Volume 20 Issue 1 - September 2014

PRICELESS!Vol 20 No 1CONCERT LISTINGS | SEPTEMBER 1 - OCTOBER 7 2014Paul Ennis’TIFF TIPSReady, Set...HOUSELIGHTSDOWNPanamaniaOBEAHRISINGFOR THE RECORDKiran Ahluwalia

Baroque OrchestraUPCOMING CONCERTSSEASON PRESENTING SPONSORSEASONOPENER!DAVIDEMONTIRODOLFORICHTERHANDELFIREWORKS@ KOERNER HALLRODOLFO RICHTER,VIOLINIST AND GUEST DIRECTORSep 18-21, 2014 Koerner HallJoin us for our festive season opener! FeaturingVivaldi’s exotic violin concerto Il grosso moguland Handel’s Music for the Royal Fireworks.416.408.0208THE CANALSOF VENICEDAVIDE MONTI,VIOLINIST AND GUEST DIRECTORALESSANDRO BRESSANELLO, NARRATOROct 9-12, 2014Trinity-St. Paul’s Centre,Jeanne Lamon HallConcert also Oct 14 @ George Weston Recital Hall– call 1.855.985.2787A singing gondolier leads this journey through Venice’scanals and glittering palazzo. Featuring concertos byAlbinoni, Marcello – and of course, Vivaldi.416.964.6337ENHANCE YOUREXPERIENCETalkbacks with musiciansfollowing each concert!GWRH CONCERT SUPPORTED BYMargaret and Jim FleckSPONSORED BYSUBSCRIPTIONS STILL AVAILABLE – visit our website for more details.PROUD PARTNER OFSAVE 10%ON YOUR TICKETSBY SUBSCRIBING!Pick 3 @ TSP • 3@Koerner Hall3@George Weston Recital Halland our very popular FLEX PACKTICKETS AND INFO:tafelmusik.org

TORONTO INTERNATIONALPiano Competition 2014October 25 to November 1, 2014Competition Rounds:Presenting SponsorFirst (I) Round: October 25 (Sat) & 26 (Sun), 1PM-8PMSecond (II) Round: October 27 (Mon) & 28 (Tue), 1PM-8PMSemi-final (III) Round : October 30 (Thu), 1PM-7PMTickets $10 each day, P.C. Ho Theatre, CCC5183 Sheppard Ave. E.416-292-9293 x 232 or info@ipianotoronto.caSPECIAL ticket package available.Final (IV) Round with Toronto Concert Orchestra:November 1 (Sat), 7:30PMTickets $30 and $40, Koerner Hall273 Bloor St. W.416-408-0208www.rcmusic.caCompetition Jury:Yoheved Kaplinsky, USA (Chair)James Anagnoson, CanadaFabio Bidini, ItalyJohn Giordano, USAJan Jiracek, GermanyKum Sing Lee, CanadaJohn O’Conor, Republic of IrelandSupported byEnquiries: (+1) 416 292-9293 ext 232info@ipianotoronto.cawww.ipianotoronto.ca

Volume 20 No 1 | September 1, 2014 – October 7, 20146. FOR OPENERS | DAVID PERLMANFEATURES8. Tiff Tips | PAUL ENNIS10. For The Record - Kiran Ahluwalia | ANDREW TIMAR12. Ready, Set... Houselights Down | SARA CONSTANT16. Panamania-Bound: Obeah Rising | PAULA CITRON29. The Muted Note Takes Wing | STUART BROOMER35. “Hopera” Raises The Operatic Bar? | MIRELLA AMATOBEAT BY BEAT18. World View | ANDREW TIMAR20. Classical And Beyond | PAUL ENNIS24. Early Music | DAVID PODGORSKI27. In With The New | WENDALYN BARTLEY30. Art of Song | HANS DE GROOT33. On Opera | CHRISTOPHER HOILE36. Choral Scene | BENJAMIN STEIN40. Bandstand | JACK MacQUARRIE52. In the Clubs | ORI DAGANJaninaFialkowskaPIANOLISTINGS42. A | Concerts in the GTA49. B | Concerts Beyond the GTA52. C | In the Clubs (Mostly Jazz)56. D | The ETCeterasACD2 2682MUSICAL LIFE59. Opening Night at Seicho-No-Ie | TIM DAWSON60. Dis-Concerting Stuff | DAVID PERLMAN62. Sharing The Music | PAUL ENNIS62. Artists’ Health Alliance | SARA CONSTANT63. How I Met My Teacher: A Retrospective | SIMONE DESILETS65. A Decade of Septembers | MJ BUELLDISCOVERIES: RECORDINGS REVIEWED66. Editor’s Corner | DAVID OLDS68. Vocal69. Early Music & Period Performance70. Classical & Beyond70. Strings Attached | TERRY ROBBINS72. Modern & Contemporary73. Jazz & Improvised73. Something in the Air | KEN WAXMAN75. Jazz, Eh? | STUART BROOMER75. Old Wine, New Bottles | BRUCE SURTEESAvailable from September 9, 2014A 2 CD set devoted tothe complete mazurkasof Frédéric ChopinChopin Recital 22012 BBC MusicMagazine Awardfor Best InstrumentalRecordingACD2 2666MORE6. Contact Information & Deadlines7. Index of Advertisers60. Classified AdsAVAILABLE IN HD ATATMACLASSIQUE.COMMP3STUDIOQUALITYCDQUALITYSelect ATMA titles now on saleCover Photograph SAHIBA KAUR CHAWLA

FOR OPENERS | DAVID PERLMANThere’s a little “PRICELESS!”tag we wear proudly at the topright-hand corner of our cover.It used to say FREE. And that’sstill true, in its literal sense, formore than 99 percent of the30,000 copies we distribute eachissue from London to Kingston,Ontario.But in a year like this, as wetiptoe towards our 20th anniversaryand start to delve intothe treasure trove of musicalfacts and memories capturedin our pages, “Priceless” beginsto take on a greater resonance.Look for example at the littlefeatures on pages 63 and 67 inthis issue, which capture someof the flavour of “How I Met MyTeacher” and “Music’s Children”– two features that over the yearshave helped to show the humanand personal face of our region’sextraordinary musical life.We’ll be digging down regularlyover the coming months(with more than a few contestsand challenges and prizes alongthe way). Hope you’ll be alongfor the ride.Nearly two decades of chatting like this everymonth or so with a readership as faithfulas ours has its dangers. For one thing itleads to the assumption that every reader of themagazine will “get it” when I fly off on one of mylittle tangents. But with a lot of guests in townthis month (hello TIFFers!) and getting into practicefor next July’s Pan Am games, I’m going to tryto tone things down a bit, here in the magazine’sceremonial front office.(For my more usual ranty style, I’m afraidyou’ll have to turn all the way to “Dis-ConcertingStuff” on page 60, where I offer up some suggestionsfor them as thinks they have a monopoly onwhat constitutes “proper behaviour” in others at aconcert, while remaining sand-blind to their ownshortcomings.)I can’t remember any issue (in the 19 years, twomonths, 14 days and 23 hours we’ve been doingthis) that better reflects the variety and richnessof musical life in this neck of the woods.From film to new opera to world music, live andrecorded, to insights into what has to happenbehind the musical scenes to make it all tick, thisissue’s features are an extraordinary testamentto the variety and resiliency of art in general andlive music in particular, in a town and region thathave their ups and downs in terms of wider politicalsupport for and understanding of the role thatart and culture play in the health of individualsand the communities they inhabit.(That being said, I made a little promise tomyself not to get caught up in the cut and thrustof our fall municipal elections until after LabourDay, so you’ll have to wait until the next issuefor any more about that here. Not that thereisn’t a fair bit to say, but, as I mentioned, there’scompany in town.)Switching gears again, it’s our regular columnistsas much as our feature writers who makethe magazine the fine read it’s come to be overtime. So hats off, ladies and gents, for haulingin your fishing tackle and hightailing it back totown. A special nod (by way of a placeholder)to horn player and Jazz Notes columnist of longstanding, Jim Galloway, whose regular columnis conspicuous by its absence this month as Jimbattles a bit of a health setback. To say Jim’smissing a column is unusual is an understatement.This is, after all, the man who filed 2,400typewritten words of an interview with OscarPeterson by fax machine (miracle of modern technologyat the time) from the purser’s office of acruise ship, rather than miss a deadline. Goodnews is I can truthfully tell you he’s “on assignment”writing about the musical implications ofan impending anniversary five times longer, andwith much grimmer resonances, than our own.As our Mr. Galloway’s customary signoff in hiscolumn would put it: have a good month, andmake at least some of your music listening live!—publisher@thewholenote.comThe WholeNote VOLUME 20 NO 1 | SEPTEMBER 1, 2014 – OCTOBER 7, 2014Centre 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.comEDITORIALManaging Editor | Paul Enniseditorial@thewholenote.comRecordings Editor | David Oldsdiscoveries@thewholenote.comSocial Media Editor | Sara Constanteditorial@thewholenote.comListings Editor | David Perlman (acting)listings@thewholenote.comClub Listings Editor | Bob Benjazz@thewholenote.comSALES, MARKETING & MEMBERSHIPConcerts & Events/Membership | Karen Agesmembers@thewholenote.comRetail Sales/Marketing | Garry Pagemarketing@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,Paul Ennis, David Olds, David Podgorski,Ori Dagan, Wendalyn Bartley, Jim Galloway,mJ buell, Christopher Hoile, Andrew TimarFeaturesPaul Ennis, Sara Constant, Andrew TimarPaula Citron, Stuart Broomer, Mirella AmatoTim DawsonCD ReviewersDaniel Foley, Janos Gardonyi, Dianne Wells, Hansde Groot, Robert Tomas, Michael Schwartz,Richard Haskell, Allan Pulker, Bruce Surtees, MaxChristie, Tiina Kiik, Roger Knox, Daniel Foley, CathyRiches, Ken WaxmanProofreadingJohn Sharpe, Paul Ennis, Sara ConstantListingsDavid Perlman, Bob Ben,Adam Weinmann, Tilly Kooyman,JennieLea McLeish, Ruth Atwood,Simone DesiletsCirculation TeamAbram Bergen, Asa Perlman, Beth Bartley,Bob Jerome, Dagmar Sullivan, Dave Taylor,Gero Hajek, Jack Buell, Jack Suttaby, Jeff Hogben,Joan Andrews, John Dodington, Lorna Nevison,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 & DesignBryson WinchesterTHE ONTARIO ARTS COUNCIL IS ANAGENCY OF THE GOVERNMENT OF ONTARIOUpcoming Dates & DeadlinesFree Event Listings Deadline6pm Monday September 8Display Ad Reservations Deadline6pm Monday September 15Classifieds Deadline6pm Wednesday September 24Advertising Materials Due6pm Thursday September 18Publication DateWednesday October 1Volume 20 No 2 coversOctober 1, 2014 to November 7, 2014WholeNote 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 2014: 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 © 2014 WHOLENOTE MEDIA INCthewholenote.com6 | September 1, 2014 – October 7, 2014 thewholenote.com

It’s WholeNote BLUE PAGES Time!Please join us for 2014/15As we head into our 20th anniversary season of publication, The WholeNote invitesmusical organizations and venues across Southern Ontario to join our vibrant communityof concert presenters in getting the word out about your season now and all through2014/15.The support of our annual membership drive by organizations such as yours, makespossible our proud tradition of free concert listings for all, and widespread free distributionof the magazine to our loyal musically engaged readership.Benefits of a WholeNote membership include• a 175-word profile in our upcoming 15th annual Blue Pages Directory (October 2014),which is available year-round at thewholenote.com• a 25% discount on all advertising, and your web advertising included• regular reminders of deadlines for The WholeNote and Halftones (our mid-month e-letter)• other special opportunities throughout the seasonTo activate your membership, please contactmembers@thewholenote.com or visit thewholenote.com/blue.INDEX OF ADVERTISERSAdi Braun 46Allan Pulker 56Amadeus Choir 36Amici Ensemble 48ATMA 5Beerology 45Canadian Opera Company18, 80Canzona ChamberPlayers 44Cathedral BluffsSymphony Orchestra 20Charlotte Knight 43Choirs Ontario 55Christ Church Deer ParkJazz Vespers 53City of Toronto HistoricSites 24Civic Light OperaCompany 43Colours of Music 50Elmer Iseler Singers 3649Esprit Orchestra 4Essential Opera 47Etobicoke CentennialChoir 56Flute Street 46, 55Greater TorontoPhilharmonic Orchestra48Harmonie 47Heliconian Hall 56I Furiosi 26International Divas 31, 49Isabel Bader Centre forthe Performing Arts 17Jeunesses MusicalesOntario 64John Laing Singers 55Kawartha Concerts 51Liz Parker 57Long & McQuade 61Mississauga Symphony43MNJCC 56Moeller Organs 57Mooredale Concerts 21Mozart Project (The) 26Music at Metropolitan 2345Music Toronto 9, 79Musicians in Ordinary 46New Horizons Band 41New Music Concerts 27Nine Sparrows ArtsFoundation 44Norm Pulker 57Off Centre Music Salon 32ORGANIX 22ORIANA Women’s Choir37Orpheus Choir 36, 54Pasquale Bros 55Peter Mahon 38Prince Edward CountyMusic Festival 50Ralph Corlis Piano Tuner25Remenyi House of Music23Roy Thomson Hall 11Royal Conservatory 15,26, 63ScarboroughPhilharmonic 20Schmidt Piano and Organ22Sheila McCoy 57Shen Yun SymphonyOrchestra 78Small World Music 26Soundpost 28Soundstreams 77Southern OntarioChapter Hymn Society 45St. James’ Cathedral 44St. Olave’s Church 47St. Philips’ Jazz Vespers53Steinway Piano Gallery 7Tafelmusik 2, 45, 47Toronto BeachesChildren’s Chorus 55Toronto ConcertOrchestra 55Toronto Consort 25Toronto InternationalPiano Competition 3Jazz Bistro 53Toronto Masque Theatre13Toronto MendelssohnChoir 39Toronto Sinfonietta 55Toronto SymphonyOrchestra 19, 48U of T Faculty of Music 21Ukrainian Art SongProject 30Westben 33Windermere StringQuartet 25, 44Women’s Musical Club 48Yorkminster Park BaptistChurch 37thewholenote.com September 1, 2014 – October 7, 2014 | 7

TIFF TIPSBY PAUL ENNISWelcome to The WholeNote’s third annual guide to the TorontoInternational Film Festival (TIFF) spotlighting films in which musicplays an intriguing role. Selections range from music-centreddocumentaries and musicals to movies featuring characters involvedin making music to soundtracks that are integral to the quality of thefilms they help drive. With 285 feature films in this year’s festival,there was some alchemy involved in choosing the 22 titles on thefollowing list – the soundtrack category is particularly difficult topredict in advance.Seymour: An IntroductionYou meet the most interesting people at New York City dinnerparties. That’s where Ethan Hawke first met SeymourBernstein, the 85-year-old subject of his documentarySeymour: An Introduction. Bernstein began playing the pianoas a child in Newark, New Jersey and by the age of 15 was already ateacher. He had a brief concert career after studies with such giantsas Alexander Brailowsky, Clifford Curzon and Nadia Boulanger beforesettling into his role of helping others develop.It was Hawke’s explanation of Bernstein’s teaching mantra inresponse to Hubert Vigilia’s question on flixist.com two years ago(just as the film was taking shape) that piqued my curiosity and madeSeymour a must-see on my TIFF to-do list: “What is harmony? Whatis dissonance? Why should we practice? Why should we work hard,and what difference does it make when you play the right note ordon’t play the right note? He’s a very deep guy. I was touched by him,and I thought he had a lot to teach me about acting, and then I slowlyrealized that the way he’s talking about the piano relates to everyprofession.”Based on his moving doc Last Train Home, I’m looking forwardto Lixin Fan’s new film I Am Here, which follows the three finalistsof the popular Chinese TV show Super Boy. In an interviewwith TimeOut Beijing Fan talked about wanting to examine thetransformation of Chinese television over the past decade, “theexplosion of a particular kind of consumable entertainment thatfetishizes fame and makes overnight success seem normal.” It seemsthat the West is not the only society mesmerized by the cult of thesuperstar.The film adaptation of Jason Robert Brown’s hit show The Last FiveYears, starring Broadway fave Jeremy Jordan and movie darling AnnaKendrick (can’t wait to see her as Cinderella in Into the Woods laterthis year), will receive its world premiere during the festival. Writtenand directed by Richard LaGravenese (perhaps still best known forThe Fisher King screenplay), it’s that rare movie made from an off-Broadway musical. This one deconstructs the relationship of a writerand an aspiring actress sung from their individual perspectives.I have it on good authority from a Canadian director who’s seen arough cut, that Ian LeFeuvre’s and Jeffrey St. Jules’eight original songs in Jules’ sci-fi mutant musicalnightmare Bang Bang Baby feel authentic, arefilled with good hooks and reflect the music they’rereferencing in this version of an early 1960s Elvismovie musical that stars Jane Levy as a wide-eyeddreamy small-town girl in the mould of Lesley Gore.Another Canadian film with an unusual premiseis the aptly titled Songs She Wrote About PeopleShe Knows, about a timid office worker (ArabellaBushnell) who can’t suppress her true feelings about. . . well, you know, “I’m confessin’ that I hate you.”Kris Elgstrand’s feature film debut certainly doesintrigue.An uncharacteristic variation on the conventionsof the bio-pic, Love & Mercy takes off from BrianWilson’s resurrection that began in the 1980sunder the guidance of therapist Dr. Eugene Landy (Paul Giamatti)and second wife Melinda (Elizabeth Banks). The troubled leader ofthe Beach Boys is portrayed in middle age by John Cusack and, in aninspired piece of casting, Paul Dano, as the youthful 60s musical iconresponsible for Pet Sounds.Ole Christian Madsen’s Itsi Bitsi dissects the origins of the legendary1960s Danish band Steppeulvene (Steppenwolf). The promisingpremise: after indulging in a virtual travelogue of countercultureexcess with his paramour, an aspiring writer decides that forminga band (compared in the program note to groups such as Love andCaptain Beefheart’s Magic Band) would cement their love.Rooted more in personal experience than in history, DamienChazelle’s Whiplash, which won both the Grand Jury Prize and theAudience Award at the 2014 Sundance Film Festival (where it waslabelled “Full Metal Jacket at Juilliard”) struck me as being at theopposite end of the spectrum from Seymour: An Introduction. Anambitious jazz drummer (the believable Miles Teller) is terrorizedinto achieving his goals by a drill sergeant of a teacher (played by theusually amiable J. K. Simmons in a performance as highly chargedas the exhilarating 20-minute drum solo that climaxes the film – amusical outburst that is the most memorable thing about this toughview of education).WhiplashEden, the new film by the always-interesting director Mia Hansen-Løve, is a TIFF world premiere. The New York Film Festival programnote describes it as “a rare achievement: an epically scaled work builton the purely ephemeral, breathlessly floating along on currentsof feeling. . . and music, music, and more music.” Based on theexperiences of Hansen-Løve’s brother (and co-writer) Sven, who wasone of the pioneering DJs of the “French touch” generation of the early1990s, Eden features key figures such as Guy-Manuel de Homem-Christo and Thomas Bangalter (otherwise known as Daft Punk), who,with their friends, “see visions of ecstasy in garage music.”Other movies featuring characters of varying musical talent includeHaligonian Andrea Dorfman’s Heartbeat, which was an outgrowth8 | September 1, 2014 – October 7, 2014 thewholenote.com

Bang Bang Babyof an immensely popular Bravo!FACT video she shot of the poetmusicianTanya Davis performing her poem “How To Be Alone”(approaching seven million hits on YouTube as this is being written).In the new film, Davis returns to guitar picking and songwriting as ameans to get over a break-up with her artist boyfriend, a lovely idea intheory, but for me, most of the music just didn’t click.A more successful and equally low-key Canadian film, StéphaneLafleur’s Tu Dors Nicole is a finely-etched portrait of a 22-yearoldyoung woman maturing over one aimless summer. The musiccomponent appears in the form of her older brother and his band,who move in to record an album. They, along with Nicole’s best friendand a pre-teen former babysitting charge, all contribute to the comicwisdom of this understated little bijou, filmed in rich black and white.Drawing inspiration from the life and death of the GermanRomantic poet and playwright Heinrich von Kleist, who killed himselfin a suicide pact in his early 30s, Austrian writer-director JessicaHausner’s Amour Fou debunks the romantic myth of dying for love.Not without irony, Hausner makes the most of the distancing effectof the stilted 1811 dialogue. She’s well aware of the absurdly comicformality of her characters and their desires – the film’s title is noaccident. Still, despite its great attention to period detail, beautifullycomposed cinematography and unerring artfulness, it left me cold.You, on the other hand, may be charmed. The musical bonus: threesongs by Mozart, Beethoven and the Danish composer ChristophWeyse, performed without pretense and completely in tune with thetimes.In the Greek film Xenia, a 16-year-old dreams that his older brother,a gifted singer, could become the next “Greek Star.” Boychoir’sprovenance is more promising, since it marks director FrançoisGirard’s return to a musical subject after the superb Thirty-two ShortFilms about Glenn Gould and the immensely popular The Red Violin.Actor Garrett Wareing is its 12-year-old centrepiece chorister, DustinHoffman the demanding choirmaster and the talented Eddie Izzard,his right-hand man.In Timbuktu, Abderrahmane Sissako takes a clear-eyed, moving,humanistic look at the jihadist takeover of northern Mali, bringing uswholly into the lives of his well-developed characters, ordinary peoplewho want nothing more than to make music, play soccer and, for thewomen, to feel the breeze on their hands without being forced to weargloves at all times. The remarkable Malian singer-actress FatoumataDiawara (who appeared in concert at Koerner Hall last February)plays a woman being beaten for making music. As the severity of thebeating builds, her cries intensify into an unforgettable wailing song,defiantly acting out the very thing for which she is being punished.Girlhood, Céline Sciamma’s classical coming-of-age story setin the Parisian suburbs, vibrates like a street opera, reaching itsmusical apex when its protagonists, four teenage black girls whoseenergy and camaraderie are completely natural and infectious, singalong to Rihanna’s song “Diamonds” as they treat themselves to thepleasures of a stay in a fancy hotel. More noteworthy though, is thedirector’s choice of Para One to write an original score consistingof only one theme that returns many times over the course of theContinues on page 78thewholenote.com September 1, 2014 – October 7, 2014 | 9

For The RecordKiran AhluwaliaANDREW TIMARIn his 2005 article “Ghazal Original” BritishKiran Ahluwaliamusic critic Ken Hunt reckoned that KiranAhluwalia “has the potential to become oneof the great ambassadors of Indo-Pakistanidiaspora music, not [just] from Canada, [but]from anywhere…” (fRoots Issue 269). With eachnew album she has come closer to fulfillingthat promise; two JUNO Best World MusicAlbum awards (and several nominations) later,Ahluwalia has proven her perennial appealto audiences and critics alike. In 2009 theSonglines/WOMAD Best Newcomer of theYear Award heralded her as an internationalworld music star of growing stature. VariousWorld Music charts over the years have echoedthat trend. Her 2011 cover of the qawwali songMustt Mustt, by the celebrated late Pakistaniqawwali singer Nusrat Fateh Ali Khan, recordedwith the Malian group Tinarawen, has garneredan impressive 314,000 visits on YouTube.Since Ahluwalia‘s first CD in 2001, her stringof album releases, accompanied by evolvinginstrumentation and stylistic components, hasbeen called “one of global music’s most interestingadventures.” It seems that each newalbum marks personal growth, the expansionof her careful listening to yet another geo-cultural zone of our world.She has also shown a continued eagerness to contest the borders ofher musical comfort zone in live performance. For instance, last yearshe shared the Harbourfront Centre stage with the rising Inuk throatsinger Tanya Tagaq as well as divas from other musical traditions.On other occasions she’s sung with electronica groups Eccodek andDelerium, with an Afghan rubab player and a Cape Breton fiddler.She has performed her compositions, as arranged by Glenn Buhr,with the Manitoba Chamber Orchestra. The list of genres she’s collaboratedin also includes Portuguese fado, sub-Saharan percussion,Pakistani qawwali, and most recently, African blues. Incorporating justone culturally “other” element in one’s music can be problematic onseveral levels, yet she integrates each new element with seeming graceand ease.Such a vast range of musical interests is indeed impressive.Where does it come from? Does this rare quality reflect a Canadian,or a specifically Torontonian sensibility? How did she arrive atthis idiosyncratic, transcontinental and evidently very successfulmusical fusion?I caught up with Ahluwalia on August 15 tofind some answers to these questions. She wasin the middle of her day in NYC and I was inmy Toronto office; we spoke via Skype.“I was born in Patna … in [North Central]India to Punjabi parents,” she began. “Some ofmy earliest memories were of learning EnglishMother Goose nursery rhymes from myparents, but also Indian songs. They were bothghazal “passionistas”; they held singing partiesfeaturing ghazals.”I wondered about her earlier musical formativeexperiences and teachers. “Back in Indiain addition to [North] Indian classical musicour family would also listen to Bollywoodsongs on the radio,” Ahluwalia recalls. “I wasnine when we moved to Toronto in 1974, andI began studying classical Indian music withseveral vocal teachers, finally spending aboutsix years studying classical raag with NarendraDatar. I also continued singing ghazals on myown and with my parents while completingmy University of Toronto degree in IndustrialRelations.” Did a career in IR ever beckon?Perhaps surprisingly, the answer was maybe.“In 1990 I went back to India for 14 months purely to study vocal fulltimewith classical vocalist Padma Talwalkar in Mumbai in privateriyaaz.” She thought this extended period of music immersionwould “get music out of my system so I could then get on with myregular life!”It seems that it did no such thing. Despite returning to Canada tocomplete an MBA at Dalhousie University, during that time Ahluwaliastill “managed to keep my mornings free for my music.” Clearly shecouldn’t abandon her passion for singing, and returned to Bombayfor the summer – again for more intensive music study. One benefitof her MBA though: it did help her land several jobs. These expandedher view of the music of the world and how it was possible to includecorners of it in her own South Asian-centred music.Her position at the Toronto offices and studios of the CBC forinstance, “proved to be a pivotal one in my music career,” she says.“I owe much to Ann MacKeigan.” For ten years MacKeigan producedthe pioneering world music radio show Global Village for the CBC.Ahluwalia continued, “Ann taught me several key things. One wasContinues on page 76BRENDAN LALLYTHE GHAZAL, a poetic form which is often sung, is at the heartof Kiran Ahluwalia’s music. Here are a few of its features. The formconsists of rhyming couplets culminating in a refrain, each linemaintaining the same metre. The essential subject of a ghazal is thearticulation of the myriad hues of love, often illicit or unrequited,poetically expressing the pain of loss, of separation, or the beauty oflove despite that pain. Of Arabic, Persian and Ottoman origin, theghazal was spread by Sufi poets to regional courts throughout SouthAsia around the 12th century. Further afield, it was also adapted laterin Southeast Asia by poets in Islamic Malay states and its practiceflourishes in Malaysia today. In South Asia the ghazal is most prominentlywritten and performed in Dari and Urdu, though it is alsofound in the poetry of other regional languages.Ghazal held a central place in Ahluwalia’s family musical environmentand early career, and I asked her if she still includes elementsof ghazal in her current music. She was quick to focus on her recentevolution. “I’m not a traditional ghazal performer, nor do I presentit in a traditional way,” she replied, adding, “I did however study inIndia with the ghazal maestro Vithal Rao. It began in the early 1990sand lasted a decade. He was the last court musician of the Nizam[hereditary ruler] of Hyderabad.”This last fact not incidentally connects Ahluwalia’s practice withan old transcultural tradition. The Nizams used their great wealth topatronize a rich culture of cuisine, art, architecture and literature –particularly from Persian sources – the latter a central feature of theHyderabadi Muslim identity.10 | September 1, 2014 – October 7, 2014 thewholenote.com

LONDONPHILHARMONICORCHESTRAVladimir Jurowski,Principal ConductorJean-Efflam Bavouzet, PianoGramophone Artist Of the Year2014 NomineeFRIDAY, OCTOBER 17, 2014 8 PMROY THOMSON HALLMagnus Lindberg: ChoraleProkofiev: Piano Concerto No. 3Shostakovich: Symphony No. 8Supported byandMedia PartnerCALL 416-872-4255MASSEYHALL.COM | ROYTHOMSON.COM

Ready, Set...Houselights DownSARA CONSTANTOpening night of a concert season is something of a landmark moment, and one likely to havepresenters and concertgoers alike on the edge of their seats. The first show of the year acts asa beginning of sorts, setting the tone for the season ahead. And yet, a season opener is also inmany ways a culmination of the great work of preparation – the not-always-visible efforts ofthe myriad people who shape a musical project into its final, public form.We spoke with some of those behind-the-scenes music professionals whose work is just that – toensure that each concert of the season, for both audience and performers, happens just the way it should.Opening night, when the houselights go down and the curtain rises, is in fact a very different sort oflandmark for each individual involved – and for some, just another day on the job.What follows are conversations with a cluster of industry experts: the acoustician working on the TheIsabel, the hall in the new Isabel Bader Centre for the Performing Arts at Queen’s University; the principalToronto Symphony Orchestra librarian backstage at Roy Thomson Hall; and two individuals whosesets and surtitles respectively, help give opera in Toronto its visual presence. As each prepares in his ownway for the onset of another season, they divulge the secrets of the job and reveal just how crucial thatbehind-the-scenes clockwork can be.So, as you enjoy your musical firsts of the upcoming concert season, be sure to keep an eye (or an ear)out for the handiwork of some of these industry experts. While you may not see them onstage underthe spotlights, you’ll know just what, at that moment, they might be up to.MEREDITH DAULTMatt Mahon, of Arup, runningacoustic tests at the Isabel.JOE SOLWAY, Arup Acoustician. As an acousticianfor engineering and design firm Arup,Joe Solway has taken on the role of acousticconsultant for the new addition to Queen’sUniversity in Kingston – the 566-seat performancehall at the Isabel Bader Centre for Performing Arts.When is the building’s big reveal?The big gala opening [an invitation-only event]is on September 20, and Queen’s has a studentopening on September 13.What is the process from your end to get readyfor that opening?A lot of it is now done. We’ve been coming upto the site throughout the whole constructionprocess, to check on all the different elements, andduring the process we’ve been testing the roomacoustically. We just had three days this week oftesting the acoustics and the audio-visual design.What do those types of tests involve?For the room acoustics test that we do in theperformance hall, we have a whole measurementkit. The main sound is a frequency sweep that weplay through a loudspeaker and then we capturethat using a special microphone called an ambisonic.It catches not only the level of sound but alsothe direction of where it’s coming from. It’s notonly the level or the frequency balance, but alsothe spacial components of the sound that is a keypart of the design, and a key part of what makes aroom special. We also have a starting pistol that weshoot as well, and a static white noise that we playthrough the loudspeaker, to measure variations inlevel across the room.How does it all start?The process really starts in design. We build a3D acoustic computer model of the space, wherewe input all the acoustical properties of the wallsand the seats and the ceiling and can simulate inthe model how it’s going to sound. We have a spacethat we built in our office called the SoundLab;it’s a listening room where we can simulatethe acoustics ofspaces that we’redesigning. A keypart of the processfor The Isabel was tomodel the space wewere designing tosimulate the acoustics,and then withQueen’s and thearchitects to listento that design aswe were designingit. The testing wasfrom the designbut then continuedinto the constructionprocess.How was yourplanning for thespace influenced bythe types of eventsit will host?Joe Solway (left) withcolleague Matt Mahon (right)in the lobby of the Isabel.The shape and the form of the room camedirectly out of the programming meetings withQueen’s. From the outset of the project, we satdown with Queen’s faculty and defined a matrixof usage times. We said the hall would be primarilyfor chamber groups but still had to accommodatethe symphony orchestra of the university, andeverything from jazz to Brazilian samba to amplifiedsound use for film. From that, we sketchedout what the basic shape and form needed tobe for those functions. The architects took thosebuilding blocks, if you will, and based their designon those parameters. I think the reason why we’reso happy with the design is that Snøhetta areamazing at taking those design parameters andthen fully integrating them into their architecturalvision. Really, the acoustical properties aretotally embedded in the architectural design. That12 | September 1, 2014 – October 7, 2014 thewholenote.com

doesn’t always happen. You don’t always have such a harmony of architectureand acoustics, but I think here we have a design where both areworking together.Is your job done now?Part of the analysis of the data that we just took involved measuringthe room. We have acoustical drapery that can be deployed at each levelin the room to change the acoustics, so the final step is to analyze thatdata and to advise the technical director on how different configurationscan be deployed for different kinds of performances.Even though the design is finished, the life of this building is juststarting – and how it actually gets used will change over time, so wewant to be there to advise Queen’s as those needs and uses change. I’ll beback at least for the gala opening on the 20th and for the first professionalconcert on the 21st, and also to get feedback: on how the building is beingused, and from performers’ and audiences’ reactions to the space. Tohear that feedback is essential for closing the loop on the design process.GARY CORRIN, Toronto Symphony Orchestra Principal LibrarianHow long in advance do you work on organizing a concert andputting it together?I like to make music available to musicians three working weeks beforethe first rehearsal. That’s just sort of a benchmark … For each concert Iload anything necessary to play that concert in a folder, and that folder isavailable to musicians…We probably do an average of two shows a weekand I have an old set of shelves here that has five slots in it. And basicallyI just try to keep them filled. So to summarize it, whether you thinkof it in weeks or not, musicians usually have music available to themabout four concerts in advance.I guess that means, for you, a great deal of multitaskinginvolved.Right. For some concerts I know up to a year in advancewhat the program is going to be and I work on that alldifferent ways. For instance, if we have a guest conductorthat I see in March and I know he’s coming back in February,by then I’ve already seen what his program is and I can askhim some very specific questions about that … so I tell peopleI’m working anywhere from three minutes to three years inadvance on things in any given day.At the moment that the concert is starting, is there anysense of the pressure being off, or are you already justthinking of all the other things you have on the go?It’s really the first rehearsal, because that’s when everybodyshows up and we’ve got to have all the parts and theright editions. So by the time the first concert shows up, Iguess I’m probably the most relaxed person in the orchestra.My work is pretty much done by that time. I have some ceremonialtasks for the concert, like putting the conductor’sscore onstage, setting up the folders and cleaning them up,but largely it’s getting through the rehearsal that’s my stressful part. I’mthe guy who by opening night is looking way past opening night. I’mhere and I’m doing stuff that people see, but really my concern is threeweeks to three months in the future. That’s what I’m working on, duringopening night. I will be sitting here listening to a monitor of the concertand enjoying that, and working probably on bowings, or something.What I like to tell people is that there are 80 to 100 people on stageand my job as a librarian is to make sure that their time in rehearsal isspent effectively. That means rehearsing, and not figuring out issues inthe printed music. If you back that up, any piece could have a problemthat I may need to solve ahead of time.So it really is a “wearing many hats at once” kind of thing.Sure. You know, here’s the deal: librarians in an orchestra or operasetting are responsible for anything to do with those printed pages thatthe musicians are looking at. Now, those printed pages dictate what’sgoing to go on onstage, because if it isn’t on the page, they don’t play it –hopefully! And so if there’s something wrong with those pages, there’skind of a mess at the rehearsal. There’s also a lot of information thatarises out of those pages, like how many horn players we need, howmany trumpet players … that’s one of the first questions that everybodywants to know in their planning. So, many hats? It’s funny – I don’t doall this stuff, but I’m kind of in charge of recruiting people and alertingTORONTOMASQUETHEATREThe PerformingArts in FUSION2014 / 2015 SEASONThree timeless storiesThe Soldier’s Tale by StravinskyOctober 25-26, 2014Acis and Galatea by HandelJanuary 15-17, 2015Les Indes Mécaniques based onRameau’s Les Indes GalantesMay 14-15, 2015Masque in the heart of Torontotorontomasquetheatre.com416-410-4561www.ravedesign.com Photo: Haney Mauricethewholenote.com September 1, 2014 – October 7, 2014 | 13

them, and then I facilitate theirwork back into mine, in preparingthose folders for the stage.GERARD GAUCI, Opera AtelierSet DesignerWhen is opening night for you?Opening night for Opera Atelier’snew production of Handel’s Alcina is October 23.What type of process is it for you to get ready foropening night of a show?Preparations for a show begin long before openingnight and start with in-depth discussions with myartistic director Marshall Pynkoski. Armed with arecording, a libretto and a sketchbook, we sit in mystudio surrounded by inspirational images culled frombooks, magazines and the Internet and discuss the storyline, the conceptswe want to explore and the overall look of the show. Soon afterwards Icreate a storyboard illustrating the progression of the opera from scene toscene; then over the ensuing months, dozens of meetings and hundredsof phone calls, our ideas get refined and edited. The sketches resolve intofinished renderings and scale models and these in turn are passed onto the painters, carpenters and prop makers who together realize thedesigns for the stage. Generally the sets can be built in four to six monthsand once completed are transported from the shop to the theatre, wherein seven to nine very long days, carpenters, electricians and stage handsset up and rehearse the show.How long in advance do you begin that work? Who do you collaboratewith to make it all happen?The process I described starts about 18 months before opening night.Aside from Marshall, my most important collaborators are my executivedirector Patricia Barretto, who supports the project and sets the budget,and my production manager Evelyn Campbell, who helps me with thepractical aspects of the design, engages the builders and craftspeople andthen plans and oversees the installation and running of the show. Not tobe forgotten are my lighting designer Bonnie Beecher, and for the firsttime in the company’s history, we are excited to be working with filmmakerBen Shirinian, who with Krystal Levy Pictures is producing thevideo projections that will make the magical transformations in Alcinacome to life.How did you get started in this line of work?My position in the theatre world is unusual in that I have workedwith only one company for my entire career. I began working withOpera Atelier in 1985 after the co-artistic directors spotted an illustrationI created as the cover image for an issue of the CBC Radio Guide.They tracked me down and invited me to design some set pieces for anupcoming production of Handel’s The Choice of Hercules performedat the tiny theatre in the basement of the ROM. As the company grew Ihoned my skills, learned the art of stage design and 29 years later findmyself designing this massive new production of Handel’s Alcina.What’s the most challenging part of the job?Far and away the most challenging part of the job is mounting a showof operatic proportions in the vaudeville-scaled confines of our homestage, the beautiful Elgin Theatre in downtown Toronto. It always worksin the end but it really is like piecing together an intricate jigsaw puzzle.I love working in this historic theatre but what wouldn’t I give for anextra ten feet upstage!JOHN SHARPE, Canadian Opera Company Surtitles OperatorWhen is opening night for you personally?There are three or four operators who work on the surtitles, and we’reassigned specific operas during the course of the year. I’m doing oneopera this year – Die Walküre – but that’s not until the spring season.How does it all work for you?I’m calling the show – actually working on each of the performances.My involvement in terms of any individual show normally starts withinthe last weeks of rehearsal. I actually go to the rehearsals with my score,which is marked with all the cues, just to see the layout of the showand the way the singers are interacting with each other. I get to see oneOpera Atelier’s MeghanLindsay and AtelierBallet artists for Handel’sAlcina, based on Gauci’ssketches (left).of those rehearsalsand I also goto two or threeorchestra-castrehearsals, whichare in the FourSeasons Centrewith full orchestraand costumes.Those rehearsalsgive me a chanceto prepare ina live setting,because I’mactually calling theshow as they’reperforming.So then, the pressure is really on for you when you start to do thelive runs?That’s right. A lot of people are under the misconception that thesurtitles that they see are computer-generated – and in truth, they aredone through a computer, but it doesn’t just happen automatically.Because it’s a live performance, we have to be aware of the timing, andit changes from one performance to the next. A singer will perform in aslightly different way depending on how the tension of the evening mightbe, for example. And in the case of a show that might have two casts,we have to be aware of what the differences between the two casts are.Our ears are our most important tools in all of this. And it really showswhat the magic of a live performance is. It’s happening right there, andalmost anything can happen.Which tricks do you use to nail down the timing?I’m in a booth on Ring 3, so I can see the whole performance directlyin front of me, and I have headphones on, hearing the music just a littlebit closer than it would be in the house. I also have a monitor in frontof me that is focussed on the conductor. I can see the conductor as he’sconducting and occasionally a conductor will give cues to the singer asto when to go next, particularly if its a complicated ensemble or somethinglike that. That also helps very much, so that I can watch. There aresome times when the singing line is so exposed and there’s almost nomusical cue – when the singer actually starts the music off – so I watchvery carefully what the singer is doing and I can usually see the personbeginning to breathe. But again, it’s completely live, so I have to be very,very careful of those kinds of things.Any show that was particularly challenging?I would say the most strenuous one that I ever did was when the COCdid the complete Ring Cycle, and I had to do all four operas – each ofthem one or two days apart. The endurance of knowing that every twodays or so I was going to do another opera, five hours in length, wasextremely tiring. I took a little time off from my regular job just so Icould do that one!Like you said, a lot of people don’t realize that it’s not a computer, buta human running a computer program.Yes – during a performance I’m there with the score, and it’s markedwith cues in consultation with the director. It’s a very collaborative thing:creating the text and where it goes. Once the score gets to me, it’s fullymarked and I know where the cues are. I have a set of headphones witha mic, and next to me is an operator from the union who actually operatesthe computer that projects the image. I’m just giving him the cues– I like to say, I say “go” about 600 times in a row! So if you ever peekinto the booth, that’s all you’d hear: my voice saying, “go, go, go”...butthat’s how it all works.Opening nights can arrive in many different shapes and forms.For more on a season opener at a much-loved local venue, see TimDawson’s “Opening Night at Seicho-No-Ie,” on page 59.Sara Constant is social media editor at TheWholeNote and studies music at U of T. She can becontacted at editorial@thewholenote.com.BRUCE ZINGER14 | September 1, 2014 – October 7, 2014 thewholenote.com

KOERNER HALL IS:“A beautiful space for music ”THE GLOBE AND MAILARC EnsembleSUN., SEPT. 28, 2014 7:30PM KOERNER HALLFREE CULTURE DAYS PERFORMANCE. (TICKET REQUIRED)The Conservatory’s flagship ensemble presents “The Hell WhereYouth and Laughter Go,” commemorating WWI with works byGeorge Butterworth and Edward Elgar, with Ian Deakin narrating.Presented in association with The Stratford Festival.The Mazzoleni Masters series is generously supported by Doug Bodley.William VerMeulenTUES., OCT. 7, 2014 7:30PMMAZZOLENI CONCERT HALLIn Tune Magazine says “the horn playingof William VerMeulen is miraculous!”In addition to solo works, VerMeulenwill perform Brahms’s Horn Trio withspecial guests Erika Raum andDavid Louie.The Mazzoleni Masters series isgenerously supported by Doug Bodley.SEASON GALA CONCERT!Sir James Galway andLady Jeanne GalwaySAT., OCT. 25, 2014 8PM KOERNER HALLLiving legend Sir James Galway is regarded asboth the supreme interpreter of the classicalflute repertoire and a consummate entertainer.“He has a technical mastery so complete that itmakes everything look easy.” (Los Angeles Times)Taylor AcademyShowcase ConcertSAT., OCT. 18, 2014 4:30PMMAZZOLENI CONCERT HALLFREE (TICKET REQUIRED)The Phil and Eli Taylor PerformanceAcademy for Young Artistspresents concerts by theleading young classical musiciansin Canada. Hear the starsof tomorrow!Rafał BlechaczSUN., OCT. 19, 2014 3PMKOERNER HALLGilmore Artist Award-winning Blechaczis an interpreter of “engaging lucidity”(Der Tagesspiegel), with “a gorgeousgift for the keyboard.” (Corriere dellaSera) He will perform Bach, Beethoven,and Chopin.Presented in association withthe Canadian Chopin Society.Tito Muñoz conducts theRoyal Conservatory Orchestrawith Emily Kruspe, violinFRI., OCT. 24, 2014 8:00 PM /PRELUDE RECITAL 6:45PM KOERNER HALLIncreasingly recognized as one of the most giftedconductors of his generation, Tito Muñoz leads aprogram of Bartók and Shostakovich that includesa performance by violinist Emily Kruspe, winner ofThe Glenn Gould School’s concerto competition.TICKETS START AT ONLY $25! 416.408.0208 www.performance.rcmusic.ca273 BLOOR STREET WEST(BLOOR ST. & AVENUE RD.) TORONTO

