbers are accompanied wand, a violin duet featuring Gamil and Aly
closes the CD. The other musicians are familby traditional instruments; both plucked and
bowed, expertly played by ensemble members. iar to Toronto audiences: Levon Ichkhanian
All songs are traditional, and include “toasting” (guitar), Andrew Stewart and Rich Brown
(bass), Deb Sinha (various percussion), Alan
songs, dance, love, and work songs, liturgical
Hetherington and Daniel Barnes (drums).
and epic poem settings, and songs about life in
general. The CD is dedicated to the memory of (www.cdbaby.com/cd/maryemernietollar)
When we think of sitar and tabla, the vast
ensemble member John Martin, who passed
tradition of Indian classical music comes to
away in 2007. (www.darbazi.com)
mind. But United Voices departs from this
Having celebrated its tenth anniversary,
path. Described as “An Indo-Canadian venture
Nagata Shachu (forof world Christian hymns”, produced by Hamilmerly the Kiyoshi Nagata Ensemble) recently ton-based sitarist Neeraj Prem, this is gospel
with an Indian twist.
released its sixth CD,
While the overall sound is
Tsuzure (Tapestry).
decidedly Indian, the texts
Toronto’s best known
and musical settings are
Japanese Taiko ensemindicative of another East
ble delivers polished
meets West endeavour.
performances of eleven works, composed by
The recording opens with
founder and director Kiyoshi Nagata and ena lively rendition of The
semble member Aki Takahashi. These compositions are very much rooted in Japanese tradi- Lord’s Prayer (composed by Manick Deep
Masih), and includes settings of other Christian
tion, however with what Nagata, a former
Kodo Drummers protégé, refers to as “looking hymns arranged Prem. Two songs (My Heart
within the box”. What distinguishes this ensem- and My Offering) written by Prem, were inble is its use of instruments in addition to Taiko spired by ancient Hindi hymns. The “band”
includes sarangi (bowed lute), shehnai (Indian
drums. The title piece of this CD is a good
example of this, employing the zither-like koto, oboe), keyboards, saxophone, guitar, percussion, and several fine vocalists. The closing
shinobue (transverse flute) and ankle bells
alongside the drums, weaving a delicate texture number, Amazing Grace, is a seventeen minute
of sound. Other instruments used include shaku- meditation (Prem and Margaret Bárdos vocals),
retaining the melody that we’re all familiar with
hachi (end blown flute), and shamisen (lute),
but employing Indian vocal/melodic techniques
with various others added for the final piece,
gooses the tempo as the piece speedily double
then triples in time, adding discursive riffs from
Thomson and Shaw.
Impressive as part of an orchestra, AIMToronto members are just as estimable individually.
61
and instrumental accompaniment that reminds me of the arrhythmic “alap” section of
some Indian classical pieces. This CD is
dedicated to the memory of Prem’s parents.
(www.ragamusicschool.com)
holds a special place. He had a
rather short career but while
his playing was well in the
league of the superstars of the
era, Heifetz, Oistrakh and
Francescatti, he suffered from
depression which eventually led him to
OLD WINE IN NEW BOTTLES severe
end his life. His achievements from an early
Fine old recordings re-released age were so sensational that EMI placed him in
their top line-up along with Menuhin and Oistraby Bruce Surtees
kh. His success was such that the powerhouse
DGG picked him to assume the top position on
The Hidden Heart is a DVD of a
their roster. In short time he recorded the four
2001 TV documentary by Jake
most popular concertos of the repertoire,
Martin concerning Benjamin
Tchaikovsky, Brahms, Beethoven and Sibelius
Britten, his compositions and his
with Karajan and his Berlin Philharmonic.
