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Volume 16 Issue 5 - February 2011

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ROY THOMSON HALL PRESENTSVienna PhilharmonicOrchestraSemyon Bychkov, conductorSun Mar 6, 2pmNICOLECABELLsopranoSpencer Myer, pianoFri Feb 18, 8pmNicole Cabell returns toToronto after her criticallyacclaimedperformance herein 2009.“There is a special thrill in hearing agreat young artist in a live performancefor the first time.”— John Terauds, March 2009“Cabell is now one of the most excitinglyric sopranos to grace the world'sconcert halls.”— Chicago Magazine“It’s a voice that wraps itself around you. ...long, sinuous phrasing, warm tone anda sophistication that toucheseverything she sings.”— The Times"Bychkov's exquisite conducting keeps the human drama constantly to the fore."Schubert: Symphony No. 2Wagner: Prelude and Liebestodfrom Tristan und IsoldeBartók: The Miraculous Mandarin— (London) Sunday ExpressSponsored byOVATIONCelebrating 40 Years of the JUNO AwardsTues Mar 22, 8pmTSO conductor Peter Oundjian hosts this special concertfeaturing some of Canada's most celebrated classical artists:Soprano Measha BrueggergosmanViolinist Angèle Dubeau & La PietàGryphon TrioTafelmusik Baroque Orchestraand more!Co-presented with The Canadian Academy of Recording Arts and SciencesMeasha Brueggergosman Tafelmusik Baroque Orchestra Gryphon Trio Angèle Dubeau & La PietàCall 416.872.4255roythomson.comMedia sponsor


Baroque Orchestra and Chamber Choir1o.11CONCERT SEASONJeanne Lamon, Music Director | Ivars Taurins, Director, Chamber ChoirBach Massin B MinorDIRECTED BY IVARS TAURINSDorothee Mields Laura Pudwell Charles Daniels Brett PolegatoWedFeb9at7pmThurs Feb 10, Fri Feb 11,Sat Feb 12 at 8pmSun Feb 13 at 3:30pmTrinity-St. Paul’s CentreDorothee Mields, sopranoLaura Pudwell, mezzo-sopranoCharles Daniels, tenorBrett Polegato, baritoneTafelmusik Chamber Choir and OrchestraNEXTCONCERTAstronomy Photo: NASA, the Hubble Heritage Team (AURA/STScI) and ESACOMINGSOONThe Galileo Project:Music of the SpheresBack by popular demand – Tafelmusik’s “out of this world” (Toronto Star) concert experience,created as an homage to Galileo. Complete with stunning projected photos from the Hubbletelescope and Canadian astronomers, poetic and theatrical narration, choreography, andmemorized repertoire featuring gorgeous music by Monteverdi, Vivaldi, Handel and Bach.DIRECTED BY JEANNE LAMONCONCEPT AND MUSICALPROGRAMME BY ALISON MACKAYNARRATED BY SHAUN SMYTHWedMar2at7pmThurs Mar 3, Fri Mar 4,Sat Mar 5 at 8pmSunMar6at3:30pmTrinity-St. Paul’s CentreA Co-Production withTickets: 416.964.6337 tafelmusik.org Smartphone users: m.tafelmusik.orgSeason Presenting SponsorFeb 9Feb 10 & 12Mar 2 Mar 3 & 5Mar 4


TorontonewSymphony OrchestracreationsfestivalJoin the TSO and Music Director Peter Oundjianat the seventh annual New Creations Festival.Short Ride In A Fast MachineWed, March 2 at 8:00pmDame Evelyn Glennie, percussionJohn Adams launches the New Creations Festivalwith his thrilling Short Ride in a Fast Machine.MARIINSKY (KIROV) BALLETSWAN LAKEWith the Kitchener-Waterloo SymphonyElectronica Meets OrchestraSat, March 5 at 7:30pmJohn Adams, conductor | Mason Bates, electronicaExperience an evening of musical imagerywith John Adams’ jazz-flavoured City Noir,and Mason Bates performing Liquid Interface.R. Murray Schafer World PremièreThu, March 10 at 8:00pmeighth blackbird, chamber ensembleHear the world première of Symphony No.1 byCanadian composer R. Murray Schafer, and theCanadian première of Jennifer Higdon’s On a Wire.416.593.4828 tso.ca“BREATHTAKINGLY GORGEOUS! ”– BOSTON GLOBEMARCH 1 - 6, 2011416-872-2262 | sonycentre.ca | GROUPS 10+: 416-368-4343TIPPET-RICHARDSONCONCERT SEASONConductors’ Podium Sponsor2010/2011 SEASONSPONSORPROMOTIONALPARTNERPROMOTIONALPARTNERPROMOTIONALPARTNERINNOVATIONSPONSORSsonycentre.ca


THETMVolume 16 #5 | February 1 - March 7, 2011FOR OPENERS6. Dear Die-Hards | DAVID PERLMANFEATURES8. Bader-Bound... And Then? | DAVID PERLMAN52. Music Appreciation en masse! | MJ BUELLBEAT BY BEAT10. World View | ANDREW TIMAR12. Early Music | SIMONE DESILETS14. On Opera | CHRISTOPHER HOILE16. In With the New | JASON VAN EYK18. Classical & Beyond | DAVID PERLMAN21. Choral Scene | BENJAMIN STEIN22. Bandstand | JACK MACQUARRIE24. Jazz Notes | JIM GALLOWAY47. In the Clubs | ORI DAGANLISTINGS26. A | Concerts in the GTA43. B | Concerts Beyond the GTA46. C | In the Clubs (Mainly Jazz)49. D | The ETCeteras: Masterclasses, Workshops & MoreMUSICAL LIFE48. Launched! Beckwith’s Weinzweig | DAVID OLDS54. Best of the Web | ORI DAGAN55. Just the Spot | GABRIELLE MCLAUGHLIN56. Remembering | ANDREW TIMAR/DANIEL FOLEY57. We Are All Music’s Children | MJ BUELL59. Bookshelf | PAMELA MARGLESDISCOVERIES: RECORDINGS REVIEWED60. Editor’s Corner | DAVID OLDS61. Vocal/Early & Period Performance62. Classical & Beyond62. Strings Attached | TERRY ROBBINS66. Modern & Contemporary67. Jazz & Improvised67. Something in the Air | KEN WAXMAN67. It’s Our Jazz | GEOFF CHAPMAN68. Old Wine, New Bottles | BRUCE SURTEESMORE25. Index of Advertisers53. Classified AdsACD2 2642KARINA GAUVINMARC-ANDRÉ HAMELINATMA Classique presents the reissue ofFÊTE GALANTEan outstanding recital of French Songs,winner of an Opus award for BestVocal Recording and Chamber MusicAmerica’s Recording of the Year.In This IssueATMACLASSIQUE.COMSelect ATMA titles now on saleAMADOU KIENOUpage 10TOVA KARDONNEpage 47FEBRUARY’S CHILDpage 57


OPENERDear Die-Hard Reader,Iuallywidening in alarm at the thought that this magazine has atits helm someone as prone to whimsical digression as this, youthe WholeNote editorial foyer is temporary, and, second, from thefact that even such alarming roller-coaster syntactical rides as thissentence must eventually lose momentum andcome to a stop, in order for me to turn myattention to the other four things I want to sayas this sixteenth February of The WholeNote’sexistence dawns, sullen in circumstance butradiant with hope.First, for those who think talk is cheap,let me point out that the previous sentence, ifhave set me back $134.40 + $17.47 HST – atotal of $151.87. That’s $24 for the basic ad (up to 20 words), andthen $1.20 per word for the remaining 92. (Needless to say it wouldhave been an appalling waste of money, especially since, unlike thetainsno contact information, and neither asks nor offers anything.)Second, if I were to attempt to distill the essence of this Opener’sbe in the HELP WANTED section and might read something likethe following: INDEPENDENT music magazine desperately needingto be less ad hoc seeks managing editor for meaningful relationship.Job description and/or expressions of interest, publisher@thewholenote.com. words; plus $3.60 for the next three plus tax: If it works, it’ll be thebest $31.19 we ever spent.Third, for anyone seriously interested in inquiring about the job,responsibility for getting me to keep my cotton-pickin’ hands off thispage is part of the job description, but it’s probably not as importantas the ability to keep your head while allaround you are losing theirs and blaming it onyou. Or as important as having boatloads ofcuriosity about how print, web, and the newsocial media can be made to mesh in the littleniche we occupy. “Clicks and mortar” youmight call it, in the service of live local music.Fourth, it would be remiss of me not toexplain that the reason we are commencing thesearch for a managing editor at this particulartime is because Colin Eatock, whose face and thoughts you mighthave been expecting to see here, has had an attack of common senseand extricated himself from the craziness of holding down boththe managing editor’s and listings coordinator’s posts here at TheWholeNote for nigh on two years. It is you, dear whole-hearted diehards,who more than anyone else will be aware of the many waysin which we emerge from Colin’s two years of service-beyond-thecall-of-duty,in tidier shape, and better corporate health, than before.We are grateful and wish him well in restoring some balance to hismultifaceted musical life.—David Perlman, publisher@thewholenote.comPHOTO AIR’LETH AODHFINThe WholeNote The Toronto Concert-Goer’s GuideVOLUME 16 NO 5 | FEB 1 – MAR 7, 2011720 Bathurst St, Suite 503, Toronto ON M5S 2R4MAIN TELEPHONE 416-323-2232FAX 416-603-4791SWITCHBOARD & GENERAL INQUIRIES Ext 21Chairman of the BoardAllan PulkerPublisher/Editor In Chief | David Perlmanpublisher@thewholenote.comCD Editor | David Oldsdiscoveries@thewholenote.comEvent Advertising/MembershipKaren Ages | members@thewholenote.comAdvertising/Production Support/OperationsJack Buell | adart@thewholenote.comConcert ListingsOri Dagan and Sharna Searlelistings@thewholenote.comJazz ListingsOri Dagan | jazz@thewholenote.comWebsiteBryson Winchester | systems@thewholenote.comCirculation, Display Stands & SubscriptionsChris Malcolm | circulation@thewholenote.comPatrick Slimmon | patrick@thewholenote.comTHE ONTARIO ARTS COUNCIL IS AN AGENCYOF THE GOVERNMENT OF ONTARIO.THANKS TO THIS MONTH’S CONTRIBUTORSBeat ColumnsBANDSTAND | Jack MacQuarrieBOOKSHELF | Pamela MarglesCLASSICAL & BEYOND | David PerlmanCHORAL SCENE | Benjamin SteinEARLY MUSIC | Simone DesiletsIN THE CLUBS | Ori DaganJAZZ NOTES| Jim GallowayMUSIC’S CHILDREN | mJ buellIN WITH THE NEW | Jason van EykOPERA | Christopher HoileWORLD MUSIC | Andrew TimarFeaturesDavid Perlman, MJ Buell, David Olds,Daniel Foley, Andrew Timar,Gabrielle McLaughlinCD ReviewersKaren Ages, Alex Baran, Geoff Chapman,Colin Eatock, Daniel Foley, Richard Haskell,Tiina Kiik, Roger Knox, Allan Pulker,Cathy Riches, Terry Robbins,Michael Schwartz, Bruce Surtees,Robert Tomas, Jason van Eyk,Ken Waxman, Dianne WellsProofreadingSimone Desilets, Karen Ages, Sharna SearleListingsFelix Deak, Ori Dagan,Richard Haskell, Nick Torti, Sharna SearleLayout & DesignBrian Cartwright, Uno RamatSUBSCRIPTIONS $30 per year + HST (10 issues)www.thewholenote.comUpcoming Dates & DeadlinesFree Event Listings Deadline6pm Tuesday February 15Display Ad Reservations Deadline6pm Tuesday February 15Advertising Materials Due6pm Thursday February 17Publication DateTuesday March 1Next issue is Volume 16 No 6, coveringMarch 1, 2011 – April 7, 2011WholeNote Media Inc. accepts no responsibilityor liability for claims made for any product orservice reported on or advertised in this issue.Printed in CanadaCouto Printing & Publishing ServicesCirculation StatementDecember 2010: 30,000 printed & distributed.Canadian Publication ProductSales Agreement 1263846ISSN 14888-8785 WHOLENOTEPublications Mail Agreement #40026682Return undeliverable Canadian addresses to:WholeNote Media Inc.503-720 Bathurst StreetToronto ON M5S 2R4COPYRIGHT © 2011 WHOLENOTE MEDIA INC6 thewholenote.comFebruary 1 - March 7, 2011


February 1 - March 7, 2011 thewholenote.com 7


Bader-Bound... and Then?Toronto Sinfonietta’s Fifth Annual Concerto CompetitionDavid PerlmanI.IT WAS A BIT COLD, I grant you – one of those crisp JanuarySundays that gets called “twenty below” because it’s windy.If you didn’t know better, you’d have thought the sign saying“Isabel Bader” must be for a hockey rink, what with all the minivansrolling up, full of kids and gear. And who else in Canadabut a hockey parent would sacrifice their day of rest like this, onthe coldest Sunday afternoon of the winter? Who else indeed?One of the dads of the seven musicians assembling for the hastilyscheduled photo shoot comes up to me. (My standard issue cherryredQuest Nature Tours Arctic expedition Gore-Tex windbreakermust make me look like I know what’s going on). “So whose brightidea was this one?” he asks. His shiveringson or daughter is huddling withthe other six young musicians, whileWholeNote photographer Air’leth Aodfhinexplains the shot we are lookingfor, and Toronto Sinfonietta musicdirector Matthew Jaskiewicz looks on.I explain to the dad that it was TheWholeNote publisher’s crazy idea (andthat the WholeNote publisher is me).“But not to worry,” I add. “We onlyneed instrument cases in the picturenot instruments, so you can throw thefiddle in the trunk if you like.” It onlytakes about five seconds for him to realizeI am joking, but the relief that we are not going to ask them topretend to be playing outdoors is palpable. I explain further that wewon’t be out there more than twenty minutes and then we’ll headover to the Royal Conservatory for a hot chocolate and a chat.True to my word, the whole shoot takes only 45 minutes(including a couple of “just in case” safe poses in front of somevines). Then we beat a retreat two short blocks west to the RoyalConservatory. First stop, the little basement cafeteria between theold building and the Cherry-red Gore-Tex windbreaker notwithstanding(see page 6), I am very glad we came in from the cold.But, I am also glad, for two reasons, that we made the detour toget the outside photo. For one thing, it calls attention to the IsabelBader Theatre itself – the venue to which, February 26, these sevenyoung musicians (and three others not pictured) will return for themain event of this story.Not many people in the music community realize just how convenientthe Isabel Bader Theatre is – less distance east of MuseumSubway Station than the Royal Ontario Museum’s own mainentrance is to the west. Filmfest patrons certainly know the venuewell, but it is not the largest pin on the musical map. New MusicConcerts has used it two or three times, most recently last Dec 10,for their Elliott Carter at 102 birthday celebration concert). It hasalso been a Luminato venue over the years. In 2007 it was the sceneof an“opera” titled The Passion of Winnie, presented by Musica Noir.The show was mostly memorable for the fuss when the Winnie ofthe title, Winnie Madikizela-Mandela, was denied entry to Canadafor the show, but also memorable for the work of mezzo ChantelleGrant in the title role. In the 2008 Luminato, the Bader was used forthe Gryphon Trio’s Colour... for the End of Time, an exploration ofMessiaen’s synaesthesia. The show was ideally suited to the Bader’sbetter than average capacities for enhanced sound and projection.Earlier the same year it was the venue for “teen sensation” jazz artistNikki Yanovsky’s Toronto debut, a Luminato/Toronto DowntownJazz co-presentation.The Bader is not a purpose-built acoustic music hall, that’s forsure, but according to some who have used it, it’s a hall you canhear well in, especially if the theatre’s acoustic bandshell is deployedfor the event.(My second reason for being glad we made the detour, I willsave for a bit later on.)II.THAWED, WE MADE our way from the interstitial cafeteria in thebasement to the cosy main floor lounge to the left of the old RCMbuilding’s main entrance. There, I chatted for half an hour or sowith Toronto Sinfonietta’s music director Matthew Jaskiewicz andthe “Bader-bound” seven.“There were five sections to thecompetition,” Matthew Jaskiewiczexplains, “strings, winds and piano,for ages 16-19, and strings and piano,under sixteen. Students choose theirown concerto and apply. Successfulapplicants are asked to audition infront of a jury of prominent membersof Toronto’s classical music communitywith piano (or second piano)accompaniment, and the winnersare invited to perform before anaudience accompanied by the TorontoSinfonietta. Generally speaking,section winners will each get toperform a movement of their chosen concerto with the full TorontoSinfonietta orchestra, while other finalists will perform solo works.There are not only fantastic performers on the programme, there arealso some tremendous challenging works.”This is Toronto Sinfonietta’s fifth such competition. “From mypoint of view, I get the best young musicians I could imagine. Thereis no other way of finding them. It’s lots of work, but the results forToronto Sinfonietta are splendid.” Jaskiewicz admits to worryinga bit about the possible negative impact of competitions on somestudents. “They may discourage those who don’t win. We saw someexcellent musicians among the ‘losers.’ I worry what happens tothem.”But he has no reservations about what this competition does forhim. “It makes me younger. It gives me an opportunity to work withabsolutely wonderful young people, to meet devoted and competentteachers, and to see how parents make sacrifices to support theirchildren. With so many people fighting for the growth of classicalmusic in Canada, I dare to hope... we will survive.” Listening to theseven speak, all of them so clear about loving what they do, all ofthem brimming with hope and confidence, it’s hard to disagree withhim.I arrange to get resumes from all of them, and leave them withJaskiewicz, deeply involved in discussing their upcoming rehearsals –planning for the real work at hand.III.IT’S A FUNNY THING about resumes. If you read in a resume that“Performer X only switched to violin after first completing cons-ON OUR COVER (left to right): Nicole Li, (violin), AnnaVertypolokh (piano), Annie Zhou (piano), Daniel Hass(cello), Leslie Ashworth (violin), Daniel Temnik (violin),and Lily Chapnik (clarinet). Three other competitionfinalists, Amadeusz Kazubowski-Houston and KaraSojung Park (piano) and Sarah Velasco (violin), missed thephoto shoot but will also perform at the concert, albeit asrecitalists, rather than as soloists with the orchestra.)8 thewholenote.comFebruary 1 - March 7, 2011photos air’leth aodhfin


ervatory grade 10 piano,” you maypossibly note the fact in passing.But if you read that Performer Xswitched to violin at age eight after10 piano, you stop and take notice.Reading these seven musician’sresumes I found myself stopping tonotice, over and over again.“I began learning to play pianolyafter, I began participating in concertsand competitions.”“I started piano at age four…played as a soloist with the CathedralBluffs Symphony at age tenand later in Carnegie Hall in NewYork, at ‘Assisi in the World’ international ionalmusicfestivalinItalyin Italy,and on CBC Radio One and Classical 96.3 FM.”“I began studying cello at the age of 4½, at the ages of eight,nine and ten, performed as solo cellist with the Ashdod ChamberOrchestra”.“I have performed several times as a soloist with the JVL SSPAOrchestra, and the Kindred Spirits Orchestra and as concertmasterof these orchestras.”“When I was 8 my grandmother thought that perhaps clarinetwould be a good instrument for me and taught me the fundamentalbasics. I loved it!” on stage at age 5… and was the Grand Prize winner of the CMCNational Finals in 2010.”“I began playing the violin when I was three years old, andbegan competing at an early age. I have won many competitions,the Canadian Music Competition in the Strings category.”“My long term goal is to attend Juilliard and become an internationallyacclaimed solo violinist.” “I have played in masterclasseswith various artists, including Leila Josefowicz, James Ehnes, AaronRosand, and Renaud Capuçon.”Equally interesting to observe from the resumes is the portraitthey paint of the intricately interwoven musical support system thatour community provides. There are the teachers, many of whosenames are familiar to readers of the WholeNote as the performerswho regularly grace our pages. There are the music schools andcolleges, astonishing in scope and variety. And there are the competitions,little and large in which, as one of the seven put it, “eitherplace, or you learn that the real spirit of competition is to show whatyou can do and how easily you can do it, and just have a good timeperforming the piece that you have worked on for such a long time.”Taken together, these are the cauldron in which the complex ingredientsof attitude, emotions, dazzling technique and sheer bloodydetermination needed to succeed in this milieu, are mixed andstirred. These are the traits that will need to kick in when labels like“prodigy” and “teen sensation” are no longer a draw.IV.HERE’S MY SECOND, rather more allegorical, reason for beingglad we did the Bader photo detour. On the path to honours athallowed conservatories, or triumphing at competitions withprizes of staggering magnitude, there are going to be all kinds ofunexpected detours. so you might as well get used to it. It’s calledpaying your dues. You shiver in the cold for what may, after all,turn out to be nothing more than a small photo and mere mentionin a local “rag.” You learn how, in an interview, to give moreinteresting answers than the questions you were asked. Don’t scoff atthe latter, by the way. As you will see, it’s a skill important enoughfor the soon-to-be biggest piano competition in the world to havechanged its rules and practices.continued on page 70February 1 - March 7, 2011 thewholenote.com 9


Kuumba Kicks Off BHMANDREW TIMARI-- at-– on erhu - -kora, kalimba, adungu,endongo, ngoni - Voices of the Diaspora … Haitian Voices Ayiti Diplomaci- ------ Olden New Golden Blue-Amadou Kienou. MarcoPolo Project. -- World at Noon. - Acoustic Africa---mbirambaqangajitkateke (Andrew Timar is a Toronto musician and music writer. He can bereached at worldmusic@thewholenote.com.10 thewholenote.comFebruary 1 - March 7, 2011


“A Feast for the Earsand the Eyes!”- Classical 96.3FMTIM RIES “STONES WORLD”Saturday, February 12, 2011 8:00pm Koerner HallSaxophonist Tim Ries, “a singular talent”(New York Times), has assembled RollingStones band members Bernard Fowler (vocals),Darryl Jones (bass), Ben Monder (guitar),and the University of Toronto Big Band toperform classic Rolling Stones tunes in jazzynew arrangements. “An engaging andimaginative outing that's definitely worthyof a listen.” (Jazz Times)LES PERCUSSIONSDE STRASBOURGThursday, February 24, 20118:00pm Koerner HallExperience Iannis Xenakis'Persephassa with the ensemblesurrounding the audience, theworld premiere of AndrewStaniland’s heX, and JohnCage's Credo in Us.ROYAL CONSERVATORYORCHESTRA CONDUCTEDBY JULIAN KUERTIFriday, February 18, 20118:00pm Koerner HallJulian Kuerti leads the RCO andsoloist, Isaac Chalk, in a performanceof Smetana’s Overture to The BarteredBride, Bartók’s Viola Concerto, andStravinsky’s Petrushka.ANNE SOFIE VON OTTERAND BRAD MEHLDAU“LOVE SONGS”Friday, February 25, 20118:00pm Koerner HallThe charismatic Swedish mezzosopranoteams up with a GrammyAward-winning American jazzpianist for a mixed program ofclassical and jazz music.HILARY HAHN, VIOLIN WITHVALENTINA LISITSA, PIANOTuesday, March 1, 20118:00pm Koerner Hall“America’s best young classicalmusician” (Time) will perform Tartini,Beethoven, Ives, Bach and Antheil.“Hahn never fails to dazzle inperformance.” (Los Angeles Times)JOAQUIN VALDEPEÑAS,JOHN PERRY & FRIENDSSunday, February 20, 2011,2pm Mazzoleni Concert HallAcclaimed pianist John Perryperforms solo and is then joinedby TSO Principals Joaquin Valdepeñas(clarinet), Sarah Jeffrey (oboe),Michael Sweeney (bassoon), andNeil Deland (horn) to performSchumann, Berg, and Beethoven.ANAGNOSON & KINTON WITHDAVID KENT & JOHN RUDOLPHSunday, February 6, 2011,2pm Mazzoleni Concert HallPiano duo, Anagnoson & Kinton, joinsforces with TSO Principal TimpanistDavid Kent and Principal PercussionistJohn Rudolph, to perform Bartók’sSonata for Two Pianos and Percussionand Rachmaninov’s Suite No 2 forTwo Pianos.AFIARA STRING QUARTETSaturday, March 5, 2011,7:30pm Mazzoleni Concert HallHear the much anticipated return ofthe Canadian players of The JuilliardSchool's Graduate Resident StringQuartet, including graduates ofour Young Artists PerformanceAcademy. Second prize winnersin the 2010 Banff InternationalString Quartet Competition andSzékely Prize winners!TICKETS ON SALE NOW! rcmusic.ca 416.408.0208273 Bloor St. W. (Bloor & Avenue Road) Toronto


Beat by Beat / Early MusicSooner and LaterSIMONE DESILETST Birds Bewigged, an-12 Miniatures-Music for MagpiesThunderbird – A First Nations/ Baroque Collaboration Baroque Idol! American Idol -From Sheila Smyth of Musathena: From Scaramella’s artistic director Joëlle Morton:From Aradia’s Kevin Mallon:12 thewholenote.comFebruary 1 - March 7, 2011


Musathena: left to right, Katherine Hill, Sheila Smyth,Rebecca Morton, Valerie Sylvester, Sara-Anne Churchill. Birds BewiggedBaroqueIdol! Baroque Music by Women Composers Blame Not My Lute Musically Speaking - Beethoven’s Happiest Years The Marco Polo Project: Part 2- - Wanton and riotousliving – Medieval songs of lechery, drunkenness, and other alteredstates. The Galileo Project: Musicof the Spheres Aisslinn Nosky. Simone Desilets is a long-time contributor to The WholeNote inseveral capacities, who plays the viola da gamba. She can becontacted at earlymusic@thewholenote.com.Samantha Chang, fluteSaturday, April 16, 2011 8PMKOERNER HALL at The Royal Conservatoryin the TELUS Centre for Performance and Learning273 Bloor Street West, Toronto“A young and resourceful artist with a strongpersonal commitment to the flute.” -The WholeNoteand FriendsMark Camilleri, Dona Jean Clary, Ka Kit Tam (piano)Andrew Chan (harp), Conrad Chow (violin)Christopher Lee (flute), and moreWorks by Bolling, Borne, Hugues, Tan, and moreTickets $25 $40 $55www.rcmusic.ca 416.408.0208www.samanthaflute.comFebruary 1 - March 7, 2011 thewholenote.com 13


