Volume 21 Issue 7 - April 2016

PRICELESS!
Vol 21 No 7
APRIL 1 – MAY 7, 2016
Steve Reich
Then and Now
LISTINGS | FEATURES | RECORD REVIEWS

CELEBRATE SPRING WITH
ZELENKA
& BACH
IVARS TAURINS
DIRECTOR
DOROTHEE MIELDS
SOPRANO
Apr 28 – May 1
TRINITY-ST. PAUL’S CENTRE,
JEANNE LAMON HALL (TSP)
TAFELMUSIK BAROQUE ORCHESTRA AND CHAMBER CHOIR
WITH WINNERS OF THE TAFELMUSIK VOCAL COMPETITION
Czech composer Jan Dismas Zelenka’s exuberant
and uplifting Missa Omnium Sanctorum is perfectly
suited for the intimate setting of Trinity-St. Paul’s,
especially when paired with Bach’s Wedding Cantata,
as sung by the luminous German soprano Dorothee
Mields. The remaining solo roles in the Zelenka
mass will be sung by the winners of the inaugural
Tafelmusik Vocal Competition: Kim Leeds,
mezzo-soprano, Jacques-Olivier Chartier,
tenor, and Jonathan Woody, bass-baritone.
TALES OF
TWO CITIES:
THE LEIPZIG-DAMASCUS
COFFEE HOUSE
DIRECTED BY
JEANNE LAMON
PROGRAMME CREATOR
ALISON MACKAY
Marshall Pynkoski | Stage Direction
Glenn Davidson | Production Designer
Raha Javanfar | Projections Designer
Maryem Tollar | Narrator & Vocalist
Alon Nashman | Narrator
May 19 – 22 KOERNER HALL (KH)
May 24 TORONTO CENTRE FOR THE ARTS (TCA)
It’s 1740, and coffee houses are the places to listen to music
and share stories in Leipzig and Damascus. Experience
the visual splendor, music, and contemporary tales of these
historic locations, as presented in an entirely memorized
programme by Tafelmusik Baroque Orchestra.
TCA CONCERT SUPPORTED BY
Margaret and Jim Fleck
FREE for ticket holders: Public lectures with
Alison Mackay, one hour before each performance
SEASON PRESENTING SPONSOR
TSP: 416.964.6337 KH: 416.408.0208 TCA: 1.855.985.2787 tafelmusik.org

MUST-SEE
SPRING
THOMAS SØNDERGÅRD,
CONDUCTOR
(APR 6 & 8)
CONCERTS
Beethoven Piano Concerto 4
Wed, Apr 6 at 8:00pm
Fri, Apr 8 at 7:30pm
Thomas Søndergård, conductor
Francesco Piemontesi, piano
Kati Agócs: Perpetual Summer
Beethoven: Piano Concerto No. 4
Sibelius: Symphony No. 1
Angela Hewitt Plays Bach
Wed, Apr 13 at 8:00pm
Thu, Apr 14 at 8:00pm
Sat, Apr 16 at 7:30pm
Peter Oundjian, conductor
Angela Hewitt, leader & piano
Bach: Piano Concerto in F Minor,
BMV 1056 (APR 13 ONLY)
Bach: Piano Concerto in D Minor,
BMV 1052
Shostakovich: Symphony No. 8
Mahler Symphony 1
Thu, Apr 28 at 8:00pm
Sat, Apr 30 at 8:00pm
Matthias Pintscher, conductor
Inon Barnatian, piano
Matthias Pintscher: towards
Osiris (CANADIAN PREMIÈRE)
Mozart: Piano Concerto
No. 24, K. 491
Mahler: Symphony No. 1 “Titan”
GET GREAT SEATS FROM ONLY $33.75
ROY THOMSON HALL | 416.593.4828 | TSO.CA