relationship with Peter Pears
These marvellous recordings remained in the
(EMI 50999 21657191). Following
active catalogue for over forty years. DOREthe immediate success of Peter
MI’s 2cd set of four live concerto performancGrimes in 1945, Britten was acclaimed and
es from Paris confirms his place in the violinmusic lovers around the world waited for his
next opera. Then came The Rape of Lucretia in ists’ pantheon (DHR-7880/1). The Men1946, Albert Herring in 1947 and The Beggar’s delssohn E minor (1965) is beautifully communicative; Tchaikovsky (1968) impassioned;
Opera in 1948. The relationship between the
composer and his tenor was no secret but it was Mozart K.219 (1955) pure and stylistic while
Jean Martinon’s intriguing, post-Berg 2nd
against the law in Britain in those days. “The
concerto (1968) is brilliant. Derived from reHidden Heart” leads us through their lives to
cently discovered pristine radio archives, this is
the last opera, Death in Venice. Some of their
an attractive collection.
private correspondence is read and it is their
last words which close this exceptionally well
The illustrious Zino Francescatti (France 1902fashioned appreciation of their special relation- 1981) had a totally different kind of career and
ship. Film clips of Britten, the operas, rehears- personal life. For more than half a century he
als, and many new and archival videos around
was a frequent and favourite guest of almost
The War Requiem are featured in this memora- every important orchestra in the world. We
ble presentation. Get It.
know him from his many Columbia recordings
A recent Britten-Pears DVD
from the BBC archives (DECCA
0743257) contains a formal Winterreise produced by John
Culshaw in 1970 with Britten
accompanying off-stage and also
three of the songs filmed in rehearsals at home. Many of Britten’s arrangements of folk songs are heard in a recital before
a select audience in 1946. For me, these little
songs were worth the price of the disc... The
Foggy Foggy Dew; The Ploughboy; O Waly,
Waly; Oliver Cromwell; and many others. Oh,
by the way... Decca has assembled their Britten
recordings into several packages: Operas,
volume 1 on 8CDs (4756020): Operas, volume
2 on 10CDs (4756029): Choral works on 10CDs
(4656040); and a mainly instrumental collection
of 7CDs (4756051). Check out the contents with
your dealer or on the Decca site at http://
www.deccaclassics.com.
with the New York, Philadelphia and Cleveland orchestras
but none with Boston, with
whom he often performed.
DOREMI has corrected this
in Volume 3 of their Francescatti discs (DHR-7888) with Charles Munch
conducting the Tchaikovsky (1958, stereo) and
Brahms Double (1956) with first chair cellist
Samuel Mayes. Hear Francescatti in his prime
and his distinctive sonority and characteristic
artistry. I have reservations about the sound but
the three bonus tracks from The Bell Telephone
Hour of 1952 are very good.
Silvia Marcovici (Romania b.1952) had a sparkling career during the last three decades of the
century. Lesser known than the above, judging
from these live performances she well deserved
prime billing on a major label but was only
heard on a number of lesser ones, except for
the Sibelius on BIS and the Glazunov with
Stokowski on Decca. Marcovici’s complete
mastery of the instrument is amply conveyed
playing seven concertos in the new DOREMI
set (DHR-7942-4) containing 2 CDs and a
DVD. Her characteristic sensitivity and
warmth illuminate the Tchaikovsky, Brahms,
Beethoven, and Saint-Saëns
No.3 on the CD. On the DVD
she plays Lalo, the Bruch no.1
and the Bartok 2nd to perfection, made all the more enjoyable by her striking, charismatic
stage presence.
Last year’s MET production of Peter Grimes,
as seen live in high definition on
movie screens around the world,
is available on an EMI DVD
exactly as seen live, plus interviews and behind the scenes activities (EMI 509921 741494, 2
DVDs). Donald Runnicles conducts with Anthony Dean Giffey perfectly cast
as the unfortunate Grimes. Watching at home is
quite an experience, arguably better than sitting
in the opera house, especially with the (optional)
English subtitles to clarify the text.
Among the foremost violin exponents of the 20th
Century, Christian Ferras (France 1933-1982)
62
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