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Vol 19 No 1CONCERT LISTINGS | SEPTEMBER 2013WORK INPROGRESS!Jeanne Lamon, TafelmusikMusic Lover’s TIFFby Paul EnnisBreaking Down Barrierswith Simon CapetComposer Leap Frogwith Austin Clarkson

SEASONOPENER—TICKETSGOINGFAST!Baroque Orchestra and Chamber ChoirJeanne Lamon, Music Director1314BRUNO WEILGuest ConductorListen with fresh ears to the musicthat ushered in a new century.Please join us for Talkbacks withselect musicians after each concert.BEETHOVENSYMPHONIES NOS. 1 & 2KOERNERHALLSEP 19, 20, 22OPENING CONCERTIN THE REVITALIZEDTRINITY-ST. PAUL’S CENTRE,JEANNE LAMON HALLMANFREDO KRAEMERViolinist and Guest DirectorMusic from two magnificent cities, each with adeep musical heritage. Join us for these specialconcerts, inaugurating the new performance hall.BAROQUE AUSTRIASALZBURG & VIENNAOCT 3-6 | TRINITY-ST. PAUL’S CENTRE, JEANNE LAMON HALLOCT 8 | GEORGE WESTON RECITAL HALLKoerner Hall:416.408.0208Trinity-St. Paul’s Centre,Jeanne Lamon Hall:416.964.6337George Weston Recital Hall:1.855.985.2787Still time toSubscribe & Save!To find a package that bestsuits you, please call ourBox Office at 416.964.6337tafelmusik.orgSeason Presenting Sponsor

2013 2014Seasonmasters of musicMariinsky OrchestraValery Gergiev, conductorSunday, October 6, 2013 2pmRoy Thomson HallStravinsky: The Firebird (complete)Stravinsky: Pétrouchka (1911)Stravinsky: The Rite of SpringSponsored by“The ovation wenton and on.”-The New York Timeslos angelesphilharmonicGustavo Dudamel,conductorWED, MAR 19, 2014 8pmRoy Thomson HallYo-Yo Ma, celloKathryn Stott, pianoFri, Nov 22, 2013 8pmRoy Thomson HallSponsored byCALL 416.872.4255masseyhall.com I roythomson.com

Volume 19 No 1 | September 1 – October 7, 2013FOR OPENERS6. Sometimes It Helps To Make Music | david perlmanFEATURES8. Work In Progress! Jeanne Lamon | larry beckwith10. Music Lover’s TIFF | paul ennis12. Composer Leapfrog with Austin Clarkson | David perlman14. Breaking Barriers with Simon Capet | ori daganBEAT BY BEAT16. Classical & Beyond | sharna Searle20. Art of Song | hans de groot22. On Opera | CHRISTOPHER HOILE24. Early Music | david podgorski26. Choral Scene | Ben Stein31. In With the New | wendalyn bartleY32. Jazz Notes | jim gallowaY34. Bandstand | Jack MacQUARRIE39. World View | andrew timaR51. In the Clubs | ORI DAGANLISTINGS42. A | Concerts in the GTA47. B | Concerts Beyond the GTA51. C | In the Clubs (Mostly Jazz)54. D | The ETCeterasmusical life57. Seeing Orange58. Remembering... Nic Gotham; Leslie Huggett59. We Are All Music’s Children | mj buellDISCOVERIES: RECORDINGS REVIEWED60. Editor’s Corner | David Olds61. Vocal62. Classical & Beyond63. Strings Attached | terry robbins64. Modern & Contemporary65. Jazz & Improvised66. Jazz, Eh? | stuart broomer67. Something in the Air | Ken Waxman67. Pot Pourri68. Old Wine, New Bottles | bruce surteesmore6. Contact Information & Deadlines41. Index of Advertisers56. Classified AdsCover Photograph Air’leth AodhfinACD2 2587MANUEL ROSENTHALThe CompletePiano WorksSTÉPHANE LEMELININ THIS ISSUEAVAILABLE IN HD ATATMACLASSIQUE.COMSelect ATMA titles now on saleREADER SURVEY,please! 35choral sceneto boldly go 29wholenote’s TenthSeptember’s child 59

FOR OPENERS | DAVID PERLMANPRICELESS!There are some things in the world thatmoney just can’t buy.Such as giving 15 or so minutes of yourtime to freely share information aboutyourself with us, without cash or prizes ormerchandise as a reward.And that, dear reader, is what we arehoping you will do, by completing theREADER SURVEY on pages 35 to 38 of thisissue and mailing it back to us.The better we know you, our readers, inaggregate, the better we we can chart acourse to serve you in the years to come.And remember, it’s not only the specificanswers you give or the comments youmake on the survey that will help us. It’sthe very fact of how many of you chooseto respond that will tell the story of thepriceless relationship we believe we havewith our readers.So please, complete the survey and mailit in (or complete and submit it online ifyou prefer).We’re counting on you to count yourself in.Sometimes it helps to make music …And Sometimes It HelpsTo Make Noise!And sometimes a little bit of the latter helps to keep the place of the former front and centrein circumstances where society’s attention has every excuse to wander.There’s a great little example of this noise/music mutual aid society in “Seeing Orange,” oureducation watch (page 57), where concerned and concerted muttering helped keep music alivein the region’s largest public school board for another year.There’s also probably a complex variation on the theme that could be braided out, by learnedlycontrasting the issue’s three strikingly different “takes” on new music: Ben Stein’s “ChoralScene”(page 26), Wendalyn Bartley’s “In With The New” (page 31) and Austin Clarkson’s reflectionson the tightrope between music and noise walked by some of the past century’s seminalcomposers (page 12).More straightforward, as the community we serve teeters on the edge of another new seasonof music making, is the simple observation that they (our region’s music presenters) are in thebusiness of making music, and we are in the business of making a whole bunch of cheerfulnoise about their music, so that you, dear readers, have one fewer reason for your attentionsto wander from the front-and-centre place that the conspicuous bravery of making live musicwarrants in a civilized society. They’ll do their bit, we’ll do ours, and you, we have no doubt,will continue to do yours.Mind you, this isn’t the easiest month in Toronto for making noise in the arts media aboutanything other than film, as TIFF once more takes the town by the scruff of its cultural neck.Happily, our Paul Ennis, with one foot planted squarely in his love of film and the other inmusical delight, has found a way for conflicted music lovers to rationalize an annual Septembermovie binge (“Music Lover’s TIFF,” page 10).So, let the woofing and tweeting begin! And we’ll see you on the other side.—publisher@thewholenote.comThe WholeNote Volume 19 No 1 | SEPTEMBER 1 – OCTOBER 7, 2013Centre for Social Innovation720 Bathurst St., Suite 503, Toronto ON M5S 2R4phone 416-323-2232 | Fax 416-603-4791Publisher/Editor In Chief | David Perlmanpublisher@thewholenote.comChairman of the Board | Allan Pulkerdirectors@thewholenote.comEDITORIALListings Editor | Sharna Searlelistings@thewholenote.comManaging Editor | Paul Enniseditorial@thewholenote.comRecordings Editor | David Oldsdiscoveries@thewholenote.comSocial Media Editor | Sara Constanteditorial@thewholenote.comClub Listings Editor | Ori Daganjazz@thewholenote.comSALES, MARKETING & MEMBERSHIPConcerts & Events/Membership | Karen Agesmembers@thewholenote.comRetail Sales/Marketing | Garry Pagemarketing@thewholenote.comDirectories | Adam Weinmanneducation@thewholenote.comAdvertising/Production Support/OperationsJack Buell | adart@thewholenote.comClassified Ads | classad@thewholenote.comWebsite/Systems | Bryson Winchestersystems@thewholenote.comCirculation/Subscriptions | Chris Malcolmcirculation@thewholenote.comSubscriptions$35 per year + HST (9 issues)Thanks to this month’s contributorsBeat ColumnistsHans de Groot, Jack MacQuarrie, Benjamin Stein,Sharna Searle, David Olds, Dave Podgorski,Ori Dagan, Wendalyn Bartley, Jim Galloway,mJ buell, Christopher Hoile, Andrew TimarFeaturesLarry Beckwith, Paul Ennis, David PerlmanCD ReviewersStuart Broomer, Max Christie, Hans de Groot,Ori Dagan, Daniel Foley, Jim Galloway,Janos Gardonyi, Richard Haskell, Tiina Kiik,Pamela Margles, Christina Petrowska Quilico,Cathy Riches, Terry Robbins, Michael Schwartz,Bruce Surtees, Ken Waxman, Dianne WellsProofreadingSharna SearleListingsSharna Searle, Ori Dagan,Adam Weinmann, Tilly Kooyman,JennieLea McLeish, Ruth AtwoodCirculation TeamAbram Bergen, Beth Bartley, Bob Jerome,Dagmar Sullivan, Dave Taylor, Gero Hajek,Jack Buell, Jack Suttaby, Jeff Hogben,Joan Andrews, John Dodington, Lorna Nevison,Luca Perlman, Mark Clifford, Melanie Allen,Micah Herzog, Niamh Malcolm, Patrick Slimmon,Paul Ennis, Randy Weir, Rebecca Carpenter,Robert Faulkner, Sharon Clark, The Giang Nguyen,Tom Sepp, Vicki Stainton, Wende BartleyLayout & DesignUno RamatThe Ontario Arts Council is an agency of the Government of OntarioUpcoming Dates & DeadlinesFree Event Listings Deadline6pm Sunday September 8Display Ad Reservations Deadline6pm Monday September 16Classifieds Deadline6pm Tuesday September 24Advertising Materials Due6pm Wednesday September 18Publication DateMonday September 30Next issue, Volume 19 No 1 coversOctober, 2013WholeNote Media Inc. accepts no responsibility orliability for claims made for any product or servicereported on or advertised in this issue.Printed in CanadaCouto Printing & Publishing ServicesCirculation StatementSeptember 2013: 30,000 printed & distributedCanadian Publication Product Sales Agreement1263846ISSN 14888-8785 WHOLENOTEPublications Mail Agreement #40026682Return undeliverable Canadian addresses to:WholeNote Media Inc.Centre for Social Innovation503–720 Bathurst StreetToronto ON M5S 2R4Copyright © 2013 WholeNote Media Incthewholenote.com6 | September 1 – October 7, 2013 thewholenote.com

Robert Aitken, artistic directorSaturday December 14, 2013 • 8 pmA Percussive Eveningwith Jean-Pierre DrouetBetty Oliphant Theatre | 404 Jarvis StLegendary percussive theatrics byVinko Globokar, Georges Aperghis,Frederic Rzewski, Giorgio Battistelliand Mauricio KagelThursday March 20, 2014 • 8 pmAn Evening with theArditti String QuartetJane Mallett Theatre27 Front St. E. | 416.366.7723co-production with Music TorontoPioneering quartets by Elliott Carter,Hilda Paredes❆, Brian Ferneyhoughand Helmut LachenmannSunday October 6, 2013 • 8 pmStefan Meets Antonand Morty Meets JohnBetty Oliphant Theatre | 404 Jarvis St.New Music Concerts EnsembleRobert Aitken, directionmusic by Anton Webern, Stefan Wolpe,Morton Feldman and John Cage, curatedby Austin Clarkson. Includes on-sitesymposium at 2:30 pmSunday January 19, 2014 • 8 pmMotion Ensemble:From Atlantic ShoresThe Music Gallery | 197 John St.A cornucopia of Canadian musicfrom the East coast by Blais,Steffler, Morse, Oickle❂, Charke,Moore, Genge and AltmannFriday April 18, 2014 • 8 pmA Portrait ofJörg WidmannBetty Oliphant Theatre | 404 Jarvis St.New Music Concerts EnsembleJörg Widmann, clarinet & directionJörg Widmann returns to Toronto topresent the Canadian premieres ofsix recent ensemble worksFriday November 1, 2013 • 8 pmDavid Eagle’s Art ofInteractive ElectronicsBetty Oliphant Theatre | 404 Jarvis St.New Music Concerts EnsembleRobert Aitken, directionElectroacoustic music byJimmie LeBlanc, David Eagle❂N,Anthony Tan, Anna Pidgornaand Hans TutschkuSaturday May 17, 2012 • 7:30 pmAn Evening withWei-wei LanGallery 345 | 345 Sorauren Ave.(non-subscription event)A program of Traditional, Folkloric andContemporary music for solo Pipa.Proceeds to benefit New Music ConcertsReservations: Call 416.961.9594Wednesday May 21, 2014 • 8 pmBeijing Composerswith Wei-wei LanMazzoleni Hall, Royal Conservatory273 Bloor St. W. | 416.408.0208Music by Guoping Jia❂N,Xiaoyong Chen❂N,Fuhong Shi❂N and Alexina Louie,featuring Pipa virtuoso Wei-Wei Lan.NMC’s contribution to the inauguralRoyal Conservatory 21C Music Festival❆ Canadian premiere |❂ World premiere | N New Music Concerts commissionSubscriptions (7 events) $170 regular | $105 seniors / arts workers | $35 studentsIndividual Tickets $35 regular | $25 seniors / arts workers | $10 students[Call Box Office numbers above for March 20 and May 21 co-production single ticket prices]Pick 3 (or more) each $28 reg | $18 senior/arts | $8 students | Call NMC @ 416.961.9594Introductions @ 7:15pm | Concerts @ 8:00pm | Full details and PDF subscription form atwww.NewMusicConcerts.com

✒ Larry Beckwithhis is the beginning of a particularly exciting season forJeanne Lamon. Under her music directorship for one finalyear — her 33rd in the position — the Tafelmusik BaroqueOrchestra is presenting a rich and diverse Toronto concertseries, touring to Japan, South Korea, France (with Opera Atelier),New York City and Leipzig, and running its second annual WinterInstitute for advanced students and young professionals.when reached by phone on a busy late-August afternoon, however,Lamon is most occupied by and enthusiastic about the renovations toTafelmusik’s home venue, Trinity-St. Paul’s United Church.“Making this project a reality has been a lot of work and represents ahuge accomplishment for us,” Lamon says.Tafelmusik is spearheading the Revitalization Project, as it is called,in close consultation and partnership with Trinity-St. Paul’s UnitedChurch and its other permanent tenant, the Toronto Consort. The renovationscommenced in late May, 2013, and the first phase is scheduledto be completed by the end of September.“I’m particularly thrilled and surprised at how spiffy it’s all going tolook. I think it’s going to make even more of a splash than we thought.”Lamon explains that the plan always involved taking up the oldcarpeting in the church and putting in a new floor. Before they didthat, they erected scaffolding and brought in ladders to re-paint thewalls and ceiling.“The painting is making an enormous difference,” Lamon says. “It’sgoing to give everyone the sense that they’re in a brand new hall. I’mso pleased with how it’s going.”Another small but delightful detail of the new plan means a moredirect route from Lamon’s “dressing room” (the church’s MemorialRoom) to the stage.“It’s very exciting. They’ve moved the door stage right so that everything’son the same level. For years we’ve walked down the hallway,down six or seven stairs, out into the church and then up six or sevenstairs to the stage. We won’t have to do that anymore.”Cosmetic details aside, Lamon emphasizes that the priorities of therenovation have always been enhanced acoustics and audience comfort.“Many people have commented over the years that here we are, aworld-class orchestra playing in a slightly dowdy church with less-thanidealacoustics. The last few strategic plans that we’ve drawn up, overmany years, have always included venue improvement as a priority, butfor various reasons it’s taken until now to get it done.”She credits managing director Trisha Baldwin for leading the chargeand keeping it on time.“She’s remarkable. We know we have an early-bird concert for oursubscribers at the end of September and that’s driving the timing of thevarious aspects of the project.”While all this is happening, the organization is searchingfor a replacement for Lamon, who steps down from themusic director position at the end of June, 2014. She isphilosophical at the start of her last season at the helm.“I feel in 33 years, I’ve done everything I know howto do. The process will probably not be very quick, butwouldn’t it be great if they found someone super dynamicto inspire and lead the orchestra to the next level?”When asked to reflect on some the other major accomplishmentsof the organization under her leadership, concertizing,touring and recording vie for the top of the list.“Well, securing the Sony recording contract was a huge one for us” — arelationship that began in the early 1990s and resulted in dozens offine recordings of Baroque and Classical repertoire — “and TBSI wasanother major one.” The annual Tafelmusik Baroque Summer Institutewas founded in 2000.“And there have been so many wonderful concerts and tours that havebeen fun and memorable for a whole variety of reasons.”Additionally, Lamon is particularly proud of the new Tafelmusikmedia label that was launched in 2012 and has given them the abilityto release new digital, CD and DVD recordings and re-release discontinuedrecordings from their rich discography.Getting back to the present excitement, however, she emphasizeshow important the Trinity-St. Paul’s hall renovations are to the searchfor her successor.“Sure, the music director search is tied in. We hope that a renovatedhall we can call our own will be part of the attraction for a world-class,great director.”As our conversation comes to a close, we agree to talk again thisseason to give her the chance to do some more expansive reflection onher leadership tenure and give The WholeNote readers a window intoher immediate journey in 2013/14 and her plans for the next stage ofher significant career.A few days after our chat, news breaks of the extraordinary $1 milliongift from the Hal Jackman Foundation to the renovation project, inhonour of Jeanne Lamon.“As I have long respected Jeanne Lamon and admired her tremendouscontribution to the arts in Canada and abroad, it is an immensepleasure for me to make a gift in honour of this great musician,” saidthe Hon. Henry N.R. Jackman.Tafelmusik will refer to the venue as Trinity-St. Paul’s Centre, JeanneLamon Hall.Not a bad way to start the season.Larry Beckwith is a former long-time member of theTafelmusik Chamber Choir and is the founder and artisticdirector of Toronto Masque Theatre.8 | September 1 – October 7, 2013 thewholenote.comair’leth aodhfin

THE WHOLENOTE PREVIEW✒ Paul EnnisWhat does Benjamin Britten’sopera Noye’s Fludde set in SouthAfrica and sung in Xhosa have incommon with the story of a youngQuébécois woman blessed with perfect pitch butafflicted with a learning disability? Or the returnof the team behind the cult classic Koyaanisqatsiwith a new film premiering to a live accompanimentby the TSO? Or with Jim Jarmusch’s vampirelovebirds who live like glam rockers? Or MychaelDanna’s first score since winning the Oscar earlierthis year? They’re just a few of the films in the 2013edition of the Toronto International Film FestivalCan a Song SaveYour Life? Above:Noye’s Fludde.(TIFF) that appear to be of particular interest to The WholeNotereaders. Yes, we’ve scoured the list of 288 features in this year’s festivaland noted a number that look appealing.Visitors marks Godfrey Reggio’s first film in ten years and his fourthcollaboration with Philip Glass. Its world premiere takes place at theElgin Theatre Sunday evening, September 8, when members of the TSOwill provide a live score. Judging by the hypnotic trailer on the film’sinscrutable website (visitorsfilm.com), this black-and-white digital4K projection could be the musical highlight of TIFF. The subtlety andrestraint of the haunting score evident in the trailer finds Glass’ repetitivepulse backgrounded in the strings to allow precise woodwind tunesto come to the fore.Here is the official pitch for the new film: “Visitors reveals humanity’strancelike relationship with technology, which, when commandeeredby extreme emotional states, produces massive effects far beyond thehuman species. The film is visceral, offering the audience an experiencebeyond information about the moment in which we live. Comprised ofonly 74 shots, Visitors takes viewers on a journey to the moon and backto confront them with themselves.”Next, from the team behind the unique, unforgettable and energeticU-Carmen eKhayelitsha (in which Bizet’s Carmen was adaptedto a cigarette factory outside of Capetown and performed in Xhosa)comes a Xhosa version of Benjamin Britten’s opera, Noye’s Fludde,again directed by Mark Dornford-May and again starring South Africanopera star Pauline Malefane (this time as Noah!).Atom Egoyan’s new film Devil’s Knot that dramatizes the falloutfrom the notorious 1993 West Memphis murders marks Toronto-basedcomposer Mychael Danna’s first film score since his Oscar win for Lifeof Pi. Danna, who began his career with Egoyan, has scored all his films.On paper this one looks promising as it harkens back to the director’smasterpiece, The Sweet Hereafter. As Piers Handling, CEO of TIFFputs it: “Egoyan is a master at telling tales about deeply misunderstoodoutsiders, their families and communities, andtheir darkest fantasies. In Devil’s Knot Egoyan iscompletely at home sketching the small-town livesof ordinary people befuddled and angered by thesenseless killing in their ostensibly safe town.”Only Lovers Left Alive features a rich and diversesoundtrack, something that we’ve come to expectfrom Jim Jarmusch. Only Lovers Left Alive is a comicbonbon that will no doubt prove addictive to globallovers of cinema. It never wavers from its core lovestory between two vampires living a bohemian lifestyle,even as it’s stuck in a 1970s rock star groovethat spins vinyl.Talking about the film’s soundtrack on the Greek website Flix,Jarmusch explains: “Music is of primal importance for the film. It wascomposed by Jozef van Wissem, a historian of the lute, but also a guitaristand avant-garde composer, with a well-defined rock and roll side. He isthe main auteur of the film’s music. Additionally, Carter Logan, ShaneStoneback and I have a band called SQÜRL, and we’ve contributed tothe film’s score, even though van Wissem called the shots.”“There are also some beautiful original songs heard in the film, somesongs by Yasmine Hamdan, whom I admire. I fell in love with her musicfrom the very first time I saw her perform in Morocco and I couldn’tbelieve what a wonderful creature and extraordinary musician she was.All her songs mean something to me. I really like Denise LaSalle’s R&Bsong ‘Trapped In this Thing Called Love’ which the film’s protagonistsdance to in a crucial, sort of make-up scene in the film. And of courseWanda Jackson’s ‘Funnel of Love’ which we treated with a kind of remix,while preserving its main elements.”“Of course music couldn’t but have a central part in a film whosemain hero is a musician. But music is very important to me anyway.All the vinyl albums that you see at the hero’s house didn’t make theirway there by chance. Almost all of them are mine.”Watermark is Jennifer Baichwal and Edward Burtynsky’s follow-upto Manufactured Landscapes. Three years in the making, it connects 20diverse stories that take place in ten countries all dealing with how weuse water and how water uses us. It’s also the third part of Burtynsky’swater project, which includes a book and a major photographic exhibition.From a WholeNote vantage point Watermark has a dynamic(mostly) electronic soundtrack that makes major use of Gavin Bryars’(Room 021) Cuisine (Trio) and One Last Bar Then Joe Can Sing as wellas four excerpts from the ambient, modern classical and drone worldof the Dutch musician known as Machinefabriek. Moondog’s Introductionand Overtone Continuum and parts of works by ambient musicianTim Hecker, multi-instrumentalist Aaron | continued on page 7010 | September 1 – October 7, 2013 thewholenote.com

13 14SEASON OF EVENTSSEASON HIGHLIGHTSFeatured ConcertsBrentano Quartet plays Beethoven +“A Late Quartet” film screeningCecilia String QuartetShauna Rolston and FriendsMike Holober with U of T Jazz OrchestrasGryphon Trio with James CampbellNathalie Paulin with Steven PhilcoxNimmons’N’90 birthday concertDavid Braid plays Gershwin with UTSOOperasDon Pasquale, Albert HerringRussell Braun conducts opera scenesDistinguished VisitorsVijay Iyer, jazz pianistStephanie Blythe, mezzo-sopranoTracy Dahl, sopranoSir Thomas Allen, baritoneGabriel Prokofiev, DJ/composer/producerPaul Chihara, composerAlice Parker, composer/conductorPutu Evie Suyadnyani / Vaughan Hatch,world music artistsFree EventsOver 100 free public performances, masterclasses and lectures.WEBSITEwww.music.utoronto.caFOR TICKETS416-408-0208STUDENT TICKETSAlways $10 *FlexiMIXPick any 4 or more concerts& save up to 20% ***Except for Opera Tea **On adult prices onlyVisit www.music.utoronto.cafor a complete list of events or todownload our season brochureSEASON OPENING CONCERTGabrieli ConsortFamous for their award-winning recordings on DG Archiv and theirappearances on the most distinguished stages worldwide with ArtisticDirector Paul McCreesh - the Gabrieli Consort makes its Canadian debutin a performance of varied English music by composers across thecenturies, from Tallis and Purcell to Elgar and Britten. The ensemblewill be joined by members of the U of T Schola Cantorum, Daniel Taylor,conductor, and organist Matthew Larkin in an evening of beautiful music.Sunday, September 8, 20137:00 pm. Church of the Holy Trinity, 10 Trinity Square$30 adult, $20 senior, $10 student. Call 416-408-0208The Faculty of Music gratefully acknowledges thegenerous support of our presenting sponsors.UNIVERSITY OF TORONTO, FACULTY OF MUSIC, 80 QUEEN’S PARK. WWW.MUSIC.UTORONTO.CA

CONVERSATIONS at THE WHOLENOTEComposerLeap Frog withAustin Clarkson✒ David PerlmanAt some point in my recent conversationwith musicologist Austin Clarksonhe used the phrase “leapfrogging seriesof interactions” to describe the relationshipsamong four composers,Anton Webern,Stefan Wolpe, MortonFeldman andJohn Cage.“Stefan meetsAnton and Mortymeets John” is thetitle of an October 6concert and accompanyingseminar,both curated byClarkson, to launchthe 43rd season ofNew Music Concertswith whom Clarksonhas had a relationshipspanningmore than two and ahalf decades. Whilethe four composersin question never allmet, the intersections of their lives and workmake for an interesting daisy chain of musicalthought and circumstance.Clarkson explains: “Cage had met MortonFeldman at a concert in Carnegie Hall conductedby Dmitri Mitropoulos with the NewYork Philharmonic playing the Webern SymphonyOp.21. They both left the concert at thesame time and Morty went up to John and said,‘Wasn’t that beautiful.’ Because he [Feldman]had already seen John Cage at a meeting atone of the musicales at the Wolpe apartmentuptown, and had not spoken to him. But thistime he spoke to him.”The date of this concert was January 26, 1950,and it was, by several accounts, a memorableoccasion. Music writer Alex Ross, for one, inhis book The Rest Is Noise asserts that the twoleft the concert early, equally disgusted at thereaction of the New York Phil audience to theWebern piece.“Sounds as if it was in that mandatory ‘beforethe intermission’ slot for new music” I posit toClarkson, and he briefly nods assent to thenotion before carrying on with his story:“So Feldman at that time was writing a stringquartet also, which he came to call Structures,Clarkson with The WholeNote editor Perlman.“I had written my thesis onStravinsky’s Symphony inThree Movements —but Wolpe was beyond that”and he by that time had left the Wolpe studio— he wasn’t taking lessons anymore — andhe was kind of trying to find his own way,very much involved with the New York painters.And so Cageinvited him to hisapartment down onthe East River, andMorty showed himthis draft of thisstring quartet. AndCage said, ‘Well howdid you make that?’He was fascinated.And Morty said, ‘Idon’t know.’”Leapfrog, indeed,among the composers;even more interesting,as it emergesduring the conversation,is the way inwhich Clarkson’sown musical life hasbeen inextricablyinterwoven with thelives of his musical subjects, above all Wolpe.“When did you discover [Wolpe’s]work?” I ask.“Well, I discovered his work in Sam’s recordshop when it was on College St., west ofBathurst. And it was 1957 or ’6 when I wasworking in Saskatchewan at the University ofSaskatchewan in Saskatoon (my first job aftergraduating from Eastman). And I was thumbingthrough the new releases and I picked upthis LP and saw the face of this composer inmany different angles and moods, from laughingto looking very pensive, and he had an openshirt, and he was so out there. And I thoughtthis must be interesting, so I turned it over,and there Aaron Copland had a blurb sayingthat Wolpe was one of the most importantcomposers of this era. So I thought well I’lltry this and I took it home and played it. And Ithought it was absolutely ... bizarre. I could notunderstand it. I had gotten as far as Bartók andStravinsky — I had written my thesis on Stravinsky’sSymphony in Three Movements — butWolpe was beyond that. And when I played itfor my friends they thought this is absolutelyridiculous. So then I get to New York and I’mstudying for my doctorate at Columbia, andmy roommate who was a pianist studying andteaching at Juilliard said would I like to join asmall group of students who are studying withthis composer who needs money because heis very poor, and my girlfriend is a student ofhis wife’s. And I said what’s his name? And hesaid, Stefan Wolpe.”“When I first went into his room, his thirdfloor walk-up, on West 70th St., it was likewalking into a seismic event,” Clarkson says.“This man radiated the kind of energy that youdidn’t believe people could provide — just likean everyday thing. Also he revealed that musicwas beyond something I had ever experiencedup until that point. And I realized that it wasgoing to be really a life’s work to becomeadequate to this way of being in music. Sothat’s where it began.”Wolpe died in 1972 ofParkinson’s, and, asClarkson explains it,“So I finished myPh.D. ... and I wasthe only musicologistreally inhis circle. Therewas one other butshe was a really terrificpianist and she wasdevoted to that career, although she did a greatdeal. So it turned out that I had to become aWolpe specialist. There didn’t seem to be anyoneelse to do it.”Wolpe’s pivotal role in this game of composerleapfrog becomes more clear asClarkson describes the program for theOctober 6 concert.“The first piece I chose was a Concerto forNine Instruments that Wolpe wrote while hewas studying with Webern ... in Vienna,” Clarksonexplains. “He’d arrived in Vienna as a refugeefrom Nazi Berlin, just in September of 1933,and he had three months with Webern beforethe Austrian police expelled him from Austriawith the threat to deport him back to Germany.And so in those three months he composed thisconcerto for nine instruments. And at the sametime, curiously, Webern was composing hisown concerto which turned out to be for nineinstruments eventually. So there are those twokey pieces, the Wolpe concerto and the Webernconcerto, both for nine instruments, almostexactly the same instruments.”“And then the next piece chronologically isJohn Cage’s String Quartet, and it’s a piece hewrote beginning in Paris when he was thereon a fellowship to study at the BibliothèqueNationale the music of Satie, but while he wasthere he met Boulez and he went to the studioof Messiaen and played his Sonatas and Interludesand began his string quartet. And he finishedit the next year in 1950.”It’s from “a whole period of classical Cage,”Clarkson says, “that people don’t know muchabout. Because after he turned to indeterminacyhe became the Cage we all knowtoday ... The string quartet is a masterpiece. It’sa classic. And yet we don’t hear it very muchbecause it’s the other Cage that we know moreabout, that we hear more about.”12 | September 1 – October 7, 2013 thewholenote.comCage.

The next piece on the program is Feldman’sStructures. Clarkson, for one, doesn’t buy Feldman’scomment to Cage that he (Feldman)“didn’t know” how he made the piece. “In factI brought it if you want to see it,” Clarkson says.“Actually Morty knew pretty much what he wascomposing, because I have analyzed it and I cansee how he was adapting Wolpe’s way of workingwith shapes for his own imagination. Sothen ... Feldman really became a member of theCage circle, but he said Wolpe was totally okaywith that.”It was by no means a “given” that Wolpewould have been comfortable with Feldmanbecoming part of Cage’s circle. “Cage andWolpe — they had real arguments, in public,”Clarkson explains. “They were famous fortheir shouting matches and they happened onthe streets of New York, and conferences, andDarmstadt, and it was ... yeah. But the argumentwas never over whether music was purethought in itself. For Cage, it had to be a pieceof ... the nature out there, which is exactly whatWebern said. ‘Art is an expression of nature, butas seen through human nature.’ ... To that extentthey both agreed, Cageand Wolpe. It’s justthat they had differentnatures. AndFeldman.so their musiccame out totallydifferently.”And so it wasthat Feldmanmoved into Cage’scircle without acrimonyfrom Wolpe. “He [Wolpe] was totally open, hedidn’t feel aggrieved or somehow that Feldmanhad let him down, so Feldman then workedwith Cage ... not worked with him, but kindof was in his circle with the artists and goingto the artist’s club downtown on 8th St. anddeveloping his unique imagination in a waythat Wolpe hadn’t yet been able to support. Andthe curious thing is that in the later 50s, Wolpecame to see the virtue of the kind of music thatFeldman was writing, and developed his ownnotion of what he called the ‘discontinuum.’And so the final piece on the program is goingto be this Wolpe piece for chamber orchestra,Chamber Piece No.1, in Wolpe’s late style,which is like moment form, each moment iskind of unto itself.”The work is from a period in Wolpe’s life,post-war Germany at Darmstadt in the summer,where Wolpe, according to Clarkson, wasable to close some important circles: “He founda new life,” Clarkson says. “Because he broughtAmerican expressionism [back to Europe], andthere he found Webernian structuralism, andhe returned to Webern in a way that he hadn’tbeen connected for 20 years — it was a marvellousrediscovery for him. And in fact this piece,the Chamber Piece No.1 that you will hear onthe concert, is an homageto Webern. And ituses the same pitchset from Webern’sConcertoand it starts withthe same forminterval that thethird movement ofthe concerto beginswith. And then later inWebern.the score, he’s written ‘Oh, ... Webern!’ on themanuscript. So it is really very touching tosee that the journey is now somehow closedand that he’s come to a new understandingof Webern where he can put Webern into thismoment-form environment and still have himlive and breathe.”One senses that the October 6 concert closessome circles for Clarkson too. “Exactly 20years ago, we did a four-day festival of Wolpe’smusic,” he says, “where we had symposiums,seminars, concerts, workshops; we had a galleryof marvellous performers, Peter Serkincame up, we had performers coming from allover. And out of that we produced a book andthere were recordings so it was a major event.But since then, not so much.”For a musical generalist like me, theOctober 6 concert promises to be a journeythrough a lot of unfamiliar territory, somewhatakin, perhaps, to Clarkson’s own first encounterwith Wolpe’s music back in 1956 at Sam’son College St. But there’s considerable comfortin now having a clearer sense of the individualbehind the concert’s curatorial steeringwheel. “I knew Morton Feldman very well,”says Clarkson, “and John Cage I knew also. Hewould often visit York University where I taughtfor 25 years. And David Tudor, also, who wasthe pianist who actually was like the linchpinbetween the Cage and Wolpe groups, becausehe played all their music.”“It’s very interesting: what Feldman says isof most importance to him (and this is a wayto prepare for this concert) is listening. He’sconcerned only [with] what happens whenyou listen. And that there is a different kindof listening that happens in different kindsof music. And his kind of music demands themost extreme listening because he maybe hasa sound here, and then nothing for a while,and then another sound, and you have to figureout, well, what’s happeninghere? What’sin between? So Wolpe.that listening toa Feldman pieceis a totally differentexperiencethan listening toa Wolpe piece. Butif you play Feldmanvery fast, and Wolpe veryslow, actually you’ll hear a connection.”You can link to Austin Clarkson’srecommended recordings of theworks referenced in this article byreading the story on our website;and you can also view a video ofthis entire conversation, or listen to apodcast of it, by visiting our website:thewholenote.com.thewholenote.com September 1 – October 7, 2013 | 13

Beat by Beat | In the ClubsBreaking Barrierswith Simon CapetOri DaganHANNAFORD STREET SILVER BAND30th Anniversary2013/2014SUBSCRIBESubscription packages / individual tickets available via:www.stlc.com27 Front Street East, Toronto, ON M5E 1B4Box Office: 416.366.7723 or 1.800.708.6754hssb.caOver a cup of joe at his favourite neighbourhood espressobar, English conductor Simon Capet spills the beans. We’rehere to talk about the inspirations behind his buzzed-aboutprojects: the weekly Classical Social sessions at Fionn MacCool’s andthe monthly Monday night concerts at Lula Lounge with his excitingnew group, Euphonia. A bit of chit-chat on how his surname is Frenchin origin — pronounced Ka-pay — and his recent relocation to Torontoafter 15 years as a Vancouverite, and it isn’t long before we get down tothe nitty gritty: what he feels is wrong with classical music performancethese days and how to make it right.“I often make the analogy between music and food; one sustainsthe body, the other sustains the soul,” he says emphatically. “I feellike if you look back at how food was in the 1970s it was either overcookedbeef and vegetables or it was pompous French cuisine, andclassical music got itself stuck into the pompous French cuisine mold.And actually my greatest inspirations for what I am doing are culinaryones — the Jamie Olivers and the Anthony Bourdains or before that theRaymond Blancs — these men actually managed to break down thosebarriers and now people of all social backgrounds are experimentingwith different kinds of food. That’s what I want to see happen withclassical music.”The weekly Classical Social series at Fionn MacCool’s (181 UniversityAve.) is a case in point. These Sunday evenings are similar to jazz jamsessions, with the main difference being that the music is not improvised,but sight-read.“One of the things that is wonderful about Classical Social is that weare performing some of these great arrangements that have literallybeen sitting in the U of T library for decades. Things like the arrangementof Haydn’s Symphony No.6 by Salomon — the entrepreneur whobrought Haydn to London in the 18th century. Back then, this wasthe equivalent of taking home a CD from a gig! The way that it usedto work with publishers in those days, they made no money from thesale of their symphonies, other than an initial commission; the waythey made money was by writing arrangements of their symphoniesfor all sorts of things. Beethoven arranged his symphonies formandolin and piano, and those he sold and made money from. Andthis was true up until the 20th century.”Who knew that Bach, Beethoven and Brahms would go so wellwith a pint? Bringing this music to the bar has proven to be a brilliantidea. Not only for the musicians, who rarely get to perform injeans and sandals, but also for audiences who in some cases stumbleupon this music for the first time. In many cases customer from FionnMacCool’s end up in the audience at Lula Lounge, where Capet’s16-piece ensemble, Euphonia, appears every month.I attended the August concert, and was surprised to find the groupsituated on the dance floor, rather than the stage; another surprisewas the invitation to “keep your cell phone on” during the performance,encouraging the audience to tweet throughout the evening. Theorchestra members — a diverse group of women and men — wore avariety of vibrant colours. As for the music, Capet’s selections for theevening functioned as sweet and salty flavour combinations that werejust right, from the obscure to the familiar: Paisiello, Salieri, Mozartand Haydn. In addition to the conductor, if there was another star thatnight it was exuberant Tanya Charles on violin, the featured soloist onMozart’s Violin Concerto No.4 in D Major K218. To keep things innovative,Capet had Charles conduct that piece as well as present her ownoriginal, playful cadenzas. Reflecting on the experience, Charles hadthis to say:“It was a challenge for us all, but as an ensemble, I feel that we14 | September 1 – October 7, 2013 thewholenote.com

learned a lot about each other.For me, it was about learninghow to lead efficiently andhow best to communicatewith musicians for phrasingand time changes. For theensemble, it was about trustingone another and watching andlistening with a more heightenedsense of awareness inorder to play together and withthe same musical intentions.From my experience, it was themost comfortable and relaxedperformance I have playedbecause I was literally in thecentre of the ensemble and thecentre of the sound (rather thanbeing steps in front of it), andI was backed by a great band ofmy colleagues and friends who were truly supportive. One of our goalsis to continue becoming a more cohesive group and truly finding andhoning our own sound and I feel like we are on the creative track toachieving that!”There was something about the performance by Tanya Charles thatreally struck a chord with the audience, and it wasn’t because everynote was technically perfect; rather, it was more intense and exciting,and her beaming expression throughout the performance was absolutelycontagious. For Capet, this must have been a triumph; back atthe coffee shop, he expressed his desire to take perfectionism out ofthe classical music tradition.“I don’t go to symphony concerts. I’m bored,” he explains. “We livein a wonderful time now, because of the internet there are so manyrecordings of 20th century music that are available to us, from about1900 onwards. And if I was to give you a dozen recordings of Brahms’First Symphony, say between 1900 and 1910, I could find you a dozentotally different takes and sounds on that orchestra. But if I took themfrom the last decade, they’d all sound rather similar, because whathappened in the history of recordings in the 1960s and 1970s is thatbig companies like Deutsche Grammophon and EMI, etc., put millionsand millions of dollars into the uber stars — the Karajans and theBernsteins — and these uber orchestras, the Chicago Symphony andthe San Francisco and Vienna. So what happened from the very beginningof the recording industry is that, as a recording became available,everything changed and it became “listen to this — it’s the wayBeethoven intended it!” with the full orchestra. The pretension of theMembers of Euphonia. Simon Capet is second from left.recording industry became “what we have is better than what you had”and so it grew and by the time Bernstein and Karajan were around,it became the battle of stereophonic sound — “our orchestra is moreperfect than your orchestra,” and Bernstein’s recording of Mahler was“the definitive.” As if we can have a definitive recording of anything, orwould want a definitive recording of anything. Can there be a definitiveShakespeare? Or the definitive cover of a Cole Porter song? It’sridiculous,” Capet scoffs, almost out of breath. He takes a sip of coffeeand continues.“But to get the big money, the recording contracts, you had to beperfect. And this was the analog world, this wasn’t the cut and pasteworld of digital technology. You had to be able to do this in a takeor a couple of takes, so accuracy would lead towards getting thosecontracts. A friend of mine in Copenhagen, after | continued on page 51Amy BuchwaldViolins, violas, cellos & bowsComplete line of strings & accessoriesExpert repairs & rehairsCanada’s largest stock of string musicFast mail order servicethesoundpost.cominfo@the soundpost.com93 Grenville St, Toronto M5S 1B4416.971.6990 • fax 416.597.9923A treasure trove for string players& lovers of string musicthewholenote.com September 1 – October 7, 2013 | 15

Beat by Beat | Classical & BeyondHeading OutInto FallSHARNA SEARLELast issue, way back in June, I made what I hope was a successfulcase — I am an ex-lawyer, after all — for “staying put” andexploring Toronto’s busy summer concert series scene. And,admittedly, I gave short shrift to the abundance of festivals that wereon offer around the province all summer. So, to make amends, I nowencourage you to head out of the city and experience some of the fallfestival fare. However, if you’re intent on staying put, there is enoughgoing on in September/early October to put you in that beginning-ofthe-new-concert-seasonstate of mind.Festivals sweet, PECturesque and colourful: There are three festivalsin September that are definitely worth the drive out of thecity ... and even the often-exasperating drive back in. Two of them,SweetWater Music Festival and Prince Edward County (PEC) MusicFestival, begin on the same day (September 20) and each is celebratingits tenth season; the third and much larger Colours ofMusic begins a week later (September 27) and celebrates its 11thseason over ten days. One of the things they share amongst themselvesis the roster of artists; and sometimes even concert themes.A delightful byproduct — for audiences and musicians alike — and afinancial practicality when mounting festivals in smaller communities.SweetWater, for example, takes place in the village of Leith andthe neighbouring smallish city of Owen Sound; PEC Music Festivalhappens mostly in the “unincorporated community” of Picton, withone concert in the village of Bloomfield. Colours of Music, too, whilelocated in Canada’s 34th largest city, Barrie, benefits from the joys ofsharing. And with that little preamble, it’s off to the festivals!Prince Edward County (PEC) Music Festival: PEC Music Festivalartistic director, the distinguished Canadian pianist, StéphaneLemelin, has this to say about his approach to programming thefestival: “I have always believed that musical communication is athree-way street flowing between performer, composer and audience.The intimate setting and superlative acoustics of St. Mary MagdaleneChurch in Picton have for the last ten years repeatedly allowed forStéphane Lemelin.that communicationto inspire performersand audience membersalike. Our programminghas been broadand I have sought tobalance celebratedmasterworks of thepast with music ofJerusalem Quartet.our time.”You can experiencewhat he’s talking aboutin “Festival’s GreatestHits,” the opening concert on September 20. It features works bySchubert, Brahms and Ottawa composer Steven Gellman, with someexcellent performers including violinist Jacques Israelievitch, soprano16 | September 1 – October 7, 2013 thewholenote.com

