Volume 10 Issue 1 - September 2004


· director

& conductor

Friday, October 15, 2004

R. Murray Schafer

Harry Somers

Arvo Part

Colin McPhee



Thunder: Perfect Mind for mezzo-soprano and orchestra World Premiere

Those Silent Awe Filled Spaces

Tabula Rasa for two violins, prepared piano & string orchestra

T abuh-Tabuhan Toccata for Orchestra and 2 Pianos

Eleanor James, mezzo-soprano

Sunday, November 28, 2004

Thomas Ades

Henry Brant

Tristan Keuris

Asyla Op. 1 7 for large orchestra

Canadian Premiere

Ice Field Spatial Narratives for Large and Small Orchestral Groups

Canadian Premiere

Arcade six more preludes for orchestra

Canadian Premiere

Sunday, March 6, 2005

Denys Bouliane

Alexina Louie

Alex Pauk



Snow is White but Water is Black

The Death of Seigun (excerpt from the opera The Scarlett Princess)

0 Magnum Mysterium: In Memoriam Glenn Gould

arranged for 34 strings by John Rea

Harp Concerto

Denys Bouliane, guest conductor/ Erica Goodman, harp

Colleen Skull, soprano / David Pomeroy, tenor

Thursday, May 26, 2005

Chris Paul Harman

Paul Frehner

Scott Wilson

Gyula Bankovi


Concerto for Cello and Orchestra

New Work for Orchestra

Four Names of Beauty

Accord(ion) Concerto

Shauna Rolston, cello/ Joseph Macerollo, accordion

*World Premiere

*World Premiere

World Premiere

Canadian Premiere



Supported by Toronto Arts Council, Ontario Arts Council, Canada Council for the Arts, The Ontario Arts Council Foundation, The SOCAN Foundation,

The Julie-Jiggs Foundation, The Laidlaw Foundation, The Catherine & Maxwell Meighen Foundation, The Harbinger Foundation, The Henry White Kinnear

Foundation, The United Way, CBC Radio Two, Scotiabank Group, Thorek/Scott and Partners, Procter & Gamble Inc., D.I. McDonald Holdings Ltd., Harden

& Huyse Chocolates, The Hudson's Bay Company, NOW Magazine, Steamwhistle Brewery, Roger D. Moore, Margery Griffith Bequest, Canadian Music Centre

w w w e s p r i t o r c h e s t r a c o m




5 C

LASS ICA L • IntimateJy Poweiful






Sun 26 Sept 2004 2:00 pm Eil

Hailed as the 'Prince of Lieder', the young German artist will

perform his 'towering interpretation' of Schubert's great

song-cycle, Die Winterreise.





Wed 10 Nov 2004 8:00 pm Ill

One of the greatest mezzos of our time at the pinnacle

of her stunning career!

Performing their



version of

Mozart's final








Tue 7 Dec 2004 8:00 pm Ill

Britain's a cappel/a superstars of Renaissance choral music!

Program includes Palestrina, Lassus, Zielenski and other masters.






James Ehncs 1·11/i11t11J1/11

I loward Shelley r•11J111a11rlp1;1n1



Volume 10 #1, September 1, 2004 - October 7 2004

Copyright © 2004 WholeNote Media Inc.

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6 Peter Oundjian, TSO David Perlman


11 Editor's Corner David Olds

58 Reviews: Vocal 58; Classical & Beyond 60;

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68 Discs of the Month


12 T.O. Musical Diary Colin Eatock

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24 Some Thing New Jason van Eyk

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27 Music Gallery

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Community Bands: annual directory Merlin Williams 30


32 On Opera Christopher Hoile

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35 Notes from the TMA Brian Blain

36 Book Shelf Pamela Margles

37 Peggy Sampson: One Musical Life Simone Desilets


Choosing a Path - Music education Masha Buell 37-40


41 Daily Concert Listings (GTA)

47 Daily Concert Listings (Further Afield)

51 Opera and Music Theatre Listings

52 Jazz: Concert Quick Picks

52 Jazz: Club Listings

54 Announcements, Lectures/Symposia Etcetera




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July's cover story, Alain Trudel, Music Man, contains a sentence

which can be read to mean that the Glenn Gould Professional

School (Royal Conservatory of Music) is part of the University of

Toronto Faculty of Music. They are distinct entities.

Toronto, ON MSS 2R4

September 1 - October 7 2004 www.thewholenote.com 5




rowsing the 04/05 season

listings at the February '04

season launch, something

had jumped out at me: an April

2005 concert featuring Beeth-

May. Very important piece for "The Dance of the world it-

me. Beethoven apparently once self. Defiance, wild joy, the wail

stated, when asked, that it was of pain, love's transport, utmost

oven's Opus 131 String Quartet,

arranged for string orchestra by

the greatest of all his works. bliss, grief, frenzy, riot, suffer-

Certainly it is a remarkable and ing; then lightning flickers, thun-

innovative creation, one that will ders growl." He laughs.

Oundjian himself.


Possibly a nice starting point

for a conversation, I thought,

because of his career as first

violinist with the Tokyo Quartet,

a connection with Toronto also


1 spoke with Peter Oundjian in dating back to 1981, when he

early August by phone. He was joined them. (They had been

home in Weston, Connecticut, "a corning to the city, courtesy

bit fried" after a trip from As- Music Toronto, since 1974.)

pen, Colorado. "The flight from "There was a big fuss made

Denver was fine, but they fly when he joined," recalls Jennifer

these ten seaters out of Aspen Taylor, Music Toronto general

and prefer to run them full. So manager. "He was fifteen years

they cancel on one excuse or younger than the others, and not

another till there's a crowd. And Japanese. But they loved him.

you wait."

He was a very exciting musician,

capable of the perfect unison for

Wi e'd met previously,

which they were renowned, but

briefly, at the TSO's

also witty enough to set the cat

00415 season launch in

among the pigeons, so to speak.

February. With much fanfare

They were, along with the Jui!-

(literal and metaphoric) he had

liard, the best; and I'd say in his

gone from being "Music Director

years with them they were at

Designate" to the full-blown,

their best. Just this past spring

unhedged version of the thing.

when the A very Fisher A ward

Standing in the wings that day

went to the Emerson String

was Walter Homburger, who had

Quartet, the first time it has gone

given Oundjian his first major

to an ensemble, the Emerson

solo violin appearance, with the

said, in accepting, that they

TSO in 1981. "I was not inwished

it had gone, before them,

volved in the selection process

to the Tokyo or the Juilliard."

for music director," Mr. Hom-

Digging a bit deeper after the

burger said, "but I'm happy

launch, I found the Op.131 again:

about it. Peter is not only a gifton

the program of his farewell

ed musician, but he also is a

appearance with the Tokyo String

great communicator. I look for-

Quartet in Houston Dec 6 1996.

ward to many great concerts. "

Worth asking about, indeed!


'' ood idea to discuss so, finally, we're talking,

131" he wrote back. and he's quoting, with

"It was also on my relish and apparently from

last program as Music Director memory, Wagner on the suhject of

of Amsterdam Sinfonietta last the final movement of Op. 131.

always fascinate us all. Mahler

Your comment about the tradewas

the one who first suggested

off is interesting; gaining enorthat

the late quartets of Beethoven

mous power by risking intimacy

were too powerful for just a

and clarity. You learned the

string quartet to play; he stated in

latter as a chamber musician.

1899, when he took over the

Can you salvage it?

Vienna Opera, that these pieces

would become a part of their In the case of this work, loss of

repertoire. He did perform Op. clarity in sound picture can be

95 (not really a late quartet) and balanced by the occasional solo

Schubert's Death and the Maiden recitative line. But, face it, clarity

but seems never to have tran- in general has not been the

scribed or performed the others." strong point of the symphony

"I feel strongly that certain quar- orchestra since the late 19th centets

work this way and others do tury. You have only to think of

not. Many aspects of 131 are overpoweringly huge Mozart

strengthened and broadened in the symphonic interpretations as an

full string orchestra version, others example. These are generally

are perhaps less personal in terms large orchestras with a heavy

of sound picture, but that depends style pushing to overpower huge

very much on the performance and halls.

the choices of the transcriber. I try

The way the TSO had to push in

to retain the intimacy as much as

the old RTH?

possible by occasionally using solo

voices; and to retain the clarity by Exactly. Right back to my first

rehearsing in great detail; and mean- time hearing them in the new

while to take full advantage of the hall, I found myself saying to the

extraordinary power in moments or strings, you don't have to push.

movements that require it, especial- Just play the sound you want.

ly in the final movement which

Wagner described as "the Dance

of the world itself..." There's a

longer quote I can give you when

we actually talk."

Can you say more about the

path from chamber violinist to

conducting? How do you get

from Houston December 6 1996

































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packages are available at a

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Call 416-978-3744

Single Tickets

can be purchased at the box

office in person or by calling


Season Brochure

Visit www.music.utoronto.ca

for a complete listing of our

events or call the box office

for a season brochure

Box Office



11 am-5 pm

Monday - Friday

Visa and MasterCard accepted

Edward Johnson Building

80 Queen's Park

Toronto ON MSS 2C5

Museum subway stop

Behind the old Planetarium

Concert Highlights

I Scott St.John and Shauna Rolston in Brahms'

Double Concerto with U ofT Symphony Orchestra

I Operas - Savitri (Holst), Gianni Schicchi (Puccini),

Semele (Handel)

I Faculty Recitals - Lorna MacDonald (soprano),

James Parker (piano), Shauna Rolston (cello),

Scott St.John (violin), Nexus (percussion)

Brentano String Quartet, St. Lawrence String

Quartet, eighth blackbird, Gryphon Trio

I U of T MacMillan Singers and Elmer lseler Singers

in Mendelssohn's Symphony No. 2 "Lobegesang"

I New Music Festival

I All-Star Faculty Jazz Band Plays the Montreal Bistro

I World Music -Japanese taiko, Chinese

traditional, African and North Indian

Public Master Classes I Lectures

I Kofi Agawu, music theorist

I William Aide, pianist

I Sir Thomas Allen, baritone

I Paul Berliner, ethnomusicologist

I Kurt Elling, jazz vocalist

I Heinz Holliger, composer/conductor

I Andrew Hughes, musicologist

I James Kippen, ethnomusicologist

I Simon Morrison, musicologist

I Kelly-Marie Murphy, composer

I Carl Schachter, music theorist

to TSO 2004? Or to put it anoth- being known for certain reperer

way, how far ahead of that to ire? How does it work?

last performance with the Tokyo

in Houston were you already on

You work hard to build your

this other path?


repertoire at the right pace. I'd

have to say I'm a medium to

When I first stopped playing,

which was May '95 actually (you

more slowly than quickly actualwere

right about the Houston

concert being my last 'with the

Tokyo, but it was a special reun-

ion, I had slopped well over a

year before that), ... in May '95

if you'd asked me, I'd have said

that the two pahs had nothing to

slow learner. I prefer to learn

ly, Lo really come to know the

sweep' and detail of gesture. You

owe it to an orchestra to offer

them a full interpretation. I don't

think there's a·shortcut. So in the

case of guest conducting if they

can't accept something in my

I have to admit I'm having

do with each other. But the more

I conduct lhe more I see them as

nearly identical: discovering and

uncovering the music, conceptualizing

and interpreting are still

an appallingly good time

the core of the process.

I had warning signs [of the

focal dystonia in his left hand

that ended his career as a violinist}.

I knew by the late eighties

that something was wrong. By

1993 I knew it was not reversible

and was re-engaging with

conducting. I'd had a taste of it

in my teens, choral conducting

mostly, and it was my second

study after violin at Juilliard.

Von Karajan made me conduct

the slow movement of the

Brahms 1 in a master class he

gave there, Ozawa and Eschenbach

were both in the class. It

was quite a momem, with him

just off my left shoulder.

I can say now that it's always

been in the back of my mind, a

quiet passion, all the way back to

my sense of wonderment at age

10,11,12 being conducted by

Benjamin Britten. He picked the

choir at my school, Downside

Prep, for the Decca recordings

he was making: Midsummernight's

Dream, and the Songs

from "Friday Afternoons". We

thought we knew the Friday

Afternoons, but he utterly transformed

them. There were two

things about him when he came

into the room. One was the aura

he had, the other was the confidence

he engendered.

The list of orchestras you have

guested with as a conductor is

substantial - Berlin, Houston,

Colorado, LA, NDR Hanover,

Philadelphia, etc. Do you have

much of a say in determining

repertoire in those situations?

Or are you invited because of

repertoire then I will graciously

decline the invitation. The fortunate

thing is that a lot of people

in the orchestral business really

do understand the business.

They know that their musicians

love someone coming in with

conviction. I work ahead about

two years in my preparation.

Right now I am finishing repertoire

for the 2005/2006 season.

The other side of the same coin:

what does guest-conducting not

prepare you for in terms of an

assignment like this one?

What it doesn't prepare you for

is all of the other things. But

then, all of the things you do as

a person prepare you as a person

for the things you do. It doesn't

matter where you learn the lessons.

It could be personal, it

could be sport. For me it was

immeasurably important to be

music director and first violinist

of the Amsterdam Sinfonietta,

also to be artistic director at Caramoor

[Summer Music Festival

in New York]. But ultimately it's

instinctive, knowing when you're

ready. For some people it's at

forty, for others not. You have

to accept that you're ready for

the tough decisions.


Like influencing selection of

player personnel. You have to

take strong positions. As the

music director grows into the

role, the orch

that they themselves would have

chosen above all. It's a great

group here in terms of getting on

well, and buying into the idea

that it's all for the good.

And the other side of it, being

"on call" for things like this

interview for instance?

You need to be available. That's

all there is to it. I'm a people .

person ... especially if they share

a passion for music. I have lots

of help with the artis.tic planning.

Loie Fallis {ISO Director of

Artistic Planning] is an extraordinary

human being, arguably the

most experienced in North America.

I have to say, I'm having an

appallingly good time.

At a concert of yours with Yo-Yo

Ma last December 6 I remember

you mnde a joke as you took the

podium, reassuring rhe audience

that there would be nothing disturbingly

modern on the program

that evening - those

weren't your exact words but it

was something like that. [The

works were 1he Schumnnn Cello

Concerto, Tchaikovsky Rococo

Variations, and Mussorgsky's

Piclures al an .Exhibition.]

I remember the moment but not

the exact words either. My point

was that the evening, the spirit of

it, was clearly a pop fun celebration

of great entertainers. I was ·

turning to encompass the audience

... something I believe

strongly in ... and saying 'We all

recognize this evening for what it

is. There are other, perhaps

grander, things that this symphonic

ritual is for as well, but

this evening is not one of those.

Let's all just enjoy.'

Mind you, I have nothing

against concerts like that one. I

remember once Kurt Mazur doing

an all Brahms and Schumann

concert with the New York Phil

and being ripped apart, just for

the fact of doing so, not for the

way it was done. Well why

shouldn't he, of all people. I

mean he practically knew the

. blokes (if you see what I mean).

The way I see it, we're on

that stage a hundred times a year.

That's ample opportunity to provide

concerts to everyone's

tastes. Face it, no one's coming

to more than twenty concerts.

Most people buy one subscription,

or three or four concerts.

We are offering a menu not ·a

curriculum. I have a good friend

who writes and broadcasts about


music in New York. I really

appreciated one day him saying

in the context of a discussion

about this very thing "I admit, if

you programmed just for me

you'd be ciut of business in a


Getting back to thai off-the-cuff

comment at 1he Yo-Yo Ma concert,

I assumed rhat in some way

you were responding lo perennial

sore-point issues like choice of

repertoire being too adventurous

or not adventurous enough,

alienaring hard core music lovers

by "dumbing 1hings down",

alienming devoted symphony

goers by playing "difficulr" music.

VVhat is your take on these


Well, that's really what we've

just been talking about. It's a fun

subject. We will always have


Can one make accurale assumprions

about your own musical

"likes" by looking at the Tokyo

Quarrel's preferred repertoire

over the years?

Tokyc was an accumulation of

four ideas none with leadership

power. I'd say my own tastes

are much more adventurous than

the Tokyo. But on the other

hand being privileged to do

Shostakovitch, Beethoven, Bartek

cycles all over the world; has

been formative. I'm not a fringe

repertoire type of person. My

background is centred in the

great traditions, Mahler, Brahms,


VVhen your appointment to the

TSO was announced, .your Toronto

connections were menrioned.

I know you were born

here, but I'm wondering if it

goes deeper than that. Will you

still be based in Connecticut? Do

you have family here?

I have an older sister here, a

middle brother who has been

here almost as much as not. You

could say it is our second family

city, one with which I have close

close connections, and which is

one of my favourites. We will

stay based in Weston. It's a very

good place. And I can maintain

my teaching at Yale. I have five

students. I absolutely love oneon-one

violin teaching. But the

Toronto connection is much

more than hype or even the fact

of being born there. My first

violin concerto as a soloist with a

major orchestra was when Walter

Hamburger invited me in 1981.

And repeatedly after that. I

watched what was going on with

the orchestra in the late nineties

and early '"oughts" and it saddened

me to witness. I have an

opportunity to make a difference.


Assuming you've had a chance

to glance at VVholeNote from

time to time over the past few

months, I'm curious as lo what

it tells you about the exrent of

musical involvement in the city:

close ro three hundred concert

presenters, 3500 concerts a

season, close to a hundred

choirs, a dozen community orchestras,

the list goes on. Is it

more than you would have


I knew that it was cultured but

have to say I have been astonished.

And if there are audiences

for all, nothing is too much. It's

a good balance for the city, as is

having a really strong opera

company. It explains why we

can offer twenty five subscription

weeks, as many as any orchestra

on the continent.

A !Ot of people involved in this

wider concert scene have over

the years gravitated away from

the symphony orchestra and

symphonic music in general

(perhaps out of hunger for the

intimncy and clarity you alluded

to earlier). VVhat can you say

and do to draw them back?

I think of one thing, right away.

·I touched on it, before. Coming

out and welcoming the audience,

" making them feel part of every

§ encounter with us. Michael Tiln

son Thomas in San Francisco is

a great practitioner of this.

> Walking out, turning your back

Z on the audience immediately for

§ that first downstroke doesn't


VVhat about rhe "never turning

your back" trend as mamfested

by the video screen rhing lhat

some orcheslras are adopting?

That's not for me either. I believe

even though the conductor's

back is to the audience, the aura

and expression is reflected back

through the players and the music.

Video replay diminishes

intensity. In live sport, if you

know there will be no replay,

your concentration is elevated.

There is an incredible level of

concentration in our audiences,

here. Why dissipate it?

So, based on your experiences

conducting around the world, is

rhe symphony orchestra the endangered

species 1ha1 so many

articles tend to view it as?

I think prophecy can be selffulfilling.

Put it this way. It's a

privilege to play this extraordinary

music. So we take as our

mandate trying to get as many

people to come and hear it as we

can. What if writing about it

were viewed as the same privilege,

with the same mandate?

How would things be different?

The announcement of a special

new music series in the coming

season drew, broadly speaking,

three reactions: won't catch me

there; good for the TSO for a

step in the righl direction; it's

just an excuse lo exclude new

music even more from mainstream


If true then it scares me, but I

think as a simplification it's a bit

cynical. I commented before that

I believe in the idea of festivals,

celebrations. The whole point of

this is to package new creation in

an inviting way. It's savvy, it's

practical and it's going to be fun.

Each piece will be introduced.

Each concert in the series is also

part of one other series.

As I said earlier, it's all for

the good, really.




This month we're back to a full

complement of CD reviews after

the quiet days of summer. Did it

ever really arrive, I wonder? As I

write this in mid-August we are

still experiencing unseasonably cool

days and positively chilly nights. But

the weather aside, things are more

or less back to normal with our

reviews running the gamut from

Vivaldi arias to 2lst century haiku

settings, classic jazz and blues reissues

to new recordings by saxophonists

Scott Hamilton and Harry

Allen and trombonists Tom Walsh

and Steve Swell. Added to this are

several local world music offerings,

including Maza Meze's "Secrets

Moon Magic" and Maria

Antonakos' "Siren Songs of the

Mediterranean". ·we top this off

with our picks of the month, a new

'period performance' recording of

Mozart's Le Nou.e di Figaro and

Nadina Mackie Jackson's "Notes

from Abroad", a disc you may have

seen advertised in the pages of this

magazine over the past few

months, but which after delays in

the manufacturing process is only

now (finally) in hand.

I almost kept that last one for

this column, but I'm glad I did not

because I seem to have made Merlin

Williams' day by passing it on

to him for review (see Discs of

the Month, page 68). The discs I

did keep to myself are predominantly

from the world of new

music, but I must say that the diversity

of these offerings underlines

the fact that there are actually

many worlds involved on the contemporary

music scene.

From the 'minimalist' school I

bring to your attention an important

label that focuses on the music

of Philip Glass. Orange Mountain

Music is a fairly new company

that grew out of a project to

archive all of the master recordings

that Philip Glass has made

over the past three decades. There

are now more than a dozen CDs

of previously unavailable material

documenting the extraordinarily

prolific career of this former New

York cab driver. The disc I chose

to begin my exploration with is A

Descent into the Maels trom

(OMM 0005), a music-theatre

work commissioned by the Australian

Dace Theatre dating from

1986 based on a story by Edgar

Allan Poe. Written shortly after the

film Koyaanisqatsi, the mixed-media

work The Photographer and

the opera Akhnaten, this is classic

high-octane Glass - a 'maelstrom'

indeed - performed by the Philip

Glass Ensemble (keyboards, reeds

and the voice of Dora Ohrenstein).

From the ATMA Classique label

we have the latest release by one

of Canada's most important contemporary

music groups, Montreal's

Nouvel Ensemble Moderne

(ACD2 2242). NEM is a 15-piece

chamber orchestra in residence at

l'Universite de Montreal and as

such is this country's only fulltime

orchestra devoted to contemporary

repertoire. Founded in 1989

by conductor Lorraine Vaillancourt,

over its 15 year history NEM

has commissioned many Canadian

and international works. This disc

presents 4 of the Canadian offerings:

Lo que vend ra by young

composer Inouk Demers; Travaux

et jeux de gravite and Vanitas by

mid-career artists Isabelle Panneton

and Jean Lesage; and Alap &

Gat, a work inspired by the music

of northern India by senior composer

Jose Evangelista. Panneton

"evokes the dynamic of bodies

submitting to the force of gravity:

gestures of rising and falling, or

of attempts to preserve a precarious

equilibrium." This is perhaps




Denise Djokic, Cellist





2004-2005 Main Series

Glenn Gould Studio - Saturdays at 8 pm

Wit and warmth.in every bar - a playful

scherzo, two of Haydn's lively symphonies,

and his robust concerto performed by the

most exciting new cellist to emerge in years

Brilliant European guests bring the folk

traditions of Scandinavia and Eastern

Europe alive, crowned with the grace

of Mendelssohn

Musical Christmas gifts for every taste -

well-loved favourites, hidden gems, and

a carol finale to send you home singing

Songs without words, songs without end

Four of the most lyrical composers who

ever lived, and the singing tone of one of

Canada's most outstanding young violinists

Mario Carbotta, Flutist


The magical sounds of one of Europe's

foremost flutists plus tuneful delights

from Italy and Canada

Sinfonia Toronto International Competition


Feel the excitement!-as a new solo star shines

out in a galaxy of variety: Nurhan Arman

conducts a beloved classic, a lovely Canadian

miniature and a Russian masterpiece

Melody will sweep you away, in a scenic

fantasy, one of the great romantic concertos

played by the Esther Honens Competition

winner, and T chaikowsky's glorious serenade

Subscription to all 7 concerts Adult $ 1 SS, Senior S 110, Student $90

416-499-0403 or buy online at www.sinfoniatoronto.com


Canada's Premier Professional Brass Band


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by Colin Eatock

A Few Modest Proposals

August is the time when Toronto's concert presenters gear up for the

corning year, with press-release announcements about the corning

season. Having scanned the communiques, brochures and web-sites,

I offer a few suggetions - based entirely on my personal druthers.

August 10, 2004: Now here's a bit of welcome news in my e-mail:

the Moscow Virtuosi will be appearing in Toronto on October 30 at

the George Weston Recital Hall. This performance will bring to a

close the foreign-orchestra drought that parched Toronto's concert

season last year.

And, as it turns out, the Virtuosi aren't the only orchestra

corning to town. After a year's hiatus, Roy Thomson Hall is back in

the orchestra business, presenting St. Petersburg's Kirov Orchestra

in two different programmes at RTH on April 21 and 22. Even the

Toronto Symphony Orchestra is getting in on the act, presenting the

China Philharmonic on March 16 - although the main attraction on

that concert will be the sensational young pianist Lang Lang. As

well, Quebec City's Les Violons du Roy will grace the stage of

RTH on October 26, and the TSO will host Ottawa's National Arts

Centre Orchestra on November 20. If not exactly "foreign"

orchestras, these ensembles are a welcome addition to the season.

August 12, 2004: Speaking of the TSO, I picked up one of their

brochures today. They're obviously out to make a big splash this

fall, with back-to-back concerts featuring Yo-Yo Ma and Renee

Fleming on October 1 and 2, respectively. Wagner fans will also

want to mark Jane Eaglen's December 2 and 4 TSO engagements on

their calendars. But this year the orchestra has more to offer than the

usual parade of guest artists: this is Peter Oundjian's inaugural

season as the TSO's new music director - and his every move, on

stage and off, will be scrutinized by the press and public.

The Canadian Opera Company's brochure also offers some

enticing fare this season. The Handmaid's Tale, composed by Pou]

Ruders and based on a novel by Margaret Atwood, has finally made

its way to Toronto (September 23 - October 9). In Denmark, the

UK and the USA it's received enthusiastic reviews, so it should be

worth looking into. The COC's Ring. cycle; which got off to a

promising start last year, continues with Siegfried (January 27 -

February 11). And tucked away at the end of the sason (April 1 -

16) Tancredi, an early Rossini masterpiece, in its Toronto premiere.

August 17: A little internet surfing reveals a few more gems ill

Toronto's concert calendar. Tafelmusik will end its season with a

rarity, Handel's oratorio Deborah, (May 5 - 8); and the Toronto

Mendelssohn Choir will wrap up with The Dream of Gerontius

(April 26). As for vocal recitals, rm looking forward to Isabel

Bayrakdarian at Roy Thomson Hall (May 8). As well,'the

Aldeburgh Connection will present two of Canada's top .singers:

Gerald Finley (April 14) and Michael Schade (May 25).

In the realm of chamber music, Music Toronto opens its

season in fine style with the Emerson Quartet (October 7) - and the

Anton Kuerti Beethoven recital (November 16) should be a safe bet.

But the most intriguing Music Toronto offering this year looks to be

Toronto composer Christos Hatzis' Constantinople (November 10 -

13). This ambitious multi-media work has been performed in bits

and pieces over the ·last few years, and I, for one, want to see how

it finally turns out.


The Hannaford Street Silver Band is grateful for the assisiance received from

its corporate and its many individual donors, and from the following:



....... .... ... · :..!...'.;:.. OY!f!. !iii

Tlil' SOCAN Fo1111datiot1

la Fom1n1io11 SOCAN

(.;-:-•»11! :·-.-:t:

Md1.i\ll Cr,1it.\t.:



long & McQuade



I could go on, but I'm running out of space. So I'll end on a

cautionary note: I've never believed it's a critic's role to review

performances before they happen. But I think it's fair to say that the

above-mentioned events ought to be worth attending. At least I hope

so - and I look forward to finding out!

Colin Eatock is a composer and writer in Toronto who contributes

to the Globe and Mail and other publications. His T.O. Musical

Diary is a regular monthly feature of The WholeNote magazine.



Experience on astonishing variety of music in the majestic surroundings of

the Great Holl of Caso Loma, played by seven masters of the console!

:;_ ::,,:: November 1:

December 6:

March 7:

;;;:;: ;;::;,i:;t;,;,:;::;:::::: it:" :,:;,,:,: I_,

A perennial favourite with our audiences, Dave Wickerham offers showtunes,

light classics and just about everything in between

In the Great Hall decked with boughs of holly, a joyful evening of Christmas

cheer from local artists George Heldt and Cole Holland

If you're into Hammond B-3 organ jazz with drums, you're gonna love this!

Wurlitzer jazz from the incomparable Dan Bellomy

April 11: Experience the fun of silent'film comedies the way they ought to be seen -

accompanied on the Mighty Wurlitzer by Clark Wilson

May 30:

Genial Ken Double promises an evening of old standards, big band favourites

and vocal hits 'of yesteryear

: .............................................................................................................................................................. ........:


To order, visit our Web site at www.theatreorgans.com/toronto/, call 416.421.0918 or write

to us at TTOS Tickets, P.O.Box 10323, 1021 Markham Road, Scarborough, Ontario M1H 2YO.

Whichever method you use, clearly indicate the number of tickets you want, your name, your complete

address, your telephone number and e-mail address. Cheques made out to "Toronto Theatre Organ

Society" and a self-addressed stamped envelope must accompany all mail orders. Doors open at 7:15

p.m.; all concerts begin at 8:00 sharp. Concerts are wheelchair-accessible and free parking is available.

Presented by the Toronto Theatre Organ Society and the Kiwanis Club of Casa Loma. Programs are subject

to change without notice.



RENCH-SALON-··--··---·-----······--·--···-- ·-·-···--·---······-· · -······

Debussy: Impressionist, Symbolist or just a great compqs'er.7


Sunday October 17, 2004 at 2 pm



Eli at 80

by Allan Pulker

Toronto Philharmonic

Sept. 23, 2004 - Spanish Fiesta

Oct. 21 , 2004 - Keyboard Classics

Nov. l l , 2004 - Voices of Victory

Dec. 16, 2004 - Sounds of the Season

Feb. l 2, 2005 - Beethoven's Seventh

Apr. 28, 2005 - Prague Opera Gala

May l 9, 2005 - Spring Classics

Orchestra Toronto

Oct. 24, 2004 - Russian Storytellers

Dec. l 2, 2004 - Viennese Holiday

Feb. 20, 2005 - Le Jazz Hot for a

Winter's Afternoon

April l 0, 2005 - A Ukr,ainian Celebration

. May 29, 2005 - The Three B's; .. Really!

Royal Opera Canada

Oct. 14-23, 2004 - La Traviata

Nov. 25 - Dec. 4, 2004

Eugene Onegin

Mar. 3-12, 2005

Cavalleria Rus,ticana & I Pagliacci

May 5-14, 2005 - Madama Butterfly

As long as most of us

can remember, the

classical guitar has been popular.

Stores have a large selection,

private teachers

abound, guitar is taught in

every private music school and

even some public high and

senior elementary schools.

Those wishing to pursue it

professionally, can do so.in

most post-secondary institutions.

Classical guitar recordings

abound and actually get

airtime! Most issues of

WholeNote feature at least

one guitar recital or concert.

It was not. always so. In 1951 ·of LPs on the first floor, carefully

when Eli Kassner, whose 80th birth- organized sheet music in his second

day will be celebrated at Walter Hall floor studio, and everywhere on the

Sept 18, arrived in Toronto, the gui- walls his paintings, reveal a proditar

was looked down upon, not only gious and energetic talent tirelessly

in Canada but also in the United engaged in the arts. Some of the

States and Europe, as a "cowboy" paintings were recent, some go back

instrument, good enough only for to the late 1940s, living in Israel. A

the likes of Roy Rogers, Gene Au- large painting of a village caught my

try and Hank Wi!liams. Julian Bream eye, the Mediterranean sun glowing

tells the story of being reprimanded

from it, .making that moment about

for playing the guitar in a stairwell 55 years ago as alive now as it was

while a student of piano and corn- then. "I did that on drafting paper,"

position at the Royal College.

I went to Eli Kassner' s quiet downtown

Toronto home to talk to him

about his influential career. Shelves

he told me, "that's all there was, but

it didn't absorb so now the paint still

looks as if it is wet!"

Toronto Sinfonietta

2004 - 2005 Season

Matthew Jaskie.!'icz,, !.i.!jc _!>.irni;!oI0.,.Affe

_ •. .

• . ·· . .• .;:;::i:: : . ..


,,.- .:

Saturday October 2, 2004

Co-presented with The Music Gallery


Guest Ensemble: Hammerhead Consort, Edmonron

Corey Hamm and Haley Simons, pianos

Trevor Brandenburg and Darren Salyn, percussion

music by +Bashaw, +Forsyth, +Godin, +Hamel* & Helweg*

Monday February 28, 2005

Glenn Gould Studio

New Music Concerts'

Greatest Hits

Patricia Green, mezzo-soprano

NMC Ensemble directed by Robert Aitken

landmark scores by +Tremblay, +Mather, and more

Sunday November 21 , 2004

Co-presented with The Music Gallery

Generation 2004

J.:Ensemble contemporain de Montreal

Veronique Lacroix, artistic director

Featuring young composers from across Canada:

+Edwards, +Gilbert, +Gagnon, +Stewart & Oroszco

Friday April 1 • 2005

Glenn Gould Studio

An Evening with Heinz Holliger

In conjuction with the Faculty of Music, NMC presents the Michael and

Sonja Koerner Distinguished Visitor in Composition at the University of

Toronto. Works by Holliger* and Carter featuring Patricia Green,

the NMC Ensemble, & U of T Contemporary Music Ensemble

Sunday January 9, 2005

Glenn Gould Studio

Japanese Sh6 virtuoso

Mayumi Miyata

with Robert Aitken, flute, Joseph Macerollo, accordion,

and the Accordes string quartet • Gagaku selections

and music by Hosokawa*, Suzuki* & Cage*

Sat I Sun January 22 I 23, 2005

The Music Gallery

Three Cities in the Life of

Dr. Norman Bethune

a chamber opera by Tim Brady featuring

Bradyworks with Michael Donovan, baritone, plus solo

electric guitar works by +Brady, +Schafer & +Lussier

Sunday May 1 • 2005

Glenn Gould Studio

Co-presented with Goethe lnstitut Toronto

The Music of Jorg Widmann

The rising young German clarinetist and composer performs his music

with the NMC Ensemble and Accordes (4 Canadian premieres)

Friday May 27, .2005

Co-presented with The Music Gallery

Wild, Wired West

Keith Hamel curates a concert of chamber music with computers

NMC Ensemble directed by Robert Aitken with soloists

Joseph Petric, accordion & Max Christie, clarinet

music by +Hamel, +Steenhuisen*, +Pritchard, & +Radford

* Premiere performances I + Canadian work

Programs and artists subject to change

c:anada Council Consell des Arts

© for the Arts du Onada

torontdartsbounci I

UOUNllO Ml ·t...,,...-;11,

(l.lflSOl!lt.1 ... llC!tlTAJllU

The SOCAN Foundation


Bureau du Quebec

auoousET: Eu AT 80

continued.from page 14

Born in 1924 in Vienna into a devout

Jewish family, he was able to

leave Austria for Palestine in 1939.

In Palestine he was first trained as a

cobbler, then as a soldier by the

British, all the while playing the guitar

on a very casual basis and also

painting. When he came to Canada

he had the visual arts in mind. Before

he had even learned English,

however, fate intervened in the form

of a job sorting music for $5 a week

for Whaley Royce Music on Yonge

Street. Here he discovered an abundance

of sheet music for guitar -

much of it written or arranged by

Segovia. Promoted to a sales position

once he learned English, when

there were no customers around he

was able to practise the guitar.

A customer asked for lessons and

his career as guitar teacher was

launched! Through another customer

he was introduced to RCM pianist

and teacher, Boris Berlin, through

whom he got the opportunity to audition

for Boyd Neel, the Dean of

the Faculty of Music at U of T and

Ettore Mazzoleni, the principal of the

RCM. The latter offered him a position

teaching guitar at the Conservatory.

He declined because he could

not afford to give up the percentage

of his earnings the deal required!

Before that, however, he and his

students founded the Guitar Society

of Toronto in 1957. This led to a

master class with Segovia, the Society's

honorary president, who invited

him to attend a month of classes

in Spain in 1959. He went, thanks

to the newly fonred Canada Council.

Upon returning to Toronto he accepted

guitar instructor positions, the

first ever, at both the RCM and the

Faculty of Music. "It took quite a

few years to gain acceptance," Kassner

told me, but before long some

good students entered the program.

One of the first was Liana Boyd.

Once she became well-known many

people came to study with Kassner.

His next major accomplishment

was the founding of the Eli Kassner

Guitar Academy in 1967, his response

to the need for instruction in

jazz and flamenco. The U ofT brass

wisely did not require that Eli give

up his position to do this, seeing the

dent brings something quite different

to the instrument. One of the

keys, therefore, was to keep the.

hands relaxed and flowing - that was

the foundation on which each student's

development was built.

Eli Kassner's other major contribution

was the five international guitar

festivals and comptitions that he

launched, with participation of the

Guitar Society of course, in 1975,

'78,'81,'84 and'87. A measure of

the impact of these events: the winners

of the 1975 competition are now

Four Festivals

new academy's potential as a "feed- THE SUMMER MUSIC festival

er school". They were not to be dis- scene continues, after a short

appointed; students flocked to Eli pause in late August, into Sepfrom

all over the world, and the bet- tember with four festivals: the

ler ones went through the program Colours of Music Festival in

at the university. Some of his stu- Barrie, the Westben Festival

dents who have gone on to have an near Campbellford, the Sweetimpact

in the guitar world are Liona Water Music Weekend in

Boyd, Aaron Brock, Robert Feuer- Owen Sound and the Prince

stein, Lynne Gangbar, Rachel Gauk, 'Edward County Music Festi­

among the leading guitarists of their

generation - Sharon lsbin, Manuel

Barrueco and Elliott Fisk.