"Zarzuela comes to Toronto!"LuisaFernandaSung in Spanish with English surtitlesand English dialogueJosé Hernández, ConductorGuillermo Silva-Marin, Stage Directorwww.torontooperetta.comby Moreno TorrobafeaturingMichèle BogdanowiczMiriam KhalilEdgar Ernesto RamirezGuillermo Silva-MarinMarch 9, 11, 12at 8 pmMarch 13 at 2 pmThe BedolfeFoundation416-366-7723 1-800-708-6754 www.stlc.comSUMMER OPERALYRIC THEATREAND RESEARCH CENTREGuillermo Silva-Marin, General DirectorAUDITIONS2011 Opera Workshopjune 12 to august 8featuringIDOMENEO by MozartLA TRAVIATA by VerdiTHE TENDER LAND by A. Coplandaudition datesAuditions are set for SOLT exclusively.Toronto:The Edward Jackman Centre, 947 Queen Street EastSunday February 6, Tuesday February 8,Saturday February 12Montreal:University of Montreal, Faculty of MusicThursday February 10, Friday February 11Call 416-922-2912 to schedule an appointment.www.solt.caTwo COC FirstsCHRISTOPHER HOILEDThe MagicFlute-Nixon in ChinaKismet Magic Flutes, -Hair--Preliminary sketch of the Queen ofthe Night by Myung Hee Cho, set andcostume designer for The Magic Flute. Abduction from the Seraglio The Magic FluteNixon inChinaPHOTO MYUNG HEE CHO14 thewholenote.comFebruary 1 - March 7, 2011


---- KismetFebruary 17 & 18, 8:00 p.m.Glenn Gould Studio, TorontoTime and LightThe resilience of the humanspirit shines brightly in thisprogramme of Schulhoff,Klein and Messiaen –composers whose lives wereforever altered by the legacy ofnazism. Featuring a powerfuldance piece by Montrealchoreographer Bill Coleman.Buy your tickets todaywww.viasalzburg.comor phone 416-872-4255Christopher Hoile is a Toronto-based writer on opera and theatre.He can be contacted at opera@thewholenote.com.February 1 - March 7, 2011 thewholenote.com 15


2010·2011 SEASONFREE CONCERT SERIESIN THE RICHARD BRADSHAW AMPHITHEATREpresented by“Rare opportunities…and all for free!”La Scena MusicaleMost Tuesdays, Wednesdays and Thursdays at noon or 5:30 p.m.coc.ca 416-363-8231Official MediaPartners:145 Queen Street West, Toronto(left) Adam Banda and (right) Alejandro Vela, COC Free Concert Series 2010. Photos: Karen ReevesCanada’s Bechstein Selection CentreYoung Chang Piano GalleryWorld Class Repairsto all musical instruments10 Via Renzo Drive, Richmond Hill(east side of Leslie St., just north of Major Mackenzie Dr.)905.770.52221.800.463.3000cosmomusic.caFestival BookendsJASON VAN EYKW-What Next? Festival. --Parmela Attariwala and Shawn Mativetsky.Surface Tension -Emily, the Way You Are16 thewholenote.comFebruary 1 - March 7, 2011


scale work. Entitled Declaration, the score takes its inspiration fromthe text of the United National Declaration of Human Rights, whichwas drafted by a Canadian – John Humphreys – during his tenureIf Hamilton and KW are too far away for you, especially in thiswinter weather, then there’s a trio of Toronto concerts to consider.First is Trio Voce’s February 17 appearance in the Music TorontoMemorySlipsand technology. He’ll be present for this concert at the Jane MallettTheatre to explain, amongst the music making, his current researchand personal experiences with music, memory and aging. To learnat www.stlc.com. th --composer Andrew Staniland, who has a strong command of percussionwriting, between contemporary classics by Xenakis (his iconicPersephassa) and John Cage (Credo in US.) For more details and toThe Array Ensemble will take to the Music Gallery on February27 to perform a collection of Canadian works drawn from theirArnold, Scott Godin, Michael Oesterle and Rodney Sharman willbe complemented by a newer work for the ensemble from pastlast season as part of the Contemporary Classics concert. Array hasa useful tool for new music geeks like me. More information aboutArray website.As I mentioned, February is bookended by yet another newNew Creations,which will focus on cross-borderexchanges, with music by guestAmerican composers John Adamsand Jennifer Higdon. Canada isrepresented here not only by TSOTorqueperformed on March 5, but alsoby Winnipeg-based Vincent Ho,in the form of his percussionconcerto, The Shaman, whichwas premiered by remarkablethis year’s Winnipeg New Musicon March 2. The work’s title isinspired by Ho’s impression of Glennie as a musical shaman, bridginghuman and spiritual worlds with her spellbinding performances.Adams is well represented with his now classic Short Ride in a FastMachine and other works, and also with a TSO co-commission,City Noirdynamic ensemble will join the orchestra in a freshly commissionedchamber concerto from Higdon, which will sit alongside the worldpremiere of our own R. Murray Schafer’s latest symphonic work,simply titled Symphony No. 1From the multidisciplinary to the simply symphonic, new musicconcert listings here and online at www.thewholenote.com.Jason van Eyk is the Ontario Regional Director of the CanadianMusic Centre. He can be contacted at newmusic@thewholenote.com.SATURDAY FEB. 5Emergents IIStephanie Chua + Tim Francom8pm$10/$5SATURDAY FEB. 12NOW Ensemble (NYC)Music by Judd Greenstein and Missy Mazzoliwith Film by Stephen TaylorPost-Classical Series8pm$25/$20/$10$20 adv at TicketWeb.caFRIDAY MARCH 11Emergents IIIEarwax Ensemble, VOWLS + Gates8pm$10/$5Composer Vincent Ho.The Music GalleryPHOTO HANS ARNOLDFebruary 1 - March 7, 2011 thewholenote.com 17


Beat by Beat / Classical & BeyondBychkov’s Vienna,Outwater’s K-WDAVID PERLMANImagine how cohesive an orchestra that has had one stellar principalconductor for a couple of decades must become. Compare thatin your mind to one that has been without a principal conductorfor the same amount of time. You can speculate that the orchestrasin question would evolve in very different ways with very differentstrengths and weaknesses.Now, imagine if you can an orchestra that as a matter of fundamentalpolicy has had no principal conductor for almost eightyyears ... but can call regularly on Nikolaus Harnoncourt, GustavoDudamel, Andris Nelsons, Franz-Welser-Möst, Georges Prêtre,Christian Thielemann, Mariss Jansons, Esa-Pekka Salonen... Youcan imagine that such an orchestra might evolve into somethingremarkable. As indeed it has, and they’re coming to town.The Toronto stop of the Vienna Philharmonic, March 6, is theironly Canadian stop, and the last of an eight-concert, nine-day NorthAmerican tour under the baton of Semeon Bychkov. The orchestrawill rotate three different programs over the course of the nine days– one all Mahler, one Schumann and Brahms, and the third (the onewe will hear) Schubert, Wagner and Bartók (see listings for details).Bychkov’s most important Great Lake so far has been Erie, notthe Grand Rapids Symphony would doubtless have strengthened thatimpresssion. Around thattime, he stumbled into aone-time engagement withthe Buffalo Philharmonic– Il trovatore at the ArtParkFestival in Lewiston. It ledto a ten year relationship.“My career in America wason his website. “I alwayslook at that time as myFor those who lost trackof Bychkov after he leftthe Buffalo Philharmonicin the mid-nineties: hereturned to Europe in 1989to become music directorof the Orchestre de Paris.From Paris he went toWDR Symphony Cologne,a post he still holds. Againfrom his website: “AfterSemeon Bychkov.ten years this must mean that we are not bored with each other, and-Around the same time as the appointment with “very forward-traditional Dresden Semperoper, “the house of Wagner and Strauss.It was fantastic for me [having both appointments] as if I was able toHis equal delight in both the operatic and orchestral bodes wellfor the tour. Certainly the Vienna Philharmonic is no stranger todoing similar double duty; they are the pit band (if you pardon thePHOTO SHEILA ROCK18 thewholenote.comFebruary 1 - March 7, 2011


Aurora Cultural Centre presents22 Church Street, Aurora, Ontario L4G 1G4Music at the CentreGREAT ARTIST PIANO SERIES Celebrate Ontario’s new cultural facility, a jewel in the heartof Aurora. Enjoy our opening season with the artistry of 4 piano masters. The beautifullyrestored Church Street School (circa 1886) provides an intimate salon setting for a memorableexperience of beautiful music performed by some of Canada’s greatest artists.Friday, February 25, 2011 8pmAnton Kuerti“One of the truly great pianists of this century” –CD Review (London)All Beethoven Program: including the Appassionata Sonata, op. 57,and a lecture/performance of the Diabelli VariationsFriday, March 25, 2011 8pmJane Coop“This exquisite recital was played with remarkable sensitivity andrefinement by Jane Coop“ –New York Daily NewsProgram to include Beethoven’s Eroica Variations and Scriabin EtudesFriday, April 29, 2011 8pmJamie ParkerTwo-time Juno award winner Jamie Parker presents ’Music of the Night,’including Chopin’s Nocturnes, Debussy’s La Soiree dans Grenade, andBeethoven’s Moonlight SonataFriday, May 27, 2011 8pmIntroducing the prize-winning young pianist Elizabeth Schumann“Devastatingly good – the sort of performance you experience not somuch with your ears as your solar plexus” –Washington Post MagazineProgram features piano music by Chopin and LisztTICKETS Subscription: Purchase all 4 concerts, $90 adult; $75 senior & studentSingle tickets: Kuerti, Coop, Parker, $30 adult; $25 senior & student; Schumann $15BOX OFFICE 905 713-1818 (hours: 9am to 4pm, Mon to Fri) or at the doorwww.auroraculturalcentre.ca 905 713-1818Inaugural season made possible through the generosity of Bonnie & Norbert Kraft


PHOTO SEAN PUCKETTexpression) for theVienna State Opera –a tradition going backfurther even than theidea that a great orchestradoes not needa principal conductor.theirs on ready call,it’s hard to disagree.One sometimesobserves that orchestrason the road playit safe, going for aas not to disappointthe buyers of theirrecords. With repertoireon tour thatBychkov is exploringfor upcoming projectshe’s passionate about,that ain’t going tohappen.Edwin Outwater.THERE’S A HUGE ORCHESTRAL BUZZ right through theconcert listings this month. Nowhere is that more evident than in theBeyond the GTA listings (page 43 on) where the Kingston, Hamilton,Huronia, Georgian Bay, Guelph, and Kitchener Waterloo SymphonyOrchestras account for almost a concert a day between them. Anoverall search for orchestral music in our online listings woulddoubtless yield a harvest several times that many.Particularly interesting to observe so far this season is the crackingpace being maintained by the Kitcher-Waterloo Symphony underEdwin Outwater’s aegis. Now in his fourth season with the KWS,Santa Monica born Outwater seems to stirring up a mix of musicsure to appeal to every taste – from rock-solid mainstage productionsof masterworks to family and child-centred fare with tantal-educational aspect of his job, and he has the track record to prove it.As former music director of the San Francisco Symphony, he championedprograms for school, community performances and outreach.Oddly enough, the most eclectic programming of all for theKWS in the next little while is happening not in the K-W area but ofall places, at Toronto’s Sony Centre. And what a contrast!March 1-6 the orchestra takes on the responsibility of playingfor the Mariinsky (aka Kirov) Ballet performances of Swan Lake.(Watch out for that Black Swan, though, Edwin. From what I sawin the trailer for the movie, she’s likely to rip your face off if shedoesn’t like your tempi!)And then April 9 (two shows only) they are back to provide liveorchestral backing for a cartoon-fest titled “Warner Brothers presentTunes cartoons set to Carl Stalling’s original scores. Stalling is aferociously interesting miniaturist – a bit like an orchestral Satieon speed. You can imagine why the project might have caughtOutwater’s interested eye.David Perlman is deputizing for Allan Pulker, the usual patroller ofthis beat.20 thewholenote.comFebruary 1 - March 7, 2011


Big Bach, Little BachBENJAMIN STEINSometimes I wonder which musicians love more, to play or toargue about music. It’s probably the former – it can be a hardway to make a living, so you’d blasted well better love it. Butif you get ten musicians in a room, you’ll get least eleven opinionsabout the right way to play/sing/compose a Scarlatti sonata/Fadosong/12 bar blues/raga/tuba concerto.Among composers, J.S. Bach is the uncontested favouritefor many musicians. But if we generally agree on Bach, the idealway to play his music is anything but uncontested. This topic isprobably more hotly debated among musicians than that of sportsteams, movies or microbrewed beer. Well, perhaps beer is discussedmore, but as this is a music column, I will leave that subject alone,and refrain from throwing down the gauntlet for Guinness, inconsideration for the feelings of those who may prefer other, inferiorbrands.Small armies of musicians and writers have done battle throughoutthe twentieth century regarding Bach orchestra and choir size,tuning, phrasing, trills, pitch level, instrumentation, phrasing andfor all I know, whether or not Bach tapped his foot while playing.The lines have often been most contentiously drawn between thosewho play modern instruments, and proponents of “historicallyacroynym HIP) who favour instruments designed like those usedin Bach’s time, and musical interpretations that are to some degreebased on research into the musical and rhetorical practices of the17th and 18th centuries.Most would agree that there has been a détente of late – earlymusic players have become a good deal less dogmatic in recentyears, and modern instrument players have allowed themselves tofrom the researches and experimentation of early music players.We have a chance to compare examples of these two different approachesin the coming weeks. Tafelmusik Orchestra and ChamberChoir are performing the Bach’s Mass in B Minor from 9-13 January,and Mendelssohn Singers (a pared down version of the TorontoMendelssohn Choir) perform the St. John Passion on March 3.The St. John Passion is a harrowing work, as intense as andénoument.While smaller ensemble Bach allows the interweaving of the variouslines of music to be heard with greater clarity, a larger ensemble canconvey a sense of grandeur, a sonic majesty that can overwhelm thelistener.Bach himself never actually heard his Mass in B Minor performedin full during his lifetime, which complicates the questionof interpretation, as music researchers sometimes refer to documentedinformation about an original premiere for clues to historicallyinformed performance. Musicians have had to look instead atthe musical resources with which Bach executed his weekly churchcantatas, and have drawn conclusions in part from this information.Modern custom hastended to settle on achamber choir andsmall orchestra, andit is in this mannerthat Tafelmusik willbe performing theMass.But the debatecontinues. LargescaleBach practitionerson modern instrumentsand smallerensembles of Baroqueplayers had learned tocoexist with the waryrespect of two neighbouringelephantherds. But then twomusicologist/performers,Joshua Rifkinand Andrew Parrott,leapt cheetah-likeacross the savannah,stampeding bothDorothy Mields.herds with meticulously researched books and essays (in 1981 and2000, respectively) suggesting that the ideal ensemble for BachPHOTO UJESKOPETER MAHONSales Representative416-322-8000pmahon@trebnet.comwww.petermahon.comFebruary 1 - March 7, 2011 thewholenote.com 21


cantatas (and by extension, the Mass in B Minor) was one singer oneach vocal part. Using this paradigm, the ideal force for the Masswould be 8-12 voices at the absolute most, and often no more thanfour or six voices at any given time.Many musicians have picked up on this idea, and it may bethat Bach oratorio and cantata performances in the next centurywill bear little or no resemblance to the choral roar-outs of thepast. But will we ever really dare to attempt to play Bach’s musicas he was compelled to do? Even the proponents of one-to-a-partBach often use adult female sopranos and altos, rather than theschoolboy singers Bach had at his disposal, and perhaps this is forthe best. In his excellent Inside Early Music, which contains a seriesof illuminating interviews with early music performers, BernardSherman writes, “…when we imagine shivering Thomasschulestudents, at seven-thirty on a winter morning, performing a virtuosochorus written three days earlier, we might ask if we could toleratetrulyWell – like many musicians, mention Bach and I become somewhatdistracted. Switching gears with some effort (and the help of aduring the next few weeks.Albert Greer is a veteran Canadian conductor and singer whohas dedicated his career to fostering excellent music making in thisregion. He has conducted Orillia’s Cellar Singers since 1977, andis planning to retire in 2012. The Cellar Singers perform Faure’sRequiem and a new work by popular Canadian composer NancyTelfer on March 5.On February 12 the GrandPhilharmonic Choir sings VaughanWilliams’ Dona Nobis Pacem and premieresCanadian composer John Burge’sDeclaration, the lyrics of which arebased on the text of the United Nation’sDeclaration of Human Rights (which wasdrafted by Canadian law professor JohnHumphrey in 1948).On February 26 the Tallis Choir presentsan all French program of workssame night the Georgetown Bach ChoraleJohn Burge, composer.performs works by Pärt and Bruckner.On March 5 the Oakville Ensemble performs an all-Englishprogram of music by Byrd, Tallis, and Weelkes. And on the samenight the Scarborough Philharmonic Orchestra and Toronto ChoralSociety combine forces to play Beethoven’s Ninth Symphony andBruckner’s Te Deum.Benjamin Stein is a Toronto tenor and theorbist. He can becontacted at choralscene@thewholenote.com.Three Years Later...JACK MACQUARRIEIn recent columns we have been following the progress of afew startup community ensembles in this part of the world. Inparticular, we have been reporting on the progress of a fewbeginners groups. Without exception, the ones we have visited arestages. But what of the startups we reported on a few years ago? Wearbitrarily chose three years as a reasonable time for a new group toeither coalesce or cease operations. The Milton Concert Band andthe Silverthorn Symphonic Winds fell into that category.The brainchild of two members of the Etobicoke band who hadmoved to Milton, The Milton Concert Band is prospering with anexperienced permanent conductor, a regular rehearsal home and animpressive performance schedule for a band that was just an idea inthe minds of two members three years previously. The thorough stepby step process followed by Cheryl Ciccarelli and Angela Rozarioin their planning could well act as a textbook model for anyonecontemplating the organization of a new musical ensemble in theircommunity.Once settled into Milton, a rapidly growing town with an activearts community, they decided to put a call out to see if there wereany other amateur musicians in the area interested in performingtogether. First they did their research. They talked to people withother bands and looked at the Constitutions and By-Laws of severalother groups. They lined up a potential conductor in the person ofJoseph M. Resendes, an experienced instrumentalist, conductor andPh.D. candidate in music at York University. Finally they contactedthe Mayor, local councillors and anyone else they could think of‘‘’UNIVERSITY AUDITIONS AREUPON US!! CHECK IN WITHSTEVE’S FOR LEVEL-APPROPRIATEMATERIALS...GOOD LUCK!WE PROUDLY FEATURE:Dedicated RCM exam requirement bookWoodwind.Diverse repertoire, method & studyrs& public address systems/dj equipment.Band and string instrument sales.Ask about our teacherdiscount program.415 Queen Street West, Toronto OntarioM5V 2A5 (416) 593-8888educational@stevesmusic.comTM22 thewholenote.comFebruary 1 - March 7, 2011


to enlist their help and support.These included local musicteachers, Arts Milton, and othercommunity groups. When theyfelt that they were ready, theycontacted the local paper andmanaged to get an article printed.Soon they had 20 musicianswilling to join and they werescrambling for a place to rehearse. place in February 2007, squeezedinto a small meeting room at alocal hockey arena. By June 2007four performances had been linedancewas for Milton’s 150th Anniversary Street Party. This wasquickly followed by performances at the local hospital’s StrawberryFair and a meeting of Arts Milton. By July 2007, they had hostedseason. Interest in the band continued to grow and they moved toa new permanent home at the Lion’s Club Hall in Milton MemorialArena, with plenty of space to accommodate more musicians. It wasSince then the group has grown to 45 members and now hosts8 to 10 public performances a year. Under the tutelage of MusicDirector Resendes, in the short span of three years the band hasgrown artistically and is now a vital arts organization in the community.Equally importantly, the members have become a familymusical challenges. They are very excited about the possibility ofmaking use of the new Milton Art Centre next season and the opportunitiesthat may provide.Joseph Resendes rehearsing the Milton Band.In January of this year theposedseries of concerts for Deaf/Blind Ontario at the Bob RumbleCentre in Milton. This innovativeperformance was designed toallow people with varying degreesof hearing and/or vision lossto experience music in an “upcentre’s clients will hold balloonsto amplify the vibrations of theinstruments and will be invited tointerpret the experience throughan art project. Both the bandand the clients are very excitedabout this opportunity. We look forward to hearing more about thisinitiative.The Silverthorn Symphonic Winds (SSW) was established inSeptember 2006 by a group of local musicians who wanted anopportunity to perform more challenging music. Composed ofadvanced amateurs and semi-professional musicians, the groupis conducted by Andrew Chung, a graduate of the University ofToronto as well as universities in Hong Kong and Freiburg Germany.Andrew also serves as Music Director of The Brass Conspiracy andthe Chinese Canadian Choir of Toronto.Thanks to a three year grant from The Ontario TrilliumFoundation, the SSW have embarked on an Artist in Residence programand are expanding their activities in York Region. The Artistin Residence for the 2010/2011 season will be clarinetist Peter Stoll,a member of the Talisker Players, principal clarinet of the TorontoPhilharmonia Orchestra and a member of the Faculty of Music,University of Toronto. As artist in residence he will be the featuredsoloist and host at two concerts in the Richmond Hill Centre. InPHOTO JACK MACQUARRIEFebruary 1 - March 7, 2011 thewholenote.com 23


Club ModeJIM GALLOWAYPHOTO JACK MACQUARRIEAndrew Chung fronts Silverthorn.addition to their concerts, the SSW will feature free public masterclasses for both adult and high school aged clarinetists. Throughoutthe season Stoll will assist in six SSW rehearsals where he willcoach the woodwinds and offer advice to the ensemble as a whole.IN RECENT YEARS I have developed an interest in how musiciansthat I meet settled on their chosen instruments. When I meet achoose the tuba (or whatever instrument they play) or did the tubaare common. However, among tuba players, a more common answerI have had the pleasure of following the development of threeSome years ago, as a grade ten student, Courtney Lambert arrivedat the Newmarket band with the determination to be a professionaltubist. Now, some years later, with a masters degree in music, she isbusy performing professionally and teaching. At the other end of thetime spectrum, Caitlin Jodoin was determined to play tuba in gradeeight. Now in grade eleven and headed for France for a stint as anexchange student, she’s not taking her tuba with her. She’s rentingFaculty of Music at the University of Toronto and has won theU of T Wind Ensemble Concerto Competition. He will beperforming the Gregson Tuba Concerto with the U of T WindSymphony on February 11 at 7:30pm in the MacMillan Theatre. Icertainly intend to be in the audience.I think it is no accident that all three of these young musicianshoned their skills under the tutelage of Anita McAllister and theHannaford Youth Band organization.Definition DepartmentThis month’s lesser known musical term is: Fiddler Crabs: Grumpystring players. We invite submissions from readers. Let’s hear yourdaffynitions.Acouple of issues ago I wrote about the less than thriving clubof you who did not read the article in question it bemoanedbeen an easy career choice. It’s tougher now. The article eliciteda larger than usual response, favourable, with one exception andmostly from musicians who could empathise with the challengesfaced by the musical community.This is not to suggest that there is no scene at all in town. A fairnumber of venues do present jazz on a regular basis, albeit sometimesonly once a week – a partial list includes Quotes, featuring theCanadian Jazz Quartet on a Friday evening at 5pm, (I’m happy tosay that I’ll be playing there on February 11), The Old Mill with itsthree nights a week policy in the Home Smith Bar, Grossman’s NewOrleans inspired sessions on a Saturday afternoon, The Reservoirwith its nightly entertainment and, of course, The Rex which rollson its merry way.They deserve your support.Looking at all of the above you might say not a bad little crop.But it’s still a far cry from the days when you had a choice of threeor four clubs six nights a week. Today it is the concert events whichjazz. The Wayne Shorter Quartet with pianist Danilo Perez, bassistJohn Patitucci, and drummer Brian Blade will be at Massey Hall onSaturday Feb.12; JAZZ.FM91’s Sound of Jazz Concert Series at TheOld Mill on February 14 will present a Valentine’s Day special withThe Steve Koven Trio, special guests Christopher Plock on reedsand vocals, and singer Lori Cullen; and as part of the same series,on the Toronto jazz scene, will team up with Robi Botos to play atribute to Bill Evans.A relative newcomer on the scene is the Jazz Performance andEducation Centre, created to support and nurture the jazz scene herein Toronto and, whenever possible, across Canada. Created in 2007,it is dedicated to the preservation and continued development ofjazz in Canada. A committee of jazz lovers, musicians and businesspeople was assembled to make plans which would enrich Toronto’sjazz scene and complement existing successful local establishmentsThe driving forces behind the venture are longtime jazzsupporters Ray and Rochelle Koskie and the ultimate goal is tocreate a full time multi purpose facility which would featureAnd this just in: It has become common practice for communitybands to program a concert around a particular theme. Now, TheCity of Brampton Concert Band goes one better. Their concludingconcert for this season is titled “The Good, The Bad and the Ugly: ATribute to the Music of the West.” The program will highlight familiarmusic from the movies such as and“Hang ‘em High,”natural beauty of the region including “The Yellowstone Suite,” andother music inspired by native lullabies, dances and culture. Theinnovative twist is a throughline narrative, with local actor ScottLale telling tales of the many personalities that gave the wild westits iconic imagery, and with local dancers as well as performers onsuch instruments as banjo, guitar and harmonica woven in. It allhappens at 8pm on Saturday February 26, 2011 at the Rose Theatrein Brampton.Please write to us: bandstand@thewholenote.com.24 thewholenote.comFebruary 1 - March 7, 2011