SARAH BAUMANNPanamania-Bound: Obeah RisingThere is an old adage thatsays, “If it ain’t broke don’tfix it,” but that is exactlywhat composer/lyricist NicoleBrooks did with Obeah Opera.In 2012, the hit productionearned a nomination fora Dora Mavor Moore Award forOutstanding New Musical/Opera.Nonetheless, the Obeah Opera thatwill be unveiled at NightwoodTheatre’s New GroundswellFestival (September 11 to 14) is atotally new work. “I always knewit wasn’t complete,” says Brooks.“Both the story and the music hadto evolve. The ancestors wouldn’tallow me to rest.”The ancestors Brooks referencesare the West African femalepractitioners of the ancienthealing art of obeah. Obeah women who were captured and enslavedbrought their healing practices to the Americas where the pressure ofChristianity converted the concept of obeah into an evil force. Eventoday, some superstitious people from the Caribbean fear the verysound of the word. When Weyni Mengesha, the director of the newversion, asked each member of the cast to bring one fact about obeahto the first day of rehearsals, over half cited negative connotations.One cast member said her mother even refused to talk about it.Both the old and new versions of the opera give voice specificallyto the Caribbean obeah women sold, during the 17th century, into theMassachusetts Bay colony where many were accused of witchcraftduring the Salem witch hunts. The witch trials were triggered by masshysteria on the part of white teenage girls. This is the same territorycovered by Arthur Miller in his play The Crucible, but with one bigdifference. Brooks puts the focus on the black women of Salem.Brooks became interested in the Salem witches when she began toresearch her own roots in African spirituality: “The deeper I delvedinto West African magic and healing, the more I found that every roadled back to obeah. Arthur Miller has only one black woman – Tituba– in his play, but there were other black women in Salem, a minoritywho were silenced by the white men who write history. It becameimportant to me to give these women a voice – to empower MaryBlack, Candy and Sarah, along with Tituba.”In order to put Obeah Opera back into development, Brooksworked with new music director Andrew Craig. In Canadian music,Craig is an A-list icon and a polymath. He is variously a singer, multiinstrumentalist,composer, arranger, producer, director, broadcasterand impresario. The two first got to know each other when Brookswas in the chorus and Craig was music director for Djanet Sears’The Adventures of a Black Girl in Search of God. Brooks and Craigformed their own company Culchahworks Arts Collective in 2013 topresent stories of the African diaspora through the broad spectrumof the performing arts. “Andrew is the best of all possible worlds,”says Brooks.Craig certainly had his work cut out for him. Brooks does not reador write music. Instead, she sings every part of every song to Craigwho uses transcription technology to create the hard copy of thevocal score. For the most complex eight-part harmony, Brooks isable to sing each melody line – no mean feat. The music for ObeahOpera is notable for two things. First, the show itself serves as a tourthrough the history of black music because Brooks embraces everystyle – African harmonies, tribal chants, gospel, blues, jazz, spirituals,R&B, folk, calypso and doo-wop, to mention but a few. The secondPAULA CITRONAndrew Craig, Nicole Brooks, Weyni Mengeshafact is that the all-female cast (inboth versions) sing a cappella.Every word is sung and the newversion, twice the length of theold, features 68 different pieces ofmusic, 80 percent of which is newmaterial. The first version featured15 women; the Groundswellproduction has a cast of 20.Brooks understood that sheneeded better-funded partnersto help take Obeah Operato the next level. With that inmind, she held a showcase in2013 at Wychwood Barns wherea small cast put on a potpourri ofmusic, movement and text fromthe show. To oversee the showcase,she hired veteran artisticproducer Nathalie Bonjour, late ofQueen of Puddings Music Theatre.This ensured a class act. Only big guns and mid-sized companieswere invited, among which was Nightwood Theatre, represented byartistic director Kelly Thornton and literary manager Erica Kopyto.Neither had seen the original production, but at the end of the showcase,Kopyto turned to Thornton and said: “I think the magic justhappened.”Nightwood is one of Canada’s most respected feminist companies,and for Thornton, Obeah Opera, with its newly discovered history ofSalem black women, was right up their alley. Brooks’ dissatisfactionwith the original Obeah Opera was the lack of a clear narrative line.In fact, in my review at the time, I called the production “a collectionof experiences,” the first act setting up the arrests of the obeah womenand the second act taking place in the holding cells of the prison.Brooks comes from the worlds of music and film, carrying on twoparallel careers, one as a jazz/church choir singer, the other producingand directing for film and television. Her weak spot is actual playwriting.“We could give her a dramaturge,” says Thornton, “to take herthrough the process.” That dramaturge was Kopyto.“Nicole wanted a story that had a beginning, middle and end,”Kopyto says. “We started on page one by building up a plot throughstoryboarding, coming up with a 20-page synopsis and characteroutlines. She had never approached writing that way. We worked onthe narrative only. The original version didn’t even have a script – justa hodgepodge of lyrics and stage directions.” The story that developedis Tituba’s journey to self-awareness and growth. She is now thecentral character, arriving on a slave ship from the Caribbean, andbeing sold into the family of Rev. Samuels who are all new characters.“Tituba has a revolutionary spirit, and the reverend thinks hecan tame her,” adds Kopyto. “Instead, she finds her true voice throughobeah. She accepts her ancestral history as the white colonials tryto quash it. The reverend’s daughter Betty and her friends see Titubaas confident and commanding.” All important in the developmentprocess was a workshop with actors just reading the lines and notsinging, in order to nail down the text of the libretto. Says Brooks:“The 2012 production was a sketch, a blueprint. Now it’s what it’ssupposed to be.”Director Mengesha is part of the dream creative team which alsoincludes music director Craig and designer Astrid Jansen. Only choreographerAnthony “Prime” Guerra is a holdover from the 2012production. Mengesha was an obvious choice because she hasexperience with large casts. (’Da Kink in My Hair had 18 peopleonstage.) She has helped Brooks in the development process by clarifyingthe narrative arc, suggesting cuts and edits and strengthening16 | September 1, 2014 – October 7, 2014 thewholenote.com

characterization. On the other hand, she has never directed an operabefore. “Text is different when it’s sung,” she points out. “It’s a newlearning curve for me. I usually have a vision in my brain when I beginrehearsals, but this production is all organic. I’m responding in thenow – alive, present and experimenting.”Brooks and Craig did the casting over a slow two-month process.Brooks, herself, is playing Tituba. The duo were looking for singingactors who could “throw down” the guts of the music. The original allblackcast has been modified to have white actors play the colonials,but it is still an all-female preserve. Gender-bending does occur,however, as the women also play all the men. “The story intriguesme,” says Mengesha. “I came to theatre because plays can speak aboutthings that matter. I can relate the hysteria of the young girls to today’sresponse to terrorism. The obeah women threatened the status quo.Obeah Opera embraces themes like questioning ideas and traditionsthat we’ve inherited.”It is important to point out that the September Groundswellproduction is also considered a workshop. As Kopyto says: “ObeahOpera is a work in progress, and the production is a snapshot ofwhere we are now.” In fact Groundswell, which features two stagedplays and six readings, is all about development. Adds Thornton: “It’snecessary to see how new plays live with an audience. A staged workshopproduction helps test drive the script. The audience feedbackis crucial.”The actual world premiere of the new Obeah Opera will take placeduring Panamania, the arts and culture arm of the Pan American/Parapan American Games in Toronto next summer. The work isone of 27 unique commissions that cover all artistic disciplines. Thecreative team sees the Groundswell staging as an important run-upto the Pan Am production. Don Shipley is the culture czar who hasprogrammed Panamania. Says Shipley: “We were particularly pleasedto invest in Obeah Opera. It’s an example of great creative collaborationwith great partners. The format is highly innovative, the historicalsubject matter is fascinating and the creative team is imaginative.Our commissioning funds are providing an opportunity for NicoleBrooks to reinvestigate the work and strengthen the narrative.” Forher part, Brooks hopes that Panamania will allow her to raise the castnumber to 25.Brooks agrees that the many styles of black music in the show makethe piece hard to define. Shipley calls it “a musical odyssey,” whileThornton’s sobriquet is “a theatrical epic.” “Obeah Opera is spectacle,”says Thornton. “It’s a gigantic financial undertaking, but Ibelieve that audiences crave spectacle. Right now Obeah Opera is asketch, but it will become an oil painting for the Pan Am Games.”(Obeah Opera runs as part of the New Groundswell Festival atDancemakers Studio, September 11 to 14 and as part of Panamania atthe Young Centre, July 20 to August 9, 2015.)HalfTonesHalfTones is The WholeNote’s regular midmonthe-letter with breaking stories, just-in listings, specialoffers, contests and much more.THE INAUGURALSEASONAfiara QuartetMaxim BernardNew Orford String QuartetSalzburg Marionette TheatreTheatre KingstonJakob KoranyiZukerman Chamber PlayersCédric TiberghienSarah ChangLes Violons du RoyMarc-André HamelinJeanine De Biquesubscriptions and tickets available@ theisabel.caISABELISABEL BADER CENTREFOR THE PERFORMING ARTSSUBSCRIBE in time for our September 16 issue in orderto have an opportunity to win a PAIR OF TICKETS to theopening night of Madama Butterfly at the CanadianOpera Company.TO SUBSCRIBE, go to TheWholeNote.com/HalfTones.Or find us on Facebook at facebook.com/LikeTheWholeNote and on Twitter at @thewholenote.thewholenote.com September 1, 2014 – October 7, 2014 | 17

MIGUEL-DIETRICHBeat by Beat | World ViewVicarious GučaANDREW TIMARIt’s a warm sunny weekend day inlate August and here I am sequesteredin my office. I’m imaginingperverse things like concerts in chillyOctober, when I’d rather be gonefishing, metaphorically speakingthat is. The lyrics of a famous20th-century standard come to mindreminding me that it’s supposed to bethe season when “the livin’ is easy.”Except it’s been a busy, busy workingsummer around here. But enoughof my moaning. This morning I rosethinking of singing and world musicfestivals soon to come.Ashkenaz: By the time you readthis the always fabulous biennialAshkenaz Festival, billed as “NorthAmerica’s largest festival of global Jewish music and culture,” willbe wrapping up at the Harbourfront Centre, along with almost allof the hot, long days. (We can but hope for a handful more.) This isAshkenaz’s tenth celebration, with over 200 artists from more than12 countries participating in dozens of events from August 29 toSeptember 1. As usual tradition (i.e. “Havdallah”) rubs elbows withmusical cross-cultural fusion (i.e. “Aaron Kula – Black Sabbath: Blues& Jews,” and “David Buchbinder’s Odessa/Havana”), along with thedownright friendly-weird (i.e. “Deep-Fried Gypsy Cumbia”). You can’tsay the festival doesn’t have a sense of humour.Small World Music: The fall season starts properly with theSmall World Music Festival, this year running from September 25to October 5. The series sets out to “capture the world in a ten-dayfestival,” bringing the music of India, Germany, Trinidad, Serbia, Iranand Pakistan to Toronto venues.Instead of my usual practice of chronologically going down the listingsand issuing “picks” from on high, in this column I’m changing itup and sharing a more in-depth commentary on one of the concerts. Ithink it’s in keeping with “the livin’ is easy” attitude, don’t you?September 26 Small World Music Festival in association withAE presents the Boban & Marko Markovic Orkestar at the PhoenixConcert Theatre. Superlatives from The New York Times and theBoston Herald precede the Orkestar’s appearance. Rather thanrepeating those, I propose a little vicarious field trip to Eastern Europe,to an unlikely, remarkable festival that launched the rkestar’s success,Boban & Marko Markovic Orkestartaking this multigenerational Romani band from Serbian villageweddings to large urban concert halls around the world. Consider thisa page in your pocket guidebook.What takes place in the central Serbian village of Guča is undeniablya global musical phenomenon. Since 1961 this tiny sleepy villageis transformed each year into the raucous hub of the closely contestedand widely popular annual Guča Trumpet Festival. It’s also the world’slargest trumpet competition – and for thousands, licence to show off,get rowdy and imbibe large quantities oftheir beverage of choice. A remarkable300,000 to more than 500,000 peoplehave swelled the village site each year,most to hear top Serbian and Balkanstylebrass bands play in highly contestedcompetitions. Some have claimed it’s thelargest music event anywhere. During thefestival, bands from Serbia and all over theworld play on the competition stage andalso wander, performing in the village’sstreets night and day. This wild scene isillustrated in the 2013 U.S. feature documentaryBrasslands.The Boban Markovic Orkestar has longbeen among Guča’s leading contenders.It took the Best Orchestra award in 2000,as well as the coveted Best Trumpet prizefor its maestro no fewer than five times. Asfor Boban, dubbed the “king of Balkan Brass music,” ever the graciouswinner, he has retired from the competition and set his sights furtherafield. In the last decade he has aimed to reach international audiencesthrough his contributions to movies, as well as by taking hisfunky and frenetic arrangements of dance-worthy brass music –sometimes described as “Balkan and/or Gypsy roots music” – on tourto global stages.Following Serbian Romani tradition, in 2006 Boban Markovicformally handed over his orchestra to his son and successor, Marko,on his 18th birthday. Global Rhythm magazine opined, “With nodsto klezmer, jazz, Latin and deep-fried funk injected into the mix, the… Orkestar knows where their music’s been but they’re hell-bent onslinging it straight into the future.” This multigenerational musicalpowerhouse has harnessed brass virtuosity, macho lyrics, lightningtempi, pop kit drumming, Romani vocals and the occasional rap, alldelivered with infectious energy. The Orkestar then morphed it all intoa populist style that has allowed it to segue from Serbian village celebrationsto the floors of trendy Central European dance clubs.You can join me on the evening of September 26 at the Phoenix. I’llbe the guy at the back soaking up the Orkestar’s vibrations, with asmall glass of šljivovica if they stock it, toasting the end of summer.Andrew Timar is a Toronto musician and music writer. Hecan be contacted at worldmusic@thewholenote.com.Most Tuesdays, Wednesdays and Thursdays at noon or 5:30 p.m.“The quality of performers for these free concertsalways amazes me.”MICHAEL VINCENT, MUSICAL TORONTO, 2014coc.ca 416-363-8231MEDIA SPONSORSEliana Cuevas. Photo: Karen Reeves. Creative: BT/A18 | September 1, 2014 – October 7, 2014 thewholenote.com

SEASON PRESENTING SPONSORUPCOMING CONCERTSThe glorious 2014/2015 season begins!JONATHANCROWJOSHUA BELLDANIIL TRIFONOVOpening Night:Joshua BellTHU, SEP 18 AT 7pm*Peter Oundjian, conductorJoshua Bell, violinBerlioz: Roman Carnival OvertureLalo: Symphonie espagnoleRimsky-Korsakov: Capriccio espagnol* For those interested in a full gala package,which includes premium tickets and apost-concert dinner for $1500, please callTSO Special Events at 416.593.7769 X 261Arabian NightsSAT, SEP 20 AT 8pmSUN, SEP 21 AT 3pm*Peter Oundjian, conductorJonathan Crow, violinRavel: BoléroStravinsky: Suite from The Firebird (1919)Rimsky-Korsakov: Scheherazade* At George Weston Recital Hall,Toronto Centre for the ArtsBeethoven Symphony 9THU, SEP 25 AT 8pmFRI, SEP 26 AT 7:30pmSAT, SEP 27 AT 8pmPeter Oundjian, conductorDaniil Trifonov, pianoJessica Rivera, sopranoAndrea Ludwig, mezzo-sopranoDavid Pomeroy, tenorTyler Duncan, baritoneToronto Mendelssohn ChoirRachmaninoff: Rhapsody on aTheme of PaganiniBeethoven: Symphony No. 9 “Choral”TICKETS FROM $33 | ROY THOMSON HALL | 416.593.4828 | TSO.CASEP 18 GALA RECEPTION SPONSOROFFICIAL AIRLINE

Beat by Beat | Classical & BeyondConversationswith VivaldiPAUL ENNIS“You know, my piece doesn’t erase the Vivaldi original.It’s a conversation from a viewpoint. I think this isjust one way to engage with it.” – Max RichterThe opening notes seem to emanate from otherworldly ether,tentatively falling into the familiarnotes that begin The Four Seasons,but there’s something quite differentthat’s engaging us. In a November 2012interview with NPR’s Audie Cornish,German-born, British composer MaxRichter elaborated on the openingbars of his recomposition: “I tookthe opening motif, which I alwaysthought was a dazzling moment inthe Vivaldi, but in the original it’s onlyfour bars. I thought, ‘Well, why don’tI just treat this like a loop, like somethingyou might hear in dance music,and just loop it and intensify it, and cutand paste – jump-cut around in thattexture, but keep that groove going.’”The essence of the music that wasonce the most recorded piece in the classical music catalogue is therebut it’s got a contemporary feel, definitely not staid, bursting withenergy, but not the heightened propulsion of Il Giardino Armonico,for example. In fact the clarity of violinist Daniel Hope’s crystallineplaying is inviting.The synth effects are so subtle they’re barely discernible but theirpresence is palpably modern, sleek and beguiling. The combinationof the bones of Vivaldi’s original and the cloak Richter has wrapped itin make for a 21st-century experience that is pleasingly addictive, thekind of piece you put on repeat and listen to over and over and over. Itnever feels like it’s too much, its novelty easily trumped by its freshness,its mysteries slowly revealing themselves after five, six hearings.Less than two weeks before he was to perform Richter’s FourSeasons Recomposed at the Ravinia Festival in Chicago, the acclaimedBritish violinist Daniel Hope participated in a live YouTube chat onJune 10, 2013. (In addition to a versatilesolo career, Hope was a memberof the distinguished Beaux Arts Triofrom 2002-2008.) Now more thana year later, in anticipation of theSeptember 30 Toronto premiere of theRichter work, I’m watching the genuinelyengaging Hope patiently answerquestions.“The fact that Max Richter waswilling to recompose The Four Seasonswas incredibly brave and I think he’sdone a fantastic job,” he begins. “Iwas contacted by [him] about oneto one and a half years ago and toldabout wanting to recompose The FourSeasons,” he continues. “The first thingI said was ‘What’s wrong with theMax RichterOur spectacular2014-2015 cOncert seasOnseasOn subscriptiOnsOn sale nOw!Save 35% or more with ourpopular 6-concert packageOrder online today at spo.caor email spo@spo.ca torequest a copy of our FREEseason brochurescarboroughphilharmonicOrchestra@spOGreatMusicHalloween trick or treatSaturday November 1, 2014Festive Music for theHoliday seasonSaturday November 30, 2014Music from France, canada,south asia & More!Saturday January 17, 2015a canadian panoramafor windsSaturday March 20, 2015an italian FestivalSaturday March 28, 2015Masterworks of beethovenand brahmsSaturday March 20, 2015an Ontario government agencyun organisme du gouvernement de l’Ontario20 | September 1, 2014 – October 7, 2014 thewholenote.com

Donizetti’s Don Pasquale, U of t opera, november 20132014.2015season highlightsEarly Musicsuzie leBlanc & Daniel Taylor perform Handel’s Love DuetschaMBEr Musiccecilia string Quartet, New Orford string Quartet,Gryphon Trio, NEXus, atar arad, russell Braun,st. lawrence string Quartet & Monica WhicherWOrkshOp/MasTEr class/lEcTurEBarbara hannigan, hans abrahamsen,paul Griffiths, Ben heppner, catherine Wyn-rogers,Johannes Debus & richard BellisJazzJerry Bergonzi, Dave liebman & ralph alessiOpEraHMS Pinafore & Postcard from MoroccoNEW Music FEsTivalExchange concerts featuring guest composers/musiciansfrom chengdu, Guizhou, Beijing & hong kongDownloaD oUr 2014-15 season brochUre at WWW.Music.uTOrONTO.cato orDer tickets, call the rcm box office at the telUs centre at 416-408-0208The Faculty of Music gratefully acknowledges the generous support of our presenting sponsorswww.music.utoronto.cathewholenote.com September 1, 2014 – October 7, 2014 | 21

Glionna MansellPresents14A Music Series unlike any otherApril 2014 through to November 2014Don’t Miss TheseFall Concerts!in the continuingOrganix 14 concert seriesElisabeth UllmannOct. 19, 4:00 pmOur Lady of Sorrows3055 Bloor St. WestRhonda Sider EdgingtonSept. 19, 7:30 pmHoly Trinity Anglican10 Trinity SquareNosetti Memorial ConcertNov 12, 7:30 pmMaxine Thevenot, Eugenio Fagiani and Omar CaputiSt. Paul’s Anglican Church, 227 Bloor St. Eastoriginal?’ He laughedDaniel Hopeand said nothing’swrong with theoriginal, it’s perfect,it’s a fantastic piecebut I feel that in asense I’ve fallen out oflove with it. I’ve beenbombarded with it.Every time I go intoan elevator or a shoppingcentre I hear TheFour Seasons piped atme. [Max] wanted torediscover it and byrecomposing it he wasrediscovering it. Heasked me if I wouldlike to take a look atit and I thought that[it] was a really interesting way of revisiting a masterpiece ... As soonas I saw the early sketches for his piece I was absolutely knockedout. I thought this was something really amazing and I wanted to bepart of it.”Hope details his contribution to the process: “I made a number ofsuggestions. [Richter was very open to suggestions] with regards to thetempos and some of the passagework. It was so well written it didn’tneed many changes but it did need to be adapted here and there tomake it more violinistic. In the recording session we created it in themoment so a lot happened with sound effects and various colours.”Asked if he has a “favourite” movement in the piece he hedges: “Myfavourite season is ‘Summer.’ The Recomposed is a different piece. Ithas all of the great themes of Vivaldi. It has the inspiration of Vivaldibut it also has its own music. The last movement of Max Richter’s‘Summer’ is absolutely amazing. But also the last movement of‘Winter’ is mindblowing.”When asked if it’s difficult not to get mixed up with the originalwhen playing the recomposed version, Hope – who has alreadydivulged that he’s been playing the original since he was a boy (“It’sstill so modern after 350 years”) – talks about the very subtle changesin the passagework, eight notes to seven, for example. He adds thatevery time they play Recomposed it changes and evolves.Elsewhere in that 2013 YouTube chat, Hope reveals that when hewas four he announced to his parents that he wanted to be a violinist.That got me curious about his musical education. I found a partialanswer in a different (ClassicFM) YouTube video where he talkedabout his crucial relationship with Yehudi Menuhin, whom he knewfrom an early age: “Menuhin was very, very outward-looking. He’ssomebody I think about almost every day – a huge inspiration to meand to many musicians and somebody who really believed in openingyour ears to any kind of music. You know his legendary collaborationswith Ravi Shankar or Stephane Grappelli are things that I witnessed asa small boy (Hope was born in 1973). I was lucky enough to grow upin that environment. It taught me from an early age that you can findconnections in different musical worlds if you take it seriously andTickets and passesavailable onlinewww.organixconcerts.ca416-769-389322 | September 1, 2014 – October 7, 2014 thewholenote.com

you spend the time.”It has been two years since I discovered Richter’s recomposition ona listening post at Grigorian’s when it drew me in with its compulsiveoriginality coupled with its uncanny resemblance to Vivaldi. Happily,Soundstreams is now making it possible to hear this innovative worklive with Daniel Hope as the soloist, in their season-opening concert,September 30.It’s Still Festive: Summer’s not over until the fall equinox and thePrince Edward County Music Festival (PECMF) in Picton and theSweetWater Music Festival in Owen Sound are taking full advantage ofthose last seasonal days to launch their 11th editions.The “superlative acoustics” of St. Mary Magdalene Church playhome to several content-rich PECMF concerts. Augmenting theopening concerts, artistic director pianist Stéphane Lemelin joins thePenderecki String Quartet to perform Taneyev’s romantic Quintet forpiano and strings in g minor Op.30 on September 19, then accompaniescellist Denise Djokic in Rachmaninoff’s Sonata for cello andpiano in g minor Op.19 the following day. September 21 brings AndréLaplante’s deep musical sensibility to bear on a trio of Liszt pianomasterworks. Highlights of the rest of the festival include the youngCanadian musicians Nikki Chooi, violin, and Philip Chiu, piano,in a September 25 recital that ranges from Bach to Prokofiev, andEnsemble Made In Canada in piano quartets by Dvořák and FauréSeptember 26.St. Lawrence String Quartet violinist Mark Fewer, the artisticdirector of the SweetWater festival, brings his chamber music versatilityto bear in a concert September 19 in the historic Leith churchwith its ideal acoustics. Vivaldi, von Biber, Schmelzer and Bach supplythe music that the celebrated baroque violinist Elizabeth Wallfisch,Lucas Harris (theorbo), Hank Knox (harpsichord) and Fewerwill perform.The next day Fewer joins his St. Lawrence colleagues and sopranoMeredith Hall, flutist Leslie Newman, double bassist Joseph Phillipsand pianist Kati Gleiser for a program of Haydn and Beethoven. A fewMusic at MetropolitanMusicat Metropolitan2014-15 SEASONOrder tickets metunited.ca Estoreor by calling 416-363-0331 ext. 26SEASON TICKET: $80(save $10 on the cost of four separate tickets)Friday, Oct. 31 10:00pmPHANTOMS OF THE ORGANA Hallowe’ en howl of unearthly delights!(Co-sponsored by the Toronto Centre, Royal CanadianCollege of Organists)Saturday, November 29, 7:30 pmAN EVENING WITH SCHUMANN ANDRACHMANINOFFJanet Obermeyer, soprano; Arnold Tirzits andMatthew Coons, pianoAdmission: $20 / $ 10 (ages 18 and under)Friday, January 9, 7:30 pmSEI SOLO: A VIOLINO SENZA BASSOACCOMPAGNATO by J. S. BACHViolinists: Elyssa Lefurgey-Smith, Cristina Zacharias,Julia Wedman, Valerie Gordon, Aisslinn Nosky,Michelle OdoricoAdmission: $20 / $10 (ages 18 and under)Good Friday | April 3, 7:30 pmMUSIC FOR GOOD FRIDAYwith the Metropolitan Festival ChoirMusic by Buxtehude, Charpentier,Stabat Mater by Rheinberger,Dance of Death by Distler,Requiem by FauréAdmission: $30 / $10 (ages 18 and under )Sunday, May 3 2:00pmBACH IN TIME: LET THERE BE BEAUTYPoetry by Patricia Orr;Bach’s organ music played by Patricia WrightThis concert will be preceded by a short presentation on Bach.Freewill OfferingSaturday, May 30, 7:30 pmCHARLES DAVIDSON SINGS: Schubert, Schumann,Weill... with pianist James BourneAn exploration of 19th Century German Lieder intothe roots of 20th Century KabarettThe inaugural “Marg and Jim NorquayCelebration Concert”Admission: $20 / $10 (ages18 and under)Metropolitan United Church56 Queen Street East (at Church Street), Toronto416-363-0331 (ext. 26) www.metunited.orgthewholenote.com September 1, 2014 – October 7, 2014 | 23

days later Fewer and the other members of the St. Lawrence StringQuartet, along with Wallfisch, Newman and Phillips, are joined byBrad Turner (trumpet), Drew Jurecka (violin) and David Braid (piano)for a concert showcasing Bach and Braid.U of T Faculty of Music: Before travelling to Owen Sound, Fewer,violinist Geoff Nuttall, violist Leslie Robertson and cellist ChristopherCostanza (aka the St. Lawrence String Quartet) bring their infectiousenergy to the opening concert of the U of T Faculty of Musicseason September 16, which includes Golijov’s tuneful Kohelet andVerdi’s sublime String Quartet. Two weeks later, the Faculty celebratesaccordion virtuoso JoeMacerollo’s 70th birthdayand his appointment asOfficer of the Order of Canadawith an accordion extravaganzafeaturing current andformer students and guestartists, and including compositionsfrom Macerollo’s pastplus a new commission byAnna Höstman.Macerollo’s infectiousmusical spirit was mostrecently on display July 28 atChurch of the Holy Trinity in aMusic Mondays re-imaginingof the songs of Kate Bush, Prince and Radiohead with soprano ZoranaSadiq where the performers “boiled the songs down to their deep,dark essence – from the Bulgarian sweep of Bush’s pop-scenas to thesweet synth build of Prince’s perfect pop.” Macerollo’s recent CD,Persuasion – The Contemporary Accordion, showed his commitmentto contemporary composers Walter Buczynski, Charles Camilleri,Alexina Louie, Torbjorn Lundquist, Norman Symonds and BeverleyJohnston. August 30 Macerollo hosted the always interesting CBCRadio 2 program This Is My Music. If you’re quick you can still hear itstreamed on the Internet.Flute Street at Church of the Holy Trinity: Internationallyacclaimed piccolo virtuoso Jean-Louis Beaumadier and pianist JordiTorrent will perform music by Damase, Reichert, Feld, Novak andGyöngyösi September 26. The legendary Jean-Pierre Rampal wroteabout Beaumadier: “Endowed with marvellous technique, he standsout, thanks to his winning personality and his developed artistry. It isa joy to hear him in turn dream and turn pirouettes; he is the Paganiniof the piccolo.”TSO Returns: Back from their successful European tour, the TSObegins the new season September 18 with a trio of romantic orchestralshowpieces with the charismatic violinist Joshua Bell as soloist inLalo’s Symphonie espagnole. September 20 and 21 sees concertmasterJonathan Crow take the spotlight in Rimsky-Korsakov’s Scheherazade,the first public performance of the piece since its August CD releasethat marked the TSO’s new recording contract with Chandos Records.The live performance of Beethoven’s Ninth Symphony is incentiveenough to hear this iconic work but on September 23 to 25 the TSO ismaking it even more essential by including Rachmaninoff’s Rhapsodyon a Theme of Paganini with piano soloist Daniil Trifonov. No lessthan the great Martha Argerich said of the young Russian’s touch:“I never heard anything like that – he has tenderness and also thedemonic element.”Two Innovative Presenters: Two of the most creative Toronto seriesreinforce their programming reputations with the opening concerts intheir 2014/15 seasons. September 26, the Jupiter Symphony ChamberPlayers bring their enthusiasm to a Mooredale Concerts program thatincludes Beethoven’s invigorating Septet, Dohnányi’s lyrical Serenadein C Major for String Trio and Mozart’s mysterious Clarinet Quartet inB Flat Major after K378.And I’m particularly looking forward to the Toronto debut of thehighly touted France-based Trio Wanderer (after Schubert). TheirOctober 2 Women’s Musical Club of Toronto program includes pianotrios by Fauré, Liszt and Tchaikovsky.Paul Ennis is managing editor of The WholeNote.Beat by Beat | Early MusicOff To Early StartsDAVID PODGORSKIWhile summer is not over, it’s time to start thinking moreabout getting back to the office and less about fishing on thelake. I’m happy to say that anyone returning to or remainingin town for the month of September will be amply rewardedmusically. Judging from the sheer number of performances betweennow and October, I think it’s safe to say that Toronto musicians areexcited to get back to work and begin a new concert season.One Toronto-based group eager to make an early start this yearis Harmonie, a string-based baroque group that includes harpsichordistJanet Scott, violinists Sheila Smyth and Valerie Sylvester andviol player Philip Serna. Their first concert this season features a veryunusual program, comprised solely of Dutch music from the 17th and18th centuries; it’s extremely unlikely that anyone who attends willhave heard any of this music before.“It’s a really unknownarea of music that’sHarmoniedifferent, exciting andquirky,” explains Sylvesterwhen I ask her whatinspired the group toprogram an entire concertof Dutch music. “The Dutchcomposers of the 17thcentury wrote unusualand beautiful music, andyou won’t hear music like this anywhere else.” Why Dutch baroquemusic has been deemed unworthy of performance in the past isalso something of a mystery – the country had a virtual monopolyon composers in the renaissance, and as the vast number of paintingsfrom the period indicates, the 17th century was the Netherlands’golden age. Seventeenth-century Holland saw levels of wealth andculture unmatched in the country’s history. International trade flourished,and the Dutch had money to spend on culture, be it in the formof tulip gardens, art collections or public architecture. So why notmusic? Sylvester speculates it had to do with Dutch politics and religionin the period. “Holland in the 17th century was newly Calvinist,so there was less church music than in previous centuries,” sheexplains. “It was also a republic, so there was no king to play for andno court to play at.”24 | September 1, 2014 – October 7, 2014 thewholenote.com

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ALEXANDRA GUERSONA republic of rich Calvinist merchants meant no grand patrons ineither church or palace shelling out for spectacular, expensive orchestrasand operas – Holland doesn’t have a St. Mark’s or a Versailles tothis day – but that also meant that chamber music, played by smallgroups of professionals or amateurs, could flourish. For Sylvester, it’swhat makes Dutch music so interesting. Composers could experiment,writing quirky music to fit their fancy without worrying aboutdispleasing a despotic boss. And Dutch chamber music from theperiod, Sylvester argues, is written out of a simple love of musicalcreativity. Composers like Hacquard and Schenck might not be householdnames today, but their music, more so than their contemporaries,was written in a spirit of intelligence and fun. Check out thisconcert September 27 at 8pm at St. David’s Anglican Church. Thesame program will performed September 28 at 8pm at the KWCMSmusic room, Waterloo.Off to the fair: If you’re looking to discover more musical groupsin Toronto, or if you’re curious about early music in general, make apoint of going to this year’s Toronto Early Music Fair. It’s actually beenaround for 30 years! An afternoon devoted to the early music scene inToronto, it’s a great opportunity for anyone curious to get very familiarwith early music very fast. This year, the Toronto Early Music Centre(TEMC) will present several mini-concerts by Toronto-based artists,including Bud Roach and Harmonie. It offers Torontonians the opportunityto hear a wide variety of historic instruments played by someof the finest musicians in the city. Recordings, early music booksand publications are also on sale. The Toronto Early Music Fair takesplace at the historic Montgomery’s Inn on Saturday, September 27and Sunday, September 28. Given the number of concerts and presentationsyou can see over the course of a day, Fair tickets are abargain at $10.ExtraordinaryOrdinary:Another hardworkingTorontoensemble that’sstarting up theirseason this monthis the Musiciansin Ordinary,the ensemblein-residenceMusicians In Ordinaryof St. Michael’sCollege led bysoprano HallieFishel and lutenist John Edwards. Their first concert this season isa program based around the covert Catholicism in England in the16th and 17th centuries. Elizabethan England was a dangerous timeto practise Catholicism openly, and this concert explores the musicperformed and sponsored by clandestine Catholics in a climate of religiouspersecution. The musicians will be playing pieces typical of late-Renaissance England, especially songs for solo voice and lute, andlute instrumental solos based on sung works. Violinist Chris Verrettewill also be on hand to lead a consort of violins, and the Musicianswill play works by Byrd (Catholic, employed), Dowland (Catholic,unemployed) and Wilbye (not Catholic, employed by Catholics). Thisconcert takes place on Friday, September 26 at Father Madden Hall inthe Carr building at the University of Toronto, 100 St. Joseph Street.The concert starts at 8pm, but come at 7:30 for the pre-concert talk,for insights into a time when doing so might have had you burned atthe stake!Eybler Quartet: For those more inclined towards slightly moreconventional repertoire, unconventionally played, consider checkingout the Eybler Quartet. They’re a Toronto-based string quartetcomprised of Tafelmusik players (Julia Wedman and Aisslinn Noskyon violin, Patrick Jordan on viola, and Margaret Gay on cello) whowill be getting together at Heliconian Hall to perform Beethoven’sString Quartet Op.18, No.2. It’s a solid choice for a string quartetconcert on period instruments, but Eybler will also be throwing acouple of unusual pieces on the program. Cellist Guy Fishman willbe joining the quartet for two double cello quintets by Boccheriniand Dittersdorf. If you love Beethoven string quartets, you won’twant to miss this – Eybler is an ensemble of top-level string playersthat performs exceptionally well. Catch this concert on October 2at 7:30pm.SweetWater: Finally, if you’re looking for one more excuse to getto cottage country before winter hits, or if you happen to live in theOwen Sound area, try to get out and catch some of the SweetWaterMusic Festival. An all-star lineup of Canadian musicians, Mark Fewer(violin), Hank Knox (harpsichord) and Lucas Harris (theorbo),will team up with baroque violinist Elizabeth Wallfisch in a mixedprogram that will include Vivaldi, Bach, Biber and Schmelzer atLeith Historic Church (419134 Tom Thomson Ln.) on September 19 at7:30pm. These are some of the best musicians in the country playinga program that will have something for everyone. If you’re in this partof Ontario, definitely consider going to this festival and this concertspecifically.David Podgorski is a Toronto-based harpsichordist, musicteacher and a founding member of Rezonance. He canbe contacted at earlymusic@thewholenote.com.I FURIOSIBaroque EnsembleSuite SixteenFRIDAY,OCTOBER 24, 2014SATURDAY,JANUARY 10, 2015FRIDAY,APRIL 10, 2015SATURDAY,JUNE 6, 2015All concerts in our 16th concert season at Calvin Presbyterian Church,26 Delisle Avenue, Toronto (one block north of St Clair Ave, west of Yonge St)26 | September 1, 2014 – October 7, 2014 thewholenote.com

Beat by Beat | In With The NewListening SpacesWENDALYN BARTLEYMusic is like a creature that needs certain conditions andingredients in order to thrive. Two essential components tocreate a sustainable environment for musicmaking are a spacefor the sound to exist within and a community of receivers open tolistening in that space.In the summer issue, I spoke about the upcoming visit to Torontoof composer Pauline Oliveros and her longstanding practice of “DeepListening.” Having recently witnessed her keynote address, performanceand deep listening workshop at the various events organizedby New Adventures in Sound Art (NAISA) in mid-August, I was struckby how much her work as a composer, both in the pioneering daysof electronic music and in promoting an awareness and practice oflistening, has had a wide impact on the musical community.One event I was able to experience was an outdoor participatoryperformance of her piece Extreme Slow Walk, a piece I had experiencedback in the late 1970s at the original Music Gallery space onSt. Patrick Street. The piece requires an opening up of one’s awarenessto the vibratory resonance of the earth, the electrical sensationsin the body and the pull of the gravitational field – all while listeningto the surrounding soundscape and slowly placing one foot in front ofthe other. Not only did each participant experience something personallymeaningful but as Oliveros commented after we completed thewalk, the whole environment was responding and sounding back inits own way because of our listening. This is an example of what shecalls “quantum listening.”Arraymusic: A fewyears back, Toronto’sArraymusic produceda concert of some ofOliveros’ music. In arecent interview I hadwith Array’s artisticdirector and percussionistRick Sacks, I askedwhat it had required ofhim as a performer torealize the intentions ofone of Oliveros’ pieces.Rick SacksHis answer (that it wasa process of “revelation”)underscores the difference of perspective that deep listening isbuilt upon. Revelation, he explained, was the experience of allowingthings to unfold while playing, instead of relying on the traditionalperformance practice of having things under control (as much as oneever can). It was an opportunity for personal growth beyond ego byfollowing an intuitive process. Oliveros’ entire aesthetic points towardsa holistic approach to life, Sacks said: when sound is given a chance tolive and breathe, it follows its own course and we are taken along forthe ride. But it requires the professional musician to trust that all thelearned musical impulses and skills will be there when called upon bythe unfolding music.As I mentioned above, though, music also needs a supportive andthriving environment within which to do its living and breathing.Since the 1970s, Arraymusic has been an important contributor to thecreation and performance of new music in Toronto and the rest of theworld. With its recent change of location, Array is now uniquely positionedto offer its new venue at 155 Walnut Street as one such livingspace. During my conversation with both Sacks and Array’s administrativedirector Sandra Bell, they talked about the vision that the newnew music concertsSun. nOV. 16, 2014 1 Generation 2014 The Ensemblecontemporain de Montréal showcases young Canadian composers.Co-presented with The Music Gallery | 197 John St.THuRS. DEC. 11, 2014 2 Stroppa+Sluchin Composer MarcoStroppa + trombonist Benny Sluchin + electronics + Elliott Carter’s106th birthday. Co-presented with The Music Gallery | 197 John St.TuES. Jan. 20, 2015 3 Maritime Miniatures Barbara Pritchardperforms atlantic composers’ variations on Bach’s Goldberg Aria.Music Toronto co-production | Jane Mallett Theatre, 27 Front St. E.SaT. FEB. 14, 2015 4 East + West an evening of premieres byChinese & Canadian composers. | Betty Oliphant Theatre, 404 Jarvis St.Sun. MaR. 1, 2015 * an Evening with Paul Griffithsa unique fundraising event with the famed British critic and author.Gallery 345, 345 Sorauren ave. RESERVaTIOnS 416.961.95942014 ✺ 2015Robert aitken artistic directorSaT. MaR. 14, 2015 5 Duo Szathmáry/TzschoppeVirtuoso works written for this rare organ & percussion duo.Co-presented with Organix. | Holy Trinity Church, 10 Trinity Sq.SaT. aPR. 4, 2015 6 ukrainian-Canadian ConnectionExploring the depths of our rich cultural heritage.Betty Oliphant Theatre, 404 Jarvis St.Sun. May 17, 2015 7 The Belgian ConnectionMichel Gonneville curates a concert ofHenri Pousseur and other influential Belgians.Trinity St. Paul’s Centre, 427 Bloor St. W.Subscriptions $170 regular | $105 seniors / arts workers | $35 students | Pick 3 (or more) each $28 reg | $18 snr/arts | $8 studentCall nMC @ 416.961.9594 to subcribe | visit www.newMusicConcerts.com for detailsthewholenote.com September 1, 2014 – October 7, 2014 | 27

space has enabled. One of the major results of there-visioning process has been an expansion of theirparticipation with other organizations in a series ofco-productions. As well, they are equipping theirspace as a DIY (do it yourself) studio environment,where community members can rent the space andrecord audio or video on their own without havingto hire a technical assistant. This keeps the costs lowand accessible, helping to support young and underemployedartists. And building on their currentonline YouTube channel, the space will be equippedwith a high definition video system to offer livestreaming of concerts and events to a worldwideaudience as well as creating a musical archive.This conveniently located and great-soundingspace has also expanded to incorporate other artsorganizations, including plans for a future rooftopdeck. It’s becoming a hub that can foster a growingcommunity, which will in turn generate artisticsynergies that arise from a common meeting space.Although Array has always been a grassroots community organization,that trend has now snowballed, and the space come alive, withmany community events. These include regular improvisation jamswith local and visiting guests, lectures and composer talks (AllisonCameron, October 18 and Tamara Bernstein, November 20), a collaborationwith the Evergreen Club Gamelan that includes eveningsfor people to gather and play the EGC instruments now housed inthe Array Space, co-presentations with other music organizations,free outreach community workshops and participation in the NewMusic 101 library series. On Toronto’s improvising scene, Array isteaming up with both Somewhere There (September 20) and AudioPollination (September 9 and 13). The first of Array’s own improvisationjams happens on September 10. The days of September also offertwo opportunities to participate in community events: September 21launches the first Gamelan Meetup event and September 27 providesan opportunity for a free percussion workshop.Array is of course more than a space, for at its roots, it is aperforming ensemble. Now able to enjoy their own performingspace, this season’s concert series includes works by Gerald Barry,Udo Kasemets, John Sherlock, Michael Oesterle and Linda CatlinSmith. Beyond the Walnut Street address, the Array ensemble will beperforming a series of miniatures composed by Nic Gotham at thebook launch of Martha Baillie’s novel The Search for Heinrich Schlögelon September 16 at the Gladstone. Gotham’s miniatures were originallywritten for an online installation of postcards written by Baillieand read by members of the literary community.junctQín keyboard collectiveINTERsections: Earlier in the month, Arrayalong with other new music ensembles willparticipate in Contact Contemporary Music’sannual new music event “INTERsection: MusicFrom Every Direction” from September 5 to 7,which will include a day of free performancesand interactive installations at Yonge-DundasSquare on September 6. Also included inINTERsection are concert performances at boththe Tranzac Club (September 5) and the MusicGallery (September 7).Other “intersections” also occurring inSeptember feature two of the new music groupswho are also participating in Contact’s weekendevent. On September 28 the Thin Edge MusicCollective performs at the Array Space withguest artist Nilan Perera, and the Toy PianoComposers present a night of “inventions,oddities and hidden treasures” on September 20at the Music Gallery. In a bit of a space switch-up, the Music Gallery ispresenting an event at the Array Space on September 5 curated by TadMichalak as part of their Departures series featuring Battle Trance +King Weather + Not the Wind Not the Flag.Canadian Music Centre: Alongside Array and the Music Gallery,Toronto is fortunate to have the Canadian Music Centre as a space thatsupports new musical sounds. September events include a concertof North American music for flute and piano on September 13; anevening of words and music (texts by Gwendolyn MacEwen and LindaHogan) on September 27; and a special event for Culture Days entitled“Create Your Own Graphic Score” with junctQín keyboard collectiveon September 28. The CMC has also announced their Nuit Blancheevent on October 4, which will showcase the integration of globaltraditions into Canadian new music.Guelph Jazz Festival: Jumping over now to the annual Guelph Jazzfestival that runs September 3 to 7, there are a few performances thatwill no doubt be strong draws for musical experimenters. To celebratethe 100th anniversary of pioneering jazz artist Sun Ra’s arrivalon planet Earth, the Sun Ra Arkestra offers a free performance at 2pmon September 6, followed by an evening performance of “Hymn tothe Universe” along with the Coleman Lemieux & Company danceensemble. The Ugly Beauties, featuring Marilyn Lerner, Matt Brubeckand Nick Fraser perform on the same day at 4pm, followed by a showon September 7 at 10:30am by renowned composer and keyboardgenius Lui Pui Ming performing with Korean composer and vocalistDon-Won Kim. See also Ken Waxman’s Something in the Air columnon page 73 in this issue. And for detailed listings, please visitguelphjazzfestival.com/2014.On a final note for this month, the good news is that the possibilitiesand opportunities for the nurturing and growth of new andexperimental music through thriving musical spaces is well underway.Now it’s up to the listeners to go out and experience the feast.Violins, 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 musicAdditional Concerts:Scott Thomson and Susanna Hood: “The Muted Note.” Premieres ofnew music, dance and poetry based on P.K. Page poems. September 5to 7 and 27. (See next page.)Composer Barbara Croall performs original works for traditionalFirst Nations flutes, piano and other instruments. September 12 atMusideum.Soundstreams: Violinist Daniel Hope is the soloist in Max Richter’sreinvention of Vivaldi’s Four Seasons, September 30. See this month’sClassical and Beyond column, beginning on page 20.Groundswell Festival with Nightwood Theatre: workshop productionof Obeah Opera by composer Nicole Brooks. September 10 to 14.See GTA Listings for details.Wendalyn Bartley is a Toronto-based composer and electrovocalsound artist. sounddreaming@gmail.com28 | September 1, 2014 – October 7, 2014 thewholenote.com

The Muted NoteTakes WingBY STUART BROOMERArare wedding of the arts – poetry, musicand dance coming together in the spontaneouscombustion of improvisation – istaking wing across Canada this fall, with nearly50 performances in nine provinces (all but PrinceEdward Island) and over 30 cities, stretching fromearly September to the middle of November. It’scalled The Muted Note, and it’s a remarkable tourfor a work so subtle in its refractions and spontaneousin its creativity.The poetry of P.K. Page is one of the greataccomplishments of Canadian poetry, lucid workthat possesses a sense of language and the worldin moments of exchange and transformation. (Page had a rare giftfor expression, developing a parallel practice as a painter under thename P.K. Irwin.) Lately two young artists, composer/trombonistScott Thomson and singer/choreographer Susanna Hood, have usedother arts to extend Page’s work, interpreting it in new dimensions.As Thomson says, “Page’s poems are what the show is about. Thesongs and dances extend directly from the verse, and are composedand improvised in order to animate and activate it. We’re lookingand listening for the connective tissue that makes poetry, song anddance one thing.”Rooted in free jazz, Thomson and Hood began an intense explorationof the work of saxophonist Steve Lacy a few years ago. Lacy hada unique gift among jazz composers and improvisers for setting text,working with poetry from the ancient Lao Tzu to Beat Generationoutliers like Bryon Gysin and Robert Creeley. Thomson – the founderand curator of Toronto’s longtime creative music performance spaceSomewhere There – formed a quintet with Hood and saxophonistKyle Brenders called – both pragmatically and allusively – The Rent,specifically to explore Lacy’s work.When P.K. Page died in 2010, Thomson began The Muted Noteas a commemorative suite, setting a selection of poems for Hood’svoice and musical accompaniment. Thetwo have released a CD of the material, anintimate sequence of duets for voice and tromboneon Quebec’s &records, but the workhas expanded further for its present incarnation,with Hood, an experienced choreographerand dancer as well as a singer, settingthe work for herself and three other dancers,Ellen Furey, Alanna Kraaijeveld and BernardMartin. Thomson has assembled a newband for the performances as well, a quintetcalled The Disguises that fills out the Hood/Thomson duo with some of Montreal’s finestimprovisers: bassist Nicolas Caloia, saxophonist Yves Charuest anddrummer Pierre Tanguay. Both the music and dance are structuresfor improvised elaboration, each performance an opportunity forHood, Thomson and their creative partners to find new inflectionsand possibilities in Page’s work.Alanna Kraaijeveld (front); Ellen Furey (rear)The Muted Note debuts at Toronto’s Citadel Theatre, 304Parliament Street, 416-848-6293, with three performances –Friday, September 5 and Saturday, September 6 at 8pm andSunday, September 7 at 2pm, $20. Crisscrossing the countryas a duo, Hood and Thomson touch down again in Toronto onSaturday September 27 at Gerrard Art Space, 1390 GerrardStreet East, 416-778-0923, 8pm, PWYC suggested $10.ALEJANDRO DE LEONTHE 13th ANNUALSMALLWORLDMUSIC FESTIVAL2014ZAKIR HUSSAIN / BOBAN & MARKO MARKOVIC /FAREED AYAZ QAWWAL / NY GYPSY ALL-STARS/ CALYPSO ROSE & KOBO TOWN + many moreAND MANY MORE... SEPT 25 - OCT 5Tickets & Infowww.smallworldmusic.comKiran Ahluwalia andRizwan-MuazzamQawwaliFRI., OCT. 3, 2014 8PM KOERNER HALLMultiple Juno Award winner Kiran Ahluwaliapresents a heady hybrid of Indian groovesand Saharan blues at this special CDlaunch concert.This double-bill also features Nusrat Fateh Ali Khan’snephews, Rizwan and Muazzam, bringing the propulsiveenergy of qawwali to Koerner Hall.Presented by the Aga Khan Museumand The Royal Conservatory in partnership.Part of the Small World Music Festival.TICKETS START AT ONLY $35!416.408.0208 www.performance.rcmusic.ca273 BLOOR STREET WEST(BLOOR ST. & AVENUE RD.)TORONTOthewholenote.com September 1, 2014 – October 7, 2014 | 29

Beat by Beat | Art of SongRecitals: Pastand To ComeHANS DE GROOTSong recitals are a thing of the past, we are told; the audiences justdon’t exist any more. But perhaps that statement is premature. Ican think of several recent events which suggest that there is stilllife there. The first was the July 20 recital in which Daniel Lichti sangSchubert’s Winterreise. The Heliconian Hall was not full but the sizeof the audience was respectable. I wrote about Lichti in June, so I shallonly add that his singing was just as fine as I had expected.The second was an August 6 recital given by baritone ChristopherMaltman and pianist Graham Johnson to a near-capacity (and veryenthusiastic) Walter Hall audience. One thing that struck me aboutboth recitals was their seriousness: no crossover items, no vacuouschitchat. Maltman’s recital was a commemoration of the start ofthe Great War. The songs of George Butterworth and Ivor Gurneywere central but there were other songs about war, such as theexcerpts from Mahler’s Des Knaben Wunderhorn and the song fromMussorgsky’s Songs and Dances of Death. Maltman introduced theprogram by reading a moving poem by Wilfred Owen but he providednothing that was extraneous to the musical experience.The Maltman recital was part of Toronto Summer Music, whichoffers not only concerts by established musicians but also the TorontoSummer Music Academy, which this year provided opportunityto eight singers and five collaborative pianists. (There is a similarprogram for instrumentalists.) On August 8 we were able to hear all 13performers. The standard was high: a testament not only to the innatemusicality of the artists but also to the quality of the teaching (fromFrançois Le Roux and Graham Johnson, and from Christopher Newtonand Steven Philcox). I thought the best of the young singers was themezzo Evanna Chiew but there were also fine performances fromJin Xiang Yu, soprano, and Jean-Philippe McClish, baritone. Amongthe able accompanists, Brian Locke stood out. There was an addedbonus in that we also heard the lovely violist Ryan Davis in Brahms’Songs, Op.91.Meanwhile I look forward to next season, in particular to anotherperformance of Winterreise, to be sung by baritone ChristianGerhaher (February 26), to the recital by Anne Sofie von Otter, mezzo,and Angela Hewitt, piano (January 9), to the Toronto debuts of thebaritone Elliot Madore (March 26) and mezzo Christianne Stotijn(April 16) and to the Kurt Weill recital by Adi Braun (December 6).Evanna Chiew (above)Christopher Maltman (left)Willibald von Gluck is now passing without notice (as is that ofC.P.E. Bach). But there is one exception: Essential Opera is giving usGluck’s rarely heard Paride ed Elena with Lyndsay Promane, mezzo,and Erin Bardua, soprano, in the title roles. The opera is staged andis performed with piano accompaniment at Trinity-St. Paul’s Centre,September 27 at 8pm; there will be another performance in Kitchenerat the Registry Theatre on October 1 at 7:30pm.Katherine Hill will be the soprano soloist in the Ensemble Polarisconcert of Back to the Future: New Tunes from Sweden at 918Bathurst Street on October 3.On October 4 the soprano Emily D’Angelo will sing arias by Handel,Gounod and Rossini with the Greater Toronto Philharmonic at CalvinPresbyterian Church.PIA-CLODIUpcoming Events in the GTA:September 5 to 7, The Muted Note offers songs and dances basedon the poetry of P.K. Page at The Citadel and September 27 at GerrardArt Space .Linda Condy, mezzo, will be the singer in a free recital titled It’sEasy Being Green at Yorkminster Baptist Church on September 16 at12 noon, donations welcome.The first recital in the noon series at the Richard BradshawAmphitheatre in the Four Seasons Centre will be a concert by thenew members of the Canadian Opera Company Ensemble Studio onSeptember 23. It will be followed, on October 2, by a concert of ariasand ensembles based on Shakespeare’s plays, performed by studentsof the University of Toronto Opera Division, and, on October 7, bythree song cycles by Derek Holman (The Death of Orpheus, A LastingSpring, A Play of Passion) to be performed by Colin Ainsworth, tenor,and Stephen Ralls, piano. These concerts are free.Last year much was made of the centenary of the birth of BenjaminBritten and the bicentenary of the births of Richard Wagner andGiuseppe Verdi. By contrast, the tri-centenary of the birth of Christoph30 | September 1, 2014 – October 7, 2014 thewholenote.com