The line-up for the September 18

"Eli at 80" concert also speaks volumes.

Guitar luminaries David Russell,

Carlos Barbosa-Lima ; Vincea

McC!elland and Celso Machado will

perform, introduci:d by Liona Boyd.

Among the compositions: one by

Sergio Assad written for this event,

and also one by Leo Brouwer, his

health permitting. This is a celebration

not to be missed.

Drew Henderson, Danielle Kassner val in Picton. Britain's Onyx Brass come to Barrie

(his daughter, for many years now Colours of Music

living, performing, recording and Lawyer, politician and now impreteaching

in Spain), Dale Kavanagh, sario, Bruce Owen, building on last

Norbert Kraft, Vincea McC!elland, autumn's highly successful festival,

Gordon O'Brien and Laura Young. has been nothing short of amazing

What made him such a successful .in organizing this festival of 44 conteacher?

"I always tried to preserve certs. in Barrie from September 24 to

the individuality of each student, to October 3. Not only are some of

inspire and to provide them with the Canada's best musicians performing

tools to do what they want to do. I at the Festival such as James Campier

my students express themselves. bell, Alain Trudel, the Penderecki

All rri.y students are individuals." He String Quartet, the Duke Trio and

went on to explain that every stu- the Elmer Iseler Singers, to name

dent has different hands and 'since it only a few, but also wonderful muis

through the hands that the music sicians from other countries will play

is transmitted from the intellect and - Britain's Onyx Brass Quintet and

temperament to the guitar, every stu- orgahist, Carol Williams, woodwind

quintet Vento Chiaro, the Adaskin

String Trio from the United States

and the New Zealand String Quartet.


The Westben Festival offers two fine

pianists, Jane Coop and Charles

Foreman on Saturday, September 18

and Sunday, September 19 at 2:00

in the afternoon, Both will play

music by Chopin and Beethoven.

Ms. Coop's program will also include

Pagarrini' s Variations on a

Theme by Brahms. Mr. Foreman


"High-octane playing

from Amici .. Globe and Mall




October 15, November 26,

January 21, April 8



Boccherini, Brahms, Faure,

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To subscrib e, call 416-368-87 43 Ore-mall- mualclans@amlclenaemble.com

f 0 UR C 0 N C ER T S ERIE S ·REGULAR- $132, SENIORS· $122, STUDENTS· $25



OurlcvEw .

iov we/re- bcick.-J


Ruth Budd, Founder

. . Wet

Women's Musical Club of Toronto

Subscribe to Music in the Afternoon

2004-2005 Season

.. :

Five great concerts for $130!

Thursday afternoons at 1.30 p.m.


Viva Voce, chamber choir

October J 4, 2004

Measha Brueggergosman, soprano

November 25, 2004

Sonia Chan, piano

February 3, 2005

Lark Quartet, string quartet

March l 0, 2005

Eve Egoyan, piano, with dancers from


April 14, 2005

Walter Hall, Edward Johnson Building

U. ofT., 80 Queen 's Park

For more information or to

subscribe, call 416-923-7052




Fm '"b"ciptioo oc tide! iofocm•­

tion call (416) 735-7982, or go to

• • www.aldeburghconnection.org

Celebrating the art of song

4 Thursday afternoon concerts

2:00 pm Sept. 23, Nov. 4, 2004

April 7, May 12, 2005 ·

Music-from Palestrina to the present

Professional musicians, gifted soloists,

Including the Bach Children's Olorus

• No Intermission

• Be home before rush hour!

• St. Andrew's Presbyterian Church

(across from Roy Thompson Hall)

St. Andrew's Subway

• Wheelchair accessible

• Pleasantly priced:

• Single: $12.00; Serles: $40.00

• 1 free single pass with series

Information: call 416 221 6090 or

· e-mall Alan Sperling at




Director Isabel Bemaus leads a chamber choir with an eclectic,

multilingual repertoire (Cuban, Argentinian, Italian, Finnish,

Canadian, Catalan, Spanish; classical, traditional, contemporary),

with a 3-concert series and occasional community performances.

There are openings in the baritone and tenor sections.

Rehearsals are Tuesdays 7:30 pm at St. Leonard's Church.

Auditions Sept. 14 and 21, 5:30-7:00 pm

at St. Leonard's Church

25 Wanless Ave. (near Yonge & Lawrence)

E-mail John at johnriddell@sympatico.ca or call 416-686-7607

(evenings) to arrange a time.



2004-05 Season Peter Mahon, Director

Music of William Byrd

Mass for Five Voices

Ave Verum Corpus

Saturday, October 16

St. Patrick's Church

(Mccaul & Dundas)

Advent to Epiphany

Palestrina Advent Responsory

Tuvener: God is with us

Saturday, November 27

St. Patrick's Church

(Mccaul & Dundas)

A Celebration of llealey Willa

An Apostrophe to the Heavenly Hosts

Missa Brevis No. 11

with the Gallery Choir of the

Church of St. Mary Magdalene

Saturday, February 19

he Church of St. Mary Magdale

(Manning & Ulster)

Dvorak: Mass in D

and works by Brahms and Bruckner

Guest Organist: Matthew Larkin

Saturday, May 14

St. Anne's Church

(Gladstone Avenue)

All concerts begin at 7:30 p.m.

Tickets $20 & $16 at the door.

all 416-536-9022 for brochure or visit our websit



by Larry Beckwith

I'm always slightly vexed at this hear The Lachan Jewish Chamtime

of year with the question "How her Choir. September 6th at 4pm

was your summer?". After all, there's on the Lakeside Terrace you could

almost a whole month left after Sep- see a performance of the Yiddish

tember 1! But it's understandable,

folk-tale "Benyomen der Driter" by

though, since many of us return to the Toronto Jewish Folk Choir

routines after Labour Day with with Klezmer ensemble Beyond the

school back in session and Pale.

WholeNote back on the stands. Not terribly far afield, Hammer-

Choirs usually take much of Sep- son Hall in Mississauga has the

tember to regroup and start tackling

award-winning North Metro Cho­

rus singing music from Les Miserables,

September 24 at 8pm, and 25th

new repertoire for the season ahead.

Therefore, we don't see much cho-

ral concert activity until into Octo-

ber, but there are some festival per-

formances and concerts here in town

.and not too far away.

at 2 and 8pm.

A pleasant trip for a September

afternoon: a little further afield in

Barrie at the Colours of Music Fes-

Queens Quay West) offers us two

choral concerts. September 5th at 5pm

Ashkenaz: A Festival of New Yidtival,

the St. John's Choir from Elodish

Culture at Harbourfront (235 ra performs works by Parry, Howell

& Willan. Jurgen Petrenko, or­

gan; Noel Edison, conductor (Sept

on the Toronto Star Stage you can coNT1NuES PAGE 21

Auditions for

Soprano, . Alto, Tenor and Bass

Soloists/Section Leads

Trinity-St. Paul's United Church Choir

427 Bloor St. West (Bloor/Spadina Subway Stop)

Active Music Program and Concert Series

Beginning September, 2004

If interested, please contact

Brad Ratzlaff, Music Director

Tel. 416-422-0741 or email cwbr@rogers.com





Any Pictures in your Programs?

Use one of our reasonably priced packages ta a'dd colour, pictures,

and quality design to your concerts. Choose from a selection of papers

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ability an asset but not essential.

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at 14 Spadina Road (Spadina/Bloor)

PLEASE CALL 416-289-4146 to

arrange audition time.

The TWUC is a multifaith group in'

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Sales Representative






Choral Society

Chrys A. Bentley-Artistic Director

30th Anniversary Season

'Messiah- G.F. Handel

Majors Cansmus- David Passmore

Sunday, December 12, 2004, 3:00 PM

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This season, the Toronto Choral Society's

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G. E Handel's Messiah



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Don't miss a note!

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Saturday December 18th, 2004, 7:30 p.

George Weston Recital Ht·+,

Joy of Spring

Saturday April 9th, 2005, 7:30 p.m.

Metropolitan United Church

Mass in B Minor

Saturday May 28th, 2005, 7:30 p.m.

George Weston Recital Hall

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PARTICIPATE in the world premiere of a new work

by Derek Holman





25, 2:30pm). There are also two

evening concerts at this festival that

you might want to consider. The

Elmer lseler Singers perform October

lst at 8pm. On October 2nd

there's The Sacred Music Society's

Gala with Andrew Burashko, piano;

Uwe Lieflander, conductor; and a

200-voice choir & orchestra!

Speaking of Festivals, there's

Westben, in Campbellford where

you could hear the MacMillan Singers,

conducted by Doreen Rao, in a

programme called Autumn Feast for

the Ears, Autumn Chorus on September

26 at 2pm.

Back in town we have an upbeat

start to the season October I at 8pm

when Fridays @ Eight presents

Shout for Joy! The Nathaniel Dett

Chorale with Brainerd Blyden-Taylor

in a concert of Spirituals, Cuban

folk songs and classical selections.

LOOKING AHEAD, there are many exciting

choral projects in the works

for this season, including the return

of University Voices in November,

presented by Soundstreams, a stellar

line-up of repertoire planned for

both the Amadeus and Mendelssohn

choirs, the fourth annual

Christmas Oratorio presentation by

the Bach Consort and a rare St.

Matthew Passion performance presented

by the Toronto Symphony.

In addition, there are intriguing

seasons promised from the Exultate

Chambers Singers,


Choir, Bell'Arte Singers, Vocal­

Point, Pax Christi and several other

of our well-established, stellar

chamber choirs.

Finally, it remains for me to encourage

potemial singers to pick a choir

and get involved, and remind everyone

to pick their choral subscription

series and send it (or them) in!

And enjoy the last few beautiful

weeks of (September) summer!



53 Cummer Ave.

(two blocks north

of Yonge and Finch)

Sunday mornings all year

(I 0:30am service with a

9:45am rehearsal)

Selected Thursday rehearsals

(7:30 to 9:00pm)

Contact Taylor Sullivan

· taylorsullivan@yahoo.com 1




Grace Church on-the-Hill announces

vacancy in the Choir of Gentleman and

Boys. Rehearsal on Thursday 7:30-9:15 PM;·,

one_ Sunday morning servic;e. Call Melva

Treffinger Graham, Director of Music, at

416-488-7884, extension 17, for

further information. Background

information can be sent to



.1. ""-!:._




Invites altos, tenors, baritones

·· and basses to audition starting

at 5 pm on Sunday, Sept. 19.

;• The choir places a focus on

Italian repertoire including

sacred and operatic works .

.... Some bursaries for study in

Italy are available.

E-mail music@centroscuola.ca or call Franca Di Giovanni

during business hours at 416-256-4808. Alternate audition

dates can be arranged.

Centro Scuola Centre for Italian €ulture and Education

901 Lawrence Ave W Suite 212 (at Dufferin)




Dave Snider Music Centre

3225 Yonge St. PH (416) 483-5825

cMail: snidcrmusic@snidcrmusic.com

www .sn1dcrmui1.:.f.'.om

One of Toronto's Oldest Music Stores . . .

With The Best Selection of Pop, Jazz &

·Broadway Sheet Music in the city

- For Beginners and Professionals -

Come in and browse over 25,000 sheet music publications. \.Ye

have a wide array of Woodwind, Brass, Keyboards, Guit

Eine kleine Nachtmusik Mozart

Serenade for Strings Tchaikowsky

Harp Concerto in B flat Handel

Danses Sacree et Profane Debussy

Psalm and Fugue


George Weston Recital Hall

Toronto Centre for the Arts

November 25, 2004

8:00 p.m.

For Tickets:

Call the Toronto Centre for the Arts

Box Office (416) 733-9388

to benefit AboutFace

\\ \\ \\ ,1houtfan:int.:rnat1un.tl.org


& Co.



OF Fine & Rare Violins

201 Church St., Toronto, ON. M5B IY7

Tel: 416-363-0093 •Fax: 416-363-0053

Email: ghcl@idirect.com


Canada's foremost violin experts.

Proud of our heritage. Excited about the future.


by Frank Nakashima

Unlike the choral scene, where it

takes presenters n while to get going,

early music presenters are off

to a fast start.

OFFERING AN aurally aromatic (but

low-fat, no cholesterol) blend of trio

and quartet sonatas by Telemann,

Vivaldi and Fasch, is the gang from

Baroque Music Beside the Grange

- Alison Melville (recorder & traverso),

Linda Melsted (violin), Dominic

Teresi (bassoon) and Borys Medicky

(harpsichord) - in a prograrmne fashioned

after the coffee house concerts

of the l 8th century (September 12)

A FEW DAYS IA TER, the dazzling Dutch

recorder virtuoso Marion Verbruggen

joins the Tafelmusik Baroque

Orchestra - more Telemann and

Vivaldi, but on a larger scale, so to

speak - in a program titled "The

Enchanting Recorder: Baroque Delights"

(September 16- 19) A longtime

friend of Tafelmusik, Ms. Verbruggen

has inspired several recorder

players of this generation.

WHEN JoHN Dow1AND published his

First Book of Songs in 1597, not

only was it his first book, but probably

the first book of solo song ever

published in England. When the

Musicians in Ordinary (soprano

Hallie Fishel and lutenist John Edwards)

present a concert featuring

the songs from this marvellous publication

(September 25), it will be to

acknowledge the historical significance

of this collection which contains

some of the best known songs

in the English language to this day.

Its contents have been praised and

"poached" in more recent times by

such musical dignitaries as Benjamin

Britten and Peter Warlock. Visit

www .musiciansinordinary .ea

Nar A MOMENT'S REST for Tafehnusik

as they present yet another program

this month (Sept 28-30, Oct 1,2,3)

"A/ Musical Offering: Bach and

More" featuring can0ns from Bach's

celebrated Musical Offering, and

exploring the genius behind these

compositions. The program also includes

a colourful Rameau suite.

Their recently released recording of

Rameau Suites has garnered international

acclaim and you won't want

to miss the chance to hear this elegant

and spirited music live. See the

website: www.tafelmusik.org


opportunity to hear the distinguished

soprano Meredith Hall in

recital with Quebec lutenist Sylvain

Bergeron and harpist Robin Grenon

(October 3). Her program will feature

a selection of French and Italian

repertoire, some of the greatest solo

vocal music of Henry Purcell and ·

Claudio Monteverdi, and cherished

Scottish melodies from the pen of

the bard himself, Robbie Bums. This

concert is being recorded for broadcast

on CBC Radio Two, so come

and contribute your applause to the

soundtrack! This is music sure to

inspire and touch you, perforrred by

three of Canada's finest interpreters

of early music!

Finally, I realize that this notice is

far in advance of what my column

usually encompasses, but here's an

early "heads up" for Montreal-based

ensemble, Les Voix Baroques (making

their Toronto debut in the On­

Stage series at the Glenn Gould Studio

(October 12). More about them

next month!

Frank T. Nakashima

(franknak@interlog.com) 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

www.torontoearlymusic.org .


A 19th Century English Country Dance Workshop

Historic Fort York

100 Garrison Road.

Free Parking

416-392-6907 Ext 100

Friday, Sept. 24, 7:30 p.m.

It is fun and easy to learn the

dances from the War of 1812 era

in the authentic setting of

Historic Fort York.

• No partners required

-..·.-{· •.Beginners Welcome

--· .... . :_., . • Pre-registration required

• $10 per person Includes

light historic refreshments

llJ!f!TORDN10 Culture




Learning .With Your.Feet

"At rhe height of the baroque period, everybody who was anybody

danced well. fr was simply part of a decent educmion, along with

music ... in those days .... " (Daniel Gariepy, ltl Belle Danse)


1'rrEY CAME INfO the classroom

dressed for the festive summer

barbeque which was to follow the

workshop, but helpfully began setting

chairs into a couple of neat

rows. The wiry energetic man

setting music cues on a cd player,

turned and said "you should probably

stack those at the back -

we're going to need all this space

to move in .... " There was a flutter

of puzzlement.

"We will be on our feet dancing,"

he explained benignly. "So

arrange yourselves in three rows

so that you can see me; we'! be

looking at two fonnal court dances

- one in duple time, one in triple

time - the bourree and the minuet."

A ripple of recognition at the

terms relieved some of the uncertainty

evident in this group of music

educators, mostly women with

little or no dance training, attending

a three day summer event at the

RCM called Art of Teaching

2004: Active Learning. This elective

workshop was called "The

Arte of Dancing".

"In baroque dance, each component

of the dance is tied to the music."

Daniel explains. "Listen, and

you will know when to move."

To give them credit, they all

gave it their best shot. Only one

eventually sat down - her legs

could not handle the non-stop stepping,

hopping rising and bending

that the rest survived. What kept

them going was the baroque music

itself - a musical language which

required no explanation for most.

Their appreciation of the music

made up for their lack of dance expertise.

Handel, Purcell, Lully and

Rameau combined with Daniel

Gariepy's lively commentary,

which ran like a thread through the

instructions, kept things sweeping

along graciously.

"Obviously there are dance

suites which were written as concert

music, but all of those fom1S

- Allemande, Courante, Sarabande,

Gigue, Gavotte, Minuet

these are all dances .... A musician

who has actually danced a minuet

has an infonned sense of what the

music asl


by Jason vanEyk

Thurs. Oct 7 . @ 8:00

Music Gallery (197 John St)

. "&

Sat Oct 9 @ 8:00

Trinity-St Paul's. (427 BloorW.)

The newest cycle ofwor/ss by

composer Charl#e Rlngas.,

Jazz and prog rock-iquenced ,, '

cosmic minimalist music for)'.}

chamber orchestra and chorus} •'


· Tickets: $10 - $30

In December ... earshot # 15

Believe EverJthln!

You Hear

Montreal-based composer

Michael Hynes presents. his

stunning new concert-length structured

improvisation, petformed by the

Earshot Ensemble and friends.

Tickets $5 • $25.

earshot! concerts

For tickets, subscriptions & info

ca/1416-538-2006 or

visit earshotconcerts.ca

The National Youth Orchestra

of Canada ended their

cross-Canada tour in Toronto on

August 17th, a well-honed ensemble

under the baton of veteran

conductor Kazuyoshi Akiyama.

I was in attendance hopingto

hear the work of this year's

composers in residence, BC

based Stephen Chatman and Rodney

Graham. As expected, the

NYOC rotated through a wide

range of repertoire on this threeweek


On this evening we heard one

of the set programmes, which

included only one Canadian

work, Chatman's Tara's

Dream. The piece had some of

what I expected from Chatman,

mixing in references from popular

genres like jazz, big band, rags and

waltzes, but also some 18th Cen-

, tury classical (moments sounded

like a Mozart piano concerto), and

contemporary practices. Despite the

nagging familiarity of the mixed up

music, all the material was original,

which makes me commend

Chatman's compositional versatility.

I was really impressed with

how he melded together so many

musical fragments, taking us on a

wild journey through this Tara's

dream. The opening had a particularly

beautiful sequence where two

harps and what sounded like glock-

. enspiel created a dream-like environment,

veiled and occasionally

obscured by lush. and romantic

Strings playing in a completely different

key and tempo. What was

even more remarkable, in hindsight,

was how Tara's Dream created

a logical link between the Berlioz

Overture that opened the concert

and the rousing rendition of

Ravel's Ln Valse, which brought

us to intermission. It was intriguing

to hear how new Canadian work

can make its links back to great

works of the 19th and 20th Century

and hold its place among them.

Sitting beside me in the concert

hall was Soundstreams Canada's

Artistic Director Lawrence Cherney.

Before the lights went down

for the second half, we had the

chance to discuss what is coming

up at Soundstrearns for 2004-2005,

including the trials and travails of

putting together that pesky season

brochure. Soundstrearns is one of

J.he first new music presenters out

of the gale in the upcoming season.

Their first concert, entitled Kaleidoscope,

continues the artistic direction

of Soundstream's Encounters

Series. These concerts match

up one international composer with

a Canadian equivalent. Sept 27 at

the Glenn Gould Studio, Danish

composer Paul Ruders will be

paired with pioneering Canadian

composer Harry Freedman.

Freedman is truly one of this

country's artistic pioneers: he is a

founding member of the Canadian

League of Composers and of the

Guild of Canadian Film Composers,

not to mention an Officer of

the Order of Canada since 1984.

Although Freedman is one of Canada's

most frequently performed

composers, bridging the jazz and

classical worlds, we don't often get

to hear concerts devoted to large

amounts of his work. This alone

makes this concert a treat. Freedman's

"encounter" counterpart,

Pou! Ruders, might be best known

to Canadians for his operatic adaptation

of Margaret Atwood's

popular novel The Handmaid's

Tale. And as luck would have it,

the Canadian Opera Company will

present the Canadian premiere .of

Ruder's The Handmaid's Tale

starting on September 23rd at the

Hummingbird Centre.

Both Soundstreams and COC

concerts are also part of the much

larger, multi-disciplinary and extremely

ambitious SUPERDAN­

ISH: Newfangled Danish Culture

festival, which launches at Harbourfront

Centre Sept 28.


of Canadian inspired opera, Tap-

Left: Harry Freedman

estry New Opera Works will

present the results of their Composer-Librettist

Laboratory (or

Lib-Lab for short) at its Opera

Briefs event Sept 28 & 29. You

can find them at the Tapestry/Night-

. wood New Works Space in the

Cannery building of the trendy

Distillery District. In their own

words, Tapestry describes the

event as "Astonishing, entertainjng,

irreverent, provocative, moving

... the diversity is dazzling and

the creative energy palpable during

this marvellous annual event." If you

can't make it to this one, you may

want to get a sneak peek as Tapestry

stages a selection of Opera

Briefs at the Word on the Street

Festival's Stage & Screen tent in

Queen's Park on September 26th.


of the loop, New Music Concerts

brings together the Western

Canadian and Danish connections

for the opening of its 2004-2005

season. On October 2nd, Edmonton's

Hammerhead Consort, an

unusual combination of two pianos

and two percussionists, visits

. Toronto to perform the work of

Alberta composer Howard Bashaw

(who was profiled in last issue's

Composer to Composer column)

and to deliver two world premieres,

one from BC composer Keith

Hamel and the other from Danish

composer Kirn Helweg. They do so

at the Music Gallery, Toronto's

home for new and unusual music.

Just as the summer season comes

to a close, it certainly seems like

this year's new music season is

already off to a dynamic start. I

truly look forward to hearing how

it will unfold.

(Jason van Eyk is the CMC's Ontario

Regional Director. He can

be reached at 416-961-6601 x. 207

or jasonv@inusiccentre.ca.) ·


Round up



The summer is winding down and a new season of great concerts is

gearing up. While September is not usually a busy time for new

music, more than a few members of the Coalition are getting their

seasons underway. H

re is a brief Jineup of upcomin


On September 12th at 7:00 (note the early start), the Music Gallery

presents the ensemble Ex Tempore as a part of their Fresh Ears

family series, which is a series of new music concerts designed with

younger ears in mind (an excellent idea, in my opinion!)

Earshot Concerts kicks off its concert season with a gala fundraiser

at the rooftop garden at the Da!housie, 155 Da!housie Street on

Thursday, September 23rd at 7:30. There is a great concert lined up,

as well as an auction, balloon bust, door prizes and more.

Monday, September 27th has Soundstreams Canada presenting a

concert of music by Pou! Ruders and Harry -Freedman featuring the

Gryphon Trio and Gary Kulesha at the Glenn Gould Studio at 8:00.

As an added bonus, at 7:00 there is a pre-concert concert called

"Young Artist Overture" which features works. by student composers

performed by young players, another excellent and worthy project.

The Toronto music community was saddened by the death, earlier

this year, of composer and professor Lothar Klein. I have fond

memories of having studied composition under him at the University

of Toronto and am pleased to report that a free concert of his music

will be held at Walter Hall in the Faculty of Music, on October 3rd at


'-chipol 2

Glenn Gould Studio .

ands Consulate-Toronto and Gaudeamus,.Amsterdam

Featuring the ARRAYMUS!C ensernb!e

Works by Michael Oesterle ', Scott Godin ', Peter Mrraansz, Scott \A/ii son *, Gilius:van Bergeik


Saturday, Decerpr 4, 2004 8:00 PM

The Com(.}-· 'i-t;+ r/lmproviser


Gallery Co-production

YMUS!C ensemble

r Lori F reedqian ,

am McKittrick •, Johh Abram and StepheqCtarke •

0, 2005 8:00 PM

ensi Conducts



QC2t on tthg list at

LIS me.ea

funding partners

& C.- CouncN ton•l det AtU PERKINS HAILING


On Saturday October 2nd at the Music Gallery, New Music Concerts

presents The Harrunerhead Consort, a terrific and unusual

ensemble from Edmonton, presenting works by Canadians Howard

Bashaw and Keith Hamel, as well as a new work by Danish composer

Kim Helwig. The Harrunerhead Consort is aptly named,

comprising two pianists and rwo percussionists.

Monday, October 4th at 8:00 at the Music Gallery, WholeNote

Magazine kicks off a series of nine Monday salons at the Music

Gallery, counting down to the magazine's tenth anniversary next

September. These concerts. taking place on the first Monday of every

month, will explore the talents of staff, writers, and other associates

of WholeNote Magazine, many of whom are musicians in their own

right, spanning the entire range of music, from baroque to jazz, from

world music to; of course, new music.

Finally, on October 7th, Earshot Concerts' first "real" concert of

the year takes place at the Music Gallery at 8:00. Called Gold of

Hours, this concert features a major new work by Toronto composer

and performer Charlie Ringas. Influenced by ancient mysticism, jazz,

minimalist traditions and progressive rock, this music for twelve-piece

chamber and four-part choir is hypnotic, energetic and accessible.

.Charlie's music has been enjoyed by fans of new music, jazz, and

more for many years.

All in all, it looks like a promising start to another great season of

new music in Toronto.

compiled by David Olds

NN = some serious contemporary repertoire ·

NNN = thoroughly contemporary NI = new/improvised music

Friday September 03

NI - 8:00 & 1 O:OOpm: Rough Idea/Root

MeanSquare. SOIJOre.

Sunday September lZ

NI,-- 7:00: Music Gallery. Fresh Ears Family

Senes: Ex Tempore.

NN - 7:30: Collaborations: A Chamber

Arts Experience. Eqwlibnilm.

Sunday September 19

NN - 2:00: Fiona Strachan, soprano and

'Yline monauy


at the

St. George the Martyr Church

197 John St. 416-204-1080

Tickets $12, $8 seniors/students


Georgi Brough, piano. Women and Song

Thursday September ZJ

NNN - 7:30: Canadian Opera Company.

Ruders: The H;mdmaid's Tale.

NN - 7:30: Earshot Concerts. Gala Fundraiser.

Monday S1ptember Z7

NNN - 8:00: Soundstraams Canada/CBC

Radio Two. Kaleidoscope



for full line-up

and schedule, go to



. 416.588.8813

S ince WholeNote's editorial

focus this month is Music Education,

I wanted to bring to your

awareness some of the opportunities

for musical development outside

the Western c.lassical realm.

As I mentioned in a previous article,

we are increasingly living in a

true "Global Village," and as Torontonians

we are privileged to have

an1ong us many fine musicians and

teachers representing musical traditions

from around the world.


Below is a listing, by no means

complete, of some of the institutions

or venues in the city offering

instruction to the general public in

a variety of traditions, as well as a

few community ensembles that may

have openings for new members.

Now IN ITS second year, the Royal

Conservatory of Music's World

Music Centre offers a wide variety

of courses beginning in September

or January. Most are for adults,

though some accept teens. Courses

'offered: Gamelan, Steel Pan,

Taiko Drumming, Ghanaian Drumming,

Flamenco Guitar, Brazilian

Samba, World Music Chorus, Pan

Flute, Canadian Fiddling, Tinwhistle,

Tabla, Latin Jazz, Celtic

Harp. For more information, call

416-408-2825 or visit the website

www.rcmusic.ca and click on

RCM Communit School.

Worlds of Music Toronto

presents its lOth anniversary season

of Global Music Workshops

beginning in late September or

October (depending on the class).

These run for 6 to 12 weeks at

Hart House, U of T's Faculty of

Music and other locations. Classes

offered: Ghanaian Drumming,

Pan-African Drumming, Latin

Rhythms & Percussion, Bellydance

& Arabic Rhythm, Balkan

Song, Canadian Fiddle, Klezmer

Ensemble, Latin Ensemble, .Global

Music for Toddlers & Preschoolers,

Global Music for Educators.

For details, 416-588-8813

or www.worldsofmusic.ca.

IN ADDITION TO ns extensive array

of bellyance classes, Arabesque

Academy also offers classes in

Arabic drumming, singing and

rriusic. Upcoming, Dr. George

Sawa will instruct two workshops,

Arabic Singing and Arabic Drumming,

September 25-0ctober 30 at

20 College St. Call 416-920-5593

or visit www.arabesquedance.ca.

by Karen Ages

Dr. George Sawa

M-DO Centre for World Music

& Dance (50 Spadina Ave.). home

of the Toronto Tabla Ensemble,

offers classes in North Indian percussion

and North Indian classical

dance starting in September. Information

is being updated, so visit

www.tablaensemble.com (for tabla

classes/events); or v1slt

www.mdo-tte.org (for dance classes/events).

NEw IN TOWN, the Raga Music

School (414 Dupont) under the

direction of Neeraj Prem, offers

classes in Indian classical music,

including Sitar, Tabla and Voice,

from beginner to advanced levels.

Classes are also available in Han1-

ilton and Brampton. Call 416-895-

3624 or 905-529-7865 or visit


Clapping Land, a kids music ed

series run by Sophia Grigoriadis

(of Maza Meze fame) presents

World Music on the Danforth, featuring

two new music programs for

toddlers and pre-schoolers using

songs, activities and instruments

from around the world. Sound

Adventures is for 11/z to 3112 yearolds,

and Sound Explorers is for

3112 to 5 year olds. Call Sophia at


ONE CHILDREN'S and two adult Javanese

Gamelan ensembles rehearse

weekly at the Indonesian Consulate

on Jarvis at Richmond and may

still have openings for new members.

Gamelan Toronto rehearses

Friday evenings (call Andrew

Timar a't 416-653-8747) and

Gamelan Gong Sabrang rehearses

Thursday evenings (call Annette

Sanger at 416-461-3756 or e-mail

sabrang@s ympatico. ea). Both

groups give public perfoffi1al1ces.

The kids gamelan, Sekar Sunu

Laras, rehearses Mondays from

4:30-6pm; contact Nur Intan Murtadza

at 416-656-3060 or




A T I T • Q I 0 .R G I T H I M A R T Y R

Welcome to our new season! 2004/05 launches this month ...

After a stressful last season involving

deficits, funding cuts, staff layoffs and concert

cancellations, we here at The Music

. Gallery (Toronto's Centre for New and

Unusual Music) are happy to announce

that we are back in full force for the new

2004/05 season, our fourth year at our current

home, St. George the Martyr Church.

We return invigorated and excited to

announce new additions to our concert

programming. First off, we are launching

a new concert series called Pop Avant,

which features artists arising from the

independent pop and rock communities

who incorporate experimental ideas and

practices into their music. The Pop Avant

series launches with five concerts this

year -- confirmed acts so far include The

Microphones with Guitarkestra (Sept. 6)

and Devendra Banhart (Nov. 12).

Other innovations this year include

two special projects. the Italian Intensive

(focusing on Italian new music after 1950)

and an artists' residency with the

Madawaska String Quartet, beginning in

2005. Our long-running Composer Now

· series will be split iilto two components:

the V.l.P. (Virtuoso lntrumental

Performances) concerts and the ON

TOUR series, featuring new music artists

from across Canada .

We will continue our Collaborations

with other presenters, such as

Arraymusic, New Music Concerts, Ergo

Projects and NUMUS. And starting Oct.

4th, we present Nine Mondays, a salon

night held on the first Monday of every

month, hosted by and featuring

WholeNote Magazine's writers, editors

and associates.

In Music Gallery Institute news, the

Fresh Ears family series launches Sept. 12

with Ursel Schlicht's Ex Tempore (see

below). Fall sessions of the MGI instructional

programs for adults and families, in computer

-assisted music and creative world

percussion, start the week of Sept. 27. For

more info, or to register, contact Barry

Prophet at bprophet@idirect.com or 416-

588-2514. And the MGI and St. George the

Martyr's Wednesday afternoon Free Lunch

Music series returns Oct. 6, with the added

support of the Canadian Music Centre.

music gallery concert schedule: core programming, sept. '04

music gallery: rental information







mon 09/06 the microphones (wash.)+ guitarkestra (t.o.)


Anacortes, Washington native and singer/songwriter Phil Elvrum records under the name The

Microphones, releasing masterful psychedelic indie-pop albums like Mount Eerie (2003) and The

Glow, Pt. 2 (2001) on K Records. As a solo performer, he has played two sold-out shows at The

Music Gallery two years in a row. Now, he returns to launch our new Pop Avant series, with a

full-band set featuring backing from Toronto independent band the Sea Snakes. The evening will

be opened by Guitarkestra, a.k.a. Craig Dunsmuir, who melds minimalist composition with

African-inspired melodies, all held together with just an electric guitar and a looping pedal.




coming up in october

10/01 mandolini + poulin (italy/mtl.)

10/04 nine mondays



10/05 corona guitar kvartet (dk)


10/17 motion ensemble (n.b.)


10/28 madawaska string quartet (t.o.)



sun 09/12 ursel schlicht's extempore·· feat. ravish momim (nyc)


The Ex Tempore ensemble was formed by New York resident Ursel Schlicht in response to the

events of Sept 11, 2001. The German-born pianist-composer plays improvised music, jazz, new

and world music, and fostering intercultural exchange and collaborations has become an important

focus of her work. In September 2002, during the Documenta 11, she produced and performed

in "Ex Tempore 2", a week-long international collaboration featuring artists from

Germany, the US, India, Eritrea and Afghanistan. The Ex Tempore ensemble includes Gabriele

Hasler (vocals), Jamie Baum (flute), Ravish Momim (percussion), Brandon Terzic

(guitar/oud/saz/cumbus) and Thomson Kneeland (bass).

music gallery: co-ordinates

location: st. george the martyr·

church, 197 john st.


box office: 416-204-1080

web: www.musicgallery.org


SOCAN Foundation

The J.P. Morgan Chase



St. George the Martyr



toront d artsbounci I

I ..a. "'I'" I





Canada Council Conseil des Arts

for the Arts du canada


by Jim Galloway

A s I was beginning this

J-\: month's anicle I received

the dreadful news about the death

of Brian Ogilvie. Originally from

Vancouver, Brian was a rare talent,

both on clarinet and saxophone,

with a great love of the:: early

forms of jazz. He made his home

in Toronto for a number of years

where he quickly established hill)self.

The Ogilvie Brothers band with

Don on guitar and Kenny on bass,

became a fixture on the scene before

Brian's move to San Antonio

in 1992 and a place in the Jim Cullum

Band. In 1995 he moved to

New Orleans where he immediately

became one of the "in demand"

players. He appear.ed in festivals

here as well as in the States and

Europe and was playing at the

Nairn Festival in Scotland on August

12th. when he collapsed. Brian

died on the 14th of August without

regaining consciousness.

He was a member of my Wee

Big Band until his move to the States

and in that time he played his way

into the hearts of everybody in the

band and all who heard his music.

Brian's big, warm tone and his

concept of the traditions of the

music were only two of the ingredients

that made him special. He

was also a good guy.

His death, at age 50, is a profound

Joss - Brian was the real thing and

we all will miss him, but never

forget him.


Just when you thought it was all

over for the jazz festival season,

here comes another - this time it

is the 3rd annual All-Canadian

Jazz Festival in Port Hope, September

24 to 26. Necessity may

well have been the mother of invention

and the decision to make

the Port Hope Festival 100% Canadian

a mixture of budgetary concerns

along with a sense of patriotism,

but whatever, the event has

a stellar Maple Leaf line-up of artists

such as Ranee Lee, Francois

Bourassa, Alain Caron, Christine

Jensen, Renee Rosnes, Michael

Kaeshammer, Alex Pangman and

Pat LaBarbera - just some of the

artists helping to turn the town into

jazz city for a week-end.

DowN Bv THE OLD MtLL. ••

The Old Mill, built on the site ,of,

the original 200-year-old King's


Mill,is something of an institution

in this town and not just as a hotel

and spa. It has been a home for

music for a long time. In 1921 it

began to feature dancing to live

music, albeit with a pretty small


violinist Cec Ryder and

pianist Nelson Hatch.

When a

new dance floor was added in 1929,

the duo expanded to a nine piece

orchestra. In more recent years it

has been one of the few, if not the

only place to go dinner-dancing,

although the band became a small


Well, on the 24th of September

it will be big band night again at

the Old Mill when the last Friday

in the month is turned over to the

is a "Jazz Studies Benefit Concert

" - PJ Perry and an all-star faculty

ba nd with Alex Dean, Terry

Clarke, Kirk MacDonald, Terry

Promane, Paul Read, Chase Sanborn

& Dave Young. Tickets for

this special one-nighter are $50.00.

The Rex continues its admirable

support of local musicians,

(with the occasional visiting firemen),

in another jazz-filled month

featuring literally dozens of bands

over the 30 days which hath September.

FRANK FALCO IS ONE of the best

piano teachers in town. He is also

a really good player, but one who

has chosen over the years to "hide

his light under a bushel''. To say

that he has kept a low profile over

the years is an understatement, but

he has been coaxed out of his

house and you can catch him on

Sunday September 12th at Christ

Church Deer Park, 1570 Yonge

Street, at 4:30. With Frank you can

hear Rick Wilkins on sax, Scott

Alexander, bass and drummer Brian


Two weeks later at

the same altar of jazz you can hear

the solo piano of Marilyn Lerner.