Donna Brown, Ross Edwards on clarinet, and Lemelin, himself, at thepiano. The Gryphon Trio will perform works by Haydn, Mozetich andDvořák on the 22nd. And the “Grand Finale! Piano 1-2-3-4-5-6 Hands”on September 28 sounds spectacular ... and maybe even a little bitdangerous! “Can David Jalbert, Andrew Tunis and Stéphane Lemelinall fit on the same bench?” we’re asked. Find out for yourself, as theprogram progresses from music written for one hand to works forsix — that’s 30 highly-skilled fingers — on one piano!You can also catch hilarious musical antics with “Mary Lou Fallisand Peter Tiefenbach, More or Less Alive,” the premiere of JeunessesMusicales’ touringproduction of LaBohème, and thedebut of someof the region’syoung artists. I’dsay that Lemelinhas met, and quitepossibly exceeded,his programmingprinciples!SweetWaterMusic Festival:Mark Fewer.Cathedral BluffsSYMPHONY ORCHESTRA2013–2014 SEASONNorman ReintammArtistic Director/Principal ConductorSweetWater is,indeed, a sweetlittle three-day/five-concertfestival, programmed by the hugely talented violinist Mark Fewer,the festival’s founding and present-day artistic director. Its Fridayevening opener features the Gryphon’s Annalee Patipatanakoon(violin) and Roman Borys (cello), along with several other superbmusicians including violist Philip Ying, Fewer and fellow violinistEdwin Huizinga (he of “Classical Revolution” fame; worth a google),in works by Schulhoff, Haydn, Ryan and Dvořák. Those “Gryphonites”can also be heard, along with the other members of the “SweetWaterhouse band,” including clarinettist James Campbell, flutist RosanneWieringa, cellists Denise Djokic and David Ying, (along with Fewer,Huizinga and violist Ying) in two beautiful concerts featuring themusic of Bach: the complete Brandenburg Concertos on September 21,with Rob Carli’s Seventh Brandenburg; and the Concerto for TwoViolins on the 22nd; violinist Emily Aquin, introduced in SweetWater’s“Young Artists Concert,” joins them in the Bach “Double.”SweetWater is a festival that “explores the continuities and evolutionof small ensemble music from the Baroque to contemporarymusic and jazz.” True to its word, on September 21 it hosts a fabulousafternoon of Hot-Club-of-France/gypsy-jazz-inspired music, “AJOIN US FOR A TERRIFIC SEASONOrchestral favourites, world music, dance and opera!Rachmaninoff Piano Concerto No. 3 with ARTHUR OZOLINSBeethoven . Brahms . Mozart . Tchaikovsky . Grieg . Ravel . More!✔ Save 30% or more on the price of all 5 concerts in the Subscription Series✔ Receive a FREE guest ticket with each subscription✔ Save an additional $20 off each new subscriptionFor more information and to subscribe, visit the web site116 13T H SEASON14MUSIC IN THEAFT E R NOONW O M E N ’ S M U S I C A L C L U B O F T O R O N T OOCTOBER 17, 2013 | 1.30 PMBAX & CHUNGpiano duoNOVEMBER 21, 2013 | 1.30 PMS U Z I ELEBLANCsopranoFEBRUARY 27, 2014 | 1.30 PMV I N C E N TLAUZERrecorderMARCH 20, 2014 | 1.30 PMY E G O RDYACHKOVcelloJ E A NSAULNIERpianoARTISTIC DIRECTOR: SIMON FRYERWalter Hall, Faculty of Music, University of Toronto (Museum Subway Station)LES VOIX HUMAINESCONSORT OF VIOLSMargaret Little; Susie Napper; Mélisande Corriveau; Felix DeakWinner of the WMCT 2012 Career Development AwardAPRIL 10, 2014 | 1.30 PMPAVEL HAASQ UA RT E TFive Concerts for $185Subscriptions available – don’t be disappointed – subscribe nowFor information and to subscribe call 416-923-7052All artists, dates, and programmes are subject to change without notice.Support of the Ontario Arts Council, an agency of the Government of Ontario, andthe City of Toronto through the Toronto Arts Council is gratefully acknowledged.PRESENTED BYTORONTODEBUTVeronika Jarušková,°violin; Marek Zwiebel, violin;Pavel Nikl, viola; Peter Jarušek,°celloArtist Sponsor for Suzie LeBlanc:BMO Financial GroupConcert Sponsor: WMCT FoundationProgramme includes Atonement by Christos Hatzis(WMCT Commission and World Première)The Ontario Trillium Foundation is an agencyof the Government of Ontariocathedralbluffs.com | 416.879.5566wmct@wmct.on.ca www.wmct.on.ca 416-923-7052thewholenote.com September 1 – October 7, 2013 | 17

Musical Celebration of DjangoReinhardt and StéphaneVan Django.Grappelli,” with the Vancouverbasedensemble Van Django.Colours of Music Festival:“Wonderful Music, WonderfullyPerformed.” Those apt wordsappear on the homepage ofColours of Music’s website,which also informs us that thefestival will “expose you totalent from all across Canadaand other parts of the world.”Returning to the topic of festivalssharing their artists andconcert ideas, five concerts forwhich that seems to be the caseat Colours of Music providea nice taste of the festival’smyriad offerings.On September 28, SweetWater’s Mark Fewer, and James Campbell,join pianist Angela Park for “Classics at Noon,” in works by Bartók,Milhaud, Brahms, Beethoven, Saint-Saëns and Catoire. The nextevening, Fewer and Campbell, along with guitarists Graham Campbell(yes, the clarinettist’s son), Roberto Rosenman and Chris Bezant, andbassist Chris Kettlewell, pick up the gypsy jazz fever where Van Djangoleft off, in a concert titled ... can you guess? Oui, “Hot Club of France:music of Django Reinhardt and Stéphane Grappelli.”A little earlier on September 29, in a bit of “downsizing” from thePEC Music Festival’s 30-finger extravaganza the day before, pianistsRobert Kortgaard and Peter Tiefenbach play an exciting — thoughperhaps less perilous — program of works by Mozart, Schumann,Dvořák, Ravel, Poulenc and Grieg for one piano and 20 fingers. Anyway you cut it, that’s still a lot of fingers on one keyboard.The tireless and ubiquitous James Campbell appears twice more:once with the Gryphon Trio in a performance of Messiaen’s Quartetfor the End of Time on October 1, and the next day in a concert titled“On the Upbeat,” with the Amara Piano Quartet. They will performworks by Beethoven, Suk, Ager and others.Beyond the five concerts mentioned, there are another 21 toconsider, ranging from “Music for the Dance,” performed by DuoConcertante with narration by ballet legend Evelyn Hart, to Bachand Debussy on the banjo. The festival’s website said it best: “What acolourful, relaxing way to spend those first few lazy days of autumn!”And, for those of you thinking to yourselves, “enough already withthe festivals,” fear not. The 2013/14 concert season is about to begin.QUICK PICKS: SPLENDID SEASON STARTERSKitchener-Waterloo Chamber Music Society!!Sept 11, 8:00: Soheil Nasseri, piano. Works by Beethoven, Brahms,Rachmaninoff, Hersch.!!Sept 18, 8:00: Andrew Sords, violin; Cheryl Duvall, piano.Works by Elgar, Mozart, Bach, Hubay.!!Sept 22, 8:00: Peter Stoll, clarinet; Joseph Macerollo, accordion.Works by Kovacs, Nimmons, Messiaen, Palej, Nordheim and others.!!Sept 27, 8:00: TrioEstonia. Works by Cirri, Piazzolla, Sumera/Kangro/Kuulberg, Pärt, Beethoven.Toronto Symphony Orchestra!!Sept 18 & 19, 8:00: Elgar Cello Concerto–Alisa Weilerstein, cello.Works by Britten, Elgar, Dvořák.!!Sept 21, 7:00: Gala Performance – Lang Lang Plays Mozart. PianoConcertos Nos.17 and 24.!!Sept 25 & 26, 8:00: Perlman Plays Tchaikovsky. Works by Britten,Walton. Itzhak Perlman, violin.Gallery 345 – The Art of the Piano!!Sept 18, 8:00: Kara Huber. Works by Chopin, Beethoven, Debussy,Rachmaninoff, Liszt.!!Sept 22, 3:00: Thomas Alexander. Works by Chopin,Liszt, Gershwin.!!Sept 23, 8:00: Martin Soderburg. Works by Soler, Albeniz,Granados, Mompou, Infante, de Falla.Music Toronto!!Oct 3, 8:00: Quartet Series: Jerusalem Quartet. Works by Mozart,Shostakovich, Dvořák.Flato Markham Theatre!!Oct 4, 8:00: Chamber Orchestra Kremlin. Works by Rossini,Prokofiev, Tchaikovsky.Roy Thomson Hall!!Oct 6, 2:00: Mariinsky Orchestra. Three works by Stravinsky.Valery Gergiev, conductor.Mooredale Concerts!!Oct 6, 3:15: Cecilia and Afiara String Quartets. Works byTchaikovsky, Haydn, Mendelssohn.Whether you head out to the festivals or into the new concert season,enjoy fall’s early days in all their colour and splendour.Sharna Searle trained as a musician and lawyer, practised alot more piano than law and is listings editor at The WholeNote.She can be contacted at classicalbeyond@thewholenote.com.18 | September 1 – October 7, 2013 thewholenote.com

Musicat MetropolitanMusic at Metropolitan2013-2014CONCERT SERIESSaturday, November 16, 7:30 pm: Beethoven and SchubertArnold Tirzits, piano; Janet Obermeyer, soprano;Jonathan Krehm, clarinetFriday, March 28, 7:30 pm: Ken Cowan, organistGood Friday, April 18, 7:30 pm: St. John Passion by J. S. BachThe Metropolitan Festival Choir and Orchestra,Patricia Wright, conductorSaturday, May 10, 7:30 pm: Musicians On the Edge – LutenistcomposerBenjamin Stein and the Elixir Baroque EnsembleAdditional concerts, admission prices, soloists to be announced –stay tuned!NOON AT MET:Free recitals on Thursdays from 12:15-12:45 pm.New series begins Thursday, September 12OTHER EVENTS:Friday, Oct. 25, 10 pm: Phantoms of the OrganA Hallowe’en howl of unearthly delightsSunday, Dec. 8, 1:30 pm: Carols United – Sing favourite carolswith the Metropolitan Silver Band and organSunday, Dec. 22 , 7 pm: Candlelight Service of Lessons and CarolsMetropolitan Choirs, Patricia Wright and Angus Fung, organistsMetropolitan United Church56 Queen Street East (at Church Street), Toronto416-363-0331 (ext. 26) www.metunited.orgthewholenote.com September 1 – October 7, 2013 | 19

Beat by Beat | Art of SongBACHTO THE FUTUREFROM JOHANN SEBASTIAN BACH TO ROB CARLIOWEN SOUND AND LEITH, ONTARIO. SEPTEMBER 20 - 22, 2013BUY YOUR TICKETS TODAYsweetwatermusic.caMINUS 20 DESIGNSWEETWATERMUSIC FESTIVALMARK FEWER ARTISTIC DIRECTORTwo YoungCompaniesHans De GrootThere is, in ontario, a number of companies which have longhistories: the Toronto Choral Society was founded in 1845, theToronto Mendelssohn Choir in 1894, the Bach-Elgar Choir ofHamilton in 1905, the Toronto Symphony Orchestra in 1922, theCanadian Opera Company in 1950, the National Ballet of Canada in1951. But there are, in Toronto and Southern Ontario, other morerecently founded companies.One such company is Capella Intima, founded and directed byBud Roach. Roach decided to start this ensemble in 2008 and theinitial performances were in 2009. Before Roach became a tenor, hewas a professional oboist; he was a member of a number of orchestrasincluding the Toledo Symphony Orchestra and the BuffaloPhilharmonic. In his high school years he had been a rather weakbaritone who conked out when confronted by a high F, so he putthoughts of singing aside in favour of the oboe. But in 2005, afterhaving left the orchestral world, he discovered that he had highnotes after all and from then on he has concentrated on singing.He managed to persuade Lydia Adams to allow him to sing in theAmadeus Choir’s performance of Bach’s Mass in B Minor. Adams musthave liked what she heard and, soon after, Roach became a memberof the Elmer Iseler Singers. We have also been able to hear him inappearances with ensembles such as the Toronto Consort and theAradia Ensemble. He now enjoys an active solo career. At the Fringeconcerts in last June’s Boston Early Music Festival he performedexcerpts from the third volume of arias by Alessandro Grandi (1626),accompanying himself on the baroque guitar. These performances arenow also available on CD (on the Opera Omnia label).Capella Intima specializes in the performance of 17th-centuryItalian sacred works, sung one to a part with a small instrumentalensemble. Last spring it gave three performances of the oratorioGiuseppe, which may or may not be by Luigi Rossi. This SeptemberCapella Intima will perform music by Chiara Margarita Cozzolani(September 21 in Hamilton at McNeil Baptist Church; September 28in Toronto in the Great Hall at St. Paul’s Anglican Church on Bloor St.;both at 3pm) in a program titled “Celestial Sirens” which the ensemblefirst presented in 2010 and has since performed at the New HamburgLive Festival and, most recently, at the Bach Festival of Canada inExeter. (Another concert, also titled “Celestial Sirens” and featuringmusic by Cozzolani and others, was given by the Toronto Consortin May 2011.) It is only in recent years that the music composed by17th-century cloistered Milanese nuns, like Cozzolani, has been giventhe attention it deserves by both musicologists and performers. I ammyself greatly looking forward to this concert.The other comparatively new company is the Toronto MasqueTheatre, directed by Larry Beckwith, now entering its tenth anniversaryyear. When I first knew Beckwith, he was primarily a tenor (hewas a member of the Tafelmusik Chamber Choir). As time went by, hebecame more interested in playing the baroque violin and performingchamber music. Before founding the Toronto Masque Theatre, he wasa member of the Arbor Oak Trio along with Stephanie Martin, harpsichord,and Todd Gilman, viola da gamba (replaced by Mary-KatherineFinch after Gilman left Toronto). The Trio did not confine itself tochamber music but also staged several 17th- and 18th-century operas,including Love in a Village by Thomas Arne and John Gay’s balladopera, The Beggar’s Opera. (I played the Beggar in the latter. Can I callit the title role?)Literary historians tend to define “masque” rather narrowly and see20 | September 1 – October 7, 2013 thewholenote.com

it as a 16th- or 17th-centurycourtly entertainment with Bud Roach.strong allegorical elements.Beckwith has alwaysthought of the masque ina much wider sense, as awork that provides a fusionbetween opera, dance,song, chamber music,theatre, puppetry, visualart and film. The companyhas performed several17th-century operas suchas Purcell’s Dido andAeneas and John Blow’sVenus and Adonis but ithas also commissioned anumber of new works bycomposers like James Rolfe and Dean Burry. Its most recent commissionwas The Lesson of Da Ji (music by Alice Ping Yee Ho, text byMarjorie Chan), which won a Dora Mavor Moore award.The first TMT event of the new season is a ten-year retrospectivesalon on September 30 at 21 Shaftesbury Ave. Beckwith and otherswill speak and there will be musical contributions by, among others,soprano Teri Dunn and lutenist Lucas Harris. Tickets for a suggesteddonation of $20 are bookable through the TMT website or by phoning416-410-4561. Their first regular concert will give us Patrick Garland’sdramatization of Brief Lives by John Aubrey with actor WilliamWebster and soprano Katherine Hill at the Young Centre, October 25to 27. It will be followed by the cabaret Arlecchino Allegro featuringmezzo Laura Pudwell at the Enoch Turner Schoolhouse, January 23to 25. The final concert on April 25 and 26 at Trinity-St. Paul’s Centre,will give us three versions of the myth of Zeus and Europa; thesoprano soloist will be Suzie LeBlanc.Other EventsOn September 26 at the Richard BradshawAmphitheatre, in a free noon hourconcert, the young artists of the 2013/14Canadian Opera Company Ensemble willintroduce themselves by singing theirfavourite arias.The season at Koerner Hall willopen with a concert on September 28featuring Audra McDonald. She will singa mix of Broadway show tunes, classicsongs from movies and pieces speciallywritten for her.Soundstreams opens its season atKoerner Hall on October 1 with a concertdevoted to the music of Arvo Pärt, JamesRolfe and Riho Maimets. Shannon Mercerwill be the soprano soloist.The opening concert of the Recitals at Rosedale series will be onOctober 6 at 2:30pm at the Rosedale Presbyterian Church. Its title is“The Seven Virtues” — the series will pair that concert with “The SevenDeadly Sins,” but not until May.And beyond the GTAThe Colours of Music Festival in Barrie will include “A Song in the Air”on October 3, including music by Mozart, Mendelssohn, Brahms andBritten sung by mezzo Jennifer Krabbe and baritone David Roth. “I’llBe Seeing You” on October 6 features songs from wartime, sung byWendy Nielsen, soprano, and Patrick Raftery, tenor. Both concerts willbe at Burton Avenue United Church.Hans de Groot is a concert-goer and active listenerwho also sings and plays the recorder. He canbe contacted at artofsong@thewholenote.com.thewholenote.com September 1 – October 7, 2013 | 21

Beat by Beat | On OperaRarities andRevivals MarkAdventurous2013/14CHRISTOPHER HOILEThe 2 0 1 3 /1 4 season is more adventurous than last season withcompanies large and small staging unusual works alongside themore familiar. At the time of writing not all companies haveannounced their seasons, but judging from those that have there ismuch to look forward to.The Canadian Opera Company begins the 2013/14 season with fourfamiliar works, but ends the season with three rarities. The openeris a new production ofPuccini’s La Bohèmerunning October 3 to 30.This co-production withHouston Grand Opera andthe San Francisco Operais directed by John Caird,who is perhaps mostfamous as the co-directorof the original Englishversion of Les Misérables.Grazia Doronzio and JoyceEl-Khoury will alternatein the role of Mimì, whileDavid Lomelí and EricMargiore will alternateas Rodolfo. Famed Italianconductor Carlo Rizzi willlead the orchestra.In repertory with LaBohème will be PeterGrimes (1945) by Benjamin Britten (1913–76) to mark the centenary ofthe composer’s birth. Running October 5 to 26, it will be the opera’sthird staging at the COC and its first since 2003. Ben Heppner stars asthe vilified fisherman with Ileana Montalbetti as Ellen Orford, the onewoman in the village who stands by him. Denni Sayers recreates NeilArmfield’s direction of this coproduction between Australian Operaand the Houston Grand Opera. Johannes Debus conducts.The winter season begins with a new production of Mozart’s Cosìfan tutte, running January 18 to February 21, directed by filmmakerAtom Egoyan, acclaimed for his previous COC productions of Salomein 1996 and Die Walküre in 2004. Layla Claire will sing Fiordiligi withWallis Giunta as Dorabella, Paul Appleby as Ferrando, Robert Gleadowas Guglielmo and Johannes Debus conducting. Running in repertorywith the Mozart from February 2 to 22, is Verdi’s Un ballo inmaschera not seen at the COC since 2002. The production from theBerlin Staatsoper is directed by Jossi Wieler and Sergio Morabito andconducted by Stephen Lord. It stars Adrianne Pieczonka as Ameliawith Dimitri Pittas as Riccardo and Elena Manistina as Ulrica.After presenting these four well-known operas, the COC thenembarks on a spring season with a remarkable series of three COCpremieres in a row. There have been several seasons in the pastthat included three COC premieres, but the last time three werepresented in a row was in 1989 with Janáček’s The Makropulos Case,Monteverdi’s Il ritorno d’Ulisse in patria and Giordano’s AndreaChénier. This time the series will be Handel’s Hercules (1745) fromApril 5 to 30, Donizetti’s Roberto Devereux (1837) from April 25 toMay 21 and Massenet’s Don Quichotte (1910) from May 9 to 24.Hercules, originally written as an oratorio has recently foundsuccess fully staged as an opera. The COC/Lyric Opera of Chicagocoproduction will be directed byPeter Sellars, who directed lastseason’s Tristan und Isolde, andconducted by baroque expertHarry Bicket. Eric Owens singsthe role of Hercules, Alice Cooteis his jealous wife Dejanira andcountertenor David Daniels isHercules’ faithful servant Lichas.Roberto Devereux is the thirdpart of Donizetti’s so-called“three queens trilogy” madefamous as such by BeverlyBen Heppner.Nanning CantoneseOpera TroupeperformingThe Painted Skin.Carla Huhtanen, appearingin Tapestry Opera’s “TapestryBriefs” and as Blondie inOpera Atelier’s upcomingThe Abduction from theSeraglio, is seen here withKeith Klassen (also appearingin “Briefs”) and JessicaLloyd, in a photo from the2008 Tapestry season.Sills. The COC presented the first part, Anna Bolena (1830), backin 1984 and the second part, Maria Stuarda (1835) in 2010. As partof a unified production from Dallas Opera, Devereux has the sameproduction design as Maria Stuarda and the same director, StephenLawless. Sondra Radvanovsky will sing Elisabetta, Russell Braunwill be Nottingham and Giuseppi Filianoti will be Elizabetta’s loverDevereux. Corrado Rovaris will conduct.Don Quichotte will end the drought in operas by Massenet at theCOC since its Werther of 1992. The fantastic production from Seattle22 | September 1 – October 7, 2013 thewholenote.comBruce Zinger kristin hoebermann

Opera directed by Linda Brovsky will feature the renowned Italianbass Ferruccio Furlanetto as Don Quichotte with Quinn Kelsey as hisfaithful sidekick Sancho Panza and Ekaterina Gubanova as his belovedDulcinée. Johannes Debus conducts.Both productions at Opera Atelier this season are revivals. In the fallfrom October 26 to November 2 is Mozart’s The Abduction from theSeraglio first mounted by OA in 2008. In the spring is Lully’s Perséefirst mounted by OA in 2000 and revived in 2004. OA co-foundersMarshall Pynkoski and Jeannette Lajeunesse Zingg are hot off thesuccess of their production of Mozart’s Lucio Silla (1772) at this year’sSalzburg Festival which has led them to be invited to mount thework at Milan’s Teatro alla Scala. Abduction will feature LawrenceWiliford as Belmonte and Adam Fisher as his servant Pedrillo who willtry to rescue Belmonte’s beloved Konstanze (Ambur Braid) and CarlaHuhtanen her servant Blondie (Blondchen) from the ever-watchfulOsmin (Gustav Andreassen).In Persée, Christopher Enns will make his OA debut as an hautecontrein the title role. Mireille Asselin will be his beloved Andromède,Peggy Kriha Dye her rival Mérope and Olivier Laquerre will singsnake-haired monster Méduse. David Fallis conducts the TafelmusikBaroque Orchestra for both productions. After its Toronto run OA willtake Persée to Versailles from May 23 to 25 where it has not been seensince it inaugurated the Royal Opera House there in 1770.Toronto Operetta Theatre has a lively season on offer. It begins onNovember 3 with The Rowdy Señorita, a concert of excerpts fromthe quintessential Spanish zarzuela, La Revoltosa (1897) by RupertoChapí (1851–1909). The señorita of the title is Mari-Pepa, who garnersmarried women’s wrath by flirting with their husbands. The TOT’sholiday operetta is Franz Lehár’s ever-popular The Land of Smiles(1923) running from December 27, 2013, to January 5, 2014. This willbe the TOT’s third presentation of the work and its first since the2002/03 season.The TOT’s last presentation is the Canadian premiere of The CousinVOICEBOXOPERA IN CONCERTGuillermo Silva-MarinGeneral Directorwww.operainconcert.com 416-366-7723 | 1-800-708-6754thewholenote.com September 1 – October 7, 2013 | 23

from Nowhere (Der Vetter aus Dingsda) from 1921 by Eduard Künneke(1885–1953). Sometimes translated as The Cousin from Batavia, this isone of the most delightful of all 20th-century operettas. While Lehárin Vienna was consciously moving operetta towards opera, composersin Berlin like Künneke, Benatzky and Lincke were incorporating thenew dance rhythms of the foxtrot and quickstep into their work andthus were moving operetta towards musical comedy. Anyone wholikes the popular music of the 1920s played by Max Raabe and hisPalast Orchester is sure to enjoy The Cousin from Nowhere.For additional fully staged operas, there are many intriguing choices.September 10 and 11, the Nanning Cantonese Opera Troupe performsThe Painted Skin written by Chinese composer Zhuang Hui Xuan. Thestory is based on a Qing Dynasty tale of a young scholar who givessanctuary to a beautiful young woman in distress, not realizing thatshe is, in reality, a ghost. First performed in 2010, The Painted Skin ispart of the resurgence in traditional Chinese opera that includes newworks written in the classical style. The opera will be performed in theSandra Faire and Ivan Fecan Theatre at York University’s Keele campus.Visit finearts.yorku.ca for more information and tickets.In 2013/14, Opera Hamilton is staging Verdi’s Falstaff fromOctober 19 to 26 and Bizet’s Carmen from April 19 to 26. JohnFanning will sing the title role in the Verdi in a production includingJames Westman and Lyne Fortin. Italian-American mezzo GingerCosta-Jackson, who received a rave review in the New York Times forher Carmen at Glimmerglass, will sing the title role with Americantenor Richard Troxell as Don José.Those with a taste for early music can look forward to performancesof Purcell’s Dido and Aeneas from January 17 to 19 by the ScholaCantorum and Theatre of Early Music co-directed by Jeanne Lamonand Daniel Taylor with choreography by Bill Coleman. Performancestake place at the Trinity College Chapel at the University of Toronto.Visit performance.rcmusic.ca for more information.Those with a taste for new music can look forward to TapestryOpera’s program of “Tapestry Briefs,” September 19 to 22, for glimpsesof scenes developed in Tapestry’s Composer-Librettist Laboratory.Michael Mori directs Krisztina Szabó, Peter McGillivray, CarlaHuhtanen and Keith Klassen. Musical directors are Gregory Oh andJennifer Tung. Soundstreams’ presentation of the world premiere ofAirline Icarus by Brian Current to a libretto by Anton Piatigorsky willrun June 3 to 8, 2014. The cast includes Krisztina Szabó and AlexanderDobson and will be directed by Tim Albery. Visit performance.rcmusic.ca for more information.As usual, operas in concert will lend further variety to the Torontoopera scene. Voicebox: Opera in Concert celebrates its 40th anniversaryseason with the Canadian premiere of Benjamin Britten’sGloriana (1953) on November 24, Jean-Philippe Rameau’s Hippolyteet Aricie (1733) on February 2 and Verdi’s oddly neglected Stiffelio(1850) on March 23. The Toronto Consort continues its series of operasby Venetian composer Francesco Cavalli (1602–76) with his Giasone(1649) from April 4 to 6. And Opera by Request will present Puccini’sLa Bohème in Toronto on September 28 and Massenet’s Manon inWaterloo on October 5.Christopher Hoile is a Toronto-based writer on opera andtheatre. He can be contacted at opera@thewholenote.com.Beat by Beat | Early MusicThe Early MusicBackline Blues!DaviD PODGORSKIThe next time you’re at an orchestra concert, take a close look atthe musicians sitting at the back. Notice the looks on their facesas they play. If you have to, squint hard. Hear the brass sectionat full volume during an orchestral tutti, or the lutenist strummingaway? Good. They’re working hard, they’re happy (or at least feelingprofessionally fulfilled for these few moments), and they’ll be gladyou noticed them. But pay even closer attention when they’re sittingthrough a tacet and looking out over the orchestra with a blank lookon their faces. They have nothing to do but sit and observe theirco-workers, and I’m willing to bet you they’ve had a few hours to sitback and do nothing when the orchestra was rehearsing this week.They might seem idle, but this particular form of enforced idleness hasgreat rewards.While their colleagues on stage are working, the musicians at theback, from their vantage point, can observe their every move. Theywatch stand partners glare daggers at each other through page turns,they watch the conductor wince as the flutist mangles an exposedpassage and they can see everyone roll their eyes in unison as thesoprano brings the entire piece to a halt to flirt with the world-famoustenor who just flew in from Milan (these are all hypotheticals, but youget the point): the backbenchers, more so than the soloists or eventhe artistic director are the people who really know what’s going onin an orchestra, and if you treat them right, they’ll give you all theinside info on the group that you need. Plus they return your phonecalls faster.I decided to ask Toronto’s top continuo players what they knowabout their respective groups and find out what concerts I shouldmake a point of seeing (or missing) in the upcoming concert season.One continuo player who is privy to all kinds of inside informationis Alison Mackay. As a bass player for Tafelmusik, she knows thisyear is going to be a momentous one for Toronto’s biggest baroqueband. “We’re really excited that we’re going to have a brand newconcert hall,” Mackay says, referring to the major renovation toTrinity-St.Paul’s. “We used to have to build the stage for every concertseries and take it apart for the church services ... The new concert stageis going to make a huge difference to Tafelmusik’s sound.”Better acoustics for any orchestra is a marvellous change, but thisyear is also a seminal one for Tafelmusik for another reason. This isJeanne Lamon’s final year with the orchestra and this season’s guestconductors could be considered as potential candidates to lead thegroup one day. Tafelmusik will also be celebrating Lamon’s legacyas artistic director and lead violinist with the orchestra and will betaking suggestions from the audience for pieces to play in a concert2013-2014IFURIOSIBaroqueEnsemblewww.ifuriosi.com12.10.1311.01.1422.03.1417.05.14Windemere United Church356 Windemere Avenue Toronto24 | September 1 – October 7, 2013 thewholenote.com

featuring Lamon in a series May 8 to 14.Despite a flurry of activity behind thescenes, Tafelmusik will also be putting onseveral ambitious and innovative concerts,including two which were designed by Mackayand are now an international success. Thefirst, “The Four Seasons: A Cycle of the Sun,”is a re-envisioning of Vivaldi’s Four Seasons,which he composed in 1725, and includesmusic from around the world that would havebeen heard the same year, such as pipa musicfrom China, a raga to celebrate the monsoonand interactive performances by Inuit throatsingers. It also features a re-imagining ofVivaldi’s “Winter” by Oscar-winning Canadiancomposer MychaelDanna. (Mackay’s otherprogram, “The GalileoProject,” will tour Japanand Korea, but Torontoaudiences won’t hearthat here this year.)Finally, Tafelmusikwill release a DVDbased on anotherconcert of Mackay’s,“House of Dreams,”which featuresmusic and paintingsfrom famous artpatrons in Baroque Europe.Justin Haynes.“Some of these paintings were part of private collectionsthat were acquired by public galleries and haven’t been seen intheir original locations for centuries,” Mackay explains. “We filmedperformances in places like Handel’s house in London and the houseof one of Bach’s close friends in Leipzig. The movie takes you allover Europe and gives you a sense of what it must have been like toexperience that music back in the 18th century.” That movie will becommercially available in a few months, and Mackay hopes it will geta public premiere some time in November.Another continuo insider I talked to was lutenist Lucas Harris.Besides providing a solid foundation to groups like Tafelmusik andthe Toronto Consort, Harris makes up one-third of the Vesuviusensemble, a chamber group dedicated to Italian folk music. “We had avery successful concert program based on music from Naples, so we’reLucas Harris andRebecca Morton.going to tour that to Port Hope, Cambridge and Ottawa,” Harris says.Toronto audiences will be able hear Vesuvius on November 2 whenthey open for Michael Occhipinti’s Sicilian Jazz Project at KoernerHall. Harris will also have centre stage earlier that day when heconducts his final Masters recital in choral conducting at the Churchof the Redeemer in a program that includes works by Arvo Pärt, LiliBoulanger and Clara Schumann. While the concert won’t be a straightearly music performance, Harris will use the occasion to show off arepertoire he’s passionate about — the Austrian sacred music of themid-17th century. “No one has really explored this repertoire before,and it’s really amazing music,” he says. “On the one hand, you havebeautiful counterpoint descended from Schutz, and on the other, thisincredible virtuosity from Italian music from that period.”on period instrumentsEarly MusicatMontgomery’s InnSaturday, September 281:00 p.m. to 4:00 p.m.Enjoy concerts and demonstrations of musicbefore 1800, browse CDs and more.LIMITED SEATINGAdmission by advance tickets onlyCall 416-464-7610$10 per personFree for children under 14 and TEMC Members4709 Dundas St. W. (at Islington)toronto.ca/museum-eventsIn partnership with theToronto Early Music Centrewww.windermerestringquartet.com2013-2014 Series begins September 15thewholenote.com September 1 – October 7, 2013 | 25

While choral and folk music fans will be keen to catch Harris’ shows,viol player Justin Haynes’ exploits will be of particular interest tolovers of chamber and orchestral music. Haynes’ main group, ElixirBaroque, is already slated to play as soloists with the CommunityBaroque Orchestra of Toronto (CBOT) November 9. “We get a reallygood sense of energy playing with CBOT,” Haynes says. “They’reamateur musicians with a deep love of baroque music. It’s great tofeel that sense of passion ... sometimes professional musicians get abit jaded.”Besides his main gig with Elixir, which will take him to Oakvilleand Brampton this September, Haynes has plans for a concert that willfeature some of Telemann’s Paris Quartets later this fall with AllisonMelville and Kathleen Kajioka. Though perhaps under-appreciated,the quartets are exceptional chamber pieces and are a fitting exampleof Telemann’s musical rivalry with J. S. Bach.And as if Haynes wasn’t busying himself enough, he also has plansto step out from behind the band and perform as a soloist with an all-Forqueray concert of his own in December. “I love French repertoireand Forqueray wrote amazing music for gamba. It’s a good chance toshow off,” he says.The end of August is still early in the classical concert season.For many of Toronto’s music groups, halls still need to be booked,guest performers flown in, concert dates confirmed. But the rankand-fileplayers one sees in Toronto are more than just orchestralemployees; they’re increasingly turning out to be budding impresarios,conductors and soloists, sometimes even ending up exploringmusic that has nothing to do with what they’re playing that night. Sothe next time you find yourself at a concert, pay a bit more attentionto the guys at the back. Next time you might find them running theshow — or with a band of their own. Here’s to ambition.David Podgorski is a Toronto-based harpsichordist, musicteacher and a founding member of Rezonance.He can be contacted at earlymusic@thewholenote.com.Beat by Beat | Choral SceneWhere EnterprisingAudiences Boldly GoIn my last column before the summer I promised to address thereluctance of audiences to attend performances of new music,citing the extreme example of one determined listener who vetted aconcert over the phone in order to make sure nothing on the programwas too modern.This is a problem not just for choral concerts, but for new music ingeneral. The quantity of words committed to paper on this subject isresponsible for the demise of several large forests. In brief, the twoopposing stances are:1) Modern music feh.Why should I pay goodmoney to hear somethingthat sounds like a battalionof cats attacking a giantmutant chihuahua whilea chorus of bull walrusessings the Nauruan nationalanthem backwards?2) Modern music isthe future, this piece inparticular is pure genius,Klingon death ritual.BEN STEINand everyone in theconcert hall gets it exceptyou. What is your problem? Why can’t you get with the program? Goaway and listen to Bach’s Minuet in G on auto-repeat. If you get bored,listen to a can-can by Offenbach or something.Okay, it’s not always so bad, but it’s pretty darn close. Keeping itbrief, let me see if I can both give a bit of historical context and offer asolution to the problem.1) During the last century, classically trained composers wanted toinnovate, like most artists do.2) Some innovators composed music that soundedunpleasant — torturous, in fact — to many listeners. Never ask why thishappened. Believe me, you don’t want to know. If you hear a composerstart to talk about it, run away.3) Some other innovators wrote music that wasn’t quite so scary,but it still was odd enough to spook those who were used to Mozart,Tchaikovsky, etc. This stuff sometimes had key signatures, but a lot ofpeople still found it nauseating.4) But nobody cared anyhow, because as it turned out, you didn’thave to listen to modern music anymore to be all cultured andsuperior. You could listen to the Beatles (rock), John Coltrane (jazz), ornon-Western classical music (“exotic” instruments and timbres) andstill feel like you were a cut above. A lot of this music was just as intricateas the new classical stuff but sounded way nicer.PETER MAHONSales Representative416-322-8000pmahon@trebnet.comwww.petermahon.com26 | September 1 – October 7, 2013 thewholenote.com

ORPHEUSASCENDING2013-2014Celebrating 50 years of Choral Music!Robert Cooper, CM, Artistic DirectorEdward Moroney, AccompanistTRIUMPH OF THE SPIRIT7:30 p.m. Tuesday, November 5, 2013Grace Church on the Hill, 300 Lonsdale Rd.In commemoration of the Britten centenary, Orpheus presentsthe Canadian premiere of his rarely-heard 1938 pacifist cantataWorld of the Spirit, complemented by a multi-mediaperformance featuring harrowing personal wartimeexperiences as told by Holocaust survivor JohnFreund – a stirring tribute to the resilienceof the human spirit.WELCOME CHRISTMAS7:30 p.m. Tuesday, December 17, 2013Yorkminster Park Baptist Church, 1585 Yonge SreetEnjoy a festive Christmas celebration with Orpheus,the renowned Hannaford Street Silver Band and YOUR upliftedvoices – a sparkling seasonal gift of big brass and song!SONG OF THE STARS3:00 p.m. Sunday, March 2, 2014Grace Church on the Hill, 300 Lonsdale Rd.Hear the Canadian premiere of Enrique Granados’ luminousCant de les Estrelles (Song of the Stars); Tango Dances, a passionatenewly-commissioned work for chorus and accordion virtuoso;sunny works by Bacalov, Piazzolla, Escalada – and much more!DVORAK REQUIEM3:00 p.m. Sunday, May 4, 2014 Koerner Hall, 273 Bloor Street WestOrpheus Choir’s Golden Anniversary Season reaches a dramaticclimax with a rare opportunity to hear Dvořák’s richly expressiveRequiem in Koerner Hall. A superb soloquartet of Sidgwick Scholar Alumni, the160 voices of the Orpheus Choir andChorus Niagara, and full orchestra joinforces for this gala celebration.Subscriptions and tickets on sale now!www.orpheuschoirtoronto.comOrpheus Alumni Reconnectthewholenote.com September 1 – October 7, 2013 | 27

5) Over time it became clearArvo Pärt.that nobody wanted to listen tothe most difficult new musicexcept weird people and snobs.The composers grew up and hadchildren, but their kids weren’tweird snobs and they didn’t likeit either. Most of them got intohip-hop, actually.6) Eventually composers gottired of only being listened toby snobby weirdos, and startedwriting music again that nonmusicians— that is, mostnormal people — could like andappreciate.7) Now we have to convince everyone that new music isn’tas bizarre as the stuff their grandparents hated. A lot of it isn’t.Really! In fact it’s pretty tame. Composers want to be yourfriends. So will you please come back and listen?Now, you may go to a concert in which nice pleasant classicalmusic by dead guys is played, and then the stupid musicianswill throw in some new stuff as well. Sorry about that — wekind of like to mix it up. Please don’t leave. You will upset thecomposers’ mums, ’cause they are all still alive and their feelingsget hurt when you walk out or throw things at their sons anddaughters. But don’t worry — if you happen to get stuck at aconcert with totally discordant music, you have two sure-firemethods of recourse:1) Before the concert, watch (on YouTube) the episode of StarTrek: TNG in which Lieutenant Worf listens to Klingon opera(“Unification II,” season 5, 1991). Then pretend Klingon opera isthe music you’re going to hear. Be brave like Worf and listen to it.2) Think of scary movies. Actually, think of any movie inwhich bad things happen. Listen (on YouTube) to LeonardBernstein’s score for On the Waterfront (1954) and BernardHerrmann’s score for Psycho (1960). Not so bad, right? Next timeyou’re at a new music concert, close your eyes and imagine that you’rebeing menaced by a lunatic or getting beat up by dockyard thugs. Thiswill render the musical experience much more enjoyable.I hope this solves the problem and encourages you to take a chanceon the new stuff. If not, I’ll have no choice but to write about thissubject again, but seriously this time. Trust me, you don’t want that.Now, on to the concerts.Estonian composer Arvo Pärt is an example of a composer whosework has depth, edge and substance, but has also found popular,Alice Parker.mainstream appeal with many audiences— especially choral audiences,which can be quite a conservative bunch.Soundstreams Canada has long been acentral champion of Pärt’s music in Canada,and their house choir, Choir 21, boasts someof the strongest choral singers in the region.This is a chance to hear this music masterfullyexecuted.The concert on October 1 will includethe Canadian premieres of two Pärt works,Adam’s Lament and L’abbe Agathon, andthe world premieres of two Canadianworks, James Rolfe’s Open Road, and anew commission (written fora very special reason whichwill be revealed at the concert)by young Canadian-Estoniancomposer Riho Mamets. I donot know his work, but I amfamiliar with Rolfe, and I canassure wary concert-goers thatthis will certainly be a movingand delightful concert. If you arenew to modern choral works,this is an excellent chance toexperience composers andmusicians working at the topof their game. Guest conductorTõnu Kaljuste is one of theworld’s great choral musicians.Another notable choral visittakes place in October, but registrationfor the event is underway even as I write. Americanchoral composer, arranger,author and conductor Alice Parker is coming for SING!, a three-dayworkshop and community songfest from October 25 to 27. Parker is achoral legend (now well into her ninth decade) who has devoted herlife to choral music. During the weekend Parker will lead communitysinging, give a workshop on hymnody in worship, lecture at theUniversity of Toronto, preach at Yorkminster Park Baptist Churchand conduct a massed choir of over 200 singers in a grand finaleconcert. The gala finale will include a who’s who of Toronto choralgroups: the University of Toronto MacMillan Singers, U of T Women’sChamber Choir & Men’s Chorus, Exultate Chamber Singers, OrpheusPeeter LaNgovits28 | September 1 – October 7, 2013 thewholenote.com

AMADEUS CHOIR OF GREATER TORONTOLYDIA ADAMS, CONDUCTOR and ARTISTIC DIRECTOR2013 2014TORONTO CONCERT SERIES39 th SeasonCHORALLANDSCAPESCelebratingLydia Adams’ 30 th Anniversaryas Conductor and Artistic Director of the Amadeus ChoirTHE WRITER’S WAR:TRIBUTE TO WAR CORRESPONDENTSSat. Nov. 9, 2013 at 7:30 pm • All Saints Kingsway Anglican Church2850 Bloor St. West, TorontoMulti-media production featuring Rick MacInnes-Rae, Joan Leishman andLaura Lynch, all former reporters in war-torn areas of the world.Amadeus Choir of Greater TorontoLydia Adams, Conductor • Rebecca Whelan, soprano• Nelson Lohnes, bass • Shawn Grenke, organSING WITH THE ANGELS!Sat. Dec. 14, 2013 at 7:30 pm • Yorkminster Park Baptist Church1585 Yonge Street, TorontoA Special Tribute to the Ontario Arts Council’s 50th AnniversaryEvening includes the winning compositions from the27th Annual Seasonal Song-Writing Competition.Featuring: Amadeus Choir of Greater TorontoLydia Adams, Conductor • Bach Children’s Chorus, Linda Beaupré, conductorErica Goodman, harp • Eleanor Daley and Shawn Grenke, piano and organJ.S. BACH’S MASS in B MINORIn collaboration with the Elmer Iseler SingersSat. April 12, 2014 at 7:30 pm • Metropolitan United Church56 Queen Street East, TorontoFeaturing: Amadeus Choir of Greater Toronto and the Elmer Iseler SingersLydia Adams, conductor • Meredith Hall, soprano•*Catherine Wyn-Rogers, mezzo soprano • Colin Ainsworth, tenor• Nathaniel Watson, bass baritone • Orchestra*Ms. Rogers performs courtesy of Metropolitan Opera, New York.JOY SOUNDSSat. May 31, 2014 at 7:30 pm • Christ Church Deer Park570 Yonge Street, TorontoFeaturing: Amadeus Choir of Greater TorontoLydia Adams, conductor • Shawn Grenke, pianoFor Subscriptions and Single Ticket InformationPlease Call 416-446-0188www.amadeuschoir.comDrama,& InspIratIon…Experience it all during theToronto Mendelssohn Choir’s13/14 season with Noel Edison,Artistic Director.BriTTEN AT 100Nov 20, 2013 at Yorkminster Park Baptist ChurchEnjoy two rarely performed dramatic cantatasby Benjamin Britten: The Company of Heavenand St. Nicolas.FEsTivAl oF CArols with Ben HeppnerDec 11, 2013 at Yorkminster Park Baptist Churchstart the Christmas season with a concertof festive music and stories, featuring tenorBen Heppner. Choose viP tickets for premiumseating and a post-concert reception with Ben.MeSSiaH with the tSODec 18, 2013 at roy Thomson HallTMC and Tso perform Handel’s immortaloratorio under the direction of conductorChristopher Warren-Green.MaSS iN B MiNorMar 26, 2014 at Koerner Hall,TElUs Centre for Performance and learningBe emotionally uplifted and intellectuallychallenged by Bach’s musical imagination inthis monumental work.sACrED MUsiC For A sACrED sPACEGood Friday, Apr 18, 2014 at st. Paul’s BasilicaEnjoy magnificent music for chorus andorgan: Duruflé’s requiem and vierne’s MesseSolennelle.Subscriptions start at $213 forall five concerts or $120 for three.Programmes subject to changewww.tmchoir.org416-598-0422 x221SubScribe now toour 13/14 SeaSonLiSten tothe tMcthewholenote.com September 1 – October 7, 2013 | 29