2016.2017@
KINGSTON, ONTARIO
excitement starts here.
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NEW! HUMAN RIGHTS ARTS FESTIVAL
World Premiere of
ONE LAST NIGHT WITH MATA HARI
By John Burge and Craig Walker
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Volume 21 No 7 | April 2016
FEATURES
6. OPENER | In The Cracks Between The Stones | DAVID PERLMAN
8. In Step With Time: Steve Reich, Then & Now | WENDALYN BARTLEY
10. Vesnivka at 50 | LESLIE FERENC
14. Monumental Milestones: Anticipating “Babi Yar” | DAVID PERLMAN
67. REMEMBERING | Robin Engelman | ANDREW TIMAR
68. HALFTONES HIGHLIGHTS | Peter Maxwell Davies’ Canada Connection | SARA CONSTANT
66. WE ARE ALL MUSIC’S CHILDREN | Mireille Asselin | MJ BUELL
84. ENDING | Return of The Littlest Oboe! | KAREN AGES
86. CBC RADIO TWO: Coming of Age in the 1990s | DAVID JAEGER
BEAT BY BEAT
16. Early Music | DAVID PODGORSKI
18. Jazz Stories | ORI DAGAN
20. On Opera | CHRISTOPHER HOILE
24. Classical & Beyond | PAUL ENNIS
28. In with the New | WENDALYN BARTLEY
30. Choral Scene | BRIAN CHANG
32. Art of Song | HANS DE GROOT
34 World View | ANDREW TIMAR
36. Bandstand | JACK MacQUARRIE
60. Mainly Clubs, Mostly Jazz! | BOB BEN
Featuring a 1710 Pardessus
de viole belonging to the unique
Hart House Collection at
the University of Toronto.
Most of the works on this album
are unpublished and few have
been recorded.
LISTINGS
38. A | Concerts in the GTA
54. B | Concerts Beyond the GTA
57. C | Music Theatre
59. D | In the Clubs (Mostly Jazz)
62. E | The ETCeteras
Mélisande Corriveau
and eriC Milnes
are two of the most accomplished
period stylists of their generation.
DISCOVERIES: RECORDINGS REVIEWED
69. Editor’s Corner | DAVID OLDS
71. Strings Attached | TERRY ROBBINS
73. Keyed In | ALEX BARAN
75. Vocal
76. Classical & Beyond
77. Modern & Contemporary
79 Jazz & Improvised
81. Pot Pourri
81. Something in the Air | KEN WAXMAN
83. Old Wine, New Bottles | BRUCE SURTEES
Not to be missed !
AvAilAble from
April 8, 2016
MORE
6. Contact Information & Deadlines
7. Index of Advertisers
64. Classified Ads
G R I G O R I A N . C O M
Cover Photograph Jay Blakesberg