As you can see, lots going on, so

please get out there and listen to

some live jazz. You'll feel better

for it. Happy listening!

swing sounds of a big band. The.-----.

series will kick off with my Wee

Big Band and you are cordially



Summer is now lodged in the memory

bank and we are into the fall

season which. means that the club

scene starts

to heat up for the

colder weather with visiting artists

such as singer/songwriter Anne

Hampton Calloway at the Top 0'

The Senator late in the month, followed

by one of our adopted favourites

originally from Quebec,

Renee Rosnes, who brings her

quintet to the club t.o take us ·from

September into October.

Over at The Montreal Bistro,

there are a couple of special events

during the month. On Monday,

September 20, a tribute to Duke

Ellington will feature David Warrack

and Friends - with Shakura

S' Aida, Thom Allison, Bill Bridges,

Duncan Hopkins, Michael Stuart

& Don Vickery and a week later

on Monday, September 27 there

In the Jazz Listings

Dave Buchbinder: catch Shu rum Bunun Sep 4, 11; and Oct 6

by Sophia Perlman

While September is gearing up

to be an exciting month for. jazz

in the clubs, it is also going to

be an equally exciting month in

the concert halls - with a range

of jazz performances happening

in the Greater Toronto Area.

The Toronto Progressive

Jazz Concert Series presents

eight concerts featuring world

renowned jazz artists at various

concert halls and clubs across

Toronto, beginning September

11, with the Addison Groove

Project at The 360. The series

continues with performances by

Soulive, and the Dave Holland

Quintet performing in

September, with performances by

many others in October and

November. (See our Co11cert

Quick Picks for more details).

Just when you thought you'd

seen the end of the festival

season, there two great

opportunities to get out of the

city and hear some great music

this fall. The Guelph Jazz

Festival (September 8-11) and

the All-Canadian Jazz

Festival in Port Hope·

(September 24-26) offer a

great opportunity to hear both

some great established

musicians as well as some

incredible rising talent.

Speaking ofrising talent, this

month students are returning to

classes at not one, but two

renowned jazz programs in

Toronto. On September 27•h,

the UofT jazz studies program

is holding a benefit concert at

the Montreal Bistro featuring

some of its faculty - including

Alex Dean, Terry Clarke, Kirk

MacDonald, Terry Promane,

Paul Read, Chase Sanborn and

Dave Young (Tickets $50

through the University: 416-


And of course, as always,

the clubs are full of great

Toronto jazz. For more

information, please see the

listings on page 52.


Go Guelph: I Ith Jazz Festival Outdoes Itself



f your musical interests encom-

pass avant-garde jazz and im-

provised New Music, you most def-

ticket prices to boot. A dream quarinitely

want to savour year 11 of

the Guelph Jazz Festival, Sept 10-

·Now to the superb music.

There's a generous presence of

avant-garde pioneers with modest

tet with saxophonist Archie Shepp,

trombonist Roswell Rudd on trom-

12. If your schedule permits, take bone, bassist Reggie Workman,

three vacation days at the lead-in

and drummer Andrew Cyrille headcolloquium

where scholars and mu-

sicians trade thoughts on the art

leads a percussion quartet that inthat

is the centre of their lives, in-

eludes fellow jazz pioneer Famouterspersed

with a generous dollop

of concerts and musicians' work-

shops. This celebration begins the

afternoon of the 8th and runs

through Friday, including Thurs-

day evening where eminent saxo-

phonist and composer Oliver Lake

joins forces with Native American

lines Saturday night. Cyrille also

dou Don Moye and two master

Ghanaian drummers.

William Parker is both a top

bassist and key organizer of the

Down town scene. The seminal

Chicago percussionist Hamid

Drake and the remarkable Tuva

vocalist Sainkho Namtchylak round

vocalist Mary Redhouse. out the group. Free jazz bass pio- ·

Guelph 's an important player in

fostering Canada's New Music.

The artistic director Ajay I-Jehle and

festival manager Julie Hastings

Leandre in a duo with San Franwork

hard to expose musicians

from New York's Downtown

neer Barre Phillips leads a trio.

The bass cornucopia includes

France's multidimensional Joelle

cisco violinist India Cooke.

Younger generations are not nescene,

the nerve centre of avant- glected. Percussionist Suzie lbargarde

jazz, and their European

counterparts to this country's ex-

ceptional talent. The festival's of-

ficial launching of a new interna-

ra, a very bright new light in the

New York jazz scene, leads a trio.

Drummer John Hollenbeck and

Downtown vocalist Theo Bleck-

. tional journal on improvised mu- man are full of surprises. The 4insic

will provide parallel exposure

for Canadian researchers.

Within Canada, Guelph bridges

derfully in Quebecite, the jazz opour

musical solitudes. This year's

Objects jazz collective features

Yoon Sun Choi, who sang won-

era premiered at last year's festileading

lights from Montreal 's vi- val. Toronto's Barnyard .Drama,

brant improv scene include Jean

Derome, Joanne Hetu,

Walsh, Michel Lambert and Thorn

Gossage. The broad network of

sponsors that Heble and Hastings

recruited bodes well. The lead

sponsor of this Ontario festival is

none other than Quebec's premier

featuring vocalist extraordinaire

Tom Christine Duncan and drummer/

turntablist Jean Martin is quite ca­

pable of holding its own in the

company of this distinguished

Downtown New York talent.

The above is just a sample. For a

full schedule, call 519-763-3155, or

financial institution, Desjardins! go to www.guelphjazzfestival.com .

Featuring some of Toronto's best jazz musicians

with a brief reflection by Jazz Vespers Clergy

Sunday, September 12 • 4:30

RICK WILKINS, saxophone; FRANK FALCO, piano;


Sunday, September 26 - 4:30

MARILYN LERNER, solo piano

Christ Church Deer Park, 1570 Yonge Street

(north of St. Clair at Heath St.) 416·920-5211

Admission is free.

An offering is received to support the work of the church, including Jazz Vespers.

• all-canadian


FESTIVAL oort hope

September 4. 25 & 26. 1004

Mapf !.eeV.r.oove

Salute to Canadian Composers

Montreal Smokes

Alain Caron

Franois Bourassa

Michel Donato's Hot Club Trio

The Canadian Premiere of


Daytime Concerts

Memorial Park 12.00 noon -6.00p.m.

Sat u r d·a y

Blow Your Own Horn Jazz Parade

Kevin Clark • Pat LaBarbera Quintet

Alex Fangman • Roberto Occhipinti Sextet

Daniel Barnes Trio ·Moe Koffman Tribute Band

Young Jazz Showcase ·


Peter Dent Quartet •Brian Barlow Brass Quintet

Karin Plato Quartet• Michael Kaeshammer

Christine Jensen Quartet• Young Jazz Showcase


Great Jazz' all Weekend in Port Hope

Canada's National Jazz Festival


Headliner Concerts $30. Night Club Cover $10

Memorial Park: Daypass $15 Weekend $25, under 12's free.

Tickets 1-866-565-5009

Online at www.capitoltheatre.com

and at the gate for Daytime Passes

Port Hope is' one hour east of Toronto on the 401, exit 461


Here it is. To the best of my knowledge, this is the most complete list of bands in

Southern Ontario you'll find in one place. The list is divided into four sections:

Community Bands, Brass Bands, Youth Bands and "Etcetera". Within each section

bands are listed in order of rehearsal day, starting with Monday. It's wise to

make contact by phone or e1T1ail before heading out to a rehearsal, just in case

the group you're interested in has an upcoming event or has changed its schedule.

If you find a band listing is incorrect, forward the info to me at

merlinwilliams@sympatico.ca and I'll do an update in an ypcoming issue.


Cambridge Concert Band

Conductor: Gerald Stepheson

Contact: Liz Reed 519 653· 1055


Website: www.cambridgeconcertband.com

Rehearsals: Mondays, 7:45pm at the

Preston Legion, Br. 126, Westminster &

Margaret Sts. in Cambridge

Instruments needed: oboe, trombones and


East York Concert Band

Conductor: Ernie Walker

Contact: Ernie Walker: 416-266 -1958

c onduc tor@east yo rk concert band. ea

Website: www.eastyorkconcertband.ca

Rehearsals: Mondays, 8pm starting Sept. 13

McGregor P.S.

Coxwell & Mortimer, East York

Instruments needed: horns, bassoon, alto/

tenor/bari sax, percussion, clarinets, flutes

Kitchener Musical Society Band

Conductor: Paul Schalm

Contact: Paul Schalm: 519-742· 1137


Website: www.kmsb.org

Rehearsals: Mondays at 7:30pm

Victoria Park Pavilion, Kitchener

Instruments needed: all

The Koffler Concert Band

Conductor: Resa Kochberg

Contact: Resa Kochberg 905-731·4845 or

Adrienne Cohen 416-636· 1880 ext.228

Rehearsals: Mondays, 8pm

8BJC 4588 Bathurst St., Toronto

lnstnments needed: brass, but all are welcoo1!

Markham Concert Band

Conductor: Ooug Manning

Contact: John Brooker 416-332·4639 or

jbrooker@netstar .ea

Website: www.mcb.on.ca

Rehearsals: Mondays, 7:30 pm at

Markham Community Centre

Hwys. 48 & 7, Markham

Instruments needed: all

Niagara Falls Concert Band

Conductor: Brenda Green

Contact: Bob Ourst 905·935-3276

Rehearsals: Mondays, 7:30 pm

Legion on Spring St., Niagara Falls

North Toronto Community Band

Conductor: Denis Mastromonaco

Contact: Gale Bassett 416-481· 1978


Rehearsals: Mondays, 7:15 pm starting

Sept. 13 at Lawrence Paik C.I. Auditorium,

125 Chatsworth Dr. Toronto

Instruments needed: trombone, euphonium.

horn, alto sax. flute

The Regimental Band of The Lorne

Scots (Peel, Duffarin and Halton Regiment)

Conductor: Henry Verschuren CD

Contact: Henry Verschuren 416-564·3126


Rehearsals: Monday evenings · call for

time and location

Instruments needed: all, some supplied

Scarborough Community Concert Band

Conductor: Tom Dowling

Contact: Tom Dowling 416·282·7973


Website: www.sccb.org

Rehearsals: Mondays, 7pni at Samuel

Hearne P.S., near Danforth and Pharmacy

Instruments needed: all

South Simcoe Concert Band

Conductor: Major Don Embree

Contact: Ron McKay 705-424·0312

Rehearsals: Mondays

Oetiker Ltd., 203 Dullerin St. S., Alliston

Instruments needed: all

Waterloo Concert Band

Conductor: Martin Lacoste


Website: www.waterlooband.com

Rehearsals: Mondays at 8pm in the Adult

Recreation Cen.tre, King St., Waterloo

Instruments needed: all (esp. saxes, horn,

tuba, double reeds)

Barrie Concert Band

Conductor: Daniel Johnston

Contact: Earl Winter 705-721-6863 or

Henry Bergsma 705· 721-4168

Rehearsals: Tuesdays, 8pm to 1 Om

Allendale Recreational Centre, corner of

Bayview and Little Ave., Barrie

Instruments needed: all

Brampton Concert Band

Conductor: Darryl Eaton

Contact: David Harmsworth

905·451-6389 (h), 905-451-0174 (b)


Web: www.bramptonconcertband.com

Rehearsals: Tuesdays, 7:30pm

55a Oueen St. E., Brampton

(beside the library)

Instruments needed: clarinets, auxiliary


Dundas Concert Band

Conductor: Bill Rolfe

Contact: Kurt Schipper 905-628-8512

Rehearsals: Tuesdays, 8pm

Dundas Town Hall,

Main St. W., Dundas

Instruments needed: euphonium, flute,

clarinet, trombone, oboe, bassoon,


Festival Wind Orchestra

Conductor: Gennady Getter

Contact: Shelley Goodman 416-491· 1683.


Website: www.festivalwindorchestra.com

Rehearsals: Tuesdays, 7:30pm

Earl Haig S.S., room 163,

100 Princess Ave. North York

Instruments needed: all, and principal


Galt Kiltie Band

Conductor: David Davidson

Contact: Bob Fox 519-621-8707

Website: www.galtkiltieband.com

Rehearsals: Tuesdays, 8pm

please contact for location

Instruments needed: clarinets, bass

clarinet, flutes, oboe, tuba

Hart House Symphonic Band

Conductor: Keith Reid

Contact: Linda Oiiman 416-978-5363

Ii nda. off man([i ut o ronto. c a

Website: http://hhsb.sa.utoronto.ca

Rehearsals: Tuesdays, 6:30pm

Great Hall at Hart House

(open rehearsals on Sept. 14 & 21)

All welcome to audition. Hart House

membership/student status required

Newmarket Citizens' Band

Conductor: Leslie Saville

Contact: Carol Bracken 905-478-2530

gay lambert@hotmail.com

Website: members.rogers.com/ncband

Rehearsals: Tuesdays, 8pm,

Newmarket Lions Club,

375 D'Arcy St., Newmarket

Instruments needed: all welcome, esp.

bassoon, tuba, all bass instruments

Oakville Wind Orchestra

Conductor: Chris Arthurs

Contact: Jacquie Holmborg 905-338·8114


Rehearsals: Tuesdays, 8pm

Iroquois Ridge S. S., Glenashton Rd.,


lnstrul"(lents needed: tuba, clarinets,

bassoon, euphonium, percussion

Pickering Community Concert Band

Conductor: Andrew Locker

Contact: Brian Rose 905-683-9867


Website: www.concertband.ca

Rehearsals: Tuesdays, 7:30pm

East Shore Community Centre

910 Ljverpool Rd., Pickering

Instruments needed: all

Thornhill Community Band

Conductor: Denny Ringler

Contact: Joan or Lawry Sax

416·223·7152 or tcband@rogers.com

Website: www.tcband.ca

Rehearsals: Tuesdays, 7:30pm

Westmount C.I., Bathurst & New

Westminster, Vaughan

Instruments needed: all welcome, esp.

bassoon, tuba, bass, percussion, flute,

clarinet, horn

Caledon Concert Band

Conductor: Rob Kinnear

Contact: Zandra Alexander


Website: www.caledonconcertband.com

Rehearsals: W1dn11days, 7:30pm

Caledon East Community Complex,

behind OPP station on Old Church Rd.

Caledon East

Instruments needed: clarinets, trumpets,

horns and percussion. All players ·

welcome, even rusty.

Etobicoke Community Concert Band

Conductor: John Edward Liddle

Contact: Bob Dobson 416-621 ·4231

Rehearsals: Wednesdays, 7:30pm

Etobicoke C.I.,

86 Montgomery Rd. Etobicoke

Instruments needed: bass clarinet,


Frontenac Community Concert Band

Conductor: Rick Cory

Contact: Rick Cory 613-549-7436,


http://post.queensu.ca/ - ab25/FCCB

Rehearsals: Wednesdays, 7:30pm

Loyalist Collegiate, Kingston

Instruments needed: all

Hamilton Concert Band

Conductor: Gerald Stephenson

Contact: Dave Pearson 905· 772-5205


Website: www.hamiltonband.org

Rehearsals: Wednesdays, 7:30pm

Emmanuel United Church

Upper Ottawa & Mohawk., Hamilton

Instruments needed: horns, percussion,

euphonium, bassoon

Mississauga Pops Concert Band

Conductor: Denny Ringler

Contact Allan Harris 905-681·2047

info@mississaugapops.com '

Website: www.mississaugapops.com

Rehearsals: Wednesdays, 7:30 pm

Eden United Church, NW corner of Winston

Churchill & Battleford, Mississauga

Peel Police Chief's Ceremonial Band

Conductor: Lino Varano

Contact: Band Manager, Leona Beck

905· 790·0171

Rehearsals: Wednesdays, 8pm

Peel Police Headquarters,

7750 Hurontario St. . Brampton

Instruments needed: all (minimum agel 71

Thorold Reed Band

Conductor: Brian Williams

Contact person: Brian Williams


Rehearsals: Wednesdays, 7:30pm

St. John's Anglican Church

Ormond St., Thorold

Instruments needed: all

Clarington Concert Band

Conductor: Barrie Hodgins

Contact: Colin Rowe, President



Web: www.geocities.com/clarington


Rehearsals: Thursdays, 7:30pm

Bowmanville Sr. P. S.,

105 Oueen St., Bowmanville

Instruments needed: all

Fort Erie Legion Concert Band

Conductor: Brian Williams

Contact: Brian Williams 905-227-0150

Rehearsals: Thursdays, 7:30 pm,

Fort Erie Legion, Garrison Rd., Fort Erie



Instruments needed: all

Lydian Wind Ensemble ,

Conductor: Mike Onyschuk

Contact: William Patton 905-666-3169 .

wpatt on@sympat i co. ea

Website: http://durham.metrolandhub.com/

main.wsi?group id-100

Rehearsals: Thursdays· at 7:30 pm, call

for location in Whitby

instruments needed: all, esp. horns,

trombones, saxes; auditions within


North York Concert Band

Conductor: John Edward Liddle

Contact: Sidney Gangbar


sydneygangbar@rogers. corn

Website: www.northyorkconcertband.ca

Rehearsals: Thursdays, 8pm.

Instruments needed: all

Swansea Community Concert Band

Conductor: Frank Evans

Contact: Michelle Springer, 416-286-1045


Rehearsals: Thursdays, 7-9 pm

Western Technical and Commercial School,

123 Evelyn Cres. Toronto (starting Sept. 16)

All are welcome

Bayfield Winds Concert Band

Conductor: Hug McGregor

Contact: Paul Oearlove 519-565-5611

Rehearsals: every 2nd Sunday, 1:30pm

Goderich D.C.I.

Instruments needed: low reeds, horns, oboe

Guelph Concert Band

Conductor: Colin Clarke

Contact: Leslie MacDonald 519-837-0276


Website: www.guelphconcertband.org

Rehearsals: Sundays, 7pm at the Guelph

Youth Music Centre, 75 Cardigan St. Guelph

Instruments needed: all

Northdale Concert Band

Conductor: Stephen Chenette

Contact: Laura Rosenfield 905-886-0858

laura rosenfield@yahoo.com

Rehearsals: Sundays, 7:30 pm at Victoria

Park. & Lawrence Ave., Scarborough

Instruments needed: mallet percussion


Fergus Brass Band

Conductor: Bill French

Contact: Peter Harris 519-843-5609

Website: www.icomm.ca/fergusbb

Rehearsals: Tuesdays at 8pm

Blair St., across from the Fergus Legion

Instruments needed: all brass band

instruments, reeds, woodwinds, sax

Metropolitan Silver Band

onductor: Fran Harvey

Contact: Ken Allen 416-757-8697 or


Website: www.metunited.org

Rehearsals: Tuesday evenings, 7:45pm

Metropolitan United Church

Oueen St. and Church St. Toronto

Instruments needed: all brass band


Weston Silver Band

Conductor: Larry Shields

Contact: Dave Pearson·905-772-5205

Website: www.westonsilverband.org

Rehearsals: Tuesdays, 8 pm, Central

United Church, Weston Rd. N. of Lawrence

Instruments needed: cornets


Burlington Teen Tour Band

Conductor: Bill Hughes

Contact: Rob Bennett, Music Programs

co-ordinator, 905-335· 7807

Website: www.teentourband.org

Rehearsals: Music Centre in Burlington's

Central Park · call for times

Instruments needed: all

Etobicoke Youth Band

Conductors: Les Dobbin and Ken Hazlett

Contact: Michael Samotowka


Website: www.eyb.com

Rehearsals: call

All welcome to audition.

Hannaford Street Youth Band

Conductor: Larry Shields

Contact: Larry Shields 416-503-8673


Rehearsals: Saturdays

Instruments needed: all brass & percussion · ·

membership is by audition

Toronto Youth Wind 0 rchestra &

Concert Winds

Conductors: Colin Clarke & David Lum

Contact: Adrienne Pluim 519-835-0492


Rehearsals: Sundays, 1 :00 pm

St. Michael's College

1515 Bathurst St. at St. Clair

All players welcome to audition; call for info


Argonotes, the Toronto Argonauts Band

are always on the lookout for players to

fill out their ranks for the remainder of the

CFL season. If you subscribe to their

philosophy "faster + louder - better",

'then contact the Musical Dictator !not a

typo!) Steve Hayman at 416-769-2847.

steve@argonotes.com, website:

www.argonotes.coni. The band is

currently looking for some sousaphones,

as well as all other instruments.

The Hamilton Tiger Cats are looking for

musicians to join the Tiger Cat Band.

You must be at least 18 years of age and

own your own instrument (except drums.)

The band will play at homes.games,

parades and local events around the

Hamilton area.

Contact Rick Allen

905-388-8236 press #2 or

905-547-2418 x 552 or leave a short

bio-resume at htcband@yahoo.com.

Woodwind doubler Merlin Williams is an

Artist/C linician fo r Jupiter Music

Canada. If you would like an upcoming

band event to be featured in the

Bandstand column, feel free to contact

Merlin by phone at 416-803-0275 or by

e-mail at merlinwilliams@sympatico.ca


Instruments & Accessories

Sales • Rentals • Lease to Own

100% of First Year's Rent

Applied Towards Purchase Price!

Largest Selection of Music for:

*Band • Orchestra • Jazz

*Instrumental Solos & Ensembles

*Recorder Methods • Elementary & Choral

Pop Piano/Vocal/Guitar• Classical Piano

*Available at the Markham location only

Harknett Musical Services

Markham Location

(905) 477-1141

2650 John St, unit 15


Mid-Town Location

(416) 423-9494

943 Eglinton Ave East


www.harknettmusic.com • info@harknettmusic.com












A scene from the Royal Danish Opera p;oduction of The

Handmaid's Tale, 2003.



Courses & Tours



Iain Scott

Sept. Opera 101 - An introduction to Italian Opera.




Jan. 15-16




Myths and Legends in Opera

Ten Top Tenors

Upcoming Operas

Weekend Seminar on "Siegfried"

The Art of Bel Canto

Virgil & Verdi

7 Opera Tour of Northern Italy

www.opera-is .com 416-486-8408

Opera-lovers looking for excitement tinople starring Patricia O'Callaghan

beyond Opera's Top Ten will find and Maryem Tollar. It is described

2004--05 full of riches. The season as "a moving musical, theatrical, and

opens with the Canadian premiere visual exploration of the mythical and

of Danish composer's Poul Ruder's the human, the temporal and the tilre­

The Handmaid's Tale playing Sep- less". At about the same time (Notember

23-0ctober 9. Based on the vember 11-14) the University of

novel by Margaret Atwood, the high- Toronto Opera Division presents

ly-acclaimed opera from 2000 is set an unusual double bill on the theme

in a fundamentalist United States of of death. Paired with Puccini's Githe

future where fertile women are anni Schicchi is a rare outing of

enlisted to have children for the child- Gustav Holst's chamber opera Savitri

less elite. Part of the city-wide "Su- (1908) based on a Hindu story. Also

per-Danish" festival, it stars a in November Royal Opera Cananumber

of former COC Ensemble da makes its first foray into the

members and uses the sets and cos- Russian repertoire with a production

tumes of the original Danish pro- of Tchaikovsky's Eugene Onegin


playing November 13-20 at the Liv­

On October 30 and 31 Opera in • ing Arts Centre in Mississauga and

Concert presents the 1916 zarzuela

November 25-December 4 at the

"El Gato montes" by Manuel Perr ella

Toronto Centre for the Arts.

about a tragic love triangle. Novem- In December the COC continues its

ber 10" 13 Tapestry New Opera exploration ofBenjamin Britten with

Works presents the Toronto pre- a production of his comic opera Almiere

of Christos Hatzis's Constan- bert Herring showcasing the COC


are invited to participate in

an operatic recital. Maestro

Vaguif Kerimov (tenor), a

soloist from La Scala,

Covent Garden, Metropoli-

. tan Opera, announces a

concert honouring his teacher, Maestro

Guiseppe di Stefano, which will take place at

the Glenn Gould Studio on January 28, 2005.

To schedule an audition, please call 416-425-

8812, or e-mail vaguifkerimov@hotmail.com.



Ensemble (November 30-December

5). For one performance only on

December 5. Opera in Concert

presents an all-Canadian double bill

of Timothy Sullivan's Dream Play

(1988) and Charles Wilson's The

Sumnwning of Everyman (1972), a

rare opportunity. to acquaint oneself

with Canadian works from the recent

past. While Hungarian composer

Emmerich Kalman's Countess Mari1za

(1924) is standard repertoire in

Central European countries, it is seldom

heard in North America. From

December 26 to January 8 Toronto

Operetta Theatre gives audiences

a chance to enjoy one of the best

Silver Age operettas ever written.

The operatic event of the new year

is undoubtedly the continuation of

the COC's Ring Cycle with Wagner's

Siegfried playing January 27-

February 11, 2005. This time Francois

Girard, responsible for the

COC's Oedipus Rex, is the stage

director. Frances Ginzer and Peteris

Eglitis reprise their roles as Brunnhilde

and Wotan and bass-baritone

Pavlo Hunka, Hunding in "Die

Walkure", returns as the evil Alberich.

Christian Franz makes his

COC debut in the title role.

Mozart's Die Entfuhrung aus dem

Semi! should not really count as a

rarity, but in fact it hasn't been seen

in the area since a COC production

in 1980. Opera Ontario fills that

lacuna with its production beginning

in Kitchener on February 5 and imving

to Harnilton for February 12 _ 19.

Toronto audiences to the Spanish

Guards that might have come from

Gilbert and Sullivan.

March will see many works based

on myth and fairy-tale for the citywide

"Metamorphosis" festival.

·March 4-12, the University Opera

Division tackles its second opera by

Handel with Semele (1744), directed

by Tom Diamond and conducted

by Tafelmusik's Jeanne Lamon. On

March 9 and 10 the Toronto Symphony

Orchestra presents a concert

version of Stravinsky's opera Le

Rossignol (1914) based on the tale

by Hans Christian Andersen featuring

soloists from St. Petersburg's

Mariinsky Theatre. Reaching back

to the 17th century, Toronto Consort

presents a concert version of

Luigi Rossi's Orfeo (1647) on

March 11 and 12.

Jn April the COC ventures into new

territory with Tancredi, its first ever

production of one of Rossini's serious

operas. From April 1-16 audiences

can thrill to vocal fireworks ·

from beloved Polish mezzo Ewa

Podles in the title role and American

soprano Laura Claycomb, who was·

such an outstanding Gilda, as Tancredi

's beloved Amenaide. From

April 22-30 Opera Atelier brings

back its classic double bill of Henry

Purcell's Dido and Aeneas and Marc-

Antoine Charpentier's Acleon starring

Colin Ainsworth, Na!halie Paulin,

Laura Pudwell, Curtis Sullivan

and Krisztina Szabo.

The season ends with Tapery's

February 18-20 the Toronto Oper-

etta Theatre continues to introduce

world premiere of The Shadow, an

opera by Omar Daniel to a libretto

by Alex Poch-Goldin in which a

zarzuela with El Barberillo de Lava - pos 1Il1a!1 assumes a complex identi-

. ty to win the love of a wealthy womp1es

(1874) by Francisco Asenjo

1 d th rf fi · h

Barbieri, a work both roma nt i c and

an. t soun


s e pe ect !Ills to an

. unusually vibrant season.

satiric with a chorus of Walloon

the Joy of Opera

York Region's Professional Opera Company

Bizet's Thursday November 25 1"

Car-men With Andrew Tees and David Pomeroy


I a lifJhrne

Under the Artistic Direction of Penelope Cookson

April 2nd & 3rd, 2005

Full Pmdurtinn

Markham Theatre for the Performing Arts

171 Town Centre Blvd., Markham (at Warden and Hwy 7)

To order subscription tickets call: 905-763-7853

Opera York's n1ission is to provide professional opera that is accessiblejinancially.

geographically and comprehensibly to the cammunities of York Region and to

encourage the art form through educational and outreach activities.

Please go to WWW. operayork. COm for more information

al llerO



Edward Jackman centre

947 Queen Street East

Toronto, ON M4M 119

Guillermo Silva-Marin, General Director



Opera in Concert Chorus


Robert Cooper, Conductor·

Marriage of Figaro by w. A. Mozart

A fully-staged version.of this classic opera

September 8, 10 & 11 at 7 pm

September 12, 2 pm

Walmer Centre Theatre, 188 Lowther Avenue

(within Walmer Rd. Baptist Church)

North of Bloor, west of Spadina; near Spadina TTC.

Tickets: $18 - $20

Tel: 416-604-1557


E-mail: the_nocc@hotmail.com

September 8, 2004 from 6:00 to 10:00 p.m.

Join our elite choral ensemble for the 2004-2005 Season


by Manuel Penella


by Sergei Prokofiev


by Gaetano Donizetti

Please call OICC Chorus Manager

Catherine Erickson 416-932-3157 or

E-mail: admin@operinconcert.com



by Phil Ehrensaft

In, Out, and In Favour Again

Three Generations of Lucia's Renaissance

Poor Lucia di Lammermoor had a UNTIL RECENTLY, the debate over the

doubly sad fate. On stage, the her- gold standard for historical Lucia reoine's

lldeserved torments produced cordings involved three EM! recordthe

mother of all opera.',; mad scenes. ings by Maria Callas: is it the mono

Off stage, Lucia counted among '53 or stereo '59 studio recording,

Donizetti's works that were iconic both conducted by Seraf)Il? or the

during the half-century following the live mono 1955 recording with von

composer's death in 1848, then Karajan at the Berlin State Opera?

dwindled in status during the first Now Naxos Historical offers us

decades of the twentieth century. a masterfully restored 1939 Italian

Donizetti was a hyperkinetic mass Broadcasting Authority recording

producer of superficial vocal excess- featuring one of the very great soes;

ergo Lucia must be pulp. pranos of that era, the ltalian-Amerln

fact, Donizetti was the Charles ican Lina Pagliughi. World War II

Dickens of early romantic opera·. prevented this recording from being

Both could fire off great works at issued before the late 1940s as mono

dizzying paces. Both were masters LPs. Naxos' restoration wizard

of dramatic structure. Nobody bats Wade Marston worked from four

1000, but Donizetti's and Dickens' relatively clean pressings that were

lifetime averages exceeded most art- nevertheless plagued by surface

ists' dreams. Donizetti 's climb back ·noise. The restored voices are refrom

the minor leagues began in the markable clear. Orchestral so llds

1930s. Thanks to high tech, we are richer than expected for this era.

can chart the rise on historical re- Above all, Pagliughi's sweet voice

cordings and contemporary DVD's. gives us a supremely suitable Lucia.

Sir Walter Scott's novel, The

Bride of Lammermoor has a core of

brutal truth. Dynastic pre-industrial

Europe often forced people to wed

contrary to their sentiments. Many

were miserable, some driven mad.

Pagliu-ghi's precisely controlled coloratura

gives us just that. She's not

a neurotic. She's a perfectly normal

yollllg woman driven mad.

Moving ahead, we have a 1971

Italian Lucia film reissued in DVD

by V Al.

It starred another Italian­

American diva, the exquisite Anna

Moffo opposite the statuesque Lajos

Kozma's Edgardo.

This Lucia is prototypical of one

school of opera .on film, circa the

'60s and '70s -- the.seventeenth century

castle is a perfect location but at

a price: voice-0vers. At least this film

uses the studio singers as actors (not

always the case in this genre) so the

lip sync is not too bad. However, if

I tried to define mannered opera acting,

I'd show clips from this Lucia.

More than countering all this

schmaltz is Anna Moffo. Offered

Hollywood roles, she turned them

down because she wanted to become

a n ll. To music lovers' good fortune,

she decided to study opera at

the Curtis Institute. Here we have

one of the finest sopranos of her

generation, totally at ease, in prime

form, and in a signature role.

The Opera National de Lyon's

new DVD of Lucie de Larnmermoor,

on the TDK label distributed

by Naxos, is entirely different. It's

a live 2002 production of the French

version of Lucia, uncut, running

145 minutes. This French version

heightens Lucie's psychological isolation

by eliminating the role of Alisa,

the heroine's old nurse.

The big hitter here is Roberto

Alagna as Edgardo. The main spotlight

is usually on Lucia (Patrizia

Ciofi's Lucie is distraught and inward

looking, and justly attracts multiple

curtain calls from the Lyon audience).

But Alagna is Edgardo.

On the technology side, this Lucie

is a thoroughly modem Millie.

We can choose between 5 .1 surro lld

sound and impeccable stereo. Colour

balance is impeccable. The camera

work can be tiring. Gloomy'old

Scotland gets so much backlighting

that the singers' features are half

obscured. And close-ups are emphasized

in a way that will be attractive

only to people who make love to

their opera glasses. That being said,

starting a Lucia collection with

TDK's Lucie and the m:xlestly priced

Naxos Lucia are smart moves. •

Prepar your Voice for the World Stag

For the past 20 years Daniel Eby, Artistic Director of

The New School of Classical Vocal Studies (NSCVS),

has taught vocal technique in dqwntown Toronto.

Over the years, some amazing voices have been developed in

his vocal studio, and many of them have gone on to fulfilling

careers in the operatic world.

In 1993, Daniel Eby produced Mozart's Don Giovanni, with the

youngest adult cast in its history; and in December of 200 I, he produced

a SO'h anniversary production ofMenotti's Amahl and the Night Visitors

at the DuMaurier Theatre, with sets, costumes and orchestra.

One of his former students, Othalie Graham, who, at age 19, sang

Donna Anna in Don Giovanni, was recently described by the music

critic of the Philadelphia Inquirer as havihg a voice like a

'force of nature" in her title role portrayal of Strauss' Elektra.

This season, NSCVS is auditioning singers for the revival of

The Magical Journey from Mozart to Musicals, in a new

Operatic Cabaret Review, opening in October.

Prepare your voice to reach World Class potential!

Please contact Daniel Eby at

416-92/-9800 or, E-mail NSCVS@yahoo.com




by Brian Blain

Jane Bunnett, O.C.: Her

Excellency the Right Honourable

Adrienne Clarkson, Governor

General of Canada, recently

announced 79 new appointments

to the Order of Canada, including

Toronto Musicians' Association

member, Jane Bunnett. Jane is

known for her creative integrity,

improvisational daring and

courageous artistry. Her

exploration of Afro-Cuban

melodies expresses the universality

of music and her ability to embrace

and showcase the rhythms and

culture of Cuba has been

groundbreaking. She has toured the

world bringing her own special

sound to numerous jazz festivals,

displaying her versatility as a

flutist, saxophone player and

pianist. As an educator,

spokesperson and social activist,

she remains unafraid to explore

uncharted territory in her quest for

excellence. Congratulations Janel

More Congratulations!

Nathaniel Anderson-Frank is

this year's winner of the Music

Performance Fund Scholarship for

Local 149. Nathaniel has studied

with Erica Davidson of the Royal

Conservatory of Music, Zoya

Leybin of the San Francisco

Symphony and Leo Wigdorchik

of the University of Toronto. He

will be continuing his studies this

fall at the Cleveland Institute of

Music. TMA Vice-President, Neil

Spaulding presented a cheque for

$750.00. to Nathaniel on July 25,

2004 at Mel Lastman Square

during an excellent MPF

performance by TMA member and

internationally acclaimed jazz

musician Peter Appleyard and his

big band, who had the enthusiastic

audience dancing in the aisles. A

representative from the City of

Toronto was also on hand and she

expressed enthusiasm for making

this public presentation an annual


Focus on Music Education: As

we mentioned in our summer (first)

column, the Toronto Musicians'

Association has begun a Music

Education program, due to launch

in late September, and an

Instrument Bank. We are very

excited about the first series in the resources. We need you, dear

Music Ed program, which focuses reader, who may also be a teacher,

on three ways of understanding parent, or friend, to get in touch

rhythm for grades 6,7 and 8. This with us about a student who could

is a fun and interactive program use our help. Our committee will

developed by experienced try to match students who need

professional players/educators instruments to donors. We will

using unusual ideas to stimulate make efforts at any level of study

students and teachers. We expect to find an instrument that is

it to be a learning experience for suitable, and only ask that you be

everyone, and to generate new in touch with us with a request.

thinking about learning concepts of Please contact Corkie Davis at


corkie.davis@sympatico.ca for

. further information and to register

The TMA will be hosting a

a request.

lecture on the music business for

students at Humber College and at In his regular column in the

the University of Toronto Faculty International Musician, Bobby

of Music in the coming year and Herriott, Vice President from

hope to provide similar services to Canada quoted Canadian producer

many more Toronto-area post Bob Ezrin on the importance of

secondary institutions. In addition, Music Education. Ezrin said, "...

the TMA board is proposing a while the three R's provide kids

special student membership rate for with the basic tools they need, it is

new members in college/university. the arts that give them the

imagination to do something with

The Instrument Bank needs

those tools ... The cost to society of

your help· Our committee is

a. generation of kids who grow up

publicizing the need for instruments

without inspiration, discipline, and

to be loaned, through the TMA,

purpose is enormous."

to students who would like to study

music, but do not have available

y fame/a Margles

When Testimony': The Memoirs of Dmitri Shostakovich as related

to and edl/ed by Solomon Volkov

aprieared in 1979, it

caused a sensation. The Soviet Union's most prestigious and patriotic

composer, who had written works like the stirring Fifth Symphony,

was . revealed t be a di illusioned, deeply bitter and rather nasty covert

d _



Inevitably his works started to be reinterpreted. But in Testimony

friends and colleagues missed the gentle voice of the deeply

humane, odest and _

reserved man they knew. Soon the authenticity of



memoirs was bemg challenged. Volkov was called a 'pretentious,

half-educated bedbug' and accused of plagiarism and fraud.