Choir of Toronto, Cawthra Park Secondary School Chamber Choir andYorkminister Park Baptist Church Choir.The weekend’s events require no registration — this is an amazingopportunity for choral aficionados to watch or work with a mastermusician. The event is co-sponsored by Yorkminster Park BaptistChurch, the Royal Canadian College of Organists and the SouthernOntario Chapter of the Hymn Society as well as by the University ofToronto Faculty of Music. For more info email the head of U of T’schoral program, hilary.apfelstadt@utoronto.ca.Incidentally, Hilary Apfelstadt, as well as running choral activitiesat U of T, has further embraced Toronto’s choral culture by taking onthe directorship of the Exultate Chamber Singers. One of Toronto’s topcommunity choirs, established by John Tuttle (another choral legend),Exultate makes choral music at the highest level.New music needs new singers and new energy, and there is alwaysroom for another choir in the city. This year choral fans can welcomethe newly established Aslan Boys Choir and their artistic directorThomas Bell.Targeted at boys aged 8 to 13, the choir’s mission statement is “toprepare boys for life and leadership through musical excellence andcultural enrichment.” Aslan is apparently still auditioning — if youhave a child who enjoys choral singing, you can contact the choir at416-859-7464 or aslanboyschoir@gmail.com to arrange an audition.I would certainly encourage interested parties to find outmore — chorus singing was a revelation to me at that age and openedup my awareness of both choral music and yes, modern composition.I will be highlighting other modern works of the concert season inthe months to come. A tip of the hat to west coast soprano CarolynSinclair for the Klingon opera solution to modern music. On withthe show!Ben Stein is a Toronto tenor and theorbist.He can be contacted at choralscene@thewholenote.com.Visit his website at benjaminstein.ca.30 | September 1 – October 7, 2013 thewholenote.com

Beat by Beat | In With the NewImprovisation:Fuel forSocial ChangeWhen september rolls around, there can be a feeling ofanticipation in the air. It’s often a time of new opportunities,change and a chance to expand your horizons. Andin this column, which is dedicated to the “new” in musical practice,there’s no better place to begin than with the Guelph Jazz Festival,running from September 4 to 8. Over the last 20 years, the festival hasblossomed into a “vital social-purpose enterprise” with an artisticmandate rooted in the vision thatmusical improvisation provides amodel for creating social changeand building successful communities.This vision is also the drivingforce behind the innovativeresearch project “Improvisation,Community and Social Practice”headed by Ajay Heble, artisticdirector of the festival.WENDALYN BartLEYTorQ Percussion Quartet.Recently, this project just got a huge boost. It was the recipient ofa substantial grant to launch the International Institute for CriticalStudies in Improvisation at the University of Guelph. And to celebrate,the Guelph Jazz Festival will present an opening concert onSeptember 3, featuring a special one-time improvising percussionquartet of four stellar musicians combining jazz, new music, freeimprov and world music traditions. This “World Percussion Summit”is yet another demonstration of what makes the festival so special andmagical — expanding the meaning of jazz to include creative improvisationfrom across the musical spectrum. In this column I will behighlighting those concerts which fuse creative improvisation andcomposition.A perfect example is a solo performance on September 5 by MattBrubeck, a composer and performer trained in classical music andraised on jazz, who currently brings his focus on the improvisingcello into dialogue with a variety of other musical traditions. Matt willalso join Australian composer and saxophonist Sandy Evans in her“Indian Project” concert on September 4 contributing to the musicalconversation between jazz and Indian music. On September 6, two ofthe performers from the opening night event — virtuoso percussionistsHamid Drake (USA) and Jesse Stewart (Ontario) — will reconveneto provide a free-ranging mixture from their eclectic backgrounds.Stewart is a well-loved favourite of the Guełph festival, and for thisyear’s 20th anniversary, he has composed a lengthy work for thePenderecki String Quartet to be performed on September 8 in duetwith himself at the drum set.Ensemble SuperMusique from Quebec will present its groupcomposition entitled “Pour ne pas désespérer seul” (Not to DespairAlone) on September 7. This diverse group began initially in 1998 withfounders Joanne Hétu, Danielle Palardy Roger and Diane Labrosse,and has evolved into an extensive community of musicians combininglarge group composition, improvisation and “musique actuelle” withmulti-media theatre, dance, and songs. Their artistic practice of groupimprovisation is definitely in step with the broader social vision ofthe festival, as they see themselvesJoanne Hétu.standing in solidarity with communitiesarising from the anti-globalizationmovement and the use ofsocial media.Other festival events of interest toreaders of this column include theColloquium (September 4 to 6), andNuit Blanche with its dusk-to-dawnevents beginning on the evening ofSeptember 7. This year’s colloquiumprovides a wonderful opportunityto dive deeper into the themesof musical improvisation, pedagogy,social justice and activism,through a series of lectures, keynoteaddresses and workshops by festivalartists. Nuit Blanche events includeperformances by members ofSuperMusique — Derome/Hétu andFreedman/Caloïa (12am); Vancouver’s Birds of Paradox exploringelements of jazz and western music with traditional Chinese andIndian music (2am); a Pauline Oliveros tuning meditation (3am);the Ondine Chorus combining improv with scored music (3am) andGrossman/Brubeck interpreting baroque music (4:30am).And if your free spirit is longing for more, there will be an opportunityon September 28 at Toronto’s Music Gallery to hear fromsome of the elder statesmen and scene builders of free improv music:USA saxophonist Larry Ochs playing with drummer Don Robinson,followed by Toronto-based poet and “soundsinger” Paul Duttonperforming with percussionist Joe Sorbara, known for creatingorchestral textures from found objects.Voice and MythologyThis summer, I had the opportunity to experience what is known asthe “eight-octave voice” at the Roy Hart International Artistic CentreTHE MUSIC OF ARVO PÄRTThe Canadian premiere of two Pärt masterpieces for choir and stringorchestra. Conducted by Tõnu Kaljuste, featuring soprano Shannon Mercer.Tuesday October 1, 2013 at 8:00 pmKoerner Hall, TELUS Centrefor Performance and LearningFor tickets call 416-408-0208or visit soundstreams.caBlackEesti Vabariigi AupeakonsulaatConsulate General of EstoniaConsulat Général d’Estoniethewholenote.com September 1 – October 7, 2013 | 31

located in southern France. This vocal legacy of connecting voicewith the inner workings of the psyche stretches back to the early20th century and the work of Alfred Wolfsohn. In the 1960s thisvocal research evolved into a theatre-based artistic practice by oneof Wolfsohn’s pupils, Roy Hart. As part of my column during thisupcoming season, I’ll be making some links between what inspiredme during my time at the Roy Hart Centre and the musical events ofour local community.Since the voice is the most obvious link, I’ll begin with theupcoming Soundstreams concert on October 1 in which they willbe presenting two epic choral and orchestral works by the masterfulEstonian composer Arvo Pärt. One of these compositions is titledAdam’s Lament, thus plunging us headlong into the territory of oneof the most potent myths of the Western world — the story of Adamand Eve. As part of my residency at the Roy Hart Centre, I attendedthe Myth & Theatre festival which was like being submerged into analchemical pot stirring the voice together with choreographic movement,image, spoken word and philosophical ideas.Stories shape us and the institutions of our culture beyond what wemight imagine. Initially we create the stories, and then the stories turnaround and create us. And certainly this story of Adam and Eve hasbeen one that has determined so much of our collective history. Pärt’scomposition begins with the expression of grief at being expelledfrom Paradise and then expands further into a meditation on thesorrows of all humankind. His music is often referred to as musicthat comes out of the silence, creating possibilities to hear a differentvoice. Perhaps this other voice could be a re-examination of this mythitself. Must we collectively continue to hold onto the idea of separation,or can we create a voice, a story that brings us closer to the dream ofhuman connection and peaceful co-existence?Other works in the program include Pärt’s L’abbé Agathon, whichrecounts the legend of a fourth-century hermit tested by an angel indisguise, and pieces by two other composers, Riho Maimets and JamesRolfe. Choir 21, a local group that specializes in performing contemporarychoir music, will be performing alongside a string orchestraconducted by Pärt’s Estonian colleague Tõnu Kaljuste.And now to opera — the perfect alchemical pot for combiningmythic themes with music. Tapestry Opera will be offering up thelatest round of opera briefs created at this years Composer-LibrettistLab, an annual gathering that teams up four composers with fourwriters to create, literally overnight, a series of short opera excerpts.Running from September 19 to 22, this event gives you the opportunityto hear what stories and sounds have risen up in the midst of thishothouse of creativity.Twentieth-Century PioneersIt’s hard to imagine that 100 years ago, experiencing strong rhythmsand percussion music in the concert hall was scandalous. The musicof Igor Stravinsky helped to change all that. Valery Gergiev andthe Mariinsky Orchestra from St. Petersburg are returning to RoyThomson Hall on October 6 to perform the three groundbreakingballet scores Stravinsky composed between 1910 and 1913: TheFirebird, Pétrouchka and The Rite of Spring. Fortunately, that concertwill be in the afternoon, giving enough time to attend the eveningconcert curated by Austin Clarkson for New Music Concerts. You canread and listen to more on this meeting of Wolpe, Webern, Feldmanand Cage in both the printed and online editions of The WholeNote.Additional Concerts!!TorQ Percussion Quartet: “A Shift in Time.” September 13.!!Thin Edge New Music Collective: “Shaken or Stirred,” fundraisingconcert and silent auction. September 14.!!Canadian Music Centre: Contemporary Works for Piano.September 13 and October 3.!!Music Gallery and Burn Down The Capital: Julianna Barwick,with Christine Duncan and Castle If at Double Double Land.September 26.Wendalyn Bartley is a Toronto-based composer and electrovocalsound artist. Contact her at sounddreaming@gmail.com.Beat by Beat | Jazz NotesToe-TappingFall-DeralsJIM GALLOwayIn a recent program on CBC I heard thatin some societies the word for music is thesame as the word for dance and it got methinking about the close relationship that usedto exist between those two words and jazz.Here was a music that made you feel betterwhen you felt good and could lift you whenyou were down; music that made it difficult tokeep still, even if only to tap one’s feet. It wasprimarily entertainment and it continued thatway until the music — now in some circlesregarded as an “art form” — became introverted,more serious and (with some exceptions)more serious minded. Not that theearly greats weren’t serious musicians, butthey also considered themselves to be entertainers.As Louis Armstrong once said: “Mylife has always been my music, it’s alwayscome first, but the music ain’t worth nothingif you can’t lay it on the public. The mainthing is to live for that audience, ’cause whatyou’re there for is to please the people.”But nothing is forever, everything evolvesand jazz is no exception. The idea of jazzbeing a music to dance to and aimed atcommunicating directly with the audiencechanged — a transformation that reflected the changes in society,but also changed the relationship with the audience. In the ’40s themusic became more introverted and musicians began playing more forthemselves instead of trying to entertain, making it even more a musicfor a minority audience. In addition the music became much morevertical rather than linear. By that I mean that players ran the scalesand the emphasis was less melodic.Now, the word jazz and the term “massappeal” are seldom used in the same sentence.Occasionally, a well-marketed jazz artist willconnect with popular culture — Armstrongand Dave Brubeck for example — but labelexecs usually assume that jazz won’t sell aswell as rock, R&B, rap, country, adult contemporaryor Latin music. However, there was atime when jazz did, in fact, enjoy mass appeal.It was called the swing era; but probably atno time were there more than a few hundredmusicians making a living from jazz, and withfew exceptions that’s all it was — a living withlittle prospect of much financial gain. Agents,Milt Hinton.management and the recording industry were all quite happy to takeadvantage of musicians. I remember Milt Hinton telling me that whenhe was active in the recording industry, recording sessions paid a flat$40, and if recordings were re-issued the musicians got nothing inresiduals. He told me an interesting story about the hit recording ofMack the Knife by Bobby Darin. They arrived at the studio to find thatthere was no arrangement for the number so it was the musicianswho came up with the arrangement right there in the studio with thesong going up a step each chorus. The song was a bestseller, makinghuge profits. And the musicians? $40 each!In the early days most jazzers learned perhaps by one-on-one32 | September 1 – October 7, 2013 thewholenote.com

lessons from an established player, by listening to recordings and bygoing to sessions in the hope that they could sit in and that eventuallysomeone would give them a gig. Organized courses were rare. Nowof course you can go to university or college and study jazz — unheardof at one time although there is an interesting timeline to jazz as anacademic subject. A little digging and I learned, for example, that theIndustrial High School in Birmingham, Alabama, had a group calledthe Jazz Demons as early as 1922.And in 1927, while he was an athletic instructor at ManassasHigh School in Memphis, Tennessee, one of the teachers organizeda student band. They were called the Chickasaw Syncopators, butlater adopted the teacher’s name. And the teacher’s name? JimmieLunceford, leader of one of the greatest bigbands in thehistory ofjazz, a bandthat evolvedfrom the sameChickasawSyncopators!Meanwhile,in 1928the HochConservatoryin Frankfurt amMain, Germany,launched theworld’s firstcurricular jazzprogram. Therewas a greatdeal of criticismthroughoutthe countryand the Nazis,not surprisingly,stopped theprogram in 1933.It was restarted in1976 under the direction of trombonist Albert Mangelsdorff.In the United States Stan Kenton was instrumental in the start of thefirst long-running summer jazz camp in 1959 which later became theStan Kenton Summer Clinics. It continued until his death in 1979.Then in 1968 the National Association of Jazz Educators was formedand renamed the International Association for Jazz Education (IAJE) in1989. It went bankrupt in 2008. In 1981 McGill University in Montrealwas the first in Canada to offer a BMus degree in jazz performance.Today in Toronto alone we have Humber College, University of Torontoand York all offering specialized jazz courses with faculties made up ofsome of the county’s best players.One of the downsides of all of this is that the surge in educationalopportunities comes at a time when the market for jazz has declineddrastically to the point where it is impossible for most musicians tomake a living playing jazz.Perhaps it is worth noting that in the early days of jazz, musicianshad day jobs and their jazz was for most of them not the sole sourceof income. Well, guess what? The wheel has gone full circle; makinga living playing jazz is, for most, a pipe dream. Why do you think somany players turn to teaching?Will The Big Bands Ever Come Back?To introduce a little levity, here is a story from Lampang in Thailand,which I read in a publication called The Week (theweek.com), about abig band and I really mean big! Literally the biggest band in the world,the players are all elephants who have been taught by David Sulzer,a neuro-scientist at Columbia University, to be percussion-playingpachyderms, playing super-sized instruments using their trunks. Theyhave made three albums and convinced at least one critic that he waslistening to professional players. Next thing you know they will beadding a singer — perhaps Elephants Gerald. And if they ever go on theroad perhaps they could revive the Grand Trunk Railroad.Jim Galloway is a saxophonist, band leader andformer artistic director of Toronto Downtown Jazz.He can be contacted at jazznotes@thewholenote.com.St. Philip’s Anglican Church● Sunday, Sept 15, 4pm | Jazz VespersMark Eisenman Quartet● Sunday, Sept 22, 4pm | Klezmer VespersKlapman Klezmer Band● Sunday, Oct 6, 4pm | Jazz VespersGeorge Koller QuartetSt. Philip’s Anglican Church | Etobicoke25 St. Phillips Road (near Royal York + Dixon)416-247-5181 • www.stphilips.netthewholenote.com September 1 – October 7, 2013 | 33

Beat by Beat | BandstandHats Off toBrunette and tothe Whitby BrassAccording to my calendar summer is almost over. However, inmy experience, it tried to start and then gave up some weeksago. On the band scene my experience is quite similar. I hadhoped to hear from quite a number of bands telling of their activitiesover the summer months when TheWholeNote was taking abreather. With a couple of notable exceptions, there was a deafeningsilence from the bands regarding their summer programming. If youare a memberof a band, tellus about youractivities.Whether theyare highlights ofrecent events orannouncementsof ones comingup, we andother readersare interested.Having saidthat, we reallyprefer a simplerelease in theform of an MSWord documentattached to anJack MACQUARRIEWhitby Brass Band, 2013.email. Tryingto dig for gemsof informationin a multi-layered, colourful website, no matter how attractive,frequently yields little or no useful information.We do know that there were many series of regular concerts atVictoria Park in Milton, at the Unionville Millennium Bandstand, theOrillia Aqua Theatre and other locations. Unfortunately, we have noanecdotes to report.In past issues of this column the topic of programming, and specificallytheme programming, has received some attention. In one casea band director admitted to settling for second rate music in orderto adhere slavishly to a selected theme. This year it is a pleasure toreport on a themed program, with a difference, which really worked.The Uxbridge Community Concert Band’s director Steffan Brunetteproduced a well-researched themed program this year which set anew standard. The program was simply titled “The Elements.”In recent years modern science revealed to us how all matter onearth was composed of combinations of elements. In our elementaryscience classes we learned about the periodic table of elements andhow they are combined to form all of the physical materials which weencounter in our daily lives. However in ancient times the perceptionwas very different. The belief was that everything known in the worldwas made up of only four elements: earth, wind, water and fire. Theseconcepts were inspired by natural observation of the phases of matter.Almost since the earliest forms of written music, composers havewritten works to convey emotions induced by human encounters withthose four elements.This concert took the audience on a musical journey through timewith a broad range of musical impressions from those of GeorgeFrideric Handel in the 1600s to works of composers in the 21st century.In addition to Handel’s Water Music and his Music from the RoyalFireworks, there was Manuel de Falla’s Ritual Fire Dance, excerptsfrom Stravinsky’s Firebird Suite and several works written withinthe past ten years. There was an interesting adaptation of the traditionalAfrican-American spiritual, Wade In The Water, by none otherthan Professor Adolphus Cunningham Hailstork III. There was even amusical impression of the volcanic eruption of Mazama in the state ofOregon that occurred over 7,000 years ago. It was a program that wasmusically varied, tasteful and kept the audience interested. Full marksgo to Steffan Brunette.One of the oldest brass bands in Canada, the Whitby Brass Band,is celebrating its 150th anniversary this year. The official celebrationevent will take place in Whitby, Friday September 27. Thatwill be followed by a special anniversaryconcert on Saturday,September 28. Some monthsago, as a part of their anniversarycelebrations, theband sponsored a competitionfor young musiciansWhitby Brass Band, 1885.to compose a concert march to commemorate this anniversary. Firstplace went to Abundance by Marcus Venables of Toronto, second placeto Alumnus by Gerry Murphy Jr. of Oshawa, third place to Legacy byKristie Hunter of Uxbridge and fourth place to Heydenshore March bySean Breen of Markham.In Cobourg there is celebration and there is grief. Once again thisyear, the Concert Band of Cobourg will be travelling to Plattsburgh,New York, in their role as the Band of Her Majesty’s Royal MarineAssociation. However, this year, their longtime drum major, TomMacMillan, will not be heading the parade. Tom succumbed to cancerin mid-August. Tom MacMillan joined the Concert Band of Cobourgover 30 years ago as its drum major and led the band in every significantparade since then. In the words of Paul Storms, director of music:“He was a big huge part, and he was the centrepiece of the band ineverything we did over the last 30 years. He put the band on themap with his looks and his proud walk. Every time we did tattoos orparades, once he called the band to attention you could see him in hisglory and how proud he was to lead us, and how proud we were tohave him lead us.”MacMillan retired from the Ontario Provincial Police in 1993, butit was his involvement with the citizens of Cobourg that made himshine. Over the years he won many awards from community serviceclubs, the town of Cobourg and the province of Ontario. From his bluetown crier uniform complete with tiny rimmed glasses, to the whitebeard he wore when playing the role of Santa, | continued on page 3934 | September 1 – October 7, 2013 thewholenote.com

The WholeNote Readership Survey 2013✒ Up-to-date information about you, our readers, is the lifeblood of our publication. Please consider participating in The WholeNoteReadership Survey. We appreciate your willingness to tell us about your interests and preferences, so we can tell our advertisers and memberswho is reading the magazine and/or visiting our website.There are two ways you can participate: either fill in this paper version, detach it from the magazine and mail it in, per the instructions at theend of the survey; or save the cost of a stamp and complete the questionnaire online by going to thewholenote.com/survey1. How did you find out about this survey? CHECK ONE.◦{E-mail invitation◦{The WholeNote magazine◦{The WholeNote website◦{Other (please specify)◦{Facebook◦{Twitter◦{My member organization2. How do you access The WholeNote most often? CHECK THE RESPONSE THAT DESCRIBES YOU BEST.◦{I read the print version of The WholeNote most often◦{I go to thewholenote.com website most often◦{I use the print version and website equally often◦{This was the first time I have read the The WholeNote/visited thewholenote.com website3. How often do you pick up the print version of The WholeNote? CHECK ONE.(The WholeNote is published ten times a year. December/January and July/August are combined issues.)◦{Never◦{Occasionally (1 – 4 times per year)◦{Most issues (5 – 8 times per year)◦{Every issue◦{I only read The WholeNote online◦{Other (please specify)4. If you read the print version of The WholeNote, approximately how many times per month do you refer to the magazine?◦{Less than once a month◦{Once a month◦{A few times per month◦{Once a week◦{A few times a week◦{Every day or almost every day◦{Don’t read the print version of The WholeNote5. If you read the print version of The WholeNote, how many other people will generally use your copy of the magazine?Please don’t include yourself in your estimate.◦{None◦{One other person◦{Two others◦{Three to 5 others6. How often do you access thewholenote.com website? CHECK ONE.◦{Never ◦{Once a week◦{Rarely (Less than once per month) ◦{2 – 3 times a week◦{Once per month◦{2 – 3 times per month◦{6 to 10 others◦{More than 10 others◦{Don’t read the print version of The WholeNote◦{4 – 6 times a week◦{Daily7. Which one of the following statements describes you best? CHECK ONE.(Note: the term musician includes singing and conducting.)◦{I am a professional musician, actor or dancer◦{I am a student studying music, theatre or dance◦{I am an educator in the field of music, theatre or dance◦{I enjoy attending performances of live music, theatre ordance◦{Other (please specify)8. Approximately, how many live music, theatre or dance performances did you attend in the past 12 months?

9. Approximately, how many times have you attended or visited each of the following cultural venues in the past 12 months?Artpark Lewiston, NYCasino RamaConvocation HallEd Mirvish TheatreKoerner HallLiving Arts Centre, MississaugaToronto Centre for the Arts,North YorkOntario Place AmphitheatrePrincess of Wales TheatreRoy Thomson Hall/Massey HallRoyal Alex TheatreSony CentreSt. Lawrence CentreWinter Garden/Elgin TheatreYoung People’s TheatreOther (please specify)None 1 2 3 4 5 6 7 8 9 10 OR MORE10. Approximately, how many times have you attended or visited each of the following cultural attractionsin the past 12 months?Art Gallery of OntarioBata Shoe MuseumCasa LomaDundurn CastleGardiner Museum of CeramicsMcMichael GalleryMetro Toronto ZooNational Gallery of Canada, OttawaRoyal Ontario MuseumOther (please specify)None 1 2 3 4 5 6 7 8 9 10 OR MORE11. Approximately, how many times have you attended or visited each of the following cultural attractions or eventsin the past 12 months?Festival of the SoundMontreal InternationalJazz FestivalShaw FestivalStratford FestivalToronto BeachesJazz FestivalTD Toronto InternationalJazz FestivalNone 1 2 3 4 5 6 7 8 9 10 OR MORE

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BANDSTAND continued from page 34or carrying the mace for the band, MacMillan was the definition ofcommunity involvement.So, after a busy summer of weekly concerts, the band’s principalactivity will be, as mentioned, their annual participation inthe commemoration of the Battle of Plattsburgh on September 14.The theme of the weekend is the “Canadian Connection” whichwill feature them along with the Cobourg Legion Pipes and Drumsof Branch 133. The bands will be featured in a parade, beat retreatceremony and evening concert. In the concert the band will have thehonour of opening the newly renovated Strand Theatre in Plattsburgh.On another down note, I recently attended a benefit event at theFrenchman’s Bay Yacht Club to honour trumpeter Carlo Vanini. Wellknown in Toronto band circles and a regular for many years in theBob Cary Orchestra at what was formerly the Chick ’n’ Deli, Carlo hasbeen seriously ill. Hundreds of friends and family members were thereto express their support. We hope to see him back soon.Definition DepartmentThis month’s lesser known musical term is An-Dante: a tempo that’sinfernally slow. We invite submissions from readers. Let’s hear yourdaffynitions.Jack MacQuarrie plays several brass instruments andhas performed in many community ensembles. He canbe contacted at bandstand@thewholenote.com.WILL YOUR BAND/CHOIR/ORCHESTRA/ENSEMBLEGET THE BLUES IF YOU MISSTHE DEADLINE?Every October musical Ontario blowsits own horn in The WholeNote’s annualblue PageS. Share the wealth of whoyou are, the music you perform and yourplans for the 2013/14 season, with a 175-word profile in October’s print magazine,available online all year!Count yourself in!directories@thewholenote.comdeadline: September 6!thewholenote.com September 1 – October 7, 2013 | 39

Beat by Beat | World ViewWM 2.0: PossibleRoads AheadANDREW TIMARImay not be alone in feeling that this liminal seasonal periodbridging late summer and early fall is a time fraught with angst.This season in-between is tinged with regret at the passing of a toobriefand perhaps not-idle-enough summer. All too soon brisk falldays blow responsibility down our necks. The feeling is felt even bythose much too old to clearly recall the bittersweet frisson of returningto school the first week of September.Welcome back to our coverage of world music in The WholeNote.Welcome also to the ever-evolving notions of what performersand concert producerspresent as worldTal National.music, to those whocontest its very existenceand to my currentthoughts on suchconcerts in SouthernOntario neighbourhoods.Add to that listanother element integralto the category’s success:its audience receptionand fan support. Given,however, that I writehere about concerts tocome, you’ll have to readabout it in The WholeNoteblog reviews.Some writers, dissatisfiedwith the existing term for the present state of music beyondworldbeat fusions, have offered to tweak, if not entirely to rebrand it.“World Music 2.0” is one such proposed tag. Noise Next Door, a documentaryfilm to be released in 2014, explores the present unease withworld music as a marketing term and genre by examining the artists’music, ideas, influences, the collaboration process and the technologyused to “inspire the new world music generation of creators.”One group that has contested the world music tag as patentlyEurocentric (the commercial term’s actual geographic origin), with adistinct tendency to relegate those within the category as “the other,”is the exciting Ottawa-based aboriginal DJ and video “powwowstep” group A Tribe Called Red. They will be appearing in The MusicGallery’s “X Avant Festival” in October 2013. I’ll be writing more aboutthem in the next issue.Information for the next two events arrived too late to be includedin our listings: September 6, Jayme Stone, whom The Globe and Maildubbed “the Yo-Yo Ma of the banjo,” presents a concert supportinghis new album at the Music Gallery. Stone is one musician who justmay be comfortable with the world music label. The two-time JUNOAward-winning banjoist and composer clearly relishes the globalthreads which inspire many tracks on his albums. His new CD, forexample, is a sonic travelogue of imaginary geographies traversingwhat has been called the “cinnamon route through Persia and India,”and Stone elsewhere re-arranges melodies he collected in WestAfrica. His Music Gallery concert also includes a concerto for banjoand chamber symphony written for him by Andrew Downing, thegroup’s cellist. Stone’s versatile group is rounded out by top Torontomusicians and by guest vocalist Miranda Mullholland. And onSeptember 28, the Toronto taiko group, Nagata Shachu, drives downthe Gardiner Expressway to set the hearts of Hamilton audiencespounding at their concert presented by the Matapa Music and ArtsOrganization. Their physically demanding music will resound at theMolson Canadian Studio, Hamilton Place.September 30 at 12:15, Music Mondays presents “From Ragasto Rhythm” performed by Autorickshaw, another Toronto worldmusic fixture, at the Church of the Holy Trinity. The Autorickshawtrio of Dylan Bell, Ed Hanley and Suba Sankaran will be joined bysitarist, guitarist and vocalist Chris Hale, performing arrangementsof North and South Indian classical songs plus their special brand ofIndo-fusion.Small World Music Festival:September 26 to October 6With world music as part of its name, the Small World Music Societyhas long been the most active presenter of live international-flavouredmusic concerts in the GTA. In its own words, SWMS gives a “platformto dozens of developing Canadian artists of diverse backgrounds,providing a space for cross-cultural bridge-building, education andunderstanding.” Small World estimates it has presented roughly 400Jayme Stone.events since 1997, an impressive figure by any standard.In a late August telephone interview Small World executive directorand curator Alan Davis enthused about the company’s nascentcommunity presentation space, projected to open next year (moreof that later). He was also eager to get the word out about the 12thannual Small World Music Festival. Running from September 26 untilOctober 6 in multiple downtown Toronto venues, this is its signaturefestival. In his festival press release Davis fingered one problem withthe way our city’s vaunted multiculturalism plays out in world musicpresentations. “Let’s face it” he began, “as we get comfortable in ourrespective neighbourhoods, most of us need a little help — and perhapsa nudge — to enjoy new aspects of our famed diversity.” Contentmentand even complacency with one or two musical genres to the exclusionof all the others is an aspect of human nature familiar to mostworld music presenters who take on the daunting job of catering tomultiple and shifting audiences.Small World’s gentle nudge to local audiences begins September 26at the Lula Lounge with a Festival Opening Party. It features TalNational, reputedly the most popular group in Niger, West Africa.Drawing on regional musical genres of highlife, Afrobeat, soukousand “desert blues,” generously infused with transnational rock, theysing in Niger’s main languages of Zarma and Hausa, as well as inFrench, the colonial language. At home Tal National’s shows last untildaybreak; when will their last set wrap at Lula?40 | September 1 – October 7, 2013 thewholenote.com

Free one-day concert series, September 28: Beginning at 1pm,the festival presents a series of free concerts at Yonge-Dundas Squarecalled “Small World in the Square” lasting the entire day to 11pm.There are seven internationally celebrated acts booked. Unable todo justice to all of them here I’m providing a sketch of a few picks.Headlining is the reggae supergroup Third World marking 40 years onstage, in the studio and on the road. Spreading the message of peace,love and unity through music, these “reggae ambassadors” are therecipients of the 1986 United Nations Peace Medal, two Jamaica MusicIndustry awards for Best Show Band, and no less than ten Grammynominations. In 22 albums, Third World proudly combines a veritablecatalogue of musical influences including Jamaican reggae of course,but also older rural Jamaican, African roots, American pop, R&B, funk,rap and Euro classical music.Also taking the stage is the Lahore group Noori (Light) widelyconsidered pioneers of the relatively young Pakistani rock musicscene. The band plays a fusion of pop and rock and on occasioncolours their songs with traditional South Asian instruments, as intheir Season 3 session in the TV show Coke Studio Pakistan (view it onYouTube). While their instruments and musical idiom may be a reflectionof the West, their lyrics reflect more homegrown verities. Noori’ssongs mirror the dreams and realities of urban Pakistani youth, urgingthem to change their world for the better and professing women’sempowerment. I’m curious to see their Canadian fans and how theyinteract with these stars.Audiences in the square will also be taking a journey downColombia’s Caribbean coast escorted by Colombian-born composerand guitarist Roberto López and his band. The Montreal-based Lópeztakes us on a multi-level musical encounter starting with the inspirationof wind bands of Colombia’s Caribbean coast grooving to theregional rhythms of cumbia, paseo, mapalé, chandé, champeta andporro, interpreted via North-American jazz band instrumentation.Then “Global Bollywood” gets a local interpretation from Toronto’sBageshree Vaze and Ensemble. The group celebrates Indian film musicarranged for an ensemble of some of Toronto’s finest musiciansgrounded by the master grooves of Vineet Vyas on tabla. MTV India“rising star” Vaze is a triple threat. She’s not only the vocalist and bandleader but also an accomplished kathak dancer, a North Indian dancestyle closely associated with its traditional music.My remaining word count allows me a preview of only the closingshow of the festival: DakhaBrakha on October 6 at the Revival Bar.The Kyiv-based quartet, whose name means “give and take” in oldUkrainian, has invented a surprising and refreshing stream of worldmusic, infusing their theatrical take on Ukrainian village music with ametal-like rock sensibility. Their core instrumentation of closely mikedcello, floor tom, darabuka, djembe and occasional keyboard synth,harmonica and Jew’s harp support the group’s soaring vocal solos andpowerful close harmony refrains.I heard their North American debut at Luminato 2013 where theirset was in turns emotionally and powerfully intense and then chilledout, the latter in what sounded like an odd-ball R&B cover. Eventhose, like me, who don’t understand DakhaBrakha’s Ukrainian lyrics,nevertheless have come alongside their brand of transnational musicmaking. The group tags its style “ethno-chaos,” but whatever thelabel, the sheer emotional and quirky power embedded in the musicmarks it as one, however idiosyncratic, map of a way forward forthe genre.Andrew Timar is a Toronto musician and music writer.He can be contacted at worldmusic@thewholenote.com.The Season’s Musical Rainbow◆ BLUE PAGES UPCOMING IN OCTOBER!Published every October and updated year-round atthewholenote.com, the Blue Pages is The WholeNote’sannual guide to Southern Ontario concert presenters andthe musical riches they provide.Presenters! It’s not too late to count yourself in, but hurry!Address all directory inquiries todirectories@thewholenote.com◆ ORANGE PAGESBuilding on our March 2013 launch of this new directorywhich covered private teachers, community music schools,and seasonal programs, in November we’ll explore fulltimemusic-centred education at secondary and postsecondarylevels.◆ CANARY PAGESPublished in May and updated year-round at thewholenote.com, the Canary Pages is our guide to choral opportunitiesat every age and level of skill, across Southern Ontario.◆ GREEN PAGESOnline from April, in print in June, The WholeNote’sGreen Pages is our annual guide to summer musicOntario-wide, across Canada, and beyond.Don’t miss a note! You can find our directories, at any timeof year at thewholenote.comINDEX OF advertisersAmadeus Choir 29ATMA 5Bach Children's Chorus 54Canadian Opera Company 72Cathedral Bluffs Symphony Orchestra 17Celtic Orchestra of Southern Ontario 54Christ Church Deer Park Jazz Vespers 33City of Toronto Historic Museums 25Civic Light-Opera 43Classical 96 69Colours of Music 20, 49Cosmo Music 39Early Childhood Music Association ofOntario 54Elmer Iseler Singers 30Esprit Orchestra 4Etobicoke Centennial Choir 55G27 43Gallery 345 47Grand Philharmonic Choir 28Hannaford Street Silver Band 14Heliconian Hall 57I FURIOSI 24Kitchener-Waterloo Chamber MusicSociety 45, 50Little Voices Dancing Feet 55Liz Parker 55Long & McQuade 54Long & McQuade/New Horizons Band 39Matthew Kelly 56Miles Nadal JCC 55Mississauga Symphony 19Moeller Organs 56Mooredale Concerts 21Music at Metropolitan 19, 43Music Gallery 33Music Mondays 43Music Toronto 9, 46Musicians in Ordinary 45Nancy Sicsic 56New Music Concerts 7, 47Norm Pulker 56Oakham House Choir 55Ontario Philharmonic 18Oriana Women’s Choir 26Orpheus Choir 27Pasquale Bros 57Pax Christi Chorale 46Peter Mahon 26Queen of Puddings Inc. 53Remenyi House of Music 16Roy Thomson Hall 3Sheila McCoy 55Sinfonia Toronto 19Soundstreams 31St. Olave’s Church 45St. Philip’s Anglican Church 33Steinway Piano Gallery 15Steve Jackson Pianos 24Sweetwater Music Festival 20Tafelmusik 2, 44, 47The Sound Post 15Toronto Chamber Choir 55Toronto Consort 23Toronto Masque Theatre 46Toronto Mendelssohn Choir 29Toronto Symphony 71TorQ Percussion 13U of T Faculty of Music 11Vesnivka Choir 30Village Voices 55VOICEBOX: Opera in Concert 23Windermere String Quartet 25, 44Women’s Musical Club 17Yorkminster Park Baptist Church 27thewholenote.com September 1 – October 7, 2013 | 41

The WholeNote listings are arranged in four sections:A.GTA (Greater TORONTO Area) covers all of Torontoplus Halton, Peel, York and Durham regions.B.Beyond the GTA covers many areas of SouthernOntario outside Toronto and the GTA. In the currentissue, there are listings for events in Ancaster, Barrie,Bloomfield, Guelph, Hamilton, Leith, London, Markdale, Niagaraon-the-Lake,Orangeville, Owen Sound, Paris, Peterborough,Picton, Port Hope, St. Catharines, Stratford, Wasaga Beach andWaterloo. Starts on page 47.C.In the Clubs (Mostly Jazz)is organized alphabetically by club.Starts on page 51.D.The EtCeteras is for galas, fundraisers, competitions,screenings, lectures, symposia, masterclasses, workshops,singalongs and other music-related events (exceptperformances) which may be of interest to our readers.Starts on page 53.A general word of caution. A phone number is providedwith every listing in The WholeNote — in fact, we won’t publisha listing without one. Concerts are sometimes cancelled or postponed;artists or venues may change after listings are published.Please check before you go out to a concert.How to List. Listings in The WholeNote in the four sections aboveare a free service available, at our discretion, to eligible presenters.If you have an event, send us your information no later than the8th of the month prior to the issue or issues in which your listing iseligible to appear.LISTINGS DEADLINE. The next issue covers the period fromOctober 1, 2013 to November 7, 2013. All listings must be receivedby midnight Sunday September 8.Listings can be sent by e-mail to listings@thewholenote.com orby fax to 416-603-4791 or by regular mail to the address on page 6.We do not receive listings by phone, but you can call 416-323-2232x27 for further information.listings zone map. Visit our website to see a detailed versionof this map: thewholenote.com.LakeHuron6GeorgianBay73 42 15Lake Erie8City of TorontoLISTINGSLake OntarioA. Concerts in the GTAIN THIS ISSUE: Aurora, Brampton, Markham, Mississauga,Oshawa, Pickering and Whitby.Sunday September 1● ● 1:30: Nu Musical Theatricals/ClassicalTheatre Project/Starvox Entertainment.Cats. Webber. Eric Abel (Alozo/Caricopat);Charles Azulay (Old Deuteronomy); SusanCuthbert (Jennyanydots/Griddlebone/Jellylorum);Ma-Anne Dionisio (Grizabella); andothers; Dave Campbell, stage director; LonaDavis, music director. Panasonic Theatre,651 Yonge St. 416-872-1212 or 1-800-461-3333. $80-$110. Tue-Sat at 7:30; Wed, Sat andSun at 1:30. Runs to September 22. LISTINGNOT REPEATED.● ● 4:00: Cathedral Church of St. James. TwilightRecitals. Andrew Ager, organ. 65 ChurchSt. 416-364-7865 x231. Freewill offering.● ● 4:00: Lower Ossington Theatre. Next toNormal. Music by Kitt; book and lyrics by Yorkey.Heather Braaten, director; Paul Moody,music director. 100A Ossington Ave. 416-915-6747. $49-$59. Also Sep 5-8, 12-15, 19-22,26-29; start times vary.Monday September 2● ● 12:15: Music Mondays. Arpeggio: journeythrough 300 years of music for solo cello.Bach: Suite in G for unaccompanied cello; alsoworks by Corigliano and Golijov. Bryan Holt,cello. Church of the Holy Trinity, 10 TrinitySq. 416-598-4521 x304. Free, $5 suggesteddonation.Tuesday September 3● ● 1:00: Cathedral Church of St. James.Music at Midday. Andrew Adair, organ.65 Church St. 416-364-7865 x231. Freewilloffering.Thursday September 5● ● 8:00: Blue Moss Ensemble. New Worksfor Piano, Cello and Percussion. New worksby Hostman, O. Muller, D. Miller, LeBel andRenaud. Rachel Desoer, cello; Wesley Shen,piano; Daniel Morphy, percussion. ArraySpace, 155 Walnut St. 647-438-9874. $20;$10(sr/st).● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 8:30: Constellation Records/Musicworks/MusicGallery/Collective Concerts.A Night in Toronto. Esmerine, Matana Roberts,Dundasa 80, Jerusalem In My Heart,Saltland. Great Hall, 1087 Queen St. W. 416-598-0720. $15.Friday September 6● ● 1:10: Gordon Murray Presents. Piano Potpourri.Selections from classics, opera, operetta,musicals, ragtime, pop, internationaland other genres. Gordon Murray, piano.MUSICAL THEATREThe following long-run musicals appear only once in our daily concert listings onthe date of the first performance falling within the date range covered in this issue.Check websites for details. First performance dates and times are as follows:●●Sept 1, 1:30 Nu Musical Theatricals/Classical Theatre Project/StarvoxEntertainment. Cats. Runs to September 22. (GTA)●●Sept 1, 2:00 Shaw Festival. The Light in the Piazza. Runs to October 13. (Beyond GTA)●●Sept 1, 2:00 Stratford Festival. Fiddler on the Roof. Runs to October 20. (Beyond GTA)●●Sept 4, 8:00 Shaw Festival. Guys and Dolls. Runs to November 3. (Beyond GTA)●●Sept 4, 8:00 Stratford Festival. Tommy. Runs to October 19. (Beyond GTA)Trinity-St. Paul’s United Church, 427 Bloor St.W. 416-631-4300. PWYC. Lunch and snackfriendly.● ● 7:30: Loose TEA Music Theatre. La Tragédiede Carmen. Adapted from Bizet’s Carmen.Cassandra Warner (Carmen); Lisa Faieta(Micaëla); Ryan Harper (Don Jose); GregoryFinney (Escamillo); Alaina Viau, director;Jennifer Tung, music director. Buddies InBad Times Theatre, 12 Alexander St. 416-975-8555. $25; $15(st). In French; English surtitlesand dialogue. Also Sep 7, 8(mat).● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.Saturday September 7● ● 2:00: Lower Ossington Theatre. Next toNormal. Also 8:00. See Sep 1.● ● 7:30: Loose TEA Music Theatre. La Tragédiede Carmen. See Sep 6.● ● 8:00: 9th Diva Productions. The CrimsonLeaf. One woman music drama aboutlove and longing in two ages. Music by Arifin;script by Toumrai. Maryam Toumrai, vocalsand actor. Al Green Theatre, 750 Spadina Ave.416-254-5219. $25.● ● 8:00: Lower Ossington Theatre. Next toNormal. Also 2:00. See Sep 1.Sunday September 8● ● 9:00am: Etobicoke Community ConcertBand. Taste of the Kingsway. Tribute to ArtieShaw; Skyfall; Lawrence of Arabia; HawaiiFive-O Theme; Just A Closer Walk with Thee;and other works. Etobicoke Bandstand,3200 Bloor St. W. 416-410-1570. Free; pancakebreakfast included.● ● 2:30: Loose TEA Music Theatre. La Tragédiede Carmen. See Sep 6.● ● 4:00: Cathedral Church of St. James. TwilightRecitals. David Briggs, organ. 65 ChurchSt. 416-364-7865 x231. Freewill offering.● ● 4:00: Harbourfront Centre. SummerMusic in the Garden: Here Comes the Sun.Haydn: String Quartet in D (from the “Sun”Quartets Op.20); Ravel: String Quartet in F.Cecilia String Quartet. Toronto Music Garden,475 Queens Quay W. 416-973-4000. Free.● ● 4:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 4:30: Christ Church Deer Park. Jazz Vespers.Musicians tba. 1570 Yonge St. 416-920-5211 x22. Free, donations welcome. Religiousservice.● ● 7:30: University of Toronto Faculty ofMusic. Gabrieli Consort: Songs of Farewell- Rejoice in the Lamb. Choral music of Englishcomposers throughout the ages. GabrieliConsort; University of Toronto ScholaCantorum; Daniel Taylor, conductor; MatthewLarkin, organ. Church of the Holy Trinity,42 | September 1 – October 7, 2013 thewholenote.com