A REMARKABLE CONCERT SERIES • IN NATuRAL ACOuSTICS 2014INTERNATIONALdIvAS I, II & IIIDESIGN BY A MAN CALLED WRYCRAFT WWW.WRYCRAFT.COMSunday, Oct 5, 8 pmJACKIE RICHARDSON • LAILA BIALILUANDA JONES • CINDY CHURCHSAINA SINGER • PATRICIA CANO$49 PER SHOW, STUDENTS+SENIORS $25 PER SHOWORDER TICKETS BY PHONE: CALL 1-866-943-8849OR @ TICKETBREAK.COM OR AVAILABLE AT THE DOORI II IIIThursday November 27, 8pmELIANA CUEVAS • FERN LINDZONNATHALIE • SAMIDHA JOGLEKARCHLOE CHARLES • KATHRYN ROSEproducer & artistic director - GeorG e KollerTRINITY-ST. PAUL’S CENTREINTERNATIONALDIVAS. NETSunday December 21, 8pmRITA CHIARELLI • LARA SOLNICKITHE AULT SISTERS • SHARLENE WALLACEMARYEM MARYAM HASSAN TOLLAR • HISAKA427 Bloor St W, Toronto(North side at Robert Street)a portion of ticket sales to YWCA Torontothewholenote.com September 1, 2014 – October 7, 2014 | 31

KATIE CROSS PHOTOGRAPHYAnd beyond the GTA:Chris Ness, piano, and Janet Ness, vocals, will perform worksby Gershwin, Porter and Kern at Grace United Church, Barrie;September 10.Daniel Lichti, bass-baritone, will bethe soloist with the Nota Bene BaroqueOrchestra and Alison Melville, traverso, onSeptember 18 at noon. On September 25,also at noon, the tenor James McLeanand pianist Lorin Shalanko will perform.Both concerts are free, at the MaureenForrester Recital Hall, Wilfred LaurierUniversity, Waterloo.On September 14 at 2pm, CharlotteKnight, soprano, and Jonathan Dick, baritone,will perform Schubert’s Der Hirt aufdem Felsen as well as songs by Argentoand Bolcom and selections from My FairLady and The Phantom of the Opera.Michele Jacot is the clarinet soloist in theSchubert at Silver Spire United Church,St. Catharines.On September 15, the Kitchener-Waterloo Chamber Music Societywill present a concert in which the main work is Schoenberg’s PierrotLunaire. The soprano soloist is Rachel Krehm at the KWCMS MusicRoom, Waterloo.There will be a tribute to one of our most distinguished, andcertainly our most inventive, living composer R. Murray Schafer, inThe Barn at Campbellford on September 21 at 2pm. Donna Bennett,soprano, and Eleanor James, mezzo, will sing. The host will beBen Heppner.Rachel Krehm (left); EssentialOpera’s Erin Bardua (above)Two Postscripts:In 2012/13 the outstandingmusical event was theJanáček-Kurtág double billpresented by Against theGrain Theatre. After thatthere was a modern adaptationof Mozart’s Le Nozzedi Figaro, which I thoughtwas splendid in some parts,less successful in others. Buttheir latest offering this pastJune, Debussy’s Pelléas etMélisande, was a triumph.It is an opera I am very fondof but I have never seena production which wasas imaginative and whichwas sung with the intensitythat these performersbrought to it.In June I reviewed a newCD of Telemann’s operaMiraways. Since its publication Scott Paterson has pointed out to methat the main theme of one of its arias (“Ein doppler Kranz”) reappearsin an instrumental trio by Handel. The opera dates from 1728; theHandel trio probably from the early 1740s. Much has been writtenabout Handel’s borrowings but, as far as I am aware, this particularborrowing has not been noted before.Hans de Groot is a concert goer and active listenerwho also sings and plays the recorder. He can becontacted at artofsong@thewholenote.com.32 | September 1, 2014 – October 7, 2014 thewholenote.com

Beat by Beat | On OperaPatricia RacetteStellar CastingOffsets Same OldCHRISTOPHER HOILEFor the 2014/15 opera season in Southern Ontario there will be agap in offerings for fully-staged operas that many will feel keenly.This is the first season since 1980 in which there will be no OperaHamilton. The company ceased operations early this year after its fall2013 production of Verdi’s Falstaff. Management at Opera Hamiltonused to say that the company functioned as the New York CityOpera in relation to the COC’s Met, since OH was proud to showcaseCanadian singers as often as possible. That comparison now has anironic ring since the New York City Opera itself ceased operations inOctober last year. In March, Leonard Turnevicius, longtime reporteron the music scene for The Hamilton Spectator, wrote me to say, “Itcertainly looks as though fully staged, professional opera in Hamiltonhas come to an end.”Not helping to alleviate the pall cast by the failure of OperaHamilton was the announcement by the Canadian Opera Companythat it would present only six productions in 2014/15 instead of itsusual seven. The last time the COC presented only six productions wasin the 2000/01 season when there was no separate COC EnsembleStudio production. (The last time the COC Ensemble Studio had itsown production was in the 2007/08 season.)Besides this, unlike last season when the COC presented threecompany premieres, this year not only has the COC staged all sixoperas before, but three of the productions are already familiar to COCaudiences. What will make the new season exciting is the chance tosee many well-known singers making their COC debuts.Finley in Falstaff: The season opener is a new productionof Verdi’s final opera Falstaff by Robert Carsenrunning October 3 to November 1. This is a co-production with RoyalOpera House Covent Garden, Teatro alla Scala, the MetropolitanOpera and De Nederlandse Opera. Many will have already seenwhat the production looks like from the The Met: Live broadcast ofit in December 2013. Carsen has moved the setting forward fromElizabethan times to 1950s England.For many fans the main draw for Falstaff besides Carsen’sproduction will be the chance to see Canadian baritone GeraldFinley in the title role, back at the COC for the first time in 20 years.Canadians in the rest of the cast include Simone Osborne as Nannetta,Frédéric Antoun as her lover Fenton, Russell Braun as Ford, Marie-Nicole Lemieux as Mistress Quickly and Lauren Segal as Meg Page.Johannes Debus conducts.Racette in Butterfly: Running in repertory with Falstaff will bePuccini’s ever-popular Madama Butterfly in the timeless productioncreated by Brian Macdonald and Susan Benson for the COC in1990. The production running from October 10 to 31 has proved sosuccessful one only wishes the COC had asked the duo to createdmore opera productions. The production will mark the COC debuts ofseveral singers. Patricia Racette and Kelly Kaduce will alternate in therole of Cio-Cio San and Stefano Secco and Andrea Carè will alternateas Pinkterton. Dwayne Croft, making his COC debut, will alternatewith Canadian Gregory Dahl as Sharpless, and Elizabeth DeShongreturns to the COC as Suzuki. Patrick Lange conducts.Braun in Giovanni: The winter season begins with a new productionof Mozart’s Don Giovanni in a co-production with Festivald’Aix-en-Provence, Bolshoi Theatre and Teatro Real Madrid. The stagedirection is by the Russian Dmitri Tcherniakov, though Tcherniakovhas not stuck to merely directing Mozart’s opera. He has also given ita new story. Donna Anna is the daughter of the “Commander” but sois Zerlina. Donna Elvira is Donna Anna’s cousin and Don Giovanniis her husband. Leporellois said to be a relative wholives with them. The productionhad its world premiere in2009 at Aix and that performancewas filmed and is availableon DVD from BelAirClassiques for those whowant to test how they likeTcherniakov’s concept.Russell Braun will sing DonGiovanni with Kyle Ketelsenas Leporello. They will bejoined by Jennifer Holloway,Jane Archibald and MichaelSchade. German earlySat., Sept. 20 at 2 pmA bouquet of hot, absurd and beautiful arias from someof Canada’s newest operatic composers presented byCanada’s premiere new opera company.Special Event:Tribute to Our (R.) Murray SchaferSun., Sept. 21 at 2 pmBen Heppner (host), Donna Bennett(soprano), Eleanor James (mezzo),Gryphon Piano Trio, Judy Loman(harp), Molinari String Quartet,The Westben Festival Chorusand Brian Finley (piano).A star-studded cast of performersgather to pay tribute to one ofCanada’s finest composers.877-883-5777 | www.westben.caGerald FinleyGARY-MULCAHEYthewholenote.com September 1, 2014 – October 7, 2014 | 33

music specialist Michael Hofstetter will conduct. The opera runsfrom January 24 to February 21.Goerke in Walküre: Running in repertory with the Mozartis a return of Atom Egoyan’s production of Wagner’s DieWalküre, first seen on its own in 2004 and last seen as part of thefull Der Ring des Nibelungen in 2006. The cast is full of singersmaking their COC debuts, most notably renowned sopranoChristine Goerke making her role debut as Brünnhilde. Alsoappearing with the COC for the first time are Heidi Melton asSieglinde, Johan Reuter as Wotan, Dmitry Ivaschenko as Hundingand Janina Baechle as Fricka. Clifton Forbis returns in the roleof Siegmund and Johannes Debus conducts. The opera runsfrom January 31 to February 22.Hopkins in Barber: The spring season opens with a newproduction of Rossini’s The Barber of Seville, last seen here in2008. This is a co-production with Houston Grand Opera, OpéraNational de Bordeaux and Opera Australia. The stage director isthe Catalonian Joan Font and the production is credited to a groupcalled Els Comediants. If these names seem familiar it is because theywere responsible for the colourful rat-filled production of Rossini’s LaCenerentola seen here in 2011. Again there will be many performersnew to the COC, such as Joshua Hopkins as Figaro, Alek Shrader asAlmaviva and Serena Malfi and Cecelia Hall alternating as Rosina.Rory Macdonald conducts and the production runs April 17 to May 22.Relyea in Lepage revival: Running in repertory with the Rossini isthe third revival of Robert Lepage’s double bill of Bartók’s Bluebeard’sCastle and Schoenberg’s Erwartung. The surreal pairing was firstseen in 1993 and last in 2002. The production marked the first timethe COC was invited to the Edinburgh Festival and later to BAM inNew York. The production, like François Girard’s Oedipus Rex in1997, came from a time when theCOC created Canadian productionsthat the rest of the world demandedto see rather than from simplypartnering with well-knowncompanies and seeing the resultsafter the bigger companies hadstaged them.For this revival, John Relyeaand Ekaterina Gubanova will singBluebeard and Judith in the Bartókwhile Krisztina Szabó will take onthe role of the anonymous Womanin Erwartung. Johannes Debus willconduct and the double bill will runfrom May 6 to 23.Atelier Breaks New Ground:While last season both productionsby Opera Atelier wererevivals, this season both not onlyare new but break new groundfor the company. Running fromOctober 23 to November 1 is OA’sfirst-ever production of a full-lengthHandel opera, in this case his Alcina of 1735. The story, from TorquatoTasso’s baroque epic Gerusalemme Liberata (1581), concerns theCirce-like sorceress Alcina who lives in a magical world composedof the souls of her past lovers. The question is whether the Christianknight Ruggiero can resist her enchantments to set these souls free.The cast is made up of singers familiar from previous OA productions.Meghan Lindsay, who sang Agathe in OA’s Der Freischütz,returns to sing Alcina, Allyson McHardy sings the trousers role ofRuggiero, and Wallis Giunta is Ruggiero’s beloved Bradamante. Theyare joined by Mireille Asselin (Morgana), Krešimir Špicer (Oronte) andOlivier Laquerre (Melisso).OA’s spring production is Hector Berlioz’s 1859 version ofGluck’s Orpheus et Eurydice. Berlioz drew from both of Gluck’searlier French and Italian versions of the opera to recast it in his ownorchestration, scoring the role of Orpheus for a contralto. MireilleA scene from the historic New York ProMusica production of The Play of Daniel in1958 at the Cloisters in New York CityA scene from the 2008 Toronto Operetta Theatreproduction of Earnest, The Importance of BeingLebel will sing Orpheus, OA favourite Peggy Kriha Dye returns asEurydice and Meghan Lindsay will sing Amour. The production issignificant both for Opera Atelier and for Tafelmusik since it willmark their furthest incursion to date into the 19th century. The operaruns April 9 to 18. As usual MarshallPynkoski will be the director forboth productions and JeannetteLajeunnesse Zingg will choreographthe artists of the Atelier Ballet.TOT In Earnest: For additionalfully-staged productionsTorontonians have only toturn to Toronto OperettaTheatre. Its season beginswith the zarzuela La GranVía (1886) by FedericoChueca on November 2.The work is a celebration ofthe old neighbourhoods ofKevin Skeltonplays DanielMadrid that were about to be destroyed by the Haussmannlikecreation of a boulevard in the city. The TOT’s endof-yearshow is a return of Gilbert and Sullivan’s TheMikado running from December 27, 2014, to January 4,2015. The season concludes in April with a revival of theTOT-commissioned operetta Earnest, The Importance ofBeing (2008) by Victor Davies and Eugene Benson, basedon the famous comedy by Oscar Wilde. This will be a rareoccasion where a new Canadian work receives a revivalafter only seven years.Centuries apart: Enriching the season are two fullystagedproductions of music theatre from completelyopposite ends of the time spectrum. The TorontoConsort has performed many operas in concert butfrom May 22 to 24 it will mount a fully-staged production ofThe Play of Daniel, an English version of Ludus Danielis, asung medieval play from the 13th century that tells the biblical story ofDaniel in the lions’ den. Kevin Skelton will sing the role of Daniel withmusical direction by David Fallis and stage direction by Alex Fallis.In contrast to this, Soundstreams will offer the Toronto premiereof The Whisper Opera (2013) by American composer David Langfrom February 26 to March 1. The opera explores the tension betweenour private and online selves by using a libretto made up of searchengineresponses to questions of association. Soprano Tony Arnoldand New York’s International Contemporary Ensemble (ICE) maketheir Canadian debuts in an opera so quiet that it can be experiencedby just 60 people at a time.Christopher Hoile is a Toronto-based writer on opera andtheatre. He can be contacted at opera@thewholenote.com.34 | September 1, 2014 – October 7, 2014 thewholenote.com

Beat by Beat | In the Clubs (I)“Hopera” RaisesThe Operatic Bar?BY MIRELLA AMATOWhen I first launched“Hopera: an evening oflocal craft beer and song,”people assumed that this was anattempt on my part to elevate beerand make it seem more upscaleby pairing it with an art form asgrand as opera. This was not thecase at all.As a beer specialist, I don’t feelthat this satiating, complex, effervescentbeverage needs any kindof elevation – just a little moreunderstanding. People who stillthink beer is just an easy-drinkingvehicle to loutishness need toexpand their horizons. If anything,opera could stand to be taken downa notch or two. Having made acareer switch from opera singer to Mirella Amatobeer educator, it never ceases toamaze me how many parallels can be drawn between these two seeminglyincongruous fields. Like beer, opera has developed a reputationthat isn’t doing it any favours; among the uninitiated, many think ofthis art form as opulent, humourless and snobbish.“Hopera” playfully defies these misconceptions by attempting tohighlight the sheer enjoyment that can be found in both opera andbeer. It consists of a series of operatic excerpts – arias, duets andensembles – performed live by professional opera singers with pianoaccompaniment. Each piece is enjoyed with a sample of beer chosenbecause its particular character – colour, aroma, flavour and mouthfeel– reflects the mood of the song. Insights are given on the music,beer sample and how the pairing was chosen, inviting a rethinking ofboth the excerpt and the beverage - all this in a casual pub setting.Make no mistake, seeing an elaborate operatic production in alarge house is a wonderful experience. Opera – from its earliest daysas royal entertainment – has always been a lavish art form. It stimulatesthe senses visually with its sets, costumes and light design, andaurally with the orchestra and singers who have trained for years inorder to produce a sound that can fill a hall. It also stimulates thebrain, which has to keep track of both the action and the text. Beyondthis, opera is so involved that its study will reveal endless additionalhistorical, musical and linguistic nuances to those who take the timeto learn about it.Along the way though, perhaps because those who enjoy it liketo study it and capture its subtleties, the appreciation of opera, andclassical music in general, has also come to include a layer of solemnity.I’ve often observed that while opera patrons in North Americawill certainly laugh at a joke that is part of the libretto, few, ifany, will allow themselves to giggle openly at absurd plot turns orirrational behaviour – both of which are rife in the operatic repertoire.Somehow audiences have become so engrossed in contemplation thatthe atmosphere is closer to that of a mass than it is to that of a show.Lately, though, a number of organizations have started to moveopera and classical music into a more casual setting. This is often anattempt to draw in a new audience and appeal to a younger crowd.It certainly is an effective tactic; the change in setting already makesthe performance seem less highbrow. Presenting classical music andopera in licensed establishments also loosens things up, frequentlyresulting in a more vocally appreciative crowd. Beyond this, being incloser quarters with musicians allows a dialogue to take place, givingthe show a warmer, more personal feel.I was aware of all this when I created “Hopera”; I was equallyexcited to introduce beer fans to the wonderful world of opera andshow them that it’s not all inscrutable serious song. What I hadn’tanticipated was the response of the seasoned opera fans in the group.I will never forget the crowd’s reaction to the very first song of thefirst edition of “Hopera.” It was a performance of “The Barcarolle”from The Tales of Hoffman – a light, lilting duet (complemented by aBelgian-style wheatbeer in which orangepeel and corianderseeds came togetherin their own delicateand fragrant duo.)Every person in theroom froze; never inmy seven-year careerin beer have I hadto remind people todrink what was intheir hand! In thatmoment, I realizedthat even the mostexperienced operagoersin the crowdhad not yet had theopportunity to hearopera sung in suchan intimate setting.When you stripopera down to voice and piano, with no sets or costumes, all that’s leftis words set to music. In this bare state, the raw emotion of the pieceshines. Opera, after all, was written for entertainment. Those whohave studied opera intently know how impactful the correct wordsettingcan be, conveying deep feeling that, when sung out loud, isprofoundly – often overwhelmingly – moving. Presenting opera inits simplest form, along with a brief contextualization and explanationof the text, allows beginners to focus on the music without overwhelmingtheir other senses.The initially stunned reaction to “Hopera” quickly turned toenthusiasm. There was a little grumbling off the top from some of themore serious operagoers who found the ambient noise to be inappropriate,but after a sip or two the whole crowd relaxed into the show.Even seasoned audience members reported being overwhelmed bythe proximity – they could literally feel the operatic voices vibratingin their chest in certain passages. It was an intimate and emotionalexperience but most importantly, it was fun! Written testimonialsfrom the crowd revealed that many had come in with some skepticismat the notion that “low brow” beer and “high class” operacould be paired successfully. At the end of the evening, no one feltthat either had been elevated or brought down. They simply enjoyed.With both tasty local beer and vibrant live opera involved, how couldthey not?!The third annual “Hopera” takes place September 17 and 18 at 7pmat Habits Gastropub, 928 College Street. See GTA Listings for details.Beat by Beat | In the ClubsBut WAIT!There’s Much Much More.Ori Dagan’s “In The Clubs (II)” is on page 52Jennifer Robertsthewholenote.com September 1, 2014 – October 7, 2014 | 35

Beat by Beat | Choral SceneChoral SceneThe Toronto Mendelssohn Choir launchesits 2014 –15 season with a performanceof two classical masterpieces atKoerner Hall. This concert marks theTMC’s 120 th anniversary.Come Celebrate with Us.Mozart RequiemHaydn Lord Nelson MassOCTOBER 15, 2014 | 7:30 PMKOERNER HALL, TELUS CENTRE FORPERFORMANCE AND LEARNINGNoel Edison conductorCaron Daley associate conductorLesley Bouza sopranoAnita Krause mezzo-sopranoCharles Davidson tenorSean Watson bass-baritoneFestival OrchestraCall 416-408-0208 orvisit performance.rcmusic.caTICKETS$35 – $87VOX TIX$20FOR 30AND UNDERBENJAMIN STEINAre there too many choirs in the GTA? I pondered this questionuneasily as it became clear towards the end of the summer thata number of different ensembles, volunteer and semi-professional,were still scrambling to find singers, posting both messages tothis column and on social media sites.The stark reality of musicmaking (at least for those of us whoavoided contact sports in high school) is that arts work is as competitiveas any other sphere – more so, perhaps. Choirs must compete foraudience share, for arts council grants, for publicity – and for choralsingers. Cue the jokes about soprano glut and the bribes necessary tosecure tenors.The challenge in any community is to find the right balance ofprofessional choral singers, volunteer amateurs, children’s choir andchoral training programs, population base and audience interest. Asin any crowded field, choirs have to find an angle to make them standout from the pack. Some choirs target specific musical styles, othersemphasize formal musical training or openness to untrained enthusiasts.We have yet to see a combination of choral singing and hot yoga,at least as far as I know, but it will emerge soon enough.Sustaining cultural activity is always a challenge, and choral directorsand administrators have dark nights in which they wonder If It’sAll Worth It. But my answer to the column’s original question is no,you can never have too many choirs. Choral singing is one of the fewareas left in which amateur musicians are actively making music in acommunity setting, and this can only be a good thing.Regarding a possible singer shortage, I’d say: hey you, reading this2014 - 2015 SeasonIt’s part of the TMC’s exciting2014–15 season, which also includes:Festival of Carols with the Canadian Staff BandDecember 10 at Yorkminster Park Baptist ChurchHandel’s Messiah with the TSODecember 17 at Roy Thomson HallPärt’s PassioMarch 10 and 11 at Church of the Holy TrinitySacred Music for a Sacred Spacefeaturing Tallis’ Spem in aliumGood Friday, April 3, at St. Paul’s BasilicaSubscribe for a great seasonof choral masterworks.Call the TMC Box Office at 416-598-0422, ext 221or visit www.tmchoir.org36 | September 1, 2014 – October 7, 2014 thewholenote.com

2014-2015 SeasonRobert Cooper, CM, Artistic DirectorEdward Moroney, AccompanistThe End of InnocenceNov 11, 2014 7:30 p.m.Through music, words and images, rememberthe pride, passion and pathos of ‘the war toend all wars’, in a nostalgic and heartfeltcommemoration of the 100th Anniversary ofthe Great War.Welcome Christmas IIDec 16, 2014 7:30 p.m.Back by popular demand! Orpheus and theincomparable Hannaford Street Silver Bandjoin forces once more for a sparkling andfestive Christmas celebration – a seasonalgift of big brass and song!The Soul’s JourneyMarch 7, 2015 7:30 p.m.Contemplate the meaning of life and deathin soul-searching works by two of Britain’sforemost composers: James MacMillan’sdeeply felt Seven Last Words from the Crossand John Rutter’s unmistakably optimisticRequiem. Guest: Talisker PlayersTouch the Earth LightlyMay 9, 2015 7:30 p.m.Reflect on humanity’s relationship to theEarth with the premieres of Ten ThousandRivers of Oil by Canadian composer LeonardEnns and Sunrise: A Symphonic Mass by therenowned Norwegian composer Ola Gjeilo.Guest: Talisker PlayersBMOFinancial GroupFinancial GroupOrpheus Choir’s season sponsorBMO Financial Groupan Ontario government agencyun organisme du gouvernement de l’OntarioSubscriptions and tickets on sale now!www.orpheuschoirtoronto.comthewholenote.com September 1, 2014 – October 7, 2014 | 37

an Ontario government agencyun organisme du gouvernement de l’OntarioBRIAN TELZEROWcolumn – join a choir!The audience for choralmusic is in part thesame demographicthat attends choralconcerts. To find outabout choral options,look into resources andmessage boards such asthe WholeNote CanaryPages, Facebook choralpages (like TorontoFreelance ChoralSingers) and the ChoirsOntario website.Open rehearsals:Another way to findout about choirs isto attend an openrehearsal, which isbecoming increasinglycommon during theautumn at the beginning of the musical season. This can allow youto meet possible choral colleagues and see the conductors in action.Open rehearsals that have been brought to my attention this monthare: Bell’Arte Singers, Saturday September 13; Orillia’s Jubilee Chorale,Saturday September 27; Oshawa’s County Town Singers, also onSaturday September 27; Toronto Beach Chorale, Sunday September 28.Some of these rehearsals (those between September 26 and 28)are taking place as part of Culture Days, an increasingly importantexpression of the arts in their fullest community sense. You can readmore about Culture Days on page 56 of this issue, and find out moreby visiting culturedays.ca.Roll over, Beethoven: For anyone who thinks musical life is harderthan it used to be, know that Beethoven’s 9th Symphony had onlytwo full rehearsals before its premiere, which is still about what youget these days for the first performance of a new work. The TorontoSymphony hosts the Toronto Mendelssohn Choir for three performancesof the 9th September 25 to 27.The TMC is also hosting a special edition of one of their regular“Singsation” Saturday workshops on September 27. (Let’s hear it forCulture Days again!) These Singsation events take place throughoutthe year. Sheet music is provided. It’s a very good outreach projectand a fun way for people to experience the city’s largest choir fromanother perspective. More about this series on the next page.In brief:The Mattaniah Christian Male Choir is based in Dundas, just outsideHamilton. They perform in Whitby on September 26, in a benefit forlong-term care facilities for the elderly in Durham.The Colours Of Music festival has a performance by That Choir (Yup,that’s their name – made you look twice, didn’t it? An ensemble’sname is another obvious way to generate interest) on September 26 –music by Bruckner, Whitacre, Mealor and others.Wilfrid Laurier University Faculty of Music starts the academic yearwith an October 5 concert in Kitchener titled “Sing Fires of Justice forPETER MAHONSales Representative416-322-8000pmahon@trebnet.comwww.petermahon.comHope.” This concert is part of an initiativeat Laurier to raise awareness of Aboriginalwomen who have been murdered or havegone missing in Canada.For those who have not heard a Baroqueviol, there is really no instrument like it.Played well, it is mysterious and somehowmelancholy, even when playing livelyfigures. Toronto has its own group of violplayers, the Cardinal Consort of Viols.On October 5 they will team up withWaterloo’s Conrad Grebel Chamber Choirto perform of a concert English verseanthems and viol ensemble music.Finally, the University of Toronto’s headof choral music studies, Hilary Apfelstadt,has had considerable success in creatingevents that build a weekend of choralactivities around the work of a particularcomposer. This year, the weekend’sThat Choirguest is Morten Lauridsen, an Americancomposer whose music is performedthroughout North America. (Coincidentally Lauridsen’s Lux Aeterna isalso part of the Elmer Iseler Singers’ season opening concert October 5at Eglinton St. George’s United Church.) Apfelstadt’s ambitious “ACelebration of the Music of Morten Lauridsen” won’t take place untilOctober 25, so I will have more to say about Lauridsen’s work in nextmonth’s column. But you heard it here first, didn’t you?Benjamin Stein is a Toronto tenor andlutenist. He can be contacted atchoralscene@thewholenote.com.Visit his website at benjaminstein.ca.LYDIA ADAMSConductor &Artistic DirectorJoy of Singing: The Magic of SongGreat Choral Sounds | Sun. Oct 19, 4pmEglinton-St. George’s United Churchwith Naomi Barron, cello; Clare Scholtz, oboe; Ed Reiffel, timpani;Shawn Grenke, organ.Sure on this Shining Night | Sat. Dec 13, 7:30 pmYorkminster Park Baptist ChurchGuest Host: Mary Lou Fallis, Amadeus Choir Patronwith The Bach Children’s Chorus, Linda Beaupré, conductor,Shawn Grenke, Eleanor Daley, Ed Reiffel, percussion, and the Trillium Brass.Celebrating the Toronto Arts Council 40th Anniversary.Of Heart and Tide: The Gift of Water | Sat. Apr 11, 7:30 pmTrinity-St. Paul’s Centre, Jeanne Lamon HallA multi-media event with guest speaker: Dr. Roberta BondarWater Night of Eric Whitacre, works by Schafer and Watson Henderson.Guest Artists: Christopher Lee, flute, Ed Reiffel, percussion and Shawn Grenke, pianoEarth Songs, Love Songs | Sun. May 24, 4pmGeorge Weston Recital Hall, Toronto Centre for the ArtsCelebrating our 40th Anniversary season with our wonderful musical friendsGuest Host: Ben Heppner, Amadeus Choir Patron withThe Bach Children’s Chorus, Linda Beaupré, conductorEd Reiffel, percussion, Ruth Watson Henderson andShawn Grenke, 2 pianos.Subscription and Single Ticket Information:416-446-0188 or www.amadeuschoir.com38 | September 1, 2014 – October 7, 2014 thewholenote.com

Have Yourself a SingsationalCulture Day with the TMCAs many of you already know, the Toronto Mendelssohn Choirregularly presents five “Singsation” Saturday choral workshopseach season. These regular workshops run from 10:30am to 1pm,and most take place at Yorkminster Park Baptist Church (Yongeand St. Clair), for a $10 fee that includes music and refreshments.They are billed as “an opportunity for singers from across the cityto sing great choral works together under the direction of some ofToronto’s talented conductors” and generally live up to their billing.Between 80 and 120 singers regularly attend, including repeat andnew participants, along with some TMC alumni and current TMCchoristers.This year, as they did last year, TMC is adding a sixth Singsation(how’s that for a tongue-twister) with a difference. For one thing,it’s free; and it will take place in the ground floor “Garage” salonspace at the Centre for Social Innovation Annex location, 720Bathurst Street (home of the TMC and The WholeNote) SaturdaySeptember 27 from 10.30am to 12 noon. Guest conductor ShawnGrenke will take participants through some popular classicalchoral works.CANARIES-COME-LATELYIt’s never too late for choirs to join The WholeNoteCanary Pages, and always the right time for would-bechoristersto use the Canary Pages to find a choir to join.This month we welcome Cantala Women’s Choir to “theflock.” Here is their profile:Cantala Women’s ChoirFounded in 2008, the Cantala Women’s Choir is a fresh newgroup with growing roots in the Toronto choral community. Cantalais committed to performing diverse Canadian and world choralmusic at the highest professional level from baroque, classical andmodern eras. Carefully chosen choral repertoire with harmonicrichness and surprise, melodic beauty and meaningful poetrymakes singing in Cantala an inspirational musical experience.With training and experience in singing and vocal pedagogy, ourconductor Nancy Singla brings a unique approach and knowledgeto choral singing. In addition to the importance of understandingand teaching how to sing, she believes in encouraging the developmentof the soloist within the choral sound. An exceptional musicexperience awaits! Come Sing with Us!Nancy Singla, 416-629-8805, cantalawomenschoir.comTo let your fingers do the walking in search of the perfect choirfor you, visit our choral “canary pages”: thewholenote.com/canaryHalfTonesHalfTones is The WholeNote’s regular midmonth e-letter withbreaking stories, just-in listings, special offers, contests andmuch more.SUBSCRIBE in time for our September 16 issue in order tohave an opportunity to win a SEASON SUBSCRIPTION FORTWO to the Toronto Mendelssohn Choir.TO SUBSCRIBE, go to TheWholeNote.com/HalfTones.Or find us on Facebook at facebook.com/LikeTheWholeNoteand on Twitter at @thewholenote.thewholenote.com September 1, 2014 – October 7, 2014 | 39

Beat by Beat | BandstandWell Tattooed!JACK MACQUARRIEHere we are; it’s September, summer is either almost over orhasn’t started, depending on who you talk to. Summer andmusic mean different things to different community bandmembers. Some bands close down for summer, some are busier thanever with various outdoor performances, and some, like the UxbridgeCommunity Concert Band, are summertime-only bands. As forband members, many are away on vacations or at cottages, but a fewget more deeply involved with music by attending music camps orsummer music schools. The latter is what happened in our household.We had been involved in the administration of music camps someyears ago, but going to school was different. This year we decided toenroll as participants in a music summer school.NAbbSS: If you have not previously heard of the North AmericanBrass Band Summer School, that’s because it had never happenedbefore. While the all-brass band movement has its devotees in Canadaand the U.S.A., the devotion to that musical genre has nowhere thefollowing in North America that it has in Britain and in parts ofWestern Europe. Several leading figures in the brass band movementdecided that it was time to start a summer school of brass band musicsomewhere in North America, at least on a trial basis. So, what bettertime and place than Halifax during the 35th anniversary year of theworld’s largest indoor music event?Thus was born the North American Brass Band Summer School(NAbbSS), established in association with the Buffet Group of Britishand European instrument manufacturers and with the Royal NovaScotia Tattoo Society. Based on well-established and successful modelsin the United Kingdom, one very special additional element wasadded, described in the initial publicity thus: “In addition to receivingexpert tuition from a team of Buffet soloists, led by the renowned Dr.Robert Childs, participants [will] also feature in the cast of the world’slargest annual indoor show, the Royal Nova Scotia International Tattoo,performing to over 60,000 people alongside artists of the highestcalibre from a variety of different nations.”(An aside: when speaking with friends and acquaintances ahead ofthe event, I was shocked by the reactions of many. The vast majoritythought that I was talking about going all the way to Halifax tohave some form of visual “art” inscribed on my body. When I loftilysuggested that they consult Mr. Google regarding “musical tattoos,” Iwas even more dismayed to only find dozens of websites describingbody tattoos showing musical symbols. There was nothing to describethis type of event. So, for your information: Canada’s Royal NovaScotia International Tattoo is the largest annual indoor tattoo, eachyear featuring over 2000 performers from around the world. It isunique in that it is a full theatrical production, comprising costumedesigners, props designers, full wardrobe staff, and is presented astheatre-in-the-round. The show is intensely rehearsed over a twoweekperiod and is a wholly combined military and civilian production.The Nova Scotia Tattoo was the first tattoo to receive royaldesignation on the occasion of Her Majesty Queen Elizabeth II’s 80thBirthday in 2006.)Two to tattoo? After some serious deliberation in our house, thedecision was made to apply. Needless to say, there was some trepidation.I hadn’t played in an all-brass band in almost 30 years. As forJoan, her major instrument, the flute, has no place in a brass band.As an instrumental music teacher, she had taught all of the brassinstruments, but a good solid working embouchure might be anothermatter. Her instrument choice soon narrowed down to either a baritonehorn or an E flat horn (variously called an alto horn or tenorhorn). After a few warm-up tests, the E flat horn was selected as thebest choice to develop a suitable embouchure with minimum discomfort.That decided, off went our registrations along with the measurementsfor our uniform jackets. Yes, uniform – we were going beperformers in the great tattoo.With a tuba and a bass trombone included in our instrument inventory,flying to Halifax was not an option. Since I have a cousin living inNorthern Vermont, we travelled through the northern U.S. states, andif it hadn’t been for heavy rainstorms and major highway construction,it would have been a pleasant picturesque trip. Arrangementswere in place for all participants in the summer school to stay togetherin the modern student residence at Saint Mary’s University, a far cryfrom the two- or three-story residences that I lived in as a student.This was a modern 20-storey building with tidy Spartan rooms anda fine all-you-can-eat per meal cafeteria. Our check-in went likeclockwork and we were soon mingling with others arriving from allover North America for the first of its kind, in Canada, brass bandsummer school.The following day our bus took us from the residence to the HalifaxMetro Centre, a large modern hockey arena. There, we learned ofour schedule for the rehearsals, classes, concerts and ten days ofthe tattoo. Except for sleeping and playing in a couple of outdoorconcerts, our rehearsal room in the Metro Centre was to be our homefor the rest of our stay. From our location about two-thirds of the waybetween the waterfront and the top of Citadel Hill, any excursions outof the centre meant walking up or down the very steep hill.Mornings began with rehearsals of two groups of music. First therewas the music, all on small march-sized cards, which we wouldplay in our carefully crafted segments of the tattoo. Then there was acollection of challenging brass band works, new to most of us, whichwe would be performing in our outdoor concerts. These included anumber of solo works to be performed by our guest clinicians, a veritablewho’s who of the brass band world, under the direction of Dr.Robert Childs (formerly principal euphonium and bandmaster withthe Black Dyke Band). I cannot possibly do justice to the staff by tryingto compress the information on their qualifications within spacelimitations here. Fortunately, detailed information on all of them maybe found on the website nabbss.com.The school part of our sojourn was quite straightforward: expertinstruction, well-organized rehearsals and satisfying concerts. The realchallenge for all of us participants was the integration of our contributioninto the tattoo. The overall tattoo show consisted of many actson the main floor of the arena augmented by musical contributions onthe main floor and in a number of higher positions surrounding.In the almost total darkness between scenes, we had to positionourselves for each of our different playing segments, climbing upthe various parts of the sets and positioning ourselves in the dark,then, when the lights came up, rapidly shifting focus back and forthbetween a conductor a couple of hundred feet away and the music onan instrument lyre six inches away.Our days all started at 7am. After breakfast in the residence, our bustook us to the Metro Centre at 8:30am, then brought us back to theresidence shortly after 11pm. So fair warning, if you might be consideringenrolling for the 2015 school; it is not for the faint of heart.Exhausting, but fulfilling.40 | September 1, 2014 – October 7, 2014 thewholenote.com

As for the participants, it was an amazing cross-section. Just about50/50 men and women, they ranged from students, to retired professors,lawyers, accountants and just about any occupation you care tomention. Canadians came from Nova Scotia, Ontario and Alberta. TheU.S. was represented by people from Washington, California, Texas,Kansas, South Carolina, New Jersey, Michigan, Massachusetts andothers. There certainly weren’t any beginners on their instruments. Infact, many of them were top flight performers.The day after the final performance, as we were all saying our goodbyesto our new friends, one somewhat large gentleman was asked ifhe would come back with his tuba next year. His reply: “Yes, I would,but I would want to lose about 100 pounds.” This year was a first timetrial for this summer school. The organizers had to ask the question:was the idea of a music school in conjunction with a tattoo a goodone? Like any new venture it had teething problems, but overall it wasexcellent. It will be back, and they are already accepting registrations.If interested visit their website.Something New: It isn’t often that we get the opportunity to reporton something very unusual in a community band concert. Thathappened just days ago in the season’s final concert of the summertime-onlyUxbridge Community Concert Band. The concert featuredthe premiere of a work for veena and concert band. The work,Arria, written by conductor Steffan Brunette and played by RyersonUniversity student Arrabi Gugathasan, layers the plucking soundsof the veena onto the subtle chords of the concert band. The title isa bit of a play on words with the musical term aria and the name ofthe performer. This particular instrument, a Saraswati veena, is oneof several variations of the veena, a traditional Indian member of thelute family.CBA Community Band WeekendEach year, in early October, the Canadian Band Association(Ontario) holds its annual Community Band Weekend, wherecommunity band members from across the province get together toshare ideas and make music. This year the weekend will be hostedby the Newmarket Citizens Band on October 3, 4 and 5. The final daywill feature an evening concert by the “massed” band, directed by anumber of top-rated conductors. For details and to register visit thewebsite: cba-ontario.ca.A New BandEarlier this year I mentioned the possibility of a new start-upband for the west end of Toronto. We now have more details on thenew Toronto Concert Band. Over the summer, members have beensigning up, and with all sections covered, rehearsals will beginTuesday September 9, 7:00 pm in the strings room at John G. AlthouseMiddle School, 130 Lloyd Manor Road, Etobicoke (near Kipling andEglinton). Carolyn McGee informs me that more new members will bewelcome. For information visit their website,torontoconcertband.com.Hannaford Youth BandsThe Hannaford Youth Bands have announced that their auditionswill take place Saturday, September 13.For youths between the ages of 10 and 24,these bands provide excellent opportunitiesto develop musical skills in the brassband world. Visit their website at hannafordyouth.ca.DEFINITION DEPARTMENTThis month’s lesser known musical term iscon sordino: An indication to string playersto bow in a slashing, rapier motion.We invitesubmissions from readers. Let’s hear yourdaffynitions.Jack MacQuarrie plays several brassinstruments and has performed in manycommunity ensembles. He can be contactedat bandstand@thewholenote.com.FRANÇOIS DESCHACHTthewholenote.com September 1, 2014 – October 7, 2014 | 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 Barrie, Brantford,Collingwood, Dundas, Guelph, Hamilton, Kingston, Kitchener,London, Midland, Niagara-on-the-Lake, Peterborough, Port Hope,St. Catharines, Stratford and Waterloo. Starts on page 49.C.IN THE CLUBS (MOSTLY JAZZ)is organized alphabetically by club.Starts on page 52.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 56.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, 2014 to November 7, 2014. All listings must be receivedby 6pm Monday 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.LakeHuron6GeorgianBay72 15Lake Erie3 48City of TorontoLISTINGSLake OntarioA. Concerts in the GTAIN THIS ISSUE: Brampton, Etobicoke, Markham, Mississauga,Oakville, Oshawa, Scarborough and Whitby.Tuesday September 2●●8:00: AIMToronto. James Bailey CurationSeries. Musideum, Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $10/PWYC.Wednesday September 3●●6:00: Cathedral Church of St. James. Cantatasin the Cathedral. J.S. Bach: Du solltGott, deinen Herrn, lieben BWV77. ShannonMercer, soprano; Rebecca Claborn, mezzo;Rob Kinar, tenor; James Baldwin, baritone.65 Church St. 416-364-7865 x224. PWYC.●●7:00: Civic Light-Opera Company. TheMusic Man. A classic Broadway musical andfamily favourite. Book, music and lyrics byMeredith Wilson. Joe Cascone (Harold Hill);Judy Gans (Marian Paroo); David Haines(Marcellus Washburn); Barbara Boddy (Mrs.Paroo); Larry Westlake (Mayor Shinn); LouiseCascone (Eulalie Mackecknie Shinn); andothers. Zion Cultural Centre, 1650 Finch AveE. 416-755-1717. $28. Also Sep 3-7; 10-14; 17-21;start times vary.●●7:30: CelloPhone. Boats and Balloons.Featuring four world premieres and threeCanadian works. Thornborrow: Boats andBalloons; Baldwin: Armless Clock UnderstandsTime; King: Four Movements for SopranoSaxophone and Cello; Lemay: Red ShiftBlue Shift. Chelsea Shanoff, saxophone; NadiaKlein, cello. Heliconian Hall, 35 Hazelton Ave.416-922-3618. $15; $10(st).Thursday September 4●●1:00: Encore Symphonic Concert Band. InConcert with John Edward Liddle. Classics/jazz featuring 50 musicians and guest soloists.John Edward Liddle, conductor. EncoreHall, Wilmar Heights Centre, 963 PharmacyAve., Scarborough. 416-346-3910. $10.Includes coffee and snack. Concerts firstThursday of every month.●●7:00: Summer Music in the Garden. JewishMusic from the Carpathian Bow. Jewishmelodies from Ukraine, Carpathian Ruthenia,Bessarabia and Rumania. Veretski Pass Trio.Toronto Music Garden, 475 Queens Quay W.416-973-4000. Free.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 5-7; 10-14;17-21; start times vary.Friday September 5●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 6, 7; 10-14;17-21; start times vary.●●8:00: Contact Contemporary Music.INTERsection: music from every direction.Intersection takes over the Tranzac. ToyPiano Composers Ensemble; Thin Edge NewMusic Collective; Kyle Brenders Quartet;junctQín keyboard collective. Tranzac Club,292 Brunswick Ave. 416-902-7010. $10.●●8:00: Gallery 345/Consulate General ofPoland. Opening Night: Bridge Between theArts: A Move Towards Peace. A multidisciplinaryexploration of the struggle betweenpeace and war. Works by J.S. Bach, Shostakovich,Szymanowski, Strauss and Lutosławski.Catherine Gardner, soprano; DobrochnaZubek, cello; Adam Zukiewicz, piano; JordanaDeveau, dance. Gallery 345, 345 SoraurenAve. 416-822-9781. $20; $10(st).●●8:00: Music Gallery. Battle Trance and KingWeather. Array Space, 155 Walnut Ave. 416-204-1080. $10; $8(members). 7:00: doorsopen.●●8:00: Susanna Hood and Scott Thomson.The Muted Note: Songs & Dances Basedon Poems by P.K. Page. Ellen Furey, AlannaKraaijeveld, Bernard Martin and SusannaHood, dancers; The Disguises (Susanna Hood,voice; Nicolas Caloia, bass; Yves Charuest,alto saxophone; Pierre Tanguay, drums; ScottThomson, trombone); Susanna Hood, choreographer;Scott Thomson, composer. TheCitadel, 304 Parliament St. 416-364-8011.$20. Also Sep 6(eve); Sep 7(mat); Sep 27(GerrardArt Space).Saturday September 6●●2:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 6(eve), 7;10-14; 17-21; start times vary.●●2:00: Contact Contemporary Music.INTERsection: music from every direction.New Music Marathon and Musicircus. A dayof performances and interactive installationson stage and spread throughout the square.Yonge-Dundas Square, 1 Dundas St. E. 416-902-7010. Free.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 7; 10-14; 17-21;start times vary.●●8:00: Musideum. Iskwé. Indigenouspop and trip-hop. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.●●8:00: Susanna Hood and Scott Thomson.The Muted Note: Songs & Dances Basedon Poems by P.K. Page. See Sep 5(eve); AlsoSep 7(mat); Sep 27(Gerrard Art Space).Sunday September 7●●2:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 10-14; 17-21;start times vary.●●2:00: Susanna Hood and Scott Thomson.The Muted Note: Songs & Dances Basedon Poems by P.K. Page. See Sep 5; AlsoSep 27(Gerrard Art Space).●●4:00: Church of St. Mary Magdalene.Organ music by Wood, Willan and Walton.Andrew Adair, organ. 477 Manning Ave. 416-531-7955. Free.●●4:00: Summer Music in the Garden.Soundscapades: An exploration of a city fullof sound. TorQ Percussion Quartet: RichardBurrows, Adam Campbell, Jamie Drakeand Daniel Morphy. Toronto Music Garden,475 Queens Quay W. 416-973-4000. Free.●●4:30: Christ Church Deer Park. JazzVespers. Tribute to Bill Evans. David Restivo,piano; Neil Swainson, bass; Brian Barlow,drums. 1570 Yonge St. 416-920-5211 x22.Freewill offering.●●8:00: Contact Contemporary Music.INTERsection: music from every direction.Evan Ziporyn re-imagines Terry Riley’s PoppyNogood and the Phantom Band. Works byCameron, Adler and Ziporyn; other post-minimalistselections. Wallace Halladay, saxophone;guest: Evan Ziporyn, clarinet. Music42 | September 1, 2014 – October 7, 2014 thewholenote.com