performances by top local,national and internationaljazz talent plus educationalprogramming through whichfans of all ages can learn aboutthe music.The centre would incorporaterecording facilities; and a Hall ofFame which would preserve ourjazz heritage and tradition. Inother words a Canadian versionof the Jazz at Lincoln CentreTheir 2010-2011 concertseason began with an eveningwith Fred Hersch and NormaWinstone and will continue onFriday February 11 with LeeKonitz and the Brian DickinsonTrio. A word about Mr. Konitz.Lee Konitz.hundred albums as leader. Konitz has become more experimental ashis playing evolves and has released a number of avant-garde jazzalbums, working with many of today’s younger players. Composer/teacher/pianist Brian Dickinson and his trio (Jim Vivian on bassand Barry Romberg on drums) will be accompanying Konitz and itpromises to be a very special occasion.Looking ahead, on Friday, March 18, JPEC will be presentingquartet, one of the best of the groups taking jazz in new directions.TASA, a world music ensemble inspired by the traditions of Indiawill share the stage with Hugh Marsh on Friday April 29 and onSunday June 5, the New York based tenor axophonist/composerIn addition to the above, JPEC is also planning specialworkshops at the Miles Nadal Jewish Community Centre and willinductee.Certainly JPEC has lofty ambitions and I wish them well. In 2009 The World Entertainment News Network ran an articlethat he would give up Hollywood in an instant to be an accomplishedpiano player! He was quoted as saying, “If God tapped me on theshoulder and offered me an ultimatum – acting or jazz piano – I’dmake the decision in a New York minute.” St. Philip’s Anglican ChurchA casual, relaxing hour of prayer + great musicwith the city’s finest musiciansSunday, February 13, 4:00 pmValentine’s Jazz Vesperswith theShannon Butcher QuartetSunday, February 27, 4:00 pmHilario Duran Trio St. Philip’s Anglican Church | Etobicoke25 St. Phillips Road (near Royal York + Dixon)416-247-5181 www.stphilips.netAll I can say is this. Don’t give up your day gig, Dustin.Meanwhile, happy live listening.All the club action worth taking in (yes, including a bunch of jazz) isin the Club Listings starting on page 45.Jim Galloway is a saxophonist, band leader and former artisticdirector of Toronto Downtown Jazz. He can be contacted atjazznotes@thewholenote.comABA Music and Arts 52Academy Concert Series 31Aldeburgh Connection 33, 41Alexander Kats 53Amadeus Choir 31Amici 32Amoroso 61Aradia 28Associates of the TSO 32ATMA 5Aurora Cultural Centre 19Beatriz Boizan 7Bloor Cinema 58Bryson Winchester 51Burlington Welsh Male Choir 39Canadian Flute Association 49Canadian Opera Company 16Canadian Sinfonietta 31, 41Cathedral Bluffs SymphonyOrchestra 27Cellar Singers 53Chamber Music Society ofMississauga 34Choirs Ontario 48Christ Church Deer ParkJazz Vespers 24Church of St. Simonthe Apostle 40City of Toronto HistoricMuseums 30Civic Light Opera 29, 53Classical 96.3 FM 69Cosmo Music 16Daniel Wnukowski 27Denise Williams 51Espace Musique 90,3 FM 70Essential Opera 38Friday’s @ Eight 37Gallery 345 26George Heinl 21Grand Philharmonic Choir 4grigorian.com 60Hamilton Philharmonic 43Hear Toronto 64Heliconian Hall 54Hymn Society, Southern OntarioChapter 35Jazz Performance and EducationCentre 30John Laing Singers 43Josh Grunmann 53Jubilate Singers 41Kai Gleusteen 39Kindred Spirits Orchestra 17, 34Liz Parker 53LIZPR 57Lockwood ARS 51Long & McQuade 23Mississauga Choral Society 42Mississauga Festival Choir 42Mooredale Concerts 35Music at Port Milford 49Music Gallery 17INDEX OF ADVERTISERSMusic Toronto 9, 33, 36, 40Musicians in Ordinary 28Nathaniel Dett Chorale 7, 12New Music Concerts 27, 42No Strings Theatre 49Norm Pulker 51Off Centre Music Salon 28Ontario Youth Choir 50Opera York 39Orchestra Toronto 38Orpheus Choir 36Pandora’s Box 35Pasquale Bros. 55Pattie Kelly 51Peter Mahon 21Philharmonic Music LTD 52Richmond Hill Centre for thePerforming Arts 15Roy Thomson Hall 2Royal Conservatory 11Samantha Chang Productions13, 53Sine Nomine 36Sinfonia Toronto 20Sony Centre 4St. Clements Anglican Church 28St. Olaves 29St. Philip’s Anglican ChurchJazz Vespers 25Stardust Gifts 55Steve’s Music Store 22Studio 92 51Sue Crowe Connolly 51Summer Opera Lyric Theatre 14Sunrise Records 63Syrinx Sunday Salons 29, 42Tafelmusik 3, 50Tallis Choir 37The Sound Post 22Timothy Eaton MemorialChurch 7Toronto Choral Society 41Toronto Classical Singers 38Toronto Consort 34Toronto Masque Theatre 37Toronto Mass Choir 12Toronto Mendelssohn Choir 40Toronto Opera Repertoire 33Toronto Operetta Theatre 14Toronto Sinfonietta 38Toronto Symphony Orchestra4, 71, 72Tryptych Concert and Opera20, 31U of T Faculty of Music 18Union Events 35Via Salzburg 15Vocal Horizons Chamber Choir 21Wilfrid Laurier University Press 59Windermere String Quartet 38Wish Opera 42Women’s Musical Club 30Yamaha Music School 51February 1 - March 7, 2011 thewholenote.com 25


TheWholeNote ListingsFebruary 1 - March 7, 2011The WholeNote listings are arranged in four sections:A.GTA (GREATER TORONTO AREA) covers all ofToronto plus Halton, Peel, York and Durhamregions (zones 1,2,3 and 4 on the map below).B.BEYOND THE GTA covers many areas of SouthernOntario outside Toronto and the GTA (zones5,6,7, and 8 on the map below). In the currentissue, there are listings for events in Ancaster, Barrie, Bolton,Brantford, Cambridge, Colgan, Dundas, Elora, Grimsby, Guelph,Hamilton, Kingston, Kitchener, Lindsay, London, NiagaraFalls, Orangeville, Orillia, Owen Sound, Peterborough, PortHope, St. Catharines, Stratford, Waterloo. Starts on page 43.C.IN THE CLUBS (MOSTLY JAZZ)is organized alphabetically by club.Starts on page 45.D.THE ETCETERAS are for lectures, symposia,master classes, screenings and other musicrelatedevents (except performances) thatmay be of interest to our readers. Starts on page 49.A GENERAL WORD OF CAUTION A phone number is provided withevery TheWholeNote listing – in fact, we won’t publish a listingwithout one. Concerts are sometimes cancelled or postponed; andartists or venues may change after listings are published. Pleasecheck before you go out to a concert.HOW TO LIST Listings in TheWholeNote 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 the15th of the month prior to the issue or issues in which your listing iseligible to appear.UPCOMING DEADLINES The next issue covers the period fromMarch 1, 2011 to April 7, 2011. All listings must be received by 6pmTuesday February 15.LISTINGS can be sent by e-mail to listings@thewholenote.com or byfax to 416-603-4791 or by regular mail to the address on page 6. Wedo not receive listings by phone, but you can call 416-323-2232 x27for further information.LISTINGS ZONE MAP Visit our website to see a detailed version ofthis map: www.thewholenote.comTuesday February 01Canadian Opera CompanyChamber Series: Franck and PoulencCello Sonatas.York University. Music at Midday:New Music by Young ComposersSt. James’ CathedralMusic at MiddayCanadian Opera Company.The MagicFlute. Massey Hall & Roy Thomson Hall.Jazz at Lincoln Centre Orchestra.Talisker Players. Love Letters – Anunabashed celebration of love, in all its manyformsSmall World Music. inRhythms and Dubwise GroovesA. Concerts In The GTAWednesday February 02Yorkminster Park Baptist Church.Noonhour Organ Recital. Canadian Opera CompanyVocal Series: Songs with Strings.University of TorontoThe Musicwithin UsGallery 345. Music from the Courtsof 18th Century Europe. Humber College. Latin Jazz Night. Talisker Players Chamber MusicLove Letters – An Unabashed Celebration ofLove, in all its Many FormsThursday February 03Canadian Opera CompanyPiano Virtuoso Series: Masks ofAstarte.Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic. University of Toronto.Thursdaysat Noon: Music & Poetry.Wed Feb 2, 8pm | Emma Elkinson & FriendsFri Feb 4, 8pm| Ugly Beauties with Jane BunnettSat Feb 5, 8pm| The Art of the Piano:Philip AdamsonSat Feb 12, 4pm| Array Music Fundraiser withStephen ClarkeThurs Feb 17, 8pm| The Annex String QuartetFri Feb 18, 8pm| The Art of the Piano:David VirellesSat Feb 19, 8pm| Duo Novinc/Caldaroic:Piano & ViolinFri Feb 25, 8pm| Mel M'rabet QuartetSat Feb 26, 8pm| Spinning Out of Nothingness:The Music of David Buchbinder345 Sorauren Avenue[south of Dundas W, east of Roncesvalles]416.822.9781 gallery345.com26 thewholenote.comFebruary 1 - March 7, 2011


Metropolitan United Church. Noonat Met. York University Department ofMusicWorld at Noon. Canadian Opera Company.The MagicFlute. St. Anne’s Music & Drama SocietyHMS Pinafore & The ZooScarborough Music Theatre. TheFull Monty. UC FolliesThe Threepenny OperaJessica Stuart Few. Kid Dream VideoRelease. Friday February 04Toronto Mass Choir. The Evolutionof Gospel Music.Derrick Paul Miller. It is Well: Concertand CD launch. Opera by Request.Pelléas et MélisandeSt. Anne’s Music & Drama SocietyHMS Pinafore & The ZooPendulum Ensemble. Works by TorontoComposers. Art of TimeTake this Waltz:The WaltzThroughout the Last 150 Years.Gallery 345. Misterioso: The Music ofThelonious Monk. Glenn Gould Studio Heaven and Hell:A Year of Liszt.Scarborough Music Theatre. TheFull Monty. UC Follies: The Threepenny Opera.Saturday February 05Yorkminster Park Baptist ChurchNoonday Recital: John Paul Farahat, organSt. Anne’s Music & Drama SocietyHMS Pinafore & The ZooToronto Symphony Orchestra.Howthe Gimquat Found Her SongTD Canada Trust/Harbourfront Centre.Kuumba Festival: JameskingBeach United Church. Jazz Vespers:Music for the Soul. Canadian Opera Company.Nixon inChina. Toronto Mass Choir. The Evolution ofGospel Music. Massey Hall & Roy Thomson Hall.National Arts CentreOrchestra. Toronto Symphony Orchestra. NationalArts Centre Orchestra. CATHEDRAL BLUFFS SYMPHONY ORCHESTRA2010–2011NORMAN REINTAMM artistic directorSATURDAY at 8 pmFebruary 5, 2011 *P.C. Ho Theatre5183 Sheppard Ave E, ScarboroughMANCINITRIBUTE TO HENRY MANCINISalute to the Big Apple (arr. Custer)ELLINGTON, Duke Ellington MedleyHANDY, St. Louis Bluesspecial guest artistsCANADIAN JAZZ QUARTETGary Benson guitarFrank Wright vibesDon Vickery percussionDuncan Hopkins bassRegular $25 adult, $20 st/sr (under 12 free)Premium $50 adult, $40 st/sr (under 12 free)* Subscription Concert no. 3 POPSSATURDAY at 8 pmMarch 12, 2011St. Timothy’sAnglican Church4125 Sheppard Ave E, ScarboroughDIVAS!ANNUAL FUNDRAISER CONCERTThe CBSO welcomes youngCanadian opera stars for an eveningof opera highlights, mixed with tunesfrom jazz and Broadway.Special guest artistHeather Bambrick jazz vocalistwith theJACK McFADDEN TRIOcathedralbluffs.com | 416.879.5566 JONATHAN HARVEY artmusicpromotion MALAYSIAN VOICESwww.newmusicconcerts.comReservations 416.961.9594February 1 - March 7, 2011 thewholenote.com 27


University of TorontoOrchestra Series:U of T Symphony OrchestraAcoustic Harvest. Girls with Glasses. Aradia Ensemble.Baroque Idol!Art of Time. Take This Waltz: TheWaltz Throughout the Last 150 Years. Cathedral Bluffs Symphony OrchestraSubscriptionConcert No.3: Pops. A. Concerts In The GTAGallery 345. The Art of the Piano: PhilipAdamson. Mississauga Festival ChoirFestivalof FriendsMusic GalleryEmergents IIMusicians in Ordinary.Blame Not MyLuteNYCO Symphony OrchestraMozartat the OperaRoyal ConservatoryLeonidas Kavakos,violin.ScaramellaBirds BewiggedScarborough Music Theatre. TheFull Monty. UC Follies: The Threepenny Opera.Sunday February 06CAMMAC.McMichael Gallery Concert. CanadianOpera Company.TheMagic Flute. Off Centre Music SalonShall WeDance?28 thewholenote.comFebruary 1 - March 7, 2011


Royal Conservatory. Mazzoleni Masters:Anagnoson & Kinton, pianists.Scarborough Music Theatre. TheFull Monty. St. Anne’s Music & Drama SocietyHMS Pinafore & The ZooTD Canada Trust/Harbourfront Centre.Kuumba Festival: Amadou Kienou, djembeTrio BravoSecond Series ConcertDeborah StaimanVocal Recital:Cabaret of Love SongsTD Canada Trust/Harbourfront Centre.Kuumba Festival: Kuumba Unplugged. St. Clement’s Anglican Church. Sundaysat Three: San Agustin Duo. Syrinx Sunday Salons. Arthur-LeblancString Quartet. St. James’ CathedralTwilight RecitalSeriesSt. Olave’s Church. Sunday Best:Choral Evensong for the Queen’s Accession. TD Canada Trust/Harbourfront Centre.Kuumba Festival: Pablo Terry y Sol de CubaMonday February 07University of TorontohamberMusic Series: Imani WindsTuesday February 08University of Toronto. Lobby Concert:Klezmer Music. Canadian Opera CompanyVocal SeriesSongs from the HeartYork University Department ofMusicMusic at Midday:Student ShowcaseCanadian Opera Company.The MagicFlute. York University Department ofMusicFaculty Concert SeriesMark Chambers,cello; Jacques Israelievitch, violin; ChristinaPetrowska Quilico, piano., Wednesday February 09Yorkminster Park Baptist Church.Noonhour Organ Recital. Civic Light Opera CompanyThe BigBang.Tafelmusik. Bach: Mass in B Minor. Canadian Opera Company.Nixon inChina. University of TorontoStudent ComposersConcertRose Theatre Brampton. I Love You,You’re Perfect, Now Change. UC Follies: The Threepenny Opera.Rose Theatre Brampton. I Love You,You’re Perfect, Now Change. Thursday February 10 Canadian Opera CompanyJazz Series Post Bop Modernity. Featuring soloworks of Humber College jazz students led byPat LaBarbera.Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic. Metropolitan United ChurchNoonat Met. York University Department ofMusicJazz at Noon: Lynn McDonald Quintet.Women’s Musical Club of Toronto.Darrett Zusko, piano. FREE LISTINGSlistings@thewholenote.comFebruary 1 - March 7, 2011 thewholenote.com 29


CanadianOpera Company.The MagicFlute. Show One Productions. Les BalletsTrockadero de Monte Carlo. University of TorontoSmall JazzEnsembles (Graduate). City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. A. Concerts In The GTA Civic Light Opera CompanyThe BigBang.Rose Theatre Brampton. I Love You,You’re Perfect, Now Change. Scarborough Music Theatre. TheFull Monty. Tafelmusik. Bach: Mass in B Minor.Toronto Symphony OrchestraBeethoven and Tchaikovsky.UC Follies: The Threepenny Opera.Rose Theatre Brampton. I Love You,You’re Perfect, Now Change. Friday February 11Alliance Française of Toronto. Cabaretsur l’oreiller: A Sweet St. Valentine DayCabaret. Canadian Opera Company.Nixon inChina. International Horn Day. The Majestyof the Horn. Show One Productions. Les BalletsTrockadero de Monte Carlo. Timothy Eaton Memorial Church.Songs of Love and Passion. University of TorontoWind SymphonyCity of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyTheBig Bang.Jazz Performance and EducationCentre. Lee Konitz with the Brian DickinsonTrio. Living Arts Centre. Emma-Lee, Singer-SongwriterRose Theatre Brampton. I Love You,You’re Perfect, Now Change. Scarborough Music Theatre. TheFull Monty. Tafelmusik. Bach: Mass in B Minor.Toronto Heliconian Club.Concertfor Two Flutes and Friends.UC Follies: The Threepenny Opera.York University Department ofMusicImprov SoireeSaturday February 12Amadeus Choir. A Celtic Hannaford Community Band. Bouquetof Brass Concert. Rose Theatre Brampton.I Love You, You’re Perfect, Now Change. UC Follies: The ThreepennyOpera.TD Canada Trust/HarbourfrontCentre. Kuumba Festival: Kuumba UnpluggedArraymusic/Gallery 345. StephenClarke, piano. Toronto Children’s ChorusWordscapes:Through the Eyes of aChild.Canadian Opera Company.TheMagic Flute. SWEETHEARTTHE MARY PICKFORD STORYA Musical by Dean BurryThursday - Saturday, February 10 - 26 at 8 pmSundays, February 13 - 27 at 2 pmSpadina Museum: Historic House & Gardens285 Spadina Road, just north of Dupont subway stationLEE KONITZ ANDTHE BRIAN DICKINSONTrio416-872-4255tickets $35/$20Adult $20 Seniors/Youth $17 (plus tax)Call to reserve tickets416-392-6910toronto.ca/spadina-restoration30 thewholenote.comFebruary 1 - March 7, 2011


Bloordale United ChurchThe SevenRivers ChorusBurlington Civic Chorale. ValentineCabaret. : Music at IslingtonHearts & Flowers:A Valentine EntertainmentMusic on the Donway. For the Loveof Jazz. Oakville Ensemble. Amore. Scarborough Bluffs United Church.One Piano, Four Hands. Show One Productions. Les BalletsTrockadero de Monte Carlo. TrypTych. Love Notes 2011: A MusicalValentine. University of TorontoU of T WindEnsemble: MaslankaAcademy Concert Series. Beethoven’sHappiest Years. Canadian SinfoniettaCHINESE NEW YEARCONCERTCelebrating 21st Century Chinese ComposersGeorge Gao, erhuTak Ng Lai, conductorSat. Feb. 12 8 PMGlenn Gould Studiowww.canadiansinfonietta.com416 872-4255Canadian Sinfonietta. Chinese NewYear Concert: Celebrating 21st Century ChineseComposers. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Massey Hall & Roy Thomson Hall.Wayne Shorter Quartet.Mississauga Symphony Orchestra.Romanza. Music Gallery/Images Festival. NowEnsemble. Palais Royale. Big Band Valentine’sDance.The Amadeus Choir & Lydia Adams ARTISTIC DIRECTORinvite you toA CelticCelebrationSaturday, February 12, 20112:00 p.m. & 7:30 p.m.Jubilee United Church, 40 Underhill Drive(Lawrence Ave. East & DVP)Toronto, OntarioThis popular benefit concert supports the artistic initiatives ofThe Amadeus Choir. Featured are The Amadeus Choir, Celtic Band,Step Dancer, plus Live and Silent Auctions.Tickets are $35 ($30 for seniors and students).For information or to purchase tickets, visit or callwww.amadeuschoir.com . 416-446-0188February 1 - March 7, 2011 thewholenote.com 31


Richmond Hill Centre for the PerformingArtsSchumann LettersRoyal Conservatory. Tim Ries: StonesWorld. Scarborough Music Theatre. TheFull Monty. Small World Music. Anton Apostolov& the Balkania Orchestra: Global BalkanJazz. York Symphony Orchestra. TheGenius of Beethoven. AuroraTafelmusik. Bach: Mass in B Minor.Toronto Symphony OrchestraBeethoven and Tchaikovsky.Sunday February 13 Canadian Opera Company.Nixon inChina. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Scarborough Music Theatre. TheFull Monty. TD Canada Trust/Harbourfront Centre.Kuumba Festival: Gospel Festival: CHAMBER ENSEMBLEA. Concerts In The GTAVisual and Performing Arts Newmarket.YoungArtists’ Showcase.NewmarketToronto Early Music Centre. HarpsichordistSara-Anne Churchill. . All Saints Kingsway AnglicanChurchAbsolutely OperaAmici Chamber Ensemble. From Viennato Prague. University of TorontoFrom aWoman’s Perspective: Life songs. Tafelmusik. Bach: Mass in B Minor.St. Philip’s Anglican Church. JazzVespers: Valentine’s Jazz. Christ Church Deer Park. Jazz Vespers:Alex Dean Quartet. York Symphony Orchestra. TheGenius of Beethoven. Massey Hall & Roy Thomson HallTango Buenos Aires. Welcome to AMICI’s2010|2011 SeasonSundays at 3pm,Glenn Gould Studio250 Front Street WestIN THE SHADOWSAVE THE DATE:SUNDAY MAY 15ANNUAL FUNDRAISER@ GRANO 1–4PMamiciensemble.com416.960.1568Monday February 14York University Department ofMusicMusic at Midday:Classical InstrumentalRecital.Associates of the Toronto SymphonyOrchestra. Quartets, Trios, Fantasiasand Serenades. The Annex Live/Guy MoreauA FineRomance: A Valentine’s Day ConcertYork University Department ofMusicFROM VIENNA TO PRAGUESunday February 13, 3pmW. A. Mozart: Quintet in E flat major, K. 452 for piano & windsBohuslav Martinû: Duo No. 1 (1927) for violin & celloZdenek Fibich: Quintet in D major Op. 42 for piano, violin, clarinet, horn & celloSarah Jeffrey, oboe | Joaquin Valdepeñas, clarinetMichael Sweeney, bassoon | Neil Deland, hornSerouj Kradjian, piano | Yehonatan Berick, violinDavid Hetherington, celloSINGLE TICKETScalling Roy Thomson Hall Box Office416.872.425532 thewholenote.comFebruary 1 - March 7, 2011


Bialik Hebrew Day School. A BialikAlumni Musical Tribute. JazzFM91. Sound of Toronto Jazz Series:Steve Koven Trio. Royal Conservatory. A Night of Romancewith Len Cariou. Tuesday February 15 Canadian Opera CompanyVocal Series: Masters and Servants. A programYork University Department ofMusicMusic at Midday: Student Showcase.Aldeburgh Connection. Ich bingeliebt: Songs for LoversDancap Productions Inc. South PacificWednesday February 16 University of TorontoUniversityof Toronto Concert OrchestraYorkminster Park BaptistChurch. Noonhour Organ Recital. Civic Light Opera CompanyThe BigBang. CanadianOpera Company.The MagicFlute. Toronto Opera Repertoire. MadamaScarborough Music Theatre. TheFull Monty. Toronto Symphony OrchestraBrahms and .Thursday February 17 Canadian Opera CompanyPiano VirtuosoSeries: American Berserk: TheSolo Piano Music of John Adams. Adams:Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic. University of Toronto. Thursdaysat Noon: Spotlight on OperaDon GiovanniMetropolitan United ChurchNoonat Met. York University Department ofMusicWorld at Noon. Canadian Opera CompanyThe MagicFlute University of Toronto. Small JazzEnsembles (Graduate)City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Gallery 345. The Annex String Quartet.Living Arts Centre. Kinobe and SoulBeat Africa. Music Toronto. Trio Voce.February 1 - March 7, 2011 thewholenote.com 33


A. Concerts In The GTA~E TORONTOCºNSO|tTHE MARCO POLOPROJECT: PART 2Two years ago, the Toronto Consort explored themusic Marco Polo might have heard on his journeyacross Asia to China. For Part 2 of The Marco PoloProject, we continue travelling with the famous14 th -century Venetian as he begins to make his wayhome, sailing up the coast of India. Two specialguests join us to create this evening: vocalistextraordinaire , and in a new work by .Scarborough Music Theatre. TheFull Monty. Via Salzburg Chamber Orchestra.Time and Light. Friday February 18Alliance Française of Toronto.Mozart’s Legacy: From the Kegelstatt Trio toFairy Tales. Brampton Folk Club. Brown Ale &Curt Barrett. Canadian Opera Company.The MagicFlute. Toronto Opera Repertoire. DieFledermaus. Brampton Folk Club. Brown Ale andCurt Barrett. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Gallery 345. The Art of the Piano:David Virelles. Massey Hall & Roy Thomson Hall.Nicole Cabell, soprano. North Toronto Players. Mikado. Royal Conservatory. Royal ConservatoryOrchestra. ; . Scarborough Music Theatre. TheFull Monty. Toronto Consort. The Marco Polo Project:Part 2. Via Salzburg Chamber Orchestra.Time and Light. Saturday February 19North Toronto Players. Mikado.Scarborough Music Theatre. TheFull Monty. Association of Artists for a BetterWorld/Winterfolk Festival. Brass Roots: BigBands for your Buck. Canadian Opera Company.Nixon inChina. Opera By Request. Susannah. 34 thewholenote.comFebruary 1 - March 7, 2011


Toronto Opera Repertoire. MadamaChamber Music Society of MississaugaShirazPersian EnsembleCity of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Gallery 345. Les Amis Concerts: DuoNovinc/Caldarovic. Guitar Society of Toronto. Soloduo:Italian Classical Guitar Duo. Kindred Spirits Orchestra. In Concert.Oakville Symphony. SymphonicPassion. Toronto Consort. The Marco Polo Project:Part 2. : Toronto Symphony OrchestraBrahms Violin ConcertoSwamperella. 15th Annual MardiGras Dance and Masquerade. Sunday February 20Mooredale Concerts. Music and Truf-CAMMAC.McMichael Gallery Concert. CanadianOpera Company.TheMagic Flute. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera Company. The BigBang. North Toronto Players. Mikado. Oakville Symphony. Symphonic Passion.Royal Conservatory. JoaquinToronto Opera Repertoire. DieFledermaus. Hymn Society, Southern OntarioChapter. A Love of Hymns at the Convent. SOMELIKE ITHOTMusic, Dance, Drama, Art,Food & WineFeb.20th 2:30pmPandora’s Box Salon/Aurora CulturalCentre. Some Like it Hot. Aurora. Performing Arts York RegionTrio86Love SongsAround the World. ;Newmarket.Hart House Sunday Concerts645thSunday Concert: John Millard and Happy DayToronto Youth Wind Orchestra.Dinner and a Movie III. Mooredale Concerts. Debussy Quartet.Tuesday February 22 Canadian Opera Company.World Music Series:Silk Road Strings. WendyFebruary 1 - March 7, 2011 thewholenote.com 35