10 Trinity Sq. 416-408-0208. $30; $20(sr);$10(st).● ● 8:00: Alcon Entertainment/Music Gallery.Jóhann Jóhannsson with ACME StringQuartet. Jóhannsson: Score for Villeneuve’sfilm Prisoners; and other works.Music Gallery, 197 John St. 416-204-1080.$25/$20(adv).Tuesday September 10● ● 1:00: Cathedral Church of St. James.Music at Midday. David Briggs, organ.65 Church St. 416-364-7865 x231. Freewilloffering.● ● 8:00: Chelsea Shanoff, saxophone.Nucleus. Works by Labadie, Chang, O’Connor,Cockcroft, Nagao and others. Marc Funkenhauser,saxophone; Michelle Hwu, percussion;Patrick Power, guitar; Wesley Shen,piano. Music Gallery, 197 John St. 647-821-3863. $15; $10(sr/st).Wednesday September 11● ● 12:30: Yorkminster Park Baptist Church.Noon Hour Organ Recital Series. SimonWalker, organ. 1585 Yonge St. 416-922-1167.Free.● ● 7:00: Civic Light-Opera Company. AnnieGet Your Gun. Music and lyrics by Berlin; bookby H. and D. Fields. Finnie Jesson (Annie Oakley);John Kemp (Frank Butler); David Haines(Charlie Davenport); and others; Joe Cascone,director. Fairview Library Theatre,35 Fairview Mall Dr. 416-755-1717. $28. AlsoSep 12-15, 18-22; start times vary. SOLD OUT.● ● 7:30: group of twenty-seven. SpotlightSeries. Rachel Mercer, cello; Angela Park,piano. Heliconian Hall, 35 Hazelton Ave. 416-735-3662. $25; $20(sr/st); $10(youth/child).Thursday September 12● ● 12:15: Music at Metropolitan. Noon at Met.Richard Spotts, organ. Metropolitan UnitedChurch, 56 Queen St. E. 416-363-0331 x26.Free.● ● 7:00: Harbourfront Centre. SummerMusic in the Garden: Bach at Dusk – plusHossfeld. Bach: Suite No.3 in C for unaccompaniedcello; Hossfeld: new work (world premiere).Kate Bennett Haynes, baroque cello.Toronto Music Garden, 475 Queens Quay W.416-973-4000. Free.● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.Friday September 13● ● 1:10: Gordon Murray Presents. Piano Potpourri.Selections from classics, opera, operetta,musicals, ragtime, pop, international andother genres. Gordon Murray, piano. Trinity-St. Paul’s United Church, 427 Bloor St. W. 416-631-4300. PWYC. Lunch and snack friendly.● ● 5:30: Canadian Music Centre. On the 13thPiano Series: Over Open Seas – The 21st CenturyVirtuoso. Works by Xenakis, Chin and Ho.Claudia Chan, piano. 20 St. Joseph St. 416-961-6601 x201. $20/$15(adv).● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 8:00: TorQ Percussion Quartet. A Shiftin Time. Works by DeSantis, Hallo, Hatch,Reich, Applebaum and Morphy. Richard Burrows,Adam Campbell, Jamie Drake and DanielMorphy, percussion. Enwave Theatre,Harbourfront Centre, 231 Queens Quay W.416-973-4000. $20; $15(arts worker); $10(st).Every Monday @ 12:15 pmJune 3 - September 30, 2013Artistic Director: Eitan Cornfield10 Trinity Square (Behind the Eaton Centre)Suggested Donation: $5sEptEMbEr 201302ArpEggioBryan Holt, celloA brilliant young player’sjourney through 300 yearsof music for solo cello fromBach’s iconic Suite in G Majorto masterpieces by JohnCorigiliano and Osvaldo Golijov.09in A nutshEllStelth Ng, violinValentina Sadovski,pianoA whirlwind history of theviolin sonata with musicby Bach, Beethoven, Grieg,Debussy and Ravel from anemerging violinist whoseplaying is as distinctive as hisname.16brAhMs inlovEThe Madawaska QuartetBrett Kingsbury, pianoBrahms composed the PianoQuartet in C Minor while tornbetween despair for his friendRobert Schumann and love forhis friend’s wife, Clara.23FirE And WAtErLisa Tahara, pianoEvocative works by Ravel,Debussy, Scriabin and ManuelDe Falla.30FroM rAgAs torhythMAutorickshawCome celebrate our favouriteIndo-Canadian fusion band’sreturn to Music Mondays.www.musicmondays.caLike us on Facebook!thewholenote.com September 1 – October 7, 2013 | 43

Saturday September 14● ● 2:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 2:00: Lower Ossington Theatre. Next toNormal. Also 8:00. See Sep 1.● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Lower Ossington Theatre. Next toNormal. Also 2:00. See Sep 1.● ● 8:00: Thin Edge New Music Collective.Shaken or Stirred: New Music and Martinis.Fundraising concert and silent auction.Works by Cage, Catlin-Smith, Steenhuisen,Kerekes, Scelsi and others. Array Space,155 Walnut St. 647-456-7597. $25(includes afeature beverage).Sunday September 15● ● 2:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 3:00: Windermere String Quartet. TheGolden Age of String Quartets 6. Haydn:Quartet in D Op.33 No.6; Mozart: Quartet in GK387; Beethoven: Quartet in A Op.18 No.5. St.Olave’s Anglican Church, 3w0 WindermereAve. 416-769-0952. $25; $20(sr), $10(st). Performedon period instruments.● ● 4:00: Harbourfront Centre. SummerMusic in the Garden: Songs of the NorthernSeas. Maritime music from Scandinavia,Scotland and Canada. Ensemble Polaris.Toronto Music Garden, 475 Queens Quay W.416-973-4000. Free.● ● 4:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 4:00: St. Philip’s Anglican Church. JazzVespers. Mark Eisenman Quartet. 25 St. PhillipsRd., Etobicoke. 416-247-5181. Freewilloffering.Monday September 16● ● 12:15: Music Mondays. Brahms in Love.Brahms: Piano Quartet in c. Madawaskaon period instrumentsThe Golden Age ofString Quartets VIHaydn Op. 33#6Mozart K. 387Beethoven Op. 18#5Sunday Sept 15, 3:00A. Concerts in the GTAQuartet; Brett Kingsbury, piano. Church of theHoly Trinity, 10 Trinity Sq. 416-598-4521 x304.Free, $5 suggested donation.● ● 7:30: Opera by Request/Canadian Institutefor Czech Music. In Recital: VanessaLanch, soprano; John Holland, baritone.Works by Wagner, Verdi, Britten, Dvořákand Eben; also selections from operetta andmusic theatre. William Shookhoff, piano. CollegeStreet United Church, 452 College St.416-455-2365. $20.Tuesday September 17● ● 1:00: Cathedral Church of St. James.Music at Midday. Andrew Ager, organ.65 Church St. 416-364-7865 x231. Freewilloffering.Wednesday September 18● ● 12:30: Yorkminster Park Baptist Church.Noon Hour Organ Recital Series. AndrewAdair, organ. 1585 Yonge St. 416-922-1167.Free.● ● 7:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Gallery 345. The Art of the Piano:Kara Huber. Chopin: Etude in F Op.10 No.8;Beethoven: Sonata in E-flat Op.7; Debussy:Etude No.9; Rachmaninoff: PreludesOp.32 Nos. 10, 12, 13; Liszt: Italian Year of Pilgrimage.345 Sorauren Ave. 416-822-9781.$20; $10(st).● ● 8:00: Toronto Symphony Orchestra. ElgarCello Concerto. Britten: Variations and Fugueon a Theme of Purcell; Elgar: Cello Concerto;Dvořák: Symphony No.7. Alisa Weilerstein,cello; Peter Oundjian, conductor. Roy ThomsonHall, 60 Simcoe St. 416-593-4828. $33-$145. Also Sep 19.Thursday September 19● ● 12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Music and Poetry- Two song cycles on an Arcadian theme. Respighi:Deita Silvane; Debussy: Chansons deBilitis. Monica Whicher, soprano; Steven Philcox,piano; Eric Domville, commentator. WalterHall, Edward Johnson Building, 80 Queen’sPark. 416-978-3750. Free.● ● 12:15: Music at Metropolitan. Noon at Met.Peter Nikiforuk, organ. Metropolitan UnitedChurch, 56 Queen St. E. 416-363-0331 x26.Free.● ● 12:15: St. Peter’s Anglican Church. StephanieBurgoyne and William Vandertuin. OrganSolo and Organ Four Hands. 1745 Dundas St.W., Mississauga. 519-752-0965. Free.● ● 7:00: Tapestry Opera. Tapestry Briefs.New operas by Morlock, Thornborrow,Livingston and Arteaga; new works from Canadianplaywrights Panych, Yee, Teppermanand Billon. Carla Huhtanen, soprano; KrisztinaSzabó, mezzo; Keith Klassen, tenor; PeterMcGillivray, baritone. Ernest Balmer Studio(315), Distillery District, 9 Trinity St. 416-537-6066 x225. $35. Also Sep 20, 21, 22(mat).● ● 7:30: Opera by Request. In Recital: VanessaLanch, soprano; John Holland, baritone.Works by Wagner, Verdi, Britten, Dvořákand Eben; also selections from operetta andmusic theatre. William Shookhoff, piano.Peace Lutheran Church, 928 Liverpool Rd.,Pickering. 416-455-2365. $20.● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.BEETHOVENSYMPHONIESNOS. 1 & 2SEP 19–22KOERNER HALLtafelmusik.orgBaroque OrchestraJeanne Lamon, Music Director● ● 8:00: Tafelmusik. Beethoven SymphoniesNos. 1 and 2. Guest: Bruno Weil, conductor.Koerner Hall, Royal Conservatory, 273 BloorSt. W. 416-408-0208. $47-$105; $35-$89(65and over); $25-$89(35 and under). AlsoSep 20, 22(mat).● ● 8:00: Toronto Symphony Orchestra. ElgarCello Concerto. See Sep 18.Friday September 20● ● 1:10: Gordon Murray Presents. Piano Potpourri.Selections from classics, opera, operetta,musicals, ragtime, pop, international andother genres. Gordon Murray, piano. Trinity-St. Paul’s United Church, 427 Bloor St. W. 416-631-4300. PWYC. Lunch and snack friendly.● ● 7:00: Tapestry Opera. Tapestry Briefs.See Sep 19.● ● 7:30: Strut Entertainment. Celtic Thunder:Mythology CD/DVD Release Tour. TraditionalIrish music and international hits. EmmetCahill, Keith Harkin, Ryan Kelly, George Donaldson,Neil Byrne and Colm Keegan. GeneralMotors Centre, 99 Athol St E., Oshawa. 905-438-8811. $39-$96. Also Sep 21 (Toronto), 22(Hamilton, mat).● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Gallery 345. Greg Byers, solo jazzcello, bass and vocals. Tour launch of “SomeDark, Beautiful Morning” CD. Opening set:Victoria Yeh, electric violin; Violet Fusion.345 Sorauren Ave. 416-822-9781. $15; $10(st).● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 8:00: Tafelmusik. Beethoven SymphoniesNos. 1 and 2. See Sep 19.Saturday September 21● ● 2:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 2:00: Lower Ossington Theatre. Next toNormal. Also 8:00. See Sep 1.● ● 7:00: Tapestry Opera. Tapestry Briefs.See Sep 19.● ● 7:00: Toronto Symphony Orchestra. GalaPerformance: Lang Lang Plays Mozart. Mozart:Piano Concerto No.17 K453; Piano ConcertoNo.24 K491; Wagner: Overture toTannhäuser. Lang Lang, piano; Peter Oundjian,conductor. Roy Thomson Hall, 60 SimcoeSt. 416-593-4828. $59-$249. For completeGala package information contact 416-593-7769 x261.● ● 7:30: Ontario Registered Music Teachers’Association (BBC branch). BramptonChamber Music Concert Series. Piano soloand saxophone solo recital. Works by Chopin,Fauré, Albeniz and others. Koichi Inoue,Cecilia Lee and Harvard Tran, piano; JenniferTran, saxophone. St. Paul’s United Church,30 Main St. S., Brampton. 905-450-9220. Bydonation.● ● 7:30: Strut Entertainment. Celtic Thunder:Mythology CD/DVD Release Tour. TraditionalIrish music and international hits. EmmetCahill, Keith Harkin, Ryan Kelly, George Donaldson,Neil Byrne and Colm Keegan. SonyCentre, 1 Front St. E. 416-368-6161. $39-$96.Also Sep 20 (Oshawa), 22 (Hamilton, mat).● ● 8:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 8:00: Lower Ossington Theatre. Next toNormal. Also 2:00. See Sep 1.Sunday September 22● ● 2:00: Civic Light-Opera Company. AnnieGet Your Gun. See Sep 11.● ● 2:00: Royal Conservatory. John Perry,piano. Mazzoleni Hall, 273 Bloor St. W. 416-408-0208. $32.● ● 2:00: Tapestry Opera. Tapestry Briefs.See Sep 19.● ● 3:00: Gallery 345. The Art of the Piano:Thomas Alexander. Chopin: Scherzo No.2 inb-flat; Liszt: Hungarian Rhapsody Nos. 2 and12; Gershwin: Rhapsody in Blue; also improvisationson audience requests. Guest artist tba.345 Sorauren Ave. 416-822-9781. $20; $10(st).● ● 3:30: Tafelmusik. Beethoven SymphoniesNos. 1 and 2. See Sep 19.● ● 4:00: Cathedral Church of St. James. TwilightRecitals. Andrew Ager, organ. 65 ChurchSt. 416-364-7865 x231. Freewill offering.● ● 4:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 4:00: St. Philip’s Anglican Church. KlezmerVespers. Klapman Klezmer Band. 25 St.Phillips Rd., Etobicoke. 416-247-5181. Freewilloffering.● ● 4:30: Christ Church Deer Park. Jazz Vespers.Musicians tba. 1570 Yonge St. 416-920-5211 x22. Free, donations welcome. Religiousservice.● ● 5:00: Nocturnes in the City. ShawnMlynek, tenor, and Valerie Poole, piano.Dvořák: Biblical Songs; also works by Novak,Martinu and Ives. St. Wenceslaus Church,496 Gladstone Ave. 416-879-5677. $25.Monday September 23● ● 12:15: Music Mondays. Fire and Water.Works by Ravel, Debussy, Scriabin and DeFalla. Lisa Tahara, piano. Church of the HolyTrinity, 10 Trinity Sq. 416-598-4521 x304. Free,$5 suggested donation.● ● 8:00: Gallery 345. The Art of the Piano:Martin Soderburg. Works by Soler, Albeniz,Granados, Mompou, Infante, de Falla.345 Sorauren Ave. 416-822-9781. $25; $20(sr/arts worker); $10(st).Tuesday September 24● ● 1:00: Cathedral Church of St. James.Music at Midday. Susanna Veerman and WimDoes, organ. 65 Church St. 416-364-7865x231. Freewill offering.Wednesday September 25● ● 12:30: Yorkminster Park Baptist Church.Noon Hour Organ Recital Series. WilliamMaddox, organ. 1585 Yonge St. 416-922-1167.Free.44 | September 1 – October 7, 2013 thewholenote.com

● ● 1:00: Cathedral Bluffs Symphony Orchestra.TrioEstonia. Cirri: Duet for Violin andCello; Piazzolla: The Seasons; Sumera/Kangro/Kuulberg: Piano Trio “MaLeRaKaSuKu”; Pärt: Fratres; Beethoven: PianoTrio in e Op.1 No.1; and other works includingEstonian art songs. Arvo Leibur, violin;Norman Reintamm, piano; Aare Tammesalu,cello. Guest: Avo Kittask, baritone. Universityof Toronto Scarborough Campus,1265 Military Trail. 416-550-6465. Free.● ● 7:30: Cathedral Bluffs Symphony Orchestra.TrioEstonia. Cirri: Duet for Violin andCello; Piazzolla: The Seasons; Sumera/Kangro/Kuulberg: Piano Trio “MaLeRaKaSuKu”; Pärt: Fratres; Beethoven: PianoTrio in e Op.1 No.1; and other works includingEstonian art songs. Arvo Leibur, violin;Norman Reintamm, piano; Aare Tammesalu,cello. Guest: Avo Kittask, baritone. Tartu College,310 Bloor St. W. 416-550-6465. $20.● ● 7:30: Theatre Passe Muraille. On TheRocks. Musical about Louise Pitre’s life.Music by Pitre and Matheson; text and lyricsby Pitre. Louise Pitre, vocals; Diane Leah,piano. 16 Ryerson Ave. 416-504-7529. $32.50;$27.50(sr); $15(under 30). Also Sep 26, 27,28(mat and eve).● ● 8:00: Toronto Symphony Orchestra. PerlmanPlays Tchaikovsky. Britten (arr. Matthews):Movements for a Clarinet Concerto(Canadian premiere); Walton: Symphony No.1;Tchaikovsky: Violin Concerto. Itzhak Perlman,violin; Joaquin Valdepeñas, clarinet;Peter Oundjian, conductor. Roy Thomson Hall,60 Simcoe St. 416-593-4828. $38.75-$169.7:15: Pre-concert chat. Also Sep 26.Thursday September 26● ● 12:00 noon: Canadian Opera Company.Meet the Young Artists. The young artists ofthis year’s Canadian Opera Company EnsembleStudio sing favourite arias. Richard BradshawAmphitheatre, Four Seasons Centre forthe Performing Arts, 145 Queen St. W. 416-306-2329. Free.● ● 12:10: Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic: TrioEstonia. Cirri: Duet for Violinand Cello; Piazzolla: The Seasons; Sumera/Kangro/Kuulberg: Piano Trio “MaLeRaKaSuKu”; Pärt: Fratres; Beethoven: PianoTrio in e Op.1 No.1; and other works includingEstonian art songs. Arvo Leibur, violin;Norman Reintamm, piano; Aare Tammesalu,cello. Guest: Avo Kittask, baritone. ChristChurch Deer Park, 1570 Yonge St. 416-241-1298. Free. Donations welcome.● ● 12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Cousins. A concertmixing different kinds of trumpet/cornetwith various sizes of clarinet. Gillian Mackay,trumpet/cornet; Peter Stoll, clarinets; MartynSmith, piano. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-978-3750.Free.● ● 12:15: Music at Metropolitan. Noon atMet. Ashley Tidy, organ. Metropolitan UnitedChurch, 56 Queen St. E. 416-363-0331 x26.Free.● ● 7:30: Theatre Passe Muraille. On TheRocks. See Sep 25.● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 8:00: Toronto Symphony Orchestra. PerlmanPlays Tchaikovsky. See Sep 25.● ● 9:00: Music Gallery/Burn Down The Capital.Julianna Barwick, with Christine Duncanand Castle If. Double Double Land,209 Augusta Ave. 416-204-1080. $10/$8(adv).● ● 9:00: Small World Music Festival. FestivalOpening Party. Tal National. LulaLounge, 1585 Dundas St. W. 416-588-0307.$20/$15(adv).Friday September 27● ● 1:10: Gordon Murray Presents. Piano Potpourri.Selections from classics, opera, operetta,musicals, ragtime, pop, international andother genres. Gordon Murray, piano. Trinity-St. Paul’s United Church, 427 Bloor St. W. 416-631-4300. PWYC. Lunch and snack friendly.● ● 7:30: Theatre Passe Muraille. On TheRocks. See Sep 25.● ● 8:00: Flato Markham Theatre. José Feliciano,singer-songwriter/Latin guitar. AnnualGala in support of Markham Theatre Discovery.171 Town Centre Blvd., Markham. 905-305-7469. $99; $200(pre-show dinner andshow package). Reception at 5:00; dinnerat 6:00.● ● 8:00: Lower Ossington Theatre. Next toNormal. See Sep 1.Saturday September 28● ● 1:00: Small World Music Festival/Roots.Small World In The Square. Third World,Noori, Kobo Town, Afrafranto, QuiqueEscamilla, Briga and others. Yonge-DundasSquare, 1 Dundas St. E. 416-979-9960. Free.1-11pm.● ● 2:00: Lower Ossington Theatre. Next toNormal. Also 8:00. See Sep 1.● ● 2:00: Theatre Passe Muraille. On TheRocks. Also 7:30. See Sep 25.● ● 3:00: Capella Intima. Celestial Sirens:Music from the Benedictine Nuns of 17th-Century Milan. Erin Bardua and Emily Klassen,soprano; Jennifer Enns Modolo, alto;Bud Roach, tenor; Erika Reiman, portativeorgan. St. Paul’s Bloor Street, 227 Bloor St. E.905-517-3594. $15 suggested donation. AlsoSep 21 (Hamilton).● ● 6:00: Collegium Musicum. CM Hour:Culture Days Concert. Works by Fauré, Squireand others. Janko Marjanovic, cello; BorjanaHrelja, piano; and others. Collegium MusicumConservatory of Music, 12 Peter St. S., Mississauga.905-274-6100. Free.● ● 7:00: Royal Conservatory. Season OpeningGala: Audra McDonald. Singing a mix ofBroadway show tunes, classic songs from themovies and contemporary pieces. KoernerHall, 273 Bloor St. W. 416-408-0208. $50 andup. SOLD OUT.● ● 7:30: Opera by Request. La Bohème. Puccini.Erin Armstrong, soprano (Mimi); RyanHarper, tenor (Rodolfo); John Conlon, baritone(Marcello); Naomi Eberhard, soprano(Musetta); Steven Henrikson, baritone(Benoit/Alcindoro); William Parker, tenor(Parpignol); William Shookhoff, piano. CollegeStreet United Church, 452 College St. 416-455-2365. $20.● ● 7:30: St. Michael’s College. Concert forMichaelmas. Vivaldi: Gloria; Telemann: Packedich, gelähmter Drache; and other works.Musicians In Ordinary; St. Michael’s ScholaCantorum, Michael O’Connor, conductor;Christopher Verrette, baroque violin; HallieFishel, soprano; Laura McAlpine, mezzo. St.Basil’s Church, 50 St. Joseph St. 416-926-7131.Free. Donations welcome.● ● 7:30: Theatre Passe Muraille. On TheRocks. Also 2:00. See Sep 25.● ● 7:30: Toronto Symphony Orchestra. CasualConcert: Mendelssohn Violin Concerto.Mendelssohn: Violin Concerto; Dvořák: SymphonyNo.7. Ray Chen, violin; Peter Oundjian,conductor. Roy Thomson Hall, 60 SimcoeSt. 416-593-4828. $33–$105. Also Sep 29(George Weston Recital Hall).● ● 7:30: University of Toronto Faculty ofMusic. Wind Ensemble Concert. VaughanWilliams: English Folk Song Suite; Wagner:Siegfried’s Funeral Music; Hearshen: InMemoriam – The Thunderer; Grainger: Children’sMarch; Arutunian: Trumpet Concerto.Marianne Greene, trumpet; Gillian MacKay,conductor. MacMillan Theatre, Edward JohnsonBuilding, 80 Queen’s Park. 416-408-0208.$30; $20(sr); $10(st).● ● 7:30: Whitby Brass Band. 150th AnniversaryConcert. Steven Mead, euphonium;Glenn Ward, bandmaster. Hebron ChristianReform Church, 4240 Anderson St., Whitby.905-666-2049. $10; $8(sr/st). 6:45: JuniorBand.● ● 8:00: Gordon Murray Presents. PianoSoirée. Romberg: One Alone (from TheDesert Song); Debussy: Clair de Lune; Rachmaninoff:Piano Concerto No.2 (first movement;arr. G. Murray); and other selections.Gordon Murray, piano. Trinity-St. Paul’sUnited Church, 427 Bloor St. W. 416-631-4300. $10; $5(st).● ● 8:00: Lower Ossington Theatre. Next toNormal. Also 2:00. See Sep 1.● ● 8:00: Music Gallery. Jazz Avant Series:Larry Ochs & Don Robinson, with Paul Duttonand Joe Sorbara. 197 John St. 416-204-1080.$20/$15(adv).Sunday September 29● ● 2:30: University of Toronto Faculty ofMusic. Opera Tea: Tea with Russell. RussellBraun conducts Opera Division studentsin scenes from Korngold’s Die tote Stadt,Humperdinck’s Königskinder and Strauss’Die Fledermaus. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-408-0208. $30. Includes tea and pastries atintermission.Kitchener-WaterlooChamber Music SocietypresentsTrioEstoniaArvo Pärt, Erkki-Sven Tüür; Piazzolla;Sumera / Kangro / Kuulberg;Beethoven Piano Trio #1Sept. 27, 8:00pm57 Young St. W., Waterloo$25 ($20,$15 sr/st)www.TicketScene.ca/kwcmswww.k-wcms.comSt. Michael's College and Musicians In Ordinary7:30PM September 28, 2013St Basil’s Church, St Michael’s College,50 St. Joseph St. at Bay~ Vivaldi Gloria, Telemann Cantatafor St. Michael's Day ~and other Baroque MusicHallie Fishel, soprano and Laura McAlpine, mezzoSt Michael's Schola Cantorumdirected by Dr. Michael O’Connor;orchestra led by Christopher VerretteOTHER TRIOESTONIA TOUR DATESSept 24, 7:30pm:Murray Street Baptist Church (Peterborough)Sept 25, 1pm:University of Toronto (Scarborough Campus)Sept 25, 8pm:Tartu College (Toronto)Sept 26, 12:10pm:Christ Church Deer Park (Toronto)Sept 26, 8 pm:Barrhead Pub and Grill (Markdale)Free admission, donations welcomethewholenote.com September 1 – October 7, 2013 | 45

● ● 3:00: Gallery 345. From Handel To Tango.Works by Scarlatti, Hummel, Handel, Viardot,Rodrigo, Delibes and Piazzolla. Iris Rodrigues,soprano; Paul Sanvidotti, trumpet; EdwardMoroney, piano; Mary-Katherine Finch, cello;Don MacDonald, guitar. 345 Sorauren Ave.416-822-9781. $20; $15(sr/arts worker);$10(st).● ● 3:00: Royal Conservatory. ARC Ensemblewith Peter Barrett, baritone. Stravinsky: Suiteitalienne; Puccini: Chrysanthemums; Wolf:Italian Serenade; Castelnuovo-Tedesco: PianoQuintet No.1; Respighi: The Sunset for voiceand string quartet. Koerner Hall, 273 BloorSt. W. 416-408-0208. Free (reservationrequired). Culture Days Concert.● ● 3:00: Toronto Symphony Orchestra.Casual Concert: Mendelssohn Violin Concerto.Britten: Variations and Fugue on aTheme of Purcell; Mendelssohn: Violin Concerto;Dvořák: Symphony No. 7. Ray Chen,violin; Peter Oundjian, conductor. GeorgeWeston Recital Hall, Toronto Centre for theArts, 5040 Yonge St. 416-593-4828. $43.50-$98.50. Also Sep 28 (Roy Thomson Hall; noBritten).● ● 4:00: Cathedral Church of St. James. TwilightRecitals. Andrew Ager, organ. 65 ChurchSt. 416-364-7865 x231. Freewill offering.● ● 4:00: Lower Ossington Theatre. Next toNormal. See Sep 1.● ● 4:00: St. Olave’s Anglican Church. BenjaminBritten 100. Choral Evensong with ScholaEcclesiam, followed by Peach Tea and discussionon works by Britten. Clem Carelse, conductorand lecturer. 360 Windermere Ave.416-769-5686. Contributions appreciated.Religious service.● ● 9:00: Small World Music Festival. OdessaHavana. Lula Lounge, 1585 Dundas St. W. 416-588-0307. $30/$20(adv).Monday September 30● ● 12:15: Music Mondays. From Ragas toA. Concerts in the GTARhythm. Indo-Canadian fusion. Autorickshaw.Church of the Holy Trinity, 10 TrinitySq. 416-598-4521 x304. Free, $5 suggesteddonation.● ● 7:00: University of Toronto Faculty ofMusic. Monday Evening Concerts: GryphonTrio (Ensemble-in-Residence), and JamesCampbell, clarinet. Ravel: Piano Trio in a; Messiaen:Quatuor pour la fin du temps (Quartetfor the End of Time). Walter Hall, EdwardJohnson Building, 80 Queen’s Park. 416-408-0208. $40; $25(sr); $10(st).● ● 7:30: Toronto Masque Theatre. Salon:Ten years of Toronto Masque Theatre –a retrospective. Featuring dramatic andmusical entertainment. Teri Dunn, soprano;Lucas Harris, lute; and others. Studio,21 Shaftesbury Ave. 416-410-4561. By donation($20 suggested). Refreshments included.Tuesday October 1● ● 12:00 noon: Canadian Opera Company.Jazz Series: Swinging on a Star. Jazz standardsand original tunes. Morgan Childs,drummer; Kelly Jefferson, sax; Dave Restivo,piano; John Mahara, bass. Richard BradshawAmphitheatre, Four Seasons Centre forthe Performing Arts, 145 Queen St. W. 416-363-8231. Free.● ● 1:00: Cathedral Church of St. James.Music at Midday. Thomas Gonder, organ.65 Church St. 416-364-7865 x231. Freewilloffering.● ● 7:30: Ontario Registered Music Teachers’Association (BBC branch). Brampton ChamberMusic Concert Series. Recital of worksfor piano trio and piano solo. Trio AquaDulci;Patrick Tomczyszyn and Lynne Li, piano. St.Paul’s United Church (Brampton), 30 Main St.S., Brampton. 905-450-9220. By donation.● ● 8:00: Soundstreams. The Music of ArvoPärt. Pärt: Adam’s Lament (Canadian premiere);L’abbé Agathon (Canadian premiere);Rolfe: Open Road (world premiere); Maimets:new work (world premiere). Shannon Mercer,soprano; Choir 21; Virtuoso StringOrchestra; Tõnu Kaljuste, conductor. KoernerHall, Royal Conservatory, 273 Bloor St. W. 416-408-0208. $20-$65. 7:00: Pre-concert chatwith James Rolfe and Riho Maimets.Wednesday October 2● ● 12:00 noon: Canadian Opera Company.Chamber Music Series: An Afternoon ofBeethoven. Beethoven: Quartet No.2 in G;Quartet No.10 in E-flat. Benjamin Bowmanand Ashley Vandiver, violin; Teng Li, viola; AlastairEng, cello. Richard Bradshaw Amphitheatre,Four Seasons Centre for the PerformingArts, 145 Queen St. W. 416-363-8231. Free.● ● 8:00: Flato Markham Theatre. BuffySainte-Marie, singer-songwriter. 171 TownCentre Blvd., Markham. 905-305-7469.$54-$59.● ● 9:00: Small World Music Festival. Brownmanand Gruvasylum a lo Cubano: Orishas.Guests: Ogguere and Telmary, rap. LulaLounge, 1585 Dundas St. W. 416-588-0307.$30/$20(adv). Reservation required.Thursday October 3● ● 12:00 noon: Canadian Opera Company.Piano Virtuoso Series: Have Harpsichord, WillTravel. Music by Byrd, Frescobaldi, Rameau,Geminiani and Bach. Hank Knox, harpsichord.Richard Bradshaw Amphitheatre,Four Seasons Centre for the Performing Arts,145 Queen St. W. 416-363-8231. Free.● ● 12:00 noon: Encore Symphonic ConcertBand. Lunchtime Concert. Selectionof concert band music including classical,musicals and other genres, usually with onevocal selection. John Edward Liddle, conductor.Encore Hall, Wilmar Heights Centre,963 Pharmacy Ave., Scarborough. 416-346-3910. $10. Lunch friendly.● ● 12:10: Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic. Mehdi Ghazi, piano. Christ ChurchDeer Park, 1570 Yonge St. 416-241-1298. Free.Donations welcome.● ● 12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Ancora Quattro.Works for flute quartet by M. Dubois, E.Brown, Fiday and Charke. Camille Watts, LeslieNewman, Susan Hoeppner and DianneAitken, flutes. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-978-3750.Free.● ● 12:15: Music at Metropolitan. Noon at Met.Marina Tchepel, soprano; Patricia Wright,piano. Metropolitan United Church, 56 QueenSt. E. 416-363-0331 x26. Free.● ● 7:30: Canadian Opera Company. LaBohème. Puccini. Grazia Doronzio, soprano(Mimi - Oct 6, 12, 16, 18, 22, 25, 29); Joyce El-Khoury, soprano (Mimi - Oct 9, 19, 27, 30);David Lomelí, tenor (Rodolfo - Oct 6, 12, 16,18, 22, 25, 29); Eric Margiore, tenor (Rodolfo- Oct 9, 19, 27, 30); Joyce El-Khoury, soprano(Musetta - Oct 6, 12, 16, 18, 22, 25, 29); SimoneOsborne, soprano (Musetta - Oct 9, 19, 27, 30);Joshua Hopkins, tenor (Marcello - Oct 6, 12,16, 18, 22, 25, 29); Phillip Addis, baritone (Marcello- Oct 9, 19, 27, 30); COC Orchestra andChorus; Carlo Rizzi, conductor. Four SeasonsCentre for the Performing Arts, 145 Queen St.W. 416-363-8231. $12-$365. Also Oct 6(mat),9, 12(mat), 16, 18, 19, 22, 25, 27(mat), 29 and30.● ● 7:30: University of Toronto Faculty ofMusic. U of T Symphony Orchestra SeasonOpening Concert. Grieg: Peer Gynt Suite No.1;Nielsen: Clarinet Concerto Op.57; VaughanWilliams: Fantasia on a Theme by ThomasTallis; Britten: The Young Person’s Guide tothe Orchestra. Michael Dassios, clarinet;David Briskin, conductor. MacMillan Theatre,Edward Johnson Building, 80 Queen’s Park.416-408-0208. $30; $20(sr); $10(st).● ● 8:00: Canadian Music Centre. LucianeCardassi, piano. Contemporary works forpiano by Canadian and Brazilian composers.20 St. Joseph St. 647-438-9874. $20;$10(sr/st).● ● 8:00: Music Toronto. Quartet Series: JerusalemQuartet. Mozart: Quartet in B-flatK589 (Prussian); Shostakovich: QuartetNo.11 in f Op.122; Dvořák: Quartet in G Op.106.Jane Mallett Theatre, St. Lawrence Centrefor the Arts, 27 Front St. E. 416-366-7723 or1-800-708-6754. $50-$55; $10(st); pay-yourage(ages18-35, plus $6 facility and handlingfees and HST).● ● 8:00: Small World Music Festival. JorgeDrexler. Guest: Lenka Lichtenberg, vocals.St. Andrew’s Church, 73 Simcoe St. 416-929-0811. $40/$30(adv).● ● 8:00: Tafelmusik. Baroque Austria: Salzburgand Vienna. Works by Fux, Schmelzer,Rittler, Muffat and Biber. Guest: ManfredoKraemer, violin and conductor. Trinity-St.Paul’s Centre, 427 Bloor St. W. 416-964-6337.$37-$87; $29-$78(65 and over); $15-$78(35and under). Also Oct 4, 5, 6, 8(George WestonRecital Hall). Start times vary.Pax Christi ChoraleNew hymns giving fresh expressions of faith for our time.Sunday, October 6 th , 3:00pmGrace Church on-the-Hill, TorontoPaxChristiChorale.org 416-491-854246 | September 1 – October 7, 2013 thewholenote.com