After the recent release of these two books from the opposing

camps, Shostakovich and Stalin, and A Shostakovich Casebook, Volkov

wrote a letter to the New York Times predicting that the controversy

will probably last for a long time. 'My advice would be: read all the

books, listen to the music, and then decide for yourself.'

Both books illuminate Shostakovich's situation in the Soviet Union.

Given the complexity of Soviet politics, and the multi-faceted intricacies

of Russian culture, there is certainly plenty of room for both

mterpretallons of the composer who anti-Volkovian Richard Taruskin

predicts will emerge as the most consequential of the twentieth century.

unexpectedly vicious attack of

'a fraud', and accuses the author

of 'a crude betrayal of its subject's

principles and ideals'.

The Russians are even less diplomatic.

Six former students, in a letter

written in 1979, see the memoirs

as a sinister plot to distance Shostakovich

from revolutionary Soviet

music. They call Volkov a 'malicious

renegrade', and the book a

'pitiful fake'. Shostakovich's assistant

Boris Tishchenko calls Volkov

a 'music hanger-on', and Testimony

a 'book by Volkov about Volkov'.

Shostakovich's widow Irina points

out that Volkov didn't spend enough

time with Shostakovich to produce

more than a few pages.

ophone Rag, animal imitations, and

comedy routines about an abandoned

bride or King Tut emerging from his


Vermazen, has produced a compelling

view of the early history of

American popular music. His academic

training pays off in the depth

of his explorations of racism in minstrel

shows, the decline of vaudvifle,

the influence of circus music, and


role of improvisation. He has


previously unexplored

materials, which provide the historical

photos, along with thorough references

and discography.

The Other Side of Nowhere

There is also a great deal of psy- Edited by Daniel Fischlin and Ajay

chologically revealing material

here. 'That he actually was loyal

and instrumental to the system he

despised and h;ited made him hate

Tms coLLECand

despise himself,' writes Hen-

ry Orlov, underlining the poign-


Wesleyan University Press

460 pages $29.95 US

TION OF papers

presented at

ancy of Shostakovich's unfathom- the Guelph

ably complex situation. J azz F est1va · I

ov's compelling narrative. , ber 7 at the St. Lawrence Centre

ting his critics as demonstrating tra performs Shostakovich's Fifth

just to tradihow

Shostakovich's music needs Symphony at Roy Thomson Hall

tional musical structures, but to trato

be placed in its social, psycho- on October 21 and 23 at 8.00

logical and political context. What

tween the 1

Great Composer and viet cultural life. In the process.he

are actively involved in performthe

Brutal Dictator

By Solomon Volkov

reveals how Stalin was especially

Translated by Antonina W. Bouis derstood the power of art _ not


330 pages $45.00 just spiritually but politically.


eh and Stalin is a secret dissident.

For Volkov, the symphonies are

coded with anti-Stalinist and anti-

Soviet messages. The ending of the

phant celebration of Soviet ideolo-

gy it is considered to be, but a

subversive narrative of Stalin's

Great Terror.

1948. How Shostakovich managed TheEmersonQuanet performsShoslooks

at how

to survive is at the heart of Volk- takovich 's Quanet No. 2 on Octoimprovisatory

jazz provides

Volkov is not so much rebut- The Toronto Symphony Orchesalternatives


ditional social structures as well.

The authors form a diverse group

Shostakovich and Stalin: The he offers is a deeply knowledgeaof

usicians, artists, writers, po-

. Extraordinary Relationship Be- ble and fascinating history of Soets,

and scholars. But almost all

ing experimental music, and this

dangerous because he actually unmakes

even the most theoretical of

these essays delightfully enthusi-

astic about the music.

Pauline Oliveros relates her own

collaborative experiences as a wom-

an composer and improviser. Dana

That Moaning Saxophone: The Reason emphasizes the integral

Six Brown Brothers and the role of the aud1"ence J o St

Volkov leaves no doubt how 'in- A Shostakovich Casebook from Lindsay, Ontario, were the

conceivably and inexpressibly un-

predictable and dangerous' living

under Stalin was . 'Probably no-

one suffered more for his music'

vich, like most artists who man-

ful and murderous terror, did live

constantly on the edge of destruc- f

tion and despair.

ing, especially after the two crises k

that Yolkov considers pivotal,

Edited by Malcolm Hamrick Brown

Indiana University Press

424 pages $63 . 50

Tms FASCINATING and important col-

lection of essays, documents and

a ft er th ey h a d practice · d asst "d uousmemoirs

presents the case against

Testimony. Paul Mitchinson gives

a surprisingly even-handed account

o the issues. Damning evidence

is offered by Leslie Fay, who de-

nal manuscript of Testimony. She

ular music with their act featuring the artistic direction of Ajay Hebeth

of Mtsensk in 1936, and the rogat

ory context , an , at worst,


• as n an-

Fifth Symphony is not the trium-

Dawning of a Mus1'cal Craze yek d1"scusses the 1"nfl u en ce o f a

By Bruce Vermazen

pan-African sensibility, Julie Dawn

Oxford University Press

Smith questions why there are so

303 pages $56.00 few gay jazz musicians, and Sherrie

Tucker explodes the myth of

IN 1921, The Six Brown Brothers

the solitary genius with no com-

highest paid act in vaudeville. But

by 1933 they were finished, wiped

ing movies, and changing fashions

claims Yolkov. Indeed, Shostakoin

musical theatre.

phasizes that while the Brothers

weren't the first to use the saxophone

in popular music, and they weren't

He took huge risks to keep writeven

the best players around, they·

larity of the saxophone. For him they

munity or context. Michael Jarrett

interviews a number of legendary

out by the Great Depression, talkjazz

record producers, and gets

wonderful comments like John

Snyd er ' s a b out S un R a s group,

Bruce Vermazen, a retired philos-

aged to survive under Stalin's willophy

professor and cornetist, em-

ly for a re cor d . mg session, · b ut en d -

ed u P recor d . mg t ota II Y d"f" 1 ierent

ma t ena · I "Th ey h a d re h earse d b e-


1 ·ng u It ima " t e I Y improvisatory · · " ·

E t · b"bl . ·

x ens1ve 1 10grap h" 1es and d1stermines

that Volkov tricked Shosh.

· h h

were responsible for the huge popucograp

ies ennc

t ese provocata

ovich into approving the origitivel

Y · msig · htf u I essays.

Stalin's devastating denunciation of calls it at best 'a simulated monotypify

the history of American pop- The Guelph Jazz Festival, under

Shostakovich's opera Lady Mac- logue stripped of its original inter-

blackface, hit songs, including their ble, takes place 1·n Guelph firom

31W\iv:TIIHOsigna;turesong,ThatoaningSa.x-Sept 8tol:2 --=-,---

· -



Dr. Peggie Sampson, 1912 - 2004

I l i• ra« lo fmd' pmon who" hoing •'1U•lly "'"" ,:












music; and when that person departs, not only is a great loss felt,

but also a lingering sense is left of the ability of music to shape a

life, to invade a life so deeply that one becomes beautiful because of

music. Peggie Sampson was such a person. It is impossible to think

of her without thinking of the music she lived, taught, played and

rejoiced in.

Peggie was born in Edinburgh and spent her early life in

Scotland, England and Europe. Her gift for music brought her into

contact with towering musical figures: Suggia, Alexanian,

Feuermann, Casals, Donald Francis Tovey and Nadia Boulanger

were among her teachers, and no doubt they all contributed to the

formation of-her wide cultural outlook, striking imagination and

generosity of spirit. These qualities she brought with her when she

emigrated to Canada in 1951, lo teach and perform. She played and

taught cello in Winnipeg, and brought enthusiasm and energy tq her

classes in various musical disciplines at the U of Manitoba, as well

as her experimental classes for unusually gifted children. Many

musicians blossomed as a result of her teaching.

Most people will remember her primarily in the second phase

of her musical life; her involvement in the early music world as viola

da gambist and teacher. Her romance with viols began in Winnipeg;

she was a founding member of the Manitoba University Consort, a

group which specialized in performance of early music (1100 and

on), and which toured Canada, Britain and Europe. Moving to

Toronto in 1970, she taught at York and Wilfrid Laurier Universities

and continued lo be a shining light in the performance world as well

for many years. More can be found about her life in The

Encyclopedia of Music in Canada and its online version at


Those who knew her will remember much more: her

charming humour, her delight in nature, hiking, camping and

growing things, her steadfast commitment to her friends, and her

uncanny influence on anyone trying to make music - music radiated

from the walls in her presence, and it was impossible not to play


Little people can have big dreams.

We help make them come true.

Group Programs

;rJ .h ,;XL7,,-/ /n,,.., ;I'} /Y .


Music for You & Your Baby (0- 3 yrs)

Orff/Kodaly/Dalcroze Eurhythmics (3-8 yrs)

Children's Chamber Choirs (Ages 6 & up)

Creative Drama & Speech (Ages 6 & up)

Music Theory & History (RCM Grades 1- 5)

Summer Programs Available

Private Instruction




Violin, Viola and Cello

French Horn, Trumpet and Sax

Clarinet, Flute, Oboe. Recorder

Sharon M. Burlacoff ARCT B.Mus. MA MFA, Executive Director

The J}ingsway . 416-234-0121

Conservatory , ?086 Bloor St. Y'·

of Music

. foronlo, Ontario

• Two blocks west of Royal York Rd.


A celebration of Peggie's life and accomplishments, through

words an.d music, will take place al the Church of St. Simon the

Apostle, 525 Bloor Street East, on September 11 at 2:30pm. All

who would like to join in the celebration are welcome.




Choosing·a Path

Visit our website

at www.ormta.org

• to find a


Music Teacher

• for information on

becoming a Registered

Music Teacher



The North Toronto

Institute of Music

Private lessons in a wide

variety of instruments including:

•piano •guitar eviola •violin •cello

•saxophone •clarinet •flute •accordion

Voice instruction

Jazz Workshops

Theory classes

Acting and Scene study

Pre-School classes

Musical instruction by highly qualified teachers

in the heart of Toronto

"Suppose you scrub your ethical

skin wuil it shines, bur inside

• there is no music, then wluzt? "

Kabir, India (1398-1518)


June's Musical Life article

"Tools of the Trade", on the

topic of finding an instrument,

represented hours of conversation

with interesting and "instruirental"

people. There were.

many more this month: learners

of all ages, parents, teachers,

working musicians - many

whose lives include almost all

these roles. What we can publish

here is only a sampling of

the passionate collective wisdom

generously offered. We're not

promoting any school or studio,

but you may recognize the

thoughts or voices of esteemed

members of our community as

we explore ...


An early taste for his instrument?

Guess the name of this member of our

music community (photo circa 1942)

for a chance to win tickets. Entries to


When should someone

start "music lessons"?

What's the best way to start my

"Starting a child on an instrument

child learning music'!

simply because it was what you

Gmndmn picked up the flyer flt the

library and called. "It's called Music

With Your Baby - as young as

six months. It says parents, grandparents

or caregivers. Wednesdays.

Since he's going to be with me tluzt

afternoon anyway when you go back

to work, I could take him ... "

By the time this baby is a toddler,

he will have already experienced

music as something playful, vigorous,

expressive and relaxing. And

grandma will have re-learned the fingerplay,

bouncing rhymes, and lullabies

she thought she'd forgotten.

"Once I mnde the mistake of accepting

a piano student, a little girl,

who was only three. I would spend

at least fifteen minutes coaxing her

not to try to play with her toes ...

They have to be able to sit still for

more than jive minures ... maybe they

have to be at least jive. It depends

on the child ... ''. (Mary)

Preparatory music is really important.

A ,good preparatory class has

preschool aged children moving,

using their bodies, and most importantly

singing. They learn about

pulse, rhythm and pitch by dancing

and singing, maybe playing some

very basic instrurrents. Students with

this background come to music lessons

much more ready.

did flt the same age isn 't reason

enough! Children know their

minds about this more often tluzn

you might think" (Alison)

How did YOU meet your teacher?

How should a person pick a


It's a late winter Sunday afternoon.

The concert by a popu[(lr baroque

ensemble has ended. Performers,

audience members rru'ngle, relaxed

and unhurried. A smnll boy, about

eight walks up to the cellist, and

waits for a pause.

"Hello, my name is .... " he introduces

himself and plunges on.

"Could you please tell my mother

someone who could teach me 'cello?"

A couple of onlookers smile,

but nobody wughs. With equal gravitas

the musician replies "Well ...

would I do, or do you need someone

better?" The boy's eyes grow

very large. "Ohhhh - you mean

YOU could teach me? That would

be GREAT!"

Sometimes it starts just like that. And

can work out. A brilliant performer

is not necessarily a good teacher. If

you are fortunate enough to find

someone who is both you will need

to be extremely flexible about scheduling

lessons around rehearsal and

performance connnitments.


There are lots of fine teachers who

do not perform in public on a regular

basis. Taking young people to

all kinds of live music shows them

the possibilities and helps them form

opinions about what they'd like to

try. Many concert presenters offer

discounted tickets for young people

and seniors! (And if they don't, they

should. So ask!)

"My mother was my firs/ 1eacher.

All five children played piano and

we grew up in the midst of her very

active studio. I'm sure we thought music

1111s something the entire world did,

and thm all households had practice

schedules like ours. " (Alison)

"My gmndmo1her played the piano

and I was fascinated. I was 3 and

would sit and listen and pick things

up, exploring the instrument . . . . . .. !

enjoyed that. My mother acquired

my first teacher. At thm lime, in

Europe all good middle class children

were wught ... the teachers had

to be properly certified. " (Mary)

Usually it's adults who set about"

finding a teacher for a child (or for

themselves). It can be hard to know

where to start. Talk to parents,

school music teachers, working musicians.

Young professional musicians

and "returning" adults looking

for a teacher or coaching often

decide based on what they know

first-hand or hear from others in the

music conununity. Teachers at this

level acquire their reputations not just

by their student's reconunendations,

but by how their teaching is reflected

in their student's successes.

Here are the basics about looking

for a music teacher. The first four

are pretty much mandatory. The

rest depend on your priorities.

Musical education: An ARCT does

not necessarily make someone a good

teacher. Nor does 25 years as first

oboe in a fine orchestra. But asking

about certification is one way of

breaking the ice.

Experience: Find out if they have

other students the same age as your

child (or yourself). Ask them to describe

their approach to teaching, and

whether it matches the learning style

of the prospective student. There is

a vast range in approaches.

Challenge your own assumptions

about learning. What worked (or

not) for you as a child


might not

work for another, or even for you

as an adult. Different approaches

offer opportunities for visual, kinesthelic

or auditory learners.

"/! has been my privilege to come

upon an idea that has made it possible

to learn music in a whole new

way. The key is colour. Colour is a

language of the heart, not the mind.

It is universal, just as music is, understood

by all. I have been leaching

music wilh colour for over 20

years. (Heidemarie)

Find out how a teacher feels about

a parent being present (or not) during

the lesson. Find out, for example,

if what you will get is a "piano

lesson" or a "music lesson which

includes the piano". Passionately

good music teachers empower students

of any age to become musically

literate, to have a grasp of history

and style, to be an appreciative audience,

and to find emotional and creative

outlets through music.

Personality: The teacher should

meet with you before trying a lesson,

and be interested in the student

themselves if it's going to be a good

fit. A teacher who talks to you as if

your child is not in the room may,

not really know how to talk to your

child. An empathetic teacher is patient,

and able to be playful with a

young child, conunands respect but

also gives respect. For an adult learn,

er, chemistry is equally important.

Time will tell. Ten weeks will generally

give you an idea of how things

are working.

Fees: Find out: how long a lesson

is (a half hour is plenty for a younger

child or any beginner); how much

a longer 1esson would be; how many

lessons you will pay for up front;

what provisions can be made for lessons

unavoidably missed by either

party. If dealing with an individual

rather than a school be aware that

some musicians have to be encouraged

to talk about money. And don't

be fooled into picking an inexpensive

teacher "until you' re sure". That

way you may never be.

Studio atmosphere: This is more

important to some people than others.

Make sure that you or your child

feel comfortable and able to concentrate.

Make sure the location is manageable,

even in bad weather. A

teacher who comes to your home -

this has its ups and downs too.

Type of programme: Does the

teacher offer both practical and

theoretical?. How about opportu.­

nities for ensemble playing?

"Keep in mind !hat the leami1Jg curve

is steep in the beginning and young

students can easily become frustrated.

ft is particularly important then

to baltznce out privme lessons with

some type of music activity that is

group based. Children need to experience

the joy of making music with

others, something that solitary practice

can't provide . . . " (Alison)


The Royal Conservatory of Music

offers a wide variety of music


• DJ Techniques

• Guitar Classes

• World Music Classes

• Music for J\.foms-To-Be

• Adult Singing Classes

• Programs for children from newborn

• Private lessons for all instruments

• And much more ...

All ages. All levels. For everyone.

Enriching Lives Through Music

Visit us at our Toronto location:

273 Bloor Street West


Also in Mississauga: 905-891-7944


A Toronto Children's Chorus

9_,8 > Jean Ashworth B

Welcome to WholeNote's



Presenters' plans change; and we occasionall)' make mistakes!

Please always use the phone numhcrs prm·idcd to call ahead.

For Concerts Further Afield (outside the GTA) sec pages -17-:m.

For Music Theatre and Opera Listings sec page 51 .


Wednesday September 01

-7:30: Artists' Garden Cooperative.

Plein Air Salon Concerts: Abeena Samm.

Reggae to gospel vocals. 345 Balliol St. 416-

487-0705. $10.

-8:00: Canadian Opera Company/

Altamira. A/tamira Summer Opera Con·

certs. Guest soloists; performan.ce by children

from the CDC Summer Opera Camp; members

of the CDC Ensemble Studio;·COC Orchestra;

Richard Bradshaw, conductor. CIBC Stage,

235 Queens Quay West. 416·363·6671.


Thursday September 02

-7:00: Toronto Music Garden. Summer

Music in the Garden: Esmeralda Enrique

Spanish Dance Company. Flamenco dance &

music. Guests: Jose Luis Perez, vocals;

Dominique Soulard, guitar. 6:00: Pre-concert

tour. 475 Queens Quay West. 416-973-4000.


-7:30: The Variety Players. Hey There

Good Times/ -A Tn'bute to Broadway &

Hollywood. 11" annual Jerry-at-Trick Revue.

Larry Westlake, director. Kevin Ralph Nelson,

musical director. Fairview Library Theatre, 35

Fairview Mall Drive. 905-882-4523. $18,

group rate. For complete run see music theatre


-8:00: Ashkenaz: A Festival of New

Yiddis.h Culture. K/ezmer en Buenos Aires.

Cesar Lerner & Marcelo Moguilevsky, clarinet

& accordion. Miles Nadal Jewish Community

Centre, 750 Spadina Ave. 416·973-4000.

$36 ..

-8:00: Canadian Opera Company/

Altamira. Altamira Summer Opera Concerts.

CIBC Stage. See Sep 1.

Friday September 03

-1 ;DO: Smile Theatre. Has Anybody Here

Seen Willy? Musical tribute to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Holy Rosary Church, 400 Walm·

er Rd. #310. 416-961-1735, 416·599-8440.

For complete run see music theatre listings.

-6:30: Toronto City Raots Festival

Association.Song Celebration. Michelle

Rumball, Greg Hobbs, Suzie Vinnick, perform·

ers. Gibsone·Jessop Song Gallery Side Stage,

55 Mill St. 416·870·8000. $15, $60(week·

end pass).

-7:00: Inspirational Music in the Park.

Grand Finale. Gage Park, Wellington St. West.

& Main St. South, Brampton. 905·793·6976.


-7:00: Toronto City Roots festival

Association.Song Celebration. Dan Kershaw,

For Ja1.z Listings sec pages 52.

Justin Rutledge & Junction Forty, Kiran

Ahluwalia, Sylvia Tyson, performers. Stone

Distillery Main Stage, 55 Mill St. 416-870·

8000. $25, $60(weekend pass).

-7:30: Hummingbird Centre for the

Performing Arts. Harry Connick Jr.: Only

You Tour. 1 Front Street East. 416·870·

8000. $39.50-$85.50.

-8:00 & 1 O:OOpm: Rough Idea/Root·

MeanSquare. Sonore. Improvised solos,

duos & trios built from various reed combina·

lions. Goethe·lnstitut, 163 King St. West.

416·516·0606. $20.

Saturday September 04

-6:30: Toronto City Roots Festival

Association.Song Celebration. Lynn Harri·

son, Rob Lamothe, Michelle Rasky, Blair

Packham, performers. Gibsone·Jessop Song

Gallery.Side Stage, 55 Mill St. 416-870·

8000. $15, $60(weekend pass).

-7:00: Toronto City Roots Fstival

Association. Song Celebration. Scott B.

Sympathy, Oh Susanna, Lynn Miles, Fred

Eaglesmith, performers. Stone Distillery Main

Stage, 55 Mill St. 416·870-8000. $25,

$ 60(weekend pass).

-8:00: Ashkenaz: A Festival of New

Yiddish Culture. Ot Azoj. Blend of old-time

Klezmer, contemporary Eastern European folk

& Klezmer revival. CIBC Stage, 235 Queens

Quay West. 416-973-4000.

-9:00: Thoth. The Music of Ancient Gods.

By Stephen Kaufman. Opera in the language of

a Tolkien style world. The Opera House, 735

Queen St. East. 416·870·8000. $25.

-9:30: Ashkenaz: A Festival of New

Yiddish Culture. The Klezmatics. Jewish

roots music. CIBC Stage, 235 Queens Quay

West. 416·973-4000.

Sunday September 05

-3:00: University of Toronto/The

Soldiers' Tower Committee. Cafl11on

Recital Series: John Widmann, cafl11onneur.

The lawn, Hart House, 7 Hart House Circle.

416-978·2452. Free.

-3:30; Ashkenaz: A festival of New

Yiddish Culture. Beyond the Pale. Guest:

Josh Dolgin. Main Stage, Harbourfront Centre,

235 Queens Quay West. 416·973-4000.

-4:00: St. James' Cathedral. David

Phillips, organ. 65 Church St. 416-364·7865.


-4:00: Thornhill Community Band.

Denny.Ringler, music director. Unionville

Bandstand, Main St. & Fred Varley Dr.,

Unionville. 416-223·7152. Free.

-4:30: St. James' Cathedral. Choral

Evensong. Men of the Cathedral Choir of Men

& Boys. 65 Church St. 416-364· 7865. Free.

-5:00: Ashkenaz: A festival of New

Yiddish Culture. lachan Jewish Chamber

Choir. Jewish songs by Glick & Steinberg.

Sharon Smith, soloist; Cantor Beny Maissner,

director. Toronto Star Stage, 235 Queens

Quay West. 416-973-4000.

-5:30: Ashkenaz: A festival of New

Yiddish Culture. Manouche. Contemporary

renditions of old Yiddish standards. Toronto

Star Stage, 235 Queens Quay West. 416·


-6:30: Toronto City Roots Festival

Association.Song Celebration. Ian North,

Nancy White, Wendell Ferguson, Adam

Mitchell, perfomiers. Gibsone-Jessop Song

Gallery Side Stage, 55 Mill St. 416-870·

8000. $15, $60(weekend pass).

-7:00: Ashkenaz: A festival of New

Yiddish Culture. K/ezmer en Buenos Aires.

Cesar Lerner & Marcelo Moguilevsky, clarinet

& accordion & other performers. Brigantine

Room, 235 Queens Quay West. 416-973·

4000. $36.

- 7:00: Toronto City Roots Festival

Association. Song Celebration. Bob Wise·

man, Priya Thomas, Serena Ryder, Ashley

Macisaac, performers. Stone Distillery Main

Stage, 55 Mill St. 416-870-8000. $25,

$60(weekend pass).

-9:30: Ashkenaz: A festival of New

Yiddish Culture. Khupe. Christian Dawid

and Sanne Miiricke, performers. CIBC Stage,

235 Queens Quay West. 416-973-4000.

Monday September 06

-12:15: Music Mondays. Canadian Works.

Zelda Turner, soprano and Morning Star River.

Church of the Holy Trinity, 10 Trinity Square.

416-598-4521 x222. $5 suggested donation.

-2:15: Ashkenaz: A Festival of New

Yiddish Culture. Khupe. CIBC Stage. See

Sep 5.

-4:00: Ashkenaz: A Festival of New

Yiddish Culture. Beyond the Pale/Toronto

Jewish Folk Choir. Performance of Benyomen

derDriter. Lakeside Terrace, Harbourfront

Centre, 235 Queens Quay West. 416·973·


-8:00: Music Gallery. The Microphones &

Guitarkestra. Phil Elvrum, singer/songwriter;

I.he Sea Snakes; Craig Dunsmuir, guitar/

composer. St. George the Martyr Church, 197

John. 416·204· 1080. $1 O(advance).


Wednesday September 08

-7:00: New Opera and Concerts Can·

tre. Mozart: The Marriage of Figaro. Walmer

Centre Theatre, Walmer Road Church, 188

Lowther Ave. 416-604-1557. $18-$20. For·

complete run see music theatre listings.

Friday September 10

-7:00: Toronto All·Star Big Band.

Southside Shuffle. Street Festival perform·

ance. St. Lawrence Square, corner of Hurontario

St. & Lakeshore Rd. 905·278-2811.


-8:00: Bands on a Canadian Tour.

Tenors, Sopranos and the Sounds of Big Bands

on a Canadian Tour. Mel Lastman Square,

5100 Yonge St. 416-631 ·4208. Free.

-8:00: Royal Conservatory of Music.

Open House at the New RCM & Inauguration

Show. Performers from Escola de Samba.

7:00: film We Are Samba. 90 Croatia St. 416·

408-2824 x474. *TENTATIVE- PLEASE


Saturday September 11

-2:00: Victoria-Royce Church. Friends of

Victoria-Royce in Concert: Celebrating 120

Years in the Junction. 190 Medland St. 416·

769·6176. Free-will offering.

-2:45: Adam Osinski. Piano Recital. ,

Works by Chopin and Alkan. Noel Ryan

Auditorium, Central Library, Mississauga, 301

Burnhamthorpe Rd. W. 905-891 ·2239. $20,


-7:30: Raag·Mala Music Society of

Toronto. A tu/ Desai, singer & Ramesh

Bapodra, tabla. Medical Sciences Auditorium,

1 King's College Circle. 416-492-7665. $1 O·


Sunday September 12

-3:00: Baroque Music Beside the

Grange. TheCoffeehouseBand. Trio and

quartet sonatas by Telemann, Vivaldi, Fasch &

others. Alison Melville, recorder & traverse;

Linda Melsted, violin; Dominic Teresi, bas·

soon; Borys Medicky, harpsichord. Church of

St. George the Martyr, 197 John. 416·588·

4301. $22,$15.

-3:00: University of Toronto/The

Soldiers' Tower Committee. Cafl11on

Recital Series: Claire Poirier, caf/1/onneur. The

lawn, Hart House, 7 Hart House Circle. 416·

978-2452. Free.

-4:00: Toronto Music Garden. Summer

Music in the Garden: Season Finale. Robinson/

Bach: The Transparent Recital & other works.

Peggy Baker, dancer/choreographer. Shauna

Rolson, cello. 475 Queens Quay West. 416·

973-4000. Free.

-4:30: Christ Church Deer Park. Jazz

Vespers: Rick Wilkins, saxophone; Frank Falco,

piano; Scott Alexander, bass; Brian Barlow,

drums. 1570 Yonge St. 416-920-5211.


-7:00: Music Gallery. Fresh Ears Family

Series: Ex Temp ore. Improvised music, jazz,

new & world music. Ursel Schlicht, pianistcomposer;

Gabriele Hasler, vocals; Jamie

Baum, flute; Ravish Momim, percussion;

Brandon Teriic, guitar/oud/saz/cumbus; Balla

Kouyate, ballafon. St. George the Martyr

Church, 197 John. 416·204· 1080. $15, ·

$1 O(member/sr/adult with children), $5(st).

-7:30: Collaborations: A Chamber Arts

Experience. Equi/1'bri11m. Music by Ellington,

Berio, Bolling. Starring Rex Harrington, dancer/

actor/singer; Peter Blanchet, tenor; Susan

Hoeppner, flute; Beverley Johnston, percus·

sion; David Matheson, keyboard & other




performers; created & directed by Valerie

Kuinka. Al Green Theatre, 750 Spadina Ave.

416-872-1111. $50. For complete run see

music theatre listings.

Monday September 13

- 12:00 noon: Metropolitan United

Church. Claire Poirier, organ and caflllon. 56

Queen St. East. 416·363-0331 x26. Free.

Tuesday September 14

- 12:10: University of Toronto Faculty

of Music. Voice Studies Showcase & We/.

come. Walter Hall, 80 Queen's Park. 416-

978-3744. Free.

- 1 :00: St. James' Cathedral. Michael

Bloss, organ. 65 Church St. 416-364-7865.


- 8:00: Columbus Centre. Evening of

Italian Songs & Opera: AQtonella Cavallaro,

soprano. 901 Lawrence Ave. West. 416-789-


Wednesday September 15

- 12:30: Yorkminster Park Church.

Noonday Recital.· William Maddox, organ.

1585 Yonge St. 416-922-1167. Free.

- 7:30: Smile Theatre. Has Anybody Here

Seen Willy? Musical tribute to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Franklin Horner Community

Centre, 432 Horner Ave. 416-252-6822,

416-599-8440. For complete run see music

theatre listings.

Thursday September 16

- 12: 10: University of Toronto Faculty

of Music. Thursdays at Noon: Dean's We/.

come. Performances by student and faculty

artist. . Walter Hall, 80 Queen's Park. 416-

978-3744. Free.

- 8:00: Rebecca Hass. Wanna sing a

showtune. Autobiographical journey using

opera, jazz, broadway & torch songs. Devised

by Rebecca Hass & Michael P. Albano;

starring Rebecca Hass, mezzo. Heliconian

Hall, 35 Hazelton Ave. 416-604-0764.


- 8:00: Tafelmusik. The Enchanting Recorder:

Baroque Delights with Maflon Verbruggen.

Music for recorder & strings by Telemann &

Vivaldi. Trinity-St. Paul's Centre, 427 Bloor St.

W. 416-964-6337. $26-$62, $20-$56 lsrfst).

Friday September 17

- 8:00: Bands on a Canadian Tour.

Tenors, Sopranos and the Sounds of Big Bands

on a Canadian Tour. Mel Lastman Square,

5100 Yonge St. 416-631-4208. Free.

- 8:00: Tafelmusik. The Enchanting Recorder:

Baroque Delights with Marion Verbruggen.

Trinity-St. Paul's Centre. See Sep 16.

Saturday September 18

- 7:30: Guitar Society of Toronto/

University of Toronto. A Celebration of the

Guitar- Honouring Professor Eli Kassner's

BIJ' Birthday. Performers include Carlos

Barbosa Lima, Liana Boyd, Celso Machado,

Vincea Mclelland, David Russell, U of T

Guitar Ensemble & others. Walter Hall, 80

Queen's Park. 416-922-8002, 416·964-

2525. $100. Proceeds will be used to estab·

lish scholarships at U of T.

- 7:30: Six and Twelve. Acoustic Guitar

Concert. Performers include Cedar and Spruce;

Rik Emmett. Royal Bank Theatre, 4141 Living

Arts Drive, Mississauga. 905-306-6000.


- 8:00: London Symphony Orchestra.


Anton Kuerti &

Olivier Thouin

in Recital

Award winning violinist

joins celebrated pianist

Anton Kuerti in a program

of Beethoven, Franck & Schubert.

Saturday, September 18 at 8 pm - Willowdale United

Sunday, September 19 at 3 pm -Walter Hall, U of T

at 1 pm for children - Music and Truffles - $1 O

Affordable tickets! $25, ($20 StJSr.) 416-922-3714 x103

Down to Earth Diva Dishes on Life upon the Wicked Stage


an extremely musical revue

ann a s o

d••i"d by R•b« H"' with Mich"l Alb'no

Shll] f'" a September 16, 17, and 18

w"h Chd• Fol•y, P''°" l:i11

0 8 pm. At the Heliconian Hall

35 Hazelton Avenue

Tickets $25.00

0 lV


e ;:;;;:::: fmmoiolo


The Music of Hollywood. Selections from film

scores including Gladiator, Titanic, Star Wars,

Indiana Jones & Harry Potter; multimedia

effects & film excerpts. Dirk Brosse, conduc·

tor. Air Canada Centre, 40 Bay Street. 416·

Bl 5·57B3. $49.50·$250.

- B:OO: Mooredale Concerts. Beethoven,

Franck, Schubert. Olivier Thouin, violin; Anton

Kuerti, piano. Willowdale United Church, 349

Kenneth Ave. 416·922·3714 x103. $25,$20.

- B:OO: Stefan Milenkovich. Violin Recital.

Bach: Sonata 114 in c; Dvorak: Romance;

Wieniawsky: Polonaise Brilliant in A Op.21;

works by Stravinsky, Brahms & Szyman·

owski. Eri Kang, pianist. Glenn Gould Studio,

250 Front St. West. 416·205·5555.

-B:OO: Tafelmusik. The Enchanting Record·

er: Baroque Delights with Marion Verbruggen.

Trinity·St. Paul's Centre. See Sep 16.

Sunday September 19

- 1 :DO: Harbourfront C1ntr1. Music with

Bite: Apnl Verch, fiddler. Traditional & con·

tempo(ary tunes from the Ottawa Valley to

the Appalachians to Eastern Europe to Brazil.

York Quay Centre, 235 Queens Quay West.

416·973-4000. SB, family rate.

-1 :00: Mooredale Concerts. Music &

Truffles. Kids concert. Walter Hall, BO

Queen's Park. 416·922-3714 x103 . $1 D.

-1 :30: McMichael Gallery. Richard

Whiteman Jazz Duo. 10365 Islington Ave.,

Kleinburg. 905·893· 1121. Gallery admission:

$15,$9, $25(family rate).

- 2:00: Fiona Strachan, soprano and

George Brough, piano. Women and Song -

A Celebration of female Composers of the

TEI' and 2(!' Centunes. Manor Road United

Church, 240 Manor Rd. East. 416·4B3·0695.

Freewill offering.

- 2:30: Alchemy.AnHour ofChamber

Music. Sanvnartini: Cello Sonata in G; Schu·

Recital Series: Gordon Slater, canllonneur. The

lawn, Hart House, 7 Hart House Circle. 416-

97B·2452. Free.

- 3:30: Taf1lmusik. The Enchanting Record·

er.· Baroque Delights with Marion Verbruggen.

Trinity-St. Paul's Centre. See Sep 16.

-4:00: St. James' Cathedral. Michael

Bloss, organ. 65 Church St. 416·364·7B65.


-4:30: St. Jam11' Cathedral. Choral

Evensong. Cathedral Choir of Men & Boys. 65

Church St. 416·364· 7B65. Free.

Monday September ZO

-12:00 noon: M1tropolitan United

Church. Gordon Slater, canllonneur. 56

Queen St. East. 416·363·0331 x26. Free.

Tuesday September Z 1

-12:10: Uainrsity of Toronto Faculty

of Music. Third Year Voice Performance

Class. Walter Hall, BO Queen's Park. 416·

97B-3744. Free.

-12:30: York Univ111ity D1pt. of Music.

Michael Cado, jazz guttar & his Trio; Sherie

Marshall, vocals. Mclaughlin Perfonnance·


Thursday September ZJ

-12: 10: U of T Faculty of Music. Thurs·

days at Noon: John Rudolph & Co. Music by

Bach, Faure, Ravel, lbert & Barring. John

Rudolph, percussion; Kathleen.Rudolph, flute;

Peter Barring, piano; Don Thompson, bass;

Terry Clarke, drums. Walter Hall; BO Queen's

Park. 416·97B·3744. Free.

- 12:30: York University Dept. of Music.

Gord Ross, guitar. Mclaughlin Perfonnance

Hall, 4700 Keele St. 416·736·51 B6. Free.

-2:00: Toronto Senior Strings. Music by

Gounod, Debussy, Glazounov, Liadov, Rmsky·

Korsakov & Rachmaninov. Marina Dancheva

& Alexandar Gajic, violins; Anna Barycz, viola;

Gregory Goldberg, cello; Ko Ni Choi, harp. St.

Andrew's Presbyterian Church, 73 Simcoe.

416·221·6090. $12.

-7:30: Canadian Opera Company.

Ruders: The Handmaid's Tale. By Ruders &

Bentley. Stephanie Marshall, Jean Stilwell,

Helen Todd, William Webster, Krisztina Szabo

& other perfonners; Richard Bradshaw,

conductor..6:45: Opera Chat. Hummingbird

bert: String Trio in B flat; Brahms: Piano

Quartet in c. John Soloninka, violin; Charles

Hall, 4700 Keele St. 416-736·51 B6. Free.

- 1 :00: St. James' Cathedral. Katharine

Small, viola; Tricia Balmer, cello; Meri Gee,

Hall·Phillips, soprano & David Phillips, piano.

piano. Belmont House, 55 Belmont St. 416·

English song. 65 Church St. 416·364·7B65.

736·4694. Free.

- 3:00: Mooredale Concerts. Beethoven,

Franck, Schubert. See Sep 1 B. Walter Hall, BO

Queen's Park.

-3:00: University of Toronto/The

Soldiers' Tower Committee. Carillon


Wednesday September ZZ

-12:30: York Univ1rsity Dept. of Music.

lorne lofsky, jazz guitar. Mclaughlin Perfonn·

ance Hall, 4700 Keele St. 416-736-51 B6. Free.