Wen Zhao, pipa; Lucas Harris, lute; BassamBishara, oud. Canadian Opera Company.Nixon inChina. Music Toronto. Alexandre Tharaud,piano. Union Events. Yann Tiersen. See ad previous pageWednesday February 23Yorkminster Park Baptist Church.Noonhour Organ Recital. Civic Light Opera Company. The BigBang. CanadianOpera Company.The MagicFlute. Orpheus Choir of TorontoA GrandNight of Singing. Toronto Opera Repertoire. DieFledermaus. CanAsian International Dance Festival.Mi-Young Kim. Nathaniel Dett Chorale. Voices ofthe Diaspora: Haitian Voices. Rose Theatre Brampton. Lighthouse.Toronto Symphony OrchestraTheRite of SpringA. Concerts In The GTAU of T Faculty of Medicine. Daffydil2011: Daffydilirium! Thursday February 24 Canadian Opera CompanyChamber Music Series: Suites for Solo Cello. Nine Sparrows Arts Foundation/Christ Church Deer Park. Lunchtime ChamberMusic. Metropolitan United ChurchNoonat Met. Canadian Opera Company.Nixon inChina. joinsCanAsian International Dance Festival/TribalCrackling Wind. Olden New GoldenBlue. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera Company. The BigBang. Soundstreams/Royal ConservatoryLes Percussions de Strasbourg. Toronto Symphony OrchestraTheRite of SpringU of T Faculty of Medicine. Daffydil2011: Daffydilirium! Friday February 25 CanadianOpera Company.The MagicFlute. Toronto Opera Repertoire. MadamaAurora Cultural Centre. Great ArtistPiano Series: Anton Kuerti. Aurora. CanAsian International Dance Festival.Mi-Young Kim. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Civic Light Opera CompanyThe BigBang.Etobicoke Philharmonic Orchestra.Russian Masters.Sine Nomine. 36 thewholenote.comFebruary 1 - March 7, 2011


U of T Faculty of Medicine. Daffydil2011: Daffydilirium! Greater Philharmonic Orchestra/Lawrence Park Community ChurchFridays@ 8. Massey Hall & Roy Thomson Hall.David Gray – Lost and Found. Massey Hall & Roy Thomson Hall.Ladysmith Black Mambazo..Rose Theatre Brampton. The SecondCity’s “Stephen Harper: The Musical.”Royal Conservatory. Otter, mezzo, and Brad Mehldau, piano: LoveSongs. Toronto Masque Theatre. Masqueof Irony: The Randy Newman Songbook.Saturday February 26Civic Light Opera Company.The Big Bang. Toronto SinfoniettaGala Concert:Winners of Concerto CompetitionCanadian Opera Company.Nixon inChina. Essential Opera.Le nozze di Figaro.Tallis Choir A French Renaissance.Toronto Opera Repertoire. DieFledermaus. Toronto Singing Studio. Fa Una Canzone:Vivace Vox in concert. Toronto Symphony OrchestraBeyondthe Score – The Rite ofSpring.Fridays@8February 25th 8:00pmDavid Fallis, ConductorMark Toews, Organ SoloistF. Poulenc – Organ ConcertoB. Britten – Simple SymphonyJ. Haydn – Symphony No 104A. Part – Fratres for string orchestra & percussionAdults $25, Student/Senior $20Lawrence Park Community Church2180 Bayview Avenue, North York416.489.1551CanAsian International Dance Festival.City of Brampton Concert Band.The Good, The Bad and the Ugly: A Tribute tothe Music of the West. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Gallery 345. Spinning Out ofpresentsMASQUE OF IRONYBenjamin Butterfield, tenorPeter Dala, pianoand a crackerjack backing bandPerforming from the songbook ofRandy NewmanFebruary 25 & 26 8pmEnoch Turner Schoolhouse, 106 Trinity St.$35/$30/$15416•410•4561www.torontomasquetheatre.comALLIS CHOIRDirected By Peter Mahon-presents-A French RenaissanceMartin: Mass for Double ChoirPoulenc: Four Motets for a Time of PenitenceFour Motets for ChristmasThe modern French Renaissance is explored in theluminous masterpieces of its greatest composers.SATURDAY, Feb. 26, 7:30 PMSt. Patrick’s Church, 141 McCaul St.(north of Dundas)Tickets: $30, $25 seniors, $10 students with IDInfo: 416.286.9798ORDER ONLINE AT www.tallischoir.comTallis Choir CDs available online and on iTunesFebruary 1 - March 7, 2011 thewholenote.com 37


Nothingness. A. Concerts In The GTAGeorgetown Bach ChoraleTheHeart of WinterLiving Arts Centre. Jazz & BluesArtist Molly JohnsonNathaniel Dett Chorale. Voices of theDiaspora: Haitian Voices. Toronto Masque Theatre. Masqueof Irony: The Randy Newman Songbook. U of T Faculty of Medicine. Daffydil2011: Daffydilirium! Ashkenaz Foundation. Yemen Blues.Sunday February 27Aurora Cultural Centre. PaulNeufeld’s Sunday Jazz Sessions. Aurora. City of Toronto Historic Museums.Sweetheart:The Mary Pickford Story. Opera York. Cosi Fan Tutte. Toronto Opera Repertoire. MadamaBach Elgar Choir. Great Opera Choruses.Church of the Messiah. Baroque Vespers.Orchestra TorontoTheme & VariationsWindermere String Quartet. In Concert.St. Philip’s Anglican Church. JazzVespers. on period instrumentswith guest artistDerek Conrodnatural hornMozartLoeweDanziSunday, Feb 27, 3:00TorontoClassical SingersSUNDAY FERUARY 27, 2011 4 PMConductor: Jurgen PetrenkoTalisker Players OrchestraTicketsAdult: $30Senior & Student $25LAURIDSEN: LUX AETERNAMOZART: REQUIEMSoloists:Soprano: Sinead Sugrue,Mezzo Soprano: Jennifer Enns Modolo,Tenor: Cory Knight, Bass: Bruce KellyPhone: 416-443-1490www.torontoclassicalsingers.caor www.totix.caChrist Church Deer Park1570 Yonge St. (at Heath St. W)38 thewholenote.comFebruary 1 - March 7, 2011


Toronto Classical Singers. In Concertwith Talisker Players Orchestra. Nocturnes in the City/Czech CommunityCenter. Kapralova String Quartet. Brampton Festival Singers. A SilverSeason: A Celebration Collection. Array Ensemble. Four Seasons, OneTree. Monday February 28York UniversityMusic at Midday:Classical Instrumental Recital University of TorontoChamberMusic Series: St. Lawrence String QuartetAlchemyAn Hour of Chamber MusicJazzFM91. Sound of Toronto Jazz Series:Turn Out the Stars. Tuesday March 01York University Department ofMusic. Music at Midday:New Music by YoungComposersBurlington Male Welsh Choir. St.David’s Day Celebration. Dancap Productions Inc. South PacificKai Gleusteen-Catherine OrdronneauDuo. Beethoven: The Complete Sonatasfor Violin and Piano. Royal Conservatory. Hilary Hahn, violin,with Valentina Lisitsa, piano. York University Department ofMusicFaculty Concert Series:Ron WestrayEnsemble. Sony Centre/Armani Artist Management/RiverStreet Productions. SwanLake: Mariinsky (Kirov) Ballet. Wednesday March 02Yorkminster Park Baptist Church.Noonhour Organ Recital. Theatre Centre. L’OrchestreD’Hommes-Orchestres performs Tom Waits.Toronto Opera Repertoire. MadamaMozart’sCosì Fan TutteFull production with orchestra in EnglishGeoffrey Butler, Artistic DirectorMelissa Bencic, Stage DirectorDion Mazerolle Marcelle Boisjoli as DorbellaFeb. 27, 2011 at 2 pmMarch 3 and March 5, 2011 at 8 pmTickets: $40 – $50Richmond Hill Centre for the Performing Arts10268 Yonge Street, Richmond hill, ON L4C 3B7Tickets: 905 787-8811 or visit http://rhcentre.caCharitable Organization N° 885634568RR0001February 1 - March 7, 2011 thewholenote.com 39


University of TorontoJazz Concerts:Jazz Composers Concert. Rose Theatre Brampton. Paco Pena.Sony Centre/Armani Artist Management/RiverStreet Productions. Swan Lake:Mariinsky (Kirov) Ballet. Tafelmusik. The Galileo Project: Musicof the Spheres. Toronto Symphony Orchestra. ShortRide in a Fast Machine.Thursday March 03University of Toronto. Thursdaysat Noon: Opera a Casa – Making Overtures.Metropolitan United ChurchNoonat Met. York University Department ofMusicWorld at Noon: Irene Markoff EnsembleA. Concerts In The GTASt. John PassionNicole DavisTMC Apprentice since 2009AlchemyAn Hour of Chamber Music.Kai Gleusteen-Catherine OrdronneauDuo. Beethoven: The Complete Sonatasfor Violin and Piano. Theatre Centre. L’OrchestreD’Hommes-Orchestres performs Tom Waits.Toronto Mendelssohn Choir. Bach:St. John Passion. Arabesque Dance Company & Orchestra.NOOR (Light). Music Toronto. Borealis Quartet.passion has a voice®THURSDAY MARCH 37:30 PMKOERNER HALLRoyal Conservatory273 Bloor Street Westtickets$45 – $73VOX TIX $15CALL THE RCMBOX OFFICERCM BOX OFFICE416.408.0208 |www.rcmusic.ca10/11seasonNoel EdisonCONDUCTORSuzie LeBlancSOPRANOLaura PudwellMEZZO-SOPRANORufus MüllerTENOR (EVANGELIST)Lawrence WilifordTENORDaniel LichtiBASS-BARITONEMendelssohn SingersFestival OrchestraOpera York. Cosi Fan Tutte. Rose Theatre Brampton. Aion Clark& KellyLee Evans. Sony Centre/Armani Artist Management/RiverStreet Productions. Swan Lake:Mariinsky (Kirov) Ballet. Tafelmusik. The Galileo Project: Musicof the Spheres. Friday March 04York University Department ofMusicMusic at Midday:York U Brass EnsembleAlliance Française of Toronto.For the children, by the children. Church of St. Simon-the-Apostle.Young Musicians Showcase.Theatre Centre. L’OrchestreD’Hommes-Orchestres performs Tom Waits.Toronto Opera Repertoire. DieFledermaus. University of Toronto. gamUT ensembleArabesque Dance Company & Orchestra.Classica Artist Management International.Viva España. Sony Centre/Armani Artist Management/RiverStreet Productions. Swan Lake:Mariinsky (Kirov) Ballet. Tafelmusik. The Galileo Project: Musicof the Spheres. Saturday March 05Kiwanis Music Festival of Toronto.President’s Trophy and School Showcase Concert.Arabesque Dance Company& Orchestra. Sony Centre/Armani ArtistManagement/River Street Productions.Swan Lake: Mariinsky (Kirov) Ballet. Beach United Church. Jazz Vespers:Music for the Soul. Royal Conservatory. Quartet. Aurora Cultural Centre/StageStoneScape.Beautiful Voices Concert #3Aurora. Kai Gleusteen-Catherine OrdronneauDuo. Beethoven: The Complete Sonatasfor Violin and Piano. The Church ofSt. Simon-the-ApostlePresentsYoung MusiciansShowcaseFeaturing:Sonya Nanos, cellist,accompanied by Emily Rhoon the pianoThe Choir of RoyalSt. George’s CollegeU of T’s BoomwhackerOrchestraToronto Chamber Voices•7:30 p.m. FridayMarch 4, 2011•525 Bloor Street East(Sherbourne subway)$20 ($15 students)647-237-5368Visa/MasterCardin advance by phoneCash only at the door40 thewholenote.comFebruary 1 - March 7, 2011


Oakville Chamber Orchestra. RealClassics. Oakville Ensemble. Tudor. Theatre Centre. L’OrchestreD’Hommes-Orchestres performs Tom Waits.Toronto Opera Repertoire. Madama Toronto Symphony Orchestra. ElectronicaMeets OrchestraYork University Department ofMusicGarden Party: Vocal Showcase. Bell’Arte Singers. Letters Home.Canadian Sinfonietta. The FourCanadian SinfoniettaTHE FOUR SEASONSin Music, Poetry & ArtLara St. John, violinPhoebe Tsang, poetKristen Peterson, artistTak Ng Lai, conductorSat. March 5 8 PMGlenn Gould Studiowww.canadiansinfonietta.com416 872-4255Seasons in Music, Poetry and Art. Counterpoint Community Orchestra.In Concert. Jubilate Singers. Both Sides of the49th Parallel. Opera York. Cosi Fan Tutte. Scarborough Philharmonic Orchestra/TorontoChoral SocietyBeethovenand BrucknerTafelmusik. The Galileo Project: Musicof the Spheres. Sunday March 06CAMMAC.McMichael Gallery Concert.Arabesque Dance CompanyThe Scarborough Philharmonic Orchestra and theToronto Choral Society presentBeethoven and Bruckner9th (“Choral”) Symphony and Te DeumConducted by Ronald Royer and Geoffrey ButlerSaturday, March 5, 2011, 8:00 pmPre-concert lecture at 7:15pmBirchmount Park Collegiate3663 Danforth Avenue& Orchestra. Massey Hall & Roy Thomson Hall.Vienna Philharmonic Orchestra. .Sony Centre/Armani Artist Management/RiverStreet Productions. Swan Lake:Mariinsky (Kirov) Ballet. Toronto Opera Repertoire. DieFledermaus. Aldeburgh Connection. C’est monplaisir: Music in the Boston palazzo of IsabellaStewart Gardner. Toronto Early Music Centre. TheCoffeehouse Collective. Tickets $30/$25/$10www.torontochoralsociety.orgor by phone from SPO at 416.429.0007February 1 - March 7, 2011 thewholenote.com 41


A. Concerts In The GTAMississauga Choral Society.GloriousMusic for Kings and Queens. Oakville Chamber Orchestra. RealClassics.Syrinx Sunday Salons. Duke Trio.York University DepartmentGardenParty: Vocal Showcase. Tafelmusik. The Galileo Project: Musicof the Spheres. Christ Church Deer Park. Jazz Vespers.Toronto Mass Choir. Power Up FinaleConcert. Victoria Scholars.The French ConnectionNew Music Concerts. Jonathan Harvey.mcsJONATHAN HARVEYNEW MUSIC CONCERTSSUNDAY MARCH 6BETTY OLIPHANT THEATRESmall World Music/Royal Conservatory.Acoustic Africa. Monday March 07York UniversityMusic at Midday:Classical Instrumental Recital. University of TorontoFaculty ArtistSeries: Jeffrey McFadden, guitar. Mississauga Choral SocietyMervin Fick, Conductormcs-on.caCoronationAnthemsby G F HandelAs Evening FallsMississauga Festival Chamber Choir'sSaturday,2nd annual concert featuring nightthemedmusic from the Renaissance toMarch 26, 20118:00 PMContemporary eras.First United Church,For more information visitPort Creditwww.mississaugafestivalchoir.comGlorious music for kings & queens!Sunday, March 6, 2011 | 3:00 pmSt Patrick's Church921 Flagship Drive | Mississauga L4Y 2J6Tickets: $28 ($22 senior/$16 youth)Box Office: 905.278.7059 ormississaugachoralsociety@gmail.comor available at the door42 thewholenote.comFebruary 1 - March 7, 2011


Tuesday February 01Marilyn I. Walker School of Fineand Performing Arts. Voice Students’ Recital.St. CatharinesMcMaster University. East WestClassical Guitar Duo. HamiltonWilfrid Laurier University. 21st CenturyPianists Showcase. Waterloo.Wednesday February 02Midday Music with ShigeruAnHour with Mike LewisBarrieThursday February 03Wilfrid Laurier University. Musicat Noon. Waterloo. School of Fine Art and Music/Universityof Guelph. Thursday at Noon ConcertSeries: Christopher Atzinger, piano. Kitchener-Waterloo Symphony. DanDeacon’s Electronic Bus. Kitchener.Hamilton Philharmonic OrchestraWhat Next? Festival: Basia Bulat with membersof the HPOHamiltonFriday February 04Sanderson Centre. Splash’NBoots. Brantford.Hamilton Philharmonic OrchestraWhatNext? Festival: A Musical GalleryHamiltonKitchener-Waterloo Symphony. DanDeacon’s Electronic Bus. Marilyn I. Walker School of Fine andPerforming Arts. Sicilian Jazz Project.St. CatherinesHamilton Philharmonic OrchestraWhatNext? Festival: Rain ComingHamiltonB. Concerts Beyond The GTAKitchener-Waterloo Chamber MusicSociety. WLO Student Composers. WaterlooWilfrid Laurier University/MWMFinancial Group. Distinguished Guest ArtistSeries. Waterloo.Saturday February 05Kitchener- WaterlooSymphony.Children’s Concert: Carnivalof the Arctic AnimalsGuelph.Hamilton Philharmonic OrchestraWhat Next? Festival: Switched On.HamiltonWilfrid Laurier University/MWM FinancialGroup. Distinguished Guest Artist Series.Hamilton Philharmonic OrchestraWhat Next? Festival: Buzz and Hum.HamiltonSunday February 06Hamilton Philharmonic OrchestraWhat Next? Festival: Kiss on Wood.HamiltonKingston Symphony. Food for a ClassicalSoul. Kingston.Hamilton Philharmonic OrchestraWhat Next? Festival: The Attar ProjectHamiltonHuronia Symphony Orchestra. ClassicalFireworks. Barrie.Kitchener-Waterloo Chamber MusicSociety. Arkel String Trio. WaterlooTuesday February 08Marilyn I. Walker School of Fineand Performing Arts. Faculty Recital: OlivierMessiaen’s Quartet for the End of Time. St. CatherinesWednesday February 09University of Waterloo Departmentof Music. Emily: A One-Act Opera. Waterloo. Kitchener-Waterloo Chamber MusicSociety. Ian Hominick, piano. WaterlooWilfrid Laurier University. StudentComposer Series. Waterloo. Thursday February 10Wilfrid Laurier University. Music atNoon: New Art Quartet. Waterloo. School of Fine Art and Music/Universityof Guelph. Thursday at Noon ConcertSeries: Digital Prowess Ensemble. GuelphGuelph Youth Singers. When ChildrenSing: A Choral Event. Guelph.Saturday February 12Kitchener-Waterloo Symphony.Children’s Concert- Carnivalof the Arctic AnimalsKitchener.Guelph Symphony Orchestra. Sweeton Swing. Guelph.Brock University Department ofMusic. The Glory of Love: Songs To and Fromthe Heart. St. CatharinesGrand Philharmonic ChoirJohnBurge: Declaration February 1 - March 7, 2011 thewholenote.com 43


KitchenerHamilton Philharmonic.Pops Series:The Music of Henry Mancini andMore. Hamilton.Toronto Welsh Male Voice ChoirInConcertPort HopeKitchener-Waterloo Chamber MusicSociety. Salzburg Ensemble. WaterlooSunday February 13Wellington WindsThe Warmth of theSun. Kitchener. Beth Jacob Synagogue. Journey toJerusalem: The Oratorio. B. Concerts Beyond The GTAHamilton. Wilfrid Laurier University. Monteverdi’sVespers. KitchenerCuckoo’s Nest Folk Club. Tony Mc-Manus, guitar. London. Zapp Productions. Robert Cray BluesBand. PortHope. Tuesday February 15Marilyn I. Walker School of Fineand Performing Arts. Instrumental Students’Recital. St. CatherinesMcMaster University. Máté Szigeti,HamiltonWednesday February 16 St. Andrew’s PresbyterianChurch Music at St. Andrew’s. .Barrie. University of WaterlooDepartment of Music. Trout QuintetWaterloo. Kitchener-Waterloo Chamber MusicSociety. Trio Voce. WaterlooSanderson Centre for the PerformingArtsJesse Cook, guitar.BrantfordThursday February 17Wilfrid Laurier University. Musicat Noon. Waterloo. School of Fine Art and Music/Universityof Guelph. Thursday at Noon ConcertSeries: Faculty ShowcaseGuelphSkyliners Big Band. In Concert. Barrie. Friday February 18Kitchener-Waterloo Symphony.Symphony in Space. Kitchener. McMaster University. GeorgyTchaidze, Classical Piano. HamiltonSaturday February 19Kitchener-Waterloo Symphony.Symphony in SpaceOrillia Wind Ensemble. A ComposerComes Home. OrilliaGuelph Youth Singers/The OverTones. Hooked on Song! Guelph. Kitchener-Waterloo Chamber MusicSociety. New Works. WaterlooKitchener-Waterloo Symphony.44 thewholenote.comFebruary 1 - March 7, 2011


Symphony in Space. Port Hope Friends of Music. TripleForte Piano Trio. Port Hope.Sunday February 20Dublin Street United Church. Sundaysat 3 Series. Guelph. Elora Festival Singers. JamesO’Donnell: organist and choirmaster. EloraTuesday February 22St. Thomas’ Anglican Church. JamesO’Donnell Organ Concert. St.CatherinesWednesday February 23Kitchener-Waterloo Chamber MusicSociety. Trio Hochelaga. WaterlooFriday February 25Zapp Productions. Duke RobillardBlues Band. Perth. Art Gallery of Hamilton PerformanceSeries. La Musique du Coeur: UltimateJam 2. Hamilton.Folk Under the ClockHarry Manx,GuitarPeterborough.Saturday February 26Zapp Productions. Duke RobillardBlues Band. Peterborough. Kitchener-Waterloo Symphony. AnEvening of Beethoven and Measha.Guelph. Sunday February 27Gallery Players of Niagara. amorosetto. St. Catharines. La Jeunesse Youth Orchestra. In theSpotlight. Port Hope. Wellington WindsThe Warmth ofthe SunWaterloo. Acoustic Muse Concerts. HarryManx. London. Kitchener-Waterloo Chamber MusicSociety. Toronto String Sextet. WaterlooKitchener-Waterloo Symphony. AnEvening of Beethoven and Measha. Kitchener.Monday February 28Kitchener-Waterloo Symphony. AnEvening of Beethoven and Measha. Kitchener.Wednesday March 02University of Waterloo Departmentof Music. Piano/Cello DuoWaterloo. Kitchener-Waterloo Symphony.Inspired by Bach.Waterloo.Thursday March 03Wilfrid Laurier University. Musicat Noon. Waterloo. School of Fine Art and Music/Universityof Guelph. Thursday at Noon ConcertSeries: Rebel Rhythm. Friday March 04 Kitchener-Waterloo Symphony.Inspiredby Bach.Guelph.Wilfrid Laurier University. TheMagic Flute. Waterloo. Saturday March 05Primavera ConcertsA Day-longCelebration of the International Women’s DayCentenary.St. CatharinesJohn Laing Singers. Splendours ofItaly. Hamilton. Cellar Singers. In Concert. Orillia. Chorus Niagara. Sounds of Light. St. CatharinesGeorgian Bay Symphony. Tuba Concertand Russian Symphony. Owen Sound. Hamilton Philharmonic.MasterworksSeries – Janina Plays Chopin.Alize RestaurantEvery Sun Scott Kemp Duo AlleycatzEvery Mon Salsa Night with DJ Frank Bischunwith Lessons Every TueCarloEvery Wed by Project Sound 8Every Thu Soul,Fridays and Saturdays Funk, Soul, Reggae,vations.Feb3,4,5 Lady Kane. Feb 10 Soular.Feb 11,12,17,18,19 Ascension. Feb 24,25,26Annex Live, TheFeb 6 Deborah Staiman. Feb 14 Guy Moreau.Aquila RestaurantAzure Restaurant and BarHamilton.DaCapo Chamber Choir. Chiaroscuro.Kitchener. Kitchener-Waterloo Symphony.Inspiredby Bach.Cambridge.Sunday March 06John Laing Singers. Splendours ofItaly. Dundas. DaCapo Chamber Choir. Chiaroscuro.Kitchener-Waterloo Chamber MusicSociety. Musathena: Baroque Music by FemaleComposers. WaterlooC. In The Clubs (Mostly Jazz)Terra Hazelton takes up residence at the Res, Thursday main slot.Every Thu, Fri, Sat Dan Bodanis Trio with Ber-Black Swan, TheEvery WedThe Danforth Jam w/ Jon Long andWINTERFOLK: Feb 18 Song--Feb 19 Award-Pickin’ the Blues: Mr. Rick, Mose Scarlett, BrianFeb 20----Feb 21February 1 - March 7, 2011 thewholenote.com 45PHOTO MEGHAN KEARNS