BAROQUEAUSTRIASALZBURG& VIENNAOCT 3–8TRINITY-ST. PAUL’S CENTRE,JEANNE LAMON HALL &GEORGE WESTON RECITAL HALLtafelmusik.orgBaroque OrchestraJeanne Lamon, Music DirectorFriday October 4● ● 8:00: Aurora Cultural Centre. JohnSheard Presents The Great Reunion. Guest:Russell deCarle (Prairie Oyster). 22 ChurchSt., Aurora. 905 713-1818. $30/$25(adv).● ● 8:00: Flato Markham Theatre. ChamberOrchestra Kremlin. Rossini: Sonata forStrings; Prokofiev: Visions Fugitives; Tchaikovsky:Serenade for Strings. Misha Rachlevsky,conductor. 171 Town Centre Blvd.,Markham. 905-305-7469. $54-$59.● ● 8:00: Royal Conservatory. Royal ConservatoryOrchestra. Strauss: Dance of the SevenVeils (from Salome); Tchaikovsky: Violin Concertoin D; Stravinsky: The Rite of Spring. LuriLee, violin; Julian Kuerti, conductor. KoernerHall, 273 Bloor St. W. 416-408-0208. $25-$55.● ● 8:00: Small World Music Festival. Mashrou’Leila. Lee’s Palace, 529 Bloor St. W. 416-532-1598. $30/$20(adv).● ● 8:00: Tafelmusik. Baroque Austria: Salzburgand Vienna. See Oct 3.Saturday October 5● ● 7:30: Canadian Opera Company. PeterGrimes. Britten. Ben Heppner, tenor (PeterGrimes); Ileana Montalbetti, soprano (EllenOrford); Alan Held, bass (Captain Balstrode);Roger Honeywell, tenor (Bob Boles); PeterBarrett, baritone (Ned Keene); and others;COC Orchestra and Chorus; Johannes Debus,conductor. Four Seasons Centre for the PerformingArts, 145 Queen St. W. 416-363-8231.$12-$332. Also Oct 8, 11, 17, 20(mat), 23 and26(mat).● ● 8:00: Gallery 345. Story-songs/Songpaintings.Soozi Schlanger solo CD releaseand art exhibition. Guests: Colleen Allen,saxophone; Emilyn Stam, piano and fiddle;Tony Quarrington, guitar; Holly Treddenick,aerial performing artist. 345 Sorauren Ave.416-822-9781. $20.● ● 8:00: Greater Toronto PhilharmonicOrchestra. Autumn Classics. Featuring winnersof North York Music Festival. Wagner:Sigfried’s Idyll; Beethoven: Symphony No.7;Bruch: Scottish Fantasy; Mozart: Concertoin d; Beethoven: Violin Concerto. Rachelle Li,violin; Alexander Volkov, violin; Charissa Vandikas,piano; David Fallis, conductor. CalvinPresbyterian Church, 26 Delisle Ave. 647-478-6122. $25; $20(sr/st).● ● 8:00: Tafelmusik. Baroque Austria:Salzburg and Vienna. See Oct 3.Sunday October 6● ● 1:15: Mooredale Concerts. Music & Truffles.Excerpts from Mendelssohn’s Octet, foryoung audiences ages 6-15. Cecilia and AfiaraString Quartets. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-922-3714x103. $13(includes a chocolate truffle at theconclusion).● ● 2:00: Canadian Opera Company. LaBohème. See Oct 3.● ● 2:00: Roy Thomson Hall. MariinskyOrchestra. Stravinsky: Firebird (complete);Pétrouchka (1911); The Rite of Spring. ValeryGergiev, conductor. 60 Simcoe St. 416-872-4255. $49.50-$169.50.● ● 2:30: VOICEBOX: Opera in Concert. TheStressed-Out Impresario. A spoof basedon Mozart’s one-act satire. Leigh-Ann Allen,Christina Campsall, Lise Maher, Tessa Laengert,Guillermo Silva-Marin (The Impresario)and others; Nicole Bellamy, piano. JaneMallett Theatre, St. Lawrence Centre for theArts, 27 Front St. E. 416-366-7723 or 1-800-708-6754. $40-$52.● ● 3:00: North York Suzuki School of Music.Deirdre Reynolds Scholarship Concert. LawrencePark Community Church, 2180 BayviewAve. 416-222-5315. By donation.● ● 3:00: Oshawa Opera. An Afternoon atThe Opera. Highlights from Carmen, Il Trovatoreand Così fan tutte. Jennifer Carterand Jacqueline McIntyre, soprano; KristineDandavino and Sarah Christina Steinert,mezzo; Joseph Levesque, tenor; Stuart Graham,baritone; Christopher Burton, piano;and others. Ritson Road Alliance Church,605 Ritson Rd. N., Oshawa. 905-995-2847.$20.● ● 3:00: Pax Christi Chorale. Great CanadianHymn Competition 2. New works. CatherineRobbin, host. Grace Church on-the-Hill,300 Lonsdale Rd. 416-491-8542. $35; $30(sr);$25(st); $6(child).● ● 3:00: Vesnivka Choir/Toronto UkrainianMale Chamber Choir. Dance Tunes of the40s and 50s. Works by Vesolowskyj. Guest:Barvinok Dance Ensemble. St. Mary’s UkrainianCatholic Church, 3625 Cawthra Rd., Mississauga.416-246-9880 or 416-763-2197. $25;$20(sr/st).● ● 3:15: Mooredale Concerts. Cecilia StringQuartet. Tchaikovsky: String Quartet No.1 in DOp.11; Haydn: String Quartet No.4 in D Op.20;Mendelssohn: Octet in E-flat. Guest: AfiaraString Quartet. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-922-3714 x103.$30; $20(under 30).● ● 3:30: Tafelmusik. Baroque Austria: Salzburgand Vienna. See Oct 3.● ● 4:00: Cathedral Church of St. James. TwilightRecitals. Andrew Ager, organ. 65 ChurchSt. 416-364-7865 x231. Freewill offering.● ● 4:00: St. Philip’s Anglican Church. JazzVespers. George Koller Quartet. 25 St. PhillipsRd., Etobicoke. 416-247-5181. Freewill offering.● ● 7:00: St. Anne’s Anglican Church. Bernieon Book. Tenor songs through the ages. BernieLynch, tenor; Matthew Otto, piano andorgan. 270 Gladstone Ave. 905-867-1194. Bydonation. Proceeds to St. Anne’s Organ Fund.● ● 8:00: Gallery 345. Music Of Heart And Passion:Tango and more. Traditional and nuevotango; also Italian and Japanese art song.Ayumi Moriwaki, vocals; Soohyun Nam, cello;Elbio Fernandez, vocals; Shinichiro Sudo,piano; Steve Yee and Marilena Stalteri, dancers.345 Sorauren Ave. 416-822-9781. $20.● ● 8:00: New Music Concerts. Stefan meetsAnton and Morty meets John. Wolpe: Concertofor nine instruments; Chamber PieceNo.1; Webern: Konzert Op.24; Feldman: Structuresfor string quartet; Projection 5; Cage:String Quartet in Four Parts. Accordes stringquartet; New Music Concerts Ensemble; RobertAitken, flute and conductor. Betty OliphantTheatre, 404 Jarvis St. 416-961-9594. $35;$25(sr/arts worker); $10(st). 7:15: Introduction.2:30: Free seminar with curator AustinClarkson; see Section D, “The ETCeteras,”under Lectures & Symposia for details.● ● 8:00: Small World Music Festival. Dakha-Brakha. Revival Bar, 783 College St. 416-535-7888. $30/$20(adv).B. Concerts Beyond the GTAIN THIS ISSUE: Ancaster, Barrie, Bloomfield, Guelph, Hamilton,Leith, London, Markdale, Niagara-on-the-Lake, Orangeville,Owen Sound, Paris, Peterborough, Picton, Port Hope,St. Catharines, Stratford, Wasaga Beach and Waterloo.Sunday September 1● ● 2:00: Shaw Festival. The Light in thePiazza. Music and lyrics by Guettel; bookby Lucas. Patty Jamieson (Margaret Johnson);Jacqueline Thair (Clara Johnson);Jeff Irving (Fabrizio Naccarelli); Julain Molnar(Signora Naccarelli); Peter Millard (ThePriest); and others; Jay Turvey, stage director;Paul Sportelli, music director; Linda Garneau,choreographer. Court House Theatre,26 Queen St., Niagara-on-the-Lake. 905-468-21721 or 1-800-511-7429. $45.20-$109.61;$33.90(under 30). Runs to October 13. Checkwebsite for performance dates and times.LISTING NOT REPEATED.● ● 2:00: Stratford Festival. Fiddler on theRoof. Book by J. Stein; music by J. Bock; lyricsby S. Harnick. Based on Sholem Aleichemstories. Kate Hennig (Golde); Scott Wentworth(Tevye); Jennifer Stewart (Tzeitel);Jacquelyn French (Hodel); Keely Hutton(Chava); Gabrielle Jones (Yente); and others;Donna Feore, director and choreographer;Shelley Hanson, music director. Festival Theatre,55 Queen St., Stratford. 519-273-1600or 1-800-567-1600. $49-$120.00; $36(18 andunder). Runs to October 20. Check websitefor performance dates and times. LISTINGNOT REPEATED.Tuesday September 3● ● 8:00: Guelph Jazz Festival. World PercussionSummit. Pandit Anindo Chatterjee,Dong-Won Kim, Hamid Drake and Jesse Stewart.Co-operators Hall, River Run Centre,35 Woolwich St., Guelph. 519-763-3000 or1-877-520-2408. Free.Wednesday September 4● ● 12:00 noon: Colours of Music. MiddayMusic With Shigeru. Mollie Moloney, pianoand voice. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $5;free(st).● ● 1:00: Guelph Jazz Festival. Workshop:Loteria del Sotavento, Sonido del Solotempo/Free Fandango. Alain Derbez, Kali Nino Mendozaand others. See listings Section D, “TheETCeteras,” under Workshops.● ● 5:00: Guelph Jazz Festival. Sandy Evans,Matt Brubeck and Pandit Anindo Chatterjee.Macdonald Stewart Art Centre, 358 GordonSt., Guelph. 519-763-3000 or 1-877-520-2408. Free.● ● 8:00: Guelph Jazz Festival. Atomic DoubleBill with Moskus Trio. Moskus Trio (Hans Hulbaekmo,Anja Lauvdal, Fredrik Luhr Dietrichson);Atomic (Fredrik Ljungkvist, MagnusBroo, Håvard Wiik, Ingebrigt Håker Flaten,Paal Nilssen-Love). Co-operators Hall, RiverRun Centre, 35 Woolwich St., Guelph. 519-763-3000 or 1-877-520-2408. $30; $28(sr/st).● ● 8:00: Stratford Festival. Tommy. Musicand lyrics by Townshend; book by Townshendand McAnuff. Additional music andlyrics by Entwistle and Moon. Robert Markus(Tommy); Jewelle Blackman (Gypsy); KiraGuloien (Mrs. Walker); Jeremy Kushnier(Captain Walker); Paul Nolan (Cousin Kevin);and others; Des McAnuff, director. Avon Theatre,99 Downie St., Stratford. 519-273-1600thewholenote.com September 1 – October 7, 2013 | 47

or 1-800-567-1600. $37.50-$143.75; $36(18and under). Runs to October 19. Check websitefor performance dates and times. LIST-ING NOT REPEATED.Thursday September 5B. Concerts Beyond the GTA● ● 9:15am: Guelph Jazz Festival. Workshop:In Case of Emergency Please BreakGlass: A Multi-Modal Fantasia on Philip Glass’Knee Play 4. See listings Section D, “TheETCeteras,” under Workshops.● ● 1:00: Guelph Jazz Festival. Workshop:Jazz Futures – A Bridge to the Unknown.Nicole Mitchell, Anja Lauvdal and others. Seelistings Section D, “The ETCeteras,” underWorkshops.● ● 5:00: Guelph Jazz Festival. Oolong 7. TimPosgate, Ravi Naimpally, Jaimie McClymentand Neil Hendry. Macdonald Stewart Art Centre,358 Gordon St., Guelph. 519-763-3000 or1-877-520-2408. Free.● ● 8:00: Guelph Jazz Festival. Nicole Mitchell’sIndigo Trio Double Bill with Matt Brubeck.Indigo Trio (Nicole Mitchell, Harrison Bankhead,Hamid Drake). St. George’s AnglicanChurch, 99 Woolwich St., Guelph. 519-763-3000 or 1-877-520-2408. $30; $28(sr/st).● ● 11:30: Guelph Jazz Festival. BadBadNot-Good. Matthew Tavares, Chester Hensen andAlex Sowinski. St. George’s Anglican Church,99 Woolwich St., Guelph. 519-763-3000 or1-877-520-2408. $25; $23(sr/st).Friday September 6● ● 1:00: Guelph Jazz Festival. Workshop: InOther Spaces – Improvising Interventions.Joane Hétu, Lori Freedman and others. Seelistings Section D, “The ETCeteras,” underWorkshops.● ● 5:00: Guelph Jazz Festival. Tisziji Muñoz.Tisziji Muñoz, guitar; George Koller, bass;Greg Pilo, drums; Bernie Senensky, piano.Macdonald Stewart Art Centre, 358 GordonSt., Guelph. 519-763-3000 or 1-877-520-2408.$20; $18(sr/st).● ● 8:00: Guelph Jazz Festival. MarianneTrudel, William Parker and Hamid DrakeDouble Bill with Dawn of Midi. Dawn of Midi(Aakaash Israni, Amino Belyamani, QasimNaqvi). Co-operators Hall, River Run Centre,35 Woolwich St., Guelph. 519-763-3000 or1-877-520-2408. $35; $33(sr/st).● ● 11:30: Guelph Jazz Festival. Esmerineand Guests Double Bill with Hamid Drakeand Jesse Stewart. Rebecca Foon, BruceCawdron, Brian Sanderson, Jamie Thompson,Hakan Vreskala and others. St. George’sAnglican Church, 99 Woolwich St., Guelph.519-763-3000 or 1-877-520-2408. $25;$23(sr/st).Saturday September 7● ● 10:30am: Guelph Jazz Festival. SatokoFujii and Kaze. Satoko Fujii, Natsuki Tamura,Christian Pruvost and Peter Orins. Co-operatorsHall, River Run Centre, 35 Woolwich St.,Guelph. 519-763-3000 or 1-877-520-2408.$26; $24(sr/st).● ● 12:00 noon: Guelph Jazz Festival. FriendlyRich’s Scheherazade. Musicians collaboratewith kids from Guelph. Richard Marsella,conductor. St. George’s Anglican Church,99 Woolwich St., Guelph. 519-763-3000 or1-877-520-2408. Free.● ● 1:00: Guelph Jazz Festival. Concert Seriesat Community Stage, Market Square. IsaiahFarahbakhsh, cello improvisations (1pm);Bomata (2:30); Drumhand (4pm); Jane Bunnett’sRumba Meets Jazz (5:30); Jayme Stoneand the Other Side of the Air (7:30pm); Battleof Santiago (9:30pm); Nuit Blanche: Eccodekwith Onkar Singh (11:30pm). Market Square,1 Carden St., Guelph. 519-763-3000 or 1-877-520-2408. Free.● ● 4:00: Guelph Jazz Festival. EnsembleSuperMusique: Pour ne pas désespérerseul. Joane Hétu, Jean Derome, Josh Zubot,Danielle Palardy Roger, David Lafranceand others. Guelph Youth Music Centre,75 Cardigan St., Guelph. 519-763-3000 or1-877-520-2408. $22; $20(sr/st).● ● 8:00: Aeolian Hall/Constellation Records/Sweet Magic London. Esmerine, MatanaRoberts, Jerusalem In My Heart and Saltland.Aeolian Hall, 795 Dundas St. E., London. 519-672-7950. $30/$25(adv); $20(st).● ● 8:00: Guelph Jazz Festival. Pharoah andthe Underground Double Bill with WadadaLeo Smith’s Golden Quartet. River Run Centre,35 Woolwich St., Guelph. 519-763-3000or 1-877-520-2408. $146(VIP); $41-$46;$39-$44(sr/st).Sunday September 8● ● 12:00am: Guelph Jazz Festival. NuitBlanche: Souljazz Orchestra. Soul, Jazz, Afro,Latin and Caribbean rhythms. Pierre Chrétien,Zakari Frantz, Philippe Lafrenière, RayMurray, Marielle Rivard and Steve Patterson.St. George’s Anglican Church, 99 WoolwichSt., Guelph. 519-763-3000 or 1-877-520-2408.$25; $23(sr/st).● ● 12:00am: Guelph Jazz Festival. NuitBlanche at Silence. Jean Derome and JoaneHétu (12am); Patrick Graham, percussionimprovisations (1:30am); Ondine Chorus,voice combined with physical movement; Oliveros,tuning meditation; with Susan Smith;Shannon Kingsbury; Tannis Slimmon (3am);Variazioni Oscuro, interpretation of Italianbaroque work by Guido Buonarroti non Papa;Matt Brubeck, cello; Ben Grossman, ghironda(4:30am); Marianne Trudel, improvised solopiano music (6am). Silence, 46 Essex St.,Guelph. 519-763-3000 or 1-877-520-2408.Free. Runs 12am to 7am.● ● 12:00am: Guelph Jazz Festival. NuitBlanche at Sukha Yoga Centre. Lori Freedmanand Nicolas Caloïa, bass clarinet anddouble bass improvisations (12am); BernardFalaise, electric guitar improvisations(1am); Jayme Stone and Joe Phillips, banjoand double bass improvisations (2am). 101-42 Wyndham St. N., Guelph. 519-763-3000 or1-877-520-2408. Free. Runs 12am to 3am.● ● 12:20am: Guelph Jazz Festival. NuitBlanche at Guelph Youth Music Centre.Mother of Girl: Ann Denny; Ryan Veltmeyer;John Snow; Greg Woolner (12:20am);Birds of Paradox, improvised jazz synthesizedwith traditional Chinese, Western andIndian music; with Ron Samworth, NeelamjitDhillon, Lan Tung and Andre Lachance (2am);Friendly Rich and the Lollipop People: RichardMarsella; Brandi Disterheft; Gregory Oh; JeffBurke; Kimberley Pritchard (3:30am); WilliamParker, Mark Laver and Dong-Won Kim, saxophone,bass, and percussion improvisations(5:30am). 75 Cardigan St., Guelph. 519-763-3000 or 1-877-520-2408. Free. Runs 12:20amto 6:30am.● ● 2:00am: Guelph Jazz Festival. NuitBlanche at St. George’s Anglican Church.DJ Eccodek (Patrick Macpherson) andDeliveryboy, dance music influenced byglobalism (2am); Noche Blanca, dance musicby DJs and live musicians; with Amadeo Venturaand others (3:30). 99 Woolwich St.,Guelph. 519-763-3000 or 1-877-520-2408.Free. Runs 2am to 4:30am.● ● 10:30am: Guelph Jazz Festival. São PauloUnderground. Rob Mazurek, cornet and harmonium;Guilherme Granado, keyboardsand vocals; Mauricio Takara, percussionand electronics. Guelph Youth Music Centre,75 Cardigan St., Guelph. 519-763-3000 or1-877-520-2408. $21; $19(sr/st).● ● 2:00: Guelph Jazz Festival. Jesse Stewartand the Penderecki String Quartet. Percussionwith string quartet. Stewart: GnomonVariations. Co-operators Hall, River Run Centre,35 Woolwich St., Guelph. 519-763-3000or 1-877-520-2408. $26; $24(sr/st).Wednesday September 11● ● 2:30: Barrie Concert Association/Coloursof Music. Seniors Serenade. JanetNess, voice; Chris Ness, piano. Central UnitedChurch, 54 Ross St., Barrie. 705-726-1181.Free.● ● 8:00: Kitchener-Waterloo ChamberMusic Society. Soheil Nasseri, piano.Beethoven: Sonata No.16 in G Op.31 No.1;Brahms: Klavierstücke Op.76; Rachmaninoff:Sonata No.2 in b Op.36 (1913 version); Hersch:Tenebrae (Canadian premiere); 2 Lullabies(Canadian premiere). KWCMS Music Room,57 Young St. W., Waterloo. 519-886-1673. $25;$20(sr); $15(st).Thursday September 12● ● 12:00 noon: University of Guelph Collegeof Arts. Thursday at Noon Concert Series:An Afternoon of Schubert Lieder and OperaSelections. Works by Schubert, Mozart andTchaikovsky. Adrian Kramer, baritone; AnnaRonai, piano. Goldschmidt Room, 107 MacKinnonBldg., 50 Stone Rd. E., Guelph. 519-824-4120 x52991. Free.Friday September 13● ● 7:00: Wasaga Beach Blues. Main StageConcerts. D’Mar and Gill (7pm); DownchildBlues Band (9pm). Stonebridge Town Centre,291 Main St., Wasaga Beach. 905-866-4052.Free; donations accepted.Saturday September 14● ● 12:00 noon: Wasaga Beach Blues.Stonebridge Boulevard Street Shuffle. FraserDaley, Bradley and the Bouncers, Mark Staffordand the Dues Brothers, Ronnie DouglasBlues Band with Roly Platt, The Sensationsand others. Stonebridge Town Centre,291 Main St., Wasaga Beach. 905-866-4052.Free; donations accepted.● ● 4:00: Wasaga Beach Blues. Main StageConcerts. Irene Torres and the Sugar Devils(4pm); Dexter Allen (5:30pm); Jack De Keyzer(7:30pm); A Tribute to the Last Waltz: TheMusic of The Band (9:30pm). StonebridgeTown Centre, 291 Main St., Wasaga Beach.905-866-4052. Free; donations accepted.Sunday September 15● ● 1:00: Wasaga Beach Blues. Main StageConcerts. Mark “Bird” Staffords Junior Jam(1pm); Paul James Band (3:30pm); MississippiAllStars (5pm). Stonebridge Town Centre,291 Main St., Wasaga Beach. 905-866-4052.Free; donations accepted.● ● 7:30: Cuckoo’s Nest Folk Club. Friends ofFiddler’s Green. Chaucer’s Pub, 122 CarlingSt., London. 519-473-2099. $18/$15(adv).Wednesday September 18● ● 12:00 noon: Barrie Concert Association.Music at St. Andrews. Simon Walker, organ.St. Andrew’s Presbyterian Church, 47 OwenSt., Barrie. 705-726-1181. $5; free(st).● ● 8:00: Kitchener-Waterloo ChamberMusic Society. Andrew Sords, violin, andCheryl Duvall, piano. Elgar: Sonata; Mozart:Sonata in e K604; Bach: Solo Partita ind; Hubay: Carmen Fantasie. KWCMS MusicRoom, 57 Young St. W., Waterloo. 519-886-1673. $25; $20(sr); $15(st).Friday September 20● ● 7:30: Cuckoo’s Nest Folk Club. Jeni & Billy.Appalachian Roots Music. Chaucer’s Pub(upstairs), 122 Carling St., London. 519-473-2099. $18/$15(adv).● ● 7:30: Prince Edward County Music Festival.Festival’s Greatest Hits. Works by Schubert,Gellman and Brahms. Donna Brown,soprano; Ross Edwards, clarinet; JacquesIsraelievitch, violin; Aaron Au, viola; TanyaProchazka, cello; Stéphane Lemelin, piano.Church of St. Mary Magdalene, 339 Main St.,Picton. 613-476-8416 x28 or 1-877-411-4761.$36; 5 cents(teen). See website for festivalpasses.● ● 8:00: Aeolian Hall. Aeolian DiscoverySeries. Megan Hamilton, singer-songwriter.Guests: Carly Thomas; Katy Carswell.795 Dundas St. E., London. 519-672-7950.$15/$12(adv); $9(st).● ● 8:00: SweetWater Music Festival. FridayEvening Concert. Schulhoff: Five Piecesfor String Quartet; Haydn: String QuartetOp.76 No.2; Ryan: Bellatrix for Solo Violin;Dvořák: String Sextet in A Op.48. AnnaleePatipatanakoon, Edwin Huizinga and MarkFewer, violin; Philip Ying, viola; Roman Borys,cello; and others. Leith Church, 419134 TomThomson Ln., Leith. 519-470-2011. $43.● ● 8:00: Theatre Ancaster. Side By SideBy Sondheim. Cabaret celebration featuringsongs from Sondheim musicals such asA Funny Thing Happened on the way to theForum, Company, West Side Story, SweeneyTodd, Gypsy and others. Andy Blackwood, director;Monica Admiral, piano. Old FirehallArts Centre, 334 Wilson St. E., Ancaster. 905-304-8863. $25; $20(sr); $10(st). Also Sep 21,22(mat), 27, 28.● ● 10:00: All-Canadian Jazz Festival. Free FridayNight Concert. Tom Lavin and LegendaryPowder Blues. Memorial Park, 56 Queen St.,Port Hope. 1-855-713-9310. Free.Saturday September 21● ● 11:00am: All-Canadian Jazz Festival. DaytimeConcerts. M. Occhipinti: The Universeof John Lennon; and other selections. ClubDjango, Alex Pangman, Mike Murley Septet,Michael Occhipinti with Shine On and ElizabethShepherd, and others. Memorial Park,56 Queen St., Port Hope. 1-855-713-9310. $25day pass.● ● 2:00: SweetWater Music Festival. AMusical Celebration of Django Reinhardt andStéphane Grappelli by Van Django. North Gallery,Tom Thomson Art Gallery, 810 1st Ave.W., Owen Sound. 519-470-2011. Pwyc.● ● 3:00: Capella Intima. Celestial Sirens:Music from the Benedictine Nuns of 17th-Century Milan. Erin Bardua and Emily Klassen,soprano; Jennifer Enns Modolo, alto;Bud Roach, tenor; Erika Reiman, portativeorgan. MacNeill Baptist Church, 1145 King St.48 | September 1 – October 7, 2013 thewholenote.com

W., Hamilton. 905-517-3594. $15 suggesteddonation. Also Sep 28 (Toronto).● ● 6:30: SweetWater Music Festival. Sweet-Water Young Artists Concert. Emily Aquin,violin; Sebastian Ostertag, cello; Katie Gleiser,piano. Georgian Shores United Church, 9974th Ave E., Owen Sound. 519-470-2011. Pwyc.● ● 7:30: All-Canadian Jazz Festival. All-CanadianLegends. Renee Rosnes, P.J. Perry,Terry Clarke, Neil Swainson. Memorial Park,56 Queen St., Port Hope. 1-855-713-9310. $45.● ● 7:30: Prince Edward County Music Festival.Mary Lou Fallis and Peter Tiefenbach,More or Less Alive. Musical comedy featuringa soprano and pianist. Church of St. MaryMagdalene, 339 Main St., Picton. 613-476-8416 x28 or 1-877-411-4761. $36; 5 cents(teen).See website for festival passes.● ● 8:00: SweetWater Music Festival. MainStage Concert. Bach: complete BrandenburgConcerti; Carli: Seventh Brandenburg. JamesCampbell, clarinet; Rosanne Wieringa, flute;Annalee Patipatanakoon, violin; Roman Borysand David Ying, cello; and others. GeorgianShores United Church, 997 4th Ave E., OwenSound. 519-470-2011. $32.● ● 8:00: Theatre Ancaster. Side By Side BySondheim. See Sep 20.Sunday September 22● ● 12:00 noon: All-Canadian Jazz Festival.Daytime Concerts. TD Canada Trust YoungJazz Showcase, Bebop Cowboys with RussellDecarle, Ron Davis, Cadence, Cimarrón.Memorial Park, 56 Queen St., Port Hope.1-855-713-9310. $25 day pass.● ● 2:00: Prince Edward County Music Festival.Gryphon Trio. Works by Haydn, Mozetichand Dvořák. Church of St. Mary Magdalene,339 Main St., Picton. 613-476-8416 x28 or1-877-411-4761. $36; 5 cents(teen). See websitefor festival passes.● ● 2:00: SweetWater Music Festival. MainStage Concert. Bach: Concerto for Two Violins;Mozart: Clarinet Concerto in A K622;Haydn: Concerto for Cello in C. Mark Fewerand Emily Aquin, violin; James Campbell,clarinet; Denise Djokic, cello; and others.Georgian Shores United Church, 997 4th AveE., Owen Sound. 519-470-2011. $32.● ● 2:00: Theatre Ancaster. Side By Side BySondheim. See Sep 20.● ● 5:00: Strut Entertainment. Celtic Thunder:Mythology CD/DVD Release Tour. TraditionalIrish music and international hits.Emmet Cahill, Keith Harkin, Ryan Kelly,George Donaldson, Neil Byrne and ColmKeegan. Hamilton Place, 10 Macnab St. S.,Hamilton. 905-546-3100. $39-$96. AlsoSep 20(Oshawa), 21(Toronto). Start timesvary.● ● 8:00: Aeolian Hall. James Keelaghan,singer-songwriter/guitar. 795 Dundas St. E.,London. 519-672-7950. $25/$20(adv).● ● 8:00: Kitchener-Waterloo ChamberMusic Society. Peter Stoll, clarinet; JosephMacerollo, accordion. Works by Kovacs, Nimmons,Messiaen, Palej, Nordheim and others.KWCMS Music Room, 57 Young St. W., Waterloo.519-886-1673. $25; $20(sr); $15(st).Tuesday September 24● ● 12:15: St. Paul’s Anglican Cathedral. StephanieBurgoyne and William Vandertuin. Organsolo and organ four hands. 472 Richmond St.,London. 519-752-0965. Free.● ● 7:30: Cathedral Bluffs Symphony Orchestra.TrioEstonia. Cirri: Duet for Violin andCello; Piazzolla: The Seasons; Sumera/Kangro/Kuulberg: Piano Trio “MaLeRaKaSuKu”; Pärt: Fratres; Beethoven: PianoTrio in e Op.1 No.1; and other works includingEstonian art songs. Arvo Leibur, violin;Norman Reintamm, piano; Aare Tammesalu,cello. Guest: Pam Birrell, soprano. MurrayStreet Baptist Church, 175 Murray St., Peterborough.705-745-1820. $10; $5(st).Thursday September 26● ● 12:00 noon: University of Guelph Collegeof Arts. Thursday at Noon Concert Series:Sassy Songs for Sassy Women. Music andpoetry by women. Works by A. Mahler, Viardotand Larsen. Marion Samuel-Stevens, soprano;Anna Ronai, piano. Goldschmidt Room,107 MacKinnon Bldg., 50 Stone Rd. E., Guelph.519-824-4120 x52991. Free.● ● 2:00: Theatre Orangeville. Wichita Lineman:The Music Of Glen Campbell. By TheTime I Get To Phoenix, Galveston, GentleOn My Mind, Southern Nights, RhinestoneCowboy and others. Aaron Solomon,vocals. Guests: Leisa Way and Randall Kempf.87 Broadway, Orangeville. 519-942-3423 or1-800-424-1295. $40. Also Sep 27-29; starttimes vary.● ● 7:30: Prince Edward County Music Festival.La Bohème. Puccini. Premiere ofJeunesses Musicales du Canada’s touringproduction. Regent Theatre, 224 Main St.,Picton. 613-476-8416 x28 or 1-877-411-4761.$36; 5 cents(teen).● ● 8:00: Cathedral Bluffs Symphony Orchestra.TrioEstonia. Cirri: Duet for Violin andCello; Piazzolla: The Seasons; Sumera/Kangro/Kuulberg: Piano Trio “MaLeRaKaSuKu”; Pärt: Fratres; Beethoven: PianoTrio in e Op.1 No.1; and other works. Arvo Leibur,violin; Norman Reintamm, piano; AareTammesalu, cello. Barrhead Pub and Grill,735198 Westback Line, Markdale. 416-550-6465. $10.Friday September 27● ● 7:00: Kitchener-Waterloo Symphony. ABeautiful Night with Natalie MacMaster. CanadianCeltic music. Natalie MacMaster, fiddle;Evan Mitchell, conductor. Centre in theSquare, 101 Queen St. N., Kitchener. 519-745-4711 or 1-888-745-4717. $28 and up. AlsoSep 28(8pm).● ● 7:30: Colours of Music. Bizet’s RivetingCarmen. Concert version of the Bizet opera.Barbara King, mezzo (Carmen); AndrewTees, baritone (Escamillo); Stanislas Vitort,tenor (Don José); Sharon Tikiryan, soprano(Micaëla); Lenard Whiting, choral director;William Shookoff, conductor. Central UnitedChurch, 54 Ross St., Barrie. 705-726-1181.$15-$35; $5(st); $75-$85(adult passport);$20-$25(st passport).● ● 7:30: Prince Edward County Music Festival.Baroque at Oeno Gallery. GrégoireJeay, flute; Luc Beauséjour, harpsichord.2274 County Rd.1, Bloomfield. 613-476-8416x28 or 1-877-411-4761. $50. Food and wineincluded.● ● 8:00: Kitchener-Waterloo ChamberMusic Society. TrioEstonia. Cirri: Duet forViolin and Cello; Piazzolla: Spring and Fallfrom The Seasons; Sumera/Kangro/Kuulberg:Piano Trio “MaLeRa KaSuKu”; Pärt:Fratres; Beethoven: Piano Trio in e Op.1 No.1.Arvo Leibur, violin; Norman Reintamm, piano;Aare Tammesalu, cello. KWCMS Music Room,57 Young St. W., Waterloo. 519-886-1673. $25;$20(sr); $15(st).● ● 8:00: Theatre Ancaster. Side By Side BySondheim. See Sep 20.● ● 8:00: Theatre Orangeville. Wichita Lineman:The Music Of Glen Campbell. SeeSep 26.Saturday September 28● ● 12:00 noon: Colours of Music. Classicsat Noon: Mark Fewer, violin; James Campbell,clarinet; Angela Park, piano. Works byBartók, Milhaud, Brahms, Beethoven, Saint-Saëns and Catoire. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$15; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 2:00: Prince Edward County Music Festival.Festival Debut. Featuring young artistsfrom the region. Elizabeth McDonald,soprano; Marek Krowicki, piano. Church ofSt. Mary Magdalene, 339 Main St., Picton.613-476-8416 x28 or 1-877-411-4761. $36; 5cents(teen). See website for festival passes.● ● 2:30: Colours of Music. Lilting Melodies:Judy Loman, harp; Nora Shulman, flute.Works by Rota, Piazzolla, Liebermann andSchaposchnikov. Westminster PresbyterianChurch, 170 Steel St., Barrie. 705-726-1181.$25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 7:30: Colours of Music. The Glory of theEnglish Anthem: Peter Mahon conducts theTallis Choir. Works by Purcell, Handel andParry. St. Andrew’s Presbyterian Church,47 Owen St., Barrie. 705-726-1181. $15-$35;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 7:30: Prince Edward County Music Festival.Grand Finale! Piano 1-2-3-4-5-6 Hands.Works for one hand to 30 fingers on onepiano. David Jalbert, Andrew Tunis and StéphaneLemelin, piano. Church of St. MaryMagdalene, 339 Main St., Picton. 613-476-8416 x28 or 1-877-411-4761. $36; 5 cents(teen).See website for festival passes.● ● 8:00: Kitchener-Waterloo Symphony. ABeautiful Night with Natalie MacMaster. SeeSep 27.● ● 8:00: Theatre Ancaster. Side By Side BySondheim. See Sep 20.● ● 8:00: Theatre Orangeville. Wichita Lineman:The Music Of Glen Campbell. SeeSep 26.Sunday September 29● ● 2:00: Theatre Orangeville. Wichita Lineman:The Music Of Glen Campbell. SeeSep 26.● ● 2:30: Colours of Music. Four Hands/OnePiano. Works by Mozart, Schumann, Dvořák,Ravel, Poulenc and Grieg. Robert Kortgaardand Peter Tiefenbach, piano. Hi-WayPentecostal Church, 50 Anne St. N., Barrie.705-726-1181. $25; $5(st); $75-$85(adult passport);$20-$25(st passport).● ● 2:30: Niagara Symphony Orchestra.Masterworks Series: One Thousand and OneNights. Lau: Artemis; Sibelius: Violin Concerto;Rimsky-Korsakov: Scheherazade.Andrea Tyniec, violin; Bradley Thachuk, conductor.Sean O’Sullivan Theatre, Brock UniversityCentre for the Arts, 500 GlenridgeAve., St. Catharines. 905-688-5550 x3257or 1-866-617-3257. $13.50-$55. 1:45: Pre-concertchat.● ● 3:00: St. Paul’s United Church (Paris).Variety Concert. St. Paul’s Choir and Soloists;Sean Colwell, trumpet; Alina Barnett,thewholenote.com September 1 – October 7, 2013 | 49

soprano; Stephanie Burgoyne, conductor.48 Broadway St. W., Paris. 519-752-0965.Free.● ● 7:30: Colours of Music. Hot Club of France:music of Django Reinhardt and StéphaneGrappelli. Original sound of European swing.Mark Fewer, violin; James Campbell, clarinet;Graham Campbell, Roberto Rosenman andChris Bezant, guitar; Chris Kettlewell, bass.Central United Church, 54 Ross St., Barrie.705-726-1181. $15-$35; $5(st); $75-$85(adultpassport); $20-$25(st passport).Monday September 30● ● 12:00 noon: Colours of Music. Schubert’sGrand String Quintet: Cecilia String Quartet;Adrian Fung, cello. First Baptist Church,550 Grove St. E., Barrie. 705-726-1181. $15;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 2:30: Colours of Music. Music for theDance: Narrator/Ballet Legend Evelyn Hartand Duo Concertante. Bartók: RumanianKitchener-WaterlooChamber Music SocietypresentsTrioEstoniaArvo Pärt, Erkki-Sven Tüür; Piazzolla;Sumera / Kangro / Kuulberg;Beethoven Piano Trio #1Sept. 27, 8:00pm57 Young St. W., Waterloo$25 ($20,$15 sr/st)www.TicketScene.ca/kwcmswww.k-wcms.comOTHER TRIOESTONIA TOUR DATESSept 24, 7:30pm:Murray Street Baptist Church (Peterborough)Sept 25, 1pm:University of Toronto (Scarborough Campus)Sept 25, 8pm:Tartu College (Toronto)Sept 26, 12:10pm:Christ Church Deer Park (Toronto)Sept 26, 8 pm:Barrhead Pub and Grill (Markdale)B. Concerts Beyond the GTADances; Saint-Saëns: Danse Macabre; Khachaturian:Sabre Dance. Nancy Dahn, violin;Timothy Steeves, piano. Central UnitedChurch, 54 Ross St., Barrie. 705-726-1181.$25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 7:30: Colours of Music. Strike Up TheBand: From Percy Grainger to Colonel BogeyMarch. U of T Wind Ensemble; Gillian Mackay,conductor. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $25;$5(st); $75-$85(adult passport); $20-$25(stpassport).Tuesday October 1● ● 10:00am: Colours of Music. Talk on Musicof the Day. Conductor/commentator KerryStratton provides a discussion and reviewof the day’s concerts. See listings Section D,“The ETCeteras,” under Lectures & Symposia.● ● 12:00 noon: Colours of Music. Poems ofLeonard Cohen and Lien Chao. Duo Concertante(Nancy Dahn, violin; Timothy Steeves,piano); Evelyn Hart, narrator. Burton AvenueUnited Church, 37 Burton Ave., Barrie. 705-726-1181. $15; $5(st); $75-$85(adult passport);$20-$25(st passport).● ● 2:30: Colours of Music. Afternoon inFrance. Works by Ravel and Chausson.Michael Kim, piano; Brian Lewis, violin; CeciliaString Quartet. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $25;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 7:30: Colours of Music. Quartet for theEnd of Time. Messiaen. Gryphon Piano Trio;James Campbell, clarinet. Central UnitedChurch, 54 Ross St., Barrie. 705-726-1181.$25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 8:00: Aeolian Hall. Buffy Sainte-Marie.795 Dundas St. E., London. 519-672-7950.$55/$50(adv).● ● 8:00: Kitchener-Waterloo ChamberMusic Society. Irina Kulikova, guitar. Bach:Cello Suite No.1 in G BWV1007; Vassiliev:Three Forest Paintings - The Old Oak, Snowdrops,Dance of the Forest Ghosts; Kozlov:Dedication to the Russian Land; Rudnev:Old Lime Tree; Sor: Fantasia Op.30. KWCMSMusic Room, 57 Young St. W., Waterloo. 519-886-1673. $30; $25(sr); $20(st).Wednesday October 2● ● 10:00am: Colours of Music. Meet the Composer:Andrew Ager, composer-in-residence.See listings Section D, “The ETCeteras,” underLectures & Symposia.● ● 12:00 noon: Colours of Music. Ben Smithplays Dussek. Sonatas by Czech composerand pianist Jan Ladislav Dussek. CentralUnited Church, 54 Ross St., Barrie. 705-726-1181. $15; $5(st); $75-$85(adult passport);$20-$25(st passport).● ● 2:30: Colours of Music. Fabulous French.Works by Milhaud, Vieuxtemps and Saint-Saëns. Brian Lewis, violin; Michael Kim,piano. Hi-Way Pentecostal Church, 50 AnneSt. N., Barrie. 705-726-1181. $25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 7:30: Colours of Music. On the Upbeat.Works by Beethoven, Suk and others; Ager:Klezmer Wedding (premiere). Amara PianoQuartet; James Campbell, clarinet. CentralUnited Church, 54 Ross St., Barrie. 705-726-1181. $25; $5(st); $75-$85(adult passport);$20-$25(st passport).Thursday October 3● ● 10:00am: Colours of Music. Talk on Musicof the Day. Conductor/commentator KerryStratton provides discussion and review ofthe day’s concert. See listings Section D, “TheETCeteras,” under Lectures & Symposia.● ● 12:00 noon: Colours of Music. A Songin the Air. Works by Mozart, Mendelssohn,Brahms, Britten, Barber and Duke. JenniferKrabbe, soprano; David Roth, baritone; TomKing, piano. Burton Avenue United Church,37 Burton Ave., Barrie. 705-726-1181. $15;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 12:00 noon: University of Guelph Collegeof Arts. Thursday at Noon Concert Series:Chamber Klezmer - Lightstone/Katz KlezmerDuo. Brian Katz, guitar/piano/voice; JonnoLightstone, clarinet and flute. GoldschmidtRoom, 107 MacKinnon Bldg., 50 Stone Rd. E.,Guelph. 519-824-4120 x52991. Free.● ● 2:30: Colours of Music. Michael Kim,piano. Works by Mozart, Chopin and Mussorgsky.Central United Church, 54 RossSt., Barrie. 705-726-1181. $25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 7:30: Colours of Music. A Happy Time.Works by Dvořák. Brian Lewis, violin; AmaraPiano Quartet. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $25;$5(st); $75-$85(adult passport); $20-$25(stpassport).Friday October 4● ● 12:00 noon: Colours of Music. Music ofIrving Berlin. Alexander’s Ragtime Band,What’ll I Do?, Always, All Alone and otherselections. Mike Lewis, piano. Central UnitedChurch, 54 Ross St., Barrie. 705-726-1181. $15;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 2:30: Colours of Music. Bursting Beauty.Evolution of the piano quartet, from Mozartto Brahms to Walton. Amara Piano Quartet(Borivoj Martinic-Jercic, violin; JonathanSturm, viola; George Work, cello; Mei-HsuanHuang, piano). Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $25;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 7:30: Colours of Music. Sing Out! Worksby Daley, Glick, Adam and Ager. Amabile Boysand Mens Choirs. Central United Church,54 Ross St., Barrie. 705-726-1181. $15-$35;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 7:30: Cuckoo’s Nest Folk Club. RichardGrainger. Chaucer’s Pub (upstairs),122 Carling St., London. 519-473-2099.$18/$15(adv).● ● 8:00: Kitchener-Waterloo Symphony.Anton Kuerti Returns! Good: What the Chickpeasaid to the Cook; Beethoven: Piano ConcertoNo.1 in C; Vaughan Williams: Fantasia ona Theme by Thomas Tallis; Beethoven: SymphonyNo.4 in B-flat . Anton Kuerti, piano;Edwin Outwater, conductor. Centre in theSquare, 101 Queen St. N., Kitchener. 519-745-4711 or 1-888-745-4717. $19 and up. Also Oct 5and 6(mat).Saturday October 5● ● 10:00am: Colours of Music. Masterclass.Pianist Robert Kortgaard works with thetop three pianists from the Barrie KiwanisMusic Festival. See listings Section D, “TheETCeteras,” under Masterclasses.● ● 12:00 noon: Colours of Music. Ian Sadler,organ. St. Andrew’s Presbyterian Church,47 Owen St., Barrie. 705-726-1181. $15;$5(st); $75-$85(adult passport); $20-$25(stpassport).● ● 2:30: Colours of Music. The IncredibleBanjo. Works by Bach, Debussy and others;music from the Appalachians. Jayme Stone,banjo; Kevin Turcotte, trumpet; AndrewDowning, cello; Joe Phillips, bass; Nick Fraser,drums. First Baptist Church, 550 GroveSt. E., Barrie. 705-726-1181. $25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 7:30: Colours of Music. Festival Gala: BrianLewis, violin, and Sinfonia Toronto. McLean:Elements. Nurhan Arman, conductor. Hi-WayPentecostal Church, 50 Anne St. N., Barrie.705-726-1181. $15-$35; $5(st); $75-$85(adultpassport); $20-$25(st passport).● ● 7:30: Opera by Request/Kitchener-WaterlooFrancophone Association. Manon.Massenet. Caroline Dery, soprano (Manon);Lenard Whiting, tenor (Des Grieux); MichaelRobert-Broder, baritone (Lescaut); AveryKrisman, tenor (Guillot); Andrew Tam, baritone(Bretigny); and others; William Shookhoff,piano. Knox Presbyterian Church, 50 ErbSt. W., Waterloo. 416-455-2365. $20.● ● 8:00: Kitchener-Waterloo Symphony.Anton Kuerti Returns! See Oct 4.● ● 8:00: Peterborough Symphony Orchestra.Sultans of String. Flamenco to EastCoast Celtic music. Michael Newnham, conductor.Showplace Performance Centre,290 George St. N., Peterborough. 1-866-444-2154. $28.50-$39.50; $15(st). 7:10: Pre-concertchat.Sunday October 6● ● 2:30: Colours of Music. The CanadianGuitar Quartet: Julien Bisaillon, Philip Candelaria,Bruno Roussel and Louis Trépanier.Westminster Presbyterian Church, 170 SteelSt., Barrie. 705-726-1181. $25; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 2:30: Kitchener-Waterloo Symphony.Anton Kuerti Returns! See Oct 4.● ● 7:30: Colours of Music. I’ll Be Seeing You.Songs from wartime. Wendy Nielsen, soprano;Patrick Raftery, tenor; Robert Kortgaardand Peter Tiefenbach, piano. BurtonAvenue United Church, 37 Burton Ave., Barrie.705-726-1181. $15-$35; $5(st); $75-$85(adult passport); $20-$25(st passport).● ● 8:00: Kitchener-Waterloo ChamberMusic Society. Robert Silverman, piano.Brahms: Rhapsodies Op.79 (Nos. 1 and 2);Six Piano Pieces Op.118 (Intermezzi; Ballade;Romance); Variations and Fugue on a Themeby Handel Op.24. KWCMS Music Room,57 Young St. W., Waterloo. 519-886-1673.$30; $25(sr); $20(st).FREE EVENT LISTINGSlistings@thewholenote.com50 | September 1 – October 7, 2013 thewholenote.com