Gallery, 197 John St. 416-204-1080. $5-$20.●●8:30: Hugh’s Room. Loudon Wainwright III.Folk Roots. 2261 Dundas St. W. 416-531-6604.$42.50(advance); $45(door).Monday September 8●●8:00: Musideum. Binary. Rich Brown,bass and laptop; Debashis Sinha, percussionand programming; guest: Hugh Marsh,violin and electronics. Suite 133 (mainfloor), 401 Richmond St. W. 416-599-7323.$15;$10(artists/st/underwaged).Tuesday September 9●●12:10: University of Toronto Faculty ofMusic. Tuesday Performance Class for Singers:SNATS. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-408-0208.Free.●●1:10: Gordon Murray Presents. Piano Potpourri.Featuring 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.Wednesday September 10●●12:30: Yorkminster Park Baptist Church.Noonday organ recitals. Michael Bloss,organ. 1585 Yonge St. 416-922-1167. Free.●●7:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 11-14; 17-21;start times vary.●●8:00: Arraymusic. Array Session #27.Arraymusic artistic director Rick Sacks leadsan evening of improvisation by Toronto musiciansand out-of-town guests. Array Space,155 Walnut Ave. 416-532-3019. Free/PWYC.Thursday September 11●●12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Dean’s Welcome.Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. Free. SeeSection D, Etceteras.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 12-14; 17-21;start times vary.●●8:00: Nightwood Theatre/CulchahworksArts Collective. Obeah Opera WorkshopProduction. The Salem Witch Trials fromthe unique perspective of enslaved Africanwomen. Nicole Brooks, book; Andrew Craig,music; Alana Bridgewater, Nicole Brooks,Starr Domingue, Macomere Fifi, AbenaMalika and others; Weyni Mengesha, director.Dancemakers Studio 313, Distillery District,9 Trinity St. 416-944-1740. $22.60. Also Sep 12,13(mat & eve), 14(mat).Friday September 12●●1:10: Gordon Murray Presents. Piano Potpourri.Featuring 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.●●2:00: York University Department ofMusic. World at Noon: Nelson Tagoona. Featuringthroat boxing, a blend of throat-singingand beat boxing. Martin Family Lounge,219 Accolade East Building, 4700 Keele St.416-736-2100 x22926. Free.●●7:30: Gallery 345. Die Reise (The Journey).Schubert: Der Hirt auf dem Felsen; Argento:To Be Sung Upon the Water; Bolcom: CabaretSongs; Uyeda: White Cat Blues; opera arias.Sept 12, 7:30pmGallery 345, TorontoSept 14, 2pmSilver Spire United Church,St. Catharinescharlotteknightsoprano.comCharlotte Knight, soprano; Erika Reiman,piano; Michele Jacot, clarinet. 345 SoraurenAve. 416-822-9781. $30; $20(sr/under 30).●●7:30: Opera by Request. Menotti’s TheTelephone and The Medium. The Telephone:Stephanie Ferracane, soprano (Lucy), AndreyAndreychik, baritone (Ben); The Medium:Meher Pavri, soprano (Monica), Karen Bojti,mezzo (Baba), Enzo Voci (Toby), and others;Stephanie Ferracane, director; WilliamShookhoff, conductor and piano. Arts andLetters Club, 14 Elm St. 416-455-2365. $20.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 13-14; 17-21;start times vary.●●8:00: Musideum. Barbara Croall, composer.Original works for traditional FirstNations flutes and other instruments,and solo piano. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.●●8:00: Nightwood Theatre/CulchahworksArts Collective. Obeah Opera Workshop Production.See Sep 11; Also Sep 13(mat & eve),14(mat).●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. Renownedantics of Toronto’s mayor meet radical spiritof merde-filled classic in new play withlive music. Book, lyrics and music by AdamSeelig. Richard Harte (Ubu); Astrid VanWieren (Huhu); Michael Dufays (Duhu); TylerEmond, music director. Wychwood Theatre,601 Christie St. 416-915-0201. $25; $20(sr/st/artists). Also Sep 13, 14, 16, 17, 18, 19, 20,21(mat).Saturday September 13●●2:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 13(eve),14;17-21; start times vary.●●2:00: Nightwood Theatre/CulchahworksArts Collective. Obeah Opera Workshop Production.See Sep 11; Also Sep 13(eve), 14(mat).●●5:30: Canadian Music Centre. Lauding theContinent: North American Music for Fluteand Piano. Alheli Pimienta, flute; Chad Spears,piano. 20 St. Joseph St. 416-961-6601 x201.$20; $15(adv).●●7:00: Cathedral Church of St. James. BaselBoys Choir in Concert. Basel Boys Choir ofSwitzerland. 65 Church St. 416-364-7865x224. $25; $20(sr/st).●●7:30: Unitarian Congregation in Mississauga.Fanfarones! Notes from Autumn’sPlaybook. Celebrating the congregation’s60th anniversary. Music for double windquintet. Great Hall, Unitarian Congregationof Mississauga, 84 South Service Rd., Mississauga.905-278-5622. $25; $20(sr); PWYC.thewholenote.com September 1, 2014 – October 7, 2014 | 43

●●7:30: Westwood Concerts. Fairy Tales.Music by Schumann, Vaughan Williams andothers. Yosef Tamir, viola; Michael Westwood,A. Concerts in the GTAon period instrumentsFrom PrussiaWith LoveHaydn Op. 50#1Boccherini Op. 44#4“La Tiranna”Mozart K. 575Sunday Sept 14, 3:00clarinet; Gregory Millar, piano. HeliconianHall, 35 Hazelton Ave. 289-987-4877. $20.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 14; 17-21; starttimes vary.●●8:00: Guitar Society of Toronto. AmadeusDuo. Works by Handel, Bach and Rodrigo;and other works. Dale Kavanagh andThomas Kirchhoff, guitars. Alliance Françaisede Toronto, 24 Spadina Rd. 416-964-8298.$30; $25(sr/st).●●8:00: Musideum. The Tich Maredza Trio.Zimbabwe-influenced contemporary. TichMaredza, acoustic guitar; Sam Petite, bass;Larry Lewis, lead guitar. Suite 133 (mainfloor), 401 Richmond St. W. 416-599-7323.$20.●●8:00: Nightwood Theatre/CulchahworksArts Collective. Obeah Opera Workshop Production.See Sep 11; Also Sep 14(mat).●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 14, 16, 17, 18, 19, 20, 21(mat).Sunday September 14●●2:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 17-21; starttimes vary.●●2:00: Nightwood Theatre/CulchahworksArts Collective. Obeah Opera Workshop Production.See Sep 11.●●3:00: University of Toronto. Soldiers’Tower Carillon Recital. A variety of classical,folk and modern music, including songs thatwere popular during the First World War.Roy Lee and Joan Scott, carillon. Soldiers’Tower, 7 Hart House Circle. 416-978-3485.Free(donations accepted to Carillon Fund).Outdoor event, chairs provided.●●3:00: Windermere String Quartet. FromPrussia with Love. Music on period instruments.Haydn: Quartet in B-flat Op.50 No.1;Boccherini: Quartet in G Op.44 No.4 “La Tiranna”;Mozart: Quartet in D K575. St. Olave’sAnglican Church, 360 Windermere Ave. 416-769-0952. $25; $20(sr); $10(st).●●4:00: St. Philip’s Anglican Church. JazzVespers. Mark Eisenman Quartet (MarkEisenman, piano; Mike Murley, sax; BarryElmes, drums; Pat Collins, bass). 25 St. PhillipsRd., Etobicoke. 416-247-5181. Freewilloffering.●●8:00: Canzona Chamber Players/Kitchener-WaterlooChamber Music Society.Pierrot Lunaire. Ravel: Trio in a; Schoenberg:Pierrot Lunaire. Rachel Krehm, soprano;Amelia Lyon, flute; Jonathan Krehm, clarinet;Yosuke Kawasaki, violin and viola; WolframKoessel, cello; Vadim Serebryany, piano.Arts and Letters Club, 14 Elm St. 416-822-0613. $20.●●8:00: Musideum. Dilan Ensemble. ContemporaryKurdish music. Shahriyar Jamshidi,kamanche (spike fiddle) and vocal;Sina Khosravi, Iranian percussion. Suite 133(main floor), 401 Richmond St. W. 416-599-7323. $20.●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 16, 17, 18, 19, 20, 21(mat).Monday September 15●●8:00: Musideum. Alana Bridgewater. Jazz,soul. Suite 133 (main floor), 401 Richmond St.W. 416-599-7323. $20.Tuesday September 16●●12:10: Nine Sparrows/Yorkminster ParkBaptist Church. Lunchtime Chamber Music.It’s Easy Being Green: A Collection of EcofriendlySongs. Linda Condy, mezzo; EllenMeyer, piano. Yorkminster Park BaptistChurch, 1585 Yonge St. 416-241-1298. Free,donations welcome.●●12:10: University of Toronto Faculty ofMusic. Tuesday Performance Class for Singers:Welcome and Vocal Showcase. WalterHall, Edward Johnson Building, 80 Queen’sPark. 416-408-0208. Free.●●7:00: University of Toronto Faculty ofMusic. Season Opening Concert: St. LawrenceString Quartet. Haydn: String QuartetOp.20 No.1; Golijov: Kohelet; Verdi: StringQuartet. Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. $40;$25(sr); $10(st).●●8:00: Arraymusic. Array Ensemble PerformsNic Gotham Miniatures at Martha Baillie’sBook Launch. Music complementingBaillie’s novel following Heinrich Schlögel’stwo-week hike into the isolated interior ofBaffin Island. Gladstone Hotel, 1214 Queen St.W. 416-532-3019. Free.●●8:00: Oh! Map Records/Music Gallery.Diane Cluck and Jordaan Mason. Diane Cluck,singer-songwriter and multi-instrumentalist;The Canzona Chamber Players& The Kitchener-WaterlooChamber Music Society present:Pierrot Lunaire Arnold SchoenbergTrio for Piano, Violin and Cello Maurice RavelPiano Sonata Alban BergTRIO +Yosuke Kawasaki violin/violaWolfram Koessel celloVadim Serebryany pianoAmelia Lyon flutesRachel Krehm voiceJonathan Krehm clarinetsCANZONATHE MUSIC SPEAKSThe Kitchener-WaterlooChamber Music SocietyTorontoSunday September 14, 2014 at 8pmThe Arts and Letters Club of Toronto14 Elm StreetAdmission $20Tickets: text/call 416.822.0613email jkrehm@look.caWaterlooMonday September 15, 2014 at 8pmKitchener Waterloo Chamber Music SocietyMusic Room57 Young Street WestAdmission $35, Seniors $30, Students $20Tickets: www.ticketscene.ca/kwcmsemail kwcms@yahoo.caphone 519.886.167344 | September 1, 2014 – October 7, 2014 thewholenote.com

Jordaan Mason, vocals and guitar. MusicGallery, 197 John St. 647-880-4202.$15/$10(adv); $10(sr/st/member).●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 17, 18, 19, 20, 21(mat).Wednesday September 17●●12:30: Yorkminster Park Baptist Church.Noonday organ recitals. Edward Moroney,organ. 1585 Yonge St. 416-922-1167. Free.Operatic arias, duets and ensembles,each paired with a sample ofOntario-brewed craft beer.Pairings by Master CiceroneMirella AmatoSept 17 & 18 – 7pmHabits Gastropub, 928 College St●●7:00: Beerology. Hopera. Eight operaticarias, duets and ensembles, each paired witha sample of Ontario-brewed craft beer. MelanieEsseltine and Jennifer Rasor, sopranos;Pablo Benitez, tenor; Giovanni Spanu, baritone;Suzy Smith, piano; Melanie Esseltine,conductor; Mirella Amato, Master Cicerone.Habits Gastropub, 928 College St. 416-533-7272. $38.80. Also Sep 18.●●7:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 18-21; starttimes vary.●●8:00: Gallery 345. Christian Overton CDRelease: The Test. Christian Overton Quintet(Christian Overton, trombone; ShiranthaBeddage, winds; Toddy Pentney, piano;Justin Gray, bass; Morgan Childs, drums).345 Sorauren Ave. 416-822-9781. $10; $20with CD.●●8:00: Musideum. Magic Sound of Duduk.Original compositions on duduk and piano;traditional songs; piano jazz mugham improvisations.Victor Kotov. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 18, 19, 20, 21(mat).Church, 56 Queen St. E. 416-363-0331 x26.Free.●●7:00: Beerology. Hopera. See Sep 17.●●7:00: Toronto Symphony Orchestra. OpeningNight: Joshua Bell. Berlioz: Roman CarnivalOverture; Lalo: Symphonie espagnole;Rimsky-Korsakov: Capriccio espagnol.Joshua Bell, violin; Peter Oundjian, conductor.Roy Thomson Hall, 60 Simcoe St. 416-593-4828. $38.75–$169. Gala package tickets call416-593-7769 x261.●●7:30: Canadian Music Centre. LadomEnsemble. Original and arranged compositionsinspired by Persian, Balkan and othermusic from around the world. Marie-CristinePelchat St-Jacques: cello; Michael Bridge:accordion; Adam Campbell: percussion;Pouya Hamidi: piano. 20 St. Joseph St. 416-961-6601 x201. $20.●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 19-21; starttimes vary.●●8:00: Musideum. David Krystal. Singersongwriter.David Krystal, guitar and vocals;George Koller, upright bass, Gordon Sheard,piano; Mark Kelso, percussion; John Johnson,saxophone. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 19, 20, 21(mat).HANDELFIREWORKS@ KOERNER HALLSept 18-21416.408.0208tafelmusik.org●●8:00: Tafelmusik. Fireworks. Handel:Music for the Royal Fireworks; Vivaldi: Ilgrosso mogul. Rodolfo Richter, violin andguest director. Koerner Hall, 273 Bloor St. W.416-408-0208. $47–$107; $35–$89(sr); $25–$89(under 35). Also Sep 19, 20, 21(mat).Friday September 19●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 20, 21; starttimes vary.●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 20, 21(mat).●●8:00: Tafelmusik. Fireworks. See Sep 18;Also Sep 20, 21(mat).Saturday September 20●●8:00: Civic Light-Opera Company. TheMusic Man. See Sep 3; Also Sep 21.●●8:00: Musideum. Karyn Ellis. Singer-songwriter.Karyn Ellis, voice and guitar. Suite 133(main floor), 401 Richmond St. W. 416-599-7323. $20.●●8:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12;Also Sep 21(mat).●●8:00: Tafelmusik. Fireworks. See Sep 18;Also Sep 21(mat).●●8:00: Toronto Symphony Orchestra.MasterWorks: Arabian Nights. Ravel: Boléro;Stravinsky: Suite from The Firebird (1919);Rimsky-Korsakov: Sheherazade. JonathanCrow, violin; Peter Oundjian, conductor. RoyThomson Hall, 60 Simcoe St. 416-593-4828.$33–$145. Also Sep 21(mat, George WestonHall).●●8:00: Toy Piano Composers. Pandora’sBox. Featuring a night of inventions, odditiesand hidden treasures. Works by Marasco,Brophy, Denburg, Doell, Pearce, Ryan.Sharon Lee, violin; Adam Scime, double bass;Tim Crouch, flute; Anthony Thompson, clarinet;Daniel Morphy, percussion; Wesley Shen,piano; guest: Anthony Marasco, instrumentinventor. Music Gallery, 197 John St. 647-829-4213. $20; $15(adv/sr/st).Sunday September 21●●2:00: Civic Light-Opera Company. TheMusic Man. See Sep 3.●●2:00: One Little Goat Theatre Company.Ubu Mayor: A Harmful Bit of Fun. See Sep 12.●●3:00: Musideum. Beth Anne Cole - Poetryand Song. Beth Anne Cole, voice; Brian Katz,guitar. Suite 133 (main floor), 401 RichmondSt. W. 416-599-7323. $20.●●3:00: Toronto Symphony Orchestra.MasterWorks: Arabian Nights. George WestonRecital Hall, 5040 Yonge St. 1-855-985-2787. $43.50–$98.50. See Sep 20(eve, RoyThomson Hall).●●3:30: Tafelmusik. Fireworks. See Sep 18.●●4:00: St. Philip’s Anglican Church. JazzVespers. Artie Roth Quartet (Artie Roth, bass,Mike Filice, sax; Geoff Young, guitar; AnthonyMitchell, drums). 25 St. Phillips Rd., Etobicoke.416-247-5181. Freewill offering.●●4:30: Christ Church Deer Park. Jazz Vespers.Russ Little Quintet. 1570 Yonge St.416-920-5211 x22. Freewill offering.●●5:00: Nocturnes in the City. Czech OperaSelections. Dvořák: Jacobin (excerpts);and other Czech operas. Danielle Dudycha;soprano; John Holland, baritone; WilliamShookhoff, piano. St. WenceslausChurch, 496 Gladstone Ave. 416-879-5677.$25; $15(st).●●7:00: Jazz Bistro. Cat Conner Trio CDRelease. Rarely heard songs associated withEllington/Strayhorn, Cahn/Van Heusen, ColePorter, and Peggy Lee. Cat Conner, vocals;Bernie Senenski, piano; Neil Swainson, bass.251 Victoria St. 416-363-5299. $20.●●8:00: Musideum. Jamie Gabbani.Singer-songwriter. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.Monday September 22●●8:00: Musideum. Quique Escamilla. Mexican-born,Toronto-based singer-songwriter.Suite 133 (main floor), 401 Richmond St. W.416-599-7323. $20.Tuesday September 23●●12:00 noon: Canadian Opera Company.Vocal Series: Meet the Young Artists. Youngartists of the 2014/15 Canadian Opera CompanyEnsemble Studio introduce themselvesby singing their favourite arias. Richard BradshawAmphitheatre, Four Seasons Centre forthe Performing Arts, 145 Queen St. W. 416-363-8231. Free.●●12:10: Nine Sparrows/Yorkminster ParkBaptist Church. Lunchtime Chamber Music.Tess Crowther, cello. Yorkminster Park BaptistChurch, 1585 Yonge St. 416-241-1298.Thursday September 18●●12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Music and Poetry20th Anniversary Concert. Britten: Abrahamand Isaac Op.51 (Canticles II); Journey ofthe Three Magi Op.86 (Canticles IV). MichaelColvin, tenor; James Westman, baritone; DanielTaylor, countertenor; Steven Philcox, piano;Eric Domville, speaker. Walter Hall, EdwardJohnson Building, 80 Queen’s Park. 416-408-0208. Free.●●12:15: Music at Metropolitan. Noon at Met.John Sheard, piano. Metropolitan United●●1:10: Gordon Murray Presents. Piano Potpourri.Featuring 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: Organix Concerts. Rhonda Sider Edgington,Organ. Works from Germany, NorthAmerica, England and France. Church ofthe Holy Trinity, 10 Trinity Sq. 416-769-3893.$30; $25(sr); $20(st/RCCO, RSCM and AmericanGuild of Organists members); free(18and under).thewholenote.com September 1, 2014 – October 7, 2014 | 45

Free, donations welcome.●●12:10: University of Toronto Faculty ofMusic. Tuesday Performance Class for Singers:Singers and the Spoken Words. WalterHall, Edward Johnson Building, 80 Queen’sPark. 416-408-0208. Free.●●8:00: Musideum. Stephen Palmer. Soloacoustic 6- and 12-string guitar. Suite 133(main floor), 401 Richmond St. W. 416-599-7323. $20.Wednesday September 24●●12:30: Yorkminster Park Baptist Church.Noonday organ recitals. Peter Nikiforuk,organ. 1585 Yonge St. 416-922-1167. Free.●●8:00: Toronto Oratory. Oratorium Saeculare.Excerpts from Palestrina’s CanticumCanticorum; Homily; Sung Compline. MeghanMoore, Simon Honeyman, Michael Pius Taylor,Paul Ziade and Sean Nix, vocals; PhilipFournier, conductor. The Oratory, Holy FamilyChurch, 1372 King St. W. 416-532-2879. Free.Thursday September 25●●12:00 noon: Canadian Opera Company.World Music Series: Fuego lento. PayadoraTango Ensemble performs highlightsfrom its debut album. Traditional and contemporarytango music. Richard BradshawFlute StreetpresentsA. Concerts in the GTAThe Paganiniof the PiccoloJean-Louis Beaumadier, piccolowith pianist, Jordi Torrentand Flute Street Flute ChoirFriday, September 26,8:00 p.m.Church of the Holy Trinity10 Trinity Square (behind the Eaton Centre)Tickets: $30, $25 (seniors), $15 (students)416-462-9498Amphitheatre, Four Seasons Centre for thePerforming Arts, 145 Queen St. W. 416-363-8231. Free.●●12:10: University of Toronto Faculty ofMusic. Thursdays at Noon: Brass Quintet.Works by Tilson Thomas, J.S. Bach, Bozza andCable. James Gardiner, Steve Woomert, AudreyGood, Vanessa Fralick and Mark Tetreault.Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. Free.●●12:15: Music at Metropolitan. Noon atMet. Leo Ravensbergen, organ. MetropolitanUnited Church, 56 Queen St. E. 416-363-0331 x26. Free.●●7:30: Arthouse Festival Series. Waiting forDusk. Matt Dusk and Eleanor McCain sing jazzfavourites. Oakville Centre for the PerformingArts, 130 Navy St., Oakville. 905-815-2021 or1-888-489-7784. $40. In support of Arthouse.●●7:30: Jarvis Street Baptist Church. LordOur God, How Majestic Is Your Name. Organrecital with psalms, hymns, improvisationsand worship through music. Leo Ravensbergen,organ. 130 Gerrard St. E. 416-925-3261. Free. Donations welcome. Benefit forheritage building restoration fund.●●8:00: Musideum. Don Graham. Roots, folk,country. Suite 133 (main floor), 401 RichmondSt. W. 416-599-7323. $20.●●8:00: Small World Music Festival. FestivalOpening Launch Party, featuring Os Tropies.Gypsy jazz and Brazilian funk. SmallWorld Music Centre, Artscape Youngplace,180 Shaw St. 416 536-5439. Free.●●8:00: Toronto Symphony Orchestra.MasterWorks: Beethoven Symphony 9. Rachmaninoff:Rhapsody on a Theme of Paganini;Beethoven: Symphony No.9 “Choral”. JessicaRivera, soprano; Andrea Ludwig, mezzo;David Pomeroy, tenor; Tyler Duncan, baritone;Toronto Mendelssohn Choir; Daniil Trifonov,piano; Peter Oundjian, conductor. RoyThomson Hall, 60 Simcoe St. 416-593-4828;416-593-0688(Chinese). $38.75–$169. Preconcertchat. Also Sep 26(7:30), 27.●●9:00: Jazz Bistro. Adi Braun: An Eveningwith “Rosie, Judy, and Peggy.” Clooney, Garlandand Lee signature songs. Adi Braun,vocals; David Restivo, piano; Pat Collins, bass;Daniel Barnes, drums. 251 Victoria St. 416-363-5299. $15; $12(st).Friday September 26●●1:10: Gordon Murray Presents. PianoADI BRAUNAn Evening with“Rosie, Judy, and Peggy”September 25-27David Restivo – pianoPat Collins – bassDaniel Barnes – drumsPotpourri. Featuring 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: Toronto Symphony Orchestra.MasterWorks: Beethoven Symphony 9. SeeSep 25; Also Sep 27.●●8:00: Flute Street: Toronto’s ProfessionalFlute Choir. Paganini of the Piccolo. Andersen:Variations Drolatiques sur un air Suédois;Lauf: Petrushka’s Ghost; Reichert:Souvenir du Para; Vivaldi: Concerto in C; andother works. Jean-Louis Beaumadier, piccolo;Jordi Torrent, piano; Flute Street Flute Choir.Church of the Holy Trinity, 10 Trinity Sq. 416-778-7535. $30; $25(sr); $15(st).●●8:00: Mattaniah Christian Male Choir.Thine Is the Glory. Andre Knevel, organ;Joyce Postmus, piano; Herman den Hollander,conductor; guest: Benjamin Ho,tenor. Hebron Christian Reformed Church,4240 Anderson St., Whitby. 905-668-5551.$10; $8(sr); $25(family). Benefit for DurhamChristian Homes Long Term Care Facilities,Bowmanville.●●8:00: Music Gallery. Brandee Younger andDr. Matthew Dunn & Co: Afrofuturistic Strategiesfor the Harp. 197 John St. 416-204-1080. $20/$15(adv); $10(st/members). 7:00:doors open.●●8:00: Musicians in Ordinary. Psalms,Songs and Sonnets. Consort songs andmotets of Elizabethan England. Hallie Fishel,soprano; John Edwards, lute; violin consort(Christopher Verrette, conductor). Fr. MaddenAuditorium, Carr Hall, St. Michael’s College,100 St. Joseph St. 416-535-9956. $30;$20(sr/st). 7:30: pre-concert talk.●●8:00: Rose Theatre Brampton. Lighthouse.Blend of rock, jazz and classical influences.Sunny Days, One Fine Morning, Pretty Ladyand other hits. Dan Clancy, vocals; Ralph Cole,guitar; Steve Kennedy, saxophone; Russ Little,trombone; Paul Hoffert, keyboard and vibraphone;Skip Prokop, drums. Rose Theatre,1 Theatre Ln., Brampton. 905-874-2800. $48.●●8:00: Small World Music Festival. Boban &Marko Markovic Orkestar. Gypsy brass band.Phoenix Concert Theatre, 410 Sherbourne St.416-323-1251. $40.●●9:00: Jazz Bistro. Adi Braun: An eveningwith “Rosie, Judy, and Peggy.” $20. SeeSep 25; Also Sep 27.Saturday September 27●●12:00 noon: Royal Conservatory. KoernerHall Free for All. Hall open to everyone for46 | September 1, 2014 – October 7, 2014 thewholenote.com

Culture Days. Koerner Hall, 273 Bloor St.W. 416-408-0208. Free. See Section D,Etceteras.●●1:00: University of Toronto Faculty ofMusic. Opera Exchange: Opera for Laughs- Verdi’s Falstaff and the Staging of Comedy.Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-363-8231. $20; $10(st).●●3:00: St. Barnabas on the Danforth. UlsterAccordion Band. In concert. 361 DanforthAve. 416-463-1344. $10.●●7:30: Opera by Request. Lucia di Lammermoor.Donizetti. Allison Cecilia Arends,soprano (Lucia); Jillian Yemen, mezzo (Alisa);Paul Williamson, tenor (Edgardo); MichaelRobert-Broder, baritone (Enrico); and others;William Shookhoff, conductor and piano. CollegeStreet United Church, 452 College St. 416455-2365. $20.●●7:30: University of Toronto Faculty ofMusic. Culture Days Recital. Fein: Sailing onStarlight (world premiere); and other works.Caroline Cole, harp. Walter Hall, EdwardJohnson Building, 80 Queen’s Park. 416-408-0208. Free.●●8:00: Acoustic Harvest. Mati Haskell & J.K.Gulley and The Oh Chays. St. Nicholas AnglicanChurch, 1512 Kingston Rd. 416-264-2235.$25/$22(advance).●●8:00: Canadian Music Centre. RoundingThe Human Corners. After Thoughts (GwendolynMacEwen, text); And Rounding TheHuman Corners (Linda Hogan, text). Ali Garrison,mezzo; Parmela Attariwala, violin; JulianKnight, viola; William Beauvais, guitar; TrishO’Reilly Brennan: narration. 20 St. Joseph St.416-961-6601 x201. $20.●●8:00: Corporation of Massey Hall and RoyThomson Hall. Boz Scaggs: The MemphisTour. Massey Hall, 178 Victoria St. 416-872-4255. $65-$85.●●8:00: Essential Opera. Paride ed Elena(Paris and Helen). Gluck. Erin Bardua, soprano(Elena); Maureen Batt, soprano (Amore/Erasto); Emily Klassen, soprano (Pallade);Andrea Cerswell, soprano (Trojan Messenger);Lyndsay Promane, mezzo (Paride);Vicki St. Pierre, music director; Wesley Shen,piano. Trinity-St. Paul’s Centre, 427 Bloor St.W. 416-827-3009. $25; $20(sr/st). Also Oct 1(Kitchener).●●8:00: Gordon Murray Presents. PianoSoirée. Romberg: “One Alone” from TheDesert Song (arr. G. Murray); Debussy: Clairde Lune; Rachmaninoff: Piano ConcertoNo.2 Mov.1 (arr. G. Murray); and other selections.Gordon Murray, piano. Trinity-St. Paul’sUnited Church, 427 Bloor St. W. 416-631-4300. $15; $10(st).HarmonieDutch Musicfrom TheGoldenAgeSat. Sept. 27,8pmharmonielives.org●●8:00: Harmonie. Dutch Music from theGolden Age. Works by Carolus and Philip Hacquart,Albicastro, Schenck and Sweelinck.Sheila Smyth and Valerie Sylvester, baroqueviolins; Phillip Serna, bass viol; Janet Scott,harpsichord. St. David’s Anglican Church,49 Donlands Ave. 647-520-4785. By donation($20suggested).●●8:00: Musideum. Conrad Gayle. ConradGayle, piano; Bennett Young, bass; MatMacDonald, drums. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $10.●●8:00: Peripheral Vision. CD release:Sheer Tyranny Of Will. Jazz compositionsby Don Scott and Michael Herring. TrevorHogg (saxophone), Don Scott (guitar),Michael Herring (bass), Nick Fraser (drums).80 Gladstone, 80 Gladstone Ave. 416-516-7199. $10.●●8:00: Small World Music Festival. CalypsoRose & Kobo Town. Calypso and calypsoinspiredmusic. Revival Bar, 783 College St.416-535-7888. $30.●●8:00: Susanna Hood and Scott Thomson.The Muted Note: Songs & Dances Basedon Poems by P.K. Page. Gerrard Art Space,1390 Gerrard St E. 416-778-0923. PWYC. SeeSep 5.●●8:00: Toronto Symphony Orchestra.MasterWorks: Beethoven Symphony 9. SeeSep 26.●●8:30: Hugh’s Room. Jane Bunnett &Maqueque. Jane Bunnett(flute, soprano sax),Yissy Garcia (drums), Daymé Arceno (voice),Celia Jimenez (bass, voice, bassoon), DanaeOlano (piano), Magdelys Savigne (batás andcongas). 2261 Dundas St. W. 416-531-6604.$25 (adv);$27.50(door).●●9:00: Jazz Bistro. Adi Braun: An eveningwith “Rosie, Judy, and Peggy.” $20. SeeSep 25.Sunday September 28●●10:15am: St. John’s United Church. WorldMusic Sunday: Amanda Martinez: Believing inDreams. Featuring Latin jazz music. 2 NobertRd. 416-491-1224. Free.●●1:15: Mooredale Concerts. Music & TrufflesFamily Series: Jupiter Symphony ChamberPlayers. One-hour interactive concertfor youth age 5 and over. Areta Zhulla, violin;Mihai Marica, cello; Vicki Powell, viola;Nathaniel West, double bass; Vadim Lando,clarinet; Karl Kramer-Johansen, horn; GinaCuffari, bassoon. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. 416-922-3714x103. $13. Includes chocolate truffle. 3:15:Jupiter Symphony Chamber Players Canadiandebut.●●2:00: Small World Music Festival/AgaKhan Museum. Fareed Ayaz Qawwal. QawwaliSufi music, as well as classical genressuch as tarana, thumri, and khayal. FareedAyaz, Abu Muhammad Qawwal and Brothers.Aga Khan Museum Auditorium, 77 WynfordDrive. 416-858-8735. $75; $65; $55; $20(limitedrush).FREEQuartetPerformanceSept 28 2pmGardiner MuseumPart of the Bloor St. Culture Corridor Hub,an initiative of Culture Days culturedays.ca●●2:00: Tafelmusik. Quartet Performance.Gardiner Museum, 111 Queen’s Park. 416-964-6337. Free. Bloor Street Cultural CorridorCulture Days Hub.●●3:15: Mooredale Concerts. Jupiter SymphonyChamber Players. Dohnányi: Serenadein C for String Trio Op.10; Mozart: ClarinetQuartet in B-flat after K378; Beethoven: Septetin E-flat Op.20. Areta Zhulla, violin; MihaiMarica, cello; Vicki Powell, viola; NathanielWest, double bass; Vadim Lando, clarinet;Karl Kramer-Johansen, horn; Gina Cuffari,bassoon. Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-922-3714 x103.$30; $20(under 30). 1:15: Music & Truffles foryouth 5 and over.●●4:00: St. Olave’s Anglican Church. VaughanWilliams. Choral Evensong for MichaelmasEve. Works by Vaughan Williams and discussionof his life. Choir of St. Peter’s, Erindale;Clem Carelse, conductor. 360 WindermereAve. 416-769-5686. By donation.●●4:30: St. Timothy’s Anglican Church. Jazz-EvenSong. 100 Old Orchard Grove Rd. 416-488-0079. Freewill offering.●●7:30: Royal Conservatory/StratfordFestival. ARC Ensemble: The hell whereyouth and laughter go. Featuring narrationsof contemporary writings, in commemorationof the start of WW I. Butterworth: Suitefor String Quartet; Elgar: Piano Quintet ina Op.84. Koerner Hall, 273 Bloor St. W. 416-408-0208. Free.●●7:30: St. Michael’s Schola Cantorum/MusiciansIn Ordinary. Purcell Te Deum and OtherBaroque Music. USMC’s Ensemble in Residence;Musicians In Ordinary; St. Michael’sSchola Cantorum; Michael O’Connor, conductor.St. Basil’s Church, 50 St. Joseph St.416-926-2331. Free. Donations welcome.●●8:00: Canadian Music Centre. CultureDays: Create Your Own Graphic Score.junctQín keyboard collective plays a graphically-notatedscore. Audience invited to drawa graphic score using the interactive Mondopad.20 St. Joseph St. 416-961-6601 x201.Free.●●8:00: Musideum. Brownman +1. Jazz. Suite133 (main floor), 401 Richmond St. W. 416-599-7323. $20; $10(sr/st/artists).●●8:00: Thin Edge New Music Collective.Unusual Spectrum IV. Works byNono, Mincek, Czernowin and improvisations.Guest: Nilan Perera, electric guitar.Array Space, 155 Walnut Ave. 647-456-7597.$20/$18(adv); $15/$13(sr/st/arts).Monday September 29●●7:00: University of Toronto Faculty ofMusic. Monday Evening Concerts: GryphonTrio. Wright: Letters to the Immortal Beloved;Chan Ka Nin: …and the masks evoke…; Tchaikovsky:Trio in a, Op.50. Julie Nesrallah,mezzo. Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. $40;$25(sr); $10(st).●●8:00: JazzFM91. Molly Johnson at the RoyalAlexandra Theatre. Royal Alexandra Theatre,260 King St. W. 416-872-1212. $30-$59. A portionof sales will be donated to the Boys &Girls Clubs Of America.Tuesday September 30●●12:00 noon: Canadian Opera Company.Jazz Series: PeopleMakeTheWorldGo’Round.Highlights from recently released album“Patience for Life.” Blues, reggae, hip-hop,funk, house, R & B, soul and Latin music.Andrew Stewart, electric bass; Maritothewholenote.com September 1, 2014 – October 7, 2014 | 47

Marques, drums; Michael Shand, piano,arranger and music director. Richard BradshawAmphitheatre, Four Seasons Centre forthe Performing Arts, 145 Queen St. W. 416-363-8231. Free.●●12:10: Nine Sparrows/Yorkminster ParkBaptist Church. Lunchtime Chamber Music.Rising Stars Recital. Students from the GlennGould School. Yorkminster Park BaptistChurch, 1585 Yonge St. 416-241-1298. Free,donations welcome.●●12:10: University of Toronto Faculty ofMusic. Tuesday Performance Class for Singers:Graduate Students Perform. Walter Hall,Edward Johnson Building, 80 Queen’s Park.416-408-0208. Free.●●12:30: York University Department ofMusic. Music at Midday: Student Showcase.Martin Family Lounge, 219 AccoladeEast Building, 4700 Keele St. 416-736-2100x22926. Free.●●7:00: University of Toronto Faculty ofMusic. Accordin’ to Joe: Joe Macerollo’s 70thBirthday Celebration. Works by Macerollo;Höstman (special commission); and otherworks. Current and former students of thefaculty and guest artists. Walter Hall, EdwardJohnson Building, 80 Queen’s Park. 416-408-0208. $40; $25(sr); $10(st).●●8:00: Corporation of Massey Hall and RoyThomson Hall. Robert Plant & the SensationalSpace Shifters. Works from the newalbum titled “Lullaby and... The CeaselessRoar.” Massey Hall, 178 Victoria St. 416-872-4255. $65.50-$202.50. Those who purchasetickets will receive a CD copy of the album forevery ticket ordered.A. Concerts in the GTA●●8:00: Soundstreams. The Seasons. Richter:Recomposed: Vivaldi’s Four Seasons;J.L. Adams: Dream in White on White; Frehner:new work (world premiere). JoaquinValdepeñas, conductor; Daniel Hope, violin;string orchestra. Koerner Hall, 273 Bloor St.W. 416-408-0208. $20-$67.50. 7:00: pre-concertchat.Wednesday October 1●●12:30: Yorkminster Park Baptist Church.Noonday organ recitals. Simon Walker,organ. 1585 Yonge St. 416-922-1167. Free.●●8:00: Musideum. Voci Angelica Trio. Traditionalfolk arranged for voice, cello and percussion.Suite 133 (main floor), 401 RichmondSt. W. 416-599-7323. $20.●●8:00: Rose Theatre Brampton. FernandoVarela. From classical to pop and rock, includingoperatic showpieces. Fernando Varela,tenor. Rose Theatre, 1 Theatre Ln., Brampton.905-874-2800. $28.●●8:00: Small World Music Festival/FlatoMarkham Theatre. Zakir Hussain w. JyanthiKumaresh & Kumaresh Rajagopalan. Indianclassical music for tabla, veena and violin.Zakir Hussain, tabla; Kumaresh Rajagopalan,violin; Jayanthi Rajagopalan, veena. FlatoMarkham Theatre, 171 Town Centre Blvd.,Markham. 905-415-7546. $59-$64.Thursday October 2●●12:00 noon: Canadian Opera Company.Vocal Series: Brush Up on your Shakespeare.In celebration of the 450th anniversaryof William Shakespeare’s birth. Arias andensembles from operatic works based onthe plays. University of Toronto’s Opera Division.Richard Bradshaw Amphitheatre, FourSeasons Centre for the Performing Arts,145 Queen St. W. 416-363-8231. Free.●●12:15: Music at Metropolitan. Noon atMet. Ashley Tidy, organ. Metropolitan UnitedChurch, 56 Queen St. E. 416-363-0331 x26.Free.●●1:30: Women’s Musical Club of Toronto.Trio Wanderer. Works by Fauré, Liszt andTchaikovsky. Vincent Coq, piano; Jean-MarcPhillips-Varjabédian, violin; Raphaël Pidoux,cello. Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-923-7052. $45.●●7:30: Eybler Quartet. Beethoven, Boccherini& Dittersdorf. Beethoven: String QuartetNo.2 Op.18; and double cello quintets by Boccheriniand Dittersdorf. Aisslinn Nosky andJulie Wedman, violins; Patrick Jordan, viola;Margaret Gay, cello. Guest: Guy Fishman,cello. Heliconian Hall, 35 Hazelton Ave. 416-463-2154. $25; $20(sr); $15(st/arts workers).●●7:30: University of Toronto Faculty ofMusic. U of T Symphony Orchestra in Concert.Grieg: Piano Concerto in a; Tchaikovsky:Symphony No.5 in e, Op.64. VictoriaChung, piano; David Briskin, conductor. Mac-Millan Theatre, Edward Johnson Building,80 Queen’s Park. 416-408-0208. $30;$20(sr); $10(st).●●8:00: Musideum. John Cheesman, jazz.Suite 133 (main floor), 401 Richmond St. W.416-599-7323. $20.CHOPIN PIANOCONCERTO 2Khatia BuniatishvilipianoOCTOBER 2 & 4 | TSO.CA●●8:00: Toronto Symphony Orchestra.Masterworks: Rachmaninoff Symphony 2.Chopin: Piano Concerto No.2; Rachmaninoff:Symphony No.2. Khatia Buniatishvili,piano; David Zinman, conductor. Roy ThomsonHall, 60 Simcoe St. 416-593-4828. $33–$145. Also Oct 4.●●10:00: Small World Music Festival.Boogat/Pierre Kwenders/DJ medicineman.Congolese rumba; Latin groove, urban, electronic;world beat. Drake Underground,1150 Queen St. W. 416-531-5042. $10.Friday October 3●●7:30: Canadian Opera Company. Falstaff.Verdi. Lauren Segal, soprano (Meg Page);Simone Osborne, soprano (Nanetta); Marie-Nicole Lemieux, mezzo (Mistress Quickly);Frédéric Antoun, tenor (Fenton); Gerald Finley,baritone (Falstaff); Russell Braun, baritone(Ford); COC Orchestra and Chorus;Johannes Debus, conductor. Four SeasonsCentre for the Performing Arts, 145 Queen St.W. 416-363-8231. $12-$339; $22(under 30).Also Oct 9, 12(2:00), 14, 25(4:30), 29, Nov 1.●●8:00: Ensemble Polaris. Back to the Future:New Tunes from Sweden. Katherine Hill,nyckelharpa, vocals; Colin Savage, clarinets,recorders; Kirk Elliott, accordion, violin; andothers. 918 Bathurst Centre, 918 Bathurst St.416-588-4301. $25; $15(sr/st); $10(kids).●●8:00: Small World Music Festival/RoyalConservatory/Aga Khan Museum. KiranAhluwalia and Rizwan-Muazzam Qawwali.Ghazals and Punjabi folk songs; qawwali(devotional Sufi vocal music). Koerner Hall,273 Bloor St. W. 416-408-0208. $35-$85.Saturday October 4● ● 7:00: Canadian Music Centre. GlobalMotives: Scotiabank Nuit Blanche. Showcasinghow global traditions can, and have been,integrated into Canadian new music. SubaSankaran, voice; Parmela Attariwala, violin;TorQ Percussion Quartet; Deb Sinha, percussion;Ernie Tollar, sax/bansuri; Ed Hanley,tabla; Jordan O’Connor, bass; Germaine Liu,48 | September 1, 2014 – October 7, 2014 thewholenote.com

percussion; Dinuk Wijeratne, piano; Laura Silberberg,DJ. 20 St. Joseph St. 416-961-6601x201. Free. Continues until 7:00am.●●7:00: University of Toronto Faculty ofMusic/SNATS. Nuit Blanche: Songs of theNight. Contemporary interaction of poeticand musical language in the classical art songgenre. Students from Voice Studies and CollaborativePiano Studies. Edward JohnsonBuilding, U of T, 80 Queen’s Park. 416-408-0208. Free. Performance in main lobby. NuitBlanche runs to 7:00am.●●7:30: Life and Music at St Andrew’s. Voicesof War, Dreams of Peace: The Legacy of theFirst World War. Music, visuals and talksby Rick Phillips and foreign correspondentBrian Stewart. Judge: It’s a Long Way to Tipperary;Beethoven: Adagio cantabile fromSonata No.8 “Pathétique”; Elgar: “Nimrod”from Enigma Variations; other works by Berlin,Kern and Cohan. Jordan Klapman, piano.St. Andrew’s Church, 73 Simcoe St. 416-593-5600 x231. $20; $10(st).●●8:00: Canadian Sinfonietta. Wine andCheese Concert 1. Pepa: Okto Echoi; Paganini:Centone di Sonata No.1; Beauvais: EcstaticNasrudin and Riding the Spirit Horse; Schubert:Piano Trio No.1. William Beauvais, guitar;Joyce Lai, violin; Andras Weber, cello; ErikaCrinó, piano. Heliconian Hall, 35 Hazelton Ave.647-223-2286. $25; $20(sr); $15(st).●●8:00: Gallery 345. Trio D’Argento. LeopoldMozart: Divertimento in C; Schmitt: SonatineOp.85; Saint-Saëns: Tarantella; Sauget: Concertà trois pour Fronsac; Bolling: Jazz Suite.Sibylle Marquardt, flute; Peter Stoll, clarinet;Anna Ronai, piano. 345 Sorauren Ave. 416-822-9781. $20; $10(st).●●8:00: Greater Toronto PhilharmonicOrchestra. Autumn Classics. Featuring winnersof Kiwanis Music Festival 2014. Schumann:Piano Concerto in a; Vieuxtemps: ViolinConcerto No.4; Dvořák: New World Symphony;arias by Handel, Gounod and Rossini.Emily D’Angelo, soprano; Meng Jia Lin, violin;Ethan Chen, piano; David Fallis, conductor.Calvin Presbyterian Church, 26 Delisle Ave.647-478-6122. $25; $20(sr/st).●●8:00: Small World Music Festival/StarvoxEntertainment. NY Gypsy All-Stars. ContemporaryBalkan Gypsy music. Randolph Theatre,736 Bathurst St. 416-879-5209. $29-$39.●●8:00: Toronto Symphony Orchestra.Masterworks: Rachmaninoff Symphony 2.See Oct 2.Sunday October 5●●2:30: Cardinal Consort of Viols. An EnglishSampler: Music for Viols and Voices. Worksby Byrd, Gibbons, Holborne and Tomkins. CardinalConsort; guests: Conrad Grebel ChamberChoir; Mark Vuorinen, conductor. Churchof the Redeemer, 162 Bloor St. W. 416-921-9203. PWYC.●●3:00: Amici Chamber Ensemble. GrishaGoryachev: ¡España! Works by Albéniz, deFalla, Paco de Lucia, Guinovart and Lecuona.Amici Chamber Ensemble; guests: GrishaGoryachev, guitar; Jeffrey Beecher, bass;Jamie Drake, percussion. Mazzoleni ConcertHall, 273 Bloor St. W. 416-408-0208.$45;$40(sr);$15(under 30);$10(st). 2:30: preconcertchat.●●3:00: Oshawa Opera. Norma. Bellini.Suzanne Kilgore, soprano (Norma); KristineDandavino, soprano (Adalgisa); NatalyaMatyusheva, soprano (Clotilde); Dillon Parmer,tenor (Pollione); Jeff Boyd, tenor (Flavio);Norman E Brown, bass (Oroveso); WilliamShookhoff, music director. Kingsview UnitedChurch, 505 Adelaide Ave. E., Oshawa. 905-995-2847. $20.●●4:00: Church of St. Mary Magdalene.Bairstow’s Organ Sonata. Andrew Adair,organ. 477 Manning Ave. 416-531-7955. Free.●●4:00: Elmer Iseler Singers. The SpiritSings! Whitbour: Song of God Mass; Lauridsen:Lux Aeterna; Howells: A Hymn to St.Cecilia; Whitacre: Alleluia. Lydia Adams, conductor;guests: Shawn Grenke, piano/organ;Robert Carli, saxophone. Eglinton St. George’sUnited Church, 35 Lytton Blvd. 416-217-0537.$40; $35(sr); $15(st).●●4:00: St. Philip’s Anglican Church. JazzVespers. Colleen Allen Trio. 25 St. Phillips Rd.,Etobicoke. 416-247-5181. Freewill offering.●●4:30: Christ Church Deer Park. Jazz Vespers.Joe Sealy, piano; Paul Novotny, bass.1570 Yonge St. 416-920-5211x22. Freewilloffering.●●8:00: George Koller. International Divas I.All acoustic: world, folk, roots, jazz, classics,singer/songwriter. Jackie Richardson,Luanda Jones, Saina Singer, Cindy Church,Patricia Cano, Laila Biali with their accompanists.Trinity-St. Paul’s Centre, 427 Bloor St.W. 866-943-8849. $49; $25(sr/st). Portion ofticket sales to YWCA.●●8:00: Musideum. Don Naduriak Presents.Latin Jazz. Suite 133 (main floor),401 Richmond St. W. 416-599-7323. $20.●●8:00: Musideum. Brenda Lewis & MargaretStowe. Vocal-guitar jazz duo. Suite 133(main floor), 401 Richmond St. W. 416-599-7323. $20.●●8:00: Small World Music Festival. CoverMe Globally. Four recording artists reinterpreteach others’ songs. Drew Gonsalves(Kobo Town); Aviva Chernick (Jaffa Road);Donne Roberts (African Guitar Summit); andLisa Patterson (Roam). Small World MusicCentre, Artscape Youngplace, 180 Shaw St.416-536-5439. $20.Monday October 6● ● 4:30: Beach United Church. Jazz andReflection: Just the Way You Are. BarbraLica, vocals; Paul Novotny, bass; Joe Sealy,piano. 140 Wineva Ave. 416-691-8082. Freewilloffering.Tuesday October 7●●12:00 noon: Canadian Opera Company.Vocal Series: A Play of Passion. Three songcycles by Canadian composer Derek Holman.Holman: The Death of Orpheus; A LastingSpring; A Play of Passion. Colin Ainsworth,tenor; Stephen Ralls, piano. Richard BradshawAmphitheatre, Four Seasons Centre forthe Performing Arts, 145 Queen St. W. 416-363-8231. Free.●●12:10: Nine Sparrows/Yorkminster ParkBaptist Church. Lunchtime Chamber Music.Jessica Tse, clarinet; Michael Lee, piano.Yorkminster Park Baptist Church, 1585 YongeSt. 416-241-1298. Free, donations welcome.●●12:10: University of Toronto Faculty ofMusic. Tuesday Performance Class for Singers:3rd/4th Year Undergraduates Perform.Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. Free.●●7:30: Royal Conservatory. William VerMeulen,French horn. Recital by Glenn GouldSchool’s newly appointed brass artist-in-residence.Mazzoleni Concert Hall, 273 Bloor St.W. 416-408-0208. $32.B. Concerts Beyond the GTAIN THIS ISSUE: Barrie, Cambridge, Campbellford, Hamilton,Kingston, Kitchener, Leith, London, Midland, Owen Sound,Peterborough, Picton, St. Catharines, and Waterloo.Wednesday September 3●●12:00 noon: Barrie Concerts. MiddayMusic with Shigeru. Dvořák: Slavonic Dances;Brahms: Hungarian Dances. Marketa Ornovaand Jialiang Zhu, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$5; Free(st).Friday September 5●●8:00: Kitchener-Waterloo Symphony.Time for Three and Encores. Grieg: “MorningMood” from Peer Gynt; Glinka: Overture toRusslan and Ludmilla; Time for Three: GriegHolberg Suite Mashup; favourite encores byBritten, Fauré and Estacio. Time for Three:Zachary De Pue and Nicolas Kendall, violins;Ranaan Meyer, double bass; Edwin Outwater,conductor; Daniel Bartholomew-Poyser,assistant conductor (debut). Centre in theSquare, 101 Queen St. N., Kitchener. 519-745-4711 or 888-745-4717. $19-$82. Also Sep 6.Saturday September 6●●8:00: Kitchener-Waterloo Symphony.Time for Three and Encores. See Sep 5.Sunday September 7●●4:00: Hammer Baroque. Culture Clash. Variousnational styles of instrumental chambermusic. Elixir Baroque. St. John the EvangelistChurch, 320 Charlton Ave. W., Hamilton. 905-517-3594. $15(suggested donation).●●7:30: The Cuckoo’s Nest Folk Club. Friendsof Fiddler’s Green. Alistair Brown, Ian Bell,Grit Laskin, Ian Robb, Laurence Stephenson,Jeff McClintock. Chaucer’s Pub, 122 CarlingSt., London. 519-473-2099. $15(adv);$18(door).●●8:00: Kitchener-Waterloo ChamberMusic Society. Doug Stewart, flute; ConstanceMadelina, piano. KWCMS Music Room,57 Young St. W., Waterloo. 519-886-1673.$20; $15(sr); $10(st) or by donation.Wednesday September 10●●2:30: Barrie Concerts. Seniors Serenade.Works by Gershwin, Porter and Kern. ChrisNess, piano; Janet Ness, vocals. Grace UnitedChurch, 350 Grove St. E., Barrie. 705-726-1181. Free.Thursday September 11●●12:00 noon: Wilfrid Laurier University Facultyof Music. Music at Noon. Faculty showcaseconcert. Maureen Forrester Recital Hall,Wilfrid Laurier University, 75 University Ave.W., Waterloo. 519-884-0710 x4439. Free.●●8:00: Kitchener-Waterloo Chamber MusicSociety. Amadeus Guitar Duo. Rodrigo: MadrigalSuite; Handel: Suite No.7; Gangi: SuiteSpagnola; Kavanagh: Four Pieces; Bach: Chaconne(arr. Busoni); Montés: Amasur. DaleKavanagh and Thomas Kirchoff, guitars.KWCMS Music Room, 57 Young St. W., Waterloo.519-886-1673. $30; $25(sr); $20(st).Saturday September 13●●6:15: Hamilton Philharmonic Orchestra/Supercrawl.Supercrawl Collaborationwith Thought Beneath Film. Membersof the Hamilton Philharmonic collaboratewith Indie band Thought Beneath Film at aSupercrawl festival performance. Works byThought Beneath Film; Copland: Hoedown;Mussorgsky: Pictures at an Exhibition; andother works. Suhashini Arulanandam, violin;Elspeth Thomson, viola; Laura Jones, cello;Rob Wolanski, bass; Thought Beneath Film. TDArkells Stage, James St. N., Hamilton. 905-526-1677 x230. Free.Sunday September 14●●2:00: Charlotte Knight presents. Die Reisethewholenote.com September 1, 2014 – October 7, 2014 | 49