-12:30: Yorkminster Park Church.

Noonday Recital· James Calkin, organ. 15B5

Yonge St. 416·922-1167. Free.

-2:30: Alchemy. An Hour of Chamber

Music. See Sep 19. New Horizons Tower,

1140 Bloor St. West.

-B:OO: TSO.Symphonic Celebration.

Beethoven: Symphony 117; Raclmaninoff:

Symphonic Dances. Peter Oundjian, conductor.

Roy Thomson Hall, 60 Simcoe St. 416·593·

4B2B. $37-$115.

··oncerts ::Thursdays, t 2: t 5 pm

Sept. 23

Sept. 30

Oct. 7

Oct. 14

Oct. 21

Oct. 28

Mood Indigo- Monica Burany, vocals

Brent Setterington, piano

Danny Bakan - Americana folk, roots fusion

on clawhammer, barijo and guitar

Toronto Starlight Orchestra with vocalists

'Leigh Graham and Allison Lynn

Nathalie Nadon, cabaret singer

Michael Barber, piano

Collected Stories- Brian Katz, guitar

Martin van de Ven, clarinet

Robin Davis, organ; Elizabeth Lambert,

English horn; Carey Dolan, contralto

St. John's York Mills, 19 Don Ridge Dr.

Near York Mills subway. Close to Yonge and the 401.


Free parking. Beautiful venue. Great music.

With the support of the Toronto Arts Council



Centre. 1 Front St. East. 416·872·2262. $18·

$175. For complete run see music theatre


-7:30: Earshot Concerts. Gala Fundraiser.

Rooftop Gardens, The Dalhousie Lofts, 155

Dalhousie Street. 416·538·2006. $10·$40.

- 8:00: Brampton Music Theatre. Peter

Pan. Meadowvale Theatre, 6315 Montevideo

Dr .. Mississauga. 905·615-4720. $21, $19,

$161child 10 & under), group rates. For

complete run see music theatre listings.

-8:00: Toronto Symphony Orchestra.

Symphonic Celebration. Roy Thomson Hall.

See Sep 22.

- 8:00: Toronto Philharmonia. Spanish

Fiesta. Debussy: Iberia; Chabrier: Habanera;

Rodrigo: Concierto de Aranjuez; Massenet: Le

Cid Ballet. Daniel Bolshoy, guitar; Kerry

Stratton, conductor. George Weston Recital

Hall, 5040 Yonge St. 416·870·8000.

$59,$531adult). $47,$42.50(sr). $25(st).

- 9:00: The Opera House. Toronto Progres·

sive Jazz Series: Soulive. 735 Queen St. E.

416·870·8000. $20.

Frida Se tember Z4

-12:30: York University Dept. of Music.

Roy Patterson, guitarist & composer. Brasilian

music. Mclaughlin Performance Hall, 4700

Keele St. 416·736·5186. Free.

-8:00: Bands on a Canadian Tour. The

Sounds of Big Band with the Governor Gener·

a/'s Horse Guards. Mel Lastman Square,

5100 Yonge St. 416·631 ·4208. Free.

ers; Terry McKenna, lute. Trinity College, 6

Hoskin Ave. 416·410·4561. $20. For corn·

plete run see music theatre listings.

-8:00: University of Toronto Faculty of

Music. Faculty Artist Series: Woman in love.

Schumann: Frauenliebe und Leben; songs &

arias by Mozart & Strauss. Lorna MacDonald,

soprano; William Aide, piano. Walter Hall, 80

Queen's Park. 416·978·37 44. $21,$11.

Saturday September Z5

-2:00 & 8:00: North Metro Chorus.

Hammerson Hall. See Sep 24.

-7:30: Canadian Opera Company.

Donizetti· Lucia di Lammermoor. Marina

Mescheriakova, Yasuhara Nakajuma, Russell

Braun, Burak Bilgili, Luc Robert & other

performers; Maurizio Barbacini, conductor.

6:45: Opera Chat. Hummingbird Centre, 1

Front St. East. 416·872-2262. $18·$175.

For complete run see music theatre listings.

-7:30: Music at St. Luke's. Songs of the

Ukraine. Victor Mishalow, director. 1382

Ontario St .. Burlington. 905·639·7643.


- 8:00: Acoustic Harvest Folk Club.

Evalyn Parry, singer/songwrtler. Birchcliff

Bluffs United Church, 33 East Rd. 416·264·

2235. $15.

-8:00: Heritage Theatre. Ronnie Coburn:

A Breath of Scotla11d. Music & variety. 86

Main St. North, Brampton. 905·87 4·2800.


- 8:00: Musicians in Ordinary. John

Dowland's First Book of Songs. Hallie Fishel,

soprano; John Edwards, lute. Church of the

Redeemer, 162 Bloor West. 416·603·4950.


-8:30: Rachel Page, singer/songwriter

& Thomas Handy, guitar. Evening of

original acoustic music. Renaissance Cale,

1938 Danforth Ave. 416·422· 1441. $5.

Sunday September Z&

- 1:00: Metropolitan United Church.

Metropolitan Celebrates Toronto Arts Week!

- Cartllon Recitvl and tour given by Gerald

Martindale. 56 Queen St. East. 416·363·

0331 x26. Free.

- 1 :00: On Stage at Glenn Gould Studio.

Naida Cole & David Jalbert, piano. Pro·

gramme of French music for 1 and 2 pianos;

1975 telecast of Ravel'sla Valse played by

Glenn Gould. 250 Front St. West. 416·205·

5555. $25.

-2:00: North Toronto Institute of Music.

Lea side Co11cert Series: A ftemoon of Chamber

Music. Schubert: Trout Quintet; Kodaly: Cello

The Musicians In Ordinary

for the Lutes and Voices present -

John Dowland' s

First Book of Songs

Saturday September 25/04 @ 8pm

Church of the Redeemer

Bloor Street and Avenue Road

416-603-4950 www.musiciansinordinary.ca


Sonata. Briton House Retirement Centre, 720

Mount Pleasant Rd. 416-488·2588. $15,$10.

-2:00: Roy Thomson Hall. Matthias

Goerne, baritone i11 Rec1£al. Schubert: Die

Winterreise. Eric Schneider, piano. 60 Simcoe.

416·872-4255. $30·$85.

- 2:30: Metropolitan United Church.

Metropo!tlan Celebrates Toronto Arts Week!

- Organ Recital and demonstration given by

Ryan Jackson. 56 Queen St. East. 416·363·

0331 x26. Free.

-3:00: University of Toronto/The

Soldiers' Tower Committee. Cartllon

Recital Series: Michael Hart, cartllonneur. The

lawn. Hart House, 7 Hart House Circle. 416·

978-2452. Free.

-4:00: St. James' Cathedral. Angus

Sinclair, organ. 65 Church St. 416·364·7865.


- 4:30: Christ Church Deer Park. Jazz

Vespers:Martlynlerner, solo piano. 1570

Yonge St. 416·920·5211. Donation.

-4:30: St. James' Cathedral. Choral

Evensong. St. James' Singers. 65 Church St.

416·364· 7865. Free.

Monday September Z7

- 8:00: Soundstreams Canada/CBC

Radio Two. Kaleidoscope: The Mu::ic of Pou!

Ruders and Harry Freedman. Ruders: Abysm;

De Profundis; Free'dman: Graphic Eight; A Gift

for King Freddie; new work (commission).

Gryphon Trio; Lawrence Cherney, oboe; Robert

Cram, flute; Simon Docking, piano & other

performers; Gary Kulesha, conductor. 7:00:

Young Artist Overture featuring student

composers and young musicians (free with

ticket purchase to 8pm concert). Glenn Gould

Studio, 250 Front St. West. 416·205-5555.

$25, $20lsr). $5(st).

- 8:00: Toronto Organ Club. Cole Holland,

organ. St. James United Church, 400 Burn·

hamthorpe Rd. West. 905·845·4539, 905·

824-4667. $10.

-9:00: University of Toronto Faculty of

Music. Jau Studies Beneft( Concert. P J

Perry, saxophone; Chase Sanborn, trumpet;

Alex Dean, alto sax; Kirk MacDonald, tenor

sax; Terry Promane, trombone & other

performers. Montreal Bistro & Jazz Club, 65

Sherbourne. 416·978·3744. $50.

-8:00: I Furiosi Baroque Ensemble.

Paved With Good Intentions. Guest: James

Sommerville, natural horn; Julia Wedman &

Aisslinn Nosky, violins; Gabrielle Mclaughlin,

soprano; Felix Deak, cello. Calvin Church, 26

Delisle Ave. 416·652·5483. $15, $10.

- 8:00: North Metro Chorus. Music from

Les Miserables. Guests: Metropolis; Neil

Aitchison. host. Hammerson Hall, 4141 Living

Arts Drive, Mississauga. 905·306·6000.


-8:00: Toronto Masque Theatre. Tears

of a Clown. Comedy, music & theatre in an

unfolding drama with music from Medieval to

Mahler to Motown. Diana Kolpak, clown/

actor/director; David Tomlinson, clown; Laura

Pudwell, mezzo; Larry Beckwith, violin;

Michael Franklin & Avery Maclean, record·

L! . c· · w;i

. . . . . . . . ..

. . . . . . . . . .



A comic evening of farce and fancy!

Septem1ber 24- to 26, 2004- at 8 p.m.

Trinity CoHege, 6 Hoskin Ave. ,

U of T

It's the party of the year, but: the Patron's carefully

laid plans quickly go awry. As chaos ensues, the music

morphs from Medieval to Mahler to Motown!"

Starring celebrated clo wns Diana Kolpak and

David Tomlinson and mezzo-soprano Laura Pudwell

Larry Beckwith, Artistic Dire ctor

Tickets: $20/ awilable at the door or by calling4164l04561


Tuesday September ZB

-12:10: University o!Toronto Faculty

of Music. Voice Student Performances.

Walter Hall, 80 Queen's Park. 416·978·

3744. Free.

-12:30: York University Dept. of Music.

Richard Whtfeman, jazz pianist & his Trio.

Mclaughlin Performance Hall. 4700 Keele St.

416· 736·5186. Free.

-1 :00: St. James' Cathedral. Elaine

Robertson, alto & Michael Bloss, piano.

Chansons & lieder. 65 Church St. 416·364·

7865. Free.

-8:00: Smile Theatre. Has Anybody Here

Seen Wtlly? Musical tribute to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Al Green Theatre, Miles Nadal

JCC, 750 Spadina Ave. 416·599·8440. For

complete run see music theatre listings.

-8:00: Tafelmusik. A Musical Offering:

Bach and More. Music of Bach & Rameau.

George Weston Recital Hall, 5040 Yonge St.

416·872-1111. $28·$59.


-8:00: Tapestry New Opera Works.

Opera Briefs 4. Selection of 10 brief works

from 9 years of Composer·Librettist Laborato·

ries. Tapestry/Nightwood New Work Studio,

The Cannery, Studio 315, 55 Mill St. 416·

537-6066. $20. For complete run see music

theatre listings.

Wednesday September 29

-12:30: York University Dept. of Music.

Middle Eastern and African Music. Rob

Simms. multi-instrumentalist. Mclaughlin

Performance Hall, 4700 Keele St. 416-736·

5186. Free.

-12:30: Yorkminster Park Church.

Noonday Recital: Corinne Outton, organ. 1585

Yonge St. 416·922· 1167. Free.

- 7:00: Tafelmusik. A Musical Offering:

Bach and More. Music by Bach & Rameau.

Trinity-St. Paul's Centre, 427 Bloor St. West.

416·964·6337. $26·$62, $20·$56 (sr/st)

-7: 15: Smile Theatre. Has Anybody Here

Seen Wi11y?Musical tribute to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. King Garden, 85 King St. East,

Mississauga. 905-566-4545, 416-599-8440.

For complete run see music theatre listings.

-8:00: Toronto Symphony Orchestra. Ax,

Chopin & Mahler. Chopin: Piano Concerto 112;

Mahler. Symphony 111 Titan. Emanuel Ax, piano;

Peter Oundjian, conductor. Roy Thcrnson Hall, 60

Smcoe St. 416-593-4828. $37-$115.

Thursday September 30

-12:10: University of Toronto Faculty


of Music. Thursdays at Noon: Sonata Highhghts.

Performances by students in the piano/

instrumental class. Walter Hall, 80 Queen's

Park. 416·978-3744. Free.

-12:30: York University Dept. of Music.

Michael Davidson, vibist & his Jazz Ensem·

ble. Mclaughlin Performance Hall, 4700 Keele

St. 416-736-5186. Free.

- 2:00: Northern District Library . Piano

Recital. Works by classical composers per·

formed by students from the studio of Law·

rence Pitchko. 40 Orchard View Blvd. 416·

393-7610. Free.

-2:00: Smile Theatre. Has Anybody Here

Seen W1lly?Musical tribute to the life of Will

'James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Yorkminster Park Church,

1585 Yong St. 416-922· 1167. 416-599·

8440. For complete run see music theatre


-8:00: Tafelmusik.A Musical Offering:

Bach and More. Trinity-St. Paul's Centre. See

Sep 29.

-8:00: Toronto Symphony Orchestra.

Ax, Chopin & Mahler. Roy Thomson Hall. See

Sep 29.

Friday October 01

- 12:30: York University Dept. of Music.

Al Henderson, jazz bass & his Ensemble.

Mclaughlin Performance Hall, 4700 Keele St.

416· 736-5186. Free.

-4:00: Opara in Concert. Puccini: la

Rondine. Cast of young performers; Jean

Stilwell, host. Edward Jackman Centre, 947

Queen St. E, 2"' floor. 416-922·2147. $15.




with the

Nathaniel Dett Chorale

Brainerd Blyden-Taylor

Founder & Artistic Director

Spirituals, Cuban Folk Songs,

Classical selections

Friday, October 1, 2004 at 8:00 pm

Tickets: $20.00

(416) 489-1551Ext.21

Lawrence Park Community Church

2180 Bayview Avenue, Toronto

plenty of parking available


129 St. Clair Avenue West Uust east of Avenue Rd.)

Saturday-Night Organ Recital Series

on the magnificent Rathgeb Memorial Organ

35th season

Mon., September 27, 2004, 8:00 pm

Glenn Gould Studio, 250 Front St. West

Freedman's Graphic B, Graphic 10 (World

Premiere), A Gift For King Freddie and

Poul Ruders' De Profundis, Abysm

Enjoy exciting contemporary music for chamber

orchestra and ensemble, featuring Gary Kulesha

(conductor), members of the Gryphon Trio, Robert

cram (flute), Simon Docking (piano) and more.

Ticket holders may join us for our pre-concert

Young Artist Overture at 7 pm, featuring Toronto's

best and brightest young musicians performing works

by Ruders, Freedman and student composers.

YAO \ponsOl'ed by lii1 ._k P..._W C,....

Tickets $25 adults/$20 seniors/$5 students

available from the Glenn Gould Studio Box Office,

250 Front St. W. Mon·Fri 11 am-6 pm (except statutory holidays)

CALL 416.205.5555

David Palmer

Saturday, October 2, 2004, 7:30 pm

A Program of Sonatas and Toccatas

Professor David Palmer is the Director of the School

of Music at the University of Windsor, Ontario.

Ludger Lohmann

. Saturday, November 13, 2004, 7:30 pm ,

Professor of Organ at the Musikhochschule in Stuttgart i

and. Titular Organist at the Stuttgart Catholic Cathedral.

Douglas Cleveland

Saturday, Feb. 5, 2005, 7:30 pm

Douglas Cleveland is Head of the Organ Department

at Northwestern University, U .S.A.

William Wright

Saturday, May 7, 2005, 7:30 pm

Romantic Rarities - Music from the 19th Century

Resident Organist of Deer Park United Church

Each concert is $20 or $60 for all four concerts.

Information: 416-481-2979

(Parking behind the Imperial Oil Building)

www.deerparkunitedchurch.ca, click on "Concerts"


- 8:00: Bands on ii Canildian Tour.

Tenors, Sopranos and the Sounds of Big Bands

on a Canadian Tour. Mel Lastman Square,

5100 Yonge St. 416·631 ·4208. Free.

- 8:00: Fridilys@ Eight. Shout for Joy!

Spirituals, Cuban folk songs; classical selec·

tions. Nathaniel Dett Chorale; Brainerd Blyden·

Taylor, artistic director. Lawrence Park

Community Church, 21 BO Bayview Ave. 416·

489-1551 x21. $20.

- 8:00: George Weston Recital Hall.

Toronto Progressive Jazz Series: Dave

Holland Ouintet with special guest, Jason

Moran. 5040 Yonge St. 416·870·8000.

$36.75, $47.75.

- 8:00: Milton Concert Series. Serenade

of Strings wtih Maestro Kerry Stratton.

Music by Mozart, Ravel, Elgar & others.

Christopher Lee, flute; Peter Stoll, clarinet;

Kerry Stratton, conductor. St. Paul's United

Church, 123 Main St., Milton. 905·878·

4732. $30,$24.

- 8:00: Music Gallery/CBC Radio Two.

Mandolini& Poulin. New works by Cherney &

Marriner. Silvia Mandolini, violin; Brigitte

Poulin. piano. St. George the Martyr Church,

197 John. 416·204-1080. $20, $15(mem·

ber/sr), $5(sl).

- 8:00: Tafelmusik. A Musical Offering:

Bachand More. Trinity-St. Paul's Centre. See


- 8:00: Toronto Symphony Orchestra.

Yo-Yo Ma, cello. Dvorak: Cello Concerto;

Symphony 119 from the New World. Peter

Oundjian, conductor. Roy Thomson Hall, 60

Simcoe St. 416·593-4828. $55-$130.

Saturday October 02.

- 7:00: Opera in Concert. Puccinda

Rondine. Edward Jackman Centre. See Oct 1.

- 7:30: Deer Park Concerts. David Palm·

er, organ in Recital. Works by Arnatt, Bach,

Frescobaldi, Hindemith, Lidon & Mendelssohn.

129 St. Clair West. 416-481-2979. $20.

- 7:30: Royal Opera Canada. Verdi:· La

Traviata. Dwight Bennett, artistic director.

Hammerson Hall, Living Arts Centre, 4141

Living Arts Drive, Mississauga. 905-306-

6000. $50-$125, $45-$120(sr/st). For

complete run see music theatre listings.

- 7:30: Toronto Symphony Orchestra.

Renee Fleming, soprano - Gala Performance.

R. Strauss: Serenade for Winds; Four Last

Songs; Rossini: Overture to William Tell;

Puccini: I Crisantemi; arias. Peter Dundjian,

conductor. Roy Thomson Hall, 60 Simcoe St.

• 416-593·4828. $60-$150.

- 8:00: Mi1111y Hilll.Afro·Cuban Al/Stars.

Jan De Marcos Gonzalez, leader. 15 Shuter.

416-872-4255. $39.50-$79.50.

- 8:00: New Music Concerts/Music

Gallery. Hammerhead. Music by Bashaw,

Hamel & Helweg. Guests: Hammerhead

Consort; Corey Hamm & Haley Simons,

pianos; Trevor Brandenburg & Darren Salyn,

percussion. 7:15: Illuminating Introduction.

Music Gallery at St. George the Martyr

Church, 197 John. 416-204-1080. $25,

$15(sr), $5(st).

- 8:00: St.Jude's Church.An Evening at

the Palm Court: Benefit Concert til aid of an

AIDS Mission in Africa. Marian Sjolander,

soprano; Robert Miskey & John Laing, violins;

Joan Browne, flute; Oakville Christian Youth

String Ensemble. William Street, Oakville.

905-844-3975. $20.

- 8:00: Talelmusik.A MusicalOffertilg:

Bach and More. T rinity·St. Paul's Centre. See

Sep 29.

Sunday October 03

- 1 :00: Hubourlront Centre. Music with

Bite: Latin Colours. Catherine Meunier, percus·

sion; Marie-Helene Breault, flute. York Quay

Centre, 235 Queens Quay West. 416-973·

4000. $8, family rate.

- 1 :30: McMichatl Gallery. Mary Kenedi.

Classical ensemble. 10365 Islington Ave.,

Kleinburg. 905-893-1121. Gallery admission:

$15,$9, $25(family rate).

- 2:00: Cathedral Bluffs Symphony

Orchestra. Young Artists/Celebrating Arts

Week. Willan: Overture to an Unwritten

Comedy; Ridout: Fall Fair; concerto move·

ments. Perfonners include 6 young artists;

Robert Raines, conductor. Rotunda, Scarbor·

ough Civic Centre, 150 Borough Drive. 416·

879-5566. Free.

- 2:30: University of Toronto FilCulty of

Music. Music of lothar Klein. Concert to

honour his memory. Walter Hall, 80 Queen's

Park. 416-978-3744. Free.

- 3:00: Meredith Hall, soprano; Sylvain

Bergeron, lute; Rabin Grenon, hup.

Sweeter than Roses. Music by Purcell,

Monteverdi & Burns. St. George the Martyr

Church, 197 John. 416-977-2045. $20,$15.

- 3:30: Tilfelmusik.A Musical Dffering:

Bach and More. Trinity-St. Paul's Centre. See

Sep 29.

- 4:00: St. Jam11' Cilthedral. Marty

Smyth, organ. 65 Church St. 416-364-7865.


- 4:30: St. Ann1's Church. Evensong.

Music by Holman, Clucas, Brahms & Men·

delssohn. Choir of St. Anne's; Peter J. Onne,

organ; P. John H. Stephenson, Director of

Music. 270 Gladstone Ave. 416-767-7290.

Freewill offering.

- 4:30: St. Ji1m11' Cathedral. Choral

Evensong. Cathedral Choir of Men & Boys. 65

Church St. 416-364-7865. Free.

Monday October 04

- 7:00: University al Taranto Faculty of

Music. Chamber Music Series: Brentano

Ouartet. Gesualdo (arr. Adolphe): Madrigals;

Wuorinen: Divertimento; Davidovsky: Quartet

115; Schubert: Quartet in d Death and the

Maiden. Waller Hall, 80 Queen's Park. 416-

978-3744. $21,$11.

- 8:00: WholeNate Magazine. Nine

Mondays: Music by Threes. Chamber Jazz by

Galloway Plus Two; otherWholeNote staff

and associate threesomes, early to modern.

Details TBA. Music Gallery at St. George the

Martyr Church, 197 John. 416-204-1080.

$12, $8(sr/sl).

Tuesday October 05

- 1 :00: St. Jiimes' Cilthedral. Michael

Bloss, organ. 65 Church St. 416-364-7865.


- 8:00: Mirvish Productions. The Rat

Pack. Musical recalling the 1960 concerts by

Frank Sinatra, Sammy Davis & Dean Martin

at the Sands Hotel, Las Vegas. 15-piece "Rat

Pack" Big Band; full company of singers &

dancers. Canon Theatre, 244 Victoria. 416-

872-1212. For complete run see music

theatre listings . •

- 8:00: Music Giillery/Hubaurlrant

Centre. Corona Guitar Kvartet. Brady: new

work & other music. St. George the Martyr

Church, 197 John. 416-204-1080. $20,

$15(member/sr), $5(sl).

Wednesday October 06

Music.Small Jazz Ensembles. Walter Hall,

80 Queen's Park. 416-978-3744. Free.

Thursday October 07

- 12: 10: University al Toronto filculty

of Music. Thursdays at Noon: Music &

Poetry. Hawkins: Light to Dark; Schubert:

Shepherd on the Rock. Lorna MacDonald,

soprano; Peter Stoll, clarinet; John Hawkins,

piano. Walter Hall, 80 Queen's Park. 416-

978-3744. Free.

- 2:00: Toronto Symphony Orchestra.

Beethoven & Tchaikovsky. Roy Thomson Hall.

See Oct 6.

• - 7:30: University of Taranto Faculty of

Music. Dpera Division Benefti Rectial Joni

Henson, soprano; Andrea Grant, piano. Walter

Hall, 80 Queen's Park. 416-978-3744. $50.

earshot! concerts

416-538-2006 I earshotconcerts.ca

Thurs. Oct 7 @ 8:00

Music Gallery ( 197 John St)

· earshot # 13



The newest cycle of works by

composer Charlie lngas.

jazz and prog rock-influenced

cosmic minimalist music for

chamber orchestra and chorus.

Mezmerizing!Tickets: $10 - $30

- 8:00: Earshot Concerts. Earshot 1113:

Gold of Hours - the Music of Charlie Ringas.

Music Gallery at St. George the Martyr

Church, 197 John. 416-204· 1080. $10-$30.

eeter than


IT2eredith nall, soprano and

Syloain Bergeron, lute

present a charming afternoon of music by

Purcell IDonteoerdi and Robert Bums

Sunday October 3 at 3 p.m.

St. George the Martyr Church (197 John Street)

Tickets: $20 & $15 available at the door or by calling 416-977-2045

- 12:30: Yorkminster Puk Church.

Noonday Rectial· P. John H. Stephenson,

organ. 1585 Yonge St. 416-922-1167. Free.

- 8:00: David Buchbinder. Shurum Burum

Jazz Circus. Multimedia presentation of

original orchestral jazz with circus perfonnance

& contemporary dance, featuring 11

musicians, 3 circus perlonners, 2 movement

artists. Stone Distillery, Distillery Historic

District, 55 Mill St. 416-872-1212. $32. For

complete run see music theatre listings.

- 8:00: Glenn Gauld Studio: Toronto

Progressive Jazz Series: Andrew Hill 250

Front W. 416-870-8000. $32.50.

- 8:00: Toronto Symphony Orchestra.

Beethoven & Tchaikovsky. Beethoven: Violin

Concerto; Tchaikovsky: Symphony /16Pathlf.

tique. James Ehnes, violin; Gunther Herbig,

conductor. Roy Thomson Hall, 60 Simcoe St.

416-593-4828. $32-$110.


- 8:00: University of Toronto filculty of

- 8:00: Music Toronto. Emerson Stong

Ouartet. Beethoven: String Quartet in D Op.18

113; Tower: Incandescent; Shostakovich: String

Quartet 112. Jane Mallett Theatre, 27 Front

St. East. 416-366-7723. $43,$39.



lin this issue: Angus, Barrie, Campbellford, Clarksburg, Drayton,

Guelph, Hamilton, Jackson's Point, Kitchener, Leith, London, Niagara

Falls, Niagara·on·the·Lake, Orillia, Owen Sound, Picton, Port Hope,

Sharon, Sonya, Waterloo!

Thursday September OZ

Tuesday September 07













Bandmaster Glenn Barlow





0 .

0 w





1585 Yonge Street (Just North of St.Clair Ave)

0 u

Tickets: $2Q.oo


m www.ticketmaster.ca O

416 870 8000


)> . 0









- 8:00: Kitchener·Waterloo Chamber

Music Society. Sean Bennesch, violin;

Sydney Bulman·fleming, piano. KWCMS

Music Rooni, 57 Young St. West, Water·

loo. 519·886· 1673.

Friday September 03

- 8:00: Novalis Hall. Esmeralda Enrique

Spanish Dance Company. 7841 4'" line,

Angus. 705·722·5408. $25.

The Sharon Temple National

Historic Site




1897 4 Leslie Street

Sharon, ON

Tickets: 905-478-2389


- 2:00: Drayton Festival Theatre. fiddler

on the Roof. By Stein, Bock & Harnick. 33

Wellington St. South, Drayton. 888·449·

4463. $271preview), $20118 & under), group

rates. For complete run see music theatre


Wednesday September 08

- 2:00 & 8:00: Red Barn Theatre. Broad·

way Heroes. Salute to Broadway. Starring

David Rogers. 991 Lake Dr., Jackson's Point

Performers and visitors from around the world praise the combination of the

historic Temple's extraordinary architecture and sublime acoustics. We

welcome you to come to a concert and make your visit to our site an entire

day! Take a tour of the historic buildings and bring a picnic lunch to enjoy on

our museum grounds. Fabulous acoustics in an idyllic setting!



Adults $18 per concert. students, and seniors $15 per concert

Friday, Sept. 17, BPM ff'

Melissa Stylianou


"The sort of warm,

open and secure

singer for whom

'style' is a means not --

an end."

- Mark Miller, The Globe and Mail

Sun., Sept. 19, 2PM

Jessica Muirhead

Aurora soprano

Jessica Muirhead is

the vocal winner of

the 2003 National

Music Festival and the Elora festival.

Jessica has also been acclaimed in per·

formance of opera, oratorio and recital.




. . .

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WWW.JAZZf D.GA OP- GALL 410-00-2222

Sunday, o'ctober 3, 2PM

Alex Crowther and Adam Miceli

Friday, September 10 Doors open at

6:30PM, event begins at 7PM

Our Annual Fall Illumination

Music and history i.D perfect harmony

This is our "must see" event of the

season, when every window and

lantern of The Sharon Temple glows

with candlelight. Enjoy a musical

concert as well as traditional

A dashing tenor and baritone duo join

refreshments afterwqrds.

;forces to sing a variety of solos and .

duets sure to touch your heart and lift All tickets $18

Ontario Cultural

Athactions fund

your spirit! . -

__ ··----··-- ·--------·------·

Restricted to those 19 years of age and older.

Chartiable Business Registration# 10379 8245 RR0001

I"'** I

Canadian Patrimoine

T Heritage canadien

l t f on d1 pour


cullurdl'!i d• t'CMtouio




1 ·888-733-2276. $26. For complete run see

music theatre listings.

-8:00: Guelph Jazz Festival. Anne Bourne,

Justin Haynes, RaviNaimpally. Macdonald

Stewart Art Centre, 358 Gordon St., Guelph.

519· 763-3000, 877 ·520·2408. $18, $14.

-2:30: Guelph Jazz Festival. Susie Ibarra

Trio with Angelica Sanchez and Jennifer Choi:

Gossage: Other Voices. Guelph Youth Music

Centre, 75 Cardigan St. 519· 763-3000, 877 ·

520-2408. $22,$18.

-8:00: Guelph Jazz Festival. Urse/

Sch/icht's Ex Tempore Project. Archie Shepp/'

Thursday September 09

Roswell Rudd Quartet with Reggie Workman,

Andrew Cyrille: Chalmers United Church, 50

-8:00: Guelph Jazz Festival. Michel

Lambert, Barre Phillips, Lionel Garcin. St.

George's Church, 99 Woolwich St., Guelph.

519-763-3000, 877-520-2408. $23,$19.

-11:30pm: Guelph Jazz Festival. NOMA.

St. George's Church, 99 Woolwich St.,

Guelph. 519-763-3000, 877-520-2408.


Quebec St., Guelph. 519-763-3000, 877-

520-2408. $30,$25.

- 8:00: Kitchener-Waterloo Chamber

Music Society. Javier Gonzales, piano.

KWCMS Music Room, 57 Young St. West,

Waterloo. 519·886-1673.

- 11 :30pm: Guelph Jazz Festival. Do

Make Say Think. Old Quebec Street, 55

Wyndham St. North, Guelph. 519-763·

Friday September 10

-8:00: Guelph Jazz Festival. Sainkho

3000, 877-520·2408. $18,$14.

Sunday September 1Z

Namtchylak, William Parker, Hamid Drake.

Cyrille: Pieces of Time featuring Don Moye, -10:30am & 7:00: Guelph Jazz Festival .

Oba Addy & Okyerema Asante. Chalmers ' In Place of Wishes: A fairy tale for all ages.

United Church, 50 Quebec St., Guelph. 519·

763-3000, 877-520-2408. $28,$23.

-11:30pm: Guelph Jazz Festival. Bob

Ostertag, Pierre Hebert, Theo B/eckmann. St.

George's Church, 99 Woolwich St., Guelph.

519-763-3000, 877-520·2408. $18, $14.

By Robert Pennee; directed by Kim Renders.

Improvised music by Peggy Lee, Cameron

McKittrick, Ellen Waterman, Richard Windey·

er & Leslie Wyber. Guelph Youth Music

Centre, 75 Cardigan St. 519· 763·3000, 877 ·

520-2408. $18,$14, $6(under 12).

-3:00: Jackalyn Short, soprano &

Saturday Se tember 11

Joshua Grunmann, piano. An Afternoon

of Songs in French. Britten: Les Illuminations;

- 10:30am: Guelph Jazz Festival. Joelle

Ltiandre & India Cooke. Guelph Youth Music

Centre, 75 Cardigan St. 519· 763-3000, 877 ·

520-2408. $18,$14.

songs by Faure, Debussy & Poulenc. Wolf

Performance Hall, 251 Dundas St., London.

519-438-3474. $20,$15.

- 3:00: Marsh Street Centre. A Little

Opera ... A Little Show. Music by Puccini, J.

Strauss, Offenbach & others. Antonella

Cavallaro & Wendy Dobson, sopranos; Lenard

Whiting, tenor; Marek Kornakowski, baritone;

William Shookhoff, piano. 187 Marsh Street,

Clarksburg. 519-599-3344.

-7:00: Amis du Jazz. Dennis Ke/die,

Hammond organ; Tony Ouarrington, guitar;

Howard Gaul, drums. The church in Sonya,

13 k north of Port Perry. 705-357-2468.


Tuesday September 14

-2:00: Sunshine Festival Theatre

Company. 01' Blue Eyes ... A Tnbute to Frank

Sinatra. Musical revue. Opera House, 20

Mississaga St. West, Orillia. 1-800-683·

8747. $26(preview). For complete run see

music theatre listings.

Friday September 17

• -2:00: Sharon Temple Historic Site.

MelissaStylianou,jazz vocals. 18974 Leslie

St. , Sharon. 905-478-2389. $18,$15.

Saturday September 18

- 2:00: Westben Arts Festival Theatre.

Autumn Feast for the Ears: A Carnival of

Chopin 1. Chopin: 24 Preludes; music by

Haydn, Beethoven & Brahms. Jane Coop,

piano. 11 am: Pre-concert chat on Chopin by

Charles Foreman. The Barn, 3 km northwest

of Campbellford on County Road 30. 705·

653-5508, 877-883-5777. $30,$25,


-8:00: Hamilton Philharmonic Orches·

tra. Music Italia. Music by Puccini, Verdi,

Tosti & others. Tamara Hummel, soprano;

Giuliano di Filippo, tenor; Leo Della Rocca,

baritone; Michael Reason, conductor. Great

Hall, Hamilton Place, 1 Summers Lane. 905·

526-6556. 0 $26-$53, $24-$49(sr), $1 O(st),

$5(high school & younger).

- 8:00: Kitchener-Waterloo Chamber

Music Society. David Gillham, violin &

Chiharu linuma, piano. KWCMS Music Room,

57 Young St. West, Waterloo. 519-886-


Sunday September 19

- 2:00: Sharon Temple Historic Site.

Jessica Muirhead, soprano. 18974 Leslie St.,

Sharon. 905-478-2389. $18,$15.

- 2:00: Westban Arts Festival Theatre.

Autumn Feast for the Ears: A Carnival of

Chopin 2. Chopin: Fantasies; music by Mozart

& Beethoven. Charles Foreman, piano. Pre·

concert chat by Jane Coop. The Barn, 3 km

northwest of Campbellford on County Road

30. 705-653-5508, 877-883-5777.

$30,$25, $15(st).

- 7:00: Amis du Jazz.Po/CousseeBand.

Classics of Chet Baker & Gerry Mulligan. Pol

Coussee, baritone sax; Brian O'Kane, trumpet;

Joel Haynes, drums; George Kozub, bass. The

church in Sonya, 13 k north of Port Perry.

705-357-2468. $15.

Wednesday September ZZ

- 8:00: Kitchener-Waterloo Chamber

Music Society. Schulte-B/oemenda/. Turini

Trio. KWCMS Music Room, 57 Young St.

West, Waterloo. 519-886-1673.

Thursday September 23

- 2:00: Westben Arts Fatival Theatre.

Autumn Feast for the Ears: Operetta Opulence.

Vocal music from the world of operetta

by Mozart, Gilbert & Sullivan, Gershwin.

Nancy Henmiston, soprano; Brian Finley, piano.

The Barn, 3 km northwest of Canipbellford

on County Road 30. 705-653-5508, 877 -883·

5777. $30,$25, $15(st).

- 7:30: Prince dward County Music

Festival. Schubert: Introduction and Varia·

tions on Trockne Blumen for flute & piano;

Hetu: Serenade for flute and string quartet;

Four Pieces forilute and piano; Ravel: Quartet

in F. Stephane Lemelin, piano; Robert Cram,

flute; Arthur Leblanc Quartet. Church of St.

Mary Magdalene, Picton. 613-476-7792.

$20,$10(st), Festival Pass $50,$25(s1).

-7:30: Smile Theatre. Has Anybody Here

Seen Willy? Musical tribute to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Rockway Gardens Senior Citi·

zens Centre, 1405 King St. East, Kitchener.

519-741-2510, 416-599-8440. For complete

run see music theatre listings.

Friday September 24

- 6:30-9:30pm: All-Canadian Jazz Festi·

val. Perfonmers include: Northumberland High

School All-Star Jazz Band, Ranee Lee &

others. Capitol Theatre, 20 Queen St., Port

Hope. 1-866-565-5009, 905-885-1938.


-7:30: Prince Edward County Music

Festival. Hetu: Aria for flute and piano; 2"'

String Quartet; Prokofiev: Sonata in D for flute

and piano; Beethoven: Quartet in B flat.

Stephane Lemelin, piano; Robert Cram, flute;

Arthur Leblanc Quartet. Church of St. Mary

Magdalene, Picton. 613-476-7792.

$20,$1 O(st), Festival Pass $50,$25(st).

- 8:00: Colours of Music Festival.

Johannes Unger, organ in Recital. Burton Ave.

