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America Competition.<br />
All in all, our rich musical lives<br />
continue, not on the stage, but behind<br />
the doors of the 'control<br />
room', under headphones, and in<br />
front of the editing computer<br />
where we assemble all of those inspired<br />
'takes' into performances<br />
that will be enjoyed by music lovers<br />
all over the world.<br />
Follow-Up<br />
I'm wondering about two things:<br />
where live performance and your<br />
own recordings fit into the ongoing<br />
picture; and whether you find<br />
that the two of you have strongly<br />
different or similar tastes in repertoire.<br />
We spent from 1978 to the early<br />
· nineties touring together, sometimes<br />
as Kraft & Silver, sometimes<br />
as Kraft and Company. What the<br />
repertoire was then is truly irrelevant<br />
now. As to how our tastes in<br />
music differ or differed, if we<br />
started different it was not so<br />
much difference of taste as of experience<br />
- like so many other<br />
things after years those things ·have<br />
melted together.<br />
Norbert always had an aptitude<br />
for the engineering side of things.<br />
At one point he was very tom as<br />
to whether to go into performance<br />
or some kind of engineering that<br />
would be in some way related to<br />
music. Throughout his touring<br />
years he woulci always carry his<br />
own equipment and be very specific<br />
about such things as placement<br />
of microphones. Having his<br />
own equipment, reading Stereophile<br />
Magazine, doing razor<br />
blade tape edits of recording ...<br />
All this now is an evolution of all<br />
that. My years of teaching also,<br />
dovetail in terms of having and being<br />
able to ask for certain kinds of<br />
necessary concentration. Even my<br />
musical background in violin - not<br />
performance level, but solid, also<br />
plays a part in terms of being able<br />
to absorb orchestral repertoire<br />
from the inside as it were. It feels<br />
at this point that everything we<br />
have done has contributed to our<br />
being where we are now. It feels<br />
very natural.<br />
Ndrbert is still recording (with<br />
Naxos). Some is "wish list" recording.<br />
And he has a disc to<br />
.record in the next few months as<br />
the Naxos complete guitar works<br />
of Fernando Sor comes to completion.<br />
SNAPSHOT #2: LAWRENCE CHERNEY<br />
Who?<br />
I've been lucky enough to have a<br />
dual career as oboist and artistic<br />
director, but of course, they're related.<br />
Though I studied piano and<br />
oboe in my formative years, I<br />
studied philosophy at university<br />
and was 22 before deciding to<br />
make a career as a performer. I auditioned<br />
and got my first position<br />
with the National Arts Centre Orchestra<br />
under Mario Bernardi at its<br />
very inception in 1969. Although<br />
it was a great artistic experience, I<br />
think I was much too young<br />
to appreciate what a wonderful<br />
job it really was! fast at the ·.<br />
point when NACO offered<br />
me tenure, I left to pursue a<br />
very different career path.<br />
I grew up in a household<br />
where the idea of playing music<br />
by living composers was a<br />
no-brainer. My brother Brian,<br />
a very gifted composer, was<br />
already writing music for me<br />
when I was 16, so I thought<br />
this is what performers naturaily<br />
do. After NACO, new<br />
music was to play the central<br />
role in my artistic life, first as<br />
a founding member of the<br />
York Winds, then later as a<br />
soloist and recitalist. Composers<br />
from all over the world<br />
have now written some 150<br />
works for me and I've concertized<br />
and recorded extensively in North<br />
America, Europe and Israel.<br />
In 1981, I founded both the<br />
summer festival Music at Sharon,<br />
which lasted for thirteen seasons,<br />
and Soundstreams Canada, now in<br />
its 21st year. Both organizations<br />
were born of my desire to take<br />
contemporary music out of an almost<br />
self-perpetuating new music<br />
ghetto. So much good new music<br />
CONTINUES<br />
'<br />
GREAT CHAMBER MUSIC<br />
DOWNTOWN<br />
BERLIN PHILHARMONIC<br />
QUARTET<br />
Principal players of the<br />
famous orchestra -<br />
20 years as a string<br />
quartet. Schulhoff,<br />
Brahms, Beethoven<br />
Thurs., Feb. 5 at 8 p .m.<br />
LARA ST. JOHN<br />
Classically trained ,<br />
contemporary minded.<br />
Lara SL John plays Bach,<br />
Bartok and Ysaye.<br />
Just $12 on the 12th - a<br />
unique opportunity!<br />
Thurs., Feb. 12 qt 8 p.m.<br />
The Music TORONTO<br />
CHAMBER SOCIETY<br />
•<br />
. Friends who are fine<br />
musicians play music for<br />
piano and strings from<br />
Clara & Robert Schumann<br />
and their friend Brahms.<br />
Tues., Feb. 17 at 8 p.m.<br />
SIMON TRPCESKI<br />
Toronto c~e but of 23-year<br />
-old pianist, winner of<br />
both Debut Disk and<br />
Editor's Choice from<br />
Gramophone Magazine.<br />
Tues., March 2 at 8 p.m.<br />
Thursday Februa1y 5 at the<br />
Berlin Philharmonic Quartet -<br />
The announcement of our<br />
<strong>2004</strong>-2005 season!<br />
GA · . ..<br />
·-·~<br />
~ ~<br />
... :: ~ ... ~~ ;:~.<br />
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TORON , 1 . 0<br />
- ~ S I . l.:1\\ t\'lll'l' l .v nt ri..· for illl' :\rL..,<br />
\\WW.stk.nim<br />
www.music-toronto.cdm<br />
416-366-7723 • 1-800-708-6754<br />
order online at www.stlc.com<br />
F EBRUARY 1 - M ARCH 7 <strong>2004</strong><br />
WWW.THEWHOLENOTE.COM 7
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