(The Journey). Schubert: Der Hirt auf demFelsen; Argento: To Be Sung Upon the Water;Bolcom: Cabaret Songs; selections from MyFair Lady and Phantom of the Opera. CharlotteKnight, soprano; Jonathon Dick, baritone;Michele Jacot, clarinet; Erika Reimanand Tom Inglis, piano. Silver Spire UnitedChurch, 366 St. Paul Street, St. Catharines.647-637-9252. $30; $20(sr/under30). In supportof Charlotte’s 2015 European AuditionTour.Monday September 15●●8:00: Kitchener-Waterloo Chamber MusicSociety/Canzona Chamber Players. PierrotLunaire. Ravel: Trio in a; Schoenberg: PierrotLunaire. Rachel Krehm, soprano; AmeliaLyon, flute; Jonathan Krehm, clarinet; YosukeKawasaki, violin and viola; Wolfram Koessel,cello; Vadim Serebryany, piano. KWCMSMusic Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $30(sr); $20(st).Wednesday September 17●●12:00 noon: Music at St. Andrews. SimonWalker, Organ. Works by Bach, Franck, Rheinbergerand Leighton. St. Andrew’s PresbyterianChurch, 47 Owen St., Barrie. 705-726-1181.$5; free(st).Thursday September 18●●12:00 noon: Wilfrid Laurier University Facultyof Music. Music at Noon. Note Bene BaroquePlayers (on period instruments). AlisonMelville, traverso; Daniel Lichti, bass-baritone.Maureen Forrester Recital Hall, WilfridLaurier University, 75 University Ave. W.,B. Concerts Beyond the GTAWaterloo. 519-884-0710 x4439. Free.●●8:00: Kitchener-Waterloo Chamber MusicSociety. Heidi Wall, piano. Tchaikovsky: TheSeasons; Beethoven: Sonata No.27 Op.90;Balakirev: Islamey. KWCMS Music Room,57 Young St. W., Waterloo. 519-886-1673.$20; $15(sr); $10(st).Friday September 19●●7:30: 2014 Sweetwater Music Festival:Bach to the Future. Music of Von Biber,Schmelzer and Bach. Elizabeth Wallfischand Mark Fewer, violins; Lucas Harris, theorbo;Hank Knox, harpsichord. Leith Church,419134 Tom Thomson Ln., Leith. 519-794-2083. $43; $10(st). Festival runs Sep 19 to 21.●●7:30: Prince Edward County Music Festival.Penderecki String Quartet. Mendelssohn:Quartet No.6 in f, Op.80; Palej: String QuartetNo.1 (“De Profundis”); Taneyev: Quintetfor piano and strings in g, Op.30. PendereckiString Quartet; Stéphane Lemelin, piano.Church of St. Mary Magdalene (Picton),339 Main St., Picton. 877-411-4761. $36; $5(18and under). Festival FlexPass available.Saturday September 20●●2:00: Tapestry/Westben Arts FestivalTheatre. Arias of Concern. Arias by someof Canada’s newest operatic composers.Westben Concert Barn, 6698 County Rd. 30,Campbellford. 877-883-5777. $38; $36(sr);$15(st); $5(youth).●●7:30: 2014 Sweetwater Music Festival:Bach to the Future. Music of Maute, Haydnand Beethoven. St. Lawrence String Quartet;Rosanne Wieringa, flute; Joseph Phillips,double bass; Kati Gleiser, piano. St. Andrew’sPresbyterian Church (Owen Sound), 865 2ndAve W., Owen Sound. 519-794-2083. $32;$10(st). Festival runs Sep 19 to 21.●●7:30: Hamilton Philharmonic Orchestra.Opening Night: Laplante plays Beethoven.Kulesha: Torque; Beethoven: Piano ConcertoNo.5 “Emperor”; Dvořák: SymphonyNo.7. André Laplante, piano; Alastair Willis,conductor. Hamilton Place, 10 Macnab St.S., Hamilton. 905-526-7756. $23–$67; $21-$64(sr); $17(under 35); $10(child).●●7:30: Prince Edward County Music Festival.Denise Djokic. Bach: Suite for solocello No.2, in d; Britten: Suite for solo celloNo.1 Op.72; Morlock: Halcyon, for cello andpiano; Rachmaninoff: Cello Sonata in g, Op.19.Denise Djokic, cello; Stéphane Lemelin, piano.Church of St. Mary Magdalene (Picton),339 Main St., Picton. 877-411-4761. $36; $5(18and under). Festival FlexPass available.Sunday September 21●●10:00am: Wilfrid Laurier UniversityFaculty of Music. Homecoming Service.Laurier Singers; Alumni Choir. KefferMemorial Chapel, Wilfrid Laurier University,75 University Ave. W., Waterloo. 519-884-0710 x4439. Freewill offering.●●2:00: 2014 Sweetwater Music Festival:Bach to the Future. Music of J. S. Bach andDavid Braid. Brad Turner, trumpet; MarkFewer and Drew Jurecka, violins; JosephPhillips, bass; David Braid, piano. Roxy Theatre,251 9 St. E., Owen Sound. 519-794-2083.$32; $10(st). Festival runs Sep 19 to 21.●●2:00: Prince Edward County Music Festival.André Laplante. Works by Schubert andLiszt. André Laplante, piano. Church of St.Mary Magdalene (Picton), 339 Main St., Picton.877-411-4761. $36; $5(18 and under). FestivalFlexPass available.●●2:00: Westben Arts Festival Theatre. Tributeto Our (R.) Murray Schafer. Ben Heppner,host; Donna Bennett, soprano; EleanorJames, mezzo; Gryphon Trio; Judy Loman,harp; Molinari String Quartet; Westben FestivalChorus; Brian Finley, piano. WestbenConcert Barn, 6698 County Rd. 30, Campbellford.877-883-5777. $50; $48(sr); $15(st);$5(youth).●●2:30: Isabel Bader Centre for the PerformingArts. Ensemble Series: Afiara Quartetand Maxim Bernard. Ravel: Le Tombeaude Couperin; Schumann: String QuartetNo.1 Op.41; Dvořàk: Piano Quintet No.2 in A;and other works. Maxim Bernard, piano.390 King St. W., Kingston, On. 613-533-2424or 1-855-533-2424. $26.50.●●2:30: Niagara Symphony Orchestra.Masterworks I: Fantastique! Goodyear:Fruits of the Harvest; Grieg: Piano Concerto;Berlioz: Symphonie Fantastique.Anastasia Rizikov, piano. Sean O’Sullivan Theatre,Centre for the Arts, Brock University,500 Glenridge Ave., St. Catharines. 905-687-4993. $13.50-$59.Tuesday September 23●●12:30: Brock University Department ofMusic. Music@Noon: Faculty Recital. VeraAlekseeva; violin; Gordon Cleland, cello; ErikaReiman, piano. Sean O’Sullivan Theatre, Centrefor the Arts, 500 Glenridge Ave., St. Catharines.905-688-5550 x3817. Free.Barrie’s 12thCOLOURSofSEPTEMBER 26th toOCTOBER 5th, 2014Musicians And Singers From AcrossCanada And Around The WorldCecilia String Quartet • Israeli Cellist Gavriel LipkindAustrian Violinist Wolfgang David • Ensemble PolarisChoir of St.James Cathedral • Clarinetist James CampbellSinger Patricia O’Callaghan • Harpist Lori GemmellThat Choir • Pianist Michael Kim • Trumpeter Guy FewPianist Mauro Bertoli • Narrator/Trombonist Tom AllenSoprano Monica Whicher • Conductor / CommentatorKerry Stratton • Organists Andrew Adair & Simon WalkerPianists Peter Tiefenbach & Robert Kortgaard & More...Wonderful Music - Wonderfully Performedwww.coloursofmusic.ca • 705.726.118150 | September 1, 2014 – October 7, 2014 thewholenote.com

Wednesday September 24●●12:30: University of Waterloo Departmentof Music. Noon Hour Concerts: Triod’Argento. Music for flute, clarinet and piano.Works by Ibert, Beethoven and Oscar Peterson.Conrad Grebel University College,140 Westmount Rd. N., Waterloo. 519-885-0220 x24226. Free.●●8:00: Kitchener-Waterloo Chamber MusicSociety. Jana Starling, clarinet; Sharon Wei,viola; John Hess, piano. Bliss: Viola Sonata;Bax: Clarinet Sonata; Clarke: Duo for Clarinetand Viola; Kurtág: Hommage à Schumann;Schumann: Marchenerzählungen. KWCMSMusic Room, 57 Young St. W., Waterloo. 519-886-1673. $30; $25(sr); $20(st).Thursday September 25●●12:00 noon: Wilfrid Laurier University Facultyof Music. Music at Noon. James McLean,tenor; Lorin Shalanko, piano. Maureen ForresterRecital Hall, Wilfrid Laurier University,75 University Ave. W., Waterloo. 519-884-0710 x4439. Free.●●7:30: Prince Edward County Music Festival.Nikki Chooi and Philip Chiu. Works byBeethoven, Prokofiev and Ravel. Nikki Chooi,violin; Philip Chiu, piano. Church of St. MaryMagdalene (Picton), 339 Main St., Picton. 877-411-4761. $36; $5(18 and under). Festival Flex-Pass available.Friday September 26●●7:30: Colours of Music. That Choir: AChoir With a Difference. Works by Bruckner,Whitacre, Mealor and others. Craig Pike,conductor. Grace United Church, 350 GroveSt. E., Barrie. 705-726-1181. $35; $15(passport);$5(st).●●7:30: Marilyn I. Walker School of Fine andPerforming Arts, Brock University. WalkerCultural Leader Series: Brett Polegato: AnEvening of Song. Sean O’Sullivan Theatre,Centre for the Arts, 500 Glenridge Ave.,St. Catharines. 905-688-5550 x3257. $17;$10(sr/st); $5(eyeGO).●●7:30: Prince Edward County Music Festival.Ensemble Made in Canada. Dvořák:Piano Quartet No.2 in E flat, Op.87; Hedges:“Snikt, bub!”; Fauré: Piano Quartet No.1 in c,Op.15. Church of St. Mary Magdalene (Picton),339 Main St., Picton. 877-411-4761. $36; $5(18and under). Festival FlexPass available.●●8:00: Kitchener-Waterloo Symphony.Cirque Mechanics. Innovative mechanics,aerialists, acrobats, contortionists and classicalmusic favourites. Daniel Bartholomew-Poyser, conductor. Centre in the Square,101 Queen St. N., Kitchener. 519-745-4711 or888-745-4717. $19-$82. Also Sep 27(mat/eve).Saturday September 27●●10:00am: Colours of Music. All of theBeethoven Violin Sonatas in One Day (I). WolfgangDavid, violin; Mauro Bertoli, piano. Hi-Way Pentecostal Church, 50 Anne St. N.,Barrie. 705-726-1181. $25; $5(st).●●2:30pm: Colours of Music. All of theBeethoven Violin Sonatas in One Day (II).Wolfgang David, violin; Mauro Bertoli, piano.Hi-Way Pentecostal Church, 50 Anne St. N.,Barrie. 705-726-1181. $25; $5(st).●●2:30: Kitchener-Waterloo Symphony.Cirque Mechanics. See Sep 26(eve); AlsoSep 27(eve).●●7:30: Colours of Music. All of the BeethovenViolin Sonatas in One Day (III). WolfgangDavid, violin; Mauro Bertoli, piano. Hi-WayPentecostal Church, 50 Anne St. N., Barrie.705-726-1181. $25; $5(st).●●8:00: Kitchener-Waterloo Symphony.Cirque Mechanics. See Sep 26; AlsoSep 27(mat).Sunday September 28●●2:00: Jeunesses Musicales Ontario. EmergingArtists Concerts on Tour: Falling for theOboe. Midland Cultural Centre, 333 King St.,Midland. 705-527-4420. $25; $10(st).●●2:00: Prince Edward County Music Festival.I Musici de Montréal. Works by Vivaldi,Monteverdi and Handel. Regent Theatre,224 Main St., Picton. 877-411-4761. $36; $5(18and under).●●2:30: Colours of Music. Mauro Returns.Works by Beethoven, Clementi, Granados,Debussy, Poulenc and others. Mauro Bertoli,piano. Hi-Way Pentecostal Church, 50 AnneSt. N., Barrie. 705-726-1181. $25; $5(st).●●7:30: Colours of Music. Bohemians inBrooklyn. A cabaret by Tom Allen based on agroup of artists who lived in February Housein Brooklyn in the early 1940s. Works by Britten,Weill, Bernstein, McPhee and others.Tom Allen, narrator and trombone; PatriciaO’Callaghan, soprano; Lori Gemmell, harp;Bryce Kulak, piano and vocals. Grace UnitedChurch, 350 Grove St. E., Barrie. 705-726-1181. $35; $15(passport); $5(st).●●8:00: Kitchener-Waterloo Chamber MusicSociety. Musathena/Harmonie: Dutch BaroqueMusic. Sweelinck: Paduana Lachrimae;Schenck: Sonata No.2 from Il GiardinoArmonico; Albicastro: Trio Sonata Op.8 No.11;Kempis: Symphonia 7 supra Ciaconna a tre;Locatelli: Trio Sonata Op.5; and other works.Sheila Smyth and Valerie Sylvester, baroqueviolins; Philip Serna, viola da gamba and bassviol; Janet Scott, harpsichord and keyboards.KWCMS Music Room, 57 Young St. W., Waterloo.519-886-1673. $30; $25(sr); $20(st).Monday September 29●●12:00 noon: Colours of Music. MiddaySongbirds. Works by Purcell, Mozart, Offenbachand Delibes. Alison Jane Taylor, soprano;Laura Aylan-Parker, mezzo; Doreen UrenSimmons, piano. First Baptist Church (Barrie),550 Grove St. E., Barrie. 705-726-1181.$15; $5(st).●●2:30: Colours of Music. Italian Serenade.Works by Vitali, Boccherini, Respighi, Martucciand Gluck. Wolfgang David, violin; PaulMarleyn, cello; Mauro Bertoli, piano. Hi-WayPentecostal Church, 50 Anne St. N., Barrie.705-726-1181. $25; $5(st).●●7:30: Colours of Music. Charron Brothers:Hoedown. Kyle Charron, fiddle; Nate Douglas,guitar; Jake Charron, piano; Sarah Robinson,step dance. Grace United Church, 350 GroveSt. E., Barrie. 705-726-1181. $25; $5(st).Tuesday September 30●●11:45am: Wilfrid Laurier University Facultyof Music. Music at Noon. Student Recital.Maureen Forrester Recital Hall, Wilfrid LaurierUniversity, 75 University Ave. W., Waterloo.519-884-0710 x4439. Free.●●12:00 noon: Colours of Music. All of theBeethoven Cello Sonatas (I). Paul Marleyn,cello; Mauro Bertoli, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie.705-726-1181. $15; $5(st).●●2:30pm: Colours of Music. All of theBeethoven Cello Sonatas (II). Paul Marleyn,cello; Mauro Bertoli, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181. $15; $5(st).●●7:30: Colours of Music. Definitely Not TheNutcracker. Ensemble Polaris. Grace UnitedChurch, 350 Grove St. E., Barrie. 705-726-1181. $35; $15(passport); $5(st).Wednesday October 1●●12:00 noon: Colours of Music/MiddayMusic with Shigeru. Festive Mendelssohn:Fanny and Felix. Amity Piano Trio: MichaelAdamson, violin; Alyssa Wright, cello; MarilynReesor, piano. Hi-Way Pentecostal Church,50 Anne St. N., Barrie. 705-726-1181. $5;free(st/passport).●●12:30: University of Waterloo Departmentof Music. Noon Hour Concerts: Cardinal Consortof Viols. 16th and 17th century music forviol consorts. Conrad Grebel University College,140 Westmount Rd. N., Waterloo. 519-885-0220 x24226. Free.●●2:30: Colours of Music. Soaring Strings.Works by Schubert. Cecilia String Quartet;Gavriel Lipkind, cello. First Baptist Church(Barrie), 550 Grove St. E., Barrie. 705-726-1181. $25; $5(st).●●7:30: Colours of Music. Fun With Song.Patricia O’Callaghan, soprano; MonicaWhicher, soprano; Andrew Downing, bass;Robert Kortgaard, piano; Peter Tiefenbach,piano. Burton Avenue United Church,37 Burton Ave., Barrie. 705-726-1181. $35;$15(passport); $5(st).●●7:30: Essential Opera. Paride ed Elena(Paris and Helen). Gluck. Erin Bardua, soprano(Elena); Maureen Batt, soprano (Amore/Erasto); Emily Klassen, soprano (Pallade);Andrea Cerswell, soprano (Trojan Messenger);Lyndsay Promane, mezzo (Paride);Vicki St. Pierre, music director; Wesley Shen,piano. Registry Theatre, 122 Frederick St.,Kitchener. 416-827-3009. $20. Also Sep 27(Toronto).●●8:00: Kitchener-Waterloo Chamber MusicSociety. Madawaska String Quartet. AnitaWalsh and Sarah Fraser Raff, violins; AnnaRedekop, viola; Amber Ghent, cello. KWCMS2014 - 2015OVATION series in Lindsay orBRAVO series in Peterborough,Season SponsorCONCERTSCheck our website for Pre-Concert ChatsMAURO BERTOLI, PIANOBRAVO – Fri. Oct. 17 | OVATION – Sat. Oct. 18, 2014DENIS CHANG’S GYPSY JAZZ QUARTETBRAVO – Sat. Nov. 15 | OVATION – Sun. Nov. 16, 2014MARIE-JOSÉE LORD, SOPRANOBRAVO (only) Sat. January 17, 2015CATHARIN CAREW, MEZZO SOPRANOOVATION (only ) Sun. Jan. 18, 2015Sunday Performances at 2:30 pm, others at 7:30 pmNote: Artists, dates and programmes are subject to change.Kawartha Concerts reserves the right to substitute.Bravo | Ovation Series Subscriptions:Adult $155.00 Youth $30.00THE JUDGEMENT OF PARIS - TOM ALLENBRAVO – Fri. Feb. 27 | OVATION – Sun. Mar.1, 2015GUY FEW & NADINA MACKIE JACKSONBRAVO – Fri. Mar. 27 | OVATION – Sat. Mar. 28, 2015ANGÈLE DUBEAU & LA PIETÀBRAVO – Fri. May 1 | OVATION – Sat. May 2, 2015DIVAS & DIVOS | OPERA’S GREATEST HITSHannah Lucas, Amanda Perera, Michael Marino,Michael Rusnak and Paul DigoutBRAVO – Fri. May 29 | OVATION – Sat. May 30, 2015**This is a BONuS Concert for Series SubscribersSingle Tickets: Adult $35.00 | Adult at the door $40.00Student $5.00 | Student at the door $5.00Order Online at www.kawarthaconcerts.caPhone: 705-878-5625In Person: 1 York St. N. Lindsay, ON K9V 3Z7thewholenote.com September 1, 2014 – October 7, 2014 | 51

B. Concerts Beyond the GTA Beat by Beat | In the ClubsORI DAGANMusic Room, 57 Young St. W., Waterloo. 519-886-1673. $30; $25(sr); $20(st).●●8:00: Kitchener-Waterloo Symphony. ToThe Ends of the Alphabet. Zelenka: Hipocondrieà 7 concertanti; Wadley: Three Movementsfor Clarinet and Strings; J.S. Bach(arr. David Wadley): Preludes and Fuguesfrom Well-Tempered Clavier Book 1; J.S.Bach: Brandenburg Concerto No.3 in G.Ross Edwards, clarinet; David Wadley, violaand curator; Lucas Waldin, conductor. FirstUnited Church, 16 William St. W., Waterloo.519-745-4711 or 888-745-4717. $35; $14(st).Also Oct 3(Guelph), 4(Cambridge).Thursday October 2●●12:00 noon: Colours of Music. Two at theConsole. Works by Bach and Mozart. AndrewAdair and Simon Walker, organ. St. Andrew’sPresbyterian Church, 47 Owen St., Barrie.705-726-1181. Free.●●12:00 noon: Wilfrid Laurier University Facultyof Music. Music at Noon. PendereckiString Quartet. Maureen Forrester RecitalHall, Wilfrid Laurier University, 75 UniversityAve. W., Waterloo. 519-884-0710 x4439. Free.●●2:30: Colours of Music. A Strauss Party.Works by Scriabin, R. Strauss, Berners,Bitsch and Schoenfield. Guy Few, trumpet;Stephanie Mara, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$25; $5(st).●●7:30: Colours of Music. Masters of JewishMusic: Culturally Diverse and Unique. Worksby Bach, Block, Ben-Haim, N. Scheriff and A.Kopelman. Gavriel Lipkind, cello. Am ShalomCongregation, 767 Huronia Road, Barrie. 705-726-1181. $25; $5(st).Friday October 3●●12:00 noon: Colours of Music. An EmergingTalent. Works by Liszt, Debussy, Burge.Mathew Walton, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$15; $5(st).●●12:15: Wilfrid Laurier University Facultyof Music. Music in the Library. Student performance.Wilfrid Laurier University Library,75 University Ave. W., Waterloo. 519-884-0710 x4439. Free.●●2:30: Colours of Music. Cecilia String Quartet.Works by Haydn, Tchaikovsky and Arensky.Burton Avenue United Church, 37 BurtonAve., Barrie. 705-726-1181. $25; $5(st).●●7:30: Colours of Music. Musicians at theSummit. Works by Brahms, Beethoven, Mendelssohnand Schumann. James Campbell,clarinet; Gavriel Lipkind, cello; Michael Kim,piano. Grace United Church, 350 Grove St.E., Barrie. 705-726-1181. $35; $15(passport);$5(st).●●8:00: Folk Under the Clock. Dala. AmandaWalther and Sheila Carabine. Market HallTheatre, 140 Charlotte St., Peterborough.705-749-1146 and 705-742-9425. $35; $25(st).All tickets are reserved seating.●●8:00: Kitchener-Waterloo Symphony. ToThe Ends of the Alphabet. Harcourt MemorialUnited Church, 87 Dean St., Guelph. 519-745-4711 or 888-745-4717. $35; $14(st). SeeOct 1(Waterloo), Also Oct 4(Cambridge).Saturday October 4●●12:00 noon: Colours of Music. Let theTrumpets Sound! Stan Elliotson and JonathanElliotson, trumpets; Marty Smyth, organ. St.Andrew’s Presbyterian Church, 47 Owen St.,Barrie. 705-726-1181. $15; $5(st).●●2:30: Colours of Music. Oscar Peterson:The Jazz Legend and the Man I Knew. RussBoswell, bass; Lance Anderson, piano. GraceUnited Church, 350 Grove St. E., Barrie. 705-726-1181. $25; $5(st).●●7:30: Centre for the Arts, Brock University.Voca People. Featuring over 70 a cappellaand beat box versions of popular songs,from Madonna to Mozart. Sean O’SullivanTheatre, Centre for the Arts, 500 GlenridgeAve., St. Catharines. 905-688-5550 x3257 or1-866-617-3257. $57.●●7:30: Colours of Music. Sublime Brahms.Brahms: Clarinet Quintet; Piano Quintet. CeciliaString Quartet; James Campbell, clarinet;Michael Kim, piano. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$35; $15(passport); $5(st).●●8:00: Kitchener-Waterloo Symphony.To The Ends of the Alphabet. Central PresbyterianChurch (Cambridge), 7 QueensSq., Cambridge. 519-745-4711 or 888-745-4717. $35; $14(st). See Oct 1(Waterloo); AlsoOct 3(Guelph).Sunday October 5●●2:30: Colours of Music. Michael Kim. Worksby Bach, Mozart, Chopin, Liszt, Brahms,Debussy and Gershwin. Hi-Way PentecostalChurch, 50 Anne St. N., Barrie. 705-726-1181.$25; $5(st).●●7:30: Colours of Music. The Serene Magnificenceof Choral Evensong. Choir of St.James Cathedral; Vicki St. Pierre, conductor;David Briggs, organ. Trinity Anglican Church(Barrie), 24 Collier St., Barrie. 705-726-1181.Goodwill offering.●●7:30: The Cuckoo’s Nest Folk Club. JohnGorka. Chaucer’s Pub, 122 Carling St., London.519-473-2099. $18/$15(adv).●●7:30: Wilfrid Laurier University Facultyof Music. Sing Fires of Justice for Hope. WilfridLaurier University Choirs with communitychoral singers. St. Matthews LutheranChurch, 54 Benton St., Kitchener. 519-884-0710 x4439. By donation.Tuesday October 7●●11:45am: Wilfrid Laurier University Facultyof Music. Music at Noon. Student Recital.Maureen Forrester Recital Hall, Wilfrid LaurierUniversity, 75 University Ave. W., Waterloo.519-884-0710 x4439. Free.Do more online!Search listingsby genreSearch listingsby geographyAll atthewholenote.comIn the ClubsORI DAGANSeptember signals summertime’s end butmusicians are out there to warm your heartthis month, as always. It’s really exciting tosee some new, weekly jam sessions happeningaround town, several of which are organized,promoted and hosted by hugely talented youngartists like saxophonist Emily Steinwall, who willbe entering her 2nd year at Humber College thismonth. The house band consists of fellow Humberheavies Youngchan Na on guitar, Hayden Farraron bass and Louis Baranyi-Irvine on drums. Thejams run every Sunday from 4 to 7pm except forthe second week of the month – so September 7, 21and 28 at Relish on the Danforth. I caught up withSteinwall to find out a bit more about the who, thewhere, the how and the why behind the sessions.What or who inspired you to start running aweekly jam session?There is another weekly jam session in the westend run by Nick Morgan that I attend as often aspossible at the Annette studios. I always have agreat time at the Annette jam, and it was a big partof the inspiration to start one up in the east end.I think this type of traditional jam session is so beneficial for musicianswho want to play jazz because it gives them a chance to playwith new people and hear other players on the scene, and apart fromthe Annette jam there aren’t many other things like this happening inToronto. I realized that there was a lack of places for people to get outand jam, though there was a huge demand for it, so I started one upat my house around the end of May … within a few weeks, too manypeople were coming out and I had to find a bigger venue, which iswhen I asked Relish.What makes Relish an ideal spot for this event?C. IN THE CLUBS (MOSTLY JAZZ)80 GLADSTONE80 Gladstone Ave. 416-516-719980gladstone.com (full schedule)September 27 8pm Peripheral Vision CDrelease: Sheer Tyranny of Will: Trevor Hogg(saxophone), Don Scott (guitar), Michael Herring(bass), Nick Fraser (drums) $10.ALLEYCATZ2409 Yonge St. 416-481-6865alleycatz.caEvery Mon 8pm Salsa Night w/Frank Bischun and free lessons. EveryTue 8:30pm Bachata Night w/ DJFrank Bischun and free lessons. EveryWed 8:30pm Carlo Berardinucci Band. NoCover. September 4 9pm Jee Jee & James(call for cover). September 11 9pm Wild “T”Tony Springer (call for cover). September 189pm Jazz Biscuit (call for cover). September5, 6, 13, 20 9pm Lady Kane $10. September12 9pm North of 7 Band $10. September 199pm The Community Soul Project $10. September26 9pm Rugged Root $10. September27 9pm Off the Wall $10.ANNETTE STUDIOS566 Annette St. 647-880-8378annettestudios.comEvery Mon 9:30pm Jazz Jam w/ Nick MorganEmilySteinwallQuartet. Suggested donation $12/$9(st).ARTWORD ARTBAR15 Colbourne St., Hamilton. 905-543-8512artword.net (full schedule)September 11 9pm Skirt Check w/ 5-piecehorn section No cover/PWYC. September12 8pm Guitarist Dan Walsh No cover/PWYC. September 13 8pm Wayne Janus &Kaizen No cover/PWYC. September 25 8pmThe Muted Note: Songs Based on Poems byP.K. Page, Susanna Hood & Scott ThomsonCall for ticket info. September 26 8pm MikeAlmas and Guilty Pleasure band: Mike Almas(voice, guitar), Steve Hilbert (bass), JoanneAugustyn (percussion, voice), Jack Pedler(drums, voice) Call for cover info.AXIS GALLERY AND GRILL3048 Dundas St. W 416-604-3333axisgalleryandgrill.com (full schedule)All shows: No cover/PWYCBLOOM2315 Bloor St. W. 416-767-1315bloomrestaurant.comAll shows: 19+.September 11, 12 7pm Heather Bambrickwith Mark Kieswetter (piano) and MichaelMcClennan (bass) $45 w/ Dinner Prix Fixe.September 25 7pm Juliet Dunn Trio $45.52 | September 1, 2014 – October 7, 2014 thewholenote.com

Relish is a great fit for this type of jam session because it is minutesaway from the subway line, already has the required equipment set upand offers cheap drinks for the musicians who come to play ($5 pintsof Ontario craft beer are offered to all jammers). The people who workthere are very friendly and relaxed, which gives the jam a fun andeasy-going vibe.What do musicians need to know if they are planning tocome to the jam?Rhythm section instruments will be provided, as wellas microphones for the vocalists, but horn players need tobring their own instruments. Musicians who are planning tocome and play should know material coming out of the GreatAmerican Songbook and other standard material – somethingthat many people will know how to play without having toread a chart. The material played is coming straight out of thejazz/swing tradition. There are a few basic etiquette things thatpeople should understand about jam sessions: first of all, if thereare many people who want to play, don’t hog the bandstand.This means taking a tasteful amount of choruses, not havingmore than two horn players on one tune and only playing oneor two before letting the next group get up. Give everyone achance to play!Secondly, be open to all levels of players and do not be ajerk. This jam is for everyone to have fun and share their joy formusic, and there is no room for egos. Don’t call tunes that areobscure/heavily arranged and expect everyone to know them.Come in with an open mind and be ready to play anything … inthis type of situation, simpler is better! There is no cover, butthere is a tip jar for the members of the house band to get paid with. A$5 to $10 donation is recommended for people coming to play.Here’s wishing Emily Steinwall the best of luck with this session –you’ll be seeing yours truly there often!Another new jam session on Tuesday evenings takes place on Bloornear Ossington at Blakbird (without a letter ‘c’) which is the downstairsof Pero Lounge. The host, Kalya Ramu, is a fantastic vocalist inher senior year at Humber. She is joined by a stellar group of youngmusicians: Nick Tateishi on guitar, Ewen Farncombe on keys, Connorcontinued on page 54CASTRO’S LOUNGE2116e Queen St. E 416-699-8272castroslounge.com (full schedule)All shows: No cover/PWYCC’EST WHAT67 Front St. E (416) 867-9499cestwhat.com (full schedule)September 20 3pm The Hot Five JazzmakersNo cover/PWYC.CHALKERS PUB, BILLIARDS & BISTRO247 Marlee Ave. 416-789-2531chalkerspub.comEvery Wed 8pm Girls Night Out Jazz Jamw/ host Lisa Particelli. PWYC. September13 6pm Girls’ Night Out Dinner Jazz LaunchParty: June Garber (voice), Mark Kieswetter(piano) and friends $15. September 20 6pmDave Young Quartet: Dave Young (bass), KevinTurcotte (trumpet), Bernie Senensky (piano),Terry Clarke (drums) $15. September 27 6pmDavid Occhipinti Trio: David Occhipinti (guitar),Andrew Downing (bass), Terry Clarke(drums) $15. September 28 7pm SpecialEvent: Tony Mergel Band $10.CLASSICO PIZZA & PASTA2457 Bloor St. W 416-763-1313classicopizza.com (Full schedule)DESOTOS1079 St. Clair Ave. W 416-651-2109desotos.ca (full schedule)Every Sun 11am-2pm Sunday Live JazzBrunch hosted by Anthony Abbatangeli Nocover.DOMINION ON QUEEN500 Queen St. E 416-368-6893dominiononqueen.com (full schedule)Call for cover info.EMMET RAY, THE924 College St. 416-792-4497theemmetray.com (full schedule)All shows: No cover/PWYCSeptember 4 9pm John-Wayne SwingtetAlexander Tikhonov (clarinet), Wayne Nakamura(guitar), Abbey Sholzberg (bass), JohnFarrell (guitar).FLYING BEAVER PUBARET, THE488 Parliament St. 647-347-6567pubaret.com (full schedule)September 26, 27 7pm Broadsway: HeatherBambrick, Julie Michaels & Diane Leah$25/$20(adv).FREE TIMES CAFE320 College St. 416-967-1078freetimescafe.comSeptember 11 8:30pm Songwriters’ Circleof Jerks 23 $6. September 17 7:30pm 60’sFolk Revival: Where Have All the Folk SongsGone? $10.GATE 403403 Roncesvalles Ave. 416-588-2930gate403.com All shows: PWYC.September 1 5pm Mike Daley Jazz Trio; 9pmJazzforia featuring Claire Riley. September 25pm David Buchbinder Jazz Band; 8pm DannyMarks and Alec Fraser Duo. September 35pm Howard Willett Blues Duo; 9pm JulianFauth Blues Night. September 4 5pm RobertaHunt Jazz & Blues Band; 9pm MélanieBrûlée’s Band. September 5 5pm Michael Belland Rob Phillip Jazz Duo; 9pm Tevlin SwingBand. September 6 5pm Bill Heffernan andHis Friends (Folk/Country/Blues); 9pm MelissaBoyce Jazz & Blues Band. September 75pm Janel Jones Jazz Duo; 9pm Roger ChongJazz Band. September 8 5pm Asha Pieper:“Take Two”; 9pm Rob Davis Blues Duo.September 9 5pm Songstress Sarah Kennedywith Pianist Matt Pines; 8pm DannyMarks and Alec Fraser Duo. September 105pm Michelle Rumball with Friend; 9pm JulianFauth Blues Night. September 11 5pmJoanne Morra & The France St. Trio; 9pmKevin LaLiberté Jazz & Flamenco Trio. September12 5pm Doc. Barrister Jazz Band;9pm Denielle Bassels Jazz Band. September13 5pm Bill Heffernan and His Friends;9pm Sweet Derrick Blues Band. September14 5pm John Wayne Swingtet; 9pm Six PointsJazz Orchestra. September 15 5pm JonathanFeldman’s Zebrina Trio; 9pm Bruce ChapmanBlues Duo with featured guests. September16 5pm Jonathan Maxine Willan Jazz Duo;8pm Danny Marks and Alec Fraser Duo. September17 5pm Meagan de Lima Jazz Band;9pm Julian Fauth Blues Night. September18 5pm G Street Jazz Trio; 9pm Donné RobertsBand. September 19 5pm Sam BrovermanJazz Duo; 9pm Fraser Melvin BluesBand. September 20 5pm Bill Heffernan andHis Friends (Folk/Country/Blues); 9pm JerryQuintyne Jazz Band. September 21 5pm BillPeter Kauffman Jazz Trio; 9pm Brown-TalskyJazz Quintet. September 22 5pm ConnerNewton Jazz Trio; 8pm The Sleaper Group.September 23 5pm Conor Hall Jazz Trio; 8pmDanny Marks and Alec Fraser Duo. September24 5pm Leigh Graham Jazz Duo; 9pm JulianFauth Blues Night. September 25 5pmSon of Rhythm; 9pm Annie Bonsignore JazzDuo or Trio. September 26 5pm Clela ErringtonRoot Music Duo; 9pm Tiffany HanusJazz Band. September 27 5pm Bill Heffernanand His Friends (Folk/Country/Blues);9pm Jazz Forge. September 28 5pm Jeff Taylorand The SLT; 9pm The Kilts - Play CelticBlues. September 29 7pm Cheryl WhiteRhythm & Blues Band. September 30 8pmDanny Marks and Alec Fraser Duo; 9pm PeterCampbell Jazz Trio.GROSSMAN’S TAVERN379 Spadina Ave. 416-977-7000grossmanstavern.com (full schedule)HABITS GASTROPUB928 College St. 416-533-7272habitsgastropub.com (full schedule)September 5 9pm Mark Ucci Jazz Trio $10.September 12 9pm Chelsea McBride Group$10. September 19 9pm Laura Fernandez$10. September 26 9pm Gord Sheard JazzTrio $10.HARLEM RESTAURANT67 Richmond St. E. 416-368-1920harlemrestaurant.com (full schedule)All shows: 7:30-11pm (unless otherwisenoted.) Call for cover info.September 5 Samantha Clayton. September6 Zimzum. September 19 Kristin Fung.HIRUT CAFE AND RESTAURANT2050 Danforth Ave. 416-551-7560All shows: PWYCEvery Sun 3pm Open Mic with NicolaVaughan: folk/country/jazz/world/R&B September3 8pm The Best Originals: Singer/Songwriter/Spoken Word Competition September26 9pm Hirut Hoot CabaretHOME SMITH BAR – SEE OLD MILL, THEHUGH’S ROOM2261 Dundas St. W. 416-531-6604hughsroom.comAll shows: 8:30pm (unless otherwise noted).September 3 Tom Russell $32.50/$30(adv).September 4 Coldjack & Monica Chapman$25/$22.50(adv). September 5 OneOCTOBER 2, 3, 4. FROM NYC:JOHNNY O’NEALwith DAVE YOUNG andTERRY CLARKEBook Your Table Today!416-363-5299251 Victoria Streetwww.jazzbistro.cathewholenote.com September 1, 2014 – October 7, 2014 | 53

SAXEBeat by Beat | In the Clubs (continued)Walsh on bass and IanPam HyattWright on drums. Maythese new jams live longand prosper, creatingcountless memorablemoments of music!Speaking of which,Lisa Particelli, founderand host of GNO JazzJam, just celebrated500 weeks of singing!This jam has travelledaround the city,from Cabbagetown tothe Beaches, and for years now its home has been at Chalkers Pub onMarlee Avenue. As of a few months back, in addition to Wednesdaynights at Chalkers, you can find the GNO East Jam between 2 and5pm on the last Sunday of every month at Morgans on the Danforth,with guest pianist Mark Kieswetter. All are welcome to sing with theaccompaniment of this very talented musician.I’m always happy to let readers know about new venues for livemusic. While these days there are only a few actual jazz clubs in themetropolitan of Toronto, hotels and restaurants that have opened uptheir weekends for live entertainment are always a welcome addition.The charm of Yorkville’s Toni Bulloni includes the food, service andatmosphere. There are only a few dozen seats at this intimate restaurantso the space easily becomes a cabaret. Saturday nights at 9pm andSunday evenings at 6pm you can find entertainment by duos like SamBroverman and Mark Kieswetter on September 6, Jordana Talsky andMark Kieswetter on September 21, Genevieve Marentette and MarkKieswetter on September 27, myself and Mark Kieswetter on October 4and so on. Come and find out why Kieswetter’s a walking masterclassin accompanying jazz singers!Of the non-Kieswetter dates, one gig of note is that of the duoperforming on Saturday, September 14: Pam Hyatt and Peter Hill.Hyatt is a gifted actress and singer, a comedienne par excellence,and one hell of a cabaret act. From the gorgeous tendernessof “Something Cool” to the sheer insanity that takes place on“Easy Street,” it’s inspiring that this lady recently released her firstrecording, Pamalot at age 76 years young! Peter Hill is famous foraccompanying thousands of Girls Night Out singers at Lisa Particelli’sGNO Jazz Jam and maintains a busy schedule as accompanistand leader. Their collaboration is well-captured on Hyatt’s aforementioneddebut album. For dinner reservations at Toni Bulloni’s call416-967-7676.Elsewhere in Toronto, the weekend of mid-September is a good one!The Rex alone features four fabulous shows on September 13: DannyMarks sings all kinds of blues at noon, Laura Hubert sings blues, jazzand western swing at 3:30pm, Justin Bacchus sings soul and R&B at7pm and then for dessert, jazz fusion with Vito Rezza at 9:45pm. If youmiss Rezza’s group, a great opportunity to catch them is the followingweekend, September 18, 19 and 20 at Jazz Bistro, with Cat Conner’sCD Release Sunday September 21 at 7pm.Thanks for reading, and an even greater thanks for getting out thereand listening!Ori Dagan is a Toronto-based jazz vocalist, voiceactor and entertainment journalist. He can becontacted at jazz@thewholenote.com.C. IN THE CLUBS (MOSTLY JAZZ)of These Nights: A Live Concert Tribute toThe Eagles featuring Lori Yates, SamanthaMartin & Delta Sugar, The Claytones,Tracey Brown & Randall Prescott, James“Champagne” Robertson, The Echo Hunters,Suzie Vinnick, and Burke Carroll & Co.Hosted by Michael Wrycraft $30/$25(adv).September 6 Friends of Fiddler’s Green$22.50/$20(adv). September 7 LoudonWainwright lll $45/$42.50. September11 Poor Angus $22.50/$20(adv). September12 Ron Nigrini $22.50/$20(adv). September13 Pharis & Jason Romero $22.50/$20(adv).September 17 Jen Chapin with Chris Brown& Kate Fenner $20/$18(adv). September18 Fearing & White (Stephen Fearing& Andy White) $25/$22.50(adv). September19 The MacKenzie Blues Band CDRelease $22.50/$20(adv). September20 Rita Chiarelli $22.50/$30(adv). September24 Starzz Jazz Night featuring ShannonButcher & Lori Cullen $35/$30(adv).September 26 Chris Smither CD Release$30/$27.50(adv). September 27 JaneBunnett & Maqueque $27.50/$25(adv). Sun,September 28 North Meets South: Old SongsFor A New Day $30/$27.50(adv).JAZZ BISTRO, THE251 Victoria St. 416-363-5299jazzbistro.caSeptember 3 8pm R&B Night with SoulStew: Michael Dunston (voice, percussion),David Gray (guitar, voice), Matt Horner (keyboards,voice), John Johnson (saxophones),Mark Kelso (drums, voice), Roberto Occhipinti(bass, voice) $15. September 4, 5, 6 9pmAndrew Craig Quartet: Andrew Craig (piano),Paa Joe (guitar), Rich Brown (bass), Altaf Vellani(drums, percussion) $12 (Thurs)/$15 (Fri/Sat). September 10 Kevin Barrett & PatriciaCano. September 11, 12, 13 9pm MicahBarnes and His Trio. September 16 8pm RosKindler “Sugar Blues” CD Release: Ros Kindler(voice), Mark Kieswetter (piano), Ross Mac-Intyre (bass), Ben Riley (drums), featuringspecial guests Ian MacGillivray (trumpet,voice), and Alison Young (saxophone) $20.September 17 Kevin Barrett & Mark Duggan.September 18, 19, 20 9pm Piano Chameleons$20. September 21 7pm Cat ConnerCD Release $15. September 24 Kevin Barrett& Gillian Margot. September 25, 26, 27 9pmAdi Braun (voice), Dave Restivo (piano), PatCollins (bass), Daniel Barnes (drums).JAZZ ROOM, THELocated in the Huether Hotel, 59 King St.N., Waterloo. 226-476-1565kwjazzroom.com (full schedule)Call for cover info. Attendees must be 19+.September 5 8:30pm Ray Podhornik Sextet.September 6 8:30pm Dave Young Quintet.September 12 8:30pm Dave WiffenQuintet. September 13 8:30pm September13 8:30pm Lorne Lofsky Trio. September 198:30pm Paul Mitchell Quintet. September 208:30pm Brian Dickinson Quintet. September26 8:30pm Derek Hines Band. September 278:30 Barry Elmes Quintet.JOE MAMA’S317 King St. W 416-340-6469joemamas.caEvery Tue 6pm Jeff Eager. Every Wed 6pmThomas Reynolds & Geoff Torrn. Every Thurs9pm Blackburn. Every Fri 10pm The Grind.Every Sat 10pm Shugga. Every Sun 6:30pmOrganic: Nathan Hiltz (guitar); BernieSenensky (organ); Ryan Oliver (sax), MorganChilds (drums).KAMA214 King St. W. 416-599-5262kamaindia.com (full schedule)LOCAL GEST, THE424 Parliament St. 416-961-9425 (call for concertschedule)Jazz Sundays 4:30-7:30pm. No cover.LULA LOUNGE1585 Dundas St. W. 416-588-0307lula.ca (full schedule)September 4 8:30 9th Annual Patsy ClineTribute $15. September 5 7:30pm Eric St.Laurent Trio; 10:30pm Cuba Libre Friday withYani Borrell $15 for both events. September6 10:30pm Salsa Saturday with Ricky Franco$15. September 7 11am Salsa Sunday Brunchwith Jorge Maza $15. September 11 10pmYasgur’s Farm $10. September 12 7:30pmYami Duo; 10:30pm Cuba Libre Fridays withCafe Cubano $15 for both events. September13 10:30pm Salsa Saturday: 10 piece salsaorchestra $15. September 14 11am SalsaSunday Brunch with Jorge Maza $15. September18 7:30 Ron Davis’s Symphronica:Neo-Artmusik feat. Jason Nett $20. September19 7:30pm Ahmed Mitchel Trio; 10:30pmCuba Libre Fridays with Changui Havana$15 for both events. September 20 10:30pmSalsa Saturday with Orquesta Fantasia $15.September 24 8pm Monkey’s Friggin’ LunchBox $20/$15(adv). September 26 7:30pmCarlos Miyares Trio $15 after 8pm; includesdance lessons and salsa at 9:30pm. September28 11am Salsa Sunday Brunch with JorgeMaza $15.MANHATTANS PIZZA BISTRO951 Gordon St., Guelph 519-767-2440manhattans.ca (full schedule)All shows: PWYCSeptember 3 7pm Harpist, Leslie Shapiro.September 4, 14, 28 8pm Hammerton/Wagler/O’Neill. September 5 8:30pm KelseyMcNulty Trio CD Release. September 6 7:30-9:30pm Jeff Daniels Trio feat. Tyler Walger &Jane Ellenton; 10pm Eccodek Live P.A. feat.Andrew McPherson & Les Hartai. September10, 24 John Zadro. September 17 Jokela& Vogan. September 21 Stan Chang.54 | September 1, 2014 – October 7, 2014 thewholenote.com