United Church, 37 Burton Ave., Barrie. 705·

726-4980. Festival passport $45 ($55 after

Sep 12), festival passport student $20 ($25

after Sep 12).

-8:00: Colours of Music Festival. Onyx

Brass Ouintet. First Christian Refonmed

Church, 33 Shirley Ave., Barrie. 705-726·

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 ($25 after

Sep 12), Pass Plus $15.

- 8:00: Sw11tWater Music WHkand.

Concert Featuring Instruments Made by Grey­

Bruce Luthiers. Works by Bach, Britten,

Hindemith, Mozart. Scott St. John, violin &

viola; Mark Fewer, violin; Douglas McNabney,

viola; David Hetherington, cello. Leith Church,

north of Owen Sound. 519-376-3517. $20.

Saturday September 25

- 12:45-6:00: All-Canadian Jazz Festi·

val. Perfonmers include: Kevin Clark Quintet,

Pat LaBarbera Quintet, Alex Pangman, Rober·

to Occhipinti Septet, Daniel Barnes Trio &

others. Memorial Park, Port Hope. 1-866·

565-5009, 905-885-1938. $15, 2-day pass


- 2:30: Colours of Music Festival. Kaori

Yamagam1; cello & Jean-Franfois Latour,

piano. Central United Church, 54 Ross St.,


Barrie. ·705-726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

- 2:30: Colours of Music Festival.St.

John'sChoirElora. Works by Parry, Howell &

Willan. Jurgen Petrenko, organ; Noel Edison,

conductor. St. Andrew's Church, 47 Owen

Street, Barrie. 705-726-4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12),

Pass Plus $15.

- 7:00: Smile Theatre. Has Anybody Here

Seen Willy? Musical tribute ' to the life of Will

James. By Kneebone & Christie; directed by

Dinah Christie; featuring Dwayne Evens &

Steve Lendt. Coronation 50 Plus Recreation

Centre, 5925 Summer St., Niagara Falls.

905-356-6493, 416-599-8440. For complete

run see music theatre listings.

- 7:30: Prince Edward County Music

Festival. Haydn: Quartet in B flat Sunrise;

Hetu: Sonata for violin and piano; Schumann:

Quintet for piano and strings in E flat.

Stephane Lemelin, piano; Robert Cram, flute;

Arthur Leblanc Quartet. Church of St. Mary

Magdalene, Picton. 613-476-7792.

$20,$1 O(st), Festival Pass $50,$25(st).

- 8:00: All-Canadian Jazz Festival.

Perfonmers include Franois Bourassa & A lain

Caron. Capitol Theatre, 20 Queen St., Port

Hope. 1-866-565-5009, 905-885-1938.


- 8:00: Colours of Music Festival.

Moscow Nights. Old Russia through music,

song & dance. First Christian Refonmed

Church, 33 Shirley Ave.,·Barrie. 705-726-

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 ($25 after

Sep 12), Pass Plus $15.

- 8:00: Colours of Music Festival.North

America in Pictures-Poetry and Piano. Gloria

Saarinen, piano; Lister Sinclair, narrator, art of

Ted Harrison. Burton Ave. United Church, 37

Burton Ave., Barrie. 705-726-4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 8:00: SweetWater Music Weekend.

Works by Beethoven, Martinu, Rea, Rossini.

Scott St. John, violin & viola; Mark Fewer,

violin; Douglas McNabney, viola; David

Hetherington, cello. Knox United Church, 4"

Avenue & 9" Street, Owen Sound. 519·

376-3517. $15.

Sunday September 26

- 12:00 noon-5:00: All-Canadian Jazz

Festival. Perfonmers include: Peter Dent

Quartet, Brian Barlow Brass Quintet, Karen

Plato Quartet, Michael Kaeshammer Trio,

Chri°stine Jensen Quartet, Young Jazz Showcase

& others. Memorial Park, Port Hope. 1 ·

866-565-5009, 905-885-1938. $15, 2-day

pass $25.

- 2:00: SweetWater Music Weekend.

Music by Ager, Beethoven, Haydn. Leith

Church, north of Owen Sound. 519-376-3517.


- 2:00: Westben Arts Festival Theatre.

Autumn Feast for the filrs: Autumn Chorus.

MacMillan Singers; Doreen Rao, conductor.

The Barn, 3 km northwest of Campbellford

on County Road 30. 705-653-5508, 877 ·883·

5777. $30,$25, $15(st).

- 2:30: Colours of Music Festival.

Daedalus Trio. Music by Glick, Khatchaturian,

Brahms. Philip Chiu, piano; Zsolt Eder, violin;

Dominic Desaultels, clarinet. First Christian

Reformed Church, 33 Shirley Ave., Barrie.

705-726-4980. Festival passport $45 ($55

after Sep 12), festival passport student $20

($25 after Sep 12).

- 2:30: Colours of Music Fntival.Jean­

Frano1s Latour, piano. Music by Ravel &

Schumann. Central United Church, 54 Ross

St., Barrie. 705· 726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

- 6:30: All-Canadian Jazz festival.

Performers include San Murata, Renee

Rosnes: Strings Attached & others. Capitol

Theatre, 20 Queen St., Port Hope. 1-866-

565-5009, 905-885-1938. $30.

- 7:00: Amis du Jazz.David French Band.

David French, sax; Justin Hanes, guitar &

others. The church in Sonya, 13 k north of

Port Perry. 705-357-2468. $15.

- 8:00: Colours of Music Festival.

England's Carol Williams. Music for organ.

Collier Street United Church, 112 Collier St.,

Barrie. 705-726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

- 8:00: Colours of Music Festival. Vento

Chiaro Woodwind Ouintet. Central United

Church, 54 Ross St., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep

12), Pass Plus $15.

Monday September 27

- 12:00 noon: Colours of Music festival.

fun In Song. Melinda Delonme, mezzo; Giles

Tomkins, baritone; Andrea Grant, piano. First

Christian Refonmed Church, 33 Shirley Ave.,

Barrie. 705-726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

- 12:00 noon: Colours of Music Festival.

George Greer, double bass & Guy Few, piano.

Music by Schubert, Bach, Gliere & Bottesini.

Burton Ave. United Church, 37 Burton Ave.,

Barrie. 705-726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

- 2:30: Colours of Music Festival.

Romancing the Tone. Schubert: Shepherd on

the Rock. Mark Thompson, clarinet; Carolyn

Sinclair, soprano; Susan Lee, piano. Burton

Ave. United Church, 37 Burton Ave., Barrie.

705-726-4980. Festival passport $45 ($55

after Sep 12), fe"stival passport student $20

($25 after Sep 12).

- 2:30: Colours of Music Festival.

Veritas Piano Ouartet. Music by Mozart,

Schumann & Brahms. Central United Church,

54 Ross St., Barrie. 705-726·4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 8:00: Colours of Music Festival.

PendereckiStnilg Quartet. Schubert: Trout

Quintet; music by Saint -Saens. Guy Few,

trumpet/piano; Stephanie Mara, piano; George

Greer, double bass. First Christian Reformed

Church, 33 Shirley Ave., Barrie. 705-726·

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 ($25 after

Sep 12), Pass Plus $15.

-8:00: Colours of Music Festival.

Sanctuary. Peter Togni, organ; Christoph Both,

cello; Jeff Reilly, clarinet. Burton Ave. United

Church, 37 Burton Ave., Barrie. 705-726·

4980. Festival passport $45 ($55 after Sep

12). festival passport student $20 ($25 after

Sep 12).

- 8:00: kitchener·Waterloo Chamber

Music Society. New Zealand String Ouartet.

KWCMS Music Room, 57 Young St. West,


Waterloo. 519-886-1673.

Tuesday September 2B

- 12:00 noon: Colours of Music Festival.

PendereckiStflilg Quartet. Music by Haydn &

Dvorak. Burton Ave. United Church, 37 Burton

Ave., Barrie. 705-726·4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 12:00 noon: Colours of Music Festival.

Virtuoso Russian Music: Music by Rimsky·

Korsakov & Rachmaninoff. Guy Few, trumpet;

Stephanie Mara, piano. First Christian Re·

formed Church, 33 Shirley Ave., Barrie.

705-726·4980. Festival passport $45 ($55

after Sep 12), festival passport student $20

($25 after Sep 12).

- 2:30: Colours of Music Festival.

Braslavsky-F1ildlay Duo. Music for piano &

cello by Brahms, Dvorak, Schumann & Saint·

Saens. Burton Ave. United Church, 37 Burton

Ave., Barrie. 705-726-4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 2:30: Colours of Music Festival. Jean·

PhihppeSylvestre, piano. Music by Chopin,

Beethoven & Balakirev. Central United Church,

54 Ross St., Barrie. 705-726-4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 8:00: Colours of Music Festival. 1900

- The Golden Age of Concert Bands iii the

Park. Kiosque & Alain Trudel, trombone. Hi·

Way Pentecostal Church, 50 Anne Street

North, Barrie. 705-726'4980. Festival

passport $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12),

Pass Plus $15.

-8:00: Colours of Music Festival. Art

and life of Emily Carr. Linda Maguire, mezzo.

Burton Ave. United Church, 37 Burton Ave.,

Barrie. 705· 726-4980. Festival passport

$45 ($55 after Sep 12), festival passport

student $20 ($25 after Sep 12).

Wednesday September 29

- 12:00 noon: Colours of Music festival.

Piamsts of Tomorrow. Angel Zhao, Bora Kim

& Cissy Zhow, piano. First Christian Refonmed

Church, 33 Shirley Ave., Barrie. 705-726-

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 ($25 after

Sep 12).

- 12:00 noon: Colours of Music Festival.

lsolt Eder, violin & Philip Chiu, piano. Music

by Beethoven & Bartek. Burton A.ve. United

Church, 37 Burton Ave., Barrie. 705-726·

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 ($25 after

Sep 12).

- 2:30: Colours of Music Festival.

Adask1il Stflilg Trio & Joseph Petric, accordi

an. Music by Beethoven, Mozetich, Sokolovic

& Luedeke. First Christian Refonmed Church,

33 Shirley Ave., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep


- 2:30: Colours of Music Festival.

Winston Ch0t; piano iii Recital Music by Bach,

Ives, Debussy & Ravel. Central United Church,

54 Ross St., Barrie. 705-726-4980. Festival

passport. $45 ($55 after Sep 12), festival

passport student $20 ($25 after Sep 12).

- 8:00: Colours of Music Festival.

Hampton Avenue 4. A cappella jazz vocal

quartet. First Christian Refonmed Church, 33

Shirley Ave., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep


- 8:00: Colours of Music Festival.James

Campbell, claf!ilet & New Zealand Stflilg

Quartet. Music by Mozart & Weber. Central

United Church, 54 Ross St:, Barrie. 705·

726-4980. Festival passport $45 ($55 after

Sep 12), festival passport student $20 ($25

after Sep 12). Pass Plus $15.

- 8:00: Kitchener-Waterloo Chamber

Music Society. CCE 1. KWCMS Music

Room, 57 Young St. West, Waterloo. 519·


Thursday September 30

- 12:00 noon: Colours of Music Festival.

Adask1il String Trio. Music by Mozart,

Adaskin & Klein. Burton Ave. United Church,

37 Burton Ave., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep


-12:00 noon: Colours of Music Festival.James

Campbel, diimet& WlflS(mChri,piilno. Music by

Pouklnc, Brallns & Weiiar. Central Urited Cluch,

54 Ross St .. Barrie. 705· 726-4980. Festival

passport $45 ($55 alterSep12), festival passport

stucEnt $20 ($25 after Sep 12).




- 2:30: Colours of Music Festival.

after Sep 12), festival passport student $20

Abysse String Guartet & Arturo Nieto·

($25 after Sep 12).

Dorantes, piano. Music by Franck & Dvorak.

- 2:30: Colours of Music fe&tival. A

Central United Church, 54 Ross St., Barrie.

Celebra'fion of Song. Opera & operetta solos & .

705-726-4980. Festival passport $45 ($55

duets. Deanna Hendricks & Miriam Khalil,

after Sep 12), festival passport student $20

sopranos; Chantelle Grant, mezzo, Jan Vaca·

($25 after Sep 12).

lik, bass; Andrew Aarons, piano; Stuart

- 2:30: Colours of Music Festival. New

Hamilton, narrator. Burton Ave. United

Zealand String Guartet. Music by Beethoven,

Church, 37 Burton Ave., Barrie. 705-726·

Ligeti & Schubert. Burton Ave. United Church,

4980. Festival passport $451$55 after Sep

37 Burton Ave., Barrie. 705-726-4980.

12), festival passport student $20 ($25 after

Festival passport $45 ($55 after Sep 12),

Sep 12).

festival passport student $20 ($25 after Sep

- 2:30: Colours of Music Festival. Duke


Piano Trio. Music . by Smetana & Dvorak.

- 8:00: Colours of Music Festival. T 11'

Steven Sitarski, violin; Thomas Wiebe, cello;

Century Concert Orchestra. Music, costumes.

Peter Longworth, piano. Central United

wigs & instruments of Handel. First Christian

Church, 54 Ross St., Barrie. 705· 726-4980.

Reformed Church, 33 Shirley Ave., Barrie.

Festival passport $45 ($55 after Sep 12),

705-726-4980. Festival passport $45 ($55

festival passport student $20 1$25 after Sep

after Sep 12). festival passport student $20


($25 after Sep 12). Pass Plus $15.

- 8:00: Centenary Concert Series. Diane

Bish, organ in Recital. Centenary United

Friday October 01

Church, 24 Main St. West, Hamilton. 905-

526-1147, 866-526-1147. $30.

- 12:00 noon: Colours of Music Festival.

- 8:00: Colours of Music Festival.Elmer

AbysseString Guartet. Music by Falla,

lselerSingers. St. Andrew's Church, 47 Owen

Piazzolla, Barber & Dvorak. Burton Ave.

Street, Barrie. 705-726-4980. Festival

United Church, 37 Burton Ave., Barrie. 705·

passport $45 ($55 after Sep 12), festival

726-4980. Festival passport $45 ($55 after

passport student $20 ($25 after Sep 12),

Sep 12). festival passport student $20 ($25

Pass Plus $15.

after Sep 12).

- 8:00: Colours of Music Festival.

- 12:00 noon: Colours of Music Festival.

KiyoshiNagata Taiko Drums. Traditional

Arturo Nieto-Dorantes, piano. Music by

Japanese drumming. First Christian Reformed

Debussy, Villa-Lobos, Guarnieri, Marquez.

Church, 33 Shirley Ave., Barrie. 705-726-4980.

Central United Church, 54 Ross St., Barrie.

Festival passport $45 ($55 afterSep 12), festival

705-726-4980. Festival passport $45 ($55

passport stucilnt $20 ($25afterSep12).

Saturday October OZ

- 12:00 noon: Shaw Festival. Musical

Reading: Bloomer Girl. By Arlen & Harburg;

directed by Jackie Maxwell. Royal George

Theatre, 85 Queen St., Niagara·on·the·

Lake. 1-800-511-7429. $18.

- 2:30: Colours of Music Festival. Mirian

Conti; piano. Music by Liszt; Spanish & South

American classics. First·Christian Reformed

Church, 33 Shirley Ave., Barrie. 705-726·

4980. Festival passport $45 ($55 after Sep

12), festival passport student $20 1$25 after

Sep 12).

- 2:30: Colours of Music Festival.Saini

Cecilia Piano Guartet. Music by Beethoven,

Mendelssohn & A.Strauss. Central United

Church, 54 Ross St., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep


- 8:00: Colours of Music Festival. Sacred

Music Society Gala. Beethoven: Fantasia;

music by Mozart. Andrew Burashko, piano;

Uwe Lieflander, conductor; 200-voice choir &

orchestra. First Christian Reformed Church,

33 Shirley Ave., Barrie. 705-726-4980.

Festival passport $45 ($55 after Sep 12),

festival passport student $20 ($25 after Sep

12), Gala $20.

Sunday October 03

- 2:00: Shuon Temple Historic Site.

Alex Crowther, tenor and Adam Miceli,

baritone. 18974 Leslie St., Sharon. 905·

478-2389. $18,$15.

- 2:30: Colours of Music Festival.

Ensemble Vivant with Catherine Wilson, piano.

Central United Church, 54 Ross St., Barrie.

705-726-4980. Festival passport $45 ($55

after Sep 12), festival passpor) student $20

($25 after Sep 12).

- 2:30: Colours of Music Festival.

Mooredale Concerto Players. Music by Bach,

Vivaldi & Telemann. Kristine Bogyo, conduc

tor. First Christian Reformed Church, 33

Shirley Ave., Barrie. 705-726-4980.

Festival passport $45 ($55 afte Sep 12),

festival passport student $20 ($25 after Sep


- 7:00: Amis du Jazz. Charlie Gray, trumpet

& Gary Williamson, piano. The church in

Sonya, 13 k north of Port Perry. 705-357·

2468. $15.

- 8:00: Kitchener·Waterloo Chamber

Music Society. PendereckiGuartet. KWC­

MS Music Room, 57 Young St. West, Water·

loo. 519·886· 1673.

Thursday October 07

- 11 :OOam: City of Hamilton/American·

Liszt SocietylMcMaster University

School of the Arts. Great Romantics

Festival: Dut of Russia. Works by Balakirev,

Rachmaninov & Prokofiev. Alexander Serendenko,

piano. Convocation Hall, McMaster

University, Hamilton. 905·525-9140

x23674. $25.

- 2:30: City of HamiltonlAmerican Liszt

SocietylMcMaster University School of

the Arts. Great Romantics Festival: Organ

Recital. Works by Bach & Brahms. Robert

Morrow, organ. Christ's Church Cathedral,

252 James St. North, Hamilton. 905-525·

9140 x23674. $25.

- 3:15: City of Hamilton/American Liszt

SocietylMcMaster University School of

the Arts. Great Romantics Festival.· Duatuor

Arthur-LeBlanc. Beethoven: Quartet in f

Op.95; Schumann: Piano Quintet in E flat

Op.44. Christ's Church Cathedral, 252 James

St. North, Hamilton. 905-'525-9140

x23674. $25.

- 8:00: City of Hamilton/American Liszt

SocietylMcMaster University School of

the Arts. Great Romantics Festival.· Hamilton

Philharmonic Orchestra. Weber: Overture to

Der Freischutz; Sibelius: Violin Concerto in d;

Tchaikovsky: Symphony 115 in e. Jonathan

Carney, violin; Robert Trory, conductor. Great

Hall, Hamilton Place. 905-525-9140

x23674. $25.

- 8:00: Kitchener-Waterloo Chamber

Music Society. Piano Guartet: Nancy Dahn,

Rennie Regehr, Vernon Regehr & Timothy

Steeves. KWCMS Music Room, 57 Young St.

West, Waterloo. 519-886-1673.

DIBNOtB Distribution is Growing!


in Kitchener/Waterloo

Hamilton and Newmarket

to distribute magazines 1 • 2 days per month at

$10 per hour· 34 per km, starting in September.

WholeNote needs drivers to deliver magazines to performing

arts centres, libraries, record stores, and music

schools. Magazines also go to coffee shops, restaurants,

hotels, arid other retail locations. Choirs, orchestras, and

bands offer WholeNote to their members at rehearsals.

Also, if your business or organization is interested in

offering free WholeNote magazines, please contact Sheila

Coy at416.928.6991 or email: smccoy@interlog.com



Bluewater Summer Playhouse. DADS! The

Musical. By Robert More; music by Tom Doyle.

To Sep 4. Tues-Fri 8:00; Wed 2:00 & 8:00; Sat

2:00 & 9:00. 707 Queen Street, Kincardine.

877-396-5722. $22(eve). $20(mat).

Brampton Music Theatre. Peter Pan. Sep 23-

25,30, Oct 1,2: 8:00; Sep 26 & Oct 2: 2:00.

Meadowvale Theatre, 6315 Montevideo Dr.,

Mississauga. 905-615-4720. $21,$19,

$16(child 10 & under), group rates.

Canadian Opara Company. Donizetti: Lucia

dilammennoor. Marina Mescheriakova, Yasu·

hara Nakajirna,tRussell Braun, Burak Bilgili, Luc

Robert & other performers; Maurizio Barbacini,

conductor. Sep 25,28,30, Oct 6,8: 7:30; Oct 3:

2:00. Opera Chat: 45 minutes before each

perfonnance. Hirnrningbird Centre, 1 Front St.

East. 416-872-2262. $18-$175.

Canadian Opara Company. Ruders: The

Handmaid's Tale. Stephanie Marshall, Jean

Stilwell, Helen Todd, William Webster. Krisztina

Szabo & other performers; Richard Bradshaw,

conductor. Sep 23,29, 0 et 1,5,9: 7:30; Sep 26:

2:00. Opera Chat: 45 minutes before each

perfonnance. Hirnrningbird Centre, 1 Frnnt St.

East. 416-872-2262. $18-$175.

Canadian Opara Company/Altamira.

AhamiraSummerOpera Concerts. Guest

soloists; perfonnance by children from the CDC

Simmer Opera Camp; members of the CDC

Ensemble Studio; CDC Orchestra; Richard

Bradshaw, conductor. Sep 1 & 2: 8:00. CJBC

Stage, 235 Queens Quay West. 416-363-6671.


Can Stage. Urinetown. Musical comedy. Music

& lyrics by Hollmann; musical staging by John

Carrafa. To Sep 4. BlllTia Appel Theatre, 27 Front

St. East. 416-368-3110. $45-$85.

Collaborations: A Chamber Arts Expari·

anca. Eqwltbrium. Music by Ellington, Berio,

Bolling. Starring Rex Harrington, dancer/actor/

singer. Peter Blanchet, tenor. Susan Hoeppner,

flute; Beverley Johnston, percussion; David

Matheson, keyboard & other performers; created

& directed by Valerie Kuinka. Sep 12 & 13: 7:30.

Al Green Theatre, 750 Spadina Ave. 416-872-


David Buchbinder.Shurum Burum Jazz

Circus. Multinedia presentation of original

orchestral jazz with circus perfonnance &

contemporary dance, featuring 11 musicians, 3

circus performers, 2 movement artists. Oct 6·

17. Wed-Sun: 8:00, Oct 10 & 17: 2:30. Stone

Distillery, Distillery Historic District, 55 Mill St.

416-872-1212. $32.

Drayton Festival Theatre.Fiddler on the

Roof. By Stein, Bock & Harnick. Sep 7-0ct 16,

various tmes. 33 Wellington St. South, Drayton.

888-449-4463. $27(previewl. $20(18 & under),

group rates.

Firefly Theatre/Theatre Hybrid/Shrimp

Magnet Theatre. The Emperor's New Clothes.

By Keenan & Halferty. Show for kids of all ages

with song, dance & pantomme. To Sep 6:

10:30am, 11 :30am, 12:30 & 1 :30. Lagoon

Theatre, Centre Island to the left of the Ferry

Docks, Toronto Island. 416-322-9619. $4.

Georgian Theatre Festival. Cowgirls. By

Howie & Murfitt; directed by Lezlie Faith Wade.

Musical that combines country and classical

music in Broadway style. To Sep 4. Evenings:

8:00; Sep 4: 2:00. Meaford Hall Opera House,

12 Nelson St. East. 888-541-4444. $25(eve).

$18(preview & Fridays for sr/youth), $20(Sat


Hart House Thliltre. A Clockwork Orange -A

New Urban Musical. Mix of Beethoven, rap, hip

hop, gospel & rock. Directed by Robert Ginty;

musical directors: Philip Cannichael & Andrew

Moore; starring Bishop. Sep 15-Sep 25. Wed-Sat:

8:00; Sep 25: 2:00. 7 Hart House Circle.. 416-

978-8668. $15,$12.

Huron Country Playhouse. Man of la

Mancha. By Dale Wasserman; music by Mitch

Leigh; lyrics by Joe Darion. To Sep 4, various

tmes. Mainstage, Grand Bend. 888-449-4463.

$33, $20(18 & under), group rates.

King's Wharf Theatre. leader of the Pack: The

Ellie Greenwich Musical. Hit parade of 60s

classics. Book by Anne Beatts; music & lyrics by

Ellie Greenwich & friends. To Sep 4, various

tmes. Discovery Harbour, Penetanguishene. 888·

449-4463. $33, $27(preview), $20(18 &

under), group rates.

Lighthouse Festival ThHtre. Summer of

love. By McHarge & Stewart; music of Baez,

Dylan, Joni Mitchell & others. To Sep 11. Tues­

Sat: 8:00, Wed, Thurs & Sat: 2:00. 247 Main

St., Port Dover. 519-583-2221. $25, $22(sr),

$12(youth); Sat matinee: $18, $12(youth).

Mirvish Productions. Hairspray. Broadway

musical. Vanessa Olivarez, Jay Brazeau, Tom

Rooney, Michael Torontow, Susan Henley &

other performers.To Oct 17. Tues-Sat: 8:00;

Wed, Sat & Sun: 2:00. Princess of Wales

Theatre, 300 King St. West. 416-872-1212, 1-

800-461-3333. $26-$84.

Mirvish Productions. Mamma Mia! Musical

based on the songs of ABBA. Music & lyrics by

Benny Andersson & Bjiirn Ulvaeus; book by Cathe·

rine Johnson; directed by Phylicia Lloyd. To Sep 26.

Tues-Sat 8:00; Wed, Sat & Sun 2:00. Royal Alex·

andra Tooatre, 260 King St. West. 416-872-1212.

$26 to $94.

Mirvish Productions. The last Empress.

Broadway-style musical about the life of Queen

Min, 19th century ruler of Korea. To Sep 1: 2:00

& 8:00. Hirnrningbird Centre, 1 Front St. East.

416-872-2262. $35-$85.

Mirvish Productions. The Rat Pack. Musical

recalling the 1960 concerts by Frank Sinatra,

Scmny Davis & Dean Martin at the Sands

Hotel Las Vegas. 15-piece "Rat Pack" Big Band;

full company of singers & dancers. Oct 5-Nov 14.

Canon Theatre, 244 Victoria 416-872-1212.

New Opara and Concerts Centre. Mozart:

The Marriage of Figaro. Sep 8, 10, 11: 7:00; Sep

12: 2:00. Warner Centre Theatre, Warner Road

Church, 188 Lowther Ave. 416-604-1557. $18-


Opara in Concert. Puccini· La Rondine. Cast of

young performers; Jean Stilwell, host. Oct 1:.

4:00; Oct 2: 7:00. Edward Jackman Centre, 847

Queen St. East, 2nd floor. 416-922-2147. $15.

Rad Barn Theatre. Broadway Heroes. Salute

to Broadway. Starring David Rogers. Sep 8to 11.

991 Lake Dr., Jackson's Point. 1-888-733-

2276. $26.

Red Barn Theatre.Jasper Station. By Norm

Foster&Steve Thomas. To Sep 4. 991 Lake Dr.,

Jackson's Point. 1-888-733-2276. $26, $22(srl

st), $15(child 12 & under).

Royal Opera C;inada. Verdi· La Traviata.

Dwight Bennett, artistic director. Oct 2,5,7,9:

7:30, Oct 3: 3:00, at H111Yl18rson Hall, Living

Arts Centre, 4141 Living Arts Drive, Mississau·

ga. 905-306-6000. Oct 14, 16,21,23: 7:30 at

Toronto Centre for the Arts, 5040 Yonge St.

416-872-1111. $50-$125, $45-$120(srlst).

Shaw hstival. Floyd Colons. By Guettel;

musical direction by Paul Sportelli; Jay Turvey,

Glynis Ranney, Jeff Madden & Sharry Flett,

performers. To Oct 9. Court House Theatre,

Niagara-on-the-Lake. 1 ·800-511-7429. $42-$77.

Shaw Festival. Pa/Joey. By Rodgers & Hart;

musical direction by Paul Sportelli; Laurie Paton,

Adam Brazier & other performers. To Oct 30.

Royal George Theatre, Niagara-on-the-Lake. 1 ·

800·511-7429. $42-$77.

Smile Thliltre. Has Anybody Here Seen Willy?

Musical tribute to the life of Will James. By

Kneebone & Christie; directed by Dinah Christie;

featuring Dwayne Evens & Steve Lendt. Sep 3

1 :DO at Holy Rosary Church, 400 Wai"ner Rd.

/1310. 416-961-1735. Sep 15 7:30 at Franklin

Horner Community Centre, 432 Horner Ave.

416-252-6822. Sep 23 7:30 at Rockway

Gardens Senior Citizens Centre, 1405 King St.

East, Kitchener. 519-741-2510. Sep 25 7:00 at

Coronation 50 Plus Recreation Centre, 5925

SlJTY118r St., Niagara Falls. 905-356-6493. Sep

28 8:00 at Al Green Theatre, Miles Nadal JCC,

750 Spadina Ave. 416-599-8440. Sep 29 7:15

at King Garden, 85 King St. East, Mississauga.

905-566-4545. Sep 30 2:00 at Yorkminster

Park Church, 1585 Yonge St. 416-9.22-1167.

Stirling Festival Theatre. Anne of Green

Gables. By Harron & Campbell. To Sep 4. Tues­

Sat: 7:30; Wed & Sat: 2:00. Stirling ON. 877-

312-1162. $22.50(eve), $20(mat), $7.50(18 &

under), group rates.

Stradord Festival. Anything Goes. Music &

lyrics by Cole Porter. Douglas Chamberlain,

Patricia Collins, Cynthia Dale, David Hogan,

Sheila McCarthy & other performers; Berthold

Carrere, musical director. To Oct 31. Avon

Theatre, 100Downie St., Stratford. 1-800-567-


Stradord Festival. Guys and Dolls. Music &

lyrics by Laesser. Douglas Chinlberlain, Cynthia

Dale, Patricia Collins, Bruce Dow, Geordie

Johnson & other performers; Berthold Carriere,

musical director. To Nov 7. Festival Theatre, 55

Qlllen St., Stratford. 1-800-567-1600.

Sunshine Festival Theatre Company. 01'.

Blue Eyes ... A Tnbute to Frank Sinatra. Musical

revue. Sep 14-0ct 15. Tues-Sat, various tines.

Orillia Opera House, 20 Mississaga St. West. 1 ·

800-683-8747. $26 & up.

Tapestry New Opera Works. Opera Bnefs 4.

Selection of 10 brief works from 9 years of

Composer-librettist Laboratories. Sep 28,29:

8:00. T apestry/Nightwood New Work Studio,

The CaMery, Studio 315, 55 Mill St. 416-537·

6066. $20.

The Variety Players. Hey There Good Times!

-A Tribute to Broadway & Ho8ywood. 11 th

arv\uaJ Jerry-at· Trick Revue. Larry Westlake,

director. Kevin Ralph Nelson, musical director.

Sep 2,4,9, 11: 7:30, Sep 5,8, 12: 2:00. Fairview

Library Theatre, 35 Fairview Mall Drive. 905-

882-4523. $18, group rate.

Thor College/Theatre by the Bay. Children's

Show:RobinHood(The MusicaQ. By Clark Harris;

directed by Larissa Mair. To Sep 4. Monday to

Sunday. Weekdays 1 :00 & 5:00; Sundays only

7:00. Heritage Park, Barrie. 705-735-9243. $7.

Thoth. The Music of Ancient Gods. By Stephen

Kaufman. Opera in the language of a Tolkien style

world. Sep 4 9:00. The Opera House, 735 Queen

St. East. 416-466-0313. $25.

Toronto Masque Theatre. Tears of a Clown.

Cannedy, music & theatre in an unfolding drama

with music from Medieval to Mahler to Motown.

Diana Kolpak, clown/actor/director. David

Tomlinson, clown; Laura Pudwell, mezzo; Larry

Beckwith, violin; Michael Franklin & Avery

Maclean, recorders; Terry McKenna, lute. Sep

24-26: 8:00. Trinity College, 6 Hoskin Ave. 416-

4104561. $20.

Victoria Playhouse Petralia./ Do! I Doi

Book & lyrics by Tom Jones; music by Harvey

Sctrnidt; Alan Moon, music director. Starring

Brian McKay & Karen Wood. To Sep 11. Tues­

Sat various tines. 411 Greenfield Street,

Petralia 1-800-717-7694. $26, $25(st),

$16(under 141. $22(previewl. group rates.



continued from page 26

Tuesday September 28

NNN - 8:00: Tapestry New Opera Works.

Opera Briefs 4.

Friday October 01

NNN - 8:00: Music Gallery/CBC Radio

Two. Mandolini & Poulin.

Saturday October 02

NNN - 8:00: New Music Concerts/Music

Gallery. Hammerhead.

Sunday October 03

NNN - 2:30: U of T Faculty of Music.

Music of Lothar Klein.

Monday October 04

NN -7:00: U of T Faculty of Music.

Chilmber Music Series: Brentano Ouartet.

Tuesday October 05

NNN - 8:00: Music Gallery/Harbourfront

Centre. Corona Guitar Kvartet.

Thursday October 07

NN -12:10: U of T Faculty of Music.

Thursdays at Noon: Music & Poetry.

NNN - 8:00: Earshot Cone1rts.Earshot 1113

FURTHER AFIELD (Barrie, Guelph, Picton)

Thursday September 09

NI -11 :30irn: Guelph Jazz Festival NOMA.

Saturday September 11

NI - 8:00: Guelph Jazz Festival.

Urse/ Schhi:ht's Ex Temp ore Pro1ect.

Thur, Fri, Sat. September 23,24,25

NN - 7:30: Prince Edward County

Music Festival. Hetu

Sunday September 26

NN -2:30: Colours of Music Festival.

Daedalus Trio.

Wednesday September 29

NN - 2:30: Colours of Music Festival.

AdasktnString Trio & Joseph Petni:, accordian.

Thursday September 30

NN - 12 noon: Colours of Music Festival.

Adasktn Stn"ng Trio.


for a more extensive version of these QuickPicks,

including detailed listings and other categories:

N - Sonne contemporary repertoire

N?- insufficient info. probably sonne new music






Friday September 10

7:00: Toronto All·Star Big Band.

Southside Shuffle.

8:00: Bands on a Canadian Tour. Tenors,

Sopranos and the Sounds of Big Baqds on a

Canadian Tour.

Sunday September 1 Z

4:30: Christ Church Daer Park. Jazz

Vespers: Rick Wilkins, saxophone; Frank

Falco, piano; Scott Alexander, bass; Brian

Barlow, drums.

7:00: Music Gallery. Fresh Ears Family

Series: Ex Tempore.

Thursday September 16

8:00: Rebecca Hass. Wanna sing a showtune

Friday September 17

8:00: Bands on a Canadian Tour. Tenors,

Sopranos and the Sounds of Big Bands on a

Canadian Tour.

Sunday September 19

1 :30: McMichael Gallery. Richard

Whiteman Jazz Duo.

Tuesday September Z 1

12:30: York University Dept. of Music.

Michael Cada, jazz guitar & his Trio; Sherie

Marshall, vocals.

Wednesday September ZZ

12:30: York University Dept. of Music.

Lame lofsky, jazz guitar.

Thursday September ZJ

9:00 The Opara House Toronto

Progressive Jazz Series: Soulive.

Friday September Z4

8:00: Bands on a Canadian Tour. The

Sounds of Big Band with the Governor

General's Horse Guards.

Sunday September Z6

4:30: Christ Church Daer Park. Jazz

Vespers: Manlyn Lerner, solo piano.

Monday September Z7

9:00: University of Toronto Faculty of

Music. Jazz Studies Benefit Concert

Tuesday September ZS

12:30: York University Dept. of Music.

Richa;d Whiteman, jazz pianist & his Trio.

Thursday September JO

12:30: York University Dept. of Music.

Michael Davidson, vibist & his Jazz


Friday October 01

12:30: York University Dept. of-Music.A/

Henderson, jazz bass & his Ensemble.

8:00: Bands on a Canadian Tour. Tenors,

Sopranos ant/ the Sounds of Big Bands on a

Canadian Tour.

8:00: George Waston Recital Hall.

Toronto Progressive Jazz Series: Dave

Holland Duintet with special guest, Jason


Satilrda·y October OZ

8:00: Massay Hall. Afro-Cuban All Stars.

Monday October 04

8:00: WholeNota Magazine. Nine

Mondays: Music by Threes.

Tuesday October 05

8:00: Mirvish Productions. The Rat Pack.

Wednesday October 06

8:00: David Buchbindar.Shurum Burum

Jazz Circus.

8:00: Glenn Gould Studio. Toronto

Progressive Jazz Series: Andrew Hill.

8:00: University of Toronto Faculty of

Music. Small Jazz Ensembles.


lin this issue:, Barria,

Gualph, Port Hope,

Sharon, Sonya)

Wednesday September 08

8:00: Guelph Jazz Festival. Anne Bourne,

Justin Haynes, RaviNaimpally.

Thursday September 09

8:00: Gualph Jazz Festival. Michel

Lambert, Barre Phillips, Lionel GafC/n

11 :30pm: Guelph Jazz Festival. NDMA.

Friday September 10

8:00: Gualph Jazz Festival.Sa1nkho

Namtchylak, Wilham Parker, Hamid Drake

11 :30pm: Guelph Jazz Festival. Bob

Ostertag, Pierre Hebert, Theo Bleckmann.

Saturday September 11

10:30am: Gualph Jazz Festival. Joelle

LEiandre & India Cooke.

2:30: Gualph Jazz Festival. Susie Ibarra

Trio with Angelica Sanchez and Jennifer Choi.

8:00: Gualph Jazz Festival. Urse/

Schlicht's Ex Tempore Project

11 :30pm: Guelph Festival. Do Make Say


Sunday September. 1 Z

10:30am & 7:00: Guelph Jazz Festival. in

Place of Wishes: A fairy tale for all ages.