Bon Vivant RestaurantEvery Thu Every Fri Margaret Stowe Solo Guitar 6-9pmCastro’s LoungeEvery Sun Jeremy Rouse Trio (Jazz/Roots) NOEvery Mon Smokey Folk (Blue-C’est WhatEvery Fri Hot Five Jazzmakers Chalkers Pub Billiards & BistroEvery WedGirls Night Out Vocalist-Friend-Norman Marshall Villeneuve(d) ThuFeb 10 Francine Hailman CD Release “Love isHere” Saturday: Dinner Jazz 6-9pm, $10Cover. Feb 5 Fern Lindzon Quartet. Feb 12Lisa Particelli’s GNO All-Star Vocal Showcase.Feb 19 Robi Botos Trio. Feb 24,25,26 JohnAbercrombie.Chick N’ DeliEvery Mon Big Band Night. Every TueRockBand. Every Sat Climax Jazz Band. Every SunRobbie Lane and the Disciples.China House RestaurantEvery Thursday Feb 3 Mike Murley Quartet. Feb 10 DanielBarnes. Feb 17 Dave Restivo Quartet. Feb 24Classico Pizza & PastaEvery Thu Jazz Guitarist Nate Renner Cobourg, TheCommunist’s Daughter, TheEvery Sat Gypsy Jazz w Michael LouisDanforth Café(inside Danforth Baptist Church)WINTERFOLK: Feb 18 Story Behind the Song with Rosemary PhelanFeb 19 Feb21 Cutlery with Dan Whiteley.DeSotosEvery Thurs Open Mic Jazz Jam EverySun Brunch with Double A Jazz and GuestC. In The Clubs (Mostly Jazz)Dominion on QueenEvery Sun Every1 st & 3 rd Sun Jazz Jam with host Robert ScottEvery Tue Corktown Django Jam withhost Wayne Nakamura. EveryWed Corktown Uke Jam. Every Thu John T.Every SaturdayFeb 3 Bossa Tres.Feb 4 Ilana Waldston’s “Jazz ‘n Laughs”. Feb 5“February Blues, Flues and Booze” Musical ComedyCabaret. Feb 10 Les Petit Nouveau. Feb11 Ahmed Mitchell Combo. Feb 12 Cross-EyedCat (blues). Feb 14 Valentine’s Special: GeorgeGrosman’s Jazz Goes Pop. Feb 17-19 “What areyou doing back there?! Festival” Feb 21 TorontoComposer’s Workshop w Noah Leibel. Feb 24Alexander Brown’s Latin Power Jam. Feb 25“Havana to Toronto Safari”. Feb 26 Allsax Quartet.Feb 27 Musical Theatre Cabaret.Dora KeoghEvery Sun Guest WINTERFOLK: Feb 18 Nonie Crete. Feb 19 garetStowe. Feb 20 -Feb 21Hotcha!Dovercourt HouseEvery Sat Saturday Night Swing: Dance featuringLive Swing Bands.Feb 5 Up Jumped Swing. Feb 12 Alex PangmanFeb 19 TBA. Feb 26 ClimaxJazz Band.The Emmet RayFeb 2 Peter Boyd and the Mutant Duo (blues).Feb 6 DrumHand. Feb 9 Tia Brazda Group. Feb13 Feb 20 Ori DaganTrio. Feb 27 Matt Newton Trio.Gallery Studio Café, TheEvery Thu DuoGate 403Feb 1 Kelsey McNulty, Julian Fauth. Feb 2 RyanOliver, Kurt Neilsen/Richard Whiteman. Feb 3Ernesto Cervini, Julia Cleveland. Feb 4 ScottKemp, Tavares Brazilian Jazz. Feb 5 Ori Dagan,Bill Heffernan, Melissa Boyce. Feb 6 MelissaLauren, Graceful Daddies, Chris Butcher. Feb 7Jeffrey Hewer, Vincent Bertucci. Feb 8 DonnéRoberts, Julian Fauth. Feb 9 Jessica Ackerley,MEM3. Feb 10 Paton. Feb 11 Feb12 Ori Dagan, Bill Heffernan, Wendy Weiler. Feb13 ReideKaiser. Feb 14 Denis Schingh, Kyla Tingley.Feb 15 Byung-Gul Jung, Julian Fauth. Feb 16Chris Chekan, Fraser Melvin. Feb 17 Jeff LaRochelle,Amanda Covetta. Feb 18 Jana Cassidy,Bartek Kozminski. Feb 19 Ori Dagan, Bill Heffernan,Max Senitt. Feb 20 France St. Trio, Gypsy Rebels. Feb 21 Tony Desmarteau,Ken Kawashima. Feb 22 Noah Sherman,Julian Fauth. Feb 23 Alex Samaras, JordanTalsky. Feb 24 Jorge Gavidia, Cyndi Carleton.Feb 25 Amy Noubarian, Real Time. Feb 26Ori Dagan, Bill Heffernan, Sweet Derrick Blues.Feb 27 Victor Monsivais, Brownman, The Circles.Feb 28 Danielle Bassels, Lara Solnicki.Gladstone Hotel, TheFeb 19 querade. Grossman’s TavernEvery SatEvery SunNicola Vaughan Acoustic JamEvery Wed EveryThu The Responsible Jam. Feb 4,5 Kid Bastien,Kjeld Brandt, Karl Kronqvist. Feb 11 StevieRay Vaughan. Feb 12 Crossroad. Feb 18 The Barking Sharks. Feb 19Soul Stack. Feb 25 Frankie Foo. Feb 26 CautionJam.Harlem RestaurantEvery Mon Open Jam Night EveryWed Aspirin, First Aid Kits, Vitamins, Masks, ProteinBars. Every Fri Every Sat Harlem Underground RestaurantEvery Mon Every TueEvery Thu Every FriEvery Sat Carl Bray.Hugh’s RoomFeb 3 Fathead. Feb 4 Garnet Rogers. Feb 5Alejandra Ribera. Feb 8 Jane Harbury presents:Discoveries. Feb 10 Kruger Brothers. Feb 11,12Feb 13 Jeff Bird. Feb 14 St.Valentine’s Day w Betty and the Bobs. Feb 17Era Chrona CD Release. Feb 18,19 John Hammond.Feb 24 present Duke Robillard. Feb 26 “The Way to SanJose” Music of Burt Bacharach. Feb 27 KenWhiteley’s Gospel Matinee, SHINE! In support ofthe Jim Fay Music Bursary.Joe Mama’sEvery Sun Sly Juhas.LatinadaLula LoungeEvery Sun (6,13,20,27) Salsa Brunch Party:Miko Sobreira. . Feb 3Funkabelly. Feb 4 Eliana Cuevas, Lady Son y ArticuloViente. Feb 5 Adonis Puentes. Feb 9 Salsafor Smiles. Feb 11 Moda Eterna. Feb 12 CaféCubano. Feb 14 Valentine’s Day w Laura Fernandez.Feb 18 Salsotika. Feb 19 Roberto LinaresBrown Orchestra. Feb 26 Café Cubano. Feb 28Juno Jazz All-Stars: Guido Basso, Jane Bunnett,Don Thompson, Richard Underhill, Hilario Duran,Mambo LoungeWinterfolk: Feb 18 Evaristo Machado. Feb 19-Feb 29 -Feb 21 Freeman Dre upManhattan’s Music ClubMezzetta Middle Eastern RestaurantEvery Wed Feb 2 Feb 9 TedFeb 16 Mike MurleyFeb 23 Thompson.Momo’s BistroEvery Wed Open Mic N’Awlins Jazz Bar and DiningEvery Tue Every WedJimEvery ThuBlues Night withEvery Fri/SatAll Star BourbonSt. BandEvery SunTerry Logan.Old Mill, TheOld Mill Dining Room Home Smith Bar:Every Thursday John SherwoodSolo Piano.Every FridayEvery SaturdayFeb 4 Margot Roi. Feb 5 Adrean Farrugia. Feb 1146 thewholenote.comFebruary 1 - March 7, 2011


Irene Atman. Feb 12 Brigham Phillips. Feb 18Sophia Perlman. Feb 19 Richard Whiteman. Feb25 David Statham. Feb 26 Hilario Duran.Painted Lady, TheEvery Mon Pantages Martini Bar and LoungeEvery Mon Curtains Down with host JenniBurke, Mark Camilleri on piano and guest sing-Every Fri Every SatSoloPiano: Various artists.Pero LoungeEvery Fri African Vibe 7-11pmEvery Sat Archie Alleyne’s Kollage 8-11pmPilot Tavern, TheFeb 5 Kollage. Feb 12 Darryl Orr Quartet. Feb19 Rob Campbell Quartet. Feb 26 Robi Botos.Quotes Bar and GrillFeb4 Steve McDade. Feb 11 Jim Galloway. Feb18 CANADIAN JAZZ QUARTET CD RELEASEFeb 25Richard Underhill.Reposado Bar & LoungeEvery Wed Spy vs. Spy vs. Sly Every Thu, FriThe ReposadistsReservoir Lounge, TheFeb 1 Lara Solnicki. Feb 3Alex Pangman. Every MonSophia Perlmanand the VipersEvery TueEvery WedBradley and theEvery ThuAnswers. Every Fri-Every SatRevival BarFeb 1 wiseGrooves. Rex Hotel Jazz and Blues Bar, TheFeb 1 Mr. Marbles, Classic Rex Jazz Jam. Feb2 Worst Pop Band Ever, Madeline Forster. Feb3 Morgan Childs Trio, Lorne Lofsky Quartet. Hogtown Syncopators, Ted Warren Trio, LorneLofsky Quartet. Feb 5 Composers Collective, Sara Dell, Donny McCaslinwith Barry Romberg’s Random Access. Feb6 Excelsior Dixieland Jazz, Beverly Taft, CirclesQuartet, Donny McCaslin with Barry Romberg’sRandom Access. Feb 7 U of T Student Ensembles,Humber College Student Ensembles. Feb8 Mr. Marbles, Classic Rex Jazz Jam. Feb 9Worst Pop Band Ever, Earthtones. Feb 10 MorganChilds Trio, Rez Abbasi’s Invocation. Feb11 Hogtown Syncopators, Ted Warren Trio, RezAbbasi’s Invocation. Feb 12 Friends, Laura Hubert Band, Sara Dell, HumberFaculty Nonet. Feb 13 Excelsior Dixieland Jazz,Club Django, Circles Quartet, Tova Kardonne’s“The Thing Is”. Feb 14 U of T Ensembles, HumberCollege Ensembles. Feb 15 Mr. Marbles,Classic Rex Jazz Jam. Feb 16 Worst Pop BandEver, Jeremy Pelt’s “Wired”. Feb 17 MorganChilds Trio, Jeremy Pelt’s “Wired”. Feb 18 HogtownSyncopators, Ted Warren Trio, Adam RogersTrio. Feb 19 Grossman’s T.J.O. Big Band, Sara Dell, AdamRoger Trio. Feb 20 Excelsior Dixieland Jazz, Dr.Nick Blues, Richard Whiteman, Dean McNeill wBrian O’Kane. Feb 21 Peter Hill Quintet, KelseyGrant’s Trombone Orchestra. Feb 22 Mr. Marbles,Classic Rex Jazz Jam. Feb 23 Worst PopBand Ever, Trevor Hogg. Feb 24 Morgan Childs,N.O.J.O. Big Band. Feb 25 Hogtown Syncopa-Feb 26Sara Dell, Jake Chisholm, Rich Brown’s Rinsethe Algorithm. Feb 27 Excelsior Dixieland Jazz,Freeway Dixieland, Richard Whiteman, HeavyweightsBrass. Feb 28 U of T Ensembles, JohnMacLeod’s Rex Hotel Orchestra.Saint Tropez, LeSupermarket, TheFeb 3 Jessica Stuart Few Video Release. Ten Feet TallEvery 2nd and 4th Tuesday Dunstan MoreyEvery Thu Gary 17’s Acoustic Open Jam. SaturdayNight Cabaret, 8pm : Feb 5 Sam Broverman. Feb 12 Peggy JaneHope. Feb 19 Kathleen Gorman. Feb 26 LaraSolnicki. Sunday Afternoon Matinee, 3:30-6:30pm: Feb 6 Spirit of Jazz. Feb13 Steve Koven Trio. Feb 20 Brown. Feb 27 Jim Gelcer.Terry O’s Sports BarWinterfolk: Feb 18 -Feb 19 Feb 20 Moonshine-Feb 21 Remem-tarBoys.FREE LISTINGSlistings@thewholenote.comIN THE CLUBSReasons to Savour FebruaryORI DAGANAS THE WINTER WEEKS DWINDLE down to a precious few,here are some good excuses to head straight to the clubs:A Four-Day Live Music WonderlandWho knew Toronto was such a hotbed of folk, roots and blues talent?Meet The Association of Artists for a Better World, organizers ofWinterfolk. This entirely volunteer-run, all-ages festival is now inits 9th season of emulating multi-stage rural summer festivals, righthere in the city. The 2011 edition will showcase 150 artists over fourdays (February 18-21) at six venues in the Broadview and Danforthvicinity. Ranging from sports bar to church, the venues this yearare: Black Swan Tavern, Mambo Lounge, Eastminster United Church,Danforth Café, Dora Keogh and Terry O’s Sports Bar. All showswill be free of charge with the exception of Saturday night’s “BrassRoots: Big Bands for Your Buck” at Eastminster United Church, aquadruple bill of multi-genre big bands for only $15 ($12adv).Jazzers will notice guitarist Tony Quarrington’s name all overthe performance schedule – he is well-known in the folk scene asboth a performer and songwriter. Popular blues acts also appear onthe bill, including Gary Kendall of the Downchild Blues Band fame,charismatic Danny Marks and breathtaking multi-instrumentalistJimmy Bowskill; other promising billings include veteran jazzmanBig Rude Jake, Latin chanteuse Laura Fernandez and acclaimedsinger-songwriter Noah Zacharin.Budding musicians should take advantage of the free workshopsoffered, which cover everything from blues songwriting and impro- with Beth Anne Cole, familiar to many from her 22 years on Mr.Dressup and Sesame Street. The Winterfolk venues can all be foundin our “In The Clubs” listings..Salsa for Everybody!The Lula Lounge has recentlyembarked on a weekly series that looks like it’s here to stay. Thenew Sunday Family Salsa Brunch is ancomparableLuis Mario Ochoa TraditionalCuban Quartet. Lula has made a grandchoice because this man is not only anexquisite musician but also a world-classentertainer. Whether he is singing, strummingthe guitar or keeping impeccabletime on a maraca, Ochoa lights up a roomlike a lantern. $25 cover pays for theband, a beginner salsa lesson by MikoSobreira as well as a wholesome buffetbrunch, coffee, dessert, tax and tip. Freefor kids 12 and under, seating at 11amand 1pm. For more info visit: lula.ca. Luis Mario Ochoa.Look for favourite live musicvenues on our website mapWorld of The WholeNotethewholenote.comFebruary 1 - March 7, 2011 thewholenote.com 47


PHOTO ROGER HUMBERTBalkan-Jazz-Funk-Fusion for the BraveKardonne’s music to be delectablyspicy, or as she puts it, “tipsy, sexymusic for the brave.” Indeed, thistalented vocalist/composer hasconcocted a daring recipe of jazz,balkan, funk and afro-cuban musicfusion for her eight-piece ensemble,The Thing Is. Nearly every pieceKardonne writes is composed in oddmeter, each arrangement augmentedwith dynamic twists and turns, dissonanceaplenty and lyrics poeticenough to recite a cappella.What is it that compels Kardonneto write such challenging music?only until they can sing it, which inevitably, everyone in the bandcan, whether they’re playing the melody, the bass line, or the mosthidden inner harmony. It’s all singable, groovin’, and highly intuitive.Once everyone’s playing it, it becomes hard to remember why itgood listens will likely warrant cravings for the band’s appealingcomplexity. The Rex Hotel.This Time the “Quote’s” on MeInstrumental jazz is consistently respected in the “Fridays at Five”series happening at Quotes Bar & Grill, located beneath BarootesRestaurant at 220 King Street West. That’s where the CanadianJazz Quartet (Gary Benson, guitar; Frank Wright, vibes; DuncanHopkins, bass; Don Vickery, drums) have been entertaining audiencesfor nearly 5 years now.Much like at the Old Mill’s Home Smith Bar, there’s a cleverpolicy of “No Reservations” which encourages music lovers to getthere early to snag the best seats. And they do, without fail! To keepthings interesting, each week the CJQ welcomes a special guest,usually a horn player of the highest order who gets to call the tunes.For instance, The WholeNote’s own Jim Galloway will be gracingthe bandstand there on February 11th.On February 18 th the quartet will be calling the tunes themselves,features famous musical works of art by Antonio Carlos JobimFlo”) plus pleasing originals by the quartet’s leader, Gary Benson(“Everytime I See You”, “Don’t Quote Me”). Trane StudioTranzacEvery Mon Every Fri TheFeb 1 Notes and Noodles. Feb 6,20 Monk’sMusic. Feb 12,26 Donné Roberts. Feb 13 LinaAllemano. Feb 15 Al Purdy Project. Feb 19Tova Kardonne.Michael Davidson. 22 Nathan Dell-Vandenberg’sMaybe Not. Feb 27 Steve Ward. Victory Cafe, TheEvery Wed Hot String Jazz Quartet Zemra Bar & LoungeEvery Wed Open Mic and JamEvery Fri Live Music FridaysWeinzweig: Essays on His Life and MusicEdited by John Beckwith and Brian CherneyAdult “VOCAL” WeekVocal classes and choral sessions for adult choral singers!Dr. Victoria Meredith, conductorIngemar Korjus & Aury Murray, cliniciansJuly 6 – 9, 2011Participants: $300 ($230) Auditors: $230 ($175)Registration Deadline: May 16 th , 2011Information & registrationChoirs Ontarioa-1422 Bayview Avenue, Toronto on m4g 3a7t: 416 923 1144f: 416 929 0415info@choirsontario.orgwww.choirsontario.org48 thewholenote.comFebruary 1 - March 7, 2011L A U N C H E D !John Weinzweig, “The Dean ofCanadian Composers” and stalwartchampion of the arts, died in 2006at the age of 93. Last year it was myprivilege to be part of a distinguishedteam working on the latest additionto the annals of Canadian musicology,“Weinzweig: Essays on His Lifeand Music” edited by John Beckwithand Brian Cherney (Wilfrid Lauriera full review in these pages in anupcoming issue, but I wanted to saya few words about the launch of thisimportant volume which took placeat a lavish event in the foyer of Koerner Hall on January 13.With both editors and most of the more than a dozen contributorspresent, and soprano Mary Lou Fallis presiding over the festivities,the event was charged with emotion. We heard testimonialsfrom Weinzweig’s sons Paul (who in a witty reminiscence modestlyclaimed his father’s infatuation with dissonance was a result ofan excruciating piano performance he gave in the presence of hisfather’s peers as a youngster) and Daniel, who has been a movingforce in keeping his father’s legacy in the public eye (including anew centenary initiative – contact weinzweig100@gmail.com fordetails).The highlight of the event was the audition of several Weinzweigcompositions: selections from the 1989 piano cycle performed by Cheryl Duvall, a 2010 graduate of the master’s programat the U of T Faculty of Music; and withHugo Lee, an outstanding young oboist from Unionville High Schoolfor the Arts ably accompanied by the school’s string ensemble underthe direction of editor Beckwith’s son Larry. The performances culminatedwith the mistress of ceremonies, Canada’s darling “Diva ona Moose” accompanied by Peter Tiefenbach, treating us to an updatedstaging of “Hello Rico” from .John Weinzweig was a vocal activist whose main concern wasmaking the music of our time and place available without compromise.It bodes well for the future that a new generation is beingexposed to, and embracing, this music of our recent past.—David OldsConnect ChorallyMake Life Sing!


ANNOUNCEMENTSCanada Sings!/Chantons Canada!Toronto-Riverdale. Neighbourhood Singalong.South SimcoeArts Council Annual Choral WorkshopArraymusic. Toronto Improvisers’Orchestra. WorldSongsVocal Camp. ArraymusicD. The ETCeterasPortait of director Tom Diamond by Anna Kvassetskaia-Tsyglan oneof many on display at Portrait Society of Canada opening March 3.Early Childhood Music Association.From Song and Rhyme to Storytime.Toronto Early Music Circle.Vocal Circle. Portrait Society of Canada ExhibitionOpening: The Art of Canadian Music.DaCapo Chamber Choir. New-Works Gala. Waterloo. LECTURES/SYMPOSIAUniversity of Toronto. MychaelDanna. No Strings Theatreannounces its summer 2011 productionStephen Sondheim’sSweeney Toddfor youth ages 13-21July 4-31, 2011Early Bird registration deadline: March 15, 2011Come and check out our open house workshop onSunday March 6th, 2-5pm,Act! Sing! Dance! Sondheim!at The First Unitarian Church, 175 St Clair Ave WIntroducing our summer Pit Orchestra program!Same dates! Same show! See website for detailsWWW.NOSTRINGSTHEATRE.COM February 1 - March 7, 2011 thewholenote.com 49


University of Toronto. Composer’sForum. Winters College Master’s Of-Winter Care of the Voice at Winters. Orchestra Toronto. Beethoven:His Life and Works. Toronto Wagner Society. DavidBourque. Toronto Opera Club. MegaShows: Grad French Opera of the 19th Century.Soundstreams. John Adams.University of Toronto. Composer’sForum. Toronto Gilbert and Sullivan Society.Talk with music. MASTERCLASSESUniversity of Toronto. GryphonTrio Master Class. University of Toronto. ImaniWinds Master Class. Singing Studio ofDeborah Staiman. Master Class in musicaltheatre/audition preparationYork University Departmentof MusicIt’s NeverToo Early To DreamAbout Summer….and it’s never too early to start planningyour summer musical activities!WholeNote’s annual guide to SummerMusic Education will once again belaunched online to coincide with therelease of our March issue. Featured aremusic camps and other opportunities forall ages and levels of musicianship, acrossOntario and beyond.It’s a great way to get the word outabout your summer program, and a greatresource for those wishing to expand theirown musical horizons. in the Summer Music Education directory,please contact summer@thewholenote.comor Karen at 416-323-2232 x26. visit www.thewholenote.com, click on“Directories” then “Summer MusicEducation.thewholenote.comTHETENTH ANNUALBaroque Summer InstituteTafelmusik Baroque Summer Institute SponsorJeanne Lamon | Music DirectorIvars Taurins | Director, Chamber ChoirJune 2-15, 2011At the Faculty of MusicUniversity of TorontoToronto, CanadaA 14-day residency in instrumentaland vocal period performance.For advanced students, pre-professionaland professional musicians.Application Deadline:March 18, 2011tafelmusik.org/tbsi50 thewholenote.comFebruary 1 - March 7, 2011


University of Toronto. St. LawrenceString Quartet Master Class. Ontario Vocal Festival. MiddayMusic with Shigeru. Barrie.SCREENINGSMetropolitanOpera HD Broadcast. Nixon in China. St. John’s Latvian LutheranChurch. Metropolitan Opera HD Broadcast.Imphigénie en Tauride. WORKSHOPSCanadian OperaCompany. Living Opera Workshop. Toronto Early Music PlayersOrganization. Let’s Swing: The Spirit of FrenchBaroque Music. Munk Centre for InternationalStudies/University of Toronto Faculty ofMusic. Opera Exchange Series: Giving Voice toOur Own History. CAMMAC, Toronto Region.Choral reading for singers. CAMMAC/Record Players’ Society.Coached workshop with Janos Ungvary.Eglinton St. George’s UnitedChurch. Taizé workshop. CAMMAC, Toronto Region.Power Up Gospel Conference.Toronto Early Music Players Organization.Music and Dance. The WholeNotepresents:the ETCeteras:Announcements, Lectures, Symposia, Masterclasses,Workshops, Seminars, Screenings,Workshops, etc!Not a concert? Not a problem. If it’smusic-related we’ll list it in The ETCeteras.Eligible listings are FREE! 15th of the preceding month. etc@thewholenote.comTHEThe WholeNote Marketplace If this were you...you’d be hereThe WholeNoteMarketplaceFebruary 1 - March 7, 2011 thewholenote.com 51


Naturally we like to hear from readerswho like what we are doing,but more importantly we like tohear from musically engaged readerswho like what they are doing – especiallywhen they have good ideas to share!A recent call, inquiring if TheWholeNote might be able to providecirculation to a group in the Orillia area,was especially interesting in the wake ofOri Dagan’s December story about MargCameron and The Toronto Music Lovers.We are increasingly aware of the groundswell of people gettingtogether for the particular pleasures of enjoying live performance inthe diverse company of other music-loving companions.Elsie Leskew’s call gave me the opportunity to chat with aninteresting new reader, and she followed up our conversation with aletter.…I have been involved in music my entire professional life, andonly in the last year discovered your magazine through Albert Greerdirector (recently retired) of the Cellar Singers here in the Orilliainformation about concerts, reviews, and so many articles about allaspects of music and musicians….Pianist Elsie Leskew studied with Clifford Poole, Mona Bates,Reginald Godden in Hamilton and Toronto; and Edith Oppens inAspen, Colorado and New York. As well as performing in recitals,she was also involved in chamber music. Eventually music educationin the school system became a part of her life, and she studiedat the Eastman School of Music in Rochester, graduating with aMasters degree in Music Education. She taught high school music inBracebridge and was Music Consultant for the Muskoka Board forseveral years before retiring in1989.I continue to be involved in music here in Orillia, with many80 Acadia Avenue, Unit 309, Markham ON L3R 9V1SalesViolin Viola Cello BowsRepair and RentalProfessional violin maker andString instrument rental serviceM U S I C A L L I F EMusic Appreciation En MassePhilharmonic Music Ltd.SchoolPrivate lessons and examsViolin Viola Cello Bass905-784-2028 www.philharmoniccanada.comMJ BUELLOrillia Arts Group on the steps of the AGO.friends who have been part of the OrilliaArts Group which I created, in a ratherinformal way in 1998. It was the resultof my offering a “music appreciation”series of evenings to introduce classicalmusic to a handful of non-musicianfriends...Their desire to attend a concert inToronto led them to a TSO Beethovenconcert back in June of 1998, andthe rest is history. Today Ms Leskewco-ordinates a list of over 90 namesfrom Orillia, Barrie, Gravenhurst, and Bracebridge, and concertexpeditions are a regular event. A concert is chosen and The ArtsGroup hires a small bus accommodating only 22 people each trip –together for an evening, share some wine and hor d’oeuvres, andMs Leskew talks about the music they are going to hear. They listento recordings. On the day of the concert they have their own driver,provided by Hammond’s Transportation in Bracebridge, who deliversthem to their concert venue, and returns them safely home againat the end of a wonderful evening. Often they plan an art galleryvisit or restaurant meal before the concert.…For your interest and information I include a list of the performanceswe have attended in the last 12 years. Reading in yourpublication about all the events surrounding the GTA, I am surewe will expand our musical horizons and discover other delightfulevents…The Orillia Arts Group’s list of concerts over the past 12Hummingbird and later at the Four Season Centre, performancesby the National Ballet, and most recently the September 2010 TSOconcert with guest pianist Lang Lang. Where will these intrepidmusic lovers and their trusty bus venture next?Koerner Hall. I think we may attend the Mozart Mass in C Minor,on May 11, but I’m going to listen to it again before we decide… Mysang I attended The Aspen School of Music in Colorado one summer,as quite a young person. Walter Susskind was the conductor. It wasyour spine…from music. I heard the Mozart Mass again years laterat the Salzburg Festival and it thrilled me all over again.The last part of my conversation with Ms Leskew was about thebeyond the GTA,which previously her group might not have known about. Theseare becoming increasingly visible in the WholeNote’s listings andto the Orillia area was a really good place to start.Calling All Concert Companions!Don’t miss a beat of the live music you love.You can have complimentary copies ofThe WholeNote delivered for your group!circulation@thewholenote.com416-323-2232 ext 33ALL the live listings,ALL the time.THE52 thewholenote.comFebruary 1 - March 7, 2011