C. In the Clubs (Mostly Jazz)IN THE CLUBS continued from page 15Alleycatz2409 Yonge St. 416-481-6865 alleycatz.caEvery Mon 8pm Salsa Night w/ Frank Bischunand free lessons. Every Tue 8:30pmCarlo Berardinucci Band. No Cover. EveryWed 8:30pm City Soul Swinging Blues & VintageR&B. No Cover. Every Thu 9pm Soul andR&B (bands alternate weekly). Every Fri/Sat 9:30pm Funk, Soul, R&B, Top 40 $10 after8:30pm. Sep 5 The Community Soul Project.Sep 6, 7 Lady Kane. Sep 12 Daniella Walters.Sep 13 Ascension. Sep 14 Soular. Sep 19 Dustin Jones & the Rising Tide. Sep 20, 21 LadyKane. Sep 26 Blues & Troubles. Sep 27 LadyKane. Sep 28 Jamesking.Annette Studios566 Annette St. 647-880-8378annettestudios.comEvery Mon 9:30pm Jazz Jam w/ Nick MorganQuartet. Suggested donation $12/$9(st).Artword Artbar15 Colbourne St., Hamilton. 905-543-8512artword.net (full schedule)Bon Vivant Restaurant1924 Avenue Rd. 416-630-5153bonvivantdining.comEvery Thu 6-9pm Bill Naphan Solo Guitar.Every Fri 6-9pm Margaret Stowe Solo Guitar.Castro’s Lounge2116 Queen St. E. 416-699-8272castroslounge.com No Cover/PWYC.Every Sun 4pm Live jazz. Every Mon 9pmRockabilly Night w/ the Cosmotones. EveryTue 8pm rotating bluegrass bands; 10:30pmblueVenus. Every Wed 8pm MediterraneanStars. Every Thu 9pm Jerry Leger & the Situation.Every Fri 5pm Ronnie Hayward. EverySat 4:30pm Big Rude Jake.Chalkers Pub, Billiards & Bistro247 Marlee Ave. 416-789-2531chalkerspub.comAll weekend events: $10 cover;free(under 16).Every Wed 8pm-midnight Girls Night OutJazz Jam w/ host Lisa Particelli. PWYC.Sep 14 6-9pm Mike Murley Trio: Murley (sax);Reg Schwager (guitar); Steve Wallace (bass)$10. Sep 21 6-9pm Robi Botos Trio. Sep 277-10pm We Are One Jazz Voices w/ HowardReese Trio $10. Sep 28 6-9pm Lorne LofskyTrio: Lofsky (guitar); Kieran Overs (bass);Barry Romberg (drums).Classico Pizza & Pasta2457 Bloor St. W. 416-763-1313Every Thu 7pm Nate Renner. No Cover.Communist’s Daughter, The1149 Dundas St. W. 647-435-0103Every Sat 4-7pm Gypsy Jazz w Michael Johnson& Red Rhythm. PWYC.DeSotos1079 St. Clair Ave. W. 416-651-2109Every Thu 8pm-midnight Open Mic Jazz Jam,hosted by Double A Jazz.Dominion on Queen500 Queen St. E. 416-368-6893dominiononqueen.com (full schedule)Every Sat 4-7:30pm Ronnie Hayward. EverySun 11am-3pm Rockabilly Brunch w/ AlistairChristl and the Cosmotones. No Cover. EveryTue 8:30pm Hot Club of Corktown DjangoJam w/ host Wayne Nakamura. PWYC. EveryWed 8pm Corktown Ukelele Jam $5. Sep 57pm Wee Folk Club $10. Sep 6 9pm Havana toToronto: Afro Cuban Jazz $10. Sep 8 4:30pmWintergarten Orchestra $10. Sep 14 9pmPeter Karp & Sue Foley $TBA. Sep 19 WeeFolk Club $10. Sep 20, 21 22 East End RockabillyRiot (details TBA).Dovercourt House805 Dovercourt Rd. 416-537-3337odd-socks.org (full schedule)Every Sat 9pm-1am Saturday Night Swing:Dance featuring Live Swing Bands and twopre-party dance classes. Dance $13; $15 withone class, $18 with both. Sep 7 Bertie & theGents. Sep 14 Alex Pangman & the Alleycats.Sep 21, 28 TBA.EDO Sushi484 Eglinton Ave. W. 416-322-3033Every Thu Live Jazz 7-10pm. No Cover.Sep 5 Joel Hartt (vocals); Mike Daley (guitar);Don Thompson (bass). Sep 12 Reg Schwager(guitar); Kiki Misumi (cello); Drew Jurecka(violin). Sep 19 Serafin LaRiviere (vocals);Tony Quarrington (guitar); Lee Saba Hutchinson(bass). Sep 26 Zoey Adams (vocals); TonyQuarrington (guitar); Tony Laviola (bass).Emmet Ray, The924 College St. 416-792-4497theemmetray.com (full schedule)All shows: No Cover/PWYC.Sep 1 9pm Graham Playford. Sep 2 7pm GramWhitty Trio; 9pm Brendan Davis, Chris Gale& Reg Schwager. Sep 4 9pm Kevin Butler.Sep 5 9pm John Wayne Swingtet. Sep 8 9pmJon Shearsmith, Soren Nissen & Eric West.Sep 9 7pm Matt Rait Trio; 9pm Adam Arruda.Sep 11 pm Peter Boyd. Sep 12 9pm FindersKeepers. Sep 15 9pm Union Duke. Sep 16 7pmAlex Fournier Quartet; 9pm Composers’ Collective.Sep 18 Kevin Butler & Friends. Sep 199pm Vokurka’s Vicarious Virtuoso Violin.Sep 22 9pm Tropical Punch. Sep 23 7pm DaveChan, Ryan Butler & Phill Albert; 9pm GeoffYoung Trio. Sep 25 9pm Peter Boyd. Sep 269pm Ghetto Hicks. Sep 29 2pm-midnightEmmett Ray One Day Music Festival. Sep 307pm Norbert Botos; 9pm Chris Gale Quartet:Gale (sax); Harley Card (guitar); Dan Fortin(bass); Anthony Michelli (drums).Fionn MacCool’s181 University Ave. 416-363-1944fionnmaccools.comEvery Sun 8-11pm Classical Social, hosted bySimon Capet. No Cover.Flying Beaver Pubaret, The488 Parliament St. 647-347-6567pubaret.com (full schedule)Sep 6, 7 7pm Broadsway: Heather Bambrick,Julie Michels & Diane Leah $25/$20(adv).Sep 13 7pm Alex Tait Trio $15/$10(adv). Seewebsite for updated listings.Gate 403403 Roncesvalles Ave. 416-588-2930gate403.com All shows: PWYC.Sep 1 5pm Yanis Khamsi Solo; 9pm AimeeButcher Jazz Band. Sep 2 5pm Mike DaleyJazz Trio; 9pm Richard Whiteman Jazz Bandreading some ofthe press aboutEuphonia, startedto have a conversationamong hiscolleagues, andthey were saying,“when did weget so afraid ofpushing ourselvesoutside of thecomfort zone?”And it’s true:musicians tend tofeel that they’rereally good whenthey play withinthis comfortzone ... but theexcitement is, forexample, TanyaCharles directingher piece for thefirst time, placedColleen Allen.her outside ofher comfortzone; us playing at the Lula Lounge, places us outside of our comfortzone because we have no acoustic to make life easy for us. If weplay in a church, or at Koerner Hall, there is a little bit of resonancethat will help us tune, but we have to be so much more accurate atLula because there is no acoustic to help us. But the audience isn’tcomplaining about our tuning, or the occasional wrong note; whatthey are responding to is the authenticity and energy of the experience.And that’s where music comes alive, because music is anemotional communication between human beings, and it starts withthe musicians, not with the music.”Here’s hoping you’ll all check out what Simon Capet is doing atFionn MacCool’s and Lula Lounge; these are exciting times for theensemble. For those who wish to plan ahead, Euphonia will beback at Lula Lounge on September 16, October 21, November 11 andDecember 16. Admission is pay-what-you-can, suggested $10.On a closing note, isn’t it great when risks pay off? Readers mayrecall that the Fridays at Five series featuring the Canadian JazzQuartet was forced to pause when Quotes (220 King St. W.) closedits doors. A few months back, the series moved a few doors downand one day back. Thursdays at Five takes place at KAMA ClassicalIndian Cuisine (214 King St. W.) and word is that it has been incrediblysuccessful.“We’ve been thrilled with the big crowds we’ve been generatingall summer,” says Fay Olson, who books the series. “Summer isa time when a lot of clubs don’t want to risk that attendance willgo down. We took a chance after only having been going for a fewweeks when it was summer, but I think the fact it’s on Thursdays(instead of Fridays) is why it’s working. Even on long weekendswhen a lot of people leave town on Fridays, we’ve done really well onThursday nights.”According to what I’ve heard, the buffet is spectacular and managerKen Clarke has arranged for a Jazz Menu on Thursdays, featuringclassical Indian takes on sliders, nachos and wings!Let’s be sure to keep this excellent series going. The CanadianJazz Quartet features Don Vickery on drums, Gary Benson on guitar,Frank Wright on vibes and Duncan Hopkins on bass. Their exquisitehorn playing guests this month are Dave Dunlop on September 5,Kelly Jefferson on September 12, Mike Malone on September 19 andColleen Allen on September 26.Happy fall to all, and here’s hoping to see you in the clubs!Ori Dagan is a Toronto-based jazz vocalist,voice actor and entertainment journalist. He canbe contacted at jazz@thewholenote.com.thewholenote.com September 1 – October 7, 2013 | 51

feat. Terra Hazelton. Sep 3 5pm Blain Davis& Gould Blues Trio; 9pm Julian Fauth BluesNight. Sep 4 5pm Ben Plotnick: Rye & FairyTales; 9pm Kurt Nielsen & Richard WhitemanJazz Band. Sep 5 5pm Shae & Lorne JazzDuo; 9:30pm Melanie Brulée Band. Sep 65pm Mike Field Jazz Band; 9pm John DeehanJazz Band feat. Zoe Chilco. Sep 7 5pmBill Heffernan & Friends; 9pm Melissa BoyceJazz & Blues Band. Sep 8 5pm Mark Yan JazzBand; 9pm Phillip Albert Jazz Quartet. Sep 95pm Denis Schingh Solo; 9pm Richard WhitemanJazz Band feat. Terra Hazelton. Sep 105pm Ken Skinner Trio; 9pm Julian Fauth BluesNight. Sep 11 5pm Zoe Henderson Jazz Band:CD Release Party; 9pm Julian Fauth BluesNight. Sep 12 5pm Jeffrey Hewer Jazz Band;9pm Kevin Laliberté. Sep 13 5pm Doc BarristerJazz Band; 9pm Laura Hubert BluesBand. Sep 14 5pm Bill Heffernan & Friends;9pm Six Points Jazz Orchestra. Sep 15 5pmJoanne Morra & France St. Trio; 9pm KristianPodlacha Jazz & Blues Trio. Sep 16 5pm TomMcGill Piano Solo; 9pm Richard WhitemanJazz Band feat. Terra Hazelton. Sep 17 5pmWinston Matsushita; 9pm Julian Fauth BluesNight. Sep 18 5pm Anslem Douglas; 9pmLeigh Graham Jazz Duo. Sep 19 5pm G StreetJazz Trio; 9pm Annie Bonsignore & DunstanMorey. Sep 20 5pm Sam Broverman Duo;9pm Fraser Melvin Blues Band. Sep 21 5pmBill Heffernan & Friends; 9pm Patrick Tevlin’sNew Orleans Rhythm. Sep 22 5pm Jeff Taylor& the SLT; 9pm Jazz Forge. Sep 23 5pm ChrisReid Jazz Band; 9pm Richard Whiteman JazzBand feat. Terra Hazelton. Sep 24 5pm AndyMallette Piano Solo; 9pm Julian Fauth BluesNight. Sep 25 5pm Howard Willett Blues Duo;9pm Robin Banks Jazz Band. Sep 26 5pmJustine Campbell; 9pm Cyndi Carleton JazzBand. Sep 27 5pm Andy De Campos Quartet;9pm Denielle Bassels Jazz Band. Sep 28 5pmBill Heffernan & Friends; 9pm Sweet DerrickBlues Band. Sep 29 5pm Josh Lane’s TorontoJazz Collective; 9pm Root Down Trio. Sep 305pm Nick Lee Blues Solo; 9pm Richard WhitemanJazz Band feat. Terra Hazelton.Gladstone Hotel1214 Queen St. W. 416-531-4635gladstonehotel.com (full schedule)Sep 7 9pm O Frontera. Sep 13 9pm We Walkthe Line: Johnny Cash Tribute Band. Sep 149pm Al Lerman. Sep 27 9pm Irene Torres &Joshua Piche.Grossman’s Tavern379 Spadina Ave. 416-977-1210grossmanstavern.com (full schedule)No Cover/PWYC.Every Sat The Happy Pals. Every Sun NewOrlean Connection Allstars; The Nationals.Habits Gastropub928 College St. 416-533-7272habitsgastropub.comAll shows: 9pm. No Cover.Sep 6 Big Rude Jake & Alison Young.Sep 27 Tony Quarrington Trio.Harlem RestaurantC. In the Clubs (Mostly Jazz)67 Richmond St. E. 416-368-1920harlemrestaurant.com (full schedule)All shows: 7:30-11pm. No Cover/PWYC.Sep 6 Shelley Hamilton. Sep 7 Reece.Sep 13 ZimZum. Sep 14 Gyles feat. James KingTrio. Sep 20 John Collin Band. Sep 21 TBA.Sep 27 Marla Walters. Sep 28 Unbuttoned.Hirut Restaurant2050 Danforth Ave. 416-551-7560Every Sun 3-6pm Open Mic. Every Wed 8pmOpen Mic. Sep 3 8pm Fingerstyle guitargroup $TBA. Sep 7 8pm Adam Solomon Trio$10 or PWYC. Sep 12 8pm Daniel BarnesGroove Trio. PWYC. Sep 14 8pm Adam SolomonTrio $10 or PWYC. Sep 17 8pm Fingerstyleguitar group $TBA. Sep 21 8pm AdamSolomon Trio $10 or PWYC. Sep 26 8pm DanielBarnes Groove Trio. PWYC. Sep 27 9pmHirut Hoot Cabaret. Sep 28 8pm Adam SolomonTrio $10 or PWYCHome Smith Bar – See Old Mill, TheHugh’s Room2261 Dundas St. W. 416-531-6604hughsroom.com (full schedule)All shows: 8:30pm (unless otherwise noted).Sep 3 Jeff Lang $18/$15(adv). Sep 4 MartinJoseph $25/$22.50(adv). Sep 5 Sam Amidon$15/$12(adv). Sep 6 Ron Nigrini CD Release$22.50/$20(adv). Sep 7 Get Your Ya-Yas Out:Tribute to the Rolling Stones $30/$25(adv).Sep 8 Chocolate Hot Pockets $18/$15(adv).Sep 12 Texassippi Soul Man: Danny Brooks& the Brotherhood $22.50/$20(adv).Sep 13 Friends of the Fiddler’s Green$22.50/$20(adv). Sep 14 Diane Lee Clemons$25/$22.50(adv). Sep 15 Adam Osinski,violin, plays the best of Chopin & Rachmaninoff$22.50/$20(adv). Sep 17 Motherzz areStarzz feat. Shannon Butcher & Barbra Lica$35/$30(adv). Sep 18 Ventanas CD Release$20/$18(adv). Sep 19 James Keelaghan$27.50/$25(adv). Sep 20 Mo Kenney & RachelSermanni $22/$20(adv). Sep 21 Rita Chiarelli$32.50/$30(adv). Sep 22 Rant Maggie RantCD Release $32.50/$30(adv). Sep 23 PeterCase $22.50/$20(adv). Sep 24 ElephantRevival $20/$18(adv). Sep 26 The EmergencyMonogues. Sep 27 Dominic MancusoGroup $20/$18(adv). Sep 28 John Prine TributeShow $27.50/$25(adv). Sep 29 2pm Teal& Joyce: CD Release $18/$15(adv); 8:30 TheDardanelles $25/$22.50(adv).Jazz Bistro, The251 Victoria St. 416-363-5299jazzbistro.caSep 3 9pm Jacob Gorzhaltsan Quintet $10.Sep 4, 5 9pm Kiki Misumi & Reg Schwagerin Brazil $15. Sep 6, 7 9pm Tom SzczesniakQuartet feat. Jeff Jones $15-$20. Sep 9 8pmGavin Hope: “For All We Know” CD Release$20(includes CD). Sep 10 9pm Otis Gayle:“Love is a Thing” CD Release $15. Sep 11 9pmColin Hunter and the Joe Sealy Quartet $15.Sep 12, 13 9pm MC2 $15. Sep 14 9:30pm TheReposadists $20. Sep 15 12:30pm A Month ofSundays Jazz Brunch w/ David Sereda $15.Sep 17, 18 9pm Richard Whiteman Trio $15.Sep 19 8pm David Darling w/ Debbie Danbrookand Chris Garnter: “Light from theSuper Earth” CD Release $25. Sep 20, 219pm Mandy Lagan $15-$20. Sep 22 12:30pmA Month of Sundays Jazz Brunch w/ DavidSereda $15; 7pm Theatre 20 presents NoraMcLellan $20. Sep 24 9pm Michel Bérubé$15. Sep 25, 26 Don Naduriak Quintet:“XavierJazz” CD Release $15. Sep 27, 28 9pmBernie Senensky’s Tribute to Jazz at MasseyHall $20. Sep 29 12:30pm A Month of SundaysJazz Brunch w/ David Sereda $15.Jazz Room, TheLocated in the Huether Hotel, 59 King St. N.,Waterloo. 226-476-1565kwjazzroom.com (full schedule)All shows: 8:30pm; attendees must be 19+Sep 6 Larry and his Jazz Guys $20.Sep 7 David Occhipinti’s Camera Ensemble$20. Sep 13 New Vibes Quartet plus JerzyKaplanek $15. Sep 15 Steve Amirault Trio $16.Sep 20 Hannah Burge Band $15. Sep 21 NickFraser Group $18. Sep 27 Joni NehRita Quintet$15. Sep 28 Wee Trio $16.Joe Mama’s317 King St. W. 416-340-6469Live music every night; All shows: No Cover.Every Mon 7:30-11:30pm Soul Mondays.Every Tue 7-11pm Blue Angels.Every Wed 8pm-12am Blackburn. EveryThu 8:30pm-12:30am Blackburn. EveryFri 10pm-2am The Grind. Every Sat 10pm-2am Shugga. Every Sun 6-10pm Organic:Nathan Hiltz (guitar); Bernie Senensky(organ); Ryan Oliver (saxophone); MorganChilds (drums).KAMA214 King St. W. 416-599-5262All shows: 5-8pm. No Cover, $20 food/beverageminimum.Every Thu Thursday at Five: Canadian JazzQuartet: Gary Benson (guitar); Frank Wright(vibraphone); Duncan Hopkins (bass); DonVickery (drums) and guests: Sep 5 Dave Dunlop(trumpet/flugelhorn); Sep 12 Kelly Jefferson(sax); Sep 19 Mike Malone (trumpet/flugelhorn); Sep 26 Colleen Allen (sax/flute/clarinet).Lula Lounge1585 Dundas St. W. 416-588-0307lula.ca (full schedule)Sep 5 8:30pm The 8th Annual Patsy ClineBirthday Show $15. Sep 6 8pm Dave RestivoTrio $15. Sep 13 8pm Crazy Voda $15. Sep 168pm Euphonia. $10 or PWYC. Sep 19, 20 9pmHavana d’Primera $50/$40(adv). Sep 248:30pm Chris Bottomley $TBA. Sep 26 9pmSmall World Music Festival Opening Party: TalNational $20/$15(adv). Sep 27 8pm MichaelOcchipinti Trio $15. Sep 29 8pm David Buchbinder’sOdessa/Havana $30/$20(adv).Mezzetta Restaurant681 St. Clair Ave. W. 416-658-5687mezzettarestaurant.comEvery Wed Sets at 9pm and 10:15pm. JazzSeries. Call ahead.Monarchs PubAt the Delta Chelsea Hotel33 Gerrard St. W. 416-585-4352monarchspub.ca (full schedule)All shows: No Cover.Every Wed Live Jazz. Every Thu Live Blues.Sep 4 Sophia Perlman & the Vipers.Sep 5 Harpdog Brown.Musideum401 Richmond St. W., Main Floor416-599-7323musideum.comSep 3 8pm aimToronto presents Aurochs: AliBerkok (piano); Pete Johnson (bass); DavidWest (guitar) $10. Sep 5 8pm Chris Hale(sitar) & Ed Hanley (table) $20. Sep 7 8pmSamantha Clayton (jazz vocals) $20. Sep 88pm Robi Botos (piano) $20. Sep 12 8pmDavid Krystal (singer-songwriter) $15. Sep 138pm Conrad Gayle (piano) $10. Sep 14 8pmGillian Kirkland (soprano); Joe Phillips (bass);Donald Quan (piano/table) $20. Sep 17 8pmaimToronto presents Aurochs + David West(guitar) $10. Sep 20 Chloe Charles (singersongwriter)$20. Sep 21 8pm Ess & Bee(singer-songwriter) $20; PWYC(st). Sep 228pm Zebrina Acoustic Trio $20. Sep 23 8pmAnna Atkinson (voice/viola/accordion) &David Occhipinti (guitar) $20. Sep 29 8pmBrownman (trumpet) + 1 $20.Nawlins Jazz Bar & Dining299 King St. W. 416-595-1958nawlins.caEvery Tue Stacie McGregor; Every Wed JimHeineman Trio. Every Thu Nothin’ But theBlues w/ guest vocalists. Every Fri/Sat AllStar Bourbon St. Band; Every Sun BrookeBlackburn.Nice Bistro, The117 Brock St. N., Whitby. 905-668-8839nicebistro.comSep 25 7-9pm Tony Quarrington & ZoeyAdams $39.99 (includes dinner).Old Mill, The21 Old Mill Rd. 416-236-2641oldmilltoronto.comThe Home Smith Bar: No Reservations. NoCover. $20 food/drink minimum. All shows:7:30pm. Sep 6 Dave Caldwell (sax); MarkEisenman (piano); Neil Swainson (bass); DonVickery (drums). Sep 7 Alexis Baro (trumpet);Thomas Francis (piano); Collin Barrett (bass);Max Roach (drums). Sep 12 Jazz Party w/ JoeSealy (piano/host) feat. Alana Bridgewater(vocals); Alison Young (sax). Sep 13 IreneAtman (vocals); John Sherwood (piano); PatCollins (bass). Sep 14 Chase Sanborn (trumpet);Mark Eisenman (piano). Sep 19 JazzParty w/ Luis Mario Ochoa (vocals/guitar/host) feat. Hilario Duran (piano); RobertoRiveron (bass); Rosendo Chendy Leon (bass).Sep 20 Michael Dunston (vocals); GordSheard (piano); Roberto Occhipinti (bass).Sep 21 Alistair Kay (trombone); others TBA.Sep 26 Jazz Party w/ John Alcorn (vocals/host); Dave Restivo (piano); feat Laura Hubert(vocals). Sep 27 Wendy Lands (vocals); SteveHunter (piano); Peter Telford (bass); Jim Gillard(drums). Sep 28 Andrew Scott (guitar);Jeff McLeod (organ); Joel Haynes (drums).Paintbox Bistro555 Dundas St. E. 647-748-0555paintboxbistro.caSep 7 8pm Eliana Cuevas (vocals); JeremyLedbetter (piano); Roberto Occhipinti (bass);Mark Kelso (drums); Maninho Da Costa (percussion)$20. Sep 21 8pm Denzil Sinclaire(vocals/piano) $25. Sep 21 10am Junior JazzJam w/ DRUMHAND. Free interactive performancefor children.Pilot Tavern, The22 Cumberland Ave. 416-923-5716thepilot.ca All shows: 3:30pm. No Cover.Sep 7 Dave Young Quartet. Sep 14 BarryElmes Quartet. Sep 21 Kollage. Sep 28 SugarDaddies.Poetry Jazz Café224 Augusta Ave. 416-599-5299All shows: 9:30pm.Every Thu Jon Foster Group $5. Every SatRobb Cappelletto’s Mind Games $5.52 | September 1 – October 7, 2013 thewholenote.com

Rakia Bar1402 Queen St. E. 416-778-8800rakiabar.comEvery Mon 8-11pm Bohemian Mondays:Laura Marks Trio w/ guests. Jam welcomesinstrumentalists and vocalists; jazz andother genres welcome. No Cover/PWYC.House Band: Sep 2 Bernie Senensky (piano);Ross MacIntyre (bass). Sep 9 AmandaTosoff (piano); Chris Gale (sax). Sep 16 MarkKieswetter (keys); Brendan Davis (bass).Sep 23 Bernie Senensky (piano); DuncanHopkins (bass). Sep 30 Nathan Hiltz (guitar);Brendan Davis (bass).Reposado Bar & Lounge136 Ossington Ave. 416-532-6474reposadobar.com All shows: PWYC.Every Wed 9:30pm Spy vs Sly vs Spy. EveryThu, Fri 10pm The Reposadists Quartet.Reservoir Lounge, The52 Wellington St. E. 416-955-0887reservoirlounge.com (full schedule).Every Tue 7-9pm Apres Work Series;9:45pm Tyler Yarema and his Rhythm. EveryWed 7-9pm Apres Work Series; 9:45pmYuka. Every Thu 7-9pm Apres Work Series(Sep 5 Alex Pangman, first Thursday ofevery month; Sep 19 Beverly Taft third Thursdayof every month); 9:45pm Mary McKay.Every Fri 9:45pm Dee Dee and the Dirty Martinis.Every Sat 9:45pm Tyler Yarema and hisRhythm.Rex Hotel Jazz & Blues Bar, The194 Queen St. W. 416-598-2475therex.ca (call for cover charge info)Sep 1 12pm Excelsior Dixieland Jazz; 3:30pmRed Hot Ramble feat Roberta Hunt (piano/vocals); Alison Young (sax); 7pm Tara Davidson(sax); David Occhipinti (guitar) 9:30pmGabriel Palatchi Sextet. Sep 2 6:30pm PeterHill Quintet w/ Bob Brough & Chris Gale(saxes); Brendan Davis (bass); Sly Juhas(drums); 9:30pm Jazz Mechanics Big Band.Sep 3 9:30pm Classic Rex Jazz Jam w/ AlexErnewein Trio. Sep 4 6:30pm Victor Bateman(bass/vocals); Nathan Hiltz (guitar);Kevin Coady (drums); 9:30pm William Carn(trombone); Kelly Jefferson (sax); DavidBraid (piano); Jon Maharaj (bass); AnthonyMichelli (drums). Sep 5 6:30pm Kevin Quain(piano/vocals); 9:30pm TBA from NYC. Sep 64pm Hogtown Syncopators: Terra Hazelton(vocals/snare); Drew Jurecka (vocals/violin);Jay Danley (vocals/guitar); Richard Whiteman(piano); James Thomson (bass); 6:30pmChris Gale Quartet; 9:45pm TBA. Sep 7 12pmDanny Marks & Friends; 3:30pm LauraHubert Band; 7:30pm Justin Bacchus; 9:45pmCanadian Jazz Quartet (see KAMA). Sep 812pm Excelsior Dixieland Jazz; 3:30pm Dr.Nick Blues; 7pm Tara Davidson (sax); AndrewDowning (cello); 9:30pm Bernie Senensky(organ/piano); Robi Botos (piano/guitar);Kieran Overs (bass/guitar); Don Thompson(vibes). Sep 9 6:30pm U of T StudentJazz Ensembles; 9:30pm Mike Malone JazzOrchestra. Sep 10 6:30pm Adam Arruda:Notes & Tones; 9:30pm Classic Rex Jazz Jamw/ Alex Ernewein Trio. Sep 11 6:30pm VictorBateman Trio (see Sep 4); 9:30pm MichaelHerring (bass); Chris Gale (sax); DavidFrench (sax); Nick Fraser (drums). Sep 126:30pm Kevin Quain (piano/vocals); 9:30pmNeufeld/Occhipinti Jazz Orchestra (N.O.J.O.)20th Anniversary. Sep 13 4pm HogtownSyncopators (see Sep 6); 6:30pm Chris GaleQuartet; 9:45pm Kevin Breit & Folkalarm.Sep 14 12pm Danny Marks & Friends; 3:30pmJerome Godboo’s Autumn Blues; 7:30pm JustinBacchus; 9:45pm Joel Haynes Group: JeffKing & Luis Deniz (saxes); Alexander Brown(trumpet); Robi Botos (piano); Artie Roth(bass); Joel Haynes (drums). Sep 15 12pmExcelsior Dixieland Jazz; 3:30pm The SatinDolls; 7pm Tara Davidson (sax); Mike Murley(sax); 9:30pm Aimee Butcher (vocals); ChrisPruden (piano); Jeff Deegan (bass); RobinClaxton (drums). Sep 16 6:30pm U of T StudentJazz Ensembles; 9:30pm John CheesmanJazz Orchestra. Sep 17 6:30pm BobShields (guitar); Clark Johnston (bass);Adam Fielding (drums); 9:30pm Humber CollegeFaculty Ensemble. Sep 18 6:30pm VictorBateman Trio (see Sep 4); 9:30pm DaveYoung/Terry Promane Octet feat, Mike Murley,Perry White & Vern Dorge (saxes); DaveYoung (bass); Terry Promane (trombone).Sep 19 6:30pm Kevin Quain (piano/vocals);9:30pm Griffith/Hiltz CD Release: JohnnyGriffith (sax); Nathan Hiltz (guitar); Sly Juhas(drums). Sep 20 4pm Hogtown Syncopators(see Sep 6); 6:30pm Chris Gale Quartet;9:45pm Frank Lozano (sax); Jim Lewis(trumpet); Dave Restivo (piano); Dan Fortin(bass); Ethan Ardelli (drums). Sep 21 12pmDanny Marks & Friends; 3:30pm Alex Coleman’sTribute to Charles Mingus: Tonight@Noon; 7:30pm Justin Bacchus; 9:45pm HotfootOrchestra feat. Michael Stuart (sax);Bruce Cassidy (trumpet/EVI). Sep 22 12pmExcelsior Dixieland Jazz; 3:30pm Club Django;7pm Tara Davidson (sax); David Occhipinti(guitar); 9:30pm Scott Marshall (sax); MarcelAucoin (piano); Wes Neal (bass); Nick Fraser(drums). Sep 23 6:30pm U of T StudentEnsembles; 9:30pm Composers CollectiveBig Band w/ Christian Overton (trombone).Sep 24 6:30pm Arbuckle: Patrice Barbanchon(trumpet); Marcus Ali (sax); GregDeDenus (piano); Kurt Nielsen (bass); RobinClaxton (drums); 9:30pm Nadje Noordhuis(trumpet); Dave Restivo (piano); Mark Cashion(bass); Ernesto Cervini (drums). Sep 256:30pm Victor Bateman Trio (see Sep 4);9:30 Nadje Noordhuis Quartet (see Sep 24).Sep 26 6:30pm Website Launch: ToronoJazz Central, hosted by Josh Grossman;9:45pm Annual Tribute to John Coltrane: PatLaBarbera, Kirk MacDonald (saxes); BrianDickinson (piano); Neil Swainson (bass);Bob McLaren (drums). Sep 27 4pm HogtownSyncopators (see Sep 6); 6:30pm ChrisGale Quartet; 9:45pm Tribute to Coltrane(see Sep 26). Sep 28 12pm Danny Marks &Friends; 3:30pm Chris Hunt Tentet; 7:30pmJustin Bacchus; 9:45pm Tribute to Coltrane(see Sep 26). Sep 29 12pm Excelsior DixielandJazz; 3:30pm Freeway Dixieland; 7pm TaraDavidson (sax); Trevor Hogg (sax); 9:30pmWee Trio: James Westfall (vibes/keytar);Dan Loomis (bass); Jared Shoenig (drums).Sep 30 6:30pm U of T Student Jazz Ensembles;8:30pm John MacLeod’s Rex HotelOrchestra.Salty Dog Bar & Grill, The1980 Queen St. E. 416-849-5064saltydogbarandgrill.caAll shows 7-10pm, No Cover.Sep 10, Sep 24 Greg Pilo Quartet.Seven44(Formerly Chick ’n’ Deli/The People’s Chicken)744 Mount Pleasant Rd. 416-489-7931seven44.com (full schedule)Every Sat 4-7pm Climax Jazz Band. Sep 27:30pm Advocats Big Band. No Cover. Sep 85pm Robbie Lane & the Disciples $TBA Sep 97:30pm Bob Cary Orchestra. No Cover. Sep 155pm Little Caesar & the Consuls $TBA. Sep 167:30pm George Lake Band. No Cover. Sep 225pm Brian Rose Band $TBA. Sep 23 7:30pmGTA Swing Band. No Cover. Sep 30 7:30pmMega City Big Band. No Cover.Statlers Lounge487 Church St. 416-922-0487All Shows: No Cover/PWYCEvery Mon 9:30pm-1am SINGular Sensation:Musical Theatre Open Mic w/ JenniferWalls, Donovan LeNabat & Jamie Bird. EveryTue 10pm Top Star Tuesday: Talent Night.Every Wed 6-10pm Kendall Partington. EveryThu 9:30pm Open Mic w/ Donovan LeNabat& Jamie Bird. Every Sat 10pm-1:30am KendallPartington.Tranzac292 Brunswick Ave. 416-923-8137tranzac.org (full schedule)3-4 shows daily, various styles. Mostly PWYC.Every Mon 7pm This is Awesome; 10pmOpen Mic. Every Fri 5pm The Foolish Things.Every Sat 3pm Jamzac. This month’s showsinclude: Sep 3 10pm Peripheral Vision. Sep 47:30pm Katie DuTemple & Friends; 10pmGALAS & FUNDRAISERS●●Sep 21, 7:00: Toronto Symphony Orchestra.Gala Performance: Lang Lang Plays Mozart.Mozart: Piano Concerto No.17 K453; PianoConcerto No.24 K491; Wagner: Overture toTannhäuser. Roy Thomson Hall, 60 Simcoe St.Post-concert party to follow. Gala packageinformation, including post-concert dinner,available at 416-593-7769 x261.COMPETITIONS●●Deadline to Apply: Nov 1: Etobicoke PhilharmonicOrchestra. Young ComposersCompetition 2013. Canadian composers ages32 and under to submit original compositionsfor orchestra. Winning composition will beperformed by the ETO; cash prizes presented.416-239-5665. For details: info@eporchestra.ca; eporchestra.ca.LECTURES & SYMPOSIA●●Sep 20, 7:00: Soundstreams. Salon 21: TheSound in Silence: The Music of Arvo Pärt. Discussionand performances of Estonian composerArvo Pärt’s work, with conductor MarkVuorinen. Gardiner Museum, 111 Queen’sPark. 416-504-1282. Free.●●Sep 22, 2:00: Toronto Opera Club. SilverAnniversary. Guest speaker Iain Scott celebratesthe Opera Club’s 25th anniversarywith highlights from operas over the past25 years. Room 330, Edward Johnson Bldg.,80 Queen’s Park. 416-924-3940. $10.●●Sep 24, 1:30: MNjcc Active Seniors. OperaAppreciation with Iain Scott - La Bohème.Preview of the Canadian Opera Company andLive from the Met productions, with videoexcerpts. Miles Nadal Jewish CommunityCentre, 750 Spadina Ave. 416-924-6211 x0.$14; $50(series of 4).●●Oct 1, 1:30: MNjcc Active Seniors. OperaAppreciation with Iain Scott - Peter Grimes.D. The ETCeterasJosh Cole, Brodie West, Ryan Driver & NickFraser. Sep 6 10pm David French w/ AdamArruda. Sep 7 10pm Chocolate Hot Pockets.Sep 8 7:30pm Zebrina; 10pm Lina AllemanoFour. Sep 10 7:30pm Aurochs; 10pmStop Time. Sep 13 7:30pm Glen Hall, Ken Aldcroft& Joe Sorbara; 10pm St. Dirt ElementarySchool Band w/ Myk Freedman. Sep 153pm Alaniaris; 5pm Monk’s Music; 7:30pmThe Thing Is; 10pm Makeshift Island. Sep 177:30pm See Through Trio; 10pm Ken McDonaldQuartet. Sep 20 10pm Nick Fraser & TonyMalaby. Sep 21 7:30pm Kite Trio w/ TrevorGiancola; 10pm Heavy Ethics. Sep 24 10pmNick Fraser Presents. Sep 25 7:30pm TrevorGiancola. Sep 27 10pm Ryan Driver Quartet.Sep 28 6:30pm Joe Hall; 10pm East West Projectw/ guests. Sep 29 10:30pm Steve WardPresents.Victory Café, The581 Markham St. 416-516-5787Every Wed 9:30pm-12am Hot Jazz StringQuartet: Drew Jurecka (violin); Jesse Barksdale(guitar); Chris Bezant (guitar); ChrisBanks (bass). Every Sun 9pm Open Mic.Zipperz72 Carlton St. 416-921-0066Every Mon 10pm-12am & Every Fri 7-9pmRoxxie Terrain w/ Adam Weinmann. NoCover/PWYC.Preview of the Canadian Opera Company andLive from the Met productions, with videoexcerpts. Miles Nadal Jewish CommunityCentre, 750 Spadina Ave. 416-924-6211 x0.$14; $50(series of 4).●●Oct 1 and 3, 10:00am: Colours of Music.Talk on Music of the Day. Conductor/commentatorKerry Stratton provides a discussionand review of the day’s concerts. CentralUnited Church, 54 Ross St., Barrie. 705-726-1181. $15; $5(st); $75-$85(adult passport);$20-$25(st passport).●●Oct 2, 10:00am: Colours of Music. Meet theComposer: Composer-in-Residence AndrewAger. Central United Church, 54 Ross St.,Barrie. 705-726-1181. $15; $5(st); $75-$85(adult passport); $20-$25(st passport).Oct 6, 2:30: New Music Concerts. StefanNotice is hereby given that Queenof Puddings Inc. intends to apply tothe Minister of Industry for leave tosurrender its charter pursuant tosubsection 32(1) of the CanadaCorporations Act.Dated: August 15, 2013Dáirine Ní Mheadhra,Artistic DirectorAvis est par les présentes donnéque Queen of Puddings Inc.demandera au ministre del’Industrie la permissiond’abandonner sa charte en vertudu paragraphe 32(1) de la Loi surles corporations canadiennes.Daté le 15 août 2013.Dáirine Ní Mheadhra,directrice artistiquethewholenote.com September 1 – October 7, 2013 | 53

meets Anton and Morty meets John. Virtualsymposium by Austin Clarkson exploring themusic of Wolpe, Webern, Feldman and Cage,followed by an open dress rehearsal of theevening’s concert. Betty Oliphant Theatre,404 Jarvis St. 416-961-9594. Free. For details:newmusicconcerts.com.MASTERCLASSES●●Oct 5, 10:00am: Colours of Music. Masterclass.Pianist Robert Kortgaard works withthe top three pianists from the Barrie KiwanisMusic Festival. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $15;$5(st); $75-$85(adult passport); $20-$25(stpassport).WORKSHOPS●●Sep 4, 1:00: Guelph Jazz Festival. Workshop:Loteria del Sotavento, Sonido delSolotempo/Free Fandango. Alain Derbez;Kali Nino Mendoza; Alec Dempster; Rob Clutton;Jessica Deutsch. Macdonald StewartArt Centre, 358 Gordon St., Guelph. 519-763-3000 or 1-877-520-2408. Free. Part of GJFColloquium.●●Sep 5, 9:15am: Guelph Jazz Festival. Workshop:In Case of Emergency Please BreakD. The ETCeterasGlass: A Multi-Modal Fantasia on Philip Glass’Knee Play 4. Sarah Tolmie, Scott Straker,Jack Pender, Jonny Sauder, Danica Guenetteand others. Macdonald Stewart Art Centre,358 Gordon St., Guelph. 519-763-3000 or1-877-520-2408. Free. Part of GJF Colloquium.●●Sep 5, 1:00: Guelph Jazz Festival. Workshop:Jazz Futures – A Bridge to theUnknown. Nicole Mitchell; Anja Lauvdal; FredrikLuhr Dietrichson; Hans Hulbaekmo; DavidDove; Isaiah Farahbakhsh. Macdonald StewartArt Centre, 358 Gordon St., Guelph. 519-763-3000 or 1-877-520-2408. Free. Part ofGJF Colloquium.●●Sep 6, 1:00: Guelph Jazz Festival. Workshop:In Other Spaces – Improvising Interventions.Joane Hétu; Danielle Palardy Roger;Jean Derome; Lori Freedman; Scott Thomson;and others. Macdonald Stewart Art Centre,358 Gordon St., Guelph. 519-763-3000 or1-877-520-2408. Free. Part of GJF Colloquium.●●Sep 8, 1:30–4:00: Toronto Early MusicPlayers Organization. Instrumental Workshop.Bring your recorders, early instrumentsand music stand; scores will beprovided. Armour Heights Community Centre,2140 Avenue Rd. 416-537-3733. $20;free(members).●●Sep 28 10:30am–12:00pm: Toronto MendelssohnChoir. Singsation Saturday ChoralWorkshop. Saturday choral workshop forCulture Days. Vocal warm-ups followed byreading of well-loved choral works. MatthewOtto, conductor. ING Direct Presentationroom, Centre for Social Innovation Annex,720 Bathurst St. 416-598-0422. Free.●●Sep 29, 10:30am: Early Childhood MusicAssociation of Ontario. Fun and EffectiveMusic Teaching. All-day workshop with RobSayer, to help early childhood music teachersdevelop new skills. Lunch provided. Room330, Edward Johnson Bldg., 80 QueensPark. 416-240-8573. $90/$75(members);$80/$65(members) before Sep 19.OPEN HOUSES●●Sep 7, 9am–1pm: silence. Open House.Saturday morning drop in, with sound art,installations, experimental music and more.46 Essex St., Guelph. Free. info@silencesounds.ca.OPEN REHEARSALS/SINGALONGS●●Sep 10, 7:15–10:00: Etobicoke CentennialChoir. Open Rehearsal. Sing with the choir,meet the conductor and choristers. HumberWANTEDORCHESTRAMEMBERS(violin, viola, cello,bass, flute)for the newly formedCELTIC FIDDLEORCHESTRA ofSOUTHERNONTARIOContact Byron Grantbyrongrant@cogeco.ca905-469-1417ANNOUNCEMENTThe Bach children’s chorus and arTisTicdirecTor, linda Beaupré, announce TheaddiTion of Jordan Travis as associaTeconducTor of The Bach chamBer YouTh choir.Jordan is Associate Director and vocal coach to theToronto Northern Lights, the 2013 Barbershop HarmonySociety's international chorus champions. Jordan bringshis love of classical and popular music to the men andwomen (aged 16 and up) of the Bach chamber Youthchoir. BCYC is currently recruiting new members –join us for an open rehearsal on Sunday, September 15,6:15-8:45 p.m.at St. Barnabas Anglican Church,361 Danforth Avenue to see what we’re all about.See you then.www.bachchildrenschorus.cafacebook.com/BCCandBCYC54 | September 1 – October 7, 2013 thewholenote.com

Valley United Church, 76 Anglesey Blvd.,Etobicoke. 416-622-6923. $10. For details:info@etobicokecentennialchoir.ca.●●Sep 11, 7:30: Village Voices. OpenRehearsal. Read through of Handel’s Messiahin preparation for upcoming concerts.All voices welcome. Rehearsal Hall, CornellCommunity Centre, 3201 Bur Oak Ave., Markham.905-294-8687. For details: info@villagevoices.ca.●●Sep 14, 10:00am–12:00pm: Hamilton Sing!Community Choir. Opening Rehearsal. Newcommunity choir seeking singers at its firstrehearsal. No audition, open to all. HARRRP,705 Main St. E., Hamilton. 905-544-1302. Fordetails: hamiltonsings@gmail.com.●●Sep 28, 10:00am: Toronto SymphonyOrchestra. TSO at Culture Days. A behindthe-sceneslook at how the orchestra preparesfor a concert. Britten: Variations andFugue on a Theme of Purcell; Mendelssohn:Violin Concerto; Dvořák: Symphony No.7.Ray Chen, violin; Peter Oundjian, conductor.Roy Thomson Hall, 60 Simcoe St. 416-598-3375. Free, reservations required. AccessRoy Thomson Hall through the backstageentrance off Wellington St. W. at Simcoe St.●●Sep 28, 2:00–4:00: Amadeus Choir. OpenRehearsal. Mozart: Coronation Mass. AllSaints Kingsway Anglican Church, 2850 BloorSt. W. 416-446-0188. Free. Part of OntarioCulture Days.ETCETERA: MISCELLANEOUS●●Sep 21 and 22, 11:00am–6:00pm: City ofToronto Historic Sites. On Common Ground.Multi-disciplinary arts festival with music,dance, storytelling, crafts, local food andmore, celebrating peace and the harvest.Fort York Historic Site, 250 Fort York Blvd.416-392-6907. Free.●●Sep 28, 12:00–4:00: City of TorontoHistoric Sites/Toronto Early Music Centre.Early Music Fair at Montgomery’s Inn. Concertsand demonstrations of music before1800 through the museum as part of CultureDays. Montgomery’s Inn, 4709 Dundas St. W.416-394-8113. Free.●●Sep 27–29, various times: Ontario CultureDays 2013. Various activities at locationsacross the province. Kindermusik and familyfriendlymusic classes, open rehearsals, openmics, pub crawls, exhibitions and other activities.For full programming according to location,see: on.culturedays.ca.●●Sep 21, 11:00am–2:30pm: Sweet WaterMusic Festival. Luthier Exhibition. Interactiveexhibit of string instrum ents by local andinternational artists. Community Gallery, TomThomson Art Gallery, 840 1st Ave. W., OwenSound. 519-470-2011. Free.Village Voices of Markham invites choristers to participatein an Open Rehearsal on Wednesday, September 11, 2013at 7:30 pm, to read through Handel’s “Messiah”.Participants in this special reading may have the opportunityto join us in performing this classic oratorio with theKindred Spirits Orchestra on December 14, 2013, at MarkhamTheatre. All voices are welcome, particularly tenors and basses.For details call 905.294.8687 or eMail: info@villagevoices.caMarketPlace | marketplace@thewholenote.comlittlevoices.ca“ LITTLE VOICES,DANCING FEET”with Jodie FriesenMusic &Movementfor Newbornto 8 YearsAge specific, Interactive, Educational & FUN!Sharing the joy of discovering music for over 20 years.REGISTER NOW(3 Beach/Leslieville Locations)littlevoices@sympatico.ca416-461-9989Find us on facebook.com/littlevoices.dancingfeetSight-Singing with SheilaSheila McCoy416 574 5250smccoy@rogers.comwww.sightsingingwithsheila.com(near Woodbine subway)ChildrenʼsPiano LessonsFriendly, approachable– and strict!Liz Parker416.544.1803liz.parker@rogers.comQueen/Bathurstthewholenote.com September 1 – October 7, 2013 | 55