7:00: Amis du Jazz. Dennis Ke/die,

Hammond organ; Tony Duamngton, gwtar,·

Howard Gaul, drums. Sonya.

Friday September 17

2:00: Sharon Temple Historic Site.

Melissa Sty/Janou, ;azz vocals.

Sunday September 19

7:00: Amis du Jazz. Pol Coussee Band.


Friday September Z4

6:30-9:30pm: All-Canadian Jazz Festival.

Port Hope Performers include:

Northumberland High School AIJ.Star Jazz

Band, Ranee lee & others.

Saturday September Z5

12:45-6:00: All·Canadian Jazz Festival.

Port Hope Performers include: Kevin Clark

Dwntet, Pat laBarbera Duintet, Alex·

Pangman, Roberto Occhipinti Septet, Daniel

Barnes Trio & others.

8:00: All-Canadian Jazz Festival. Port

Hope Performers include FranfOIS Bourassa

& Alain Caron.

Sunday September Z6

12:00 noon-5:00: All-Canadian Jazz

Festival Port Hope. Performers include:

Peter Dent Duarte!, Boan Barlow Brass

Dwntet, Karen Plato Duarte!, Michael

Kaeshammer Trio, Chnsttne Jensen Duarte!,

Young Jazz Showcase & others.

6:30: All-Canadian Jazz Festival. Port

Hope Performers include San Murata, Renee

Rosnes: Stnngs Attached & others.

7:00: Amis .du Jazz. David French Band.


Wednesday September Z9

8:00: Colours of Music Festival. Hampton

Avenue 4. Barria.

Sunday October OJ

7:00: Amis du Jazz. Charlie Gray, trumpet &

Gary Williamson, piano. Sonya.

Alleycatz, 2409 Yonge St. 416-481-6865

Every Mon Saisa Night w/ DJ Frank B1schu11.

Every Tue Chnstopher Plock Swing Extravagan·

za. Every Wed The Outlaws. Every Thu Mike

Ferfriia Band.

Ben Wicks

424 Parliament 416-961-9425

www. benwickspub. corn

All shows start at 8 or 8:30. No cover

Sep 25 Jamne Blanchard

Cameron House

408 Queen St. 416-703-0811

Gate 40J, 403 Roncesvalles 416-588-2930

Grasshopper Jazz & Blues Bar

460 Parliament St. 416-323-1210

Grossman's Tavern,

379 Spadina Ave, 416·977 · 7000.


Led by Kid Ba.stien until his death in early 2003,

the Happy Pals: Sat 4:00 to 8:00 i:rn. or later.

Sep 1 Mike MacDonald Open Stage Jam. Sep

2 Kirk Broadbddge. Sep J Gary Kendall. Sep 4

level Coldsweat. Sep 5 lmat) Nicola Vaughan

Acoustic Jam, level The Nationals. Sap 10 The

Nationals - Benefit for Holly. Sep 11 Cindy

Booth Blues Band. Sep 2J Blues Driver. Sep 24

Frankie Foo. Sep 25 Rust· Chris Chown.

Hot House Cali

Market Square 416-366-7800

Jazz brunch every Sunday, alternating weeks:

Ken Churchill Quartet, Sspot

Hugh's Room

2261 Dundas West 416-531-6604


Sep 11 Scarlett, Washington and Whiteley.

Sep 18 John Renboum & Jacqui McShee.

Llsa's Cali

245 Carlaw Ave. 416-406-6470

Sep 10 Theron lee White and AdreanFarrugia.

Sep 12 Kevin Laliberte and Chns McKhool. Sep

17 l!Sa Particelli. Sep 19 Dusty Bohdan. Sep

24 /n the Vinyl. Sep Z6 Guiomar Campbell.

Lula Lounge

1585 Dundas West. www.lula.ca

Every Sat. Cuban Percussion School. Sep 4

Salsa Saturday w/ Ruben Vazquez. Sep 10

Tropico Friday w/ Los Select as. Sap 11 Salsa

Saturday w/ Cache. Sep 17 Valentin Y Los

Canbe. Sep 18 Salsa Saturday w/ Proyecto

Charanguero. Sep 24 Tropico Friday w/ Cimarron.

Sep 25 Salsa Saturday w/ Cache.


681 St. Clair Ave. W. 416·658-5687

'Wech!sday Concerts ii a Cale" Sets at 9:00 and

10: 15 rrn. Reseivations reccmrerred for frst set.


1546 Queen St. W. 416-5354906

Jazz and blues on Saturday afternoons, Sunday

evenings and a live j

Quool..JBET: FOUR FESTIVALS, continued from pa.ge 16

will give a pre-concert talk on Chopin

and his music at 11 :00 on Saturday.

On Thursday afternoon, September

23 soprano, Nancy Hem1iston

with pianist, Brian Finley will perform

music from the operetta repertoire;

pianist, Bill O'Meara will provide

music for the 1925 Phantom of

the Opera; and on Sunday, September

26 the University of Toronto's

MacMillan Singers will perform a

variety of music including a composition

by Westben co-artistic director,

Brian Finley.

SweetWater Music Weekend

In the July/August issue I focused

on the fine local instrument makers

whose work will be featured in this

will be performed on Sunday, September

26 in Leith Church north of

Owen Sound.

Prince F.clward County

Music Feruval

The Church of St. Mary Magdalene

in Picton, venue for many of' the

summer's Music at Port Milford

concerts, will be the venue for the

three concerts in this festival which

begins Thursday, September 23. The

performers in all three concerts will

be the Quatuor Arthur Leblanc, pianist

Stephane Lemelin and Ottawa

flute-player Robert Cram. Several

works on the programs are by

Quebec composer, Jacques Hetu.

festival in Owen Sound. Another· BACK IN TORONTO

local artist whose work will be fea-

tured at this event is Toronto Com-

poser, Andrew Ager, who is also

the composer-in-residence of the

Georgian Bay Symphony Orchestra.

Ager is described in an August arti-

cle in Mosaic by SweetWater organ-


Valerie Kuinka's "Collaborations"

series gets off to an early start this

season with two performances at a

new venue, the Al Green Theatre in

the newly renovated Miles Nadal

Jewish Community Centre, on Sepizer

Keith Medley, as "a modem tember 12 & 13. Built around the

composer unafraid to embrace the

theme of equilibrium, the event repast,

a reluctant national figure whose

love of the Canadian north reaches

only so far as the 'armchair,' a Ro-

reach for deeper meaning" and strivmantic

but not too much so, an in-

strumentalist who makes no claim

to being honoured as a performing

fleets Kuinka' s approach of going

"beyond simple concert format to

ing "to represent and reflect issues

that are part of being human .... " At

least one performer, dancer Rex

. artist, a composer who is flattered Harrington, will go beyond what he

when others compliment his unique

voice but is nonetheless wary of

being categorized as a result." Ager

has written a string quartet entitled

Susan Hoeppner will perform Lusirnply

Sereruua. Violinist Mark

Fewer says that Ager's is "a corn-

positional voice that is 'free of ex-

cess and clutter,'" and that he finds

"the length of Ager's phrases de-

also including music by Claude Bolceiving

as they are often short - but

packed with information." Serenata

usually does and will sing and act as

well as dance in this performance.

And, as Harrington dances, flutist

ciano Berio's Sequenza by memory

as she relates to Harrington's every

movement. The repertoire for the

concert will cross genre boundaries,

ling and Duke Ellington.

Avenue Road Arts School

Owen Sound


Douglas McNabney


David Hetherington


September 24, 25, 26, 2004

l\fark Fewer



Historic Leith Church, Knox United Church Historic Leith Church,

8pm 8pm 2pm

Bach, Britten, Beethoven, Martinu, Ager, Beethoven,

Hindemith, Mozart Rea, Rossini Haydn

Ticket $20 Ticket $15 Tickets $20 1·

For more information and tickets


"''""" ' "'"' Call (519) 376-3517 or (S19) 376-0212 c.,. ..... '"···"

l'¥leab'd --·:;: !:l::, ..


continued from page 26

Darbazi, the 12 member choir that

sings traditional Georgian folk and

liturgical music may have a few

openings. Contact Ray Kinoshita

at 416-917-8571 and visit

www .darbazi.com.

Two BRAZILIAN Samba groups may

still have· room for new members

(earplugs recommended!). Samba

Squad, led by Rick Shadrach Lazar,

can be reached by email at

slamdog@syrnpatico.ca; or visit

www.sambasquad.com. Escola de

Samba is led by Alan Hetherington;

please visit their website

www.sambawronto.ca or call Alan

at 416-532-7923. An excellent

documentary film was made on the

latter group and features interviews

with many of its members. We Are

Samba will be shown at the inauguration

of the new temporary location

of the Royal Conservatory

at 90 Croatia St., September 10 at

7:00 pm followed by a show with

dancers at 8:00. (Date tentative at

time of writing)

ONE !AST NOTE, don't forget to check

out Ashkenaz: A Festival of New

Yiddish Culture, at Harbourfront

Centre, August 31-September 6.

For details on the festival which

includes music, dance, theatre,

film, visual arts, literature, lectures

and storytelling, please visit

www.ashkenazfestival.com and

www.harbourfrontcentre.com, or

call 416-973-4000.

Karen Ages is a freelance oboist

who has also been a member of

several world music ensembles.

She can be reached at 41.6-323-

2232 or by email at

worldmusic@thewholenote. corn.

World Music

and Kindermusik

on the Danforth

for young children

• O-l112

. l '12-3

• 3-5.·

Register Now for Sept. classes

Sophia Grigoriadis ·



*Mississauga Symphony. Annual Used

Book Sale. Sale of used books, CDs, tapes,

records, videos, magatines & jigsaw puzzles.

Sap 16: 7pm·9pm; Sap 17: 10am·9pm;

Sap 18: 10am·6pm; Sap 19: 12 noon·Spm.

Sheridan Centre, 2225 Erin Mills Parkway,

Mississauga. 905·615·4405. Proceeds to the

Mississauga Symphony's Concert Series &

Educational and 0 utreach programs.


*September 12 2:00: Toronto Opara

Club. Guest speaker Eric Domville talks

about The Handmaid's Tale. CDs to be won.

Room 330, Edward Johnson Bldg, 80 Queen's

Park. 416-924-3940. $12.

*October 2 9:30am·4:00: Canadian

Opara Company/Munk Cantre for

International Studies. The Opera

Exchange. In-depth symposium on The

Handmaid's Tale. Presenters include

Rosemary Sullivan, Robin Elliott, Eric

Domville, Wayne Sumner, Rick Phillips &

others. Panel discussion with members of the

CDC's creative team. Isabel Bader Theatre, 93

Charles St. West. 416-363-8231. $25,

$15(UofT faculty), stdents free.

*October 2 8:00: Arcady/Hamilton

Association for the Advancement of

Literature, Science and Art. Early Music

and the Modern Composer. Ronald Beckett,

lecturer with Carolvn Stronks-Zeyl, flute.

Ewart Angus Theatre, McMaster University

Medical Centre, Hamilton. 905-527·0415.

*October 7 10:00am: Great Romantics

Festival. New Found Liszt. William Wright,

· speaker. Uncatalogued autograph

transcriptions from works of Herold, Pezzini

& Schubert. Convocation Hall, McMaster

University, Hamilton. 905-525-9140

x23674. $25.

*Return to Learn. Overture to Opera. 6

lectures including excerpts & live

performance. David Ambrose, lecturer. Sep

2B·Nov. 2. North York Central Library, 2nd

floor, 5120 Yong St. 905-764-7168. $120.


*September 11 & 12: Ukrainian

Canadian Choral federation/Canadian

Ukrainian Opera Association. The Art of

Singing. Choral master class with opera singer

Pavlo Hunka, with special involvement by:

Halyna Kvitka Kondracki (conductor, Vesnivka

Choir & Toronto Ukrainian Male Chamber

Chorus); Myron Maksymiw (conductor,

Musicus Bortnianskii, Boyan Choir & St.

Demetrius Choir); William Woloschuk

(conductor, Counterpoint Chorale & St.

Vladimir Cathedral Choir); Roman Hurko (stage

director, conductor & sacred music

composer). St. Vladimir Institute, 620 Spadina

Ave. 416·236-8278 or Lkomoro9@aol.com



*September 10· 12: Brampton festival

Singers. Weekend Rehearsal/Workshop

Retreat. Members and non members who love

to sing and are interested in enhancing their

skills are welcome to attend. Stephane Potvin,

director. Erin Country Inn, Erin Ontario. 905-

450-5659, 905-457 -2310. $100.

*September 12 1:30: Toronto Early

Music Players' Organization. Workshop

with David Klausner, director of Institute for

Medieval Studies, UofT. Bring your early

instruments and stand;. music available at the

door. Lansing United Church, 49 Bogert Ave.

416-778-7777. $20.

*September 15 7:30: Toran.to

Shapenote Singing from Sacred Harp.

Third Wednesday of every month. Beginners

welcome. St. Stephen-in-the-fields, 365

College St. 416-922·7997.

*September 17 7:30: Recorder Players

Society (Toronto). For players of C and f

instruments. Church of the Transfiguration,

111 Manor Rd. East. 416-536-5750.

$4(CAMMAC members), $6(non-members).

*September 18 lpm·Spm: Spirit of

Wellness. The Power of Music in Your life!

Workshop with Sharon Howarth-Russell, for

both the layperson & the therapist, that

connects The Musical Rainbow and The

Rainbow Bridge in you physically, emotionally,

mentally & spiritually through the application

of frequency, sound, vibrations, resonances,

tones and rhytlvns. Howard Johnson Hotel,

15520 Yonge St., Aurora. 905-836-0669.

$75 ($65 early registration by Sep 1 ).

*September 22 7:30: Toronto Early Music.

Centre. Vocal Circle. Recreational reading of

early .choral music. Ability to read music desirable

but not essential. 166 Crescent Rd. 416-920·

5025. $5(non-members).

*September 24 7:30: City of Toronto.

Dance & D nce-Ab171y. A 19th Century

English Country Dance workshop. Beginners

welcome. Historic fort York, 100 Garrison

Rd. 416-392-6907. $1 O(pre-registration


*October 2 9:00am·4:00: Toronto Early

Music Players' Organization. Workshop

with Stephanie Martin, choral conductor,

harpsichordist & recorder performer. Bring



Confident Performance

and Audition Coaching

Don't leav.e your best playing

in the practice room!

Learn proven techniques


to help reduce

performance anxiety.

Perform with greater focus,

confidence, musicality

and ease in any situation.

Convenient, private and

friendly consultations for

vocalists and instrumentalists.


Phone 416-617-4926 or

e-mail: ezauditions@aol.com

WORKSHOPS - to train Music Teachers in a

new way of Teaching Music with Colour

• Heidemarie Garbe has developed this

KEREKES Music Lessons


)Piano, Violin, Viola, Cello, Flute, clarinet,

Saxophones, Trumpet, Trombone)

www. music-lessons.ea

Registration begins September J)th.

Return to Learn presents


A six week course providing a novel and exciting exploration

of opera including excerpts and a live performance.

With DAVID AMBROSE, Director /Educator

Tuesdays, Sept. 28 to Nov. 2, 1 :00 to 3:00 PM

North York Central Library, 2" d Floor


5120 Yonge Street

Please call for further information and registration ($120)

Phone 905-764-7168

,highly successful method over 25 years of ·

teaching. She is a graduate of the Oberlin

Conservatory and the author of MUSIC IN


•For information: 416-654-8943

• Email: musicincolour@sympatico.ca

V3 = Vivo Voce Voice



Two professional singers offer creative instruction

in Classical, Broadway & jazz only

Deborah jeans, Soprano

Mus. Bach. Performance,

Diploma in Operatic Performance,

University of Toronto

Andree Bernard

Toronto jazz Singer, Chanteuse

Conveniently located at two locations in downtown Toronto

(416) 323-1417


your early instruments and stand; music

available at the door. Lansing United Church,

49 Bogert Ave. 416-778-7777. $20.

*October 3 2:00: Toronto All-Star Big

Band. Jazz Saxophone Clinic. Hands·on

workshop for intermediate to advanced level

musicians, addressing issues of style &

technique through lecture, demonstration &

full participation. Pat LaBarbera, clinician.

Toronto location Iba. 416-231-5695. Free.

•Arabesque Danca Company. Arabic

Singing. Dr. George Sawa, instructor. Sap 25-

0ct 30, Saturdays at 2: 15. Arabesque

Academy, 20 College St., 2nd floor. 416-920-

5593. $90.

•Arabesque Danca Company. Arabic

Drumming (Oumbek). Dr. Geore awa,

instructor. Sep 25-0ct 30, Saturdays at 3:30

(beginner), 4:45 (intem1ediate). Arabesque

Academy, 20 College St., 2nd floor. 416-920-



LISTS & VIOLINISTS with the Toronto

Starlight Orchestra .. one of Canada's finest

ballroom dance orchestras!!! Other openings in

trumpet, trombone, saxophone and rhythm

sections also available. Visit our website at

www.starlightorchestra.ca and call Andrew today

@ (416)712-2555


SERVICE for small business and

-individuals, to save you time and money,

customized to meet your needs. Norm Pulker


B. Math. CMA. 905-250-0309 or 905-830-2985.



AND ARCHIVAL services. Experienced,

reliable and professional. Music background.

Call Lynn, 416-921-2409, or email



PIANO SERVICING Tuning and servicing

pianos in the GTA since 1992. Professional

advice Buy/Sale, refurbishing, appraisals.

Call 416-720-9116.


recorder and virginal available to provide

background atmosphere for teas, receptions or

other functions - greater Toronto area. For rates


and info call 905-722-5618 or email us at




Natural- All Herbal- 4 Flavours - No

Menthol! Used by soloists, choirs, vocal

coaches, actors, speakers. To find a

retailer, go to www.davidlovemusic.com or

call (416)457-9124.





THEORY. All levels, professionaVserious

beginners. Art Levine, MA, ARCT. Host. "Art

Music", CBC. 30 years experience: RCM, UolT,

York. 416-924-8613. www.artlevine . com· '



comm unity concert band seeks new

members. All musicians welcome.

Professional conductor. Tuesday rehearsals,

starting Sept. 14. 7:30-9:30pm, Yonge/

Sheppard area. Phone· 416-491-1683 or visit


FLAUTANDIA - an adult amateur flute choir

invites new members to join the group for 2004/

2005 season. In addition to flute players a pianist,

double bass and percussionist (mallets and set)

are welcome. Contact Shelley at 416-491-1683.



thought you wouldn't or couldn't, or do you

just want a place to play with the possibilities

of your voice. Small groups. 6 - $75. Johanne,



offers lessons in piano, theory. music history.

Classical and popular styles. RCM exams,

recitals, competitions, relaxed enjoyment.



ensembles, Dance Ba.nd, Big Band; Cocktail

Hour, Dinner music, Concerts, Shows;

Classical Contemporary, Dixieland, Traditional

and Smooth Jazz! )SL Musical Productions



school. Voice, guitar, violin & piano teachers

wanted for music school. Fax resume to 905-


OBOE INSTRUCTOR. Highly Experienced

Teacher/Performer with BMus, MM us (U of T)

and Arts Centre Exposure. Get started in the right

direction with an enthusiastic teacher that will

help you tackle this demanding instrument.





Organic and functional

vocal training to gain

access to your full range,

resonance and vocal

freedom. For singers,

public speakers, teachers,

clergy, or if you just want

to enjoy using your voice!

Sue Crowe Connolly

Hamilton Studio


.. Gift Certificates A

Breathe new life

into your voice

with a unique

and sensible


approach to

vocal pedagogy.

This is a method which focuses on

influencing and improving the co

ordinative process of the vocal

muscles. It brings them into equilibrium,

thus eliminating muscular

interference. Great for Everyone!

•All styles •All Levels •Beginners

and Children welcome •Excellent

for public speakers, actors, etc.

Call Pattie Kelly for privaJe

lessons at 905-271-6896

nEa ry


Music and Movement

Classes for Babies, Toddlers

and Young Children

The Walmer Centre

in The Annex

Wednesdays and Thursdays

Ongoing Registration


for singers

seeking stage


" Maestro Vaguif

ilt Kerimov (tenor)

offers master

classes in studying opera

scenes, leading and secondary

parts and mastering nuances of

the opera. Maestro will share his

unique first-hand experience

from performing in the world's

b'est theatres including La Scala

and Co vent Ga rden.

Performance opportunities for

students will be provided. Please

call 416-425-8812 or e-mail



A new music school in the

Markham area currently has

openings for teachers of all levels

for all instruments, in addition to an

opening for a part-lime receptionist.


Competitive remuneration and

excellent working environment.

Please forward resume along with



cover letter and a picture to


or call (905) 477-9277

Vocal Coach

prepare for audtions ...

expand repertoire ...

Rick Maltese

teaclaes all aspects of

bect11ning a m11sician

Pros and amateurs can

both gain frotfl his

coaching, performing,

directing & composing

experience • . • theatre,

cla·sical and jazz •


The Timothy Eaton Orchestra

is seeking new members,

particularly violins, violas,

double basses, oboes, and all

brass. We play for fun and

community - no auditions

necessary. Tuesday night

rehearsals at Timothy Eaton

Church, St. Clair & Avenue Rd.

For more info,



Linden School 2 hours weekly grades 2-3.

Send resume to admin@lindenschoolca by

September 6.


enhancement training in tension

management, concentration, goal setting,

imagery. lndivid ualized to meet your

performance situation. Kate F. Hays, Ph.D.,

C.Psych., practising clinical and performing

arts psychology. 416-961-0487.




music education available for concerts,

exams, lessons, gigs. Adolfo De Santis, 416-

499-4416 or adesantis@rogers.com

PIANO FOR SALE - apartment size,

excellent condition. Recently tuned and

appn1ised. Willis & Co. 30 yrs old. Asking

$1,250. 416-445-9437


Yamaha, Kawai & otllers. Top condition,

reasonably priced, free delivery, tuning,

warranty. AHordable tuning/repair. Victor

Martin, cert. piano technician/pianist. Bus:

416-877-6021, 416-265-0381. Open daily





ANIST available. Auditions/ Rehearsals/

Performance/ Private Parties. 905-607-5136

ROB CARROLL Jazz and classical guitar

instruction, tlleory, ear-training. 416-977-3531.




- Merlin Williams is accepting new students.

All levels welcome, beginner to advanced.

Proper tone production, technique

development and good music reading skills

stressed. Central location, reasonable rates.

merlinwilliams@sympatico.ca or 41 S-803-



TECHNICIAN - Complete Piano Care

Service. Affiliated with The Royal

Conservatory of Music piano service staff.

Registered witll O.G.P.T. Servicing Toronto

and GTA areas. Call: 416-993-6332


qualified Bae. Music, Classical Semi-popular,

R.C.M. prep., all levels. Central location.

Interest in disabilities. 416-924-3877.

Dr. Sarah Mickeler, 8.Mus., D.C. er


As a former professional clorinetist, Dr. Mickeler is

"in-tune" with the specific problems faced by

musicians of all levels and genres .

She hos

performed with many of Canada's preeminent

orchestras and chamber ensembles.

- Professionally scored music - lead sheets to

orchestral scores: Parts copied. Transpositions

for vocalists. 15 years experience. Digital

archiving alld safekeeping of original works.

Phone or email for info/rates. James (416)233-

7609 monkswitllquills@hotmailcom


singers. We are a SATB community choir

based in Unionville. For information call 905-

477-1531 or 905-881-0049.

VIOLIN STUDIES. Highly experienced violin

teacher from Moscow, M.Mus., M.Mus. Ed.,

welcomes students for private lessons. Call 416-

782-7244. Slava.


teacher/clinician with BMus, MMus, Arts

diploma. Accepting beginning/intermediate

students for positive and encouraging private



fifteen years experience



•classical, pop

and Broadway

A{eesa Sutton

B.A., A.R. C. T.

(416) 221-7614


instruction. Pay less tllan a music conservatory

but receive tile same rewards. Studio recitals,

prep for RCM exams, etc. (4i6)538-6238.


up witll at least Book Three Suzuki or Grade 5

Royal Conservatory are invited to join tile

Oakville Christian Youtll String Ensemble

under the direction of Robert Miskey and

artistic director, Joan Browne. Registration is

on Thursday, September 9 lrom 4:30 to 5:30pm

at St. Mildred's-Lightbourne School 1080

Linhrook Road, Oakville or by mail

Rehearsals are every Thursday beginning

September 16 from 4:30pm to 6:00pm.

Performance opportunities including four

concerts, and worship services. For furtller

information call 905-339-1489 or email


TLC for

. .


by a

. .


Endurance • Breath

Posture • Muscle Release

Dr. Katarina Bulat,


Clinic: Back in Motion

1370 Danforth Ave.

Tel: 416-461-1906

Private Practice:

18 Vernadale Cres.

Tel: 416-752-8673

Dr. Mickeler is a member of the Performing Arts

Medicine Association and speaks regularly on the

topic of musician's injuries: prevention

and treatment. She is currently writing

her first book on the topic.

for information

or to book an appointment ef- iJliiile!l.,.

CaH 416-960-5656

Located at Avenue Road and St. Clair West

Come out

to a weekend



meet the staff

and experience

intensive Feldenlcrai.J



JUNE 2005



OR CALL 4 l 6·466·6 l 43








continued from page 11

not so different from Demers, who

felt he "had to testify in music" to

an obsession with the tango, a

dance ·where balance is always in

question. Lesage evokes a different

sort of gravity as he takes as

his inspiration a more sombre

theme, the memory of one of the

masters of 20th century composition,

lannis Xenakis, and uses the

l 7th century French tombeau as his

model. All of the works are effective,

and are played with conviction

by this fine ensemble.

We also received two discs by

Ukrainian composers recently, and

although the two were born in the

same time (1937) and place, their

music could not be more different.

Nikolai Kapustin's Piano Music

(Hyperion CDA67433) features

jazz-inspired works spanning a

quarter of a century performed by

Marc-Andre Hamelin. I say jazzinspired,

but I thipk that most listeners,

even those schooled in jazz,

would be hard. pressed on first

hearing to realize that this is something

other than spontaneous improvised

music. But as the composer

is quoted as saying, "You

can't improvise a sonata". Trained

as a classical pianist and composer,

Kapustin has worked as a jazz

pianist throughout his career. His

compositions however are couched

in classical forms in spite of their

predominantly jazz idioms. Noticeable

influences range from Scott

Joplin to Oscar Peterson, Keith

Jarrett and beyond, but Kapustin's

music also has a manic edge to it,

at tirries reminiscent of Conlon

Nancarrow's humanly impossible

studies for player piano. Hamelin

proves himself to be up to the challenges

however, and "who would

have thunk it?", this man can real-·

ly swing! ·

The other Ukrainian work, Valentin

Silvestrov's Requiem for Larissa

(ECM New Series 1778) was

written in memory of the corn-



poser's wife who died in 1996. As

with all of Silvestrov's later works,

the Requiem evokes the music of

the past, but always as if in a dream.

We hear echoes of Webern,

Bruckner, and, especially, Mozart,

not as quotations however, but

rather as evocations. There are

more recent memories too as we

also hear moments reminiscent of

Penderecki's early choral writing

and Henryk Go·recki's haunting

Symphony of Sorrowfu.l Songs. The

National Choir of Ukraine (which

includes a spine-tingling basso profundo

section) is supplemented

with soprano, contralto and tenor

soloists and the Beethoven-sized

orchestra under Volodymyr Sirenko's

direction is brought into

the 21lst century with the addition

of a synthesizer. The work is_ profoundly

moving and is, in th

words of Larry Lake, host of Two

New Hours on CBC Radio Two,

Silvestrov's "best yet". We can

only regret the unfortunate occasion

of its composition.

In closing, in case you begin to think

that my only interest is in the 'muc

sic of our time', I would bring your

attention to a wonderful budgetpriced

re-issue ·of the Piano Trios

of Mozart's pupil and Haydn's collaborator

Johann N epomuk

Hummel (Eloquence 4761477).

This 1997 Philips recording features

the Beaux Arts Trio at a time

when founding pianist Menahem

Pressler was joined by violinist Ida

Kavafian and cellist Peter Wiley.

The playing is superb, as is the

recording. Unfortunately the discs

of the extensive Eloquence line, a

no-frills product of Universal

Music that includes reissues from liner notes. We lament a missed

the Philips, Deutsche Grammo- opportunity to educate while enterphon

and Decca labels, contain no taining, but nonetheless recominformation

whatsoever about the mend this marvellous recording.

composer, compositions or musicians

involved. This mars what

would otherwise be an excellent

introduction to some of the world's

greatest music for those uninitiated

who might be drawn by a familiar

name or the attractive prices.

It is difficult to understand this

omission as the original recordings

that form the basis of the series

did, in many cases, have thorough

Sempre Libera


Anna Netrebko, soprano

Coro Sinfonico di

Giuseppe Verdi



Mahler Chamber Orchestra;

Claudio Abbado

DGG 00289 474 8002

Soprano Arias

Marina Mescheriakova, soprano

Slovak Philharmonic Choir

Slovak Radio Symphony Orchestra;

Michel Halasz

Naxos 8.557109

For her enthusiastically received

first solo disc last year, Russian

soprano Anna Netrebko offered

mostly lyric arias. Here she moves

into heavier dramatic roles, with

two mad scenes and a sleepwalking

scene from the bel canto repertoire,

some Verdi and Puccini.

It's good 'to have other soloists

and a choir here to present extended

scenes - even with the inevitable

excisions. The assisting singers

and choir are vibrant and the

orchestra under Claudio Abbado is

superbly coloured ..

Netrebko produces radiant

sounds, but thrills are surprisingly

few. There is just so much more

that can - and should - be done to

make this repertoire dramatically

convincing. Because Netrebko's

voice--sits comfortably in the extremely

high tessitura where most

of this music lies, the phrases flow

We welcome your feedback and

invite submissions. Catalogues,

review copies of CDs and comments

should be sent to: The

WholeNote, 720 Bathurst St., Suite

503, Toronto ON M5S 2R4. We

also welcome your input via our

website, www.thewholenote.com.

David Olds

Editor, DISCoveries

easily. But, with a limited dynamic

range, and tone colour that varies

little from mood to mood, she

missi;:s the layers of irony when

Lucia sings "Oh, how happy I

am!" in the mad scene from

Donizetti 's Lucia di Lammermoor.

Netrebko's ·unidiomatic Italian does

not help the lack of clarity and precision

in her coloratura. But it's a

delight to h,ear the rarely used glass

harmonica originally scored by


The notes in my press kit contain

no information about the music,

their main focus being the

dress Netrebko wears in the cover

photo. Worse still is the absence

of texts and translations.

SOPllVi(l At.\.


cabaletta Ernani, involami from

Verdi's Ernani she uses the huge

leaps and intricate ornamentation as

a means of expressing conflicting


Michel Halasz directs the lively

and responsive Slovak Radio Symphony

Orchestra and Slovak Philharmonic

Choir. The intelligent

notes are accompanied, as they

should be, by texts and translations.


Concert note: Marina Mescheriakova

returns to The Canadian Opera

Company in Donizetti's Lucia

di Lammermoor at the Hummingbird

Centre on September 25, 28,

30, Oct. 3, 6 and 8.

written for a convention of telegraphists,

the virtuosic winds and brass

of the Orchestra Sinfonica di Milano

under Riccardo Chailly form

an enthralling concert band.

The liner notes are interesting and

critically astute, but Decca has done

this fascinating disc a disservice by

omitting the texts for the vocal



Concert note: A cast of young performers

from Opera in Concert

presents Puccini's La Rondine with

Jean Stilwell as host at the Edward

Jackman Centre on October I and 2.


2 New CD Releases

Christmas choral music by

Canada's finest composers,

based on the Piae Cantiones


Puccini: Discoveries

Eva Urbanova, Dario Volunte,

Chiara Taigi, Joseph Calleja,

Alberto Mastromarino

Coro and Orchestra Sinfonica di

Milano Giuseppe Verdi;

Riccardo Chailly

Decca 475 320-2

The big draw on this disc is the first

recording of the new ending for

Puccini's Turandot. Puccini died

before he was able to finish his final

opera, so his friend Franco Alfano

completed it. Just qefore his

own death last year, the versatile

Italian composer Luciano Berio

wrote a new ending based on a close

re-examination of Puccini's sketches.

In both versions the vocal lines

are much the same, but in his orchestration

Berio uses a wider palette

of colours and textures, and a

much richer harmonic language.

Alfano ends with the chorus joyfully

reprising Nessun dorma. Berio

drops the final chorus for the orchestra

to fade out after Turandot and

Calaf proclaim their love. What Berio's

more ambiguous ending gains

in both cogency and musical interest,

it loses in dramatic impact. Eva

Urbanova makes a powerful Turandot,

as she did with the Canadian

Opera Company last year, as does

her Calaf, Dario.Yolonte.

The rest of the disc features some

obscure gems, from the early Motetto

for San Paolino, to the sublime Salve

Regina for soprano and brgan, tenderly

sung here by Chiara Taigi. In

Scossa elettrica (Electric Shock)


Vivaldi Opera Arias

from the Vivaldi Edition

Various Artists

OPUSlll OPS30401

How is it possible that over 260 'years

after the death of the 'Red Priest',

as the contemporaries called Antonio

Vivaldi, over 20 of his operas are

nowhere near to being well known?

This recording, a result of the efforts

oflstituto per I Beni Musicali in Piemonte,

holder of some 400 manuscripts

of Vivaldi's work, provides

an answer: we simply don't have the

right instruments. I don't mean period

violins and cellos, oboes and harpsichords

- we have those and three

Italian period ensembles perform on

this recording. What makes Vivaldi's

operas so rare on stage and

record is lack of voices capable of

handling this extraordinary music.

For the Red Priest, human voice was

yet another instrument - to be tuned,

tweaked and pushed to the limits.

Aft.er all, in Vivaldi's times scores

of boys were mutilated just to

achieve certain sound. We don't

have castrati anymore, but we also

don't have too many singers with a

purity of pitch, breathing technique

and attention to nuances that allows

them to render Vivaldi's music. Fortunately,

there are some and when

Magdalena Kozena or Philippe

Yaroussky sing, it is a sound of an

angel. In those instances, Vivaldi's

vocal music shines with incomparable

beauty, forcing even the most

cynical listener to be awe-struck.

Because the demands are so high, I

doubt operas such as Juditha Trium-










0 ···-····-.......... ,........____

::::; L'tJ.i,r.rigorian

phans, Orlando finto pazw or La

verita in cimento will ever become

a mainstay of the opera houses.

This recording, however, should

become a 'must have' for all the

vocal music lovers.

Robert Tomas

Editor's note: You can read

Pamela Margles' review of the

Opus 111 release of Vivaldi's La

verita in cimento in the April 2004

WholeNote available online at

www. thewholenote. corn.

Janacek- Jenufa, her

stepdaughter (Brno version)

Janice Watson, Dame Josephine

Barstow, Nigel Robson,

Welsh National Opera; Sir

Charles Mackerras

CHANDOS Opera in English


How do you deal with a growing

trend that is meant to help the operatic

genre and instead is hurting

it? Carefully, that's how. 'Opera

in English' - is an admirable

sentiment, meant to help audiences

better understand the treasures

of vocal music. The reasoning

being that if people understand

what's going on without having to

read the libretto, they will find

themselves more involved. Maybe,

but let's look at what is being

lost: you can, quite easily, translate

Bellini's 'Casta Diva' into

'Chaste Goddess', but the singer

will have to end the musical

phrase on an extended consonant,

not a vowel. Try singing

'Aaaaaaaaaa' and then 'Ssssssss'

and tell me which one sounds better.

Each language has its own

rhythms and sounds and the music

was written specifically for that

language. One size does not fit all.

Probably the only opera that does

not suffer in translation is Don Carlos

by Verdi - originally composed

to a French libretto and later recomposed

by Verdi into Italian. A

Czech opera sung in English is another

story. The singing and playing

are beautiful, all the principals

acquit themselves well and the recording

is a tribute to a young, tragically

short-lived Jenufa, Susan

Chilcott. Yet, given the overall

damage to the opera done through

the' translation, it is not a recording

I can recommend.

Robert Tomas



available individually)

After 1945 the ever enterprising

producer Walter Legge had signed

up most of Europe's great conductors

and soloists for EMI to be issued

on their HMV, Columbia, and

Parlophone labels and hence in

North America on RCA and Columbia.

As a result there was, as

might be expected, a paucity of

superior, high profile conductors

and soloists available to other labels.

Certainly, there was the

emerging Ferenc Fricsay, also Eugen

Jochum, Wolfgang Schneiderhan,

and various orchestras such

as those in Munich and the newly

formed RIAS (Radio In the American

Sector), but the biggies were

not at large.

By 1953 DOG had perfected

their recording expertise and were

recording regularly in the Jesus­

Christus-Kirche in Berlin-Dahlem,

the Vienna Konzerthaus, and elsewhere.

Their LPs from that era did

not enjoy the widespread distribution

they deserved but, of necessity,

they contracted, licensing agreements

with existing companies such

as American Decca. However, the

superior German DOG pressings

were much sought after by the cognoscenti.

At one time, or maybe

all the time, the DOG pressing

plant in Hanover would not employ

natural red-heads because (I have

box,are characterized by the same

extremely high standards of performance

due to the indulgence of

the company in allowing whatever

time it took to perfect the conductor's

realization of the score.

These were not idle claims but are

manifest in each and every performance,

carefully chosen for inclusion

in this first selection of

"Music -

The Universal Language''.