INSTRUCTIONCONCERT PIANIST EVE EGOYAN(M. Mus., L.R.A.M., F.R.S.C.) offers les-returning adults (emu@interlog.com, 416-FLUTE, PIANO, THEORY LESSONS: RCM293-1302, samantha.studio@gmail.comMAKING MUSIC WITH THE RECORDER.After 30 years at The Royal Conservatory,ages; private lessons and ensembles.Central location. Mus. Bac. Perf. (U of T),ARCT, member ORMTA. 416-759-6342THE ARTIST WITHIN: I believe that everyperson, regardless of station in life, isdo you animate your creativity and give itguide and encourage you through this process.For information package, please con-PIANO LESSONS: Beginners-very advanced.Canadian and European formation.All Levels RCM. Intensive course for adults.grand. 416-449-1665PIANO TEACHER, ACCOMPANIST, is acceptingstudents for piano/theory lessons, accompaniment,vocal coaching. All RCM gradesto university. 416-226-3002evgenia.r@rogers.comVIOLIN SCHOOL: Have fun learning violin! Individualand group lessons for children and-and St. Clair).FOR SALEEUPHONIUM: Classic Besson, 4 valve, com-FRENCH HORN – MUST SELL: made by Reynolds for Selmer circa 1978. OneSuitable for advanced student or professional.Call jack 416-721-4940.Classified AdvertisingMUSICIANS AVAILABLEBARD – EARLY MUSIC DUO playing recorderand virginal available to provide backgroundatmosphere for teas, receptions or other functions– greater Toronto area. For rates and infocall 905-722-5618 or email us at mhpape@interhop.netMUSICIANS WANTEDBAND AUDITIONS? band to small, or too large!BRAMPTON COMMUNITY BAND SEEKSMUSICIANS.Funk. Rehearsals Wed. & Thurs.SEEKING STRING PLAYERS? Reach just theSERVICESACCOUNTING AND INCOME TAX SERVICEfor small business and individuals, to saveneeds. Norm Pulker, B. Math. CMA.905-251-0309 or 905-830-2985.The PERFORMING EDGE Performanceenhancement training in tension management,concentration, goal setting, imagery.situation. Kate F. Hays, practising clinicaland performing arts psychology. 416-961-VENUESARE YOU PLANNING A CONCERT or recital?Looking for a venue? Consider Bloor StreetEmail: tina@bloorstreetunited.orgChildren'sPianoLessonsFriendly, approachable -and strict!Liz Parker416.544.1803liz.parker@rogers.comQueen/BathurstETOBICOKE CONCERT HALL 516 TheAllen concert organ, seating 500, free parking.Plast Toronto Huculak Centre (formerly St.Luke’s Church). Call 416-236-9998.REHEARSE OR PERFORM IN A BRANDNEW FACILITY hearsalspaces, for groups from small (an intimatemusic studio) to large (performanceingavailable. TTC. Geothermally heated andair conditioned! For information contact ReneBignell, 416-489-1551 or email:ALEXANDER KATS (416) 340-1844alexander.kats@sympatico.caArtistic Director: We need auditionGeneral Manager: Accompanist: by, & for, musically engaged peopleInstruction | For SaleMusicians AvailableMusicians WantedOpportunities | Services | VenuesFebruary 1 - March 7, 2011 thewholenote.com 53


Best of the Web | Come On In, the Surfing’s FineDO YOU SURF? As February blustersand blows, the question may conjureup images of sandy beaches andsunshine. Canada, than the kind that requires a buffphysique and a new swimsuit. And you cando it without having to venture outdoors.Our growing readership representsdiverse thinkers, including those who “don’tdo internet.” But there are some excellentreasons to join us on the World Wide Web,and enrich your experience by becoming anonline reader at www.thewholenote.com.Never Miss a Beat!latest edition, even if you haven’t been ableto pick up a copy. If you go to our website homepage, and lookat-sults,or see concert listings right away? On the internet you can seestreet date.Contests! Tickets! CD Giveaways!By becoming a registered user of The WholeNote online, you invitegood luck into your life. It’s easy to register at the top left-hand sideof our home-page. We’ll send you an email, no more than four timesa month, including you in opportunities to win a variety of musicrelatedgoodies, such as tickets to operas and concerts.. Join today,win tomorrow! (We never make other use of email addresses, exceptClick and Ye Shall Search…exactly what you want in our comprehensive concert listings:LISTINGS BY MUSICAL GENREYou can search our online concert listings according to musicalgenre. At the top of our hompage, click on “Concert Listings”, andthen look for “Search Listings” on the left side of the new page. Youcan choose from among Band/Wind Ensemble; Chamber Music;Concerts; Music for Children; Music Theatre; New Music; Opera;Organ Recitals/Concert; Orchestral Music; Piano Recitals/Concerts;Vocal Recital/Concerts; World Music.LISTINGS BY GEOGRAPHICAL ZONEYou can also search our listings according to your location. YouMore Than Just the MagazineThere’s just so much music to talk about. When we have articles orthese are continued or expanded online. And then there areBLOGSTheWholeNote’s regular staff writers as well as local artists and musicappreciators.WholeNote blogs include reviews of live music (see Cathy Riches’(read “Phil’s Philes” by Phil Ehrensaft exploring the Metropolitanof musical interest.ORI DAGANOne example: I recently travelledscene there, including a performance bywrote:Despite the fact that her top endhas vanished – she sounds more like atrombone rather than a trumpet – todaythe beauty in her art lies in the emotionalcommand of her interpretations… Rosshas lived every song she sings, resultingin a live performance that is steepedin the truth of life experience. (FromHere are some choice additionalsamples from the blogs:A piano in a public venue is anorphan. It’s not just an orphan. It’s apoor neglected, abused, fetal alcohol syndrome, crack baby thatgrows into one pathetic old beast that can break your heart. (FromPlease vote for your favourite composer tonight. Whether yourvote is cast for the composer’s hairstyle or musical aesthetic is upto you. Submit your ballot at the end of the show. And let’s all stopthe gravy train!”… (From Andrew Timar’s blog about the EnsembleContemporain de Montréal presented by New Music Concerts at TheAccess Back Issues and Wholenote Directories!Gave away your May WholeNote, with the Canary Pages ChoralDirectory in it, to a friend teetering on the edge of joining a choir?What if you spill a tall cold Canada Day pilsner on your copy ofthe July/August double issue, and can’t read the summer festivallistings? No problem! Our website archives date back to 2005,including feature stories, CD reviews and beat-by-beat columns. Ourdirectories are available online year-round. (The Canary Pages, ThePaper Can’t Really Singamuse-bouche, provided by the music community and our staff.Here’s a seasonally topical example! Go to the homepage of ourSelect thewholenote.com by clicking the little round button,so you’ll be searching our website, not the whole web. Then typeDestiny Blues into the search box.I hope that this piece has tempted you to test the waters of ourworld wide web wanderings. The WholeNote is committed to itsprint publication, but we’re delighted to be extending our readershipfrom Southern Ontario to anywhere on the musical planet.54 thewholenote.comFebruary 1 - March 7, 2011


Just the Spot | Favourite Musical PlacesGABRIELLE McLAUGHLINKnox College Chapel, University of TorontoWHEN I FURIOSI WAS in its toddler years, it staggeredaround the city looking for a place to set up its playpen.With a small but growing audience, this was a tricky search.Large venues seemed empty with our crowd, and tiny places madeour somewhat unrestrained baroque ensemble feel like we wereinvading the audience’s personal space. Yes, chamber music ismeant to be intimate, but no one wants to feel like the performers oraudience can smell sweat.After trying a few spots around town, we landed on Knox CollegeChapel. Tucked away in King’s College Circle, Knox Collegeis the Presbyterian theology school of the University of Toronto. Itand access, but the chapel itself is on the King’s end of the building. ear. The intimate acoustic allows for chamber music to be performedwith ease, but the chancel is distant enough from the pewsto circumvent any odour problems. We always found the Knox stafffriendly and there are enough toilets in the building to make for ashort intermission.The décor is spectacular – high vaulted ceilings with gothicwood, stone and glass panels. The passageway leading from StGeorge to the chapel also leaves the traveler with a Hogwarts-esquefeeling. Aside from the beauty and communion of the setting, KnoxCollege Chapel contains two organs of note. The organ in theis a Wolff tuned to a 5th comma meantone. All this is hidden in oneof the best-kept secret concert venues in the city.I Furiosi lasted happily in this space until early adolescence, atwhich point it had to seek larger accommodations. The glass doorsat the entrance to the chapel still reverberate with the “BRAVO”yelled by one memorably drunken audience member, who stormedout, apparently overcome.Although we are now in our adult digs and we do our ownlaundry and remember to have showers, we sometimes miss theearly days with our friends at Knox. This is still the perfect spotfor an up-and-coming chamber group. The acoustic is particularlybeautiful for early music. Highly recommended for ensembles withimpeccable personal hygiene.The WholeNotedelivers toOver 70 amateur &professional choirsOver 80 restaurants, fine foodstores, bakeries, coffee shops& tea housesOver 90 churches, communitycentres & seniors homesOver 100 orchestras, bands &concert venuesOver 110 schools, musicdepartments & conservatoriesOver 120 book, video, audio &music shopsOver 130 libraries & librarysystems.Add it up and it all makes aWholeNote of sense.Now add yourself!416-323-2232 x33circulation@thewholenote.comTheWholeNote is Ontario MusicTHEFebruary 1 - March 7, 2011 thewholenote.com 55


R E M E M B E R I N GAhmed Hassan, circa 1980.Marrying Music and Dance: Ahmed Hassan (1955–2011)for choreographers, exploring together the ancient marriage of dance and music. AhmedHassan, who died in Toronto on January 19 aged 55 did just that, moreover developing hispassion into a successful career.Born in New York City to Egyptian parents, Hassan’s family moved to Cairo, thensettling in Halifax in 1969. While a student of biochemistry at Dalhousie University, hislife’s path took a decisive turn toward music after encountering the charismatic drummerRicardo Abreut of the Toronto Dance Theatre, another self-taught dance musician.Starting in the late 1970s Hassan began playing for dance classes and collaborating witha long list of leading Canadian modern dance choreographers. Hassan moved to Torontoin the early 1980s to work with the Desrosiers Dance Theatre. With fellow composer JohnLang, Hassan co-composed the music for Desrosiers’ acclaimed Blue SnakeInner Rhythmrecords the composers’ creative process. Hassan also played a role in the city’s emergingworld music scene. For a time his home was the base for Arabic music classes whereSable/SandAward for choreography for Serge Bennathan, Dancemakers’ Artistic Director. Thecolleague the renowned dancer-choreographer Peggy Baker. Hassan’s last creative projectFourteen Remembered, a requiem to commemorate the lives of the murdered women ofMontréal’s École Polytechnique, was performed annually from 1998 to 2001 at variousToronto venues including Massey Hall.Hassan had suffered from progressive MS since 1987; nevertheless he courageouslycontinued to perform into the mid-1990s with Peggy Baker.—Andrew TimarPHOTO JOHN LAUENERA Life Well-Lived: Antonín Kubálek (1935–2011)ANTONÍN KUBÁLEK WAS A GREAT AND GOOD MAN whom I had the honour ofin the absurd. Life never failed to supply him with suitable material, even in his childhood.however he was required to wear a bag over his head in the classroom so that his comradesshould not feel disadvantaged! Later, as a rising young pianist, he would be sent out on toursaccordion laid out for him. He knew from experience to always have a packed bag ready, soat the Canadian Embassy, he was shown a map and chose a city called Toronto, because heHis arrival here soon caught the attention of Glenn Gould, who produced a unique albumof his playing. Anton was incredulous that in the middle of July Gould still stuck with histrademark overcoat, cap and gloves in the sweltering Eaton Auditorium. The CBC also tooknote; producer David Jaeger in particular employed Anton to bring to life numerous newrecorded in Troy, N.Y. in the 1990s for the Dorian label, which he independently re-releasedthis past summer on-line at CDbaby.com.His last decade was blessed by the presence of two angels, his second wife Pat anddaughter Karolina. They had travelled as a family to Prague this fall and planned to spenda year there so that Karolina could advance her piano studies. Cruel though it is to have losthim there so unexpectedly, I cannot imagine a happier end to a fruitful life, so thoroughlyenjoyed and savoured, than to be surrounded by those he loved best.—Daniel FoleyRecent photo, courtesy of Patricia Kubálek.56 thewholenote.comNovember 1 - December 7, 2010


We Are All Music’s ChildrenSweetheart SpecialMJ BUELLDid you know there’s a sculpture and plaque for Mary Pickford in front of Hospitalfor Sick Children? “America’s Sweetheart,” a founder and vice-president of UnitedArtists, and icon from the early days of moving pictures, was born Gladys MarySmith in a home on University Avenue near Gerrard. Her father died when she was quiteyoung and left the family near-destitute. Mary’s mother took in sewing and was workingToronto stock theatre.Here are photos of “February’s Children” in WholeNote from the past 6 years. a pair of tickets to SWEETHEART: The Mary Pickford Story, a musical by Dan Burry,presented at Spadina Museum (February 10 - 27).FEBRUARY’S CHILDREN, 2005-2010February 2005 >February 2010February 2009February 2006February 2008February 2007 >Music’s Children gratefully acknowledges Christine, Stephanie, Roberta, Vanessa, and all ofFebruary’s Children.WHO IS FEBRUARY’S CHILD?Already smiling on the podium!Never choirboy material, butHis gospel, as a mentor, and thesecret to having rhythmic chops? Concertsin the GTAand in Concerts Beyond the GTA sharingYour challenge? not only who the little guy isFebruary!Send your best guess to musicschildren@thewholenote.commailing address just in case your name isdrawn!Winners will be selected by randomdraw among correct replies received byÉglise St. Joseph, Montreal, 1973.February 1 - March 7, 2011 thewholenote.com 57


TMBLUE PAGES UpdateWelcome New Members!As our readers know, we publish ourannual Blue Pages directory of WholeNotemember concert presenters in a supplementto our October issue, a directory whichremains online year round. But it’s (almost)never too late to join. Below is a shortPRESENTER PROFILES 2010/2011THEBLUEPAGESe.The talent is here.e.updated onlinenTHEWHOLENOTE.COMWish OperaWish Opera is a young company with a mature vision. Byincorporating elements of contemporary fashion and design, thecompany presents opera that is vibrant, current, and relevant in thepresent day, while maintaining the integrity and intentions of theissues which stimulate and challenge today’s audiences, and lead tocontemplative introspection.Wish Opera performs at the John Bassett Theatre in the MTCC.info@wishopera.cawww.wishopera.caTo see the full version, and profiles of over 175 other presenters,go to our website (www.thewholenote.com) click on “Directories,”then “Blue Pages.” For more information on the Blue Pages andthe benefits of WholeNote membership, please contact members@thewholenote.com or 416-323-2232 x26.2011CANARY ALERT 2011!canary@thewholenote.com www.thewholenote.comBook ShelfPublicity, press kits& image consultingfor performers416.544.1803www.lizpr.comPAMELA MARGLESLeonard Bernstein At Work: His Final Years, 1984 – 1990photographs by Steve J. ShermanAmadeus Press192 pages, photos; $34.99 USLeonard Bernstein was a trail-blazingconductor, a superb pianist, a composer ofboth Broadway hits and classical masterworks,a communicative writer, and aninnovative educator. As his assistant CraigUrqhart says in this splendid book, “Helife and work have been well-documented.But Steve Sherman’s ability to captureBernstein’s remarkable charisma, both on and off stage, makes this1990 especially powerful.Bernstein was strikingly photogenic. The toll that his years ofintense living took on him is evident here, especially in the casualshots. But the photos of him conducting reveal the spontaneity, intelligence,joyfulness, wit and intensity that made his performances sothrilling. They show how Bernstein became a conduit for the music,not interested in having an orchestra sound like itself,” he is quoted wide-angle two-page shot of Bernstein conducting the ChicagoSymphony at Carnegie Hall in 1988, almost every member of theorchestra is watching the conductor intently. There’s a poignantwith his arm around the other’s shoulder. There’s an amusing photo thbirthday gala at Carnegie Hall in 1988 wearing a purple featherboa and sunglasses. The most dramatic photo here is of Bernsteinconducting the Vienna Philharmonic at Carnegie Hall in 1988, armsreaching out to the camera. daughter Jamie which makes clear just what his energetic commitmentto whatever he was doing cost him. Comments from a numberof associates of Bernstein, culled from interviews done over theyears by the photographer’s father, writer and broadcaster RobertSherman, complement this beautifully produced and well-pricedvolume.The New York Philharmonic: From Bernstein to Maazelby John CanarinaAmadeus Press495 pages, photos; $29.99 US Canarina relates how someone at a public forum in 1991 suggested58 thewholenote.comFebruary 1 - March 7, 2011


that the orchestra shouldinstall a giant mirror atthe rear of the stage soaudiences could watchthe conductor’s facialtra’smusic director atwouldn’t like to replaceBeethoven. He should be in your mind, notme.” Masur’s attitude is similar to that of anotherof the orchestra’s long-time conductors,consistently attracted principal conductorswho, like Masur and Bernstein, are moreconcerned with letting the composers’ voicesbe heard than stamping their own personalitieson the orchestra. This has allowed thedistinctive sound of the orchestra – whichCanarina characterizes by its openness andimmediacy – to develop under a successionof conductors.Canarina, who was an assistant conductorwith the orchestra under LeonardBernstein, starts his history with Bernstein,who took over from Dmitri Mitropoulos“personality boy.” At 39 he was consideredtoo young to lead a major orchestra, thoughtoday that doesn’t sound so young, with29-year-old Gustavo Dudamel leading theCanadian Yannick Nézet-Séguin leadingboth the Philadelphia Orchestra and thechoice of Pierre Boulez sparked even morecontroversy, though it turned out to be justas visionary.The conductors are quite properlyCanarina’s main focus. But he certainlygives the orchestra players their due. Hequotes his own interviews with orchestramembers and highlights the work of legendaryprincipal players like cellist Lornecame to the orchestra from the TorontoSymphony), clarinettist Stanley Drucker, andcurrent concertmaster Glenn Dicterow.Canarina also pursues his particularinterest in how the orchestra has beentreated by the press throughout the years,which leads to numerous quotations frompast reviews. But far more interesting arethe quotes from performers, composers andconductors, and especially his own insightfulcomments, which enhance this lively portraitof a great orchestra.A Biographical Guide to theGreat Jazz and Pop Singersby Will FriedwaldPantheon829 pages; $53.00This hefty volumecertainly lives up to itstitle, with detailed biographiesof more thanthree hundred of thetwentieth century’s bestjazz and popular singers.But it offers muchcontains some of themost astute, witty and stylish ylishcriticalwritingon singers since Whitney Balliett wrote for who isn’t a jazz singer, Will Friedwald , ajazz critic for the Wall Street Journal, hasbased his choices on those who sing thestandards of the so-called Great AmericanSongbook. Though most of the singers hehe does cover a number of contemporaryand Michael Bublé.Friedwald comes up with some surprising– and interesting – historical connections.he suggests, “and apply a little more vibratoto it, you end up with something that soundssuspiciously like Elvis.” For him, even anobscure singer like Rose Murphy is not just“one of the most distinctive, not to mentiondelightful, performers in popular music,”Fitzgerald.One of the many things that sets thisencyclopedia apart is the generous lengthof the entries, long enough to do justiceto what these singers accomplished, anddetailed enough to include discussions oftheir recordings. He sheds fresh light onwell-documented singers like Frank Sinatra(the subject of one of Friedwald’s previousbooks), Ella Fitzgerald, Joe Williams,Alberta Hunter, Anita O’Day, and MelTormé. But he also re-evaluates lesser-knownsingers like Al Hibbler, Ernestine Anderson,Mose Allison, and Helen Humes. He admitsto failing to be moved by Cleo Laine, yetstill manages an appreciative portrait. Andsome of his most interesting comments areabout those who are well-known, but not somuch as singers, like Dean Martin, DorisDay, Fred Astaire, and Jimmy Durante.Though there is a detailed list ofSo unless you read this book from cover toArmstrong which are found in Friedwald’sfrustrating because Friedwalds’s writing isinterested in.Address inquiries to bookshelf@thewholenote.com.WeinzweigEssays onHis Life and MusicJohn Beckwith andBrian Cherney, editors olour and 25 b/w illustrationsIncludes audio CD of extracts (some in their firstpublic release), ranging from a 1937 student workto a 1994 song cycle.Wilfrid Laurier University Presstoll-free 1-800-565-9523 | www.wlupress.wlu.cafacebook.com/wlupress | twitter.com/wlupress“John Weinzweig was a life force, a great Canadian, a wonderfulmusician and an exceptional composer.… This magnificentcollection of essays and memoirs has been fastidiously editedby John Beckwith and Brian Cherney.… Compelling throughout,this is one of the most absorbing books on a composerthat I have read in a long time.”– Bramwell Tovey“A thorough and affectionate account of John Weinzweig, hislife and music, with detailed analyses of individual works.…This book says much about the development of the musicscene in Toronto and how influential John was and how tirelesslyhe worked to move the ‘old boys’ into the twentiethcentury. A marvellous tribute to someone who has a uniqueplace in Canadian music history.” – Mary Lou FallisFebruary 1 - March 7, 2011 thewholenote.com 59


Editor’s CornerAS WE ENTER the New Year you’llnotice a couple of new aspects toDISCoveries. “Strings Attached” is acolumn in which Terry Robbins will “roundup”recent releases featuring the violinfamily – concertos, sonatas and chambermusic offerings from the international catalogueon a monthly basis. We also welcomeJason van Eyk, long familiar for his “InWith The New” column in these pages, toon a new piano disc by Rachel Kiyo Iwaasain the Modern and Contemporary reviews.As for my own column, as the snow piledup outside my window over the past twomonths, so have the mounds of CDs on mydesk. I’ve had lots of listening time to exploreinnumerable new releases which onlymakes the task of selecting what to includehighlights from my hibernation are includedbelow.In my other life as general manager ofNew Music Concerts I have had the pleasureof being exposed to the music of someof the world’s most exciting compositionaltalents over the past decade. Last May, in aconcert curated by Brian Current, CanadiansNicole Lizée and Analia Llugdar were featuredalongside Frenchman Fabien Levy andGermans Enno Poppe and Oliver Schneller.Schneller’s delicate Trio (1998) for accordion,cello and piano was featured on thaton a new Wergomore recent Schneller compositions (WER6579-2). Trio and Aqua Vit (1999) for eightinstruments are theonly purely acousticcompositions on thedisc, with all of themore recent worksinvolving live electronics.Schneller’sfascination withthe nature of sounditself is evident even in the instrumentalcompositions, as he examines textures andtimbres as if through a microscope. Thisconcern is taken further with his use oftechnology in the later works, most notablyStratigraphie I (2006) and II (2010), bothDAVID OLDSfor six instruments and live electronics.Also of note is his alluring addition to thetwo pianos/two percussion repertoire withResonant Space, a compelling work whichadds live sound manipulation to the mix.The most recent New Music Concertfeatured Quatuor Diotima, a Paris-basedensemble whose repertoire spans threecenturies with a particular interest and expertisein the work of living composers. Ofthe works they performed in Toronto, byfar the most intriguing was Madhares, thethird string quartet by Thomas Larcher, whowas born in Austria in 1963. This extendedwork called upon the musicians to employa number of extended techniques, includingtapping on the strings with wooden mutesto make eerie pointillistic glissandi up theneck of their instruments. The dynamicrange varied from sub-audible to shriekinglyloud in moments reminiscent of the showerscene from Psycho. But the piece was alsoimbued with beautiful melodies harkeningback to pre-classical times and moments oflanguid calm. You can hear the work foryourself performed by Diotima on an ECMNew Series release (ECM 2111) which alsoincludes Larcher’sBöse Zelten forpiano and orchestraand Still for violaand chamber orchestrawith soloists TillFellner and KimKashkashian and theMunich ChamberOrchestra under Dennis nis Russell Davies.Both of the concerted works have the intimacyof chamber music while exploitingthe full resources of the orchestra. As withOliver Schneller, the exploration of sounditself is paramount. The prepared piano isparticularly effective in Böse Zelten whosetitle translates as Malign Cells.On the most recent release by QuatuorDiotima the group is joined by sopranoSandrine Piau and Canadian contraltoMarie-Nicole Lemieux in works by Berg,Webern and Schoenberg (Naïve V 5240).Piau’s impeccable vocals are expected inSchoenberg’s String Quartet No. 2 wherethe third and fourth movements are settingsof texts by StefanGeorge, but anunexpected treatis the sixth movementof Berg’sLyric Suite whereLemieux sings thetext inscribed bythe composer in aminiature copy of the score sent to his “beloved”Hanna Fuchs. That only came to lightthanks to Fuchs’ daughter after the death ofBerg’s widow in 1976. I’m not sure if this isLemieux makes a convincing case for it. Thequartet is impeccable in their interpretationsof all the works, including the purely instrumentalSechs Bagatelles of Anton Webern.Mieczyslaw Weinberg (1919-1996) andDmitri Shostakovich (1906-1974) sharea remarkably similar voice and seem tothought that much of Shostakovich’s interestin Jewish music stemmed from his friendshipwith the younger Pole. Weinberg’s PianoTrio was composed in 1945, two years beforethe masterpiece in the same genre byworks featured on a new recording by TrioVoce, an ensemble which includes Americanviolinist Jasmine Lin and Canadians MarinaHoover, founding cellist of the St. LawrenceString Quartet, and Alberta pianist PatriciaTao. The disc, entitled Inscapes (Con BrioCBR21045, www.conbriorecordings.com),includes not only the Weinberg trio Op.24and Shostakovich’s familiar Op.67, but alsoa rare performanceof the latter’s earlyperformances aresensitively nuancedand dynamic and therecording, done atWFMT Studios inChicago last May, isimmaculate.I’m not sure why, but it seems like kindof a “guilty pleasure” to revisit some of themasterworks of the past century upon whichthat so many of my generation never seemto get beyond the pop music they heard intheir formative years, yet I also realize thatthe music which informed my own artisticdevelopment still remains my favourite. Soit is with a grain of salt that I recommendCanada’s best classical & jazz onlinegrigorian.com60 thewholenote.comFebruary 1 - March 7, 2011