Classified Advertising | classad@thewholenote.comAUDITIONS & OPPORTUNITIESARTISTIC DIRECTOR/ CONDUCTORWANTED: Formed in 1992, The NewTecumseth Singers seeks an individualwho enjoys working with amateur singers.Details about the position and applicationprocess can be found on Facebook –search The New Tecumseth Singers.Application deadline is September 15,2013.ARTISTIC DIRECTOR sought by the TorontoChamber Choir to begin July 1st, 2014. Weare a 40 voice amateur, auditioned choir witha reputation for high quality and historicallyinformed performances of Renaissanceand Baroque music. Please visit www.torontochamberchoir.ca for further details.ASSISTANT CONDUCTOR (paid) – Callfor Auditions: for Youth and CommunityOrchestra in Peterborough, ON. Applicationdeadline is September 6, 2013.Admin markethall.org www.thekyo.orgBASS CHOIR LEAD: St Simon-the-ApostleAnglican Church, near SherbourneSubway, immediate opening. Competitivecompensation, rehearsals Thursdayevenings, rehearsal and services Sundaymornings plus occasional evening servicesand other events. The position offersthe opportunity to perform an extensiverange of repertoire at a high standardwith occasional concerts with orchestralaccompaniment. Excellent sight readingskills and ensemble tone are preferred.For an audition please contact Robin Davis,905 409 6121 or robin.davis@rogers.com.BURLINGTON CIVIC CHORALE welcomesnew singers for the 2013-2014 season.Please call 905-681-8109 or visitwww.burlingtoncivicchorale.caCHOIR OPPORTUNITY: friendly groupwelcomes new members for September.Four-part harmony, eclectic music, noauditions. Rehearsals Wednesdays 1-3Yonge & Blythwood. Contact Elizabeth416-486-7411.COUNTERPOINT COMMUNITYORCHESTRA (www.ccorchestra.org)welcomes volunteer musicians: Mondayevening rehearsals, downtown Toronto.Especially looking for trombones andstrings. Email info@ccorchestra.org.GUYS LIKE US, a small gay men’s choir herein Toronto, is looking for new members!We sing popular music and rehearseWednesdays, 7.30-9.30 pm, Carlton andSherbourne area. Visit www.wix.com/guyslikeus/toronto, or email gayguys_sing@live.comINVITING NEW VOICES for our 2013-2014concert season. The John Laing Singers is achamber choir known for choral excellenceand intriguing programming, based in theHamilton-Burlington-Oakville area. We singa mix of engaging and innovative repertoirethat spans the centuries, under the dynamicleadership of Artistic Director Dr. RogerBergs. For audition information – and to see,hear, and learn more about us– please visitwww.johnlaingsingers.comL’ENSEMBLE VOCAL LES VOIX DUCŒUR accueillent de nouveaux choristesfrancophones et francophiles pour lasaison 2013-2014. Informations sur www.lesvoixducoeur.com.MILES NADAL JCC WOMENS CHORUSSing eclectic repertoire with ConductorGillian Stecyk and women of all ages!Learn vocal technique, and train your earto sing harmony. Monday evenings, Sept-June. Non-auditioned. Prorated yearlyregistration. 750 Spadina Ave. 416-924-6211 ext 0.OLIVER! The Civic Light-Opera Company isauditioning boys (only) between the agesof 7-13 for a December 2013 productionof this wonderful musical. Please contactBoys4Oliver@aol.comPETERBOROUGH SYMPHONY AUDITIONSfor community instrumental musicians onSeptember 4th at 7pm. (705)-742-1992info thepso.org www.thepso.orgPETERBOROUGH SYMPHONY AUDITIONSfor vocalists in Beethoven’s 9th Chorus onAugust 31st and September 7th. (705)-742-1992 info thepso.org www.thepso.orgFOR SALEFRENCH HORN: one owner, excellentcondition, suitable for advanced student orworking musician. mjbuell@gmail.com.STEINWAY TYPE A, GRAND PIANO: ebony,exquisite bell-like tone, pristine condition.Serious queries only please, Toronto416-440-1700.INSTRUCTIONCLASSICAL GUITAR LESSONS: beginnerto advanced from one of Toronto’sfinest classical guitar instructors andnationally renowned author of manyguitar publications. Located in midtownToronto. classicalguitartoronto.com orhowardwallach@hotmail.com.FLUTE, PIANO, THEORY LESSONS, RCMEXAM PREPARATION: Samantha Chang,Royal Academy of Music PGDip, LRAM, ARCT.416-293-1302, samantha.studio@gmail.com.www.samanthaflute.com.PIANO LESSONS: personalizedinstruction by experienced teacher,concert pianist EVE EGOYAN (M. Mus.,L.R.A.M., F.R.S.C.). All ages and levels.Downtown location. eve.egoyan@bell.netor 416- 603-4640.STUDY SAXOPHONE with Bruce Redstone.M.M. in Performance, B.A. in Education,25+ years’ experience, 6 years universityinstructor, reasonable rates, convenientlocation, all levels and styles. bredstone@rogers.com or 416-706-8161.MUSICIANS AVAILABLEBARD – EARLY MUSIC DUO playing recorderand virginal available to provide backgroundatmosphere for teas, receptions or otherfunctions – greater Toronto area. For ratesand info call 905-722-5618 or email us atmhpape@interhop.net.SERVICESACCOUNTING AND INCOME TAXSERVICE for small business andindividuals, to save you time and money,customized to meet your needs. NormPulker, B. Math. CMA. 905-251-0309 or905-830-2985.DO YOU HAVE PRECIOUS MEMORIESLOST ON OLD RECORDS, TAPES, PHOTOSETC.? Recitals-gigs-auditions-air checksfamilystuff. 78s-cassettes-reels-35mmslides-etc. ArtsMediaProjects will restorethem on CDs or DVDs. Call George @416-910-1091.VENUESARE YOU PLANNING A CONCERT ORRECITAL? Looking for a venue? ConsiderBloor Street United Church. Phone: 416-924-7439 x22. Email: tina@bloorstreetunited.org.REHEARSAL / PERFORMANCE SPACEAVAILABLE: Yonge / Wellesley. Weekdayrates: $20/hr., Evening (events) $100/night.Seats 40-60 people. Contact bookings@gladdaybookshop.com.A WholeNoteCLASSified delivers!Sing the right tune, reachthe right audience.Only $24 for the first 20words ($1.20 for eachadditional). Discounts formultiple insertions.Deadline for our Octoberclassifieds is TuesdaySeptember 24.classad@thewholenote.comMarketPlace | marketplace@thewholenote.comlook outside to dreamlook inside to awakendepth therapyMatthew Kelly, M.A., psychoanalystshift creative blocks and more416.694.0015 (ex. 225)www.depththerapy.caNEED HELP WITH YOUR TAXES?Specializing in personal andbusiness tax returns including prioryears and adjustmentsHORIZON TAX SERVICES INC.1 -866-268-1319 • npulker@rogers.comwww.horizontax.ca• free consultation • accurate work • pickup & deliveryMoellerPipe Organs Inc.New Instruments and AdditionsTunings and MaintenanceRestorations and RepairsMetal Pipes2393 Gareth Rd., Mississauga, L5B 1Z4www.moellerorgans.comTel/Fax(905) 277-2631A MarketPlace ad is like handing outyour business cardto over 30,000 music lovers.marketing@thewholenote.com56 | September 1 – October 7, 2013 thewholenote.com

EDUCATION WATCH AT THE WHOLENOTESeeing OrangeTale Of A Lively “Like”The WholeNote posted theaccompanying poster, advocatingmusic in public schools,on our Facebook page lastMarch 19, with a suggestion thatour friends “share the post ifyou agree.” We were expectinga decent response — after all,what’s not to “like” about that?But the actual response was jawdropping:41,233 “shares” (and still counting);well over 1 million views across the Englishspeakingworld as far away as Australia andNew Zealand — five cities with more than200,000 views — Los Angeles and Torontoneck-and-neck for the lead. The response,and the hundreds of comments that camewith it, reveal the passion behind the issue ofmusic education and opened our eyes to thepotential to harness the power of social andnew media to the cause of music education inCanada, the U.S. and beyond.RANDOM STAtsIf you google “music belongs in publicschools,” 700 million results appear in 0.17seconds. If you search on bing.com, you willbe presented with 80.4 million links.Reprieve for TDSB musicprogramsIt took one such groundswell ofcommunity murmuring back inJune to stop the Toronto DistrictSchool Board from cutting fundingfor itinerant music teachers fromits budget for the school yearabout to start. One powerful voiceamong the many was that of theCoalition for Music Education(musicmakesus.ca), tireless advocatesfor the necessity of music ina rounded education. It’s worthquoting from their public statement,issued as the crucial TDSBtrustee meeting loomed.“The Coalition for MusicEducation, Music Canada andMusiCounts [music educationcharity associated withCARAS] believe in the importanceof music education for allyoung people in schools. We arejoining our voices together tourge the Toronto District SchoolBoard (TDSB) to keep providinga comprehensive educationthat includes qualitymusic instruction for allstudents, taught by individualswith a backgroundand trainingin music. Research hasproven that music educationprovides far-reachingbenefits to the lives ofyoung Canadians, to ourcommunities and to ourculture. We believe thatdecisions minimizingany aspect of the TDSB’smusic program will have along-term negative impacton the lives of Torontostudents and on thecommunity.Music is essential toeducation and to life.Music education:◆ teaches students tothink creatively andcritically,◆ develops skills thatare essential in the 21stcentury workforce,◆ opens students’ minds to diverse perspectivesand thinking,◆ bridges languages, cultures and generations,◆ unites us through shared experiences,enriches our sense of beauty andimagination, and◆ supports student success.”As stated earlier, sometimes it helps tomake music, and sometimes it helps to makenoise! Two days later the TDSB voted, for now,to keep its music programs alive.INTERNETresOURCESThe Children’s Music Workshop website hasa wealth of material (childrensmusicworkshop.com/advocacy):articles such as “Whento Start Playing,” “Playing Music Tunes theBrain” and “Music and Young Minds,” andmany other resources such as Music Links.One click on that button will open up avast world of educational institutions, journalsand magazines, and articles on variousmusical instruments.The International Society for MusicEducation is gearing up for the 31st worldconference on music education to be held inPorto Alegre, Brazil, next year. Their website(isme.org) provides links and bookmarks ofinterest as well as an advocacy quotient.Send ideas and links toeducation@thewholenote.com.Venue Rental• in the heart of Yorkville• historical heritage building• Steinway Grand Piano• recital and special events• lighting and sound systems• accomodates caterers• reasonable rates35 Hazelton Avenue, Heliconian Hall416-922-3618 rentals@heliconianclub.orgthewholenote.com September 1 – October 7, 2013 | 57

REMEMBERING . . . . .Nic Gotham[b near Southampton, England 1959d Toronto, July 25, 2013]The title of John Terauds’ July 28, 2013, blog reads,“Composer and jazz musician Nic Gotham left eclecticlegacy in Canada and Latvia.” Those stark words all toobriefly sum up the career of Nicholas Ivor Gotham, cutpainfully short.The previous night, Gallery 345, on Sorauren Ave. inToronto, had hosted an unusual, celebratory concert ofGotham’s music. Some 200 friends and fans jammed intothe long gallery space, attracted by Nic’s selected compositions whichwere played by a large ensemble of his Toronto colleagues. Amongthe works performed were excerpts from Oh, Pilot (2000), a chamberopera for four singers with the libretto and direction by his wife BaņutaRubess. The heartfelt tribute evening wrapped up with a 2009 videoof the cheeky James in Peril “from the soundtrack to an imaginaryBond film” with Gotham rendering a passionate-yet-cool post-bopinflectedsax solo with the Latvian National Symphony Orchestra.The evening’s proceeds were skyped to Nic’s hospice bedside. Theaudience turned towards the camera and waved to connect. Nicbeamed back on his end emanating supernal grace.Nic Gotham was more than a first order jazz saxophonist andcomposer of instrumental concert works. His first chamber operaNigredo Hotel (1992), with a libretto by Ann-Marie MacDonald, has agood claim to being the most frequently performed Canadian opera.According to Gotham’s own website it “has now been produced inthree continents and ... performed around 80 times.” Other tallies haveit closer to 100 performances.Over his career Gotham composed some 50 works for variousensembles including chamber, choral and orchestral music and twochamber operas. Commissions came from Toronto’s Arraymusic, 40Leslie Huggett[b London, England 1929d Port Perry, Ontario , February 14, 2013]Canadian music has lost a giant with the passing ofLeslie Huggett. Born in London, England in 1929, Leslie,a one-time French hornist with the Royal PhilharmonicOrchestra, moved to Ottawa in 1954 with his wife Margaret.Initially he directed a chamber music program there andlater played in the Ottawa Philharmonic. As their fourchildren arrived and grew, the family began giving private concerts in1966. At that time the children were playing only recorders while Leslieand Margaret were teaching the Orff method in Westchester County(New York) schools. With the U.S. involvement in the Vietnam War,they decided that it was time to move, and in 1967 the family spent ayear on the island of Crete.After their time in Greece and England, the family returned to Canadaand began work on what was to become the renowned Huggett Familyensemble. The group made its formal debut in 1969 in a concert at theNational Arts Centre in Ottawa.In the 1970s the name “Huggett Family” was synonymous with therevival of early music played on period instruments. Leslie Huggett, hiswife, Margaret, and their four children were known across Canada fortheir tasteful interpretations of music from the medieval, renaissanceand baroque periods. From Canada’s National Arts Centre to London’sWigmore Hall, and on the CBC and BBC, the family played and sang inperiod costumes to the delight of audiences and critics on both sidesof the Atlantic.In 1982, after several successful LP recordings, the group disbanded.Fingers, Evergreen Club Gamelan, Tapestry New Operaand the improvising chamber orchestra Hemispheres ofwhich he served as artistic director. In 1997 Gotham wasawarded the Fred Stone Award “for leadership, integrityand innovation in new music.” Moving to Latvia in 1998he enjoyed a vibrant career there, composing for AlteraVeritas, Latvian Radio Choir, Sinfonietta Riga and theRiga Saxophone Quartet, among others, and was activeas a music instructor there, among other teaching postsat the Latvian Academy of Music in the newly formedDepartment of Jazz.I’d known Nic for years in Toronto’s new music scene before hemoved to Latvia with his family (I’d performed with the EvergreenClub Gamelan in the premiere of his Toy Garage). We often met in the90s at Jim Tenney’s Sunday afternoon relaxed yet exciting composition“seminars” held at Jim and Lauren’s home. Nic considered Tenney andTenney’s York colleague David Mott his “two most important teachers.”Last year when the Gothams moved back to Toronto I invited Nic fora Korean hot pot lunch on Bloor St. W. Nic wanted to re-establish hispresence on the Toronto scene, and I to reconnect.While we feasted, we spoke for hours on a sweeping variety of subjects.Music was a theme of course, but also we covered the completionof his Ph.D., his family, my kids and master’s degree research, hiscancer, Canada vs. Latvia and the place of composers in those countries— generally re-establishing our friendship after nearly 15 years.In retrospect it felt like exchanging ideas and verbal intimacies with ayounger composer brother I never had.I’ll always remember our few choice hours together that afternoonin late 2012 — and the surprising gusto and care with which Nic ate,thought and spoke, passionately expressing his undiminished appetitefor life in the face of acute challenge.—Andrew TimarIn 1984, having moved to Markham, Ontario, Leslieand Margaret founded the Huggett Family Music Studiowhich emphasized the development of musical talent inchildren. Meanwhile, their own children moved on topursue individual musical careers in Canada and abroad.Subsequently, this studio became the Flute Studio. Inmore recent years Leslie was joined in teaching duties byFlora Lim.In recent years Leslie conducted a series of intimatereadings titled “Reflections of a Part-Time Optimist” athis Flute Studio in Markham. In these he presented a series of fascinating,humorous accounts of many aspects of his life. In all of thesehe was accompanied on piano and flute by Flora. Although diagnosedwith terminal cancer, Leslie continued writing and presenting thesedelightful Sunday afternoon reflections until he was no longer physicallyable to do so. The musical component of these intimate performanceswas always tasteful and the dialogue always down to earth andrich with Leslie’s own brand of subtle humour.A memorial service was held at Trinity United Church in Uxbridgeon May 11. A number of family members and friends reminisced abouttheir times together, and excerpts of recordings of some of the earlyperformances of the Huggett Family were played. All four childrenfrom Canada and abroad were in attendance and performed selectionswhich would have been favourites of their father. The final page on theprogram listed the four selections Leslie had specified to be played atthe service. This included the complete Mahler Symphony No.2 “TheResurrection” — “in its entirety.” His further instructions were to listento them at home if there was not time at the service. He retained hisunique sense of humour to the end. He will be missed.—Jack MacQuarrie58 | September 1 – October 7, 2013 thewholenote.com

WE ARE ALL MUSIC’S CHILDRENSeptember’s Child Rufus Wainwrightmj buellWho isOctober’sChild?Hmm ... what’ll itbe today?The film festival?Or the operahouse?With Danna?Or Mozart?A devil’s knot ofa decision.Know ourMystery Child’sname?Send your bestguess tomusicschildren@thewholenote.comby September 24.Win concerttickets andrecordings!Victoria, BC,circa 1966.On the subject of hisacclaimed show and recordinglatest recording, Outin which he recreates Judyof the Game, RufusGarland’s 1961 Carnegie HallWainwright hasconcert. He recently composedsaid, “In a lot of ways, whilemy mother was still alive, Iwas singing to her. She was mytoughest critic and my biggestfan. With her not having beenaround for this album, therewas a kind of release, a necessityto get to the next step.”“There’s a famous saying thatyour mother gives birth to youtwice — once when you’re bornand once again when she dies.So having a slightly tougher,wiser attitude on this record, Ithink I only could have done thatafter her passing ...”Rufus and Martha, Westmount, PQ, 1978.an opera, Prima Donna,which had its North Americanpremiere at Luminato in 2011.Wainwright’s sister, MarthaWainwright, is also a singer andsongwriter with a considerablecareer. Music was clearlythe fabric of their childhood— raised among peoplefor whom singing is as normalas breathing, immersed in asongwriting ethos with thepower to move anyone, regardlessof musical preferences,because it’s personal in auniversal kind of way. SingingComposer and singer-songwriter Rufus Wainwright isa musical chameleon with roots in both Canada and theUSA. He’s the son of Loudon Wainwright III and the lateKate McGarrigle — half of the musical sisters duo Kateand Anna McGarrigle.Wainwright was born in New York State, grew up inMontreal, and has lived in London, New York and LosAngeles. His daughter, Viva, now two, lives with hermother, Lorca Cohen (daughter of LeonardCohen), in Los Angeles. Wainwright andhis partner Jorn Weisbrodt have a home inToronto’s Annex neighbourhood (Weisbrodtis the artistic director of Luminato) butWainwright spends a huge amount of timetouring internationally — he’ll make twoOntario appearances before the end of theyear — October 11 with the Toronto Symphonyat Roy Thomson Hall, and November 2 atOttawa’s National Arts Centre.Rufus Wainwright has recorded sevenalbums of original songs in a range ofstyles. Other projects (among many) includeShakespearean sonnets set to music for a theatre pieceby Robert Wilson, soundtrack collaborations and anto, for and about each other has remained a Wainwright/McGarrigle constant.In June 2013, Nonesuch Records released Sing Me TheSongs: Celebrating The Works Of Kate McGarrigle — twoCDs of performances from benefit concerts in New York,London and Toronto which include Rufus and MarthaWainwright and a remarkable array of friends andfamily. Many, including Anna McGarrigle, elder sisterJane McGarrigle, Emmylou Harris, Teddy Thompson,Norah Jones, Sloan Wainwright and Joel Zifkin are inthe feature documentary Sing Me The Songs That SayI Love You: A Concert For Kate McGarrigle, directedby Ian Larson (seen at Luminato and TIFF Go to theMovies in 2012). Proceeds from the CDs go to the KateMcGarrigle Foundation, which supports cancer care andsarcoma research.Canadian performers across all genres often travel faraway before finding themselves on a river that bringsthem back. Wainwright didn’t sing Joni Mitchell’sRiver at the June Massey Hall birthday tribute concertfor Mitchell’s upcoming 70th birthday, but the songshe performed — All I Want, A Case of You, SlouchingTowards Bethlehem and Free Man In Paris — were eachin some way about searching and longing.dane lankenConGRAtulAtionS TO OUR WinnerS!“Rufus Wainwright with Orchestra” (TSO, Oct 11, 8pm) will feature Wainwright as both acomposer and singer-songwriter. The concert will include music from Wainwright’s opera PrimaDonna, his orchestral setting of Five Shakespeare Sonnets and songs that reflect his extraordinary range of musical appetites(from Arlen to Berlioz), with Melody Moore, soprano, and Jayce Ogren, conductor. There’s a pair of tickets for Kathleen O’Neil.Prima Donna – The Story of An Opera is a 90-minute documentary film by George Scott (Decca, 2010). This fascinating portraitof Wainwright, his musical history and career, includes interviews with Wainwright and family, Prima Donnacollaborators and commentary by Renée Fleming. Why opera? A scene with Wainwright and his mother,sitting on her sofa, listening to an old record by Beniamino Gigli, might just hold a clue or two. Lucky NaomiLuker and Paul Sayer each win a copy. All Days Are Nights: Songs for Lulu is Rufus Wainwright’s sixthalbum (DECCA RECORDS, 2010). Wainwright’s first recording after the death of Kate McGarrigle is a departure fromhis usually more extravagant arrangements: these 12 original songs are for piano and voice. Three are settingsof Shakespeare’s sonnets 10, 20 and 43: The words “All Days Are Nights” are from the sonnet 43: “All days arenights to see till I see thee...” Loretta London and Sheri Katz each win a copy, along with a copy of Out of theGame, Wainwright’s newest album of original pop music (Decca, 2012).Music’s Children gratefully acknowledges Shushan and Joseph, Eve, Marcy, Loudon and Kate.thewholenote.com September 1 – October 7, 2013 | 59

DISCOVERIES | RECORDINGS REVIEWEDThe extra month off since the publicationof our extended summer issuehas made it even harder than usual toreturn to the task at hand. Where to beginafter three months of eclectic listening? Oneongoing project over the summer involvedmore reading than listening, although itcertainly sent me back to my collection torevisit some of the great worksof the 20th century. Stravinsky –Discoveries and Memories is kindof a tell-all book by Stravinsky’samanuensis Robert Craft (NaxosBooks ISBN 978-1-84379-753-1). Craft worked intimately withStravinsky over most of the last25 years of the composer’s lifeand we are treated to a “fly on thewall” view not only of his creativebut also his social activities. Thebook is divided into three sections:The Music; The Man; Friendsand Acquaintances. It is thefirst of these that I foundmost interesting, primarilythe debunking of the mythof animosity between the“rivals” Stravinsky andSchoenberg. The second andthird sections with their focuson more prurient themes wasless satisfying although there are fascinatingmoments involving Stravinsky and some ofthe notable giants of the past century. Thisincludes not just the usual suspects — musiciansand artists Prokofiev, Diaghilev, Picasso,Dali, Gershwin, Copland, Carter, Sessions andBerio — but also literary and scientific figureslike T.S. Eliot, Thomas Mann, Aldous Huxley,Kenneth Clark and Edwin Hubble, plus a fewseemingly unlikely figures such as Mussoliniand Warren Zevon. It’s like a Who’s Who ofthe 20th century, but of course Stravinskyhimself would be at the top of that list. Thebook includes a CD with an outstandingperformance of The Rite of Spring with Craftconducting the Philharmonia Orchestra in2007 using the composer’s corrected 1967edition based on the 1913 original.One of the most recent discs to crossmy desk came from a local cellist I havelong admired, Coenraad Bloemendal, whoproduced it. Couleurs (Erdeco recordingstriodesiree.ca) is a collection of French artsongs by Duparc, Fauré, Debussy and Damasefeaturing Swiss-born Dutch soprano DésiréeTill and one of Canada’s national treasures,harpist Erica Goodman. The Fauré andDebussy transcriptions are by Goodmanwith Charles Heller handling the Duparc.Till’s credits stem mostly from the worldof operetta on the European stage but sheDaviD OLDSachieved her masters in Music Interpretationat the Université de Montréal in 2009 andthe following year founded Trio Désiréewith Goodman and Bloemendal. Althoughat times I find her voice a bit too “big” forthe intimacy of this repertoire, she workswell with Goodman in the bulk of the selections,consisting of harp transcriptionsof pianoaccompaniments. Mosteffective for me arethe tracks that includeBloemendal’s expressivecello lines which greatlyadd to the contrast ona disc which at othertimes suffers froma certain samenessof texture.Although onemight think thatany disc entirely devotedto one combinationof instruments (orvoices) might be susceptibleto the same criticism,certainly this is notthe case in Liquid Statesrecently released by theVancouver ensembleStanding Wave (Redshift MusicTK427 redshiftmusic.org). Thegroup’s instrumentation is fairlyunusual — clarinet(s), violin, cello,piano and percussion — but even this somewhatlimited palette is used with greatdiversity by the four composers representedhere. Jeffrey Ryan’s Burn is perhaps the mosttraditional with its lyrical melodic lines andmoods that shift between sombre stasis andwhirling rising motifs. Jocelyn Morlock’sTheft I: Water Clocks and Theft II: Insomniaopens extremely quietly with soft arpeggiatedpiano, droning clarinet and a veryhigh violin melody. The textures thicken asthe movement develops and cello and vibraphoneare added to the mix before returningto near inaudibility. The second movementis a stark contrast beginning with an abruptdrum roll and a busy piano line over whichviolin and clarinet interpolate bird-like callsand twitters. It’s no wonder there’s no sleephere. Rodney Sharman’s Pavane, Galliard,Variations is another soundworld altogetherwith its reinvention of keyboard worksby English renaissance composer WilliamByrd. The strings and clarinet are played in amanner suggestive of a consort of viols, withthe piano notes damped and the percussionutilizing eerily pitched gongs. Thesevery effective pieces transport us back to animagined time half a millennium ago. In starkcontrast Linda Bouchard’s Liquid States withits strummed violin chords and plucked cellonotes combining with low piano ostinatos,high-hat paradiddles and whining clarinetlines carries relentlessly forward on a 15-minute voyage that culminates in metallophonecacophony before gradually subsiding.An exciting journey indeed.The final two CDs have a number of thingsin common: local composer-performerscreating unique hybrids of classical and jazz,with some pop and world music influences,fine musicianship and excellent productionvalues. It does not come as a surprise thatwith regard to this latter aspect thebulk of the recording was doneat Toronto’s Canterbury Musicfacility, known for a long historyof attention to detail and use ofthe most appropriate technologies(vintage analog to contemporarydigital) to achieve itssignature warm, clean sound.This has attracted innumerable artistsfrom across the spectrum includingBarenaked Ladies, Molly Johnson,Moe Kauffman, Auto Rickshaw,Colm Wilkinson, Kiran Ahluwaliaand the Gryphon Trio to name buta few.The eponymous Shannon Grahamand the Storytellers (shannongraham.ca)(which also featuressome tracks recorded at theequally renowned Farm Studio)features a local band that oftensounds bigger than its parts.Graham, on tenor sax, violaand occasional vocals, is joinedby a host of friends on violins,(another) viola, trumpet, trombone,electric guitar, keyboard,bass and drums. I listened to this eclecticdisc a number of times before consultingthe booklet and was a bit surprised to readabout the influences which range fromBuddhism, Kurt Vonnegut and BenjaminBritten to everyday occurrences like chasinga runaway dog and taking an overnight bustrip from NYC to Toronto. I’m not sure whatI would have expected such a mixed bag tosound like but this self-described classicaljazz-popband is full of surprises. The storiesare mostly told in an instrumental fashion,with occasional vocalise, and only rarelyinclude narrative. The textures range fromlush and luscious to sparse and spiky. Thereare dissonant sections but overall the moodis playful and the sounds a blend of modernjazz and chamber music, occasionally reminiscentof themes from You’re a Good ManCharlie Brown. I mean that in the nicestpossible way.The Other Side of the Air by Canadianbanjo player and composer Jayme Stone(jaymestone.com) is, if possible, even moreeclectic that Shannon Graham’s disc. The coreensemble backing Stone on seven originalcompositions consists of familiar names fromthe local jazz scene: Joe Phillips (bass), Kevin60 | September 1 – October 7, 2013 thewholenote.com

Turcotte (trumpet), Rob Mosher (woodwinds),Andrew Downing (cello and bass)and Nick Fraser (percussion). Stone’s influencesrange from African tribal sounds tomusic of Persia and the Far East to mainstreamjazz. The most extended work on thedisc, lasting roughly half an hour, is ThisCounty is My Home, a concerto for banjoand chamber orchestra written for Stoneby Andrew Downing, who conducted thepremiere in July 2012 at the Home CountyMusic and Arts Festival in London (ON). Onthe current recording the core ensemble isexpanded to include string quartet, morewoodwinds and brass played by some ofToronto’s finest classical musicians. The workis in three movements with a brief interludebetween the second and third. If anyonedoubted the suitability of the banjo for theclassical concert stage, Downing’s concertoand Stone’s playing make a convincing casefor its inclusion. Stylistically the work is hardto define, but its sensibility is perhaps akin tosome of the playful works of Darius Milhaudand others of Les Six without sounding atall anachronistic. (And once again I wasreminded at times of Clark Gesner’s score forCharles M. Schultz’ classic!) The final trackon the disc, Tennessee Waltz, takes us backto a more traditional context for the banjoalthough the solos taken by Mosher andTurcotte cast a brand new light on an oldchestnut. (And if you don’t think that traditionalAmerican country music has had aworld wide penetration, I had the wonderfulexperience of singing and playing my guitarat a reception for the renowned shô playerMayumi Miyata and Japanese composerToshio Hosokawa several years ago and wasamazed and delighted when they both joinedin singing Tennessee Waltz!)We welcome your feedback and invitesubmissions. CDs and comments should besent to: The WholeNote, 503–720 Bathurst St.,Toronto ON, M5S 2R4. We also encourageyou to visit our website thewholenote.comwhere you can find added features includingdirect links to performers, composers, recordlabels and additional, expanded and archivalreviews.—David Olds, DISCoveries Editordiscoveries@thewholenote.comVOCALGiuseppi Scarlatti – Dove è amore è gelosiaLenka Máčiková; Aleš Briscein;Kateřina Knežíková; Jaroslav Březina;Schwarzenberg Court Orchestra;Vojtěch SpurnýOpus Arte OA 1104 D!!Prince JosephAdam of Schwarzenbergleft the educationof his children(nine of them by PrincessMaria Theresia ofLiechtenstein, sinceyou ask) in the handsof one of the Scarlattifamily, Giuseppe,probably a nephewof Domenico. PrinceJoseph openly referredto his own “low-brow taste” and love forItalian opera buffa and Scarlatti obliged. Doveè amore è gelosia is a lovesick duel betweenthe widowed Marquise Clarice (LenkaMáčiková) and her suitor Count Orazio (AlešBriscein) who slog it out, aided by failedsuicide attempts (the sword got stuck in itsscabbard, you see) and cups of tea carelesslypoured by Clarice’s maid Vespetta (KateřinaKnežíková) which only forestall the quarrellingand venomous name-calling.As if that was not enough, the aristocraticdépit amoureux is parallelled by the slapstickduel between Vespetta and Orazio’s confidantPatrizio (Jaroslav Březina). All make fora classic opera buffa, what with comediesof errors, supremely beautiful trompe l’oeilscenery, stage crew in period costume drivingtheir stage manager to the point of nervousbreakdown and even musicians who lookover their shoulder in amused appreciation ofwhat is going on.It is difficult to single out any of the singers.All convey their anguish (and their sense ofjoy at inflicting anguish), and their satisfactionwhen they have sorted out all the confusioncreated throughout the course of thisdelightful farce. Non-speakers of Italian aregreatly helped by the onscreen translations,which are both blunt and priceless: the suitor’smisdirected cry of “You blockhead” ismore than matched by the widow’s retort“Get lost. Out!”And then there is the star without anysinging part — Český Krumlov castle wherethis DVD was filmed. The theatre for thisre-enactment lies off the fifth(!) courtyardand is described as a baroque stage inits mature form of 1680. Enjoy this amusingperformance.—Michael SchwartzMendelssohn – EliasChristine Schäfer; Cornelia Kallisch;Michael Schade; Wolfgang Schöne;Gächinger Kantorei Stuttgart;Bach-Collegium Stuttgart; Helmuth RillingHänssler Classic CD 098.017! ! Mendelssohn’sElias is known asElijah in the Englishspeakingworld. Andit was in Englishthat the oratoriowas first performedat the BirminghamFestival in 1846 withMendelssohn himself conducting. The workbecame very popular in England, though bythe end of the 19th century a reaction hadset in. In 1892 George Bernard Shaw called itCOMING MID-SEPTEMBERHALFTONESThe WholeNote mid-month e-letterBreaking news, just-in listings, “mystery tracks” CD contest,ticket give-aways, discount window, member offers,and more.Visit thewholenote.com/halftones to register.thewholenote.com September 1 – October 7, 2013 | 61

“sensuously beautiful in the most refined andfastidiously decorous way, but thoughtless.”Shaw was willing to set Elijah next to the“seraphic,” not religious, music of Gounodbut could not find more in it than “exquisiteprettiness.” Parsifal, Die Zauberflöte,Beethoven’s Ninth Symphony and the best ofBach and Handel were adduced as contrasts.In recent years interest in Elijah has revived(there are now 25 recordings available), aslisteners have begun to consider the workon its own merits, not as a pale imitation ofHandel’s oratorios or Bach’s Passions.The CDs under review constitute are-release; the music was recorded in 1994and the discs were first released soon afterwards.There is stiff competition from twoearlier recordings, which both date from1968: the Rafael Frühbeck de Burgos (avery dramatic reading with Janet Bakersuperb in the alto arias) and the WolfgangSawallisch (with Elly Ameling, Peter Schreierand Theo Adam as Elias). It stands up well,both because of Rilling’s conducting andthe quality of the singing. The soloists areChristine Schäfer, soprano, Cornelia Kallisch,alto, Michael Schade, tenor, and baritoneWolfgang Schöne as Elias.—Hans de GrootTutto Verdi – Un ballo in mascheraFrancesco Meli; Vladimir Stoyanov;Kristin Lewis; Elisabetta Fiorillo;Serena Gamberoni; Teatro Regio di Parma;Gianluigi GelmettiCmajor 724208!!By age 46 theworld famous Verdihad many triumphsbehind him, butall was not smoothsailing. His opera onthe subject of regicidewas strenuouslyobjected toby the Neapolitancensors and he simplycancelled in disgust.Verdi was taken tocourt, but went to Rome instead; changedthe setting and the protagonist to a mereGovernor in remote colonial North Americaand thus the opera, Un ballo in maschera waspremiered and succeeded.This is a wonderful performance, oneof the finest in this Tutto Verdi series ofthe complete operas. Conductor GianluigiGelmetti is an unlikely looking gentleman atfirst glance but at his first wave of the batonone realizes he is a master. His upbeat tempihave a big sweep that gives the opera the brillianceVerdi intended. The tenor, FrancescoMeli (Riccardo), is a young fresh voice,powerful and sensitive; the baritone, VladimirStoyanov is beginning to take over fromthe venerable Nucci in the series. His voiceis powerful, well shaded, his acting puts amenace into his Renato and we commiseratewith his agony of being a betrayed husband.Serena Gamberoni’s Oscar is a delight — astunning beauty, her voice supple and flexible,she moves like a real opera star! AnAmerican from Arkansas, Kristin Lewis is apassionate Amelia with power, secure in hertop notes. Elisabetta Fiorillo (Ulrica), an oldtimernow with an alto range, makes a strongimpression as the wise and not at all wickedsoothsayer.About the scenery: it’s simply eye-poppingand stunning, with grandiose highly artisticarchitecture, monumental creations andgorgeous colouring.—Janos GardonyiEditor’s Note: Next month’s WholeNote willfeature an extended article by Janos Gardonyiin honour of the bicentennial of Verdi’s birthon October 10, 1813.George Benjamin – Written on SkinBarbara Hannigan; Bejun Mehta;Chrisopher Purves; Rebecca Jo Loeb;Allan Clayton; Pierre-Laurent Aimard;Mahler Chamber Orchestra;George BenjaminNimbus Records NI 5885/6!!Written on Skinwas a hit right fromthe first performancesat the 2012 Aix-en-Provence festival,where this recordingwas made. The hardhittinglibretto byBritish playwrightMartin Crimp involves murder, cannibalismand suicide, while the riveting score by fellowBrit George Benjamin includes some of themost sexually charged passages in opera sinceShostakovich’s Lady Macbeth of Mtsensk.Yet the action unfolds subtly, in a series ofintimate conversations, while the diaphanousmusic, with its silky colours and angulartextures, avoids sensationalism altogether.Canadian soprano Barbara Hannigandazzles as the passionately defiant Agnès. Herhusband, the oily, malevolent Protector, ismasterfully portrayed by baritone ChristopherPurves. Counter-tenor Bejun Mehta isthrilling as the Boy, an itinerant artist.Though the story is set in the MiddleAges, characters occasionally step into thepresent to “snap the dead back to life.” Sothe Boy imagines how a forest where he istaking refuge will be covered by “eight lanesof poured concrete” in a thousand years.Moments like these resonate powerfully. Lesseffective is when the characters slip into thethird person to narrate their own story, or,especially, when the Boy turns up as one of thebusybody 21st century angels. Their chillingpresence may be provocative as a poeticdevice, but it does interfere with the drama.A bonus, Benjamin’s imaginative Duet forpiano and orchestra, featuring pianist wizardPierre-Laurent Aimard, adds to the manyreasons to enjoy this terrific recording.—Pamela MarglesLa Voix Nue – Songs for UnaccompaniedVoice by Living ComposersPatricia GreenBlue Griffin Records BGR279bluegriffin.com!!An entire disc ofunaccompanied vocalworks is a courageousundertaking for asinger, as the selectionand performanceof repertoire as well asits pacing and placementmust engagethe listener from start to finish. In addition,the singer must execute absolute precisionof pitch while effectively conveying dramaticcontent. The beautiful, rich, warm tone ofPatricia Green’s voice, combined with herdramatic sensibilities and skilful musicianship,is perfect for this collection of songsby living composers. These pieces, thoughmodern, for the most part draw on historicalmaterial with texts from Shakespeare,Norwegian history, Ovid, Native legend,5th-6th century aphorisms and surrealistFrench poetry.As a committed performer of new music,Green is highly attuned to the intention ofcomposers and respectfully steps out of thestudio to delightfully make an exception toher solitude, allowing the accompanimentof birdsong for the excerpt from R. MurraySchafer’s Princess of the Stars. Another interestingand iconic work, King Harald’s Sagaby Scottish composer Judith Weir, highlightsGreen’s dramatic flare, featuring a mixtureof narrative and interchanging roles, each ofwhich is given its own characteristic voice.Hillary Tann’s dramatic song cycle Arachne,in which an apprentice weaver takes ahaughty stance with her teacher Athene andpays dearly for it, gives Green yet anotheropportunity to characterize more than onevoice. The same again for Jonathan Dove’ssetting of Shakespeare’s Tempest verses inAriel. A couple of eclectic cycles by JoséEvangelista and György Kurtág provide thesinger a chance to exhibit a light and playfulair, most charming indeed.—Dianne WellsCLASSICAL & BEYONDO’Riley’s LisztChristopher O’RileyOxingale OX2020oxingalerecords.com! ! This wonderful pairof CDs is the perfectchoice for avid loversof the piano and itsorchestral sound.The Lisztian virtuosicexcess is like havinga meal of rich overwhelmingtextures62 | September 1 – October 7, 2013 thewholenote.com

and layers of scintillating colours. ChristopherO’Riley has astounding technique andcontrol, as well as a creative and wild imagination.Those skills make these Liszt transcriptionsa sumptuous and sensual listeningexperience.I enjoyed his programming on the firstCD. He paired two mammoth showpieces,alternating them with sensitive song transcriptions.He began with the extremelydifficult transcription of Mozart’s DonJuan Fantasy, which Moritz Rosenthal hadperformed to impress Brahms. Schumann/Liszt’s Fruhlingsnacht followed in a tenderand gentle interpretation. This was a breathof calm before the stormy and tragic Tristanund Isolde by Wagner/Liszt/Moskowski andO’Riley, who added a vocal line near the endof the piece and managed to make his fingerssing throughout this opera for the piano.He concludes the first CD with Schubert’sFruhlingslaube. His emotional response to themusic is refreshing and his musicality subtle.The second CD is Liszt’s transcription of theBerlioz Symphonie fantastique. In his excellentprogram notes, Ethan Iverson quotesCharles Halle who said that Liszt played hispiano version “with an effect even surpassingthat of a full orchestra and creating anindescribable furor.” O’Riley displays his owngargantuan keyboard skills in this incredibleperformance. I didn’t miss the orchestra atall and O’Riley made the piano thunder andsing in washes of orchestral sound. Dreamof a Witches’ Sabbath was monumental anddevilish. These CDs are highly recommended.—Christina Petrowska QuilicoEditor’s Note: O’Riley’s Liszt is also availableon a Blu-Ray video disc which includesa special feature The Bells of Berlioz withartist’s commentary (Oxingale OX2021).Koechlin; Schmitt; Rivier; Cartan;Bozza Duo (Jean-Guy Boisvert;Christiane Laflamme)ATMA ACD2 2679!!Moncton-basedclarinettist Jean-GuyBoisvert’s latestproject on the ATMAlabel brings togethercolleagues ChristianeLaflamme (flute)and Jean-Willy Kunz(keyboards) fromthe Université de Montréal in an extendedprogram of relatively unknown Frenchminiatures from the margins of the 20thcentury wind repertoire, including severalworld premiere recordings. The 27 tracksare united by the recurring presence of thegreat Alsatian master Charles Koechlin, whois represented by 14 tracks interspersed withcompositions by his contemporaries.The best known of these fellow travellersis Florent Schmitt, represented here by thedelightfully quirky modulations of his 1935Sonatine for flute, clarinet and harpsichord.Also of note is the intriguing 1967 Duo forflute and clarinet by Jean Rivier, the slowmovement of which is the only example thatbriefly flirts with the serial techniques of the1960s. A series of duets by the short-livedJean Cartan and the woodwind doyen EugèneBozza fill out the guest list.Koechlin is represented by the selfconsciouslyantiquarian Sonatine modaleand similarly conceived Motets de stylearchaïque duets along with six excerpts fromhis Monodies for solo clarinet. An exampleof Koechlin’s unique harmonic palette isbriefly represented by his Pastorale for flute,At the time of writing, the outstandingToronto double bassist and former TSOprincipal Joel Quarringtonis about to take up his newposition as principal bassist ofthe London Symphony Orchestra.His latest CD with pianist DavidJalbert on the Modica Music label,Brothers in Brahms (MM013),consequently has somewhat of aparting gift feel about it, havingbeen recorded at the CBC’s GlennGould Studio just this past Marchand released in June. The titlecomes from a concert programthat the Toronto RCM’s ARCEnsemble presented ten years ago,in which Quarrington was askedto play the Double Bass SonataOp.97 by Brahms’ contemporary andfriend Robert Fuchs. Quarringtonhad never heard of Fuchs orthe sonata, but was quite takenwith it, and eventually chose torecord it by following the ARCEnsemble’s original program idea,pairing it with his own transcriptionsof works by Brahms andRobert Schumann.The Brahms might stop you in your tracksat first hearing: it’s the Violin Sonata No.1 inG Major, Op.78; a work you wouldn’t thinkwould be able to survive a drop of a coupleof octaves for the solo part. It takes a bit ofgetting used to, but soon assumes a characterof its own and does work very well.Quarrington rightly stresses the singingnature of the solo part in his booklet notesand more than justifies this observation withhis playing.The transcription of Schumann’s beautifulAdagio and Allegro Op.70 for French horn ismore immediately successful, but the maininterest here is the Fuchs sonata. It’s a terrificwork, with a cello-like quality much of thetime, and quite Brahmsian in style — lyrical,Romantic, lush and passionate. As the originalTERRY ROBBINSclarinet and piano. The duets are masterpiecesof contrapuntal writing while thebest of the solo pieces is represented by theeerie chromatic bifurcations of the Chantfunéraire. Koechlin also wrote extensivelyfor solo flute and it is regrettable that we arenot allowed to enjoy the clear and attractivetone of Christiane Laflamme in at least a fewexamples from the 96 pieces that constitutehis monumental Les Chants de Nectaire.The recording is artfully captured in a warm,close acoustic recorded at the Domain Forgetin Québec.—Daniel Foleythree movements are all Allegro, Quarringtonchose to add the Andante from Fuchs’ ThreePieces for Contrabass and PianoOp.96 as a slow third movement; itworks extremely well.Quarrington’s playingthroughout the CD is superb,combining virtuosity and musicianshipwith a tone and agilitythat are at times quite astonishing.Jalbert is his equal in all respects,and the recorded sound andbalance are faultless.Polish-born violinist JerzyKaplanek is a member of theWaterloo-based Penderecki StringQuartet and associate professorin the Faculty of Music atWilfrid Laurier University. Onhis new CD Exoticism – TheMusic of Karol Szymanowski(Marquis MAR 437), he is joinedby pianist Stéphan Sylvestre, associateprofessor of piano at WesternUniversity, in a recital of works byhis compatriot.Kaplanek readily admits thathe feels he has known and understoodSzymanowski’s music sincehis childhood days; it’s certainly borne out byhis exemplary playing on this excellent disc.Two of the major works here — the Nocturneand Tarantella Op.28 and Mythes Op.30 — arefrom 1915, at the start of the composer’s mostprolific period. Also included are the Sonatain D Minor, Op.9 from 1904, the early BMinor Prelude Op.1 No.1 in a transcription byGrażyna Bacewicz, and the Chant de Roxanefrom the post-war opera King Roger.Szymanowski always wrote gratefullyfor the violin — his two violin concertosare particularly beautiful — and the musicthroughout this disc is a delight. Beautifullyrecorded at the Banff Centre in 2011, therecital features outstanding playing fromboth artists, with the wonderful Mythes theparticularly dazzling highlight of a terrific CD.thewholenote.com September 1 – October 7, 2013 | 63