· It would be impractical to analyze

each disc so here is a brief

overview. As a pre-amble be assured

that these are neither original

instrument performances nor

could they be taking advantage of

the latest musicological scholarship.

These are all examples, the

best examples in fact, of the finest

music making of a past generation

in some of the basic repertoire of

the day.

· Fricsay's way with the three

Haydn symphonies (44, 95 & 98)

places the composer just outside

the sentimental Viennese tradition

(after all, Fricsay was Hungarian)

into a tauter, less sentimental precurser

to Beethoven. The two Jochum

discs, made when he was in

his early fifties reveal, as if we

didn't already know, that he was a

master in his chosen repertoire, be

it Mozart (3, 36, 39) or Bruckner

(9). Any Jochum recording is worth


Somehow Karl Bohm often

sounded like the proverbial Kapellmeister.

Not here. The Beethoven

Fifth held this listener to the very

end with its intense, focused playing.

Brilliant balances and a crystal-clear

recording make this a winner

along with a powerfully driven

to be careful here) they were in­ Seventh in perfect stereo. Bohm's

Musik - Sprache der Welt (Mu- clined to perspire excessively and Brahms Second is equally decisive

sic - The Universal Language) might mar those pristine LP sur- and the delightfully catching Reger

Selected Orchestral

faces. Today those LPs are very Variations calls for repeated hearings.

Recordings I (1953-1956)

collectable and rare because they

Various Artists ' were not produced in any larger A favourite conductor, Igor

Deutsche Grammophon 474980-2 quantities than the demand war- Markevitch, is well represented

10 CDs boxed with booklet (also ranted. All the recordings in this ,here with ideally balanced and

rhythmically precise readings of

Schubert (3 & 4) sounding very

much in line with the latest performing

practices. Berlioz' Fantastique,

the earliest and arguably

the best of his recorded versions,

took 22 hours over six days to complete

the 48-minute work to his entire

satisfaction. Such perfection

would be an intolerable if not unbearable

expense for today's companies

that are bottom-line obsessed.

Well, it was worth the six

days because listening now one has

the impression of spontaneous perfection.

The Sanderling and Lehmann

items are new to me but obviously

I had mi.ssed some impressive performances.

The stereo Beethoven

Third piano concerto with Sanderling

finds Richter at the pinnacle

of his legendary brilliance. Fritz

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Lehmann was an early music specialist

and his tempos and orchestral

balances reveal an unexpected

lightness of touch agreeably suitable

to Schubert.

The well-known Furtwangler

items are well known and self-recommending.

All the recordings are mono, except

as noted and the exemplary

processing from analogue tapes to

CD by the Emil Berliner Studios

reflects exactly the same care and

pride that those LPs boasted some

50 years ago. Owning these performances

is what knowledgeable

record collecting is all about.

Bruce Surtees

Bruckner - Symphony No. 3

Deutsches Symphonie-Orchester

Berlin; Kent Nagano

Harmonia Mondi HMC 901817

Bruckner - Symphony No. 3;

Wagner - Siegfried Idyll

Wiener Pliilharmoniker; Hans


Testament SBT 1339

Anton Bruckner's Third Symphony

exists in three versions, the most

familiar of which is the 1877 revision

that formed the basis for the

tumultuous premiere of the work.

Sadly, there were only 25 patrons

left in the hall by the end of that

first performance, though among

these chosen few was the young

Gustav Mahler, who would ·become

a leading advocate of Bruckner's


Known to Brucknerites as the

'Wagner Symphonie', the original

1872 version of the work included

several thematic lifts from Richard

Wagner's operas. The Wizard

of Bayreuth accepted Bruckner;s

heartfelt dedication of the score to

him on the condition that tl;lese references

be withdrawn and consequently

the original version has

gone unrecorded until now.

Kent Nagano has conducted the

Deutsches Symphonie-Orchester

Berlin since 2000 but has recently

left his post there to accept the directorship

of the Montreal Symphony.

He is best known for his

proficiency in contemporary music



and hence would seem an unlikely

proponent of Bruckner. Though the

Berlin ensemble remains one of

Germany's most distinguished ensembles,

this important, gorgeously

recorded addition to the Bruckner

discography falls considerably

short of a great performance.

A clouq of suspicion still hangs

over the head of Hans Knappertsbusch

(1888-1965) for his role in

promoting German culture

throughout the occupied territories

while on tour with the Berlin Philharmonic>from·

1940 to 1944; nonetheless,

his interpretations of

Bruckner and Wagner remain unassailable.

'Kna', as he was affectionately

known, led this recording

session at the Vienna Musikverein

in 1954 for the Decca company; it

has been re-issued over the years

on various boutique labels.

Despite the limitations of Decca'

s monaural sound, the recording

is extremely lucid; the articulation

of the crashing tutti entrances

that follow Bruckner's idiosyncratic

caesuras are astonishingly

precise. 'Kna' uses the abbreviated

1890 edition of the score in a

performance that never loses its

sense of forward momentum.

Moreover, there is an uncanny psychic

communication between conductor

and orchestra that allows for

subtle tempo modifications (particularly

noticeable in the Scherzo

movement) that simply can't be

matched by Nagano's performance.

Da11iel Foley

Beethoven - Triple Concerto;

Schumann - Piano Concerto

Martha Argerich, piano

Renaud Caprn;on, violin

Mischa Maisky, cello

Orchestra della Svizzera italiana

Alexandre Rabinovitch­


EMI Classics 5 57773 2

In Schumann's brilliant A Minor

Piano Concerto, the solo piano part

is so expertly integrated into the

texture of the piece that one hardly

differentiates between it and the

other instruments of the orchestra.

After the initial explosion of descending

piano octaves, the lst oboe

emerges to play the first movement's

exquisite main theme, with

its aching octave leap. There are

several similar solo turns by other

instruments over the course of this

remarkable work, making the challenge

of the pianist not only to negotiate

technically difficult sections,

but to accompany and react

to the orchestra in an intricate and

intimate way.

'In this recording of a live performance

from June of 2002, the

formidably talented Martha Argerich

rises to this challenge subtly and


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Paisiello: Piano Concertos

Schoenfiel: Viola Concerto

Pete Seeger: If I had a Hammer

Bruegel: Music of his Time

Rossini: II Signor Bruschino

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sensationally. Though the remastering

at Abbey Road studios may

have something to do with it, the

balance between piano and orchestra

is perfect and Argerich pushes

and pulls the tempos and offers her

accompanying figures in a beautifully

conspiratorial spirit. Howeve,r,

when she assumes the spotlight she

is capable of getting into the keys and

playing with grand and awesome

power. She takes control of the last

movement from its opening measures

and sets a tone of wild abandonment

with which the orchestra

takes up and runs.

The disc also features Beethoven's

Triple Concerto in a lively

performance, also from Argerich

's Lugano Festival, but the

Schumann is the highlight and more

than worth the price of the CD.

Larry Beckwith

City Night - Haiku for the 21st


Janice Jackson; Simon Docking


Janice Jackson is a soprano who

seeks contemporary repertoire

with a passion. We remember her

inspired Array Music performance

in 2001, and Les franais witnessed

her recent IRCAM performance.

By coincidence, she arrived in

Halifax around the same time as

Simon Docking. Of course Dockir:ig

has been the new music pianist

to keep your eye on for several

years now, since his breathtaking

performances with Toca Loca and

his solo rendition of Sculthorpe's

Dijile at Glenn Gould Studio.

So it was a natural pairing of

these two, which gave rise to a

CD of haiku settings. A host of

composers contributed to the

project, from across Canada. Earlier

works in the genre came from

Ton De Leeuw, Julian Yu, Colin

Matthews and John Cage.

The settings are fiendishly difficult

for both singer and pianist.

Jackson and Docking navigate these

tortuous twists and turns with an

apparent ease nonetheless. Special

mention goes to Rose Bolton for

her Urban Haiku: the pianist recites

along with the singer, playing all

the while. There are several in-


stances of inside-the-piano effects,

particularly in Alice Ho's City


The recording is very immediate,

with no appreciable ambience,

as if you have your ear under the

piano lid, and Jackson is singing to

you from 4 feet away. The notes

tell us that they used a Steinway,

but the jacket photographs show the

pair with a Yamaha.

A tour de force.

John S. Gray

Concert Note: Janice Jackson and

Simon Docking will celebrate the

Ontario launch of the CD with a

performance at the Music Gallery

on November 25. This month Jackson

will perform with the Canadian

Electronic Ensemble at the

Music Gallery on September 18.

She will also perform a solo program

entitled Angst at the Canadia

dell'arte Theatre here in Toronto

November 17 through 20. Simon

Docking is among the featured performers

in Sound streams' presentation

of the music of Pou! Ruders

and Harry Freedman on September

27 at Glenn Gould Studio.

Des Passages de Charniere

Michelle Boudreau

Musiques Itenerantes mi Ltee.


Composer Michelle Boudreau's

charniere is the musical element

of the artwork 'sculpture/ object'

of the same name by Luc Bourbonnais.

Comprised 9f five pieces (four

of which appear on this release),

the aural element of this music-theatre

work succeeds independently.

The bilingual liner notes

support the listener's ability to navigate

this fascinating work. Though

it may require 'repeated listenings

to fully understand the musical nuances,

this effort is certainly time

not wasted. Having never seen this

work live, I can only assume that

with the accompanying visuals, this

would not be the case.

Boudreau's work utilizes both

electroacoustic elements with live

performance; her work is especially

moving when she employs the

human voice. The first track,

charniere: langage oublie, is mesmerizing.

Over 17 minutes in

length, the work opens with a

sound reminiscent of a squeaky

wooden door at a remote

cottage. Referred to as "a piece

with its own complete universe",

the accompanying vocal chants,

performed superlatively by soprano

Daniele Forget, create an hypnotic

'universal' ambiance and the

strongest example of Boudreau's

'charniere' recordings on this

release. Of the two other works,

berte litice, la suite (introduction),

for four cellos, is a compelling

piece that shows another side of

Boudreau's musical vision.

Michelle Boudreau's work here

remains an enigma for me. My

initial difficulty in listening quickly

changed to fascination. charniere

is a learning and mind opening

experience worth every effort.


Tiina Kiik



Heavy Juice

Scott Hamilton & Harry Allen

Concord Jazz CCD-2258-2

The two-tenor sax group has long

been a tradition.in jazz, and now

you can add Scott Hamilton and

Harry Allen to the distinguished

list. There's no new ground broken

on "Heavy Juice" (nor need

there be), but the enjoyment level

is high with a tidy mix of.blues,

ballads and jazz standards. A compatible

rhythm section features the

elegant pianist John Bunch, with

Dennis Irwin and Chuck Riggs on

bass and drums.

The material at hand comes stylistically

from the border-time of

swing to bop, when new ideas were

in the air. There was no rejection

of older ways, just evolutionary



The disc gets right to the business

at hand .(swinging!) with the

title track, a Tiny Bradshaw blues

from 1953. From the same era,

Blues Up And Down (from predecessors

Ammons and Stitt) romps

from its call-to-order opening

through stop-time tradeoffs. Uptempo

items include If Dreams

Come True and a bright version of

If I Should Lose You. From the bop


source of the only previously-unavailable

selection, a '55 Miles Davis

reading of 'Rowul About Midnight

with Thelonious Monk at the piano.

Wein notes "Miles came off and

whispered 'Tell Monk he played the

wrong changes.' I said 'Tell him

yourself. He wrote the song.'"

While this is the only new item,

some tracks have not been on CD

before, including a lovely Ben

Webster/Billy Strayhorn version of

Chelsea Bridge.

Of course, every major jazz

star has played Newport, and

they're represented here, at vary­

·ing lengths: Louis Armstrong,

Duke Ellington, John Coltrane (My

Favorite Things runs 17'24"),

Count Basie, Dizzy Gillespie,

Muddy Waters, Dave Brubeck

(who has appeared at NJF more

than any other artist), Buck Clayton,

Coleman Hawkins, Herbie

Hancock and on and on. Singers

include Billie Holiday Uust 2'05"),

Ella, Sarah, Dinah Washington apd

Mahalia Jackson.

Happy Birthday Newport! is a

celebration of the Festival primarily,

but as you'd expect, and Wein

would no doubt want, it's the musical

talent that ends up demanding

your attention. This release should

be on your stereo ...

Ted O'Reilly

Highlights from the Blue

Classic Line

Various Artists

Blue Classic Line

(Brilliant Classics)

This series of budget-priced recordings

comes from the EEC,

where copyright laws allow release

of 50-year-old material as

public domain. Each CD is simply

titled "Portrait", with the artist's

name. While discographical info is

included, source labels are not. As

a general rule the sound transfers

- are very good, if a little 'boxy'

sounding, and on some CDs the endings

sound a little clipped, with no

ring-off. We'll look at eight of the

forty or so available.

Dizzy Gillespie (BCL 7257) has

the bop trumpeter's important 1946

to 1948 big band recordings done

for the Musicraft and RCA Victor

labels. Titles include Cubano Be and

Cubano Bop, Manteca, Ool Ya Cool,

Good Bait and others, together with

my favourite, Lover Come Back To

Me, which shows just how great a

trumpet player Dizzy was. His sidemen

in this.period include rhythm

men John Lewis, Ray Brown,

Chano Pozo (this was the beginning

of Afro-Cuban jazz), Sonny Stitt,

Milt Jackson and James Moody.

The first modern jazz piano player

was Earl 'Fatha' Hines

(BCL 7263) and his Portrait release·

includes his very first solo recordings

for the QRS company in 1928

when he laid down classics like

Caution Blues and A Monday Date,

as well as later solos for. Okeh and

Victor. There's a trio with Sidney

Bechet and Baby Dodds (Blues In

Thirds) and seven selections with

Hines' Chicago big band from the

'30s into the '40s. Given his importance

in jazz, it's a shame he has

been so overlooked lately. Perhaps

this 23-track release will put him

into a few more homes.

Little need be said, especially in

Canada, about the masterful pianist

Oscar Peterson (BCL7264). All

but one track of this material is

home-grown: Montreal transcriptions

by the pianist for CBC radio,

with bassist Auston (the label has it

as Austin) Roberts. From two 1951

sessions come 20 short versions of

standards like Tea For Two, I've

Got Rhythm, Yesterdays and Rose

Room. From Clef comes a single

1950 track with Ray Brown, Oscar's

Blues. Peterson is at his

youthful best here, all exuberant and

joyful and full of chops.

Coleman Hawkins (BCL 7265) is

one of the most important figures

in jazz. I've always thought that the

tenor sax is [fil'.jazz instrument, and

as Jon Hendricks said, "Coleman

Hawkins is the man for whom

Adolph Sax invented the instrument".

Hawkins certainly created

the way to use it in jazz and popular

music, and that's not hyperbole.

With a career that lasted 50 years,

there were remarkably few less

productive periods. Sessions on this

release come from the late '40s and

early '50s with orchestral accompaniments,

and small swinging

groups, from Paris and New York.

His mastery of ballads shows on

cinema themes like Ruby and Where

ls Your Heart (theme from Moulin

Rouge). Five tracks with drummer/

leader Cozy Cole from 1950 are

most welcome, with players like


Rex Stewart, Tyree Glenn and

Claude Hopkins featured. Kudos to

Blue Classic Line for digging out

these less-often heard sessions,

rather than another release of

'greatest hit' material.

Fats offered a welcome' remedy to

the economic depression of the

1930s. Wailer's talent extended in

all directions: pianist, composer,

vocalist, leader and salesman of

Miles Davis (BCL 7266) had a sonality that leapt off the disc and

hard time of it in the first half of out of the radio, but was too rarely

ance in a feature, "Stormy Weathlems

and general lack of a distinctive

musical direction. He was still

, finding his original voice, and these

1951 and 1953 Prestige sessions

the 1950s, what with his drug probseen

on screen. His last appear­

er" (1943) featured a 4 minute all

star version of one of his hit tunes

Ain't Misbehavin which is includ-

show his sometimes-faltering be- · ed here along with '20s and '30s

bop sound with little of the mystique group gems like 'Honeysuckle

that was to be merchandized by Co- Rose, The Minor Drag, Dinah and

lumbia. This is not "Kind Of Blue" Sweet Sue and the solo masterpiece

stuff but more ebullient, if a bit

generic, late bop material. His si-

demen are first rank, including

Zoot Sims and Al Cohn together, a

young Sonny Rollins, John Lewis

and Art Blakey. This is an interesting

release, as it helps put Davis'

later success in perspective.

Charlie Parker (BCL 7268) is

the man who gave Miles Davis his

start, and the trumpeter is heard

on the earliest four of the sixteen

Savoy tracks here, a complee session

dating from 1948 with John

Lewis and Max Roach. A later

quintet with Kenny Dorham turns

up from the next year, as does the

Metronome All Star band with

Overtime and Victory Ball. Dizzy

and Bird, along with Monk, are ori

all 6 tunes from a 1950 Clef session

with Buddy Rich on drums.

This CD is a good cross section of

fine work by Parker, with the oth-

. er artists as a bonus.

He may not have been one of the

finest people around, but Stan Getz

(BCL 7269) was one of the great

stylists of the tenor sax. This Portrait

finds him in his early twenties

with his fully-developed 'cool' style

on show with fine pianists such as

Al Haig, Horace Silver and drummers

Roy Haynes (still active) and

Walter Bolden. Getz had the best

sound of any of his contemporaries,

and it was to be better heard

later, when recording techniques

·were to improve, but it is still easy

to appreciate on these 17 standards

originally on 78s for Prestige/New

Jazz or Roost in 1949 and 1950. The

three-minute barrier is deeply felt

on many tracks, when Getz seems

to be just getting started as the track


Fats Waller (BCL7270) on the

other hand was the master of the

78: complete little packages with

vocals, piano and horn solos that

swung from beginning to end. Irreverent,

joyful and always musical,

Handful of Keys. Too bad he wasn't

around for television ...

Ted O'Reilly


Gary Burton; Julian Lage

Concord Jazz CCD-2217-2

small group swing. He had a pershared

by the three main instrumentalists.

There is a certain gentle

quality to much of the music on

this CD, partly brought about by the

instrumentation, but by no means

is there any lack of colour and intensity.

Jim Galloway

Black Christ of the Andes

Mary Lou Williams

Smithsonian Folkways

Recordings SFWCD 40816

This one, as the Brits would say, is

a bit of a curate's egg - good in

parts. The set takes its title from

music inspired by the 1962 eanonization

of St. Martin de Porres, a

sixteenth century Peruvian of partly

African descent. I don't think

anyone would question Ms. Williams'

sincerity, but the results fail

to stir this listener. Part of the

problem I think lies with the c'hoirs

she's had to use. They make the

There must be something of a born music sound so terribly white.

educator in vibraphonist Gary Bur- But the CD is still worthy of your

ton. Over the years he has intro- attention. The remaining selections

duced such guitar talents as Larry show off Mary Lou Williams in all

Coryell, Pat Metheny and John

her glory. Never one to rest on her

Scofield - and he has come up with swing era laurels, the pianist demanother

in the form of Julian Lage, onstrates her mastery of a wide vaa

teenager who pl_ays with an as- riety of modernist tendencies. This

tonishing level of maturity. His con- shouldn't be the least bit surpristributions

to this CD, including ing. After all, even sch inasters

three original compositions already as Dizzy Gillespie and Thelonius

begin to point to a place among the Monk never hesitated to seek out

significant guitarists in jazz. In ad- Mary Lou for advice and guidance

dition, Burton has assembled the back in the forties when they were

talents of pianist Makoto Ozone, designing the new architecture of

who adds a couple of compositions jazz.

of his own to the mix, James Ge-

Among the set's highlights are an

nus on bass and drummer Clarence extremely sly reading of It Ain't

Penn. The music sustains the level Necessarily So, a rocking workout

of creativity that we have come to on Billy Taylor's A· Grand Night

expect from Gary Burton and it is

For Swinging, and a dazzling solo

a varled programme including Os- performance of Mary Lou's own

car Peterson's Wheatland and a bi-tonal composition, A Fungus A

standout version of Carla Bley's Mungus. On these and the remain­

Syndrome. First Impression, one of

ing six trio selections -

one by

the three Lage contributions sounds drummer Denzil Best, the rest by

as if it might well have been writ- Mary Lou - one hears the.full range

ten for Gary Burton. Test Of Time

of modern jazz piano. The one-ofis

a moody excursion into the blues a-kind Mary Lou Williams was trupenned

by Ozone. James Genus ·

ly beyond category.

gets chance to stretch out a little

on The Title Will Follow as does

drummer Clarence Penn on Steve

Swallow's Ladies In Mercedes, but

for the most part, the solo space is

Don Brown

Travelling Lights

Frani;:ois Carrier; Paul Bley;

Michel Lambert; Gary Peacock

Justin Time JUST 203-2

High ambitions, and a corresponding

'mission achieved', distinguish


Frani;:ois Carrier's

"Traveling Lights". Two icons,

Paul Bley and Gary Peacock were

invited to join the younger Carrier

and his frequent musical partner,

drummer.Michel Lambert, in a recording

session of freely improvised

music. Starting out as a supremely

lyrical bop pianist in Montreal,

Bley created an avant-garde

pianism that is a polar contrast to

Cecil Taylor's percussive keyboard.

Bley's spare, contemplative

playing is simultaneously radical

and outright gorgeous. The same

statement applies to Peacock's

bass. Both musicians are supremely

versatile across the spectrum of

jazz styles, and have played with a

corresponding spectrum of top international


Phil Woods' distinctively clean

and clear alto sax first attracted a

teenaged Carrier in to jazz. He set

a trajectory from outlying Chicoutimi

to the Conservatoire de Quebec,

the Vancouverjazz scene and then

testing his mettle by playing alongside

top New York and European

talent. Carrier has done Woods

proud by taking this spare and beautiful

reed style into the avant-garde.

Bley and Peacock are logical partners.

The eight tracks are relatively

short for free improvisation, especially

for a .collaboration of two

dynamic duos that have not played

together before. The fact that the

musicians find each other so efficiently

is testament both to their

skills and the shared international

language of jazz. The music proceeds

mostly at a stately but intense

pace, with periodic rapid

clips that remind us that the tiger

is there but voluntarily restrained

at this time and place.


highly recommended.

Phil Ehrensaft




Phat Hed

Tom Walsh/N.O.M.A.;

Steve Swell


This new release features Canadian

trombonist Tom Walsh in concert

with two different bands recorded

live in 2003 at the Festival

International de Jazz de Montreal

and at the Hermes Ear Festival in

Nitra, Slovakia.

Six of the eight tracks are from

the Montreal concert, with Walsh

joined by Miles Perkin on bass,

Thom Gossage on drums/percussion

and guest Steve Swell on

trombone. The duets between

Walsh and Swell are so connected

that were there no liner notes indicating

who was on 'left' and 'right'

trombone, it would have been close

to impossible to distinguish the players.

Dave Holland's Back woods

Song and Benny Carter's A Walking

Thing have this strong band playing

jazz really well. The Walsh/

Cram composition 1958 begins with

Walsh's sampling of a small child's

vocalizations which lead to a smooth

slow melody that suddenly opens up

to a faster paced and more open improvisation

section. This fluctuating

type of composition allows all performers

to excel. Walsh' Waltz

Leger is on three tracks and moves

from sampled sounds through more

free and dissonant sections to the

Main Theme, a joyous and playful


The other two tracks from the

Slovakian concert have Walsh

joined by Szandai Matyas on bass

and Balazs Elemer on drums in

more free improvisational works

which feature Walsh's versatile


Tom Walsh's music makes me

laugh. His musical statements are

well thought through and serious,

yet there is this underlying humour

which sets his music apart. His

work here with trombonist Steve

Swell is superlative.

Tiina Kiik

Concert note: Tom Walsh's

NOMA will perform at the Guelph

Jazz Festival in a late night concert

at St. George's Anglican Church on

September 9.

Wild for You

Karrin Allyson

Concord Jazz CCD-2220-2

Karrin Allyson has presented us with

a CD whose theme is long overdue,

in my estimation. Namely, a collection

of tunes that draws on (relatively)

modern songwriting talent as opposed

to the music of the 30's and

40's, which is the fallback for most

jazz singers. Although some singers

have ventured into the modern pop

songbook - Ella Fitzgerald covering

the Theme from the Loveboat springs

horrifically to mind - no one, to my

knowledge, has produced a whole

collection from the 70's and 80's.

The Grammy award-nominated

Ms. Allyson and the band have successfully

balanced the addition of jazz

harmonies and rhythms with a respect

for the material, to bring interest

and complexity to the songs

without obscuring the qualities that

made us love these songs in the fust

place. "Wild for You" is a personal

collection that resonated with me, but

whether all listeners will find the

same connection as I did will depend

very much on personal taste and experience.

In any event, Ms. Allyson

demonstrates considerable skill,

good taste and affection on covers of

Joni Mitchell's All I Want and Help

Me, James Taylor's Don't Let Me

Be Lonely Tonight and Roberta

Flack's Feel Like Makin' Love & The

First Time Ever I Saw Your Face,

making "Wild for You" an essential

for boomer-jazzers.

Cathy Riches

Shave 'Em Dry

The Best of Lucille Bogan

Columbia Legacy CK 6705

Crazy Blues

The Best of Mamie Smith

Columbia Legacy CK 65712

Whiskey is My Habit,

Good Women is all I Crave

The Best of Leroy Carr

Columbia Legacy CK 86989

Following a lengthy hiatus, Sony

has revived its excellent Roots N'

Blues series. Martin Scorsese's

PBS series, The Blues, seems to have

inspired a rash of blues reissues. It


should be noted though that these latest

from Sony - all on the Columbia/

Legacy label - are not complete editions

but 'best of compilations. That

caveat aside, the music is present .


in beautifully remastered form with

authoritative notes and excellent production.

Lucille Bogan's Shave 'Em Dry is

probably the first CD carryin a parental

adviser sticker to be reviewed

in this magazine. The music - aside

from its 'explicit content' - sounds a

little old-fashioned for the 1933-1935

period. But, although Bogan and pianist/accompanist

Walter Roland

work in an earlier style, they are

convincing performers whose recordings

continue to entertain. Three

of the set's performances were never

commercially issued - and it's not

difficult to see why. They are very

explicit. Not for the easily offended.

Mamie Smith is principally famous

being the first African-Americ n

woman to sing on a commercial

American record. The title tune, recorded

in 1920, marked the beginning

of the classic blues era. Its huge

success paved the way for artists

such as Ida Cox, Bessie Smith and

Alberta Hunter. Although Mamie

Smith was not in the same league as

those singers, her recordings still

merit a listen. Her style owed as

much to vaudeville as it did to the

blues but she certainly knew how to

sell a song. Her back-up players include

such soon-to-be famous jazzmen

as Johnny Dunn, Buster Bailey,

Coleman Hawkins, and Bubber Miley.

The jewel in the crow among .


Columbia/Legacy reissues 1s the

two-CD set by pianist/vocalist/composer

Leroy Carr. During his sh ? rt

life - he was only thirty when he died

- Carr wrote and recorded many

deathless blues classics. On all forty

of this set's selections he accompanies

himself on piano with either

Scrapper Blackwell or Josh White

backing him on guitar. From the

opening title, Carr's very first recording

(and biggest hit), How Long

- How Long Blues, to the closing Six

Cold Feet in the Ground, there's not

a weak performance to be heard. His

plaintive voice and understaed ':" ay

with a lyric are utterly captlvatmg.

And Scrapper Blackwell's contributions

are priceless. This one's a must.

Don Brown


One True Thing

Daniela Nardi Trio

Minerva Road MIN002

Daniela Nardi is a cool, smart,

straight-talkin' Toronto-bred woman

with a soft, rich, smoky and soulful

voice. As a songwriter, she produces

the kind of intelligent, honest,

wordy, free-association reminiscent

of Joni Mitchell in jazz mode. Songs

of Jove and independence, unresolved

feelings, and human potential

not yet realized with a solid sense of

the spirit beyond. In other words, the

richness of life experienced with

many questions left unanswered.

Although songs like Mr. God (a passionate

rant on injustice) and Hands

(on the theme of healing) seem ? n

the surface to stem from contradictory

viewpoints, they both de Je

the concept that the divine 1s within

us, and fully realizes itself throug

human action. Joining Ms. Nardi

who handles vocals and piano

(acoustic & Rhodes) are the re lar

members of her trio: Steve Bnght,

bass and Larry Crowe on drums &

percussion. Special guests roundg

out the arrangements are Tort01se

Blue, blues harp and organ, Neil

Donnel, background vocals, John

Johnson, soprano sax, George

Koller, acoustic bass, Chase Sanborn

trumpet and flugelhom, and

Jim Tate, guitar. Daniela studied at

York, specializing in the areas of

composition, electronic music d

performance, 20th century music

and improvisation. She has done her

Alma Mater proud.

Dianne Wells

Concert note: Trumpeter Chase

Sanborn is among the luminaries who

will perform a benefit concert for e

University of Toronto's Jazz Studies

Program on September 27 at the

Montreal Bistro.

Bebel Gilberto

Behel Gilberto

Six Degrees Records

(www .sixdegreesrecords.com)

Brazilian-American singer/songwriter

Bebe! Gilberto's eponymous second

CD is well produced (by Marius

De Vries who has also produced

Madonna, Annie Lennox and Bjork),

the musicianship is first-rate and

Gilberto is, with a few exceptions,

in fine voice. Unfortunately the songs

just aren't as strong as on her excellent

first CD "Tanto Tempo". This

may be due, in part, to the fa t at

many more of the lyrics on this disc

are written in English, as opposed to

Gilberto's native Portuguese. As a

result we don't have the benefit of

the oblivion that comes from listening

to tunes in a language we don't

understand. Perhaps the Portuguese

lyrics are as trite as some of the E g­

lish ones ("you must try the new ice

cream flavour, do me a favour"??),

but with a number of these tunes ignorance

would have been preferable.

There are some lovely touches on

this disc: the use of G flutes on Cada

Beijo, The London Session Orchestra

Strings on Simplesmente, and lots

of typical Brazilian percussion :-v ork

throughout. Drawbacks are: G1lberto's

tendency to push her voice lower

than it wants to go on a few of the

tracks, I suppose in an attempt to

sound sultry, but which only results

in a weak sound, and the aforementioned

strings which add saccharine

to an already syrupy Next To You. In

the main, however, "Bebe! Gilberto"

is a charming, laid-back record,

just right for an easy summery listen.

Cathy Riches

Mystras - Siren Songs of the


Maria Antonakos

Marquis 81313

Musing on the cover of this CD, and

noticing the subtitle "Siren Songs of

the Mediterranean" one might expect

a pretty fiery performance fro .

m the

artist. However, the general trrnbre

of this recording seems instead to

match the misty azure photograph on

the cover. But then again, seduction

is a subtle art. This is a soft, fragile

voice that may lack a certain fire,

but possesses sweet and subtle nuances

perfect for the tenderness of

some of these lyrics.

On this recording Torontonian

Maria Antonakos performs Greek,

Spanish and Italian songs .

that ofer

romantic images of love, village life,

the sea and a rugged landscape. Her

voice is particularly suited to the lullaby-like

Tiny Paper Moon, the sweetness

of the playful Arietta di Posillipo

in which a kiss is stolen from a

reluctant rosebud of a mouth, and the

quiet agony of Garcia Lorca' s lyrics

for Song of the Barren Orange .


And her voice soars to the highest

heights while still maintainin that

softness in Sofia's Wisdom, with the

inspiration to follow the path of peace,

hope, truth and beauty. The famous

Lascia Ch 'io Piangia gets a new

treatment in an interesting modem

setting, and there's a nice surprise

at the end of the disc with the Italian

song we know in North America

as More than the Greatest Love.

Her ensemble is superb: tender

guitar accompaniments from Rob

Piltch and Philip Stanger (who also

created superb arrangements),

Ron Allen recalling the swirling

mists with bansuri and bass flute,

George Koller with evocative bass

playing, Ben Grossman on a large

variety of percussion instruments

and Bethany Bergman, violin and




Carina Reeves, cello lovingly executing

the arrangements for strings.

Dianne Wells

Secrets Moon Magic

Maza Meze w/John Wyre; Trichy


CBC Records TRCD 3009

Maza Meze literally refers to an

assortment of Arabic and Greek

appetizers, an apt gastronomic metaphor

for the array of musical samples

served up by this talented Toronto-based

group specializing in

music from Greece and the Middle


One striking feature of this CD

is the variety: each new song is

completely different from the last,

which is very refreshing. More traditional-style

pieces are based on

Arabic Sufi chant, a Greek song

of unrequited love, a powerful choral

song from northwestem Greece

with typical Balkan tight harmonies,

and two pieces combining

South Indian and Arabic melodies

and rhythms. The latter feature special

guests, the well-known South

Indian musicians Suba and Trichy

Sankaran (vocals and mridangam).

The other works are harder to

categorize - four eclectic compositions

by various members of

Maza Meze. Of these, I particularly

liked the words and music of

Debashis Sinha's cool and relaxed

piece Fall Down, with guest percussionist

John Wyre on djembeck

(a hybrid djembe/doumbek drum).

As well, mention must be made of

Maryem and Ernie Tollar (vocals

and flutes), who are indispensable

to the Maza Meze sound.

Notwithstanding their success,

forays into world fusion are commonplace

now among musical

groups. What really distinguishes

Maza Meze, and makes them

unique, is their mastery of Arabic

and Greek music. I would have preferred

a little more substantial classical

Arabic/Greek fare amid this

assortment of musical appetizers.

Annette Sanger

Discs of the Month on page 68

Nadina Mackie Jackson

l!llB!IP!!WJ!ll!l!!ll!lll!lm'-!.I on her latest CD


Canada's international independent label



La Nef

First recording on

the ATMA label

featuring soprano

Meredith Hall

Suzie LeBlanc

Acadian songs

with Chris Norman


David Greenberg



David DQ Lee

"An appealing and

musicianly singer. "


Music by Bitsch, Tansman, Duclos & Schreck

with exciting new works by Mathieu Lussier,

aleks schurmer & John B. Hedges

: ... incredible capacity for both virtuosity

and poignancy . . . a brilliant mix of dazzling

technique and gentle lyricism."

Ron Klimko

Double Reed. June, 2003

"·I· .

t can't imagine a better performance.'

Steven Ritter

American Record Guide. 2003







Order online:






Mozart: Le Nozze di Figaro

Gens, Ciofi, Kirchschlager, Regazzo,


Collegium Vocale Gent

Concerto Koln; Rene Jacobs

Harmonia Mundi 801818.20

The spirited overture sets the tone for

Rene Jacobs' imaginative new recording

of Mozart's The Marriage

of Figaro. As ever, Jacobs pays full

attention to the hallmarks of the

period performance style he helped

develop. What he calls a 'neo-Classical'

sty le in his fascinating booklet

essay, "A Subversive Composer",

here involves a lively fortepiano continua,

lots of ornamentation, vivid


winds, and lean, edgy period strings.

Textures are clear, not blended,

tempos are brisk, and attacks are

emphatic. But it's the infectious exuberance

of this production that

makes this recording hard to tum off.

If this international cast weren't

so strong, Patrizia Ciofi's Susanna

would steal the show. Lorenzo

Regazzo's Figaro is full of charm,

while Angelika Kirchschlager's

Cherubino is convincingly ardent.

As the countess,Veronique Gens

effectively balances the hurt, vulnerable

wife with the regal

chatelaine. Simon Keenlyside's

superb Count is an unrepentant,

rather menacing heel. The secondary

roles are equally well sung, in

particular Marie McLaughlin's

nuanced Marcellina.

The ensembles sizzle with sophisticated

irony. In the third act

sextet, one of the funniest in all opera,

the way Jacobs has the voices

overlap in the recitatives heightens

the realism of this farce. That

Jacobs was a singer himself shows

in his close attention to the words.

Concerto Koln and the Collegium

Vocale Gent contribute to making

this one of the finest recordings available

of this - or any - Mozart opera.

Production values are stellar,

with clear natural recorded sound,

and an informative booklet with Da

Ponte's brilliant libretto in four languages.

Pam Margles

Notes from Abroad - Worldly

Music for bassoon and piano

Nadina Mackie Jackson;

David Swan


I can honestly say I've been waiting

years for this recording. I saw

Toronto-based Nadina Mackie

Jackson and David Swan play a

recital at Heliconian Hall several

years ago and heard them perform

two of the selections on this CD,

the Concertina by Marcel Bitsch

and the Sonatine by Alexandre Tansman.

I was awed by the gorgeous

sound Nadina produces on bassoon.

I knew at that point I'd have to seek

out a recording when it became


In addition to the works by

Tansman and Bitsch, "Worldly

Music" includes three new works

by aleks schiirmer, and two by

Mathieu Lussier. The other major

work is the Sonata in E flat Major,

Opus 9, by Gustave Schreck.

It's hard to single any particular

piece out as a favourite on this

disc, though the Bitsch Concertina

does seem to have a strange

fascination for me.

I have to consider this my favourite

bassoon recording of all time.

And yes, I do have quite a few to

sample from! It's also one of the

finest independently produced CDs

I've ever seen. The performance,

recording quality, packaging and

notes are absolutely excellent. The

best way to get a copy of this CD is

to check out Nadina's website:

www.nadina.ca and follow the

links to purchase it online.

Merlin Williams

Toronto Welcomes

Peter Oundjian

Peter Oundjian

Symphonic Celebration

Opening Week Concerts

Peter Oundjian, conductor

Beethoven: Symphony No. 7

Matthew Whittall: The Short Road to


2004-2005 Profe s sio nal Ente rta n m e n t Se as o n

Let Traviata

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