Avantgarde Favourites of the 20th Century(Scandinavian Classics 220571-205) performedby the Arthuis Sinfonietta. Buthearing Ligeti’sChamber Concertofor ThirteenInstruments,Webern’s Concerto,Varèse’ Octandre,Lutoslawski’s ChainI and Takemitsu’sRain Coming againexperience. To hear these seminal worksso well performed in a new context wasinvigorating. And the addition of HarrisonBirtwistle’s Ritual Fragment which I was notpreviously aware of was a real treat.Another wonderful revisitation was anexuberant new recording of Stravinsky’sRite of Spring by Gustavo Dudamel and theSimon Bolivar Youth Orchestra of Venezuela(Deutsche Grammophon 477 8775).Although appointedMusic Director ofthe Los AngelesPhilharmonic in2009, Dudamelcontinues to workwith the outstandingyoung playersof his homeland asthese thrilling live recordings from Caracasin February 2010 attest. As always Dudamelbrings the best out in the youngsters andone would not likely guess this is anythingother than a fully professional orchestra justby listening. The Stravinsky is paired withLa noche de los mayas (Night of the Maya)by Mexican composer Silvestre Revueltas.Completed a year before the composer’sdeath in 1940 La noche had to wait twentynot likely to replace Rite of Spring in therepertoire anytime soon, this is a dramatic,lyrical, colourful and powerful work that deservesto be much more widely heard. WithDudamel as its champion we can rest assuredthat it will be. musical experiences ofthe past several monthswas not a piece of musicat all, but rather a bookwritten by Toronto playwrightand director ofOne Little Goat Theatre,Adam Seelig. Every Dayin the Morning (slow)(New Star Books) is anovella crafted like a musical compositionand typeset in a very graphic way – its verysparse text spread over the page like poetry,with far more white space than print. Thisaffects, and effects, the way we read thismonologue, with pauses built in as an inherentpart of the process. Told alternately inthe inner thoughts of a writer’s-block-riddencomposer, railing against himself, the world,the classical music business, Steve Reich andthe minimalists, his father and his childlessmarriage. It is effective and compelling.immediately and read the book again, aloudthis time, and found it even more satisfying.WE WELCOME your feedback and invitesubmissions. CDs and comments shouldbe sent to: The WholeNote, 503 – 720VOCALHenri Duparc – Intégrale des MelodiesMarc Boucher; Olivier GodinXXI XXI-CD 2 1705Theodore Dubois – Chansons de MarjolieAnne Saint-Denis; Olivier GodinXXI XXI-CD 2 1704Henri Duparc,despite having beenpossibly most talentedpupils of CésarFranck, despitehaving been oneof the founders ofSociété Nationale deMusique Moderne(with Saint-Saëns),despite having livedto the age of 85, lefta legacy of fewerthan 40 works. Theshocking explanationis that Duparc, whostopped composingat 37 due to what was then diagnosed as“neurasthenia” (a type of mental exhaustionwith elements of depression, anxiety andpain), destroyed most of his works, includinghis only opera. In a letter to Jean Cras,Duparc wrote: “Having lived 25 years in asplendid dream, the whole idea of [musical]representation has become – I repeat toyou – repugnant. The other reason for thisdestruction, which I do not regret, was thecomplete moral transformation that Godimposed on me 20 years ago and which, in asingle minute, obliterated all of my past life.Since then, [my opera] Roussalka, not havingany connection with my new life, shouldno longer exist.”This album’s 17 songs have been calleda perfect blend of poetry and music, in nosmall part because Duparc was inspired bythe words of Gauthier, Sully-Prud’homme,Baudelaire and Cazalis. Marc Boucherand Olivier Godin, frequent collaboratorson stage and on record, are delightfullymatched and attuned to each other’s musicalsensibilities. These eminently able Quebecmusicians have successfully rendered songsrequiring not just musical skill, but also alove of these texts. A great introduction toBathurst St., Toronto ON M5S 2R4. Wealso encourage you to visit our website,www.thewholenote.com, where you canperformers, composers and record labels,“buy buttons” for on-line shopping andadditional, expanded and archival reviews.—David Olds,DISCoveries Editordiscoveries@thewholenote.comDuparc’s tragically small repertoire.François-Clément Théodore Dubois wasan almost-contemporary to Henri Duparc,their lives intersecting at many junctures,though his composing life was a much moreprestigious Prix de Rome in 1861, he alsotook over from César Franck as choirmasterat the Basilica of Sainte-Clotilde and, in1877, succeeded Camille Saint-Saëns asorganist at the Church of the Madeleine. Heserved as director of the Paris Conservatoirefrom 1896 to 1905.The true surprise is that his song cyclesremain virtually unknown and numerousoperas and ballets either have never beenperformed or have fallen into oblivion.The only work attaining some popularity ishis oratorio Les Sept Paroles de Christ. Inthis recording, Dubois’ compositions provea true epitome of French Romanticism.Though rarely indicating the type of voicethat should sing them, they neverthelessfollow faithfully the overall theme, usingcontemporary poetry and reaching for inspirationfrom the Renaissance and MiddleAges. Anne Saint-Denis is a revelation here:her voice is not really what one would call“beautiful,” with a somewhat over-pronouncedvibrato and shallow tessitura, andyet it seems perfectly suited. This rare, perfectmatch of music and instrument delivera true delight to the listener of this (mostlikely) unfamiliar music. The unfamiliaritypasses quickly, as one feels compelled tolisten again and again, soon humming alongto the tracks.—Robert TomasFebruary 1 - March 7, 2011 thewholenote.com 61


Gardens of SpainLyne Fortin; Esther GonthierAnalekta AN 2 9972Wolf – Italienisches LiederbuchCatherine Robbin; Daniel Lichti;Leslie De’AthAnalekta AN 2 9956Two recentAnalekta releasesfeature the musicof Hugo Wolf, thelate 19th-centurylife-long composerof lieder. Onerecording focusesexclusively on onecycle by Wolf, whilethe other includeshim in a collectionof Spanish andSpanish-inspiredpieces. Whileboth song cyclesare named forthe countries thepoetry originates from, Wolf’s musicitselfisitself isdecidedly Germanic.In each of the excerpts from SpanishesLiederbuch performed by Lyne Fortin, shecertainly has the dramatic presence to handlethe “Sturm und Drang” required by the constantlychanging emotional content. In selec-passionately compared to a girl or a womannessthat Fortin delivers beautifully. Fortintruly Spanish repertoire on this recoding.The cantos by Cuban composer Joaquinthat keep quite a pace until the third selectionwhich slows but maintains the emotivemomentum. In fact, throughout the CD, thissinger sings as though always on edge, withsmouldering moments juxtaposed with shrillpeaks of high anxiety, keeping the listenerthrilled with uncertainty. Pianist EstherGonthier keeps the tension high throughoutand especially shines in the Torroba, whereher piano takes on the persona of a strummingguitar.Hugo Wolf’s Italienische Liederbuch israrely performed in its entirety, consistingas it does of no less than forty-six vignettes.Having performed a few of them in a recentconcert tour entitled “Songs of Venus andMars”, mezzo-soprano Catherine Robbinand bass-baritone Daniel Lichti were inspiredto record the complete cycle sincethe lieder neatly fall into categories suitablefor both male and female singers. Again,in paying homage to the Tuscan folk poemsand Venetian vilotehis own nationality, but the translationsinto German still make for quite the rangeof emotion, from passion to reverence andplayfulness to despair. Both Robbin andLichti along with pianist Leslie De’Ath adda certain elevation to sentiments of romanticexploration in the same way that Wolf transformsthe simplicity of the lyric to a moreclassical standard of high art. The singers,well known for their expertise in this repertoire,imbue the performance with superbtonal quality, warmth and grace.—Dianne WellsEARLY & PERIOD PERFORMANCESalsa BaroqueEnsemble Caprice; Matthias MauteAnalekta AN 2 9957Matthias Maute’snotes explain salsabaroque as being17th and 18th centuryLatin Americanand Spanish musicwith a diffusionof harmonies andrhythms of Europeand Africa blended with Amerindiannuances and styles. Hybrid must be anunder-statement.The choice of pieces is itself varied asZipoli’s pastorales vie with his battagliasand in turn mingle with Gaspar Fernandes’compositions with their unsullied preconquistadortitles. The opening (anonymous)chaconne combines easily recognizablebaroque music with spirited Latin Americanembellishments; Variations on la Gayta andthe lively singing of further settings bringhome the passionate nature of this fusionof music from Spain and her new colonies.Listen to Lanchas para baylar for furthermore indigenous need only listen to theHanacpachap cussicuinin. It is incomparablyLatin American, mainly because it is datedto 1631 in Cuzco!Looking at the cover design of this CDwith its electronically-drawn drizzlings ofLatin American dressings and then translatingits title (baroque sauce), you might getthe impression this is one for the tapas-baryuppies. It is, in truth, a valuable introductionto music created by Spanish andPortuguese composers who were assigned tothey found there.—Michael SchwartzVivaldi Oboe ConcertosAlex Klein; New BrandenburgCollegium; Anthony NewmanCedille FOUNDation CDR 7003(www.cedillerecords.org) of his time, Antonio Vivaldi (1675-1741)wrote a total of 14 concerti for oboe, plusan additional threefor two oboes. Thissampling of eightof them, from oneoboists, is a recentre-release of materialoriginally recordedin 1993. AlexKlein is probably best tknownasaformera principal oboist of the Chicago Symphony,a position he held from 1995 to 2004, whenhe left the job due to focal dystonia, a neurologicalcondition affecting the muscles inand I had the pleasure of hearing him performlive in Kitchener a couple of years ago).In addition to composing, Vivaldi alsotaught music at the Ospedale della Pietá,an orphanage for girls in Venice. In theinsightful liner notes with this recording,Klein suggests that these works were perhapswritten for these girls, with their particulartalents and personalities in mind. Given thetechnical challenges of these concerti andthe limitations of the oboe of the time, ifthis is true, these girls must have been trueprodigies! Speculation aside, this recordingpresents these works in their best light,played here by a true virtuoso. Klein’stechnical mastery of the instrument isstaggering – even the most virtuosic passagesan impression of total ease; and embeddedwithin the most technically demandingsections, Klein manages a sensitivity andsubtlety of expression that only a truemaster can convey. This recording deservesundivided listening attention to fullyappreciate the complexity and nuance ofperformance.—Karen AgesJ.S. Bach – Organ WorksNicolas-Alexandre MarcotteXXI-21 Productions; XXI-CD 2 1713Organist Nicolas-Alexandre Marcotteorgan built in 1973by Karl Wilhelm forÉglise Saint-Matthias(Montréal). It is entirelymechanical (tracker action)and voiced in thevery best Baroque style. Marcotte’s repertoirechoice (some duets, a Fantaisie, a TrioSonata, etc.) is far from standard Bach butcarefully chosen to demonstrate the Baroquekeyboard technique of note detachment, thevery antithesis of the Romantic tendency forlegato in nearly everything. The playing isbrilliant and the acoustics perfect – an altogetheroutstanding recording achievement.—Alex Baran62 thewholenote.comFebruary 1 - March 7, 2011


CLASSICAL AND BEYONDMozart – Piano SonatasRobert SilvermanIsoMike 5602 (www.isomike.com)If we acceptHans von Bulow’sdecree to pianiststhat “Bach is theOld Testament andBeethoven is theNew Testament ofmusic,” where doesthat leave Mozart?As a kind of musical John the Baptist?But if Mozart has been relegated to therole of a pianistic voice crying in the wilderness,it’s not the composer’s doing, but thefault of the musical world. Some pianists,such as Glenn Gould, have disdained hispiano music as lightweight. Others, such asAlicia De Laroccha, have unwittingly givencredence to this view by performing Moz-there are folks who feel that Mozart’s pianomusic needs to be performed on a periodfortepiano – as if he can’t quite compete with“important” piano composers when playedon a modern instrument.Enter Robert Silverman, the Vancouverbasedpianist who has earned a reputationas a Beethoven interpreter with a penchantfor complete sonata cycles. Now, in this seven-discboxed set on the audiophile IsoMikelabel, Silverman has recorded all 18 Mozartsonatas, and also the Chromatic Fantasy inC Minor.What makes these performances so consistentlyengaging is the breadth he bringsto his interpretations. He’s not out to directlyoverthrow traditional ideas about Mozart,but rather to enfold them within a broadervision: while there’s sometimes a “Mozartkugel”sweetness to his playing, there’s muchmore than that. In Silverman’s hands, thismusic is dramatic, humourous, effervescent,calm, blissful, tragic, and many other thingsas well.For instance, there’s Sonata No. 15,which Silverman, in his notes, describes as“the most curious work in Mozart’s entiremovement begins as a lively romp, but withiblesteel. The second movement is less complex,perhaps, but inward-looking and carefullyshaped. And the last movement is pureinnocence and charm – until the changefrom major to minor brings just a touch ofwistfulness.The only non-sonata on these discs, theC Minor Fantasy, is no less impressive. Contrastsare sharply drawn, intensity builds andrecedes, colours range from light to dark,and the music is always going somewhere.Sonically, these discs are as clear as abell and as pure as the driven snow. Andspeaking of Glenn Gould (whom I mentionedfour paragraphs back), can Silverman beheard very quietly humming in some lyricalpassages? It sounds like he might be.—Colin EatockBeethoven – The Symphonies& The Beethoven ProjectDie Deutsche KammerphilharmonieBremen; Paavo Järvi; Christiane Oelze;Annely Peebo; Simon O’Neill; DietrichHenschel; Deutscher KammerchorSONY 86977814396 (4 DVDs) “As long as wewill be performingthe Beethoven symphoniesthey willalways be slightlydifferent. Thereis no way of makingan identical performance...it simplydoesn’t work that way. Oneofthethingsthatthings thatI value most by doing those cycles is that Ifeel that the next one can be a little bit betterbecause I have learned something from theone before and I feel that I know how to dothem better and I feel that the orchestra andI have a closer communication because we’vebeen through this process.”Paavo Järvi and the Deutsche Kammerphilharmoniehad already recorded theBeethoven Symphonies for CD release over aperiod of four years from 2004-2008. Thoseperformances had positive reviews and I wasvery impressed by the clarity and energy ofthe playing and the hard-edged recording.The new cycle on DVD was recorded notin four years but four consecutive days, September9-12, 2009 in the Beethovenhalle inBonn. It is plain to hear that the ensembleis far more engaging and persuasive. Thethrilling live performances are both inspiredand inspiring, a tribute to Järvi’s panacheand inspiration; they glow from within... arefreshing experience. The sound dynamics,whether heard in stereo or 5.1 surroundsound are exceptional, as they must be here.Play the extra DVD, “The Beethovenhow this event came together and also get toknow a few of the players and experience theorchestra’s general camaraderie. More valuableare the rehearsal excerpts in which Järviworks with the players on matters of tempi,phrasing, dynamics, and balance and illustratesBeethoven’s sense of humour. Later,one of the players relates a conversation betweenplayers on the last day as to whetherthey should play it safe in the Ninth. Theydecided to go all out and hold back nothing.I promise that even the most jaded listenerwill be listening with new ears.—Bruce SurteesWidor – Complete Organ SymphoniesJean-Guy Proulx, Gilles Rioux,Benjamin Waterhouse, JacquelinRochette, Jacques BoucherXXI-21 Productions; XXI-CD 2 1720Organ recordingsare as muchabout the instrumentas they are aboutthe performer andthe repertoire, soit’s often hard to saywhat should reallyget top billing. XXIpresents us with a complete set of Charles-Marie Widor’s 10 (Organ) Symphonies per-different instruments built by Canada’s CasavantFrères of Saint Hyacinthe, Québec. Thisset is a substantial document. It illuminates aunique period of French music history in theearly 20th century when advancing technologyhad a huge impact on pipe organ building.New materials, better mechanisms andityto design “orchestral” instruments withbroad palettes of colours. Moreover, a growingbody of organ works in this “orchestral”genre was waiting to be heard and Widor’s10 symphonies are among the best to illustratethis phenomenon. These six CDs offermany outstanding examples of how skilfulorganists can register (colour) the complexinner voices of Widor’s writing. Some remarkablehighlights deserve special mention.Symphony No.1 is a collage of contrastingdynamics and colour. Organist Jean-GuyFebruary 1 - March 7, 2011 thewholenote.com 63


Proulx plays the 1921 Casavant restoredin 1979 by Guilbault-Therien (CathédraleSaint Germain de Rimouski) and makesthe the most memorablemovement. Proulx also plays the SymphonyNo.4 in what is the most skilfully registered(tonally coloured) and virtuosic performancein the entire set. Superb.Benjamin Waterhouse performs SymphonyNo.2 at Cathédrale Saint Hyacinthe onone of Casavant’s earliest instruments (1885,rebuilt in 1978). The fugal 4th movementScherzo is a playful dance of solo reeds andSymphony No.3 is played by GillesRioux on a 1964 Casavant, rebuilt in 1990 inthe Basilique Notre-Dame-du-Cap, Cap-dela-Madeleine.The 2nd movement Minuettois an utter delight and the 3rd movementMarche is simply explosive!Organist Jacquelin Rochette plays the1943 Casavant (rebuilt 1995) in Église Saint-Roch, Quebec City. Her performance of theSymphony No.5 features the famous Toccataevery organist either plays or wishes theyplayed better. Her Symphony No.6 Finale iseven more spectacular and shows Widor athis rhythmic and inventive best.Symphonies 9 and 10 are both more compactworks with fewer movements. OrganistJacques Boucher has the advantage of playingthe 1995 rebuild of the 1915 Casavantin Église Saint-Jean-Baptiste de Montréal.Of all the organs this one seems most solidlyin tune throughout its entire set of ranks.Most others show some minor tuning issues,though not serious enough to detract fromtheir performance.—Alex BaranEditor’s Note:selections from the XXI-21 organ catalogueon our website: www.thewholenote.com.Universal Music Canada, distributor forXXI-21, tells us that the label’s product isavailable at L’Atelier Grigorian(www.grigorian.com).Brahms – Handel Variations;Rhapsodies; Piano PiecesMurray PerahiaSony 88697794692Brahms – Works for Solo PianoStéphan SylvestreXXI XXI-CD 2 1717As youthful inappearance as pianistMurray Perahiamay be, he is nowrightfully regardedas one of the veteransof the concertstage,havingenjoyed a successfulinternational careerever since makinghis debut at NewYork’s CarnegieHall in 1966. Hisrecordings covermost of the majorrepertoire, yet forsome reason, theentlyin his creative output. (Perhaps he feltthat Bach was better suited for his recurringreturned to the master from Hamburg in thisSony recording which features the HandelVariations, the two Rhapsodies Op.79, andtwo sets of Piano Pieces, Opp.118 and 119.From the very opening measures of theHandel Variations, the listener senses thatthis disc is a winner. True to his pianisticstyle, the playing is controlled, elegant, andcidedlyBrahms for the 21st century, cleanand straight-ahead without being fussy and-of piano pieces Op.118. And I also found thetone a little bright – a little more bass please!But this is the Perahia we have come toknow and respect, at all times allowing themusic to speak for itself.From a veteran, we go to music ofBrahms as performed by a young Canadianartist, Stéphan Sylvestre. Currentlyon faculty at the University of Western Ontario,Sylvestre is a graduate of the Universitéde Montréal and the Glenn GouldSchool. He was twice a prize-winner at theJeunesses Musicales of Canada, and also awinner at the Prix d’Europe, the CanadianMusic Competition, and the Montreal SymphonyOrchestra Competition. This CD, onthe XXI label, is his fourth, and features theBrahms Ballades Op.10, and the two sets ofPiano Pieces Op.118 and 119. In contrast toPerahia’s no-nonsense interpretation, Sylvestre’sapproach is much more romantic,but equally appealing. His playing is introspectiveand thoughtful, imbued with a deepsensitivity. Tempos are considerably morelanguorous, and he produces a wonderfullywarm and resonant tone from the instrument.If this is Brahms for the 19th century, so beit – Sylvestre’s masterful performance is awelcome presence in our sometimes harshand too technologically advanced world.So for all lovers of Brahms’ piano music(and there should be many), these are twotionsto the catalogue.—Richard HaskellMahler – Symphony No. 4; Ruckert-LiederMagdalena Kožená; Lucerne FestivalOrchestra; Claudio AbbadoEuroArts 2057988Mahler – Des Knaben Wunderhorn;Adagio from Symphony No. 10Magdalena Kožená; Christian Gerhaher;Cleveland Orchestra; Pierre BoulezDeutsche Grammophon 477 9060These twoexceptionalperformances canbe counted amongthe crown jewels ofdiscs celebrating thelegacy of GustavMahler. The mezzosopranoMagdalenaof exceptionalintelligence andsensitivity wellknown for herartfully calculatedinterpretations,features in bothperformance of the Rückert-Lieder withthe superb Lucerne Festival Orchestra.This hand-picked ensemble of Europe’sClaudio Abbado’s direction and possessesa clairvoyant ability to respond instantlyto his minutest gestures. Their stunninglive performance of the Fourth Symphonycaptured here on a EuroArts DVD isa miracle of gracefulness, though themacabre sarcasm of this most accessible ofMahler’s symphonies is equally pointed.The highlight of this disc is the beautifully ablebaritone Christian Gerhaher in twelveselections from Mahler’s Des KnabenWunderhorn song cycle on the DeutscheGrammophon label. This is a live performancewith The Cleveland Orchestra and completesthe cycle of Mahler’s orchestral worksrecorded by Pierre Boulez over the past 15years with various orchestras. Unfortunatelythe rustic charms and barnyard humour ofthese early songs of Mahler’s do not seemparticularly well suited to the über-urbaneBoulez, who adapts some curiously straitlacedtempos and, with the exception of64 thewholenote.comFebruary 1 - March 7, 2011