September 23, 30 Carmen Spada.MEZZETTA RESTAURANT681 St. Clair Ave. W 416-658-5687mezzettarestaurant.com (full schedule)All shows: 9pmMONARCH TAVERN12 Clinton St. 416-531-5833themonarchtavern.com (full schedule)September 8 7:30pm Martin Loomer & HisOrange Devils Orchestra $10.MONARCHS PUBAt the Eaton Chelsea Hotel33 Gerrard St. W. 416-585-4352monarchspub.ca (full schedule)All shows: 8pm-midnight. No cover.September 3 The Rick Donaldson Quartet.September 9 PerlHaze. September 10 TheRobin Banks Quartet. September 17 The GeneHardy Quartet. September 24 The MichaelDanckert Quartet.MORGANS ON THE DANFORTH1282 Danforth Ave. 416-461-3020morgansonthedanforth.com (full schedule)All shows: 2-5pm, no cover.MUSIDEUM401 Richmond St. W., Main Floor416-599-7323musideum.com (Full schedule)September 8 8pm Binary $15/$10 (students/artists/underwaged). September 16 8pmAlana Bridgewater $20. September 17 8pmVictor Kotov $20. September 27 8pm ConradGayle (Solo Piano Concert & Live Recording)$25 (includes copy of finished CD project).September 28 8pm Brownman +1 (Call forticket information).NAWLINS JAZZ BAR & DINING299 King St. W. 416-595-1958nawlins.caAll shows: No cover/PWYCEvery Tue 6:30pm Stacie McGregor. EveryWed 7pm Jim Heineman Trio. EveryThu 8pm Nothin’ But the Blues w/ guestvocalists. Every Fri 8:30pm All Star BourbonSt. Band. Every Sat 6:30pm Sam Heinman9pm All Star Bourbon St. Band. EverySun 7pm Brooke Blackburn.NICE BISTRO, THE117 Brock St. N., Whitby. 905-668-8839nicebistro.com (full schedule)September 24 Bill Collins & friends: “Le JazzHot” $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:7:30-10:30pmSeptember 5 Tom Szczesniak Trio: TomSzczesniak (piano), Neil Swainson (bass),Ethan Ardelli (drums). September 6 TedQuinlan Trio: Ted Quinlan (guitar), KieranOvers (bass), Anthony Michelli (drums).September 12 Russ Little Trio: Russ Little(trombone), Reg Schwagger (guitar), NeilSwainson (bass). September 13 Dave CaldwellQuartet: David Caldwell (saxophones,flute), Mark Eisenman (piano), Neil Swainson(bass), Don Vickery (drums). September18 Carol McCartney Quartet: CarolMcCartney (voice), Brian Dickinson (piano),Kieran Overs (bass), Chris Robinson (saxophone).September 19 Mike Cado Trio:Mike Cado (guitar), Patricia Wheeler (saxophone),Ross MacIntyre (bass). September20 John MacMurchy Trio: John MacMurchy(saxophone, clarinet), Mark Kieswetter(piano), Ross MacIntyre (bass). September25 Michael Shand Trio: Michael Shand(piano), Mark Stewart (bass), MaritoMarques (drums). September 26 Mike MurleyTrio: Mike Murley (saxophone), RegSchwagger (guitar), Steve Wallace (bass).September 27 Kyle Marshall Trio: Kyle Marshall(cello), Don Thompson (piano), Don Vickery(drums).PAINTBOX BISTRO555 Dundas St. E. 647-748-0555paintboxbistro.ca (full schedule)PAINTED LADY, THE218 Ossington Ave. 647-213-5239thepaintedlady.ca (full schedule)PILOT TAVERN, THE22 Cumberland Ave. 416-923-5716thepilot.ca All shows: 3:30pm. No cover.September 6 3:30pm The Jazz Collective:Jeff King (tenor sax), Luis Deniz (altosax), Alexis Baro (trumpet), Adrean Farrugia(piano), Artie Roth (bass), Joel Haynes(drums). September 13 3:30pm Chris GaleQuartet.POETRY JAZZ CAFÉ224 Augusta Ave. 416-599-5299poetryjazzcafe.com (full schedule)REPOSADO BAR & LOUNGE136 Ossington Ave. 416-532-6474reposadobar.com (full schedule)September 3 9:30pm Spy vs. Sly vs. Spy:James Robertson (guitar), Michael Herring(bass), Sly Juhas (drums).RESERVOIR LOUNGE, THE52 Wellington St. E. 416-955-0887reservoirlounge.com (full schedule).Every Tue 9:45pm Tyler Yarema and hisRhythm. Every Wed 9:45pm Bradley andthe Bouncers. Every Thu 9:45pm MaryMcKay. Every Fri 9:45pm Dee Dee andthe Dirty Martinis. Every Sat 9:45pmTyler Yarema and his Rhythm.REX HOTEL JAZZ & BLUES BAR, THE194 Queen St. W. 416-598-2475therex.ca (full schedule)Call for cover info.September 1 6:30pm Run Stop Run; 9:30pmLe Boeuf Brothers (NYC). September 26:30pm Richard Whiteman Group; 9:30pmLe Boeuf Brothers (NYC). September 36:30pm Brett Higgins Group; 9:30pm NorbertBotos Group featuring Mike Murley. September4 6:30 Kevin Quain; 9:30 NorbertBotos Group featuring Mike Murley. September5 4pm Hogtown Syncopators;6:30pm Sara Dell; 9:45pm Tim Ries (NYC)+ East Gypsy Band (Hungary). September6 12pm Chris Kettlewell & Friends; 3:30pmChris Hunt Tentet + 2; 7pm Tara Kannangara;9:45pm Brian Dickinson. September 712pm Excelsior Dixieland Jazz Band; 3:30pmClub Django; 7pm Hat & Beard (Monk Tribute);9:30pm Valeria Matzner. September 86:30pm Run Stop Run; 9:30pm FORQ (NYC/Dallas). September 9 6:30pm Richard WhitemanGroup; 9:30pm FORQ (NYC/Dallas). September10 6:30 Tom & Sly Juhas; 9:30pmHans Luchs Organ Trio (Chicago). September11 6:30pm October Trio (NYC/Vancouver);9:30 Parc-X Trio (Montreal). September12 4pm Hogtown Syncopators; 6:30pm SaraDell; 9:30pm Amina Figarova Group (NYC).September 13 12pm Danny Marks “Solo andLoving It!”; 3:30pm Laura Hubert Group; 7pmThe Bacchus Collective; 9:45pm Vito RezzaGroup. September 14 12pm Excelsior DixielandJazz Band; 3:30pm Red Hot Ramble; 7pmHat & Beard (Monk Tribute); 9:30pm DarrenSigesmund CD release. September 15 6:30U of T Jazz Ensembles; 9:30pm Mike Malone& The Writers Jazz Orchestra. September 166:30pm Richard Whiteman Group; 9:30pmNir Felder ‘Golden Age’ Quartet. September17 6:30pm Brett Higgins Group; 9:30 NirFelder ‘Golden Age’ Quartet. September18 6:30pm Kevin Quain; 9:30pm Tesseract.September 19 4pm Hogtown Syncopators;6:30pm Sara Dell; 9:45pm Dave Liebman(NYC) with Samuel Blais (Montreal). September20 12pm Danny Marks “Solo and LovingIt!”; 3:30pm Jerome Godboo - Blues Harmonica;7pm Keith Hallet Blues Trio (NewBrunswick); 9:45pm Dave Young Group. September21 12pm Excelsior Dixieland JazzBand; 3:30pm Dr. Nick & The Rollercoasters;7pm Hat & Beard (Monk Tribute); 9:30pmJay Boehmer Group. September 22 6:30pmU of T Jazz Ensembles; 9:30pm John CheesemanJazz Orchestra. September 23 6:30pmRichard Whiteman Group; 9:30pm ClassicRex Jazz Jam - Hosted by Humber CollegeFaculty Ensemble. September 24 6:30pmTom & Sly Juhas; 9:30pm Victor BatemanGroup. September 25 6:30pm Kevin Quain;9:45pm Rex’s Annual John Coltrane Tributew/ Pat Labarbera & Kirk Macdonald. September26 4pm Hogtown Syncopators; 6:30pmSara Dell; 9:45pm Rex’s Annual John ColtraneTribute w/ Pat Labarbera & Kirk Macdonald.September 27 12pm Danny Marks “Solo andLoving It!”; 3:30pm Swing Shift Big Band; 7pmThe Bacchus Collective; 9:45pm Rex’s AnnualJohn Coltrane Tribute w/ Pat Labarbera &Kirk Macdonald. September 28 12pm ExcelsiorDixieland Jazz Band; 3:30pm FreewayDixieland Band; 7pm Hat & Beard (Monk Tribute);9:30pm Steve Amirault. September 296:30pm U of T Jazz Ensembles; 8:30pm JunoAward Winners: John MacLeod’s Rex HotelOrchestra. September 30 6:30pm RichardWhiteman Group; 9:30pm Classic Rex Jamhosted by Chris Gale.SALTY DOG BAR & GRILL, THE1980 Queen St. E. 416-849-5064(call for full schedule)St. Philip’s Anglican ChurchSAUCE ON THE DANFORTH1376 Danforth Ave. 647-748-1376sauceondanforth.comAll shows: No cover.Every Mon 9pm The Out Of Towners: DirtyOrgan Jazz. Every Tue 6pm Julian FauthSEVEN44(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 $5. September1 7:30pm Advocats Big Band Nocover. September 8 7:30pm Bob Cary BigBand No cover. September 15 7:30pm GeorgeLake Big Band No cover. September 227:30pm Mega City Swing Big Band No cover.TONI BULLONI156 Cumberland St. 416-967-7676tonibulloni.comNo cover. Saturday shows: 9pm. $30 food/drink minimum. Sunday shows: 6pm. $25food/drink minimum.September 6 Sam Broverman & Mark KieswetterSeptember 7 Beverly Taft & RegSchwager. September 13 Heather Luckhart,Tony Quarrington, & Ross MacIntyre. September14 Pam Hyatt & Peter Hill. September20 Big Rude Jake & Paul Metcalfe. September21 Jordana Talsky & Mark Kieswetter.September 27 Genevieve Marentette & MarkKieswetter. September 28 Christopher Plock& Stevie Gee.TRANZAC292 Brunswick Ave. 416-923-8137tranzac.org (full schedule)3-4 shows daily, various styles. Mostly PWYC.Every Mon 10pm Open Mic Mondays. EveryThurs 7:30pm Bluegrass Thursdays: Houndstooth.Every Fri 5pm The Foolish Things(folk). This month’s shows include: September2 10pm Peripheral Vision. September4 10pm Julian Anderson-Bowes with AnastasiaMinster & Sabine Ndalamba. September5 7:30 Evan Ziporyn. September7 5pm Monk’s Music; 7:30pm The Imperative,with See Through Trio. September 97:30 Aurochs; 10pm Stop Time. September14 10pm Nick Fraser Presents. September 1610pm The Ken McDonald Quartet. September19 7:30pm Dust: The Quietest Big Band inthe Known World. September 23 10pm TheMark Segger Sextet. September 24 7:30pmTrevor Giancola. September 26 10pm TheRyan Driver Sextet. September 30 10pmDrumheller.Sunday, Sept 14, 4:00 PM | Jazz VespersMark Eisenman Quartet with Mike Murley (sax),Barry Elmes (drums), Pat Collins (bass)Sunday, Sept 21, 4:00 PM | Jazz VespersArtie Roth Quartet with Mike Filice (sax),Geoff Young (guitar), Anthony Michelli (drums)Sunday, October 5, 4:00 PM | Jazz VespersColleen Allen TrioSt. Philip’s Anglican Church | Etobicoke25 St. Phillips Road (near Royal York + Dixon)416-247-5181 • stphilips.net • free will offeringthewholenote.com September 1, 2014 – October 7, 2014 | 55

Of White Nights and Shapeshifting GiantsFor a publication committed to providingour readers with a comprehensivepicture of what’s going on, there arecertain kinds of events that are particularlyhard to pin down in print – because theyconstantly shift shape until the moment theyhappen. One such shapeshifter is CultureDays (this year taking place September 26 to28, city, province and country wide).Founded in 2009, Culture Days is dedicatedto the cause of getting Canadians to“make culture a daily habit.” Thousands ofarts organizations now take part, providingways for individuals to “participate free in interactive and behind-thescenesactivities to discover their cultural spirit and passion.”The Toronto Mendelssohn Choir September 27 “Singsations”choral workshop featured elsewhere in this issue (page 39) is onegood example. Another great example is “Conduct Us” which takesplace from 12 noon to 1:45pm on September 26 at Roy ThomsonHall. It will give three “conductors” chosen from the audience bya draw, to conduct the full Toronto Symphony Orchestra alongsidemusic director Peter Oundjian. (Doors open at 10am andwannabe conductors intending to register for the draw are advisedto arrive early.) Entering fully into the spirit of the event, the TSOhas announced that “to help set the stage for your big debut, PeterOundjian and actor Colm Feore have recorded three fun Learn How toConduct videos set to the three different scores that will be on offer onSeptember 26th.”Best of all, “Conduct Us” is a province-wide initiative with overa dozen local musical ensembles confirmed, each with their ownunique twist: The Orillia Wind Ensemble,Vocal Ensemble, Silver Band and JubileeChorale; The Guelph puppet troupePandora’s Sox; Timmins SymphonyOrchestra, the Georgian Bay Symphony,the Oakville Symphony Orchestra, theKingston Symphony, the Stratford SymphonyOrchestra, the Sudbury Symphony Orchestraand the Kawartha Youth Orchestra ... The listof participant ensembles for this one initiativekeeps growing; and “Conduct Us” is justone strand among thousands!So you can see why, as stated at the beginningof this story, this shape-shifting giant of an event is impossiblefor us to chronicle. Blessedly, the Culture Days website offers you, thereader, a friendly set of tools to find your own way to something closeto your heart, and on home turf. Visit culturedays.caOnce you’ve revelled in the three-day wonder of it all, we’ll still bearound, faithfully chronicling the other 362 culture days in the yearthat are “yours to discover” here, every day.Nuit Blanche 2014 AnnouncedNo less of a citizen’s joy and listings editor’s nightmare, is the ninthedition of Scotiabank Nuit Blanche, which will take place, in Toronto,Saturday, October 4 from 6:53 p.m. until sunrise on Sunday October 5.This year’s lineup features more than 120 art projects created by nearly400 local, national and international artists who will transform thestreets of Toronto for one magical night. Details for the full programare available at scotiabanknuitblanche.ca.David Perlman, listings editorD. The ETCeterasRobert Cooper, Artistic DirectorWant to sing withan outstanding choralconductor?Seeking a vibrantand welcoming choralcommunity?Like to be part ofCanadian premieres?Rehearsals: 7 p.m. Tuesdaysat Yorkminster Park Baptist Church1585 Yonge StreetInterested? For auditionscontact: Helen Coxon atorpheuschoir@sympatico.caor call 416-420-9660Sing WithOrpheus!2014-15 Highlights Include:WW1 commemorationprogram featuring music fromO What a Lovely WarConcert celebrating Christmasand the New Year with theHannaford St. Silver BandShowcasing our place in theecosystem featuring LeonardEnns’ Ten Thousand Rivers ofOil and Gjeilo’s Sunrise MassAnd much more!www.orpheuschoirtoronto.comGALAS & FUNDRAISERS●●Sep 9, 1:30: Oakville Opera Guild. Tea WithOpera: “Toronto – An Opera Town? FromAssembly Rooms to the Four Seasons.” Presentedby Ann Reynolds. Proceeds from TeaWith Opera programs provide the main fundingfor the Oakville Opera Guild’s annualscholarship awarded to a young singer studyingat U of T’s Opera Program. Auditorium,Oakville Central Library, 120 Navy St., Oakville.905-337-0477. $10.●●Sep 22, 7:30: Toronto Masque Theatre.The Fine Art of the Masque. Gala to markthe group’s eighth commission. Featuringan informal chat with some of the creators,drinks, food, and performances bymezzo Marion Newman and soprano TeriDunn. 21 Shaftesbury Ave. 416-410-4561. $20;$15(under 30); $5 reduction for subscribers.www.torontomasquetheatre.com.●●Sep 25, 8:00pm Small World Music Festival.Festival Opening Launch Party FeaturingOs Tropies. Gypsy jazz and Brazilian funk.Small World Music Centre, 180 Shaw St. Free.www.smallworldmusic.com.●●Sep 28, 5:30–9:00 pm: Sinfonia Toronto.Sinfonia Toronto’ Sweet Sixteen Birthday.Director Nurhan Arman chats with Classical96.3 personality Alexa Petrenko; performanceby Sinfonia Toronto‘s concertmasterMary-Elizabeth Brown; dinner buffet; desserts;Great Musical Limerick Line-up; silentauction. Heliconian Hall, 35 Hazelton Avenue,416-499-0403. $55 ($30 tax receipt).www.sinfoniatoronto.com.●●Oct 16, 9:00pm: Canadian Opera Company.Operanation: Light Up the Night. Galafundraiser featuring music, dancing, fashion,culinary arts and visual arts with a Spanish56 | September 1, 2014 – October 7, 2014 thewholenote.com

theme. Performance by the COC EnsembleStudio and a guest contemporary musician.Four Seasons Centre for the Performing Arts,145 Queen St. W. 416-363-8231. $150.www.operanation.ca.COMPETITIONS●●Nov 1 (deadline to apply): Etobicoke PhilharmonicOrchestra. Young ComposersCompetition 2014. Canadian composers ages32 and under. Winning composition will beperformed by the ETO; cash prizes presented.416 -239-5665. For details: jmonk@eporchestra.ca;www.eporchestra.ca.●●Nov 28 (deadline to apply): Toronto Sinfonietta.Ninth Annual Concerto Competition forthe best performance of a solo work with anorchestra. Gala concert of competition winnersis Saturday Feb 21, 2015. Age categories:under 16, 16-19. Rules and application formsat www.torontosinfonietta.comDEMONSTRATIONS & TOURS●●Sep 20, 10:30am: SweetWater Music FestivalSweetWater Luthier Exhibit. The artof crafting stringed instruments. FeaturedOntario luthiers: Itzel Avila, Johan Lotter,John Newton, David Prentice, Sibylle Ruppert,Mark Schnurr and Greg Walke. St. Andrew’sChurch (Owen Sound) 519-371-2833 Free.●●Sep 20, 1:00: SweetWater Music FestivalSweetWater Luthier Live Demonstration.Special guest artists from this year’s festivalwill play instruments crafted by local luthiers.St. Andrew’s Church (Owen Sound) 519-371-2833. Free.●●Oct 5, 12, 19 and 26, 10:30am: CanadianOpera Company. Tour the Four Seasons Centrefor the Performing Arts. 90-minute toursincluding backstage access to wig rooms,Do you love to Sing & Act?Then the Toronto BeachesChildren’s Chorus is for you!We have 4 divisions for kids ages 4-16.For more information please call416 698 9864 or visit us atwww.torontobeacheschildrenschorus.caSing OntarioA choral festival & workshop series forchoirs and conductorsNovember 15 – 16, 2014Toronto, Ontariowith Mark Sirett, Robert Cooper, Brenda Uchimaru,Darryl Edwards, Elise Bradley, Anne Longmore,James Pinhorn, Jennifer Swanchoirsontario.orgdressing rooms, orchestra pit and more!Four Seasons Centre for the PerformingArts, 145 Queen St. W. 416 -306- 2329. $20;$15(sr/st).FESTIVALS, FAIRS & FESTIVITIES●●Thursdays, 6:30–9:00: Native CanadianCentre of Toronto/Culture Days. Big DrumSocial. Drumming, food and friendship. EveryThursday evening. 16 Spadina Rd. 416-964-9087. Free.●●Sep 4–14, various times: CabbagetownBIA. 38th Annual Cabbagetown Festival ofthe Arts. Live music Sep 6 and 7, with over30 bands and artists, food vendors, theatre,busking and more. Events free. For full programmingsee www.oldcabbagetown.com.●●Sep 6, all day: Contact ContemporaryMusic. New Music Intersection. ArrayEnsemble members perform at the NewMusic Intersection day long event at DundasSquare. Yonge and Dundas. 416-532-3019.Free. www.contactcontemporarymusic.com.●●Sep 7, 9:00–11:30am: Etobicoke CommunityConcert Band. “Taste of the Kingsway”Pancake Breakfast. Free concert on the mainstage. Bloor St. at Montgomery Rd., Etobicoke.www.kingswaybia.ca.●●Sep 8, 15, 22 and 29, 12;30: Virgin Mobile/Yonge-Dundas Square. Lunchtime Live! Eatlunch outside while enjoying live music atYonge-Dundas Square. Sep 8: HeavyweightsBrass Band; Sep 15: Melanie Brulée; Sep 22:Patrick Brealey; Sep 29: The Sinners Choir.1-888-999-2321. Free. www.virginmobile.ca.●●Sep 11–14, various times: Supercrawl.Festival along James St. in Hamilton promotingarts and culture in the city. Eventsinclude Hamilton Children’s Choir performingselections from its recent Korean tour; HamiltonPhilharmonic Orchestra with ThoughtBeneath Film (September 13 at 6:15). Forcomplete events schedule, seewww.supercrawl.ca.●●Sep 25 to Oct 5, various: Small WorldMusic Festival. Various concerts and eventsaround the city highlighting music fromSerbia, Trinidad, Iran, Germany, Pakistan andmore. For individual concert listings, see listingsSection A. www.smallworldmusic.com.●●Sep 26–28, various times: Culture Days.Culture Days Festival Toronto. Weekend festivalfeaturing thousands of artists, musiciansand performers in cities nation-wide, to raiseKerry Stratton,Conductor and Music DirectorAUDITION NOTICEHansel & Gretel - A Fairy Tale Operaby Engelbert HumperdinckThis fully-staged, paid non-equity showcase sung inEnglish with orchestra will be performed January 31 andFebruary 01, 2015, produced by Toronto Concert Orchestra.Rehearsals: week of Jan 26-30 2015AudiTiOns (paid principal roles only) in Toronto:September 28, 29, 30, 2014 • Deadline: September 24, 2014Casting:Peter (a broom-maker) baritoneGertrud (his wife) mezzo-sopranoHänsel (their son)mezzo-sopranoGretel (their daughter) sopranoThe Gingerbread Witch mezzo-sopranosandman the sleep Fairy sopranodewman the dew Fairy sopranoContact for auditions: wojciech.okulicz@gmail.cominfo: http://hanselandgretel.artspolonia.comwww.torontoconcertorchestra.comthewholenote.com September 1, 2014 – October 7, 2014 | 57

awareness, accessibility, participation andengagement of Canadians in the arts and culturallife of their communities. Selected listingsmentioned here, with full information atculturedays.ca.●●Sep 27, 28, 12:00-4:30 City of Toronto HistoricMuseums Early Music at Montgomery’sInn. Mini-concerts by Toronto-based artists,including Bud Roach and Harmonie. Historicinstruments being played; recordings, earlymusic books and publications on sale. Montgomery’sInn, 4709 Dundas St. W. (at Islington)416-394-8113. Admission is FREE as partof Culture Days.LECTURES, SALONS, SYMPOSIA●●Sep 8, 7:00: Toronto New Music Alliance.New Music 101: Toy Piano Composersand the Bicycle Opera Project. Explore contemporaryopera and the everyday as thesetwo groups combine to share DIY opera inToronto. Hosted by The WholeNote’s DavidPerlman. Hinton Learning Theatre, TorontoReference Library, 789 Yonge St. 416-961-6601 x207. Free.●●Sep 9 to Oct 14, 1:00–3:00pm: Royal Conservatory.Opera in the City. A 6-weekcourse. University of Toronto ProfessorEmeritus Eric Domville previews the operasthat will be staged this fall by the CanadianOpera Company and Opera Atelier. Royal Conservatory,273 Bloor St. W. 416-408-2825.$295. rcmusic.ca/MusicAppreciation.●●Sep 11 12:10: University of Toronto Facultyof Music. Thursdays at Noon: Dean’s Welcome.Walter Hall, Edward Johnson Building,80 Queen’s Park. 416-408-0208. Free.●●Sep 14, 2:00: Toronto Opera Club. MyCareer in Opera. Guest speaker tenorRichard Margison. Room 330, Edward JohnsonBuilding, 80 Queen’s Park. 416-924-3940. $10.●●Sep 18 to Oct 16, 1:00–3:00pm: Royal Conservatory.Beethoven’s Piano Concertos.A 5-week course. Rick Phillips illuminatesD. The ETCeterasfive works that forever changed the futureof the piano concerto. Royal Conservatory,273 Bloor St. W. 416-408-2825. $250.rcmusic.ca/MusicAppreciation.●●Sep 19, 7:00: Soundstreams Salon 21. TheFour Seasons. Special guests explore fourinterpretations of Four Seasons includingjazz, string quartet and complete remixes.Gardiner Museum, 111 Queen’s Park. 416-504-1282. Free, PWYC reserved seating .●●Sep 20, 11:00am: SweetWater Music Festival.The SweetWater Lecture. Cellist ChristopherCostanza, a founding members of theinternationally acclaimed St. Lawrence StringQuartet, will give a lecture on J.S. Bach’s CelloSuites. St. Andrew’s Church, Owen Sound.519-371-2833. Free.●●Sep 27, 6:00: Canada Culture Days/CollegiumMusicum. The Life and Works by VillasLobos and Sonata Op.110 in A-flat byBeethoven. Chris Malone, guitar, BorjanaHrelja, piano. Chopin Room, Collegium MusicumConservatory of Music, 12 Peter St. S.,Mississauga. 905-274-6100. Free.●●Sep 30, 8:00: Small World Music Festival.Salon: Zakir Hussein in Conversation. Stories,discussion and Q&A with renowned tablamaster. Ticket price includes a seat at theconcert on Oct 1 at Markham Theatre. SmallWorld Music Centre, 180 Shaw St. $100.www.smallworldmusic.com.●●Oct 6, 7:00: Toronto New Music Alliance.New Music 101: Arraymusic with Martha Baillie,and Music in the Barns. Arraymusic andauthor Martha Baillie demonstrate complementarymusical and literary narratives, performingcompositions by Nic Gotham writtenfor Baillie’s The Search For Heinrich Schlögel.Music in the Barns demonstrates performancesmixing acoustic instruments and liveelectronic processing. Hosted by The WholeNote’sDavid Perlman. Hinton Learning Theatre,Toronto Reference Library, 789 YongeSt. 416-961-6601 x207. Free. Also Oct 7 atPalmerston Library.The John LaingSingers (Hamilton)are looking for additional voices whoshare our musical passion. We seekexperienced choral singers who will enjoythe challenge of our diverse repertoire.Rehearsals are Monday evenings atSt. Matthew-on-the-Plains Anglican Church.To inquire about an audition please contact the Artistic Director,Dr. Roger Bergs at director@johnlaingsingers.com.EtobicokE cEntEnnialchoir SinGErS WElcoME!The Etobicoke Centennial Choir is an auditionedSATB community choir that has been celebratingthe joy of choral music for 48 years. We are currentlyseeking new choristers in all sections for our 2014-15 season.interested singers are invited to attend an open rehearsal ontuesday, Sept. 9, 2014 from 7:15-10 p.m.Location: Humber Valley United Church, 76 Anglesey Blvd, EtobicokeContact info@etobicokecentennialchoir.ca orcall 416-433-5495 for further information.●●Oct 7, 7:00: Toronto New Music Alliance.New Music 101: Arraymusic with Martha Baillie,and Music in the Barns. Palmerston PublicLibrary, 560 Palmerston Ave. See Oct 6 atToronto Reference Library.MASTERCLASSES●●Sep 24 2:00: University of Toronto Facultyof Music. Riki Turofsky Master Class in Voice:Ben Heppner. Geiger-Torel Room, EdwardJohnson Building, 80 Queen’s Park. 416-408-0208. Free.PiccoloMasterClasswithJean-LouisBeaumadierSaturday,Sept. 2710am - 4pmChurch of the Holy Trinity(Eaton Centre)Presented by Long and McQuadeand Flute StreetPerforming participants $50Auditors (at door) $10Registration: 416-588-7886●●Sep 28, 10:00am–4:00pm: Flute Street/Long and McQuade. Piccolo Masterclass withJean-Louis Beaumadier. Church of the HolyTrinity. 416-588-7886. $50(performing participants);$10(auditors).OPEN REHEARSALS●●Sep 27, 6:30–9:00: Canadian Opera Company/CultureDays. Attend a Rehearsal ofVerdi’s Falstaff. Gerald Finley, baritone (Falstaff);Robert Carsen, director. Four SeasonsCentre for the Performing Arts, 145 QueenSt. W. 416-363-8231. Seating limited to 500people; first come, first served. Free.SINGALONGS, JAMS, CIRCLES●●Sep 20, 12:00 SweetWater Music Festival.MOZART JAM SESSION WITH GUEST ART-ISTS.Jam with the St. Lawrence String Quartetand other guest artists. Parts are availablefor Mozart’s Divertimento in D and Haydn,Symphony No. 94, “The Surprise” (SolomonEdition) online at imslp. For details e-mail:marionmcdougall@hotmail.com indicatingthe part you wish to play. Free.Venue Rental• in the heart of Yorkville• historical heritage building• Steinway Grand Piano• recital and special events• lighting and sound systems• accomodates caterers• reasonable rates●●Sep 21, 1:00: Arraymusic/EvergreenClub Contemporary Gamelan. Array/EvergreenCommunity Gamelan Meetup #1. Cometogether to play on Indonesian instrumentsas well as various other percussion instruments.All levels welcome. Array Space, 2ndFloor, 155 Walnut Ave. 416-532-3019. $10.●●Sep 27, 10:30am–12:00 noon: Toronto MendelssohnChoir/Culture Days. SingsationSaturday Workshop. Free choral singingworkshop lea by Shawn Grenke. Sheet musicwill be provided. Centre for Social Innovation,Annex, 720 Bathurst St. 416-598-0422 x223.www.tmchoir.org. Free●●Sep 27, 12:00–8:00: Royal Conservatory/Culture Days. Koerner Hall Free for All. Performersof all ages and backgrounds will have5 minutes to showcase their talent. 273 BloorSt. W. 416-408-2825. Free.SPOKEN WORD, PERFORMANCE ART●●Sep 13 to Oct 5, Tue–Sat 8:00; Sun 2:30:Buddies in Bad Times Theatre. Freda andJem’ s Best of the Week. Narrative aboutqueer family life by Lois Fine. Diane Flacks,Kathryn Haggis, Sadie Epstein-Fine and StephenJoffe; Judith Thompson, director; LorraineSegato, live music. 12 Alexander St.416-975-8555. $37; $20–$25(before Sep 12).WORKSHOPS●●Sep 7 1:30: Toronto Early Music PlayersOrganization. Early Music Workshop forWoodwinds and Strings. Coach: Valerie Sylvester.Armour Heights Community Centre,2140 Avenue Rd. 416-537-3733. $20.●●Sep 8, 5:00: Collective of Black Artists.Summer Series Dance Class at Daniels Spectrum.Family friendly free outdoors Cubandance class in the MDC Partners Courtyard.Daniels Spectrum, 585 Dundas St. E. For info,contact: info@cobainc.com.●●Sep 12, 7:30: CAMMAC Recorder Players’Society. Renaissance and Baroque Workshopfor recorders and other early instruments.Refreshments included. Mount Pleasant RoadBaptist Church, 527 Mount Pleasant Rd. 416-480-1853. $15; free(members).●●Sep 27, 2:00: Arraymusic/Culture Days.Culture Days Free Percussion Workshop atArray. Improvisations and percussion exerciseson a variety of instruments, led byArray’s director Rick Sacks. The session willbe recorded; bring storage devices or receivea free CD. Array Space, 2nd Floor, 155 WalnutAve. 416-532-3019. Free.●●Oct 3, 7:30: CAMMAC Recorder Players’Society. Renaissance and Baroque Workshopfor recorders and other early instruments.Scott Paterson, coach. Refreshmentsincluded. Mount Pleasant Road BaptistChurch, 527 Mount Pleasant Rd. 416-480-1853. $20; $5(members).35 Hazelton Avenue, Heliconian Hall416-922-3618 rentals@heliconianclub.org58 | September 1, 2014 – October 7, 2014 thewholenote.com

MUSICAL LIFE: JUST THE SPOTOpening Night at Seicho-No-IeTIM DAWSONIam sitting in a beautiful, sunlit spacewith a sloping wooden ceiling, ready toexperience the first of six AMAZING celloconcerts. I know, I know ... I’m a bass playerfor God’s sake and not only am I lookingforward to this concert but, together withTSO cellist Winona Zelenka I organized thewhole series. How did this happen?Start with a stunning acoustic, and agorgeous building in a part of town whereyou might not expect to hear classical music.I first discovered Seicho-No-Ie through afriend. I’m a bassist in the Toronto SymphonyOrchestra and have been organizing concertsfor as long as I can remember.In my experience, when musicians seea place like this they immediately thinkThe WholeNote Marketplace!A MarketPlace ad is like handingout your business card to over30,000 music lovers.adart@thewholenote.comChildrenʼsPiano LessonsFriendly, approachable– and strict!Liz Parker416.544.1803liz.parker@rogers.comQueen/Bathurstconcerts! After our first visit to Seicho-No-Ie(a Japanese non-denominational centre forworship) my wife Kim and I invited EtsukoKimura (assistant concertmaster at the TSO)to try her violin in this venue.Up until this point there had never been aconcert in the building, a fact that we foundrather exciting. Etsuko fell in love with thesound and, on the spot, we came up with theidea for a six-concert series with six violinists,six one-hour concerts and each one featuringone of J.S. Bach’s solo sonatas or partitas.Presto! It happened. That was last year. Theseries was a success; we were able to raisemoney for the church, pay the artists andbring fine music to the neighbourhood.So how do you follow that? Well, Bach didThe FluteDe-mystifiedWith over thirty years of teaching the flute,including nineteen at the KingswayConservatory of Music, I can guide youto the next level.Allan Pulker: 416-778-7535allanpulker@gmail.comAllan withstudent,Mimi Tran“Yesterday’s lesson was awesome - thank you so much.” (Student)compose six suites for solo cello, too. TSOassistant principal cellist Winona Zelenkahad attended one of the violin concerts(TSO concertmaster Jonathan Crow) andwas blown away by the sound. When Imentioned a cello series she jumped atthe chance and together we have assembleda lineup of six of the finest cellistsyou will find anywhere. Our country iswell represented with players comingfrom Toronto, Vancouver and Montreal.Everyone loves the cello - this is a chanceto get up close and personal with sixterrific players, hear varied repertoireincluding all the Bach suites and explorea new concert space ... What more couldyou ask for? So join me October 26, as I sitback and enjoy the fruits of our labours.The players:Joe Johnson, October 26, Suite No.1Elinor Frey, November 16, Suite No.6Ariel Barnes, January 11, Suite No.4Winona Zelenka, February 1, Suite No.2Rachel Mercer, March 8, Suite No.3Brian Manker, May 3, Suite No.5The spot:Seicho-No-Ie Toronto662 Victoria Park AvenueToronto, OntarioM4C 5H4MoellerPipe Organs Inc.New Instruments and AdditionsTunings and MaintenanceRestorations and RepairsMetal Pipes2393 Gareth Rd., Mississauga, L5B 1Z4www.moellerorgans.comTel/Fax(905) 277-2631Sight-Singing with SheilaSheila McCoy416 574 5250smccoy@rogers.comwww.sightsingingwithsheila.com(near Woodbine subway)NEED 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 & deliverythewholenote.com September 1, 2014 – October 7, 2014 | 59

MUSICAL LIFE: CONCERT DO’S AND DON’TSClassified Advertising | classad@thewholenote.comDis-ConcertingStuffDAVID PERLMANThose of you who read me know I like to feign rage from time totime about certain concert behaviours that I think mess up theshow for other patrons. Pet among my peeves over the years are:The Walking Ovationists, The Pre-Mature Ejaculators and the DecibelligerentShushers.The Walking Ovationists are of course those who leap to their feetthe instant the performance is over and then with varying degreesof subtlety start a sidelong sidle for the exits (toes of their row-matesbe damned).The Pre-Mature Ejaculators are the ones with such a desperate needto prove they knew the piece was over (and that it was great for them)by bellowing BRAVO! into the first micro-second of God-given silencethat should be the true ending of any piece of music.The Deci-belligerent Shushers are the self-appointed guardiansof the classical concert-hall’s code of silence, hissing their hatred ateven the minutest muttered transgression (while somehow failing torealize that their shushes rip the listening envelope to shreds morecompletely than any other utterance could).Oh, I could go on and on and on! Swarming like jackals aroundthese three are the Mid-Movement Crinkly Candy Unwrappers;the Why-The-Hell-Are-You-Here-If-You’re-That-Sick Coughers; theBalcony Texters, the Baleful Glarers … You get the picture.But there is one group you have NEVER heard me rail at in thesepages: namely the people who know so little about the “rules” ofconcert hall behaviour that they applaud in the wrong places.And here is a story that illustrates perfectly why.It was a performance of the Toronto Symphony Orchestra back inthe spring (early May), with an audience that seemed less well-trainedin concert etiquette than usual, right from the start, and proved it afew times in the first half. Peter Oundjian was conducting, and thework after intermission was to be Tchaikovsky’s Symphony No.6 “ThePathétique.” At the start of the second half, as he is affably wont todo, the Maestro stepped forward, like any good Maitre D’, to chat for amoment with the guests in his house about what was on the menu.I won’t try to replicate his words. But the gist of it went somethinglike this: that this possibly greatest of all Tchaikovsky’s symphonieswas typical in some way – four clearly defined separate movements– but that it was also atypical in some other interesting ways. Amongthem was that it didn’t follow the expected roadmap. Instead of thefour movements following a pattern that goes fast, slower, fast-ish,fastest, Tchaikovsky’s Sixth hits its peak of fast and loud in the thirdcontinues on page 62AUDITIONS & OPPORTUNITIESALTO AND TENOR WANTED FORSEPTEMBER for the semi-professionalchoir of St. George’s on the Hill AnglicanChurch. High church liturgy with innovativerepertoire. Remuneration to be negotiated.Contact Karen Rymal, organist/choirdirector at arabesque1@sympatico.caAVAILABLE PRO BONO POSITIONS FORMUSICIANS at the KINDRED SPIRITSORCHESTRA: Sectional Horn, PrincipalTrumpet, Associate (or 2nd) Trumpet,Associate (or 2nd) Trombone and 3rd (bass)Trombone, as well as sectional Violinists,Violists, Cellists and Contrabassists. TheKSO is an audition-based communityorchestra that rehearses once a week(Tuesday evenings) at the state-of-the-artCornell Recital Hall in Markham (407ETR and 9th Ln). Led by the charismaticMaestro Kristian Alexander, the Orchestrais enjoying an enormous popularity amongYork Region’s residents and continuesto attract avid audiences across theGTA. Interested musicians are invited toe-mail General Manager Jobert Sevillenoat GM@KSOrchestra.ca and visit www.KSOrchestra.ca for more information.BASS SECTION LEAD POSITION - LeasideUnited Church, Toronto, with Thursdayevening rehearsal and Sunday morningservice. Contact sharon.beckstead@sympatico.ca or 416-696-6051.BASS/BARITONE SECTION LEAD neededat THE CHURCH OF INCARNATION (Bayviewand Sheppard area) to assist the choirduring weekly and special seasonal worshipservices. This paid, renewable contractposition begins Sept 2014 or as soon aspossible, and ends June 2015 (currentterm). The expected time commitment isapproximately 3-4 hours a week includinga Thursday night rehearsal and Sundaymorning service. Prior vocal and/orinstrumental music experience and training,good sight-reading skills, a positive andteam-oriented attitude, and familiaritywith the Anglican order of service are allpreferred attributes of potential candidates.BEL CANTO SINGERS ARE LOOKING FORNEW MEMBERS! We are a 40 voice SATBchoir, under the direction of Linda Meyer.Repertoire includes classical, music theatre,folk, jazz and pop tunes. Rehearsals areTuesdays at St. Nicholas Anglican Church.Website: www.belcantosingers.ca. ContactElaine Joly at 416-699-4585.BELL’ARTE SINGERS. OPEN REHEARSAL onSep 13, 1:00 for experienced choral singers.Join the choir for one hour to experience thegroup and some of its repertoire. All voicetypes are welcome; choristers are auditionedbefore membership is finalized. Music room,Riverdale Collegiate, 1094 Gerrard St. E.www.bellartesingers.ca.BURLINGTON CIVIC CHORALE IS HOLDINGAUDITIONS for new choir membersinterested in singing classical, baroque,opera, folksong, Broadway and vocal jazzselections. Contact Gary Fisher at 905-632-2085. www.burlingtoncivicchorale.ca.CALLING ALL LADIES WHO LIKE TO SINGA CAPPELLA MUSIC! Scarborough Chorus(Sweet Adelines) is holding an Open Houseon Wednesday Sept 3 at St Paul’s L’AmoreauxChurch at 3333 Finch Ave E (basement)in Scarborough. For more informationcontact Dianne Clare at 647-290-4397or clare63@rogers.com. Check us out atwww.scarboroughchorus.com or see ourFacebook page.CHOPS FLOPPY? SIGHT READING GONE?Why not come down to the 48th Highlandersof Canada Brass & Reed Band, and get backin shape? We need clarinets and saxophonesand the odd trombone. Tubas more thanwelcome. There are minimal military hasslesand we have fun doing what we all love to do –PLAY. Call Mike at 905 898-3438 orbuskers.jazz@rogers.com. Moss ParkArmouries, Tuesday nights from 8-10.COUNTERPOINT COMMUNITYORCHESTRA (www.ccorchestra.org)welcomes volunteer musicians forMonday evening rehearsals, downtownToronto. We’re especially looking fortrombones and strings. Email info@ccorchestra.org.DO YOU DRIVE? DO YOU LOVE THEWHOLENOTE? You can share the loveand earn a little money at the same time.The WholeNote occasionally adds newdrivers with vehicles to our list of stalwartwonderful people who reliably deliver ourmagazines, 9 times a year, rain or shine(or snow!) to locations in the GTA and wellbeyond. If you’d like to be on the list pleasecontact circulation@thewholenote.com.THE HANNAFORD YOUTH BANDS WILLHOLD AUDITIONS on Saturday, September13. For brass and percussion playersbetween the ages of 10 and 24, these bandsprovide excellent opportunities to developmusical skills in the brass band world:Hannaford Junior, Hannaford Communityand Hannaford Youth Band. Weeklyrehearsals, performances & competitionsopportunities. Info at hannafordyouth.caKAWARTHA YOUTH ORCHESTRA ISHOLDING AUDITIONS for all orchestralinstruments on Sept 6, various times. Youngmusicians from 12 to 24 are invited to apply.Sadlier House, 751 George St., Peterborough.To book: 705-931-7539. www.thekyo.org.LOVE BROADWAY SONGS? HAVEMUSICAL THEATRE EXPERIENCE? TheYorkminstrels Show Choir wantsyou! SATB, under direction of Judy Scott-Jacobs. Repertoire mostly Broadway,plus contemporary selections, oldies,seasonal music. Perform off-book withsimple choreography; 12-15 concerts perseason. Rehearsals Wednesday evenings.Willowdale/Cummer area. Info: 416-229-9313 or horwitz@rogers.comWebsite: www.yorkminstrels.comMUSIKAY IS HOLDING AUDITIONS FOREXPERIENCED choristers interested insinging Renaissance and baroque music.Minimum three years choral experience andexceptional choral skills expected. 905-825-9740. For details: www.oakville-ensemble.ca.60 | September 1, 2014 – October 7, 2014 thewholenote.com

NORTH YORK CONCERT ORCHESTRA isinterested in welcoming new players forthe 2014-15 season. We are a communityorchestra which rehearses throughoutthe year on Weds. nights, York MillsCollegiate in Don Mills. There are foursubscription concerts and several outreachopportunities. Especially interested inhearing from violinists and string bassplayers. Please contact personnel@nyco.on.ca for further information.OASIS VOCAL JAZZ Toronto’s longestrunning close harmony group is looking for adeep bass. Should have strong background inchoral singing with some exposure to singingvocal jazz. A minimum one year commitmentrequested. Contact:auditions@oasisvocaljazz.com.PETERBOROUGH SYMPHONY AUDITIONSfor community instrumental musicianson September 10th at 7pm, other dates byappointment. Call 705-742-1992 or info thepso.org www.thepso.orgSENSIBLE VOCAL TRAINING Build.Restore. Refurbish your Voice. Whetheryou just want to tone and tune up, or have aburning desire to raise the bar and advanceyour vocal abilities, this training is ideal!Call for an introductory session. If you’rea beginner, no worries; we build fromscratch!! Phone Pattie Kelly (905)271-6896vocalsense.caTHE CELLAR SINGERS WELCOME NEWMEMBERS! All rehearsals open (ability toread music preferred) and under directionof Mitchell Pady. First rehearsal: Wed, St.Paul’s United Church Orillia, 7:15pm; thenGravenhurst to December when we returnto Orillia. Website: TheCellarSingers.com orInfo@TheCellarSingers.comTHE GLEE IN ME! Enjoy singinggorgeous four-part arrangements, ledby David Warrack. Music provided, plusrecordings to help you learn: Mozart’s AveVerum, Beethoven’s Bless the Lord, Medleyfrom Les Miserables, plus other popularstandards. Performing opportunities inthe community. Tuesday night class startsOctober 7. www.avenueroadartsschool.comTHE WYCHWOOD CLARINET CHOIR(www.wychwoodclarinetchoir.com)welcomes enthusiastic clarinet players toaudition for a place in our group. All ageswelcome. Tuesdays 7:30-10 PMTORONTO BEACH CHORALE ANNOUNCESITS “CHORAL SCHOLARS PROGRAM”TBC inaugurates its “Choral ScholarsProgram” offering one FREE YEAR of choirmembership. All voices between 19 & 24years of age eligible to audition. www.torontobeachchorale.com First rehearsal:Sept.3rd - Wednesdays 7-9:30pm, KingstonRoad United Church (975 Kingston Rd.)FOR SALE / WANTEDFOR SALE - CONCERT BAND MUSICSCORES AND PARTS: a wide selectionis available in a variety of genres (opera,marches, show tunes, anthems, Italianrepertoire). For list of titles and prices,please contact Emily 905- 547-4390, e-mail:emilydeben@sympatico.caFRENCH HORN FOR SALE: One-of-a-kinddouble horn (Reynolds prototype for Selmer),one owner since 1978, excellent condition.Suitable for advanced student or workingmusician. jack@thewholenote.comWHILE YOUR GUITAR GENTLY WEEPS:Garage band days just a hazy memory?Your lovely old guitar / violin / clarinet iscrying out to be played! There’s someoneout there who’d love to love it, and give itnew life. Sell your unused instruments witha WholeNote classified ad: contact classad@thewholenote.com.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.COMPLIMENTARY SIMPLY SINGWORKSHOP with Vocal Coach & AuthorTammy Frederick Sun Sept 28, 1 – 2 pmwww.simplysing.ca RSVP: 416-850-0972.EAST YORK HOUSE OF THE ARTS: Flute,piano, guitar, theory lessons, RCM andaudition preparation. Contact 647-801-3456,music.eastyork@gmail.com,www.alhelipimienta.wix/eastyorkmusic.comFLAMENCO GUITAR LESSONS with awardwinning professional Spanish CanadianFlamenco guitarist. Roncesvalles/High Parkarea. Contact jorge@jorgemiguel.comFLUTE, PIANO, THEORY LESSONS, RCMEXAM PREPARATION: Samantha Chang,Royal Academy of Music PGDip, LRAM, ARCT.416-293-1302, samantha.studio@gmail.com.www.samanthaflute.com.NOW ACCEPTING PRIVATE STUDENTS:international concert pianist with 30 years’experience (Royal Conservatory of Music,University of Toronto). All ages and levelswelcome, central location. helena.music.studio@gmail.com, 416-546-6664.www.about.me/helena_bowkunPIANO LESSONS: personalized instructionby experienced teacher, concert pianistEVE EGOYAN (M. Mus., L.R.A.M., F.R.S.C.).All ages and levels. Downtown location. eve.egoyan@bell.net or 416- 603-4640.for the sung monologue. Yonge and Eglintonarea, call for exact location. 416-483-9532.$55(participant)/$35(auditor).www.singingstudio.caVOICE LESSONS – experienced, professional& supportive teacher. All ages & levels, adultbeginners welcome. Contact: Grant AllertB.mus. 416-910-9605,grantallert@hotmail.comMUSICIANS 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.TRUMPET PLAYER AND SINGER seeksensemble (standards/jazz/soul/blues/pop).Phone Mark at 416-803-5531.E-mail:mark@ markwalkermw.comSERVICESACCOUNTING AND INCOME TAX SERVICEfor small business and individuals, to saveyou time and money, customized to meetyour needs. Norm Pulker, B. Math. CMA.905-251-0309 or 905-830-2985.DO YOU HAVE PRECIOUS MEMORIES LOSTON OLD RECORDS, TAPES, PHOTOS etc.?Recitals-gigs-auditions-air checks-familystuff. 78’s-cassettes-reels-35mm slides-etc.ArtsMediaProjects will restore them on CD’sor DVD’s. Call George @ 416-910-1091.MUSIC ENGRAVING/COPYING: FORPERFORMANCES, RECORDINGS, ETC.:well-laid-out, publisher-quality scores andparts; also transposition, piano reductions,proofreading. info@gregorymillar.net;www.gregorymillar.netVENUES AVAILABLE / WANTEDARE YOU PLANNING A CONCERT ORRECITAL? Looking for a venue? ConsiderBloor Street United Church. Phone: 416-924-7439 x22. Email: tina@bloorstreetunited.org.PERFORMANCE / REHEARSAL / STUDIO /OFFICE SPACE AVAILABLE: great acoustics,reasonable rates, close to Green P Parking,cafés & restaurants. Historic church atCollege & Bellevue, near Spadina. Phone416-921-6350. E-mailststepheninthefields@gmail.comTORONTO BEACH CHORALE has openingsfor all voices. We are a concert choirrehearsing and performing in the Beach andparticipating in community events. Are youan enthusiastic singer wanting to enhanceyour vocal skills and expand your knowledgeof music? Contact Brian McIntoshmacapple@rogers.com (416) 817-2606www.torontobeachchorale.comPRIVATE LESSONS IN ALL LEVELS OFRUDIMENTS, THEORY AND PIANO incentral Burlington. Please contact Natalie at888-359-5670.SINGING STUDIO OF DEBORAH STAIMAN –introductory masterclass on Sept 28 at 2pm.Musical theatre/audition preparation, usingtextual analysis and other interpretative toolsthewholenote.com September 1, 2014 – October 7, 2014 | 61