Violinist Viktoria Mullova is joined byharpsichordist Ottavio Dantone and theAccademia Bizantina on a new Onyx CD ofBach Concertos (ONYX 4114). The two standardsolo concertos — the A Minor BWV1041and the E Major BWV1042 — are here,together with two transcriptions: the E MajorConcerto for Harpsichord, arranged forviolin in D major; and the Concerto for TwoHarpsichords in C Minor, arranged for violinand harpsichord.Mullova’s playing is simplybeautiful: crisp, clean and light,with a nice sense of space. Theslow movement of the E majorconcerto is particularly lovely. Thetwo transcribed concertos aren’tquite as successful, but are stillhighly satisfying. The C minorconcerto perhaps transcribesbetter, but both works have reallynice third movements, with someparticularly dazzling harpsichordpassages in the duo concerto.Beautifully presented in aglossy card folder, this is asimply lovely CD.The wonderful Gil Shaham isback with another outstanding CDon his own Canary Classics label,teaming up once again with hissister Orli Shaham for a fascinatingrecital titled Nigunim –Hebrew Melodies (CC10). It’s amixture of old and new, with JosefBonime’s Danse hébraïque andJoseph Achron’s Hebrew Melodyand Two Hebrew Pieces bracketing the majorwork on the CD, Avner Dorman’s Nigunim(Violin Sonata No.3). The Dorman workwas commissioned for this recording by theShaham siblings, who wanted to emphasizethe relevance of the Jewish music tradition intoday’s world, and it’s a stunning piece, thevirtuosity and quality of which quite clearlythrilled the performers.The other works on the CD are: JohnWilliams’ Three Pieces from Schindler’sList, the link to the 1940s Poland of theirgrandparents giving the music a personalrelevance for the performers; Leo Zeitlin’sEli Zion, transcribed by Joseph Achronfrom the original 1914 piece for cello andpiano; and Ernest Bloch’s three-movementBaal Shem, the terrific performance ofwhich features a particularly glorious Niguncentral movement.The Shahams grew up with this music, andit shows: the violin playing throughout themarvellous CD is rich, warm and idiomatic,and the piano playing always sympathetic andperfectly attuned.The young Czech violinist Josef Špaček hasa new CD on the Supraphon label, pianistand fellow Czech Miroslav Sekera joininghim in a recital of works by Janáček, Smetanaand Prokofiev (SU 4129-2). Both players areclearly very much at home in the JanáčekSonata for Violin and Piano and Smetana’sFrom the Homeland: Two Pieces for Violinand Piano, but Špaček shows a remarkableaffinity for the music of Prokofiev as well.The Sonata for Solo Violin Op.115 is a relativelyshort but charming work and Špačekgets it absolutely right, with aperfect mix of lyrical and spikypercussive playing in the openingmovement, a lovely Theme andVariations middle movement anda nicely contrasted — and not toofast! — finale.Both players are in dazzlingform in Prokofiev’s Sonatafor Violin and Piano No.1 in F Minor,Op.80, from the lovely wispy violinscales over the slow, deep basspiano octaves of the first movement,through the percussivesecond movement to the brilliantAllegrissimo finale and the return tothe mysterious mood of the sonata’sopening bars.The great sound and balancecontribute to an outstanding CD.Jennifer Higdon, who recentlyturned 50, is firmly established asone of the leading contemporaryAmerican composers. With EarlyChamber Works (8.559752)Naxos has added a fascinatingretrospective CD to its AmericanClassics series, presentingpremière recordings, made in associationwith the composer, of five works from theformative years of Higdon’s career. They areall finely crafted and very accessible.The Serafin String Quartet opens the CDwith a short but lovely setting of AmazingGrace, followed by the Sky Quartet, a fourmovementwork inspired by the immensityand beauty of the Western U.S. sky. The quartet’sviolist Molly Carr is joined by pianistCharles Abramovic for the early — and reallybeautiful — Sonata for Viola and Pianofrom 1990, and bassoonist Eric Stombergjoins a standard piano trio line-up for DarkWood, a short piece that Higdon describes asexploring the bassoon’s virtuosic abilities aswell as respecting its soulful nature.Members of the Serafin Quartet performthe earliest work on the CD, the String Triofrom 1988; it’s a terrific work that draws aninteresting comment from Higdon, who saysit “reveals a young composer in the process offinding her own voice. The language is restlessand searching, and even the arrival pointsdo not feel quite settled.” She calls it “a goodplace to be if you are a developing composer.”And an even better place to be if you are aninterested listener!Always find more reviews online at thewholenote.comMODERN & CONTEMPORARYFrançaix – Music for String OrchestraSir Georg Solti Chamber Orchestra,Budapest; Kerry StrattonToccata Classics TOCC 0162!!Sometimes allit takes is a letterto provide furtherimpetus for a newdisc. At least, thatwas the case withCanadian conductorKerry Stratton who,upon searching forsome fresh material, contacted JacquesFrançaix, son of the eminent composer JeanFrançaix, asking if there was any music byhis father that had never been recorded. Yes,came the reply, the score for the ballet DieKamelien and the Ode on Botticelli’s Birthof Venus. Two years later, both pieces are tobe found on this fine CD of music for stringson the Toccata Classics label featuring the SirGeorg Solti Chamber Orchestra.2012 marked the centenary of Françaix’sbirth — he lived until 1997 — and over thecourse of his lifetime, he quietly carved outa niche as a gifted and prolific composer,completing more than 200 pieces innumerous genres. The disc opens with theSymphony for Strings, written in 1948.Containing more than just a touch of Frenchinsouciance, this is elegant music, elegantlyplayed, with the GSCO’s strongly assuredperformance further enhanced by a warmand resonant sound. Less well known is theballet music Françaix wrote for Die Kamelien(The Camellias), loosely based on the 1848play by Alexandre Dumas, which premieredat New York City Centre in 1951. The score isa study in contrasts, from the eerie openingto the highly spirited fifth movement, ImSpielsaal. Also receiving its premiere on CDis the brief Ode on Botticelli’s Birth of Venusfrom 1961, a haunting and evocative homageto the Renaissance Italian painter. Here, thedelicately shaped phrasing goes hand in handwith a wonderful sense of transparency.Kudos to Kerry Stratton and the GSCO, notonly for some fine music-making, but foruncovering some unknown treasures thatmight otherwise have been overlooked.—Richard HaskellAllan Gordon Bell – Gravity and GraceLand’s End Chamber Ensemblewith James CampbellCentrediscs CMCCD 19013!!Gravity and Grace is a collection of recentchamber works by Alberta composer AllanGordon Bell, featuring Calgary’s Land’sEnd Chamber Ensemble with guest JamesCampbell on clarinet. Bolstered by greatperformances by the core piano trio andguests, Bell’s music shimmers and shrieks,grumbles and growls.64 | September 1 – October 7, 2013 thewholenote.com

Bell is afflicted withdelight in sonorityand fascinated bythe physical fact ofconsonance, usingan effective range ofdissonance as a foil.He expresses a kindof gratitude to theworld around him in all these works. He is astrongly visual composer; in one piece soundscreate images of falcons rising on thermalsabove the prairie or cascades of watertumbling into pools. In Field Notes he beginswith a depiction of two rivers meeting andfinishes with a sunset. Sweetgrass wrapspaired contrasting images of the prairiearound a still central movement that takes apage out of Béla Bartók.The album title derives from the final workon the disc. Trails of Gravity and Grace,for clarinet cello and piano, was commissionedby Toronto’s Amici ensemble. Asgood as the title is, it is the weakest part of astrong collection. The limited palate doesn’tsuit the composer, and I must confess thatat times I found Mr. Campbell’s intonationquestionable.Apart from that, the playing is solid andcommitted; I especially enjoyed Sweetgrass,(written in 1997, the earliest of these pieces)for a sextet requiring three guests: Calgarymusicians flutist Mary Sullivan, Ilana Dahlon clarinets and Kyle Eustace on percussion.Bell is wise to write for some commongroupings in the contemporary idiom: hereit’s “Pierrot plus percussion.” Field Notes iswritten for the same group as Quartet for theEnd of Time.Both Bartók and Olivier Messiaen couldbe fellow travellers with Bell. They shared asimilar mystical regard for the natural worldand made efforts to incorporate that worldinto their music. Bartók’s Contrasts and theMessiaen Quatuor would ride alongside FieldNotes quite comfortably.—Max ChristieWoman Runs with WolvesBeverley JohnstonCentrediscs CMCCD 18913!!This new releaseby Canadian superstarpercussionistBeverley Johnstonhas everything alistener loves — stellarperformances, strongcompositions andclear sound quality.The title track, Woman Runs With Wolvesby Alice Ho, is based on the myth La Lobafrom Women Who Run with the Wolves byClarissa Pinkola Estes. It is a dramatic work,with Johnston vocalizing a text of an inventedlanguage while playing hand-held percussioninstruments. The work also involvesacting and movement but Johnston’s preciserhythmic patterns and surprising range ofvocal colours make it moving even withoutthe visuals.Christos Hatzis’ In the Fire of Conflict is atwo-movement solo marimba and audio playbackversion of an earlier work also featuringcello. The marimba part adds a contrapuntalmelodic line to the haunting rap tracks byBugsy H. (aka Steve Henry) and tape effects,while the rhythmic component breaks downthe boundaries between classical and popmusic. Hatzis’ Arctic Dreams also featuresflutist Susan Hoeppner and soprano LaurenMargison in a soundscape of jazzy marimba,trilling flute and lush vocals against a wilderness-evokingtape part.David Occhipinti’s moving marimba soloSummit, and three duets with pianist PamelaReimer — Tim Brady’s rhythmically drivenRant! (based on a Rick Mercer “Rant”),Micheline Roi’s Grieving the Doubts ofAngels and the film score-like Up and DownDubstep by Lauren Silberberg — add compositionalcontrast and colour.Johnston’s sense of phrase, tone colour andrespect for the composers shine throughoutthis perfect release from a perfect musician.—Tiina KiikJAZZ & IMPROVISEDWomanChildCecile McLorin SalvantJustin Time JTR 8580-2justin-time.com!!When theAmerican singerCécile McLorin Salvantwon the prestigiousThelonious MonkInternational JazzVocal Competition in2010, the buzz aroundher was massive.Relatively young and coming seemingly outof nowhere, she impressed the judges withher poise and talent. The praise then andsince has been effusive (on a recent cover ofJazz News she was referred to as simply “TheVoice”) and it’s all well deserved.The sounds of many legendary jazz singerscan be heard in Salvant’s voice — most apparentlySarah Vaughan — in particular in thepure, horn-like quality that is one of the hallmarksof a great vocal talent. Confident andsure-footed in both traditional and modernstyles, she gets basic and loose on the bluesySt. Louis Gal and the New Orleans-styleNobody, then edgy and outside the boxon the title track, WomanChild, her owncomposition. Her sophistication quotient goesup even a few more notches when she singseasily and naturally in French on Le FrontCaché Sur Tes Genoux.The overall feeling of the album is masterfuland that owes a lot to Salvant’s band mates.She has chosen to work with some veryexperienced players — like Rodney Whitaker,bass, Herlin Riley, drums, and James Chirillo,guitar and banjo — who bring a steady handto the mix, while piano player Aaron Diehlis, like Salvant, a rising star in the jazz world.For fans who may worry about the artform’s future, this album is a sign it’s in verygood hands.—Cathy RichesOur Second SetJohn MacLeod & His Rex Hotel OrchestraIndependentjohnsjazz.ca!!Further proof — ifindeed it isneeded — of the astonishingquality of musiciansin Toronto canbe found on this, thesecond CD by thisorchestra, recordedJanuary 3 and 4, 2013,at the Humber College recording studio. Thearrangements, all by John MacLeod exceptfor Melancholy Baby which is by RickWilkins, are works of art and the program is acomfortable mix of standards and originals.The standards are a high energy Indiana,a richly textured arrangement of EverythingHappens To Me, what MacLeod describes asa “mash up” arrangement of O Pato and TakeThe A Train and the lovely Wilkins arrangementof Melancholy Baby mentioned above.The originals are beautifully played by whatcan truly be described as an all-star gathering.The musicianship throughout is exemplary,the soloists are at the top of their respectivegames and I would hardly be able to singleout any one of them. Having said that I wouldbe remiss if I didn’t take my hat off to leaderJohn MacLeod who is the catalyst providingthe chemistry that brings it all together.Running a big band involves a lot of time andeffort, especially if you are also doing the bulkof the writing.If you like big band jazz you need to addthis recording to your collection.—Jim GallowayDa Bang!Billy BangTum Records TUM CD 034tumrecords.com! ! Billy Bang cameof age amidst theCivil Rights movementand free jazz.Having studied violinas a child, he returnedto the instrumentafter combat duty inVietnam, a harrowingexperience later revisited in recordings likeVietnam: Reflections. From his first recordingsin the late 70s, he emerged as themost compelling jazz violinist of his day,combining the robust swing of 1930s violinistslike Stuff Smith and the visionary powerof John Coltrane.thewholenote.com September 1 – October 7, 2013 | 65

Bang recorded this final session in Finlandin February 2011, two months before hisdeath from lung cancer. The repertoireincludes two very familiar tunes, Miles Davis’All Blues and Sonny Rollins’ calypso-fuelledSt. Thomas, but even that emphasizes Bang’soriginality in mating musicians and material.The front line of Bang’s eerily thin violinsound and Dick Griffin’s robust trombone isvery distinctive, emphasizing the combinationof frailty and force that gives Bang’s worka special intensity.The band sounds as if Bang assembled itfor maximum authority, creating a powerhouserhythm section of pianist AndrewBemkey, bassist Hilliard Greene and drummerNewman Taylor-Baker. They work in a largelyreceived tradition, but Bang extends it instunning ways: in his unaccompanied introductionto Don Cherry’s Guinea, pentatonicpatterns and microtones link vernacularviolin sounds — a Vietnamese đàn gáo, aKenyan orutu — to early traditions of African-American fiddling, suggesting a uniqueperspective on the expressive depths andpossibilities of jazz. Da Bang! is a powerfulfinal testament.—Stuart BroomerRed HotMostly Other People Do The KillingHot Cup HC 125hotcuprecords.com!!Trumpeter PeterEvans, who alongwith drummer WeaselWalter, bassist TomBlancarte and pianistCharity Chan isfeatured at a punkjazz-improvconcertat the Arraymusicspace on September 4, has quickly becomeone of jazz’s most in-demand and versatilebrass men. Proficient elsewhere playingatonal music, this CD by an expanded versionof the co-op group Mostly Other People DoThe Killing (MOPDtK) finds the New Yorkbasedbrass man helping to create a respectfulbut sophisticated take on early jazz. ThatEvans has mammoth chops is without question,and you can note that on Zelienople,where following a wood-block [!] breakfrom drummer Kevin Shea, Evans’ openhornexposition is bird-song sweet at oneinstance and growly as a warthog by the next.Meanwhile on Orange is the Name of theTown, he fires off triplet patterns after tripletpatterns with aplomb.While classic jazz fanciers probably won’tbe offended, sardonic Red Hot is no by-roteDixieland-recreation. For a start, MOPDtKbassist Moppa Elliott composed the nineselections, and each draws on a conservatoryfull of influences. On the title trackfor instance, there are echoes of sci-fi-likeelectronic processing plus clunking banjotwangs, both created by Brandon Seabrook.Meanwhile the two-step melody is extendedby pianist Ron Stabinsky’s ragtime-styledpumps, and climaxes when Jon Irabagon’sC-Melody sax wails pierce the connectivefour-horn vamp.Atmospherically (post) modern and goodtime music in equal measure, the CD demonstratesclearly how many avant-garde tropeslike broken-octave sax peeps or squeezed andhectoring brass tones actually have a longIn the spirit that jazz is increasingly aninternational language, this month’s collectionof CDs emphasizes that dialogue,from American guests turningup on Canadian musicians’ CDsto Canadian expatriates who aremembers of a global community.Montreal tenor saxophonistChet Doxas has just released Dive(Addo AJR 015 addorecords.com),a well-conceived successor to hisJUNO-nominated 2010 releaseBig Sky. Doxas has put togethera New York-based rhythm section,though it includes Canadianexpatriates, Toronto-bornguitarist Matthew Stevens andMontreal-born bassist Zack Lober,as well as drummer Eric Doob. Themusic is in a contemporary idiom(Doxas also co-leads Riverside, aband that includes Dave Douglasand Steve Swallow), and Doxasdelights in cleverly constructedpieces that he and the band negotiatewith ease, creating playfulengaging music. Doxas’ lighttenor sound is made for mobilityand everything here contributesto quick, spontaneous reactions.Stevens’ processed guitarsound contributes much to theoverall feel: it’s at once glassyand opaque, shimmering andmuted, and the abstracted clarityof his work comes to the fore onthe elusive Mysteries.A native of Williams Lake, BC,now based in Toronto, tenor saxophonistRyan Oliver studied in thecelebrated Jazz Program at RutgersUniversity in New Jersey where he got toknow veteran New York drummer VictorLewis, the two exploring rhythmic conceptsin weekly duet sessions. Lewis appears onOliver’s Strive! (ryanoliver.ca) and bringsOliver’s John Coltrane influence intosharp focus, from the turbulent dialogueof the opening title track, so evocative ofColtrane’s duets with Elvin Jones, to theelegiac Thousand Miles, Oliver’s impassionedStuart Broomerhistory. It also shows how top-flight musiccan be made up of many inferences. Elliott,for instance, begins Turkey Foot Corner notwith Trad Jazz bass string slaps but spiccatoplucks, that while undoubtedly modern,blend seamlessly into a two-beat bandarrangement that emphasizes bass tromboneguffaws from David Taylor.—Ken Waxmanhigh notes framed by Lewis’ ceremonialcymbals. There are still elements of Coltrane’sharmonic conception on the funk of Eddieand Crescent City Stomp butthe back beats open the door toOliver’s soul-jazz side and alsoprovide openings for the rest of theband — pianist Gary Williamsonand bassist Alex Coleman — toshine. While Oliver may lackoriginality at this point, he makesup for it in conviction and skill.There’s more imported propulsionon the Cory Weeds/Bill CoonQuartet’s With Benefits (CellarLive CL 091812 cellarlive.com),a terrific session in whichVancouverite tenor saxophonistWeeds and guitarist Coonsenjoy the estimable supportof the New York rhythm teamof bassist Peter Washington anddrummer Lewis Nash. They are allmasters of a modern jazz mainstreamdefined in the 1950s, butthey speak it as a personal idiom,whether it’s Weeds’ hard-edgedlyricism or Coon’s lightly sparklinglines. Coon’s compositions makeup half of the program, distinctivetunes that range from the superbballadry of Sunday Morning to thehard bop of Cory’s Story. The groupdialogue is never better, though,than on the standard East ofthe Sun, a feature for Weeds’warm balladry.Like Weeds and Coon,bassist Clyde Reed is an essentialpart of the Vancouver scene, a stalwart presencein free jazz and improvising groupslike the NOW Orchestra and Ion Zoo. Oneof his longest running affiliations is withthe Oregon-based tenor saxophonist RichHalley whose elemental music is one withthe Pacific Northwest: his Crossing the Passes(Pine Eagle 005 richhalley.com) consistsof compositions inspired by a hike acrossOregon’s Wallowa Mountains, an outcroppingof the Rockies. Halley’s compositionscan be as jagged as a series of peaks, as varied66 | September 1 – October 7, 2013 thewholenote.com

as the terrain and there’s clearempathy with trombonist MichaelVlatkovich, who supplies the sameemotion and force that characterizeHalley’s own lines. Reed isa bulwark of empathy and form,whether providing rapid propulsionwith drummer CarsonHalley on Duology or coming tothe fore with warm pizzicato andarco solos.Drummer Greg Smith went toEurope with Toronto’s ShuffleDemons in the mid-90s anddecided to stay there, taking upresidence in Holland. Among hiscurrent projects is a Rotterdambasedband called Lama withPortuguese trumpeter Susana Santos Silvaand bassist Gonçalo Almeida. The groupexpands to Lama + Chris Speed with theaddition of the New York saxophonist andclarinettist for Lamaçal (Clean Feed CF 275cleanfeed-records.com), a live performancefrom the Portalegre Jazz Festival. This islively creative music that delights in detailedclose interaction amid a mix of unusualsonic textures: suggestions of village brassbands, Middle-Eastern scales, electronic loopsand whale sounds abound. It evencombines old-fashioned NewOrleans polyphony with atonality.Smith’s boppish compositionCachalote is highlighted bya duet between the drummer andthe mercurial Speed.Pianist Kris Davis has followeda path from Calgary to Torontoand on to Brooklyn where she hasestablished herself as one of themost creative improvisers of hergeneration. She appears on bassistEric Revis’ City of Asylum (CleanFeed CF 277 cleanfeed-records.com) in a piano trio completedby the veteran drummer AndrewCyrille. The studio session markedthe first meeting of the three musicians,but there’s no sense that they’re feeling oneanother out. There’s aggressive creative interplayin the freely improvised pieces, with aspecial attention to momentum, the threesometimes developing tremendous swingwhile pursuing independent rhythms. Aplayful approach to Thelonious Monk’sGallop’s Gallop and a reverent one to KeithJarrett’s Prayer reveal something of the trio’srange and affinities.of the Atomic band, which is at the RRC’sCo-operators Hall September 4 during theGJF, is one stand-out on Queen Hatshepsutwhen his bravura churning and almost vocalizedtenor saxophone lines make a perfectpantonal contrast to pointillist smears fromaccordion and piano.Balancing a delicate outer shell with asteely core, American flutist Nicole Mitchellis another major improv figure whose IndigoTrio plays St. George’s Church’s MitchellHall September 5. A similar configurationwith bassist Joshua Abrams and drummerFrank Rosaly expands with additional colourson Aquarius (Delmark DE 5004 delmark.com) when the three and vibraphonist JasonAdasiewicz make up the Ice Crystal band.What Herbie Mann’s combo could havesounded like if he had ignored rock-pop blandishments,even Mitchell’s blues and Latintunes trade simplicity for sophistication asfour-mallet, bell-like tones from the vibistand her gruff tremolo gusts are as linear asthey are lyrical.Something in the AirThe Guelph Jazz Festival Turns 20Twenty years after its modestbeginning, the Guelph JazzFestival (GJF), which this yeartakes place September 3 to 8, hasgrown to be one of this country’smajor improvised music celebrations.Unlike many other so-calledjazz fests which lard their programswith crooners masqueradingas jazz singers, tired rock orpop acts, or so-called World orC&W performers who makeno pretence of playing jazz,the GJF continues to showcasecommitted improvisersin sympathetic settingsincluding during the fourthinstallment of the dusk-to-dawnNuit Blanche.Perhaps the most celebrated innovator atthe GJF is trumpeter Wadada Leo Smith. HisGolden Quartet, which shares a double billat the River Run Centre (RRC)’s main stageSeptember 7, performs a variant of his classicTen Freedom Summer suite, shortlisted forthis year’s Pulitzer Prize in music. Part of thatprogram was recorded with an orchestra,and you can get an idea of Smith’s structuralblending listening to Occupy The World (TUMCD 037-2 tumrecords.com) as the 21-pieceTUM Orchestra (TUMO) interprets anotherKEN WAXMANSmith composition. The selections’intricate arrangementsserve not to frame Smith’smuted brass flurries, whichbring Miles Davis-like balladmastery into the 21st century,but open up to the talents of themostly Finnish orchestra. Youcan hear that on the title trackwhen the trumpeter’s tale told throughrubato grace notes and squeezedtriplets is matched with tomtom-likepassages from TUMO’sthree percussionists, followed bymassed polyphony pierced by legatostrings, a tremolo harp sequenceand Smith’s conclusive brassy andheraldic tones. The Golden Quartet’sbassist John Lindberg is soloist onMount Kilimanjaro, where his magisterialdouble and triple stopping establish a staccatopantonality which encourages the five-personstring section to abandon legato thrusts forstirring sweeps, and despite being performedat warp speed, encourages a satisfying orchestralmosaic. Leaving space for split-secondsonic blasts from the entire band, before thewarm and welcoming conclusion, Lindbergjoins the other tremolo strings for a sequenceof scrubs and sweeps. Incidentally, Swedishtenor saxophonist Fredrik Ljungkvist, partTo find out about other GJF highlightsincluding more about thisperformance by American flutistNicole Mitchell, and discs by Japanesepianist Satoko Fujii and Montreal’sBomata trio, see the continuation ofthis column at thewhole note.com.With these groups and many otherson show, GJF 20 promises to be amemorable multi-day experience.POT POURRIBroadsway – Old FriendsHeather Bambrick; Julie Michels;Diane LeahBroadsway BWCD001thebroadswayshow.com! ! Three broads singit their way: meetBroadsway, an explosivelytalented trio.The versatile voicesof Heather Bambrickand Julie Michelsare paired withacclaimed pianist/musical director Diane Leah, who in thiscontext sings, plays and arranges exquisitely.Charmingly, the project started out by accident,when Michels, accompanied by Leah,invited Bambrick to sit in on what turned outto be a fantabulous version of Moondance(find it on YouTube!) in November of 2008.Turns out these three women have morein common than curly hair: incrediblethewholenote.com September 1 – October 7, 2013 | 67

musicality, electric stage presence and, centralto the group, a mutual respect and admirationfor one another. Nearly five years afterthat first “Moondance,” they’ve turned theirinnate musical sisterhood into a sublime,polished cabaret act.Likely the only group in the world toperform Puccini, Lady Gaga and TheloniousMonk in the same set, Broadsway can doseemingly anything, but most of theirmaterial comes from musical theatre andfilm. Highlights of this recording include TakeMe or Leave Me from Rent, I Know Him SoWell from Chess, a testament to songwritinggenius in the Broadsway Bacharach medleyand a contagiously joyous romp throughthe challenging Lambert, Hendricks & Rossvehicle Cloudburst. Balancing the wildspontaneity of a given moment with yearsof friendship, there will never be anotherBroadsway. And while there is no substitute toseeing these ladies in concert, this CD comeshighly recommended.—Ori DaganConcert Note: Broadsway performs onSeptember 6 and 7 at the Flying BeaverPubaret at 488 Parliament St.Old Wine, New Bottles | Fine Old Recordings Re-ReleasedBRUCE SURTEESVarious Artists withBenjamin Britten, conductor and pianistDecca 4785364!!Of all the omnibusanniversary sets andinnumerable artistdrivencollections thathave arrived recently,none has been moreeagerly anticipatedin this house thanthis Benjamin Brittencollection. Now it is here in a limited editionof 3,000 copies worldwide in a deluxe boxedset of 65 CDs, with a DVD and a 208-page6˝×8˝ illustrated book and there is not onewhit of disappointment.My first awareness of Britten (1913–1976)came on recordings of a handful of hisarrangements of British folk songs from HMVwith Britten accompanying Peter Pears: TheFoggy Foggy Dew; The Ploughboy; Come younot from Newcastle?; Oliver Cromwell; TheSally Gardens and some others. I found themvery pleasing and looked for more Britten inthe record shops. One piece led to another,evolving into a continuing interest in Britten’sother works. Even more enticing was that hewas alive then and there would be more tocome. And there certainly was!The Complete Works is divided into fourgroups: The Operas (CDs 1-20); Stage andScreen (CDs 21-32); Voices (CDs 33-48) andInstruments (CDs 49-61). There are four extradiscs described below.In Voices, discs 46, 47 and 48 contain 100songs and folksong arrangements, includingthe above and all the others of that era (1945–47) plus later recordings, including sixsettings of W.H. Auden sung by Pears, PhilipLangridge and Felicity Lott with variousaccompanists. This group includes the WarRequiem, recorded in 1963, with soloistsGalina Vishnevskaya, Pears and DietrichFischer-Dieskau, plus three choirs, organ, theMelos Ensemble and the London SymphonyOrchestra conducted by Britten (CD 33).This compelling work was commissionedfor the consecration of the rebuilt CoventryCathedral in 1962 for which Britten, who hada completely free hand, chose the traditionalLatin text from the Missa pro defunctisjuxtaposed with nine poems by WilfredOwen, who was slain in the last days of theFirst World War. Other works in Voices arethe Spring Symphony; Cantata Academica;Saint Nicholas; A Boy was Born; A Ceremonyof Carols; Rejoice in the Lamb; Missa Brevis;The Serenade for tenor, horn and strings(with Barry Tuckwell); Les Illuminations;The Five Canticles; The Seven Sonnets ofMichelangelo; and all the others including theshorter works.Until 1945 Britten was widely thoughtof, particularly in the older British musiccircles, as clever but superficial ... that wasuntil June 7, 1945. That date marked thefirst performance of his second opera, PeterGrimes. The audience went wild as did criticsand the British music establishment. Brittenhad emerged as an overnight, internationalsuccess. He was now a composer of stature,lauded by all and sundry. In the premiere, thewronged, anguished Grimes was superblyrealized by Pears, as he was on the 1948recording of an abridged performanceconducted by Reginald Goodall(EMI) and a decade further onin the 1959 complete recordingconducted by Britten (CDs 3&4).Once a listener tunes in toPears’ unmistakable timbre andthe emotional depth of hisperformance, it is very easyto understand why Britten sovehemently disliked Jon Vickersin the role.With the exception of thebrilliant A Midsummer Night’sDream (CDs 15&16), central toBritten’s operas is a misunderstood, injuredand/or offended character who is alsosomething of an innocent. The lonely andmisjudged Peter Grimes is a perfect example,but none more deeply touching thanAschenbach in Death in Venice (CDs 19&20),based on Thomas Mann’s well-known storyand the last of Britten’s operas. They areall here including Gloriana (CDs 11&12),conducted by Charles Mackerras in 1993. Iam particularly fond of The Rape of Lucretia(CDs 5&6) which followed one year afterPeter Grimes. Reginald Goodall conductedthe Royal Opera House Orchestra with Pearsand Joan Cross in 1947 in a truncated version(HMV) that sold me on the work but underBritten in 1971 with Pears (the male chorus)and Heather Harper (the female chorus), plusJanet Baker, Benjamin Luxon and others wehave the definitive version.As there is little space left to muse uponthe many more works that continue toattract, let me direct you to the Decca website(deccaclassics.com) where there is a detailedlist of the complete contents.The last four discs (CDs 62 to 65) areunique to this edition. They are: MakingMusic with Britten — a documentarywith singers, instrumentalists, orchestralmusicians and producers recalling theirexperiences with Britten; rehearsal excerptsof the War Requiem recording sessions;historic recordings from 1944 to 1953 — fourrecordings including the 1948 Serenade fortenor, horn, and strings with Britten, DennisBrain and the Boyd Neel Orchestra and alsothe Four Sea Interludes with Eduard vanBeinum and the Concertgebouw;and supplementary recordingsfrom 1955 to 1989. The extradisc is a DVD of the Tony Palmervideo of the recording of TheBurning Fiery Furnace.The recordings heard aremainly from Decca, who alsodrew upon the archives of EMI,Virgin, Warner Music, Onyx, Bisand 14 other labels. It is of noconsequence, except to pedants,that some very early works andfilm music are not included.Earnestly recommended and a must see forthose who might be interested is BenjaminBritten: The Hidden Heart, a DVD from EMI(509992 165719). Subtitled A Life of BenjaminBritten and Peter Pears, this 78-minute filmproduced in 2001 contains interviews andquotes from their associates, friends andrelatives together with rare archival footageof significant performances. This is not anapologia but an appreciation and recognitionof their symbiosis.68 | September 1 – October 7, 2013 thewholenote.com

A MUSIC LOVER’S TIFF 2013: THE WHOLENOTE PREVIEW | continued from page 10Martin and sound manipulator Andrew Chalk help set off the film’sstunning images.Gabrielle, the title character of Gabrielle is a young woman withWilliams syndrome, a genetic condition characterized by learningdisabilities, among other medical problems. She has a contagious joie devivre and perfect pitch (exceptional musical gifts are a positive blessingof Williams syndrome). Gabrielle and her boyfriend are membersof a choir that is preparing for an important music festival. In thefilm’s press notes, writer-director Louise Archambault discussedthe emotional impact of the choral singing on the crew, calling it“raw emotion mixed with love and hope.”She also spoke of the interaction of professional actors with thechoir members most of whomwere non-actors. The actor whoplayed the choir director, forexample, had a musical backgroundand a brother who wasintellectually disabled so hewas attuned to that world. Healso took the time to observethe choirmaster of Les Muses(the actual choir in the filmfrom the Montreal school thatoffers training to artists with adisability). The special appearanceof Quebec legend RobertCharlebois is an additional treat.Visitors.In Gloria, a Chilean 50-something divorcedgrandmother hasn’t lost her zest for life andmusic. She hangs out at dance clubs and singsalong when she drives her car. Camilla Eganof ExBerliner interviewed the director SebastiánLelio shortly before his star, PaulinaGarcia, was awarded the best actress prizeat the Berlin film festival earlier this year.Une Jeune Fille.He affirmed the importance of music to his film: “Music was alwaysvery necessary for this film. All the songs that you hear are alwayscoming from within the scenes. From radios, from the discos, or sung.They are all songs that I love. From Donna Summer’s ‘I Feel Love,’ tothe more Hispanic romantic ballads that Gloria sings in the car. Or thebossa nova, which was in a way at the heart because for me... The filmitself is like a bossa nova: a bittersweet poem about daily life.” As forUnberto Tozzi’s original version of ‘Gloria,’ which has a prominent placein his film, Lelio called it “a cheesy pop masterpiece.”Toa Fraser, fondly remembered for the delightful Dean Spanley,returns to the festival with Giselle, featuring the Royal New ZealandBallet’s performance of an updated version of the celebrated ballet withmusic by Adolphe Adam. Adding another layer, Fraser imagines a lovestory between the principal dancers à la Carlos Saura’s Carmen, whichhe conveys through his imaginative images.Jóhann Jóhannsson, the composer of Denis Villeneuve’s highly toutedthriller Prisoners, will be performing music from the film at the MusicGallery September 8, two days after it has its world premiere at theElgin Theatre. Jóhannsson, who will be joined by the ACME StringQuartet for his concert, has been described as an “intrepid musicalenigma” by the BBC while the Music Gallery notes that he “frequentlycombines electronics with classical orchestrations and fuses diverseinfluences including minimalism, baroque music, drone music andelectro-acoustic music.”For the first time since his fondly remembered busker love story, Once(2006), writer-director John Carney returns to the musical scene withCan a Song Save Your Life? Kiera Knightley, Mark Ruffalo and CatherineKeener star in this drama about an undiscovered young singer anda washed-up producer who meet, see something special in each otherand ultimately make beautiful music togetherAccording to Piers Handling, MARY Queen of Scots, Austriandirector Thomas Imbach’s bio-pic is “amongst the most thrillingtreatments of a historical subject I have ever seen.” That may be, butfrom a WholeNote perspective, what has caught my imagination is theGiselle.music credit by the 81-year-old Sofia Gubaidulina. For someone whoearned her living as a young composer writing film scores for the Sovietmovie industry, one can only imagine how divine her return to the bigscreen might be.All Is By My Side shows us Jimi Hendrix before he was famous.As TIFF artistic director Cameron Bailey puts it: “It’s a portrait of theicon as a young man that features charismatic hip-hopstar André Benjamin (one half of OutKast) as a sensitive,struggling guitarist on the verge of becoming a rocklegend. Director and writer John Ridley makes wonderfuluse of archival footage that contributes to both the film’sauthenticity and its emotional impact. Contemplativeconversations on the class andracial politics of the 1960s rockworld illuminate Jimi’s hippieperspective, balancing the moreintense moments that reveal hisneuroses. But Ridley’s masterstroke was casting Benjamin.Entirely natural in his performance,he knows how to allowthe camera in, and can conveyboth the inner struggle of thistroubled genius and the electricpersonality that would makehim a star.”“All the vinyl albums thatyou see at the hero’s house…are mine” – Jim JarmuschRobert Lepage’s first film since winning the tenth GlennGould Prize is Triptych, which he wrote and co-directedwith Pedro Pires. Based on Lepage’s theatre piece Lipsynch,the film explores the unexpected connections among three characters,one of whom is a jazz singer.In Quebec filmmaker Catherine Martin’s Une Jeune Fille (AJourney) which is directly inspired by Robert Bresson’s classic Mouchette,a teenager (Ariane Legault) runs away to the Gaspé where shemeets a quiet 30-something man (actor/musician Sébastien Ricard).They bond over classical music.Attila Marcel, Sylvain Chomet’s first live-action feature film (he’sbest known for the ingenious Triplets of Belleville), centres on a mutepianist who lives with his two eccentric aunts in Paris. It’s said to invokecomparisons to Buster Keaton and Jacques Tati but Chomet’s trackrecord in itself is incentive enough to see it.In Young and Beautiful, François Ozon (The Swimming Pool)portrays a 17-year-old girl in four seasons and four songs, all by thegreat Françoise Hardy. They are “L’amour d’un garçon” (The Love ofa Boy), “A quoi ça sert” (Why Even Try?), “Première rencontre” (Firstencounter) and “Je suis moi” (I Am Me).One Chance is based on the true story of Paul Potts, the amateuropera singer working as a mobile-phone salesman who rose to fame bywinning Britain’s Got Talent and became a YouTube sensation.And in the trivia department, Rolfe Kent (composer of the theme ofDexter) has scored three films in this year’s festival: Dom Hemingway(starring Richard E. Grant and Jude Law), Bad Words (Jason Bateman’sspelling bee comedy) and Jason Reitman’s serious new film, Labor Day(featuring Kate Winslet and Josh Brolin).Individual tickets to TIFF 2013 are available as of September 1. Consulttiff.net for information.Check The WholeNote blog after the festival for a report on TIFF 2013with a special emphasis on films that used music in interesting ways.Paul Ennis, The WholeNote’s managing editor, is a Torontobased,classically trained musician who has spent many yearsprogramming and writing about movies.70 | September 1 – October 7, 2013 thewholenote.com

TSTorontoSymphonyOrchestraPeter OundjianMusic DirectorSEASON PRESENTING SPONSORSEPTEMBER CONCERTSSure to sell out!ITZHAKPERLMANLANG LANGe Hönnnnemanemann© PetererALISAWEILERSTEINElgar Cello ConcertoWED, SEPT 18 AT 8:00pmTHU, SEPT 19 AT 8:00pmPeter Oundjian, conductorAlisa Weilerstein, celloBritten: Variations and Fugue on aTheme of PurcellElgar: Cello ConcertoDvořák: Symphony No. 7Season Opening Gala:Lang Lang Plays MozartSAT, SEPT 21 AT 7:00pmPeter Oundjian, conductorLang Lang, pianoMozart: Piano Concerto No. 17, K. 453Wagner: Overture to TannhäuserMozart: Piano Concerto No. 24, K. 491To purchase Gala tickets and for moreinformation, please call TSO SpecialEvents at 416.593.7769 X 261.Perlman Plays TchaikovskyWED, SEPT 25 AT 8:00pmTHU, SEPT 26 AT 8:00pmPeter Oundjian, conductorItzhak Perlman, violinJoaquin Valdepeñas, clarinetBritten/arr. Colin Matthews:Movements for a Clarinet Concerto(CANADIAN PREMIÈRE)Walton: Symphony No. 1Tchaikovsky: Violin ConcertoTICKETS START AT $33CONCERTS AT ROY THOMSON HALLTSO.CA416.593.4828OFFICIAL AIRLINESEPTEMBER 21 GALA PRESENTING SPONSOR

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