Gerhaher’s chilling account of the militantmasterpiece Revelge, delivers a generallymundane though admirably dapper performance.Boulez redeems himself utterly howeverwith his supple, near-ideal rendition ofthe posthumous Adagio from the incompleteTenth Symphony. This highly chromatic,searching movement culminating in a shattering,ten-note dissonance points to the futureand as such is clearly dear to his heart.The Cleveland Orchestra yet again distin-—Daniel FoleyUrban VariationsThe Junction TrioIndependent TJTCD20110(www.myspace.com/thejunctiontrio)In their coverphoto they look grittyand hard-edged,staring expressionlessinto the camera,in the style of punkrockers. A part ofJamie Thompson’sUrban Flute Project,which has a history of fseekingoutunusualunusualurban performance spaces, where acousticstrump décor, this presentation of theJunction Trio seems appropriate enough.Even a cursory listening to the CD, however,reveals that art trumps the visuals, withaccomplished readings of music by Bach,Borodin, Haydn and Vivaldi.The highlights of the CD for me, however,were the two compositions by the trio’sis his arrangement of Radiohead’s song,Where I End and You Begin, which it is nomistake to refer to as a “composition.” In thetradition of so many composers, Scheininrock concert beginnings – contemporary“folk?” – and transformed it into an exquisitepiece of chamber music, which, to myears anyway, sounds more contemporarythan the original! In his other work on thedisc, Flutter, built on a repeated ostinatopattern introduced by the unaccompaniedother instruments, including percussion,played by the ensemble’s versatile cellist,Lucas Tensen. Best of all in these two worksby Scheinin, the players seem most at homeingbehind the sounds. Kudos to the JunctionTrio for bringing us something that is bothclassical and contemporary.—Allan PulkerThere’s more on the web!Check thewholenote.com formore reviews by Alex Baran,Geoff Chapman, BruceSurtees, and Ken WaxmanStrings AttachedDESPITE HIS UNDISPUTED talents,I’ve always been a bit unsure of howI feel about the playing of the Frenchviolinist Renaud Capuçonstarted listening to his new 3-CD set of theBeethoven – Complete Sonatas for Violin& Piano with Frank Braley (Virgin Classics9 64200 1) I didn’t think that was goingto change, but I was wrong. True, theearly Op.12 sonatas do seem to get off toa lacklustre start, but Capuçon and Braleyhave been working on this project for 14years, and it soon shows. The second CDopens with a beautifulreading of the“Spring” sonata,and the qualitynever lags. There’s aminor – and a marvellous“Kreutzer”,with a particularlysuperb opening movement. ment Throughout,tempos seem perfectly judged, and there’s awonderful range of dynamics. The balancesiblya bit far back, but it actually enablesthe individual players to be clearly heard,and their obvious understanding to emerge.And what an understanding it is. I realized Ididn’t know some of these sonatas as well asI thought; this outstanding set is a tremendousand welcome way to put that right.You only have to listen to Mozart’s stringquintets to appreciate that the string quartetdoes not have sole claim to the ‘perfectstring family’ designation, and the samecomposer’s Divertimento in E flat K563, forViolin, Viola and Cello, proves conclusivelythat ‘one less’ can be just as satisfying as‘one more’. Violinist Frank Peter Zimmermannonly formed the Trio Zimmermannwith violist Antoine Tamestit and cellistChristian Poltera in 2007, but their playingon this Super Audio CD (BIS-SACD-1817) issimply remarkable;you would thinkthey had spent a lifetimeplaying together.Despite its title,this Divertimento isa large-scale stringtrio. A maturework from 1788,TERRY ROBBINSits 6-movement structure turefollowsthatofthethat of thewhimsical Divertimento popular in Vienna atthe time, but musically and emotionally it’sin a different world. The Mozart scholar AlfredEinstein went so far as to call this workmanifested itself in this world.” Listeningto this enthralling and beautifully recordedperformance, it’s hard to disagree. Schu-single Allegro openingmovement fora work started andabandoned in 1816 –completes a marvellousCD.When I saw thatthe latest CD fromCanadian violin sensationJames Ehnes was the MendelssohnViolin Concerto (ONYX 4060)thought was “Do we really need another recordingof probably the most popular – andmost frequently recorded – concerto in therepertoire?” Well as it turns out, yes, we do.The Mendelssohn is also probably the mostperfect of all violin concertos, and simplycan’t be avoided by any player who reachesthe top rank. The real challenge, of course,the music speak for itself. This CD reunitesEhnes with the Philharmonia Orchestra,partners in his 2007 recording of theElgar concerto, but this time with VladimirAshkenazy conducting. The qualities mostoften mentioned in Ehnes reviews – his impeccabletechnique and sumptuous tone – arefully evident here in another top-notch performance.Ehnes joins forces with membersof the Seattle Chamber Music Society for asimply astonishing work written for doublestring quartet when Mendelssohn was only16. Both performances were recorded live inconcert, the concerto – with an occasionallymuddy orchestral sound – at the WarwickArts Centre in the UK, and the Octet atBenaroya Hall in Seattle.It’s somewhatsurprising that theYsaÿe Six Sonatasfor Solo ViolinOp.27 aren’t betterknown. EugèneYsaÿe – a colossusof a performer, inall respects – isist,and the sonatas, written in 1923 when hewas 64, not only summed up the polyphonicachievements of the preceding 200 yearsbut also introduced new techniques thatof – a colleague of Ysaÿe’s: Joseph Szigeti;Jacques Thibaud; George Enescu; FritzKreisler; Mathieu Crickboom; and ManuelQuiroga. Consequently, they differ greatlyin form and content, but this simply makesthe startling originality and individuality ofthese remarkable works even more apparent.February 1 - March 7, 2011 thewholenote.com 65


on CD, albeit by few of the really elite performers.The Swiss violinist Rachel KollyD’Alba provides all that you could possiblyask for on Passion Ysaÿe (Warner WCJ 256468385-5), combining a dazzling techniquewith a sensitivity and artistry that earned herthe stamp of approval from Jacques Ysaÿe,the composer’s grandson.MODERN & CONTEMPORARYElectrologosJoseph PetricConAccord (www.josephpetric.com)We’ve comea long way sinceCanadian scientistHugh LeCaine(1914-1976) inventedthe “ElectronicSackbut”, thecontrolled synthesizerin 1945. Live electronic art was born, andthe three electroacoustic composers featuredon accordionist Joseph Petric’s new releaseall play homage to LeCaine in their artisticmanipulations.Take a listen to current mainstreampopular music on the radio – all the sametweaks, loopings and sounds can be heard on“Elektrologos” too. Bob Pritchard’s Breatheon Me (O Breath of God...) is an etherealsoundscape. Larry Lake’s early boomingSticherarion shows the composer experimentingwith technology while his laterwork, Fractals is more of a techno-chamberwork. Finally the great Orbiting Garden byChristos Hatzis is a sound explosion – Petriclines. This is the powerhouse performanceand piece.Accordionist Joseph Petric is an accomplished,sensitive and intelligent musicianwho has an international following bothrecorded output. He can play any style, butdon’t get me wrong, he is really in his elementin the world of electroacoustic music.He absolutely shines – it is especially hisimpeccable bellows control that shapes thedynamic interplay between accordion and“sound machines” here.A thousand raves to Joseph Petric andthe composers. This is an accessible andculturally important aural experience to beheard time and time again.—Tiina KiikGiacinto Scelsi – Piano Works 4Stephen ClarkeMode 227 (www.moderecords.com)Giacinto Scelsi (1905-1988) was aremarkable Italian innovator. His musicis dissonant, improvisational, and oftenunorthodox rhythmically.StephenClarke’s virtuosityand artistic sensitivityare both evidenton this disc of 1930spiano music byScelsi.The triptychHispania- co guitar as it fans out from the pitches E-F.Clarke handles the “thrums,” ornaments,and “damped” tone clusters with panache.The wonderful slow movement starts at aslow tread, like a quest in the dark, and thenbecomes more agitated. Contrasting white-slow chords effect peaceful closure.I particularly enjoyed Suite No. 5,“The Circus” (1935). These miniatures areappropriately gestural, at times dance-like.The 5th piece has a profusion of acrobaticarpeggios, leaping up higher and higher untilthey cover the instrument’s full range. The6th is a tarantella like no other that rumblesin the depths! The last piece to me has hintsof fascist marches at a time when World WarTwo approached. Clarke captures well thework’s whimsical and sometimes childlikesensibility.Suite No. 6 (1939) has intriguingmoments, though Scelsi’s trademark fastrepeated notes here seem excessive. YetClarke has mastered them, as well asslightly each time. Recorded in Berlinand Toronto, the disc is a labour of lovewhose recording quality equals that of theperformances. I look forward to more Scelsias the Mode Edition unfolds.—Roger KnoxCosmophonyRachel Kiyo IwaasaRedshift Records (www.cosmophony.com)Canada isblessed with a remarkableroster oftalented pianistswho are dedicated tochampioning workby our country’scomposers. We canadd Vancouver’sRachel Kiyo Iwaasa to othatroster roster. Asherbio says, she has “a shameless passion forcontemporary music” and it shows on thissolo debut for the Redshift Music Society.liner notes, is a noun built on Greek rootsand literally means “sound of the cosmos.”It is also the banner under which Iwaasaunites her favourite Canadian composersto create a recital album inspired bythe planets. Completed over three years,“Cosmophony” starts with Denis Gougeon’sPiano-Soleil and extendsout across the solar system in a series often works from West-Coast composers,nine commissioned by Iwaasa expressly forthis project. She has selected her contributorswell, among them Rodney Sharman,Jeffrey Ryan, Marci Rabe, Jordan Nobles,Jennifer Butler and Emily Doolittle. Theyall use juxtapositions of science, mythologyand astrology to depict their selected planetsand amplify their individual voices. FromSharman’s truly mercurial Mercurio dal CielIn Terra to Rabe’s intimate yet eerie Venus,and from Ryan’s scintillating Saturn: Studyin White to Butler’s submerged sonics ofNeptune, Iwaasa covers a range of moodsand styles with great mastery. Noticeablyabsent is Pluto, which was delisted as aplanet during the project’s development.It’s replaced here with Doolittle’s optimisticbut ominous Gliese 581, evoking a distantplanet we had hoped inhabitable. Matching“Cosmophony” with George Crumb’s ambitiousMakrokosmos Volume II: 12 FantasyPieces after the Zodiac is a brilliant touchof programming, not only for its showcasingof Iwaasa’s full virtuosity – calling on arange of extended techniques – but also forits counterpoint to the more traditional techniquerequired by the Canadian collaborators.Excellent recording quality and lovelypackaging make this a strong release.—Jason van EykThe Minimalism of Erik SatieVienna Art OrchestrahatOLOGY 671 (www.hathut.com) Re-orchestratingthe quirky compositionsof ErikSatie (1868-1925)may seem peculiar,but that’s whatconductor MathiasRüegg and the10-piece ViennaArt Orchestra (VAO) do with élan on this75-minute CD. Over the past 33 years, theVAO has effected similar transformationson the music of other composers such asStrauss, Brahms and Gershwin, not to mentionmany of jazz’s greatest themes. Herethe procedures emphasize the pared-downand folkloric tendencies found in the musicof France’s Satie, a transitional composer,presaged experimental sounds.Recasting the music of a composerknown for his piano works, Rüegg’s arrangementsfeature no pianist, instead relying onthe VAO`s soloists to put a personal stampon Satie. for instance,revolves around Lauren Newton’ssqueaky scatting and Karl Fian’s whinnyingand slurry trumpet lines. , balances Harry Sokol’slanguid soprano saxophone solo on an undertowof mid-range brass and vibraharp textures.More radically, a composition such as becomes aromping circus-styled exposition with joyfulcontrapuntal rhythms courtesy of Wolfgang66 thewholenote.comFebruary 1 - March 7, 2011


Puschnig’s Arabic-sounding sopranino saxophoneand the reverberations from WolfgangReisinger’s tarabuka or goblet drum.Rüegg’s transformation of Satie’s worksas pared-to-the-bone minimalism is mostapparent on the three variants on Vexationswhich the composer wanted performed slowlywith many repetitions. Since one tracklasts more than 23 minutes and the other twoeither side of nine, the VAO adds neededemotion to these exercises courtesy of, inone instance Newton’s melismatic vocalese,and in another Roman Schwaller’s sensualtenor saxophone lines.—Ken WaxmanJAZZ AND IMPROVISEDSophisticated LadiesCharlie Haden Quartet WestEmArcy 2750816 (www.emarcy.com)Grammy AwardwinningbassistCharlie Hadenand his singer/wife Ruth Cameronhave married twoof their loves on“SophisticatedLadies” – classicsongs by American composers and contemporaryfemale jazz singers. These aren’t somuch the hard-core jazzers of today as theyare the beautiful balladeers such as MelodyGardot, Cassandra Wilson and Diana Krall.Neither are these tired standards; Haden andCameron have chosen some lesser-known butgorgeous songs with lyrics a girl can reallywrap her voice around. An interesting additionto the roster is operatic soprano RenéeFleming. Her big, rich voice and ability todeliver a lyric, along with Alan Broadbent’slush yet restrained string arrangement andsax master Ernie Watts’ plaintive tenor lines,turn A Love Like This into an ode to thebeginning of a love affair that works itselfall the way down into your chest cavity andwon’t get out.Another standout on the disc is Ill Windwhich Norah Jones’ warm, throaty deliveryimbues with just the right amount of fatalismto let us know things are going to get bad,but nothing we can’t handle. Interspersedwith the vocal tunes are instrumentals by the1986. To counterbalance the down-temposof the ladies, the men give us some boppystuff like Wahoo where they can stretch outa little but not as far out as they would havein the days when Haden played with OrnetteColeman and John Coltrane. The disc as awhole has an appealing 60s noir feel justright for a cool yet contemplative evening oras backdrop to a “Mad Men” style cocktailparty with hipster friends.—Cathy RichesSomething in the Air | Global CombosGLOBALIZATION, mass communicationand travel have created situationswhere standardized hamburger pattiesor drum beats can be experienced anywherein the world. Yet increased mobility in the21st Century also allows like-minded musicianswho live in different cities, countriesor continents to instigate regular workingensembles.This situation is particularlypronounced among improvis-instance is captured on MorningGlory (Maya Records MCD 1001www.maya-records.com) bythe trio of Augustí Fernández,Barry Guy and Ramón López.Although listening to the sensitive cooperationexhibited on the two CDS whichmake up this outstanding set suggests thatthe three members of the trio are inseparable,it’s not so. Pianist Fernández lives inBarcelona, bassist Guy in Switzerland anddrummer López in Paris. Here materialis divided among group compositions andthose written by the pianist or the bassist.A prime example of López’s sensitive accompanimentoccurs on Perpetuum Mobilewhere his press rolls back the pianist’s kineticpitter-patter and tremolo chording whichOUTSTANDING saxophonist and composerQuinsin Nachoff spends moretime in New York than in his nativeCanada, releasing cutting-edge albumsunderlining the key niche he now occupiesin contemporaryjazz. His latestQuinsin NachoffFoMo (Musictron,www.quinsin.com),with FoMo standingfor ‘forwardmotion’, is just that,delivering almost 80minutes comprising eight of his compos-itions that are splendid examplesof imagination, wit and daringyet show keen understandingof jazz traditions. Big Appletrumpeter Russ Johnson is thebright foil to Nachoff’s tenor, whilefellow Canucks (sinewy keysmanAdrean Farrugia on Fender Rhodesand drummer Mark Kelso) alternatelymassage and bruise rhythms. hms.The sound echoes provocative OrnetteColeman foursomes but with marginallysofter surfaces and an inclination to sneak inKEN WAXMANevolves in double counterpoint with Guy’sdobro-like twangs or bow taps against hisinstrument’s wood. Meanwhile A SuddenAppearanceencompassing Fernández’s outlined singlenotes, Guy’s screeching sul ponticellosprawls and López’s rat-tat-tats. Other piecessuch as The Magical Chorus and most of thesecond CD, recorded live in awith splashes of pianistic colorperfectly matched with vibratingcymbals, bowed strings or staccatoplucks that presage cascadingkeyboard runs. Fernández’sAurora suggests an Iberian takeon Hispanic rhythms, with thetremolo patterns revealing keyboard notes inrapid succession, yet with the line stretchedenough to keep the impressionistic narrativechromatic. Guy’s contrapuntal retort featuresscraped and stropped strings while the percussionundertow is mostly rim shots and thesounds of crushing crisp paper.Reviews of more global cooperation involvingCanadian reedist Philippe Lauzierwith German cohorts; a Hungarian-Francecombo; and a Polish-Ukrainian-German-American quartet can be found on our websiteat www.thewholenote.com.It’s Our JazzGEOFF CHAPMANpop-rock tags – and it thrills – the Rhodessurprisingly effective. On Devil’s Advocatethe leader energetically tests new ideasalongside vigorous trumpet, Odyssic sayswhile the title track surges, its snaky linesurgently counterpointed. Mellow creationssuch as Three Trees and the surreal AstralEcho Poem allow dramatic contrast beforethe folksy rumble of African Skies concludesa session superbly shaping new musicalscenery.The diverse talents of elite Montrealjazzers is on show on Jazzlab – OctoPortraits (Effendi FND107 www.effendirecords.com), the octet’sfourthsuch outing featuringstrong charts and stirring soloing.Power saxist Frank Lozanoseems to lead with his assertive,technically accomplishedwork, but everyone deservesmention, each contributing atune and solos – take bow. Saxmen RemiBolduc and Alexandre Côté, trumpeter AronDoyle, trombonist Richard Gagnon, pianistJohn Roney, bass Alain Bédard and drummerIsaiah Ceccarelli. Tracing The ChainFebruary 1 - March 7, 2011 thewholenote.com 67


is Lozano’s chance to wave the avant-gardemoderated by Doyle’s sunny tones, Bolduc’sMrs BB has an intriguing narrative, Côté’sPhil’s Spirit is a bravura blast with sturdytrombone and tough tenor and the intenseRoney revels in outside play on Trois Recitsde Voyage.Drummer MarkMcLean could callToronto home butseems permanentlyon tour performingwith a multitude ofmusic’s elites. Hisself-produced indieCD Mark McLean– Playground (www.markmclean. com)pictures an über-assured, relaxed jazzerwho’s unquestionably the boss of a Hogtownband featuring guitarist-for-all-tastes KevinBreit while also drawing on the considerableabilities of busy saxman Kelly Jefferson,bassists Marc Rogers or Pat Kilbride pluspianists Robi Botos or David Braid. Alwayscontrolled, all the way from cerebral toappealing, his nine (of 10) compositionscatchy and very much of our time, someobviously referencing his appearances withsingers. Breit is a versatile force throughout,always in the middle of ominous rockinggrooves and ruminative forays as McLeanconjures rhythmic intricacies for everyfeel. Lots to like here.Toronto veteranAlex Dean has adeserved reputationas an excitingplayer on tenor whowas most familiarromping throughthe changes withblistering phrasing,heated blasts and pinpoint point timing. It’sbeen a very long time since he’s recordedas leader, and Alex Dean Quintet – AtThis Point (Cornerstone CD 134 www.cornerstonerecordsinc.com) comes upglorious over-the-top solos. Dean penned theon three of them from immaculate, elegantwork by guitarist Lorne Lofsky. There’s alsopredictably solid support from pianist BrianDickinson, bass Kieran Overs and drummerTed Warren. Mostly you hear warm,away, the playing crafty as a fountain ofideas is explored – on the title track hebustles from mellow to meaty after offeringcharged-up swing, then shows more of hisold self on Mr.B.C. and too-short vintagemayhem with Warren on Pat and Pat.Read more Geoff Chapmanonline at thewholenote.comOld Wine, New Bottles | Fine Old Recordings Re-ReleasedErica Morini was not merely one ofthe greatest female violinists but oneof the greatest. Born in Vienna in1905, of a father who studied with JosephJoachim, at age eight she was the youngestConservatoire. Her artistic individuality,unique sonority and singing qualityfrequently outdid Heifetz and Oistrakh. Herplaying successfull blended old-style charm(Kreisler, Elman), the technical perfectionthat prevailed from the middle of the 20thcentury, and a good measure of her ownindividuality. Audite has released an excellentCD featuring the Tchaikovsky Concertoin D major (audite 95.606). She has otherrecordings of thisconcerto but hereshe is supportedby Ferenc Fricsayand the RIAS-Symphony, live inthe Titiana Palace,Berlin in 1952.Brilliant performancesof shorterworks by Tartini,Vivaldi, Kreisler,and Brahms,accompanied byMichael RaucheisenGreat sound fromDeutschlandradio’sarchive tapes.Jascha Horenstein fans will be happy toknow that hot on the heels of the BeethovenNinth DVD, DOREMI has issued Volume2 of their Horenstein series containing thePrelude and Carnival from Korngold’s 1916opera Violanta, Shostakovich’s SymphonyNo.1 and Hindemith’s Symphonie Mathis derMaler (DHR-7998). (After a few bars of theKorngold, I saw, in my mind’s eye, a pas-Kings Row.Of course! Korngold wrote the soundtrackscore, expanding the 1916 overture to suitconductors of his day, was never chief conductoror music director of an orchestra. TheKorngold and the Shostakovich are with theRoyal Philharmonic, both in excellent stereorecorded in 1965 and 1970 respectively. TheHindemith with the Paris Radio Symphonyis a live performance from 1954. Missing theersare doing their very best... Really quiteinspiring.From the early decades of the 20th CenturyBritain had an impressive array of home-cludingThomas Beecham, Henry Wood,Hamilton Harty, John Barbirolli, EugeneBRUCE SURTEESGoossens, Malcolm Sargent and, of course,Adrian Boult. Boult’s monumental recordedlegacy was well captured by HMV and Deccabut smaller companies, such Pye, Lyritaan undertaking was the Nixa/Westminster’sstereo sessions with the London PhilharmonicOrchestra over a period of six days in August1956. The second set of 3 CDs fromFirst Hand Records contains the four SchumannSymphonies and eight Berlioz Overtures(FHR07). The sheer energy and qualityof the playing are astonishing, as are Boult’srousing tempi and revealing instrumentalbalances: the kind that bring a smile to yourface. The digital transfers of the analog mastertapes were doneat Abbey Road Studiosby Ian Jonesand retain the fullimpact and weightof the originals,adding to the credibilityof the performances.Thisis a superb set inevery respect andan essential acquisitionfor Schumannlovers.I compared thisset to a reissue onDG Originals of the1963/64 recordingsof the Schumann Symphonies with RaphaelKubelik and the Berlin Philharmonic (DG4778621, 2 CDs). Kubelik’s polished interpretationsof the works differ from Boult inthat they are quite stately with the conductor’sear for orchestral balances putting thelie to the persistent belief that Schumann’sorchestrations were dense and should be reworked.(In fact, Gustav Mahler did do somere-orchestrations.) The latest digital processingis impressive with meticulous details.But for me, the Boult set gets the vote forboth performance and sound.There’s more on the web!Check www.thewholenote.com for morereviews: Bruce Surtees delves into anotherOriginals reissue (von Karajan) and fromthere into some irresistible hybrid SACDs;Alex Baran continues his exploration ofrecent XXI-21 organ releases by JacquesBoucher and “Musique française pour violonet orgue” with Boucher and Anne Robert;Geoff Chapman looks at new releases fromMr. Marblesz and David Braid with theCanadian Brass; and Ken Waxman’s takeson international collaborations by a Polish-Ukrainian-German-American quartet,a Paris-Budapest combo and a trio fromCanada and Germany.68 thewholenote.comFebruary 1 - March 7, 2011


BADER-BOUND… AND THEN? continued from page 9Quantum Leap – Honens Shows the WayQuite the coincidence, I’d say. This story is about a small, localmusic competition, and what it is doing to pave the way for tomorrow’smusical best. This very morning (Mon Jan 24), sitting herepondering how to conclude that story, I received a release from theCalgary-based Honens International Piano Competition to say theyare upping their top prize for the 2012 edition of their triennialinternational competition for emerging pianists,to a world-leading $100,000. It is anamount that will make a lot of people sit upand take notice. But just as noteworthy asthe cash (and in my view more interesting),are the “strategic enhancements,” also announcedtoday, to the rules of the Honenscompetition.In 1991 philanthropist Esther Honens establishedthe Competition with a $5-millionendowment. Her dream? “To create a stagein Calgary, and in Canada, for the world’s most promising pianists.”Since the beginning, the Honens has been a pioneer among competitionsin delivering a comprehensive artistic and career developmentprogram to its laureates. While the enhancements announced todayseem to deal with small nitty gritty issues in respect to “pianist eligibility,competition length, jury composition, pianists’ requirements,and the cash and artistic and career development awards,” cumulativelythey point the direction for the Honens to pursue its goal ofAs they explain it: “Competitions and conservatories now discoverand graduate an abundance of potential professionals. But withlimited performance opportunities posing challenges to emergingartists, some musicians are in danger of becoming ‘career competitors’who rarely have an opportunity to discover their own musicalpersonalities. With these enhancements, the Honens Competitionserves as a meaningful audition process that the world’s musiccommunity respects and on which it increasingly relies to delivermusicians who have great career potential.” one that may be hardest to implement, namely that “professionallymanaged pianists may no longer take part in the 2012 Competition.”The rationale is that “pianists with professional representation havealready made big steps in their careers by securing management andtherefore cannot take full advantage of Honens’ three-year Artistic& Career Development Program.” (And, believe me, it’s not anartistic and career development program to sneeze at – add to the$100,000 cash prize, three years of major debuts, return concerts,So, this new rule states that a Honens Laureate will only betheir award (and would still be managed jointly for the remainingBader-bound... and then?two years). But it is frankly a bit hard to envision young artistseven making it through the rigours of a Honens application withoutsee further tinkering with this particular “enhancement” (and a fairbit of disingenuousness on the part of applicants and their “handlers”in the meanwhile).First, the number of competitors, and winners, is down. In thespring 2012, only 50 pianists will be invited(down from 90 in previous competitions) toperform in “important music cities” (likelyBerlin, London, Los Angeles and NewYork). Of these, ten pianists (it used to bewill perform a 60-minute solo recital and a65-minute chamber music recital (includingcello, violin and art song collaborations).concerto of their choice with the Calgary Philharmonic Orchestra.half a million dollars (in cash and kind) closer to their professionaldreams coming true.Second, the overall timeframe for the event is shortened. Semi-26 2012, down to ten days, from 16. The shorter time frame ensuresperiod, and a heightened festival atmosphere for all concerned.Third, competitors will have to demonstrate a much more wellroundedgrasp of the complex demands of a performing career, fromselecting repertoire for their own recitals at each stage, to participatingin two interviews with a professional arts journalist, one onIn regard to the interviews, the release says “to establish a careerin music today, a pianist must have his/her unique and distinctivevoice, be a versatile musician and an effective communicator... awillingness to learn English is critical for the development of aninternational career.”And in regard to competitors selecting their own repertoire,Honens makes the challenge plain: “Applicants are advised to considereach performance a concert and to design programs with thesame care and on the same principles as for a public recital… Juriesare instructed to look for intelligent and imaginative programming.”For the young musicians on our cover, it’s a long road fromthe Toronto Sinfonietta’s February 26 Concerto Competition atthe Bader, to something like the seventh (or even eighth) triennialHonen’s Competition. But in terms of ideals and aspirations, formusicians and organizers alike, the impulses that drive the twoevents are more alike than not.And it all happens step by step.—David PerlmanPHOTO AIR’LETH AODHFINMARTINE CÔTÉJANINE MESSADIÉ9 h – 12 h / 9:00 AM – NOON12 h – 15 h / NOON – 3:00 PMRadio-Canada.ca/espacemusiqueEN DIRECT D’ICI, MAINTENANT. LIVE, HERE AND NOW.70thewholenote.comFebruary 1 - March 7, 2011


What’s Onat the TSOBeethovenEmperor Concertowith the National ArtsCentre OrchestraFebruary 5 at 7:30pmPinchas Zukerman, conductorJonathan Biss, pianoPeter Paul Koprowski:In Memoriam Karol SzymanowskiBeethoven: Symphony No. 2Beethoven: Piano Concerto No. 5“Emperor”Beethoven &TchaikovskyFebruary 10 & 12 at 8pmAndrey Boreyko, conductorGarrick Ohlsson, pianoIbert: Hommage à MozartBeethoven: Piano Concerto No. 4Tchaikovsky: Manfred SymphonyBrahms & DvořákFebruary 16 & 19 at 8pmEri Klas, conductorVadim Gluzman, violinArvo Pärt: Collage sur B-A-C-HBrahms: Violin ConcertoDvořák: Symphony No. 8The Rite of SpringFebruary 23 & 24 at 8pmVasily Petrenko, conductorAndré Laplante, pianoElgar: In the SouthLiszt: Piano Concerto No. 1Stravinsky: The Rite of SpringExposed – Beyond the Score ®Stravinsky’s Rite of SpringFebruary 26 at 7:30pmVasily Petrenko, conductorDiscover the inspiration behind one ofthe most celebrated ballet scores everwritten, complete with video illustrations,followed by a full performance ofStravinsky’s The Rite of Spring.Beyond the Score® is produced by the Chicago Symphony Orchestra.Gerard McBurney, Creative Director, Beyond the Score®.Martha Gilmer, Executive Producer, Beyond the Score®TIPPET-RICHARDSONCONCERT SEASONConductors’ Podium SponsorFeb. 16 Performance SponsorFeb. 24 Performance Sponsor416.593.4828 tso.caCONCERTS AT ROY THOMSON HALL


tsoBig Number.Bold Season.Highlights include:Itzhak PerlmanLang LangYo-Yo MaChristopher PlummerBranford MarsalisMahler’s Symphony of a ThousandMozart’s Requiemtso.ca 416.598.3375Compose Your Own five concert ticketpackage for as little as $30.50 / ticket!Lang Lang Residencypresented by:90TH SEASON SPONSOR

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