Dis-Concerting continued from page 60movement – so much so that as an audienceit’s impossible not to want to applaud.“So in fact,” Oundjian said to the houseguests, “if you feel like applauding atthat point go right ahead, because that iswhat Tchaikovsky’s own audience wouldhave done.”This rule, he explained, of not applaudinguntil the piece is over, didn’t really takehold until a decade after Tchaikovsky wrotethis absolutely wonderful work. “In fact,”Oundjian said, “applaud whenever you feellike it – we won’t mind.”What followed was completely memorable.There was a sprinkling of quiet applauseafter the first movement (and no one glared atanyone else). It was quiet-ish after the second.But after the third movement, even concertgoerswho would normally have sat on theirhands joined the general clapping. Somehowit was as if we all knew that as much asanything we were rooting for a composertrying with every fibre of his being to give usa happy ending that was never in the cards.And after the terrible, wonderful finalmovement ... there was silence. A preciousfive to eight seconds of pure silence witha conductor literally and metaphoricallyholding the silence up there for us all to seeand feel, in the palm of his upturned hand.No one bellowed bravo; not one personleapt to their feet.Until, precious silent seconds later,Oundjian lowered his hand and let themoment go. The audience rose to our feet toaccord a special performance the concertedresponse it warranted for the universal feelingsit had evoked.So, Maestro, a belated BRAVO, for seizingthat particular moment on that particularday, in that particular way.So, what can be taken (usefully) away fromthis? Well, three things, I think.First, presenters have an opportunity inwelcoming new audiences, to decide anewfor themselves what the do’s and don’ts oftheir particular house should be.Second, these house rules should be cheerfullyand confidently expressed at the outsetof each and every event. (It is not enough toput asterisks in programs to indicate wheresilence is demanded.)Third, conductors and performers have thepower themselves to command the durationof the silences around and within the worksthey are performing, as actively as theycommand the notes of music between thosesilences.So, what do you think? I would love to hearwhat you all, performers and presenters andaudience members alike are doing, or want tosay, about all this.David Perlman can be reached atpublisher@thewholenote.com.SEEING ORANGESharing the MusicPAUL ENNISShare the Music is the name of an arts and education outreach program presented by theCorporation of Massey Hall and Roy Thomson Hall. With a mission statement aimed atsharing music with young people of all backgrounds from ages 8 to 18, the program’sgoal is to enhance and broaden musical horizons by exposing students to world-classperformers.Share the Music’s 16th season includes nine wide-ranging concerts from October to May,any of which could proudly serve as a definition for “world-class.” To experience any of theartists in this varied lineup will be a musical life-enhancing opportunity never to be forgotten.Pianist Jean-Efflam Bavouzet joinsconductor Vadimir Jurowski and the LondonPhilharmonic in the lead-off concert of worksby two 20th-century icons, Shostakovich andProkofiev. Divine Brown, Diana Braithwaite,Andria Simone and Shakura S’Aida headlinethe Toronto Blues Society’s 28th AnnualToronto Women’s Blues Revue November 22,while the incomparable Itzhak Perlmanwill work his fiddle magic on the audienceDecember 1.A concert by the iconic Blind Boys ofAlabama December 8 is followed by a ClassicAlbums Live presentation of “The Beatles:Let It Be” January 20. Next up will be the Jazzat Lincoln Center Orchestra with WyntonMarsalis February 11.The Canadian poet and spoken word artistShane Koyczan became an overnight sensationat the Opening Ceremonies of theVancouver 2010 Olympics. His anti-bullyingvideo To This Day has had more than 13million views on YouTube and led to anappearance at the 2013 TED Conference. Hewill appear at Harbourfront Centre April 7.Evgeny Kissin’s remarkable pianism will beon display in his May 1 recital which includesBeethoven’s “Waldstein” sonata, nocturnesand mazurkas by Chopin and Liszt’sHungarian Rhapsody No.15. The no-lessremarkableBobby McFerrin will showcase hisprodigious vocal gifts May 30.Each event is preceded by a talk or workshop,some of which are of particular interest.Tafelmusik violinist Patricia Ahern willdiscuss repertoire in advance of the Perlmanrecital; Toronto Mass Choir director KarenBurke leads a gospel-style workshop the nightthe Blind Boys of Alabama perform; and theHeavyweights Brass Band takes part in aworkshop before the Jazz at Lincoln CenterOrchestra with Wynton Marsalis concert.Artists’ Health AllianceSARA CONSTANTAsk any group of musicians what something like “music education” comprises and you’dcertainly receive a vast array of responses about everything from études to instrumentmaintenance. However, an entire area of a performer’s “musical life” – and one that isreceiving growing attention in both private studio and public settings – involves looking afterthat one instrument that cannot be replaced or upgraded – the artist’s physical self.The Artists’ Health Alliance (formerly theArtists’ Health Centre Foundation) is one suchorganization in the business of educatingartists, including performing musicians,about the maintenance of physical and mentalwellness throughout an artistic career. A notfor-profitcharitable group working in partnershipwith the Al & Malka Green Artists’Health Centre at Toronto Western Hospital,the AHA hosts workshops addressing issuesfrom injury prevention to stress managementto nutrition. Likening their work to thetype of specialized treatment that professionalathletes require, the AHA serves as a helpfulresource for performers seeking healtheducation (or treatment) that takes intoaccount their unique career-based needs.Considering the specialized nature of thisoften-costly type of treatment, the organizationis also dedicated to providing artistsaccess to financial resources, including detailsabout available subsidies and cost-effectivehealthcare coverage. The AHA also advocatesa school outreach program, through whichthey have run workshops at schools such asOCADU, the Randolph Academy, U of T andYork University.Navigating the question of how to livehealthy is a lifelong process, and not oneunique to arts workers. However, the enormousset of physical and mental challengesthat performing musicians can faceis something that does deserve ample attention.Though health education opportunitiesfor professional musicians often seemto fly under the radar, a service that allowsperformers to continue doing what they lovefor as long as possible is certainly not one tobe under-valued.The next event on the Artist HealthAlliance’s calendar is a series of workshopson mindfulness-based cognitive therapy,running most Tuesdays from September 23to November 25. For those interested, moreinformation about this series and on the AHAis available at artistshealth.com.Send all story ideas and suggestions relating to this section ofThe WholeNote to education@thewholenote.com.62 | September 1, 2014 – October 7, 2014 thewholenote.com

SEEING ORANGEHow I Met My Teacher:A RetrospectiveCOMPILED BY SIMONE DESILETSLooking back through 20 years of WholeNote archives I was struckby some of the lovely relationships reflected in the series called How IMet My Teacher (2004-2007) and the many anecdotes about studentteacherrelationships which found their way into other features andcolumns over the years. This treasury of priceless memories illuminatessome important fundamentals – a sampling of these follows.The WholeNote invites students and teachers to share more of thiswealth with fellow WholeNote readers.Please send your comments or story ideas toeducation@thewholenote.com.Felix Deak on Mary StarrI remember her as a towering old woman with white hair and ahuge gentle smile. She always wore long flowing skirts or dresses and Iwanted her to be my grandmother. And through being her student, forten years, from the age of two and a half, she did feel like family. Shewas soft-spoken and kind and patient and she made lessons really fun.Tim Alberts on teaching high school musicNo matter how much you really love music, you have to make surethat you really like kids. There are lots of great musicians who shouldNOT be teachers. Kindness has to be a big part of teaching. As importantly,be involved in collaborative music outside of the classroom. Asa teacher you’re modelling it. If you’re not having fun your studentswon’t either. One student who went into architecture came back andsaid that what he learned about the connectedness of things in musichad given him a head start. Music reflects things going on in society.The principles of classicism and romanticism in music apply equallyto architecture …Nadina Mackie Jackson on Christopher MillardChristopher is the person I think of when anyone asks about myfirst teacher. If he had time after our lessons at the University he’dMUSIC EDUCATION – ALL THE TIME – FOR EVERYONE!MUSIC TEACHERS AND STUDIOSPART-TIME & FULL-TIME SCHOOLSShare what you have to offer!Make yourself part of The WholeNote’ssearchable online music educationdirectory.It’s easy to register, year-round anytime,and a basic listing is FREE.LOOKING FOR A MUSIC TEACHEROR MUSIC CLASSES?Find the right teacher or programmefor yourself or a favourite younger person,and make more music, more often!The WholeNote’s music education isonline year-round and easily searchable.TheWholeNote.com/orangethewholenote.com September 1, 2014 – October 7, 2014 | 63

SEEING ORANGEdrive me home, stoppingto buy me a bigbowl of borscht on theway. When I tried torepay him he’d laughand say, “Just makesure you take yourown students out tolunch when you growup.” I admired everythingabout him, hisgorgeous sound andinventive musicality,his energy and kindness.Brenton Chan on Karl ToewsOne summer when I wasn’t practisingevery day or catching concepts as fast asusual Karl thought that I should go to “celloboot camp.” I lived with Karl and his wife foralmost a week. I got up at 8:30 and practisedalone until about 12:30. He practised too. I’dgo to his room for a little help then back tomy room to try it out myself. Lessons wereafter lunch or before supper. Then I did whateverhe did: swimming at the river with hisdog, chores, going to the beach, listening tomusic or more practising. Before lights outwe would watch a movie about a composer orperformer. It was great. I finally understoodthat a musician must work hard, every day.Jacques Israelievitch on Josef GingoldFrom my first lessons with Gingold it wasobvious that musicwas the main focus,technique just beingthe means to anend. Musicianship,musicmaking andchamber musicbecame my newlife. Under Gingold’sguidance being“only a soloist”could no longer bemy goal. For himit was all the same:orchestra parts, chamber music parts, soloparts, all got the same attention, enthusiasmand love. So even though I had been groomedto be a soloist, my new ambition was tobecome a well-rounded musician.Erika Raum on Lorand FenyvesHe was demanding. We used to laugh abouthow the greatest compliment you could getwas “much better” and a pat on the cheek.But it just made the very occasional “excellent”that much sweeter. He was the kindof teacher you refer to as “my teacher” yourwhole life. Lorand Fenyves is always with mebecause what I learned doesn’t really breakdown into different lessons and information.He is blended into who I am – musician, or nomusic. He was my teacher and I couldn’t haveasked for a better one.Nadina Mackie Jackson and Christopher MillardMatthew White on Jan SimonsHe consistently communicated a healthysinging technique in conjunction with alife view that suggests that a career is onlyever going to be part of a healthy life – thiswas extremely important for me. Music istoo personal a thing for it to be completelyseparate from our psychologies. A goodteacher is aware of how each person needsto be treated slightly differently in orderto bring out their best. I feel lucky to havefound a teacher who, aware of my particularskills and character, was able to bring out thebest in me.Adrianne Pieczonka on Mary MorrisonWhen I went to her at the age of 21 or 22I didn’t really have a high register. She builtmy voice and gave me the top register that Ineeded. She instilled the need to act courageouslyto get out there and do what I wantedto do, not to be afraid, and at the same timeenjoy it. She’s a tireless and dedicated workerwho would always find time to fit you intoher schedule. She is also completely down toearth and treats everyone equally whetherthey are beginner students or accomplishedperformers. Her love of contemporary musicis probably Mary Morrison’s greatest contributionto vocal artistry in Canada.Making a difference through music...Our educational music programs are :Available in English and FrenchCome with teaching guides and technical ridersCross-curricular and include lessons inmusic, art, languages, social studies, history,drama, and diversityWe bring the experience directly to your schoolFor more information please contact:Christopher Boyle - Sales and Communications Manager416-536-0264 cboyle@jmcanada.ca64 | September 1, 2014 – October 7, 2014 thewholenote.com

WE ARE ALL MUSIC’S CHILDRENA DECADE ofSEPTEMBERSAnd what they’re doing next.MJ BUELLCURTIS METCALF (euphonium)“For the month of September I’llbe in Nunavut teaching guitar tostudents whose first language isInuktitut. It is marvellous to knowthat music is truly the universallanguage.”’S CHILDRENRAY TIZZARD (trumpet) - heading forNew York (as The National Ballet’ musicadministrator). “We’re performing Alice’sAdventures in Wonderland (Sept 9-14) atLincoln Center. Then London, ON, wherethe Faculty of Music at my alma materWestern University is bestowing uponme a music alumni award. Ever-present– grant deadlines and planning for theHannaford Street Silver Band’s 2014/15season. Our first concert is awesomeBramwell Tovey on the podium featuringtrumpet soloist Andrew McCandless.”ROBERT AITKEN (flute) - at home inToronto on the occasion of his 75th birthday.“This September I’m off to New Zealand whereI will give a recital, play a concert with a fluteorchestra, present my lecture “Music as aLanguage” to the music faculty at AucklandUniversity and give some masterclasses. I hopeto find time to play a little golf and do somefishing while I’m there.”GUIDO BASSO (flugelhorn, trumpet)- practising and recovering from kneesurgery. “I can’t wait for the pain tocease. I should be back performingon October 18th at Koerner Hall withThe Boss Brass paying tribute to thelegendary late Rob McConnell and hiswonderful music. I am a great fan ofyour magazine I would like to congratulateall the members of your crew forletting all of us, readers and performers,know where we can hear great music.”NEW CONTEST! SEPTEMBER 2014 | MYSTERY CHILDPlay early, plays often.Plays well with (many) other not-soordinary musicians, on violins, viola,rebec, vielle and viola d’amore.Plays most often á table.Has a violinist daughter.Have bow(s), will travel …Concord, New Hampshire, 1975Know our Mystery Child’s name? Send your best guess tomusicschildren@thewholenote.com by September 25.WIN FABULOUS PRIZES!JANE BUNNETT (flute, soprano sax) “Iwill be having a wonderful Septemberfinishing off my 3 and a half month tourwith my amazing group – Maqueque!Dates in Boston at Schullers, Side Door inConnecticut, Lake George Jazz Festival, NY,Wichita, Denver, the Bluenote, New YorkCity, and ending it all with a final concertand goodbye party for the girls this seasonon Sept 27 at Hugh’s Room”JAMES PARKER (piano) “I always lovedschool as a kid, because that’s whereI’d see all my friends that I didn’t see inthe summer. I still enjoy the rhythm ofSeptember, where my own kids go backto school and I see my friends, studentsby mJ buelland colleagues at University of Toronto.”JEANNETTE LAJEUNESSE ZINGG (dancer,choreographer, co-artistic-director) “MySeptember includes: choreographic workshopsfor Opera Atelier’s Alcina, openingOctober 23; leading sessions at Making of anOpera, our educational workshops for highschool students; and working on our productionof Lucio Silla for La Scala.”RUFUS WAINWRIGHT (singer,composer) Sept 11-13: London,UK; Sept 16 Stavanger, Norway;Sept 18: Moscow, Russia; Oct 4:Coventry, UK. First Canadianstop is Vancouver, Dec 7, butLoudon Wainwright III, RufusWainwright’s dad, will be inToronto to perform at Hugh’sRoom Sept 7.ild was...little fool lies herehom I held dear—starling in the primef his brief timehose doom it was to draineath’s bitter pain…(etc)ther event in the same week,eath of Mozart’s fathercal productions, portraits and“conversation pieces”.In 1772 Zoffany enjoyed a seven-yearstay in Italy with the patronageof King George III andspent several years painting portraitsin India. Returning to Eng-portrait of Mozart at the age ofCONGRATULATIONSTO OUR WINNERS! Artin Shafa and a Mozartlovingfriend will have the pleasureof the Toronto MendelssohnChoir’s season premiere concertof Mozart’s Requiem on Friday,November 3, at 8:00 PM and dinnerfor two at Il Fornello! Guestconductor Ivars Taurins of Tafelmusikleads the choir with guestsoloists Sookhyung Park (soprano),Anita Krause (mezzo-soprano),Eric Shaw (tenor), ThomasGoerz (bass-baritone) and theFestival Orchestra. Robert Lesco and a friend,guests of Music Toronto, willhear the Emerson Quartet(Thursday September 28th,8pm)play Mozart’s Divertimento forstring trio in E-flat, K.563 andWE ARE ALL MUSIC’S CHILDRENSEPTEMBER’S Child ….SUSIE NAPPER (viola da gamba) -ANGELA HEWITT (piano)land he became a founder-memberis pretty of the relaxed! Royal A couple Academy ofOp.25. Guest: Wu Han,ACROBAT MUSICBrahms’ Piano Quartet in g,59writing from Brittany. “September’sSept 7, Art of the Fugue, inchildNothingThun, piano.ill-temperedALIVE MUSICSwitzerland; Sept 15 Bach, 51about this prelude to aMontreal (1768): concerts generally with Les reputed Voix for his Carol Ditner-Wilson Beethoven, remarkable and her career Scarlatti and AlbenizAMADEUS CHOIR 25Humaines and Ensemble Capricein Wels, Austria; Sept 17 Art AMICIbrilliant technical skills and forof 13guest will hear the Exultateand then a week of preparation for athe Think Fugue you might in Amsterdam, know theyear-longintroducingseries of lecture-concertsgreater liveliness and Chamber Singers MozartNetherlands.who September’s 250, Child ATMA CLASSIQUE 5in Copenhagen personal anecdote at the Royal into Academy English (Saturday October 20th is? 8 Send pm) your includingAlma Dei Creatoris, @thewholenote.com. Avebest guessmusicschildrenduring conversation which the students pieces. will But…. create 6New Brandenburgs with recycled Bach!In two portraits of Mozart attributeddo worse!” to Zoffany (the one Exsultate Jubilate, Solemn by random Ves-draw amongVerum Corpus, Salve (Anecdotes Regina, are welcome!)Off to Copenhagen followed by a weekWinners will be selectedof traveling in Umbria, Italy ... couldshown here and a lesser-knownthewholenote.com pers, and choruses from correct Die entries Za-received by1, 2014 – October 7, 2014 | 65September15th, 2007.uberflöte and Idomeneo. GuestINDESuppowho keep100 VOICE WELSH MALE CHALDEBURGH CONNECTION 11ALL THE KING’S VOICES 26ANNEX SINGERS OF TORONTOAVENUE ROAD ARTS SCHOOLCANADIAN OPERA COMPANY 3CANCLONE SERVICES 54CANTORES FABULARUM 38CATHEDRAL BLUFFS SYMPHONORCHESTRA 40CHRIST CHURCH DEER PARKJAZZ VESPERS 29CHURCH OF ST. MARY MAGDCHURCH OF ST. SIMON THE ACITY OF TORONTO HISTORIC M

DISCOVERIES | RECORDINGS REVIEWEDWhat I Did On My Summer VacationDAVID OLDSIt all began as I was registering for an online service and was asked the security question “Who is your favourite author?” I realized that theanswer has not changed in about 35 years since I first read William Gaddis’ The Recognitions (I hope this admission will not leave me vulnerableto identity theft!) which led to a re-reading of his final work, Agapē Agape. And there my story begins...With Gaddis’ fixation on mechanicalreproduction (specifically the invention ofthe player piano) and the ways technologychanged the perception and availability ofart in the 20th century, in particular thephenomenon of Glenn Gould and Gould’swish to “eliminate the middleman andbecome [one with] the Steinway,” the stagewas set for my wonderful summer’s journey.It began with The Loser, Thomas Bernhard’saccount of a fictional Glenn Gould’s studiesin Salzburg with Vladimir Horowitz, and thedevastating effects his presence (and his interpretationof the Goldberg Variations) had ontwo fellow students, the unnamed narratorand the character Wertheimer, who abandonedpromising solo careers and were ultimatelydestroyed by the contact (Wertheimer infact a suicide). Evidently Gaddis was readingBernhard toward the end of his life and it wasthere he found the premise of Gould wantingto become the piano.It was about this timethat I realized that abook which had arrivedat The WholeNote afew months earlier andwhich I had browsedbut put down as beingtoo dry and academic,The Musical Novelby Emily Petermann(Camden House 978-1-57113-592-6), mightprovide some insightsand inspiration after all.I still found it hard going – with its use ofsuch unfamiliar words as inter-, intra- andmulti-medial, poiesis and palimsestuous (asopposed to palimsestic, she explains), allof which I was able to make out from theirroots and context but which I notice set offspell-check alarms – and ended up focussingon Chapter 5: “Structural Patterns inNovels Based on the Goldberg Variations.” Ofthe four books analyzed – Gabriel Josipovici’sGoldberg: Variations; Nancy Huston’sThe Goldberg Variations; Rachel Cusk’sBradshaw Variations and Richard Powers’Gold Bug Variations – I had read (severaltimes) all but the Cusk. The inclusion of thislatter was in itself worth the effort of perseveringwith Petermann’s thesis.I took a break from the scholarly tometo (re)read each of the books in question.Reading them all together, interspersed with anumber of recordings of the namesake, occupiedme for most of a month and providedsome delightful moments and revelations.Having now gone back to The Musical Novelto read Chapter 6 and the Conclusion hasalso furnished a number of explanations andclarifications, both about the novels in questionand the structure of Bach’s masterpiece.An example of the former is Cusk’s inclusionof a narrator-less chapter writtenentirely in dialogue without commentary(shades of Gaddis, although Cusk’s speakersare identified) which stuck in the craw ofat least one reviewer as being non-sequiturialand annoying for its lack of context.Petermann points out that the chapter inquestion is parallel to Bach’s Variation XXVIIin the structure of the book and is a literaryrepresentation of this “canon at the ninth,”which involves just two voices without the“commentary” of the bass line present in allof the other variations. So there is the contextwhich the reviewer found lacking. LikewisePetermann explores the unique A-B structureof Variation XVI, the midpoint of Bach’s cycle,and relates it to several of the literary works,most notably the Josipovici. In an extension ofthe legend of the origin of another of Bach’smasterpieces, The Musical Offering, Josipovicirecasts the story of Bach’s musical meetingwith Frederick the Great to be Goldberg’s –a writer rather than a harpsichordist in thisnovel – literary joust with King George III andsubsequent reworking of the King’s themeinto “seven tiny tales” and a longer three-partcautionary story. Other insights abound…Bach provided the title Clavierübung(keyboard study) consisting of an Aria withDiverse Variations for the Harpsichord withTwo Manuals Composed for Music Lovers,to Refresh their Spirits. Johann NikolausForkel, in the first biography of Bach writtensome six decades after the composer’s death,provided a background story from which thename we now associate with the work originated.Forkel tells us that Baron von Keiserling,an insomniac who employed a young harpsichordplayer named Goldberg to play himsoothing and entertaining music at nightfrom an adjoining room to help him sleep, orat least deal with his sleeplessness, commissionedBach to write a set of suitable piecesfor Goldberg to play. That story has long sincebeen debunked, as listening to some of themore rambunctious variations might suggest,but the myth has continued to entice us formore than two centuries.The recordings Irevisited duringthis extensiveimmersionin the GoldbergVariations wereof course GlennGould’s seminal 1955and ultimate 1981versions (in a 2002three-CD commemorativepackage that includesan extended conversation between Gouldand music critic Tim Page, SONY S3K 87703),plus Luc Beauséjour’s harpsichord rendition(Analekta fleur de lys FL 2 3132), DmitriSitkovetsky’s string trio arrangement withSitkovetsky, Gérard Causé and Misha Maisky(Orfeo C 138 851 A, but you might choosea Canadian recording of the same arrangementwith Jonathan Crow, Douglas McNabneyand Matt Haimowitz on Oxingale OX2014,reviewed by Terry Robbins in the March 2009WholeNote) and Bernard Labadie’s stringorchestra version with Les Violons du Roy(Dorian xCD-90281), each of which bringsvery different aspects of the work to light andall of which I would recommend withouthesitation. As I would the literary titlesmentioned above.It was a newrecording, BachGoldberg Variationsfor Two Pianos,that drew myparticular attentionhowever. EvidentlyJoseph Rheinberger(1839-1901)felt that the original 1741 solo keyboard(two-manual harpsichord) work wouldprovide enough material to keep two pianistsbusy and in 1883 made an arrangementfor two pianos in which the liner notestell us he “took substantial liberties withBach’s original voicing, doubling melodiesand fleshing out harmonies as he saw fit…[leaving] an unmistakably Romantic impressionon the work.” Thirty years later MaxReger “smoothed out a few of the [remaining]rough edges” of Rheinberger’s adaptationand published the version recorded here in awonderful performance by Nina Schumannand Luis Magalhães (TwoPianists RecordsTP1039213). It is this “Romantic” version for66 | September 1, 2014 – October 7, 2014 thewholenote.com

two pianos that comes the closest to beingsomething I would like to hear at the edgeof sleep. If I ever have the luxury of going tobed next to a room furnished with two grandpianos and such accomplished performers asSchumann and Magalhães I would love to putthe Keiserling premise to the test.Having spent July immersed in Bach’smusic, I spent August exploring the firsthalf of Petermann’s treatise, devoted to theJazz Novel, a genre with which I am mostlyunfamiliar. As a matter of fact MichaelOndaatje’s Coming Through Slaughter is theonly book covered that I had read, and ToniMorrison the only other author mentioned Ihad previously heard of. It turned out to bequite a challenge to track down many of thebooks discussed, but I am pleased to say that,after a mostly unfruitful search at the TorontoPublic Library, with the aid of Toronto’s (fewremaining) used book sellers and the InternetI have been able to find books by all of theauthors discussed (including Xam WilsonCartier, Christian Gailly, Jack Fuller, StanleyCrouch and Albert Murray). This too has beena very satisfying journey.You might think that after all thoseGoldberg Variations I would have hadenough of Bach for a while, but perhapsI am like those animals who, even whenchoices abound, continue eating a single foodtype until its source is depleted before movingon to something else (not that one could everexhaust the available wealth of Bach recordings).For a changeof pace I found thata new recording ofBach Cantatas entitledRecreation for theSoul featuring theMagdalena Consort(Channel ClassicsCCS SA 35214) didindeed provide a refreshing respite. I mustconfess that I am not well versed in Bach’smany cantatas – some 209 have survived –although I am of course familiar with some ofthe more famous arias. Listening to this newrecording, which features stellar soloists PeterHarvey (bass and direction), Elin ManahanThomas (soprano), Daniel Taylor (alto) andJames Gilchrist (tenor) in one-voice-per-partarrangements, I was pleasantly surprised tofind that the beloved melody I know as Jesu,Joy of Man’s Desiring appears not once buttwice in the cantata Herz und Mund und Tatund Leben (Heart and mouth and deed andlife) BWV147, as the final chorale of Part OneWohl mir, dass ich Jesum habe (What joy forme that I have Jesus), and as the grand finaleof the work, Jesus bleibet meine Freude (Jesusremains my joy). The other “musical offerings”on this marvelous disc are Jesu, der duMeine Seele (Jesu, by whom my soul) BWV78and Nach dir, Herr, Verlanget Mich (Lord, Ilong for you) BWV150, both rich in Bach’strademark melodies and counterpoint, heardhere in a clarity not always found in fullchoral presentations. Highly recommended.Hoping to wean myself gently off the Bachoverdose and realizing that no one writing forsolo cello would be able to avoid at least someinfluence of themaster, I decided tocheck out Lady inthe East, Solo CelloSuites 1-3 by BCcomposer StephenBrown, featuringHannah Addario-Berry (stephenbrown.ca).The opening notes of TakakkawFalls, Suite No.1 confirmed my suspicionregarding echoes of Bach, but almost immediatelythe contemplative Air established itsown independent voice and the followingStrathspay & Reel and Slow Waltz, althoughbased on dance patterns like a Baroque suite,were obviously drawing inspiration fromdifferent cultural sources – Canadian folksongs and fiddle tunes. It is not until halfwaythrough the final Jig that we once again finda nod to Bach in a stately middle passagebefore a return to the playful fiddle tune ofthe opening.I find it interesting to note that the suitewas originally composed for solo flute. In mycorrespondence with Hans de Groot aboutthe disc of Francis Colpron’s transcriptionsfor recorder reviewed elsewhere in thesepages I mentioned that one of my favouriteversions of the Bach cello suites was MarionVerbruggen’s performance on the recorder.I’m pleased to note that the process of translationcan also work the other way around,from flute to cello.The disc includes two other suites(evidently Brown has composed six in all, sofar), Fire, which is influenced by the classicrock of Hendrix, Procol Harum, Cream andthe like, adapted very effectively and idiomaticallyfor solo cello, with a contrastingslow Recitative and Aria movement againreminiscent of Bach, and There Was a Ladyin the East in which Brown returns to folksongs and fiddle tunes. As an amateur cellistI am pleased to note that the sheet music forthese works is available from the CanadianMusic Centre (musiccentre.ca). I availedmyself of the CMC’s purchase-and-print-ityourselfservice and have enjoyed the challengeof working on the first suite in the pastfew weeks.My final selection this month does notshow any noticeable influence of J.S. Bach,but does feature solocello with German-Japanese DanjuloIshizaka accompaniedby pianistShai Wosner. Grieg,Janáček, Kodály(Onyx 4120) featuresthree relativelyobscure, or at least rarely recorded, works forcello and piano – Janáček’s dark and lyricalPohádka (Fairy Tale) and his brief, dramaticPresto, whose origin is unclear but whichmay have been meant originally as a movementof the fairy tale suite, and Grieg’sCello Sonata in A minor, Op.36. Ishizaka’scommitted performance of the Grieg andJanáček works makes me wonder why theyaren’t more often played. After all, these aremature works by respected composers whodid not publish much in the way of chambermusic – in the case of Grieg two violin sonatasand a string quartet and Janáček just a smatteringof works for violin and piano, twostring quartets and a woodwind sextet. Thatalone would make this recording important,but for me it is the centrepiece of the disc,a staple of the modern repertoire, Kodály’sSolo Cello Sonata Op.8 which is mostworthy of note.Presented in a context of “folkloric” worksin the liner essay by Ishizaka, I find it hardto make that connection. Of course Kodályworked with Bartók in the early yearsof the 20th century collecting and transcribingliterally thousands of folk songs fromHungary and surrounding lands, and thisexperience had a lasting influence on bothcomposers and their music. But frankly Idon’t hear it here. From the abrasive openingthrough a contemplative middle movementand on to its driving finale, this extendedwork from 1915 is a thoroughly modern,uncompromising tour de force which extendsthe cello’s sonic possibilities with its re-tunedand simultaneously plucked and bowedstrings. Ishizaka’s performance brings out allthis and more. It’s a welcome addition to thediscography.I mentioned above that I imagined that allcomposers writing for solo cello would beinfluenced by Bach’s solo suites. I find myselfunable to find these influences in Kodályhowever, although I have come up with anexplanation. It was Pablo Casals who firstbrought widespread attention to the Bachsuites, having stumbled upon the score in1890 at the age of 13. He then proceededto spend several decades working on thesuites and developing them as the performanceshowpieces we know today. Before thattime it seems they were regarded as merefinger exercises, learning pieces not fit for theconcert hall. Although Casals did record fourof the six movements of the C Major Suite in1915, the year Kodály composed his Sonata, itwould be two more decades before he madehis seminal recordings of the entire cycle.I think it may well be that Kodály was notaware of the Bach Suites when he composedhis masterwork. If this is indeed the case, it isan even more remarkable achievement.We welcome your feedback and invitesubmissions. CDs and comments should besent to: DISCoveries, WholeNote Media Inc., TheCentre for Social Innovation, 503 – 720 BathurstSt. Toronto ON M5S 2R4. We also encourage youto visit our website where you can find addedfeatures including direct links to performers,composers and record labels, and additional,expanded and archival reviews.David Olds, DISCoveries Editordiscoveries@thewholenote.comthewholenote.com September 1, 2014 – October 7, 2014 | 67

VOCALAlma & Gustav Mahler – LiederKaren Cargill; Simon LepperLinn LC 11615Mahler – LiederBernarda Fink; Anthony Spiri; GustavMahler Ensemble; Tonkünstler OrchesterNiederösterreich; Andrés Orozco-EstradaHarmonia Mundi MNC 902173Scottish mezzoKaren Cargill, trainedin Glasgow, Toronto(with Patricia Kern)and London, is in theearly stages of aburgeoning career.This recording marksher debut recital onthe Glasgow-based Linn record label. The discoffers a comparatively rare opportunity tohear the Fünf Lieder by Alma Mahler (1879-1964) published in 1910, along with twomajor song cycles by her husband Gustav. Theyoung Alma Schindler, Mahler’s fetching22-year-old composition student and sometimelover of Alexander Zemlinsky when thetwo first met, was persuaded to abandon hercreative pursuits before agreeing to marry thefirst of her many husbands in 1902, though atthe end of his life (1860-1911) a repentant andcuckolded Gustav arranged to have her songspublished by Universal Edition. Zemlinsky’sinfluence looms large in these erotically chromaticand assuredly accomplished Liederwhich are given highly sympathetic readingshere. The set is followed by Gustav Mahler’sFünf Rückert Lieder and the four-movementLieder eines fahrenden Gesellen, closing witha passionate rendition of the Urlicht movementfrom his Second Symphony. Cargill isblessed with an enormous and opulent voicewhich in full flight can reach operaticvolumes, notably so in the triumphantconclusion of Um Mitternacht from theRückert Lieder, though a certain breathinessbecomes apparent when her powerful voice isdrawn back. Veteran accompanist SimonLepper provides immaculate supportthroughout. The otherwise enjoyable andwell-recorded disc seems rather skimpy at amere 53 minutes.An artist of exceptionalsensitivity andgreat emotional depth,Bernarda Fink is anArgentinian singerof Slovenian extractionbest knownfor her Baroque-eraperformances. Withthis disc she reveals a sympathy for the musicof Mahler comparable to the great Mahlersingers of the past such as Christa Ludwigand Janet Baker. The programming of thisexcellent Harmonia Mundi release (aptlysubtitled “A Life in Songs”) is innovative,including two very rarely heard early songs,Im Lenz and Winterlied; Arnold Schoenberg’s1920 arrangement for chamber ensembleof the complete Lieder eines fahrendenGesellen; the mournful Kindertotenliedercycle with full orchestra; and selections fromhis Rückert Lieder in various orchestral andpiano versions for a generous duration of78 minutes. Pianist Anthony Spiri and Finkcollaborate wonderfully well together andthe young Colombian conductor AndrésOrosco-Estrada (recently appointed to leadthe Houston Symphony) proves equally sensitiveto the subtle nuances of her deeply feltinterpretations. This is truly a recordingto treasure.Daniel FoleyStrauss – CapriccioFleming; Skovhus; Schade; Eiche;Kirchschlager; Rydl; Wiener Staatsoper;Marco Arturo MarelliCmajor 715908Fresh from therapture of watchingthis video performanceof Strauss’ lastutterance in operaand recovering fromthe delirium of thestanding ovation, canI silence the skepticswho believe that operais dead and totallyirrelevant in our age?“They should eat theirwords” (to quote Bruce Surtees) after seeingthis production from the Wiener Staatsoper.This venerable opera house actually justrecently produced at least two phenomenalsuccesses including this one and a stupendousAnna Bolena.Richard Strauss, a genius who managedto revamp his earlier, very successful sturmund drang hyper-romantic style towards analmost Mozartian restraint and elegant classicismwithout losing his tremendous giftsof melody, advanced harmonies and overallstructural control of his material, is now 150years old (I use the present tense to emphasizejust how alive he is to me through hismusic). To celebrate this landmark Viennachose this, his most difficult and problematicopera, not Salome nor Der Rosenkavalier, butCapriccio, taking an enormous chance.The heroine, Renée Fleming as theCountess, pretty well owns this crown jewelof a role and there is no match for her presently.She had a difficult start as she is notgetting any younger, but she soars, grows instature and achieves heights in the last scenewhere even the Gods would fear to tread.Canadian tenor Michael Schade and Germanbaritone Markus Eiche, the frustrated wouldbelovers, are no disappointment either, butAngelika Kirschlager (mezzo) with her perfectGerman diction, wonderful stage presence,charming voice and sense of humourcertainly gives Fleming a run for her money.Kurt Rydl, in the comic role of the busybodyschauspieldirektor, certainly lives up tohis reputation as one of the great characterbasso-buffos of today. Swedish baritone BoShovkus is a bit outlandish in the role of theCount, but adds a lot of interest to the characterand his voice is excellent. In his WienerStaatsoper premiere, Christoph Eschenbach isin masterly control and gets able support fromhis virtuoso musicians. Special credit is due tothe young violinists in the opening very difficultstring sextet and to the wonderful hornsin the famous “Moonlight Intermezzo.”Director Marco Arturo Marelli’s conceptis surprisingly grandiose for this intimate,chamber-like opera, but the resplendent setsof a Rococo palace in vibrant, opulent coloursof blue and silver, translucent furnishings andabundance of mirrors never cease to delightthe eye. All the foregoing notwithstanding itis the underlying abundance of talent, goodtaste, charm and Viennese gemütlichkeitwhich carry the day and the birthday boy,Maestro Strauss, the big winner.Janos GardonyiL’Heure RoseHélène Guilmette; Martin DubéAnalekta AN 2 9141This is a revelationfor those wishing tolearn more about thefemale contemporariesof Fauré, Duparc,Debussy and Poulenc.Ten women composersof the 19th and 20thcenturies are representedon this recording: some we’ve beenintroduced to before (Viardot, Chaminade,L. & N. Boulanger, Beach) and others quiteunfamiliar (Holmès, Canal, Karveno, Landry).While perusing sheet music on Rue deRome in Paris in 2007, soprano HélèneGuilmette, found some excellent works byMel (Mélanie) Bonis, one of those who used apseudonym to get by in the male-dominatedworld of music publishing. Her story is oneof talent long-hidden; a marriage arranged byher parents to a man 25 years her senior leftlittle space to pursue her art. Only later, whenreunited with a long-lost love, a singer, didshe receive the encouragement she needed.Guilmette’s raison d’être for this collectionis “making these works better knownand honouring their memory.” Fin-desiècleParis is brought to life in these impressionisticsongs by Guilmette’s shimmeringvoice and long-time coach, collaborator andaccompanist Martin Dubé’s pianistic finesse.A few interesting later works are includedas well, such as cabaret actress/singer/composer Wally Karveno’s La robe de lune(1954) and Quebec-born Jeanne Landry’sÉmergence (1996).Dianne WellsRemembering Alfred DellerJames Bowman; Robin Blaze; John Turner;68 | September 1, 2014 – October 7, 2014 thewholenote.com

Laura RobinsonDivine Art dda 25114The countertenorAlfred Deller was bornin 1912 and I wonderif this CD had beenintended to mark hiscentenary. No matter,the disc is as welcomeas it would have beentwo years ago. Anobvious way of remembering Deller wouldhave been to reissue some of his recordingsbut the producers of the CD have hit on somethingmuch more imaginative. The recordingcommemorates not only Deller himself buttwo others who were central to the revivalof early music in the 40s and 50s: MichaelTippett and Walter Bergmann. It was Tippettwho discovered Deller in the choir stalls ofCanterbury Cathedral and who launched himin his solo career at Morley College.Bergmann had been a lawyer in Germanybut was forced to flee to England, where hestarted a new career as a music editor, harpsichordistand composer. The CD, whichfeatures two fine countertenors, JamesBowman and Robin Blaze with recorderplayers John Turner and Laura Robinson,includes John Blow’s Ode on the Death ofMr. Henry Purcell (which Deller himselfperformed and recorded) and also severalworks dedicated to Deller: Bergmann’shaunting Pastorale for countertenor andrecorder (1946) and the Three Songs forcountertenor and guitar (1973). It alsocontains Peter Racine Fricker’s Elegy, a workgiven its first performance by Deller.The recorder pieces (solo Inventions byTippett and trio sonatas by Handel andWilliam Williams) are less obviously relatedto the work of Deller but they serve to remindus that his emergence was part of the rediscoveryof early music.Hans de GrootEARLY MUSIC AND PERIOD PERFORMANCEHandel & PorporaJulie Boulianne; Clavecin en Concert; LucBeauséjourAnalekta AN 2 8764The Schulich Schoolof Music at McGillUniversity in Montrealis doing somethingright – the sheernumber of successful,outstanding graduateseclipses any otherCanadian hive of classicalmusic. Not to give too much credit to theschool (after all, Juilliard was involved too),Julie Boulianne is a born talent – a mezzoof rare beauty of voice, whose techniquematured rapidly since her debut recordingin 2006 (that album, with music by Berlioz,was nominated for a GRAMMY!). What awonderful choice of material here – the musicthat was the soundtrack of the battle royalbetween the Royal Academy of Music andthe Opera of the Nobility, between Handeland Porpora. Between 1733 and 1737, Londonaudiences were treated to a tight contest ofthe two great composers, the best castrati ofthe period and extravagantly staged operas.To be sure, both parties went over the top,losing thousands of pounds – the Opera of theNobility went bankrupt, the Royal Academynearly so, but Handel’s Atalanta turned outto be the coup de grace and Porpora leftLondon defeated. And we have been leftwith a treasure trove of music, none morerevered to this day than “Ombra mai fu” fromHandel’s Serse, delivered here by Bouliannewith a rarely heard delicacy and tenderness.Clavecin en Concert provide equally beautifulaccompaniment within a traditionally wellproducedAnalekta recording. Five out offive stars.Robert TomasSix TranscriptionsFrancis ColpronATMA ACD2 2677None of theworks on this CDwere written forthe recorder but,as Francis Colpronpoints out, in the 18thcentury composers didnot always prescribethe instruments onwhich their work should be performed.Consequently the works by Telemann, Marais,Bach and Tartini sound perfectly idiomatic. Itis true that this music often needs to be transcribed.The A minor solo sonata by Bach,for instance, has long been appropriated byrecorder players. But the baroque transverseflute went down to D and the alto recordergoes no lower than F. Consequently recorderplayers have to perform it in C minor whichmakes parts of the work very high and technicallydifficult. Needless to say, the highnotes provide no problem for Colpron.One work on this CD stands out asdifferent, the Caprice No.24 for solo violinby Paganini. The composer would neverhave imagined a performance of this workon the recorder as by 1820 (when it was firstpublished) the recorder was seen as totallyobsolete. Yet the transcription works: Colpronaptly sees it as a “translation” and he citesLiszt’s piano transcriptions of the Beethovensymphonies as an analogue.Colpron is brilliant throughout. I have oftenadmired his playing and I had the pleasure ofbeing coached by him in a recorder consortlast July. One thing I discovered then is thathis Dutch is impeccable and he will understandwhat I mean when I say that thisrecording is “uitstekend.”Hans de GrootHandel – 8 “Great” SuitesRichard EgarrHarmonia Mundi HMU 907581.82Handel – The Eight Great SuitesDanny DriverHyperion CDA68041/2Harpsichord orpiano for Handel? TwoCD collections havesimultaneously beenreleased, continuingto ask the question.Pianist Danny Driveropens the account forHyperion, his prelude(described in the sleeve notes as “ruminative”)being a thoughtful, cautious approachbefore the allemande, courante and gigue,not so far removed from their rural roots.Harpsichordist Richard Egarr is more cautiousin his courante before an excited gigue. Atthis early point, it is difficult to judge whichinstrument is the more suited.Suite 2 starts with a restful adagio followedby a highly spirited allegro, demanding forboth pianist and harpsichordist. Driver’sinterpretation would have communicated toan 18th-century harpsichord audience exactlywhat the piano still demands of its playersthree centuries on. The second adagio andallegro: fugue are a relaxing contrast. Egarrtackles with enthusiasm the first allegrowhich must be a highlight of the baroquerepertoire.And so to the contemplative Suite 3 and itsair with five gentle variations. This is thechance to take a breath and compare instruments.While much of early music was notscored for any particular instrument, onedoes wonder why a piano is selected; theharpsichord is not deficient in any way asEgarr’s glorious presto testifies. It may be thecase that harpsichords were not available inprevious decades: the piano was ready tostand in and this practice has never ceased.Suite 4 beginswith another allegro:fugue which is almosta cliché of baroquekeyboard playing. Its“hammer blows” are,in fact, more vigorouslyinterpreted byDriver’s piano playing– Egarr’s harpsichord is played with passionbut it is still overshadowed, a process repeatedwith the allemandes. There is a tendernessto both sarabandes and it is difficult to saywhich is the more sensitive.Driver’s piano-playing gives a thoughtfulnessto the Suite 5 prelude and allemandebefore its spirited courante. Egarr’s preludeand allemande are slower; perhaps that wordruminative applies to him this time round.And so to the air with five variations, theuniversally loved “Harmonious Blacksmith.”Driver is sensitive in his interpretation, Egarrmore virtuosic and more effervescent inthewholenote.com September 1, 2014 – October 7, 2014 | 69

his playing.“The Harmonious Blacksmith” is a hard actto follow. Both Driver’s and Egarr’s renditionsof the Suite 6 gigue are dashing, in contrastwith the largo in the same suite. It is easy tosay that the remaining suites comprise thedance-based movements already discussed,but Suite 7 concludes with a passacaille:chaconne. With Egarr’s combination of stridentand exuberant playing, perhaps thismovement is the sole differentiation betweenpiano and harpsichord.And on a personal note, Driver’s sleevenotes refer to frescoed ceilings by Bellucci.They are still there in the local Church ofSt. Lawrence: this reviewer grew up a halfmile from them.Michael SchwartzCLASSICAL AND BEYONDThe Classical Piano Concerto Vol.1 – DussekHoward Shelley; Ulster OrchestraHyperion CDA68027Was it really 23 years ago that Hyperionissued the first of the “Romantic PianoConcerto” series, presenting us with a bevy of19th century composers, many of whommight otherwise have languished inobscurity? The series is still going strong, andat last count, was up to number 64. This year,the company is embarking on yet anotherproject – the “Classical Piano Concerto”series, and this premiere release featuresthree works by the Bohemian composer JanLadislav Dussek (1760-1812) performed bythe renowned British pianist and conductorHoward Shelley whoalso leads the UlsterOrchestra.Born in Čáslav,Bohemia, Dussek wasa truly internationalmusician – one ofthe first – whosesuccessful career as aperformer, composer and teacher took him tothe Netherlands, Paris, London and then backto his homeland before settling in post-revolutionaryParis.The opening concerto on the disc,Op.1,No.3, written before 1783, is a modelAfter two volumes of worksfor violin and pianoJames Ehnes reachesVolume 3 in his series of BélaBartók’s Chamber Works forViolin with a CD featuring clarinetistMichael Collins, pianistAndrew Armstrong and violinistAmy Schwartz Moretti (Chandos CHAN10820). Collins and Armstrong joinEhnes in an excellent performanceof Contrasts, the workBartók wrote for himself, JosephSzigeti and Benny Goodman in1938, and Armstrong accompaniesEhnes in the very brief Sonatina, apiano piece from 1915 heard here ina 1925 transcription (approved byBartók) by André Gertler.The bulk of the CD, though, isdevoted to the 44 Duos for TwoViolins from 1931. Bartók hadbeen asked to transcribe someof his short piano pieces from1908-09, For Children, a collectionthat had been based in parton some of the folk music he had collectedbefore the First World War. He chose insteadto write four books of duets drawing almostexclusively from a wider range of the folktraditions he had encountered at that time.They’re very brief – 28 of them last less thana minute – but anyone who has played themknows that their brevity doesn’t in any wayindicate an absence of interest, mood change,variation or depth of invention.They’re not difficult to play for the mostpart, although the technical level certainlydoes rise the deeper into the set you go, so it’snot so much a case of judging the performanceshere but more one of simply enjoyingthem. And with Ehnes and Moretti you’re interrific hands.By pure coincidence, the batch of CDs thatincluded the Ehnes Bartók also includedTERRY ROBBINSviolists Claudine Bigelow andDonald Maurice in Voices fromthe Past (Tantara TCD0213VFP),a wonderful 2CD set of transcriptionsof the 44 Duos for two violas,but with a startling – and quitestrikingly emotional – addition:32 of the original field recordingsmade by Bartók that supplied theimpetus and the basic material formost of the duos, heard here for thefirst time together on one album.The first CD has a performanceof the 44 Duos with the appropriatefield recording precedingthe corresponding Bartók duo;the words of the songs, the namesof the singers or players, the locationsand dates are all included inthe excellent booklet notes. Thesecond CD is an uninterruptedperformance of the Duos.Obviously, the sound quality ofthe field recordings, made on waxcylinders between 1904 and 1916,is understandably quite poor, andno restoration has been attempted here. Someof the recordings are very rough – almostinaudible in places – but the emotionalimpact of this singing and playing of ordinarypeople from 100 years or more ago pairedwith the music they inspired is enormousand not only sheds fascinating light on thenuances of Bartók’s writing but also imparts asense of nostalgia to the pieces that is heightenedby the darker tone of the two violas.Bigelow and Maurice wisely chose not touse the William Primrose transcription of thework – the only one commercially available,but full of crucial changes Primrose madein an attempt to keep the duos at originalpitch – and opted instead to simply transposethe entire set of duos down a fifth,thus retaining their integrity. Some brightnessis lost as a result – in The Bagpipe andthe final Transylvanian Dance, for instance –but the gain in warmth and depth more thancompensates for this.Listen to the girls collapsing in laughterat the end of their bright, up-tempo song,and then listen to Bartók’s slow, melancholyPrelude & Canon transcription that followsit, simply aching with longing for a rapidlyvanishing past. It will forever change the wayyou hear these remarkable pieces.Glenn Dicterow has just stepped downafter 34 years as concertmaster of the NewYork Philharmonic, and to mark the eventand honour his service the organizationhas issued The Glenn Dicterow Collection(NYP 20140201), a three-volume selection ofDicterow’s live solo performances with theorchestra between 1982 and 2012. Volume 1is available as a CD and download; volumes2 and 3 are available only as downloads fromnyphil.org/DicterowCollection.A beautiful 88-page souvenir bookletcomes with the CD, which features superbperformances of the Bruch G Minor Concerto,the Bartók Concerto No.1, the KorngoldConcerto and the Theme from Schindler’sList, Dicterow getting inside these worksquite wonderfully in really outstandingrecordings.Strings Attached continues at thewholenote.comwith a centennial tribute toPaul Hindemith featuring violist AntoineTamestit, American cellist Michael Samis inhis debut recording with Reinecke’s CelloConcerto, Here Comes the Dance featuringSanta Ferenc Jr. and the Hungarian NationalGypsy Orchestra, Spanish Dances by theBrazilian Guitar Quartet, violin and pianomusic by Gershwin with Opus Two andHaydn concertos performed by violinistMidori Seiler.70 | September 1, 2014 – October 7, 2014 thewholenote.com

of classicism. In only two movements, themusic bears more than a trace of galanterie,not dissimilar in style to Haydn’s divertimentifrom roughly the same period. Shelley’splaying is elegant and precise, perfectlycapturing the subtle nuances of the score. Theconcertos in C, Op.29 (c.1795) and in E flat,Op.70 (1810) are written on a much granderscale. In keeping with the early Romanticspirit of the music, the Ulster Orchestra’swarmly romantic sound is a fine complementto Shelley’s sensitive and skilful performance.These concertos are a splendid introductionto a series which I hope will prove to beas all-encompassing as the first – and bravo toHoward Shelley and the Ulster Orchestra fortaking the lead in such a masterful way.Richard HaskellPaganini – 24 CapricciMarina PiccininiAvie AV2284In his liner notesfor this two-CD set ofPaganini’s Capriccitranscribed for flute bythe performer, JulianHaycock writes: “In[Paganini’s] virtuosohands, music ofunprecedented technicalcomplexity was dispatched with a coolnonchalance that betrayed little of the effortbehind its execution.”Yes, the name Paganini is synonymous withvirtuosity, no end of which Piccinini brings– incredibly fast double tonguing in No.5,brilliant triple tonguing in No.13, admirablearticulation throughout, but particularlyin Nos.15 and 16, fluidity and even fingermovement, used to great effect in Nos.17 and24, the striking use of harmonics in No.18and the ability throughout to bring out amelody in the low register and accompanyit or comment on it with a soft sweet soundin the high.All of the above, however, are mere technicalfoundation for the artistry whichmakes these studies so much more thanjust fodder for developing chops. The musicappears nonchalant, as in the always tasteful,relaxed and never sentimental execution ofthe ubiquitous ornamentation in a way thatreveals unexpected depths of feeling, in theexquisite control of dynamics and the expressivepower that control brings.In the liner notes Piccinini refers to theCapricci as “inspired miniatures of extraordinary… intensity,” going on to say that shewas struck by their expressive range and by“Paganini’s mystic, dark side and … haunting,introspective, tender vulnerability.” In thisrecording she has succeeded in transmittingthis vision of the Capricci. All in all, it is anenormous accomplishment … brava!!Allan PulkerBeethoven – Piano Concertos 3 & 4Maria João Pires; Swedish RSO; DanielHardingOnyx 4125Certainly there is no paucity of finerecorded performances of these twoconcertos. However here we have anoutstandingnewcomer that, forthese ears, sweepsthe field. Over thepast four decades,Pires has establishedherself as a consummateand refinedMozart interpreter,demonstrating a profound musical approachwith playing that is articulate and sensitive.Applied to her Beethoven these qualitiesilluminate in a pure classical Mozartianapproach, particularly in the Third Concerto.In the Fourth the romantic Beethoven breaksout of the Mozartian boundaries. Pires playsthroughout with exceptional taste; it is as ifshe were “talking” the music to us. The resultsare so persuasive that I found myselfrehearing and re-hearing the two performancesand wondering if I would want to listento any other recording of this repertoire.Another of the joys of listening to theserecordings is the complete accord throughoutbetween conductor and soloist. It is a handin-glovepartnership. The style and balancesof the orchestra are very much in the mannerof the Deutsche Kammerphilharmonie,Bremen of which Harding was the conductorfrom 1999 to 2003. The performances are wellserved by the splendid production values.Bruce SurteesMozart & Brahms – Clarinet QuintetsAnthony McGill; Pacifica QuartetCedille CDR 90000 147Mozart and Brahms,more or less a centuryapart, wrote quintetsfor clarinet and stringquartet during theirmost mature creativeperiod. While linernotes for this latestrecording draw interestingparallels between them, the pieces arequite distinct. More interesting than materialsimilarities is that both works sprang fromthe composers’ admiration and affection forparticular clarinetists. It is left to the contemporaryperformer to step into the shoes ofAnton Stadler (Mozart) and Richard Muhlfeld(Brahms), to represent an aesthetic span of acentury in the manner of one’s performance.A greater challenge still is making thepieces sound new. Mozart’s K581 is perhapstoo well-known for that. McGill and companykeep tempi brisk, eschew vibrato, remainin tune; they even affect a Viennese waltz inthe second trio. The clarinet tone is clear andyet warm: crystal velvet. The string playing isassured, all gut strings and clear understatement.It is nice to hear a different cadenzain the finale, uttered with flair. Still, I’m leftfeeling that what we have here is another finerendition of a treasured yet worn part of therepertoire, even as I admire the heck out ofthe musicianship.Brahms’ longer and darker work is moredaunting for performer and listener alike.In Steppenwolf Hermann Hesse imaginesan encounter with these composers in theafterlife: Brahms is a Jacob Marley figure(burdened by notes instead of chains); Mozartis the perfect Buddha, free of overstatement.Never mind! The opening of Op.115 is such atremendous joy to hear in all its melancholicbeauty, I forgive the composer his excesses.What a totally ravishing performance is givenon this disc. Bittersweet romance blooms. Thepacing is vital and flexible. Inner voices sing,hemiolas rock. The finale leads to ineluctabletragedy, beautifully. McGill opts for restraintfor too much of the rhapsodic section of theadagio, but on the whole he and the quartetremain true to Brahms’ passionate expression.Buy this recording.Max ChristieSchubert – The Late Piano SonatasPaul LewisHarmonia Mundi HMC 902165.66For explicablereasons I have aspecial affinity forSchubert’s pianoworks, includingthe Impromptus,the MomentsMusicaux andothers, but especiallythe sonatas. Particularly the final threewhich were all composed in 1828, the yearfollowing his visit to the dying Beethoven.Schubert himself was deathly ill but in hislast months he also managed to completethe C Major Symphony, the song cycleSchwanengesang and give a concert onthe anniversary of the death of Beethoven.He died on November 19, 1828 aged 31 andwas buried, as he had wished, very closeto Beethoven in Wahring. In the 1860sboth bodies were disinterred and taken toVienna where they lie, side by side in theCentral Cemetery.Lewis is a front-rank interpreter ofBeethoven as his recordings of the fiveconcertos and the complete piano sonataswill attest, but his realizations of Schubertare no less commanding. He recorded theD784 and D958 in 2013 and the last twoin 2002. Lewis does far more than give usexactly what is written in the score, seemingto express the composer’s own thoughts.This is nowhere more evident than in theopening movement of the D960. A couple ofcomparisons: Clifford Curzon is smooth, fluidand melodic while Radu Lupu is somewhatthoughtful. Neither those nor others has theinnigkeit (sincerity, honesty, warmth, intensityand intimacy) displayed by Lewis. And soit is across the four sonatas. For Lewis thereare no throwaways; every note is significantand important and placed exactly right. Anthewholenote.com September 1, 2014 – October 7, 2014 | 71

essential recording of this repertoire.Bruce SurteesIn the NightStephen HoughHyperion CDA67996Pianist StephenHough is absolutelybrilliant in his solorelease In the Nightwhere the manyaspects of night,from nightmares toinsomnia to deepsleep to bliss, aregiven a pianistic rendition. Beethoven’s PianoSonata in C sharp minor “Moonlight” is anobvious inclusion here. Hough begins withthoughtful reflection and a mournful lyricalmelodic statement which weaves arounda steady rhythmic framework and sets thestage for an emotionally dark yet hopefulperformance. Likewise his performances ofFrederic Chopin’s Two Nocturnes Op.27 arecharged and driven by deep musical maturity.Both Robert Schumann’s In der Nachtfrom Fantasiestucke, Op.12 and Carnavalare performed with technical and musicalwizardry.The pianist’s own composition PianoSonata No.2 “notturno luminoso” is a tourde force. It is always such a joy to hearcomposers perform their own work. Thoughclearly steeped in romantic attributes,Hough chooses more modern jazz-evokingharmonies, witty repartees between high andlow pitches, and excursions into sharp, flatand natural sections to evoke the many sidesof nighttime living. From crashing percussionchords which never overwhelm, to suddensilences, to a soothing final cadence lullingone to sleep, Hough musically evokes nighttimeat its very, very best and very, very worst.Superb production qualities, well-writtenliner notes, a great performer and a greatchoice in repertoire make In the Night pianomusic to listen to any time of day.Tiina KiikTchaikovsky – The SeasonsPavel KolesnikovHyperion CDA68028While Tchaikovskyis most famous for hisballets, operas andorchestral music, healso completed a largenumber of piecesfor solo piano. Thesemay not be as wellknown, but they bearthe same attention to detail and finely craftedmelodies as his larger works – and these characteristicsare very evident in the two setsOp.37b and Op.19 found on this Hyperionrecording performed by Siberian-born pianistPavel Kolesnikov.Still only in his early 20s, Kolesnikovwas a first-prize winner in the Honenspiano competition in 2012, and is currentlypursuing musical studies at Moscow StateConservatory in addition to private lessonswith Maria João Pires in Brussels. To date,he has performed at Carnegie Hall, Berlin’sKonzerthaus and the Banff Summer Festival.The Seasons (1876) initially appeared asindividual movements in a musical journalspanning the course of a year, each one representinga different month. Charming andgraceful music, each movement is characterizedby its own unique character, fromthe quiet reflection of “January (By the fireside)”and the exuberance of “February(Carnaval)” to the gracefulness of “December(Valse).” Kolesnikov’s approach to the musicis thoughtful and intuitive, demonstratingan understated sensitivity combined with aformidable technique.The Six Morceaux, composed three yearsearlier, is also a study in contrasts. Onceagain, Kolesnikov effortlessly conveys theever-changing moods, right up until thestriking “Thème original et Variations”which concludes the set and the disc with afine flourish.Well done, young man, you’ve alreadyaccomplished much in your short life and ifthis fine recording is any indication, you’reheaded for greatness.Richard HaskellMODERN AND CONTEMPORARYJohn Burke – MysteriumEnsemble VivantIndependent (ensemblevivant.com)John Burke isa distinguishedCanadian composerwhose work has fortwo decades movedbeyond the concerthall to engage withcontemplative practicesof severalcultural traditions. This disc includes piecesfrom the composer’s repertoire of worksbased on walking a labyrinth. The informativeprogram notes describe Burke’s music as:“Neither concert nor ritual, it accesses a thirdtype of experience, surpassing the sum of itsparts.” In my own experience, both one’s ownpassage and the presence of other labyrinthwalkers can become uncanny. Burke’s finelywrought writing takes labyrinth music to anew level that will be especially rewardingto those interested in this work, with precisionsof sonority, dynamics and rhythm thatEnsemble Vivant, led by pianist CatherineWilson, fully deliver.Mysterium, the opener, encompasses thesequence of 12 harmonies upon which allthe pieces are based. Expressive long tonesplayed by Erica Beston, violin, and SharonPrater, cello, over a repetitive broken-chordpiano accompaniment remind me of passagesin Messiaen and in minimalism; the moodis sombre. Wilson’s playing of Lungta, animprovisatory piano solo with tone clustersand flourishes, is evocative. Longest isthe multi-sectional Hieratikos, with intricateensemble writing performed magnificentlyby Wilson, Joseph Peleg, violin, andSybil Shanahan, cello. Norman Hathaway,violin and David Young, bass, join in a closingvariant of Mysterium, rounding off a movingexperience.Roger KnoxOlivier Messiaen – Turangalîla Symphonie.Angela Hewitt; Valérie Hartmann-Claverie;Finnish Radio Symphony Orchestra; HannuLintuOndine ODE 1251-5I remember well aperformance of thisstunning 1948 work inthe mid-1960s duringSeiji Ozawa’s timeat the helm of theToronto Symphony(1965-1969). Ozawalater recorded thismodern classic with the TSO for RCA to greatinternational acclaim with the composer’swife and sister-in-law, Yvonne and JeanneLoriod, as soloists. This new recording alsohas a Toronto connection because it washere in 1985 that Canadian pianist AngelaHewitt came to the world’s attention bywinning the Toronto International Bach PianoCompetition, of which Olivier Messiaen wasone of the adjudicators. As we know, she hassince gone on to a stellar career.Turangalîla is taken from two Sanskritwords – turanga, time and lîla, love – andthis about sums up the essence of this work,perhaps the most inventive, original andforward-looking piece since Stravinsky’sLe Sacre du Printemps. The ten movementsincrease in complexity as the workproceeds. The odd numbers deal with seriousissues, like life and death, the “tragic plane”as the great Arthur Koestler would say. Theeven-numbered ones like the fourth representlove with a playful scherzo that movestowards the sentimental with Janáček-likeharmonies embellished lovingly by the pianosolo. Hewitt conjures up marvellous soundswith the extended bird-calls in the sixthmovement; this is certainly an apex of thecomposition, where one simply melts into theheavenly harmonies back and forth betweenLintu’s virtuoso orchestra and the pianist.For extra orchestral brilliance Messiaenadded a curious electronic instrument,called ondes Martinot (played by ValérieHartmann-Claverie ), with shivers of glissandosglistening in the love music and someweird barking shouts of joy amidst the overwhelmingjollity and magnificent cacophonyof the finale, a triumphant movement oftotal mayhem that somehow reminded meof Strauss’ Symphonia Domestica. This is a72 | September 1, 2014 – October 7, 2014 thewholenote.com

gorgeous disc, in the four-star category.Janos GardonyiSymphonies of Wind InstrumentsRoyal Norwegian Navy Band; Ingar Bergby2L 102The venerableRoyal NorwegianNavy Band (RNNB),founded in 1820,apparently includesa mere handful ofactual members ofthe military, yet itperforms with theprecision one might expect of soldiers orexceptionally sober sailors. Ingar Bergby,much in demand as a guest conductorthroughout Norway, has been the principalconductor of the band since September 2008.The repertoire of this new disc includes someof the most notable works of the 20th centuryband repertoire. The title track, a scintillatingperformance of the celebrated compositionby Igor Stravinsky, is likely the most familiarof these to the average listener. Stravinsky’sformer nemesis, Arnold Schoenberg, is alsorepresented by his purportedly “accessible”Theme and Variations for band, commissionedby Karl Engel in 1943 for the U.S.high school band market. Though couchedin a tonal language it is both technicallyand intellectually more challenging thanwhat the publisher likely had in mind. TheRNNB breezes through this intriguing workwithout a care on that front. The bulk of thealbum is devoted to outstanding renditionsof two major works by Paul Hindemith. TheKonzertmusik Op.41 from 1926 is a rarelyrecorded, powerfully performed threemovementcomposition in an amusinglyneoclassical style while the Symphony in Bflat is an imposing wind band masterpiecefrom 1951. The performance of the latter is asfine as can be imagined, far surpassing theclassic stereo version by the Eastman WindEnsemble and Hindemith’s own recordingwith the Philharmonia Orchestra, in bothsound and technical precision. The discconcludes with Norwegian composer RolfWallin’s intriguing Changes (1984), an essayin the sonic interplay of static and incisivegestures. The 2L audio production engineeredby Morten Lindberg is spectacular, witha wide sound stage and vivid presence evenin the conventional binaural format. In additionto the SACD layer an extra Blu-ray audiodisc is provided for the hyper-discerningaudiophile.Daniel FoleyJAZZ AND IMPROVISED MUSICWhose Shadow?Lara SolnickiIndependent LSMCD002 (larasolnicki.com)Toronto singer Lara Solnicki has released asecond CD that is a bit of a departure from herfirst, which was largely made up of standards.Something in the AirGuelph Jazz Festival Reaches A New MaturityMoving into a comfortableadulthood, the annualGuelph Jazz Festival (GJF),September 3 to 7, hasn’t abandonedits presentation of newartists. However it has reached thestate where musicians who havebeen there in the past are returning,but mostly in new contexts. Casein point in 2014, the 100th anniversaryof bandleader SunRa’s arrival on this planet – hereturned to the cosmos in 1993– where the Sun Ra Arkestra,now under the direction of altosaxophonist Marshall Allen,gives two performances onSeptember 6. The first is anafternoon parade; the second couples theband with dancers from the Colman LemieuxCompany for “Hymn to the Universe,” amulti-media presentation at the River RunCentre (RRC).Minus the visuals you can sample a Sun RaArkestra performance on Live in Ulm 1992(Golden Years of Jazz GY 30/31 leorecords.com) when Ra, the man from Saturn, was stillin charge. Unusual because there’s extendedinput from trombonist Tyrone Hill, guitaristBruce Edwards and electric bassist JothanCollins, this 10-piece Arkestra features fourdrummers, two reedists and two trumpeterswho faultlessly follow the segues directed byRa’s piano. An intense track like The ShadowWorld is defined by screaming reed multiphonicsas the rest of the orchestra harmonizes;while James Jacson’s nasal oboe and Allen’sKEN WAXMANguttural flute bring otherworldlyexotica to The Mayan Templesjust as a bass vamp and percussionbumps keep it attachedto terra firma. Elsewhere thepercussionists’ claves produce amontuno pulse on a Latinizedversion of Fate in a PleasantMood, but before the dancebeat becomes too predictable, Raslips in references to other Raclassics while sounding if he’splaying a honky-tonk keyboard.Suggestions of spirituals and theSecond Line alternate with brassycrescendos, and just as you thinkall the tricks have been revealed,the group presents a raucous recreationof Fletcher Henderson’s HocusPocus. Later there’s a vocal version of Preludeto a Kiss whose clip-clop backing is crownedby a strident Allen solo. With marching bandprecision and rhythmic hand claps, most ofthe second CD is given over to a singalongmedley of Ra’s greatest hits including Spaceis the Place, We Travel the Spaceways andOuter Spaceways Incorporated. Ra may haveleft this earth, but the Arkestra continuesimpressing people.Another veteran musician who has helpedextend the lineage of jazz is New Orleansbasedtenor saxophonist Kidd Jordan. Hereturns to the GJF September 6 to playthe River Run Centre’s Co-operators Hallwith another Free Jazz pioneer, drummerMilford Graves, plus Canadian pianist D. D.Jackson. Jordan and Graves haven’t recordedtogether but Trio and Duo in New Orleans(NoBusiness Records NBCD 64/65 nobusinessrecords.com)suggests how they maysound since here the saxophonist’s partneris another Free Jazz percussion pioneer:Alvin Fielder. More interesting is the secondCD of duos, although both are also in topform on the first CD that adds the latebassist Peter Kowald. Jordan’s temperedsplit tones and stentorian output thatstands up to every challenge are completelyoriginal. In the main, he’s comfortable in thealtissimo register and on pieces such as DuoFlight, invention is paired with stridencyas screeched multiphonics alternate withmoderato slurs. Fielder uses shakes and shuddersfrom percussion add-ons to make hispoints. In the final minutes, as Jordan movesinto lower pitches, the two attain a spikyrapprochement that brings in bop echoes.Even when Fielder takes a protracted solo ashe does on E. Fashole-Luke, there’s no showoffcommotion, just moderated pizzazz. Thedrummer’s ruffs, ratamacues and reboundsshow a man in perfect command of his kit.This sound authority extends to Jordan, whoutilizes screams and melisma to build up tomajor saxophone statements. That the CD’sfinal track was recorded seven years afterthe first four, with no letdown in power, is aconfirmation of the musicians’ skills.To read about pianists Fred Van Hove andVijay Iyer plus percussionist Lê Quan Ninhalso featured at the GJF see the continuationof this column at thewholenote.com.thewholenote.com September 1, 2014 – October 7, 2014 | 73

Eclectic and artful, Whose Shadow? is stillmostly covers, but Solnicki has chosen moremodern and unusual songs, and, along withproducer and bass player George Koller, hasinterpreted them in interesting ways. Thatalong with Solnicki’s classical training makesthis a refreshing departure from more traditionalvocal jazz albums. Her delicate, highvoice is a natural for songs such as KateBush’s Sunset and Joni Mitchell’s Shades ofScarlett Conquering. The combination ofa lightly swinging groove from the rhythmsection (jazz stalwarts such as Ted Quinlan onguitar, Mark Kieswetter on piano, Nick Fraseron drums and Davide DiRenzo on percussion)and Solnicki’s straight treatment ofthe melody on Purcell’s Music for a While issurprising and successful. Freedom Danceharkens back to 70s smooth jazz completewith wind chimes. Overall, the effect of thealbum is dreamy, contemplative and pleasant.Cathy RichesPlay BluePaul BleyECM 2373Aged 81 and ailing,the likelihood ofCanadian expatriatepianist Paul Bleygiving (m)any moreconcerts is limited.But this newly issued2008 live performancefrom Oslo easilyconfirms why the unique style he developedin the early 1960s has influenced many pianistsincluding Keith Jarrett.Except for Sonny Rollins’ Pent-Up House,which Bley performs in response to vociferousdemands for an encore from the audience– and to which he appends some so-calledclassical trope to the boppish line – all thecompositions are his. Given enough time todevelop, each is, for all intents and purposes,a suite, which brings in many allusions.Deceptively lyrical as well as maintaining ablues sensibility, Flame’s ringing key strokessuggest nightclub ballads like My Way, butwith a cleaner interface. The dramatic Longeris crowded with chords and arpeggiated runsthat would be as didactic as an Art Tatumperformance if Bley didn’t slyly insert whatsounds like a lick from Arrivederci Romamidway through.Bravura, but without bravado, Bley defineshis art on Far North and Way Down SouthSuite. Starting off in a nervy gallop, he firstcycles through passing chords and glances atthe American Songbook before settling intoan impressionistic melody that by the finalevibrates basso, bop-like textures from thesoundboard. Sharp and intense, the titledSuite piles strident glissandi and blues allusionsinto an exposition, then after a theatricalmany-seconds pause, first deconstructsthe melody then focuses it again with evenhandeddynamics. Bley’s piano command issuch that without leaving the keys it appearsas if he’s violently plucking the instrument’sstrings as he plays.We can hope that more Bley will appearon record. But if this concert recording is hisswan song, the unique mixture of skills whichmade his reputation are definitely and appropriatelyexhibited on it.Ken WaxmanMaquequeJane BunnettJustin Time JTR 8586-2Toronto saxplayer Jane Bunnetthas long immersedherself in Cubanmusic and many ofher award-winningrecordings haveintroduced Cubanmusicians to NorthAmerican audiences by blending Afro-Cubanrhythms with contemporary jazz. Her latest,Jane Bunnett and Maqueque, is no different,as Bunnett ventured to Havana to record withthis new all-female group. (“Maqueque” –pronounced Ma-keh-keh – means the spirit ofa young girl in an Afro-Cuban dialect.) Voice,flute and soprano sax-laden, the tracks aredriven by percussion, as you’d expect. Thestrings, courtesy of the Annex String Quartetarranged by ex-pat Cuban and piano masterHilario Durán, lend a sense of drama andold-fashioned romance to many of the songs.The recording is not over-produced so hasan immediacy and authenticity to it. SingerDayme Arocena has a particularly strongpresence as she wrote three of the songs onthe disc – including the lovely Canto a Babba– and has a raw, earthy warmth to her voice.One of the standout tracks is her duet on BillWithers’ Ain’t No Sunshine When She’s Gonesung in English and Spanish which starts outsimply and hauntingly accompanied by onlytres guitar and congas.The final cut – Song for Haiti – was originallyrecorded as a fundraiser for Red Crossrelief efforts in that struggling country andhas completely different personnel on it,including Cuban rapper Telemary. The cleverarrangement is a sophisticated and touchingway to close out the disc. Maqueque is touringCanada and the U.S. this year and dates canbe found at janebunnett.com/tour.Cathy RichesEditor’s Note: Four-time JUNO Awardwinner,two-time GRAMMY nomineeand Officer of the Order of Canada, JaneBunnett has been chosen as a finalist for theOntario 2014 Premier’s Award for Excellencein the Arts. The laureates will be announcedat an awards ceremony at Roy Thomson Hallon September 16. Bunnett and Maquequefinish up their U.S. tour on September 22 atNYC’s prestigious Blue Note Jazz Club andgive a farewell performance at Hugh’s Roomin Toronto on September 27, before the bandreturns to Cuba.Last DanceKeith Jarrett; Charlie HadenECM 2399Prescient by happenstance, Last Dance hadjust been released when double bassistCharlie Haden died from the effects of postpoliosyndrome at 76 on July 11, 2014. Actuallyrecorded in 2007, this nine-track recital,featuring Haden’s and pianist Keith Jarrett’sreimagining of jazz and American songbookclassics, demonstrates only one aspect of thebass master’s skills. His evolutionaryrecasting of the instrument’s role, definedduring his membership in Ornette Coleman’sbarrier-breaking quartet, and his politicalcommitment, expressed by his leadership ofthe aptly named Liberation Music Orchestra,can be researched elsewhere.Instead Haden and Jarrett, in whose quartethe played from 1967to 1976, deal herewith instantly recognizablemelodiesin a novel fashion,but subtly enoughthat familiar underpinningsaren’tneglected. It’s noteworthy,with Jarrett’s reputation for immoderationand showiness, that Haden’sbass work puts the finer point on thesere-creations. At times, for instance, whenit appears as if the pianist is opting forponderous readings, dialogue with Hadenprods the pianist to open up the tune.Case in point is when Haden’s rhythmicallyperfect countermelody adds ballast toJarrett’s interpretation of Everything Happensto Me. With the pianist now commenting onthe chromatic bass line, dancing key strokesbecome more than decoration. Similarly ItMight As Well Be Spring bounces along as atoo-familiar show tune until Haden’s pluckedreverb exposes the piece’s underlying gravitas,which is maintained even as the headis reprised. Even Dance of the Infidels, theset’s one up-tempo number, benefits fromHaden’s ability to suggest a sub-theme whilesolidly accompanying the pianist’s narrativeelaboration.Poignantly, the bassist’s modest, yetpowerful solo on Goodbye, the CD’sconcluding track, adds an appropriate finalityto the project. Haden’s string expositioncreates the proper context for Jarrett’s themevariations. Unwittingly perhaps, Hadenexits this session leaving behind a first-classdemonstration of one facet of his sizablemusical talent.Ken Waxman74 | September 1, 2014 – October 7, 2014 thewholenote.com

By happy coincidence the past fewmonths have seen new releases by manyof Toronto’s most consistently creativemusicians.The trio of saxophonist Mike Murley,guitarist Ed Bickert and bassist Steve Wallaceset a high standard for harmonically sophisticated,lyrical chamber jazz. The groupreleased just two CDs – Live at the Senatorand Test of Time – but each won the JUNOfor Best Traditional Jazz Album, the formerin 2002 and the latter in 2013. Guitarist RegSchwager assumed the guitar chair whenBickert retired in 2001, but Looking Back(Cornerstone CRST CD143 cornerstonerecordsinc.com)is the first time this configurationof The Mike Murley Trio has recorded.The tunes are chosen with rare taste, emphasizinglittle-heard pieces by great composers,like Billy Strayhorn’s Isfahanand Antônio Carlos Jobim’sIf You Never Come to Me. It’smusic of supreme artistry,floated aloft on Murley’sdistinctive, almost feathery,tenor saxophone sound andthe bubbling electric clarityof Schwager’s guitar, all of ittethered joyously to Wallace’s pulsingbass lines. A rare blend ofwistful reflections andsoaring freedom make theCD another JUNO contender.Reg Schwager turns up inanother fine ensemble, trombonistDarren Sigesmund’sdistinctive septet, on StrandsIII (darrensigesmund.ca). Sigesmund is anoutstanding composer,creating welcoming moodscomprised of evocativeand elusive harmonies.His music is both warmand cool, dense and transparent,and there’s a subtleLatin flavour woven throughout. If his earlierwork suggested a strong Wayne Shorterinfluence, his own identity is everywhereapparent here, its distinctive sound formedby the unusual combination of Eliana Cuevas’wordless voice, his own mellifluous tromboneand the expressive wail of Luis Deniz’salto and soprano saxophones, complementedby Schwager, vibraphonist MichaelDavidson, bassist Jim Vivian and drummerEthan Ardelli. El Encanto, the only song herewith words (Cuevas’ own) is particularlycompelling.Fern Lindzon is a rare jazz singer, herstrong identity based on nuanced expression,a clear, almost silky voice, and afreedom from the collections of mannerismsSTUART BROOMERthat many jazz singers use to distinguishthemselves. Instead, her workseems to grow from her solid pianoplaying and the empathy that existswith her band. For her third CD,Like a Circle in a Spiral (iatrosIMO3 fernlindzon.com), shemoves deftly between languagesand styles, singing songs inHebrew (Mishaela) and Yiddish (AMalekh Veynt) with the same idiomaticcomfort that marks the morefamiliar Windmills of Your Mind.The most striking piece may beher arrangement of alternative popsongwriter Ron Sexsmith’s Jazzat the Bookstore, a richly ironicrendition in which accomplishedjazz musicians (saxophonist David French,bassist/producer George Koller,vibraphonist Michael Davidson anddrummer Nick Fraser) get to “play”jazz musicians.Bassist Andrew Downing, trumpeterJim Lewis and guitaristDavid Occhipinti provide comparablesurprise on Bristles (OccdavMusic - OM007, davidocchipinti.com), as they alternate a series of briefcollective improvisations with longertreatments of standards. Each ofthe improvisations is named for a20th-century painter, with a directmethodological link betweenthe repeated even tones andcyclical discords of Cy Twomblyand the sudden swirling lines of JacksonPollock. The standards are evidentlychosen for melodic richness, withthe trio exploring the possibilitiesof such tunes as My One andOnly Love, Emily and I Fall in LoveToo Easily. There’s a spectacularclarity of thought and sound asthe three embellish and reshapetheir materials, at times turningsuddenly from icy abstraction tothe most exalted lyricism.Pianist Gerry Shatfordworked extensively in theMontreal, Vancouver andOttawa jazz scenes beforereturning to Toronto where he wasraised. He’s been emphasizingcomposition in recent years,along with studies with masterpianist Stanley Cowell, and theresults of both pursuits are documentedon When I Sat Down toPlay the Piano (gerryshatford.com), a suite of pieces inspiredby Al Purdy’s poetry. Viewedthrough the great piano traditionof James P. Johnson, TheloniousMonk (his compositions getquoted) and Bud Powell, thepoems find analogues in the offkilterstride of Home-Made Beeror the romantic reverie of How aDog Feels to Be Old. Accompanied here by theideal rhythm section in bassist Neil Swainsonand drummer Terry Clarke, the journeymanShatford reveals a strong identity of his own.The Jazz Descendants are another pianotrio featuring a relatively unknown pianistwith a stellar rhythm section, combiningbassist Brandi Disterheft and drummer LeroyWilliams with pianist Joshua Goodman, whoworks regularly in Disterheft’s quartet. Red(Superfran Records SFR0008, superfranrecords.com)is dedicated to Barry Harris,the respected bop pianist and teacher withwhom Williams has long been associatedand with whom Goodman has studied. Muchof the music is low key, Goodman blendinghis mainstream jazz and classical influencesin a consistently pleasant way, While hisreflective Medley goes on too long, stretchingits pastoral themes to the 14-minute mark, hebrings a precise bop touch to the venerableScrapple from the Apple. The best momentscome when Disterheft and Williams come tothe fore, as on the bassist’s potent Prayer toRelease the Troops.Old Wine, New BottlesFine Old Recordings Re-ReleasedBRUCE SURTEESConductor Ferenc Fricsay (1914-1963) was a significant figure inthe international music world in the mid-20th century. He wasborn in Budapest and studied with Bartók, Dohnányi and Kodályat the Budapest Academy of Music. He held several posts before 1945when he became co-conductor of what would become the BudapestPhilharmonic Orchestra and sole director of the Budapest Opera. Bythe 1950s his interpretive talent was recognized and he was in demandas a guest conductor by leading orchestras. He left the BudapestPhilharmonic in 1948 to become music director of the recently formed RIAS Symphony inBerlin. He held that post from 1948 through 1954, then again from 1959 to 1963.Thanks to Deutsche Grammophon (DGG at the time) who recorded Fricsay working with histhewholenote.com September 1, 2014 – October 7, 2014 | 75

own and other orchestras, there is a wealthof superb performances in the vaults thatare about to surface and re-surface in twoomnibus CD packages. The first is availablenow, Ferenc Fricsay The Complete RecordingsVolume 1: Orchestral Works (479 2891 45CDs,mono and stereo). Recorded mostly in theJesus-Christus-Kirche in Berlin, with eitherthe Berlin Philharmonic or the RIAS and itssuccessor, these performances represent thehighest level of musicmaking.I recall my excitement in 1958 overacquiring the Beethoven Ninth in stereo! Itwas by Ferenc Fricsay conducting the BerlinPhilharmonic with soloists Irmgard Seefried,Maureen Forrester, Ernst Haefliger andDietrich Fischer-Dieskau. It was on two DeccaLPs and was outstanding in every respect. As Iwrite this I am listening to that very performanceon disc nine of this collection and itreally does stand the test of time. This is adifferent Beethoven from, say, the Klempereror Furtwangler Beethoven. The textures aretranslucent without any suggestion of inevitability,particularly the slow movement whichis open and at times radiant. In total thereare five discs of Beethoven in the box andlots of brilliant performances of Bartók andKodály. There are four discs of Tchaikovsky,five of Mozart. Soloists include Géza Anda,Tibor Varga, Monique Haas, Annie Fischer,Wolfgang Schneiderhan, Pierre Fournier,Nicanor Zabaleta, János Starker, JoannaMartzy, Erica Morini, Clara Haskil, YehudiMenuhin and many others. Clearly there isno space to detail the extensive popular andesoteric repertoire but the detailed tracklisting of the contents is at deutschegrammophon.com.Thanks to the soundtrack of 2001, ASpace Odyssey, Also Sprach Zarathustra isRichard Strauss’ most familiar work … well,at least the opening pages. Producer anddirector Stanley Kubrick carefully chose themusic and selected the Herbert von Karajan-Vienna Philharmonic recording on Decca ashis must-have. The request was unequivocallydeclined but after much negotiating,Decca agreed on condition that the performanceremain anonymous and never identified.A soundtrack album was issued, substitutinga Böhm recording. The secret was safe. Yearslater all was revealed and we wonder if Deccaor Karajan was calling the shots.That performance and the other RichardStrauss recordings made by John Culshawin the Sofiensaal in 1959 are contained in asumptuous package of all Karajan’s analogrecordings of Richard Strauss for Decca andDG with the Berlin and ViennaPhilharmonic Orchestras.Karajan Strauss(4792686) is alimited edition,LP-sized package,about an inch thick,containing elevenCDs, a Blu-ray audiodisc and an informativeart book. None ofthese recordings is new to the catalogue. Allthe usual suspects are here including thelive 1960 Der Rosenkavalier from Salzburg(including libretto), plus two historic recordingswith the Concertgebouw Orchestra from1943, The Dance of the Seven Veils and DonJuan, set beside the 1970s recordings fromBerlin. The astounding new 24/96 processingof all these analog originals is an unexpectedrevelation of just how much more informationthere was to hear. The Blu-ray disccontains the same repertoire as on six ofthe 11 CDs.Oscar Shumsky (1917-2000) was one of themost cultivated andexquisite violinists ofhis time, revered byhis fellow musicians.He enjoyed a busycareer, from the childprodigy engaged bythe likes of Stokowskiand Reiner settlinginto the role of concertmaster of New Yorkorchestras and a much-loved and soughtafterchamber musician. He played regularlywith Glenn Gould, William Primrose,Bernard Greenhouse, Leonard Rose and EarlWild and vocalists Maureen Forrester, LoisMarshall and James Melton. He was alsoa conductor and teacher. Canadians maywell remember hearing performances inStratford where he was co-director (1961-64) or director (1965-67) of music. I recalla Mozart concerto there “conducted fromthe keyboard” by Jose Iturbi in which theorchestra depended entirely on concertmasterShumsky for their cues. He remaineda regular contributor to Toronto’s musical lifein addition to his role as teacher.As sometimes happens, a major talentoften is underutilized by the recordcompanies in concerto recordings. In his lateryears however, Shumsky was taken over byan influential British concert managementand became a busy soloist in recordings withleading orchestras.A new Doremi set (DHR-8031-3 , 3 CDs)is a treasure house of mostly previouslyunreleased highlights of four decades ofShumsky’s great artistry in various musicalstyles, in concert with the above artists,playing composers from Bach, Mozart andBeethoven to Hindemith. Complete details atDoremi.com.Kiran Ahluwalia continued from page 10how to take a foreign music with non-English lyrics,such as Urdu and Hindi, and to present it to theCanadian public. She also taught me how to marketand present diverse kinds of music – what we nowcall world music – and how to apply some of theselessons to my own musical outlook.” In the late 1990sher MBA got her into the NYC door of the world musicspecialist label Putumayo Records. There she honedher understanding of the genre’s audience, productionand marketing. When Ahluwalia returned toToronto in 2000 she was ready to make a fatefulmove – to produce her first commercial CD, Kashish Attraction,released in 2001.With the imminent release of Ahluwalia’s latest album Sanata:Stillness, her discography will now be six albums deep. Sanata isfurther proof that the potential Ken Hunt heard in 2005 is being realizedin unexpected ways. The music is a synthesis of Ahluwalia’ssignature masala of her unique take on ghazal and Punjabi folk song.At times a backbone of her classical Hindustani musical training isdiscernable. On this studio outing she doesn’t use the Saharan bluesstar groups Tinariwen and Terakaft, as in her award-winning 2011 CDAam Zameen: Common Ground. Yet their deep African desert grooveand electric guitar sound and riffs still echo through the supple, slinkyRizwan-Muazzam Qawwaliguitar work of RezAbbasi, Ahluwalia’s lifepartner, arranger andproducer. It’s all woventogether with jazzandsometimes rockinfusedarrangements.Toronto audienceswill be able to witnessthe concert launchof Sanata: Stillnessat Koerner Hall October 3. A sign of increasing partnerships amongworld music presenters, perhaps, it’s part of the 13th annual SmallWorld Music Festival. It’s also presented by the Royal Conservatory inpartnership with the Aga Khan Museum. On this occasion Ahluwaliaand her band are in fitting company: they split the bill with Rizwan-Muazzam Qawwali, a large group headed by Nusrat Fateh Ali Khan’snephews and leading heirs to his considerable legacy. I see KiranAhluwalia’s willingness to share the concert with a hardcore qawwaligroup as yet another demonstration of her admirable dedication tocrossing – and sharing across – musical borders.Andrew Timar is a Toronto musician and music writer. He can becontacted at worldmusic@thewholenote.com.76 | September 1, 2014 – October 7, 2014 thewholenote.com

2014/2015 Concert SeriesCANADA’S DARING NEWMUSIC SERIES RETURNS!“Max Richter has givenThe Four Seasons anavant-garde update.”–The GuardianTHE SEASONSSeptember 30 at 8:00 pmKoerner HallDaniel HopeviolinFOR VOCAL LOVERSVESPERSNovember 25 | Trinity-St. Paul’s CentreShannon Mercer, soprano + Choir 21THE WHISPER OPERAFebruary 26 –March 1 | The Theatre CentreCanadian PremiereTony Arnold, soprano + InternationalContemporary Ensemble (NYC)SONG FOR ATHENEApril 16 | Trinity-St. Paul’s CentreBlackToronto Children’s Chorus + Choir 21CELEBRATEPAN AMWITH US!ENCUENTROSMay 24 | Koerner HallPresented inpartnership with theRoyal Conservatoryof Music’s 21CMusic FestivalSerouj Kradjian,piano + GrishaGoryachev & FabioZanon, guitarNEW DIRECTIONS IN MUSICCMYKSubscribe and save 20% • Tickets on sale now • Call 416-408-0208 or visit soundstreams.caPantonean Ontario government agencyun organisme du gouvernement de l’Ontario

Tiff Tips continued from pg 9Timbuktumovie, but richer eachtime, paralleling thedevelopment of thefilm’s main character.Girlhood is an exampleof a very good filmenhanced by the astuteuse of music.Equally impressive isthe way music is usedas a driving force in fivediverse films.In Jean-Luc Godard’sGoodbye to Language3D, snippets ofBeethoven’s SymphonyNo. 7 as well as bits ofSchoenberg, Sibelius and Kancheli and innumerable repetitions ofa few bars of Tchaikovsky’s Marche Slave support the filmmaker’sdepiction of an illicit love affair which itself is punctuated by literary,political and cinematic references for our amusement and stimulation.Despite the lack of conventional narrative, it’s the legendary enfantterrible’s most accessible and fun film in years. The ultra-modern useof 3D alone is worth the price of admission.The violent storm conjured up by the final movement of “Summer”from Vivaldi’s Four Seasons is used as a recurring motif in the darklycomic, caustic Swedish moral tale, Force Majeure, which ironicallytakes place in the wintry snow-laden Swiss Alps. And on the subjectof mountains, writing in Variety, Musicworks editor Jennie Puntercalled Kyle Thomas’ Alberta-set multi-narrative The Valley Below“music-fuelled.” One of its episodes is centred on a songwriter.Twenty-five-year-old Xavier Dolan’s Cannes prizewinner, Mommy,is driven by a carefully chosen soundtrack including music performedby Sarah McLachlan, Dido, Counting Crows, Andrea Bocelli and LanaDel Rey among others. Dolan’s film jumps off the screen with a lifeforce that is contagious. A mother, her 15-year-old ADHD-afflicted sonand their neighbour, a teacher who is more at ease with them thanshe is with her own family, spend several intense weeks together. Themovie is formatted one to one – that is, it appears on the screen in theshape of a square. At one ecstatic moment as the son is moving downthe street on his longboard with the two women on the sidewalkbehind and Oasis’ “Wonderwall” blasting away, he extends his armssideways and pulls the image to widescreen width. It’s a breathtakingeffect.There are few instruments as evocative as the Indian bambooflute (bansuri) especially when heard in the open air. In SturlaGunnarsson’s Monsoon, which documents the 2013 monsoon seasonfrom Kerala to Mumbai to Cherrapunji, its sound is put to particularlygood use in a score composed by the Bombay Dub Orchestra’sAndrew T. MacKay that also features tabla, sitar, sarod and vocals. Thismusic heightens the striking images so much that the film would beunthinkable without it.Maya Forbes’ highly appealing Infinitely Polar Bear, the storyof two sisters raised in Boston by their bipolar father while theirmother is furthering her education in NYC, is based on her ownpersonal history. The soundtrack music is well chosen, high calibre,non-instrusive but memorable, from Ike Turner’s “A Fool in Love”to Doc Watson’s “Your Long Journey” and George Harrison’s “Runof the Mill,” to name a few. And you have to love any movie withthe smarts to include Brenton Wood’s “Oogum Boogum Song” onits soundtrack. But there’s more. Stay for the credits and you’ll hearForbes’ younger sister, China, Pink Martini’s inimitable vocalist, sing asong she composed specifically for the film. It’s a heartfelt, insightfulcomplement to what we’ve just watched.I’ve already seen 11 of the 22 and am looking forward to watchingthe others (and many more) during TIFF 2014. Any nuggetsdiscovered are sure to appear in the Music and the Movies blog onthewholenote.com over the months to come, so stay tuned. TheToronto International Film Festival runs from September 4 to 14.Check tiff.net for further information.Paul Ennis is managing editor of The WholeNote.78 | September 1, 2014 – October 7, 2014 thewholenote.com

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MADAMABUTTERFLYPUCCINIOctober 10 – 31Tickets as low as $49From first loveto last breathSUBSCRIBE AND SAVEcoc.ca416-363-8231ALSO PLAYINGFALSTAFFVERDIOCT 3 - NOV 1BMO Financial Group Pre-PerformanceOpera Chats & BMO Financial GroupStudent Dress RehearsalsFalstaff generously underwritten in part byPresenting Sponsor of SURTITLESOfficial AutomotiveSponsorProductionSponsorProductionSponsorProduction originallymade possible byJohn A. CookAdina Nitescu and David Pomeroy. Photo: Michael Cooper. Creative BT/A