FOR OPENERS | DAVID PERLMAN
In The Cracks Between The Stones
In the cracks between the stones, new soil gathers and waits, just
as in the interstices between clearly defined genres of music and
canons of taste, new collaborations arise; musical preferences and
practices morph and change.
Between and around and beyond and outside of our temples of
art, our cathedrals of culture, our venues custom-built for this or
that, music creeps and seeps and sprouts and shouts in new and
unexpected places.
As the clearly defined lines between the “this” and the “that” start to
erode – this is a proper concert, that is not; this is classical, that is jazz;
this is the performer, that is the audience; this is art, that is politics;
this is music, that is noise – so too, opportunities for growth, new and
hopeful, take root in the soil in the cracks between the stones.
And as those cracks widen and expand, the stones themselves, the
hard chunks of convention, of dictum and dictate and decorum, begin
to fragment under the relentless, battering, grass-root pressure of the
fact that art will always just happen to exist.
Case in point #1: Is this a concert or a what?
I wrote a note to David Goldbloom the other day. His day job is psychiatry,
at College and Spadina, within the walls of what in the neighbourhood
we still collectively refer to as “The Clarke.” He also plays
the piano and for a while, many years ago, helped steer Off Centre
Music Salons, pianists Inna Perkis and Boris Zarankin’s eclectic
concert-cum-salon series, now entering its third decade. I last got in
touch with Goldbloom in September 2005 in connection with a story I
was writing about Off Centre Music Salon for the October 2005 issue,
at the time of their tenth anniversary. Just prior to that, Goldbloom
had helped bring about, and spoken at, an Off Centre event built
around the theme of composers and their doctors – Mozart and
Mesmer; Brahms and Billroth; Rachmaninov and Dahl.
This time I wrote to him because I noticed he had just been
announced as a speaker at this year’s “High Notes Gala for Mental
Health” which takes place April 28 at the Richmond Hill Centre for
the Performing Arts. It’s an event that’s hard to describe – a blend
of speakers, professional and personal, and performers across a
wide range of musical genres – think Luba Goy, Richard and Lauren
Margison, Ron Korb and David Goldbloom and you start to get a sense
of the range. And it’s not so much a fundraiser (although it is that)
as part of the attempt to bring the conversation about creativity and
mental illness out of the shadows. “What’s changed over the ten years
since we last talked?” I asked.
“I would say that we have come a long way and we have not come
far enough” he replied. “When I spoke [at Off Centre] a decade ago,
it was about long-dead composers and their long-dead therapists,
knowledge that was already in the public domain. ‘High Notes for
Mental Health’ is not an historical exegesis as much as a bold statement
about problems facing every Canadian family now. It’s a conversation
about the present, not the past, about those people close to
us, not distant admired musicians. Today I would aim for the kind of
personal disclosure that requires both courage and candour, that illustrates
that people with talent and success – as well as those without
– can be vulnerable to the impact of mental health problems and
illnesses, without it necessarily eroding their identity or their gifts.
The WholeNote
VOLUME 21 NO 7| APRIL 1 - MAY 7, 2016
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Thursday April 28 (Print)
Volume 21 No 8 covers
May 1 - June 7, 2016
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6 | April 1, 2016 - May 7, 2016 thewholenote.com

If any of the performers were to ask the audience to raise their hand
if someone they know and care about has experienced some form of
mental illness, every hand would be up in the air.”
Case in point #2: The “Garage” is not a garage, it’s Galloway’s:
I think it was six years ago that Jim Galloway and I, three times, took
the freight elevator from just outsideThe WholeNote office on the fifth
floor at 720 Bathurst Street down to the then-abandoned ground floor
and surveyed the space, rife with potential, its high ceilings, exposed
brick walls, old wooden pillars and beams. I remember how his eyes
gleamed at the thought of what a jazz venue it might be, in the spirit
of the Montreal Bistro and some of the other venues he loved and
lamented in the 16 years he wrote his column for The WholeNote.
The building at 720 Bathurst was between owners then, and for a few
heady weeks, oh how we dreamed and schemed.
Almost miraculously, after five years of ownership by the Centre for
Social Innovation, that ground floor space still exists, with room for
dreams and schemes and for a “wee big band” to play in, right in front
of that selfsame freight elevator. So that, dear friends, is what will be
happening April 14 from 7pm to 10. For one shining moment the back
half of the space, whimsically called “The Garage” because of its large
rollup door, will become “Galloway’s” as the “Wee Big Band” under
the direction of Martin Loomer makes the building ring with music in
memory of Jim.
Join us! (Invite details are on page 18.)
Case in point #3: Salon West Meets the 18th Century
I found myself ever so slightly out of my comfort zone the other
day, attending a gathering of something called Salon West, in a little
rooftop solarium, with seating for around 25 people, on the fifth floor
of the Spoke Club at Portland and King. Salon West bills itself as “a
forum for much-needed dialogue on the arts and public policy in
Toronto,” with the goal of “creating positive change through the arts”
and inspiring “actionable solutions to the issues facing our great city.”
Guests on this particular day (March 23) were both from Tafelmusik
- violinist Julia Wedman - and the orchestra’s recently appointed
managing director, William Norris, described in the Salon West
program note as being “dedicated to pushing the boundaries of a
traditionally conservative art form to attract new audiences.”
It was a fascinating encounter. As readers of last November’s magazine
may recall, Norris, from his description of his previous role with
London’s Orchestra of the Age of Enlightenment, is already firmly
committed to finding new ways of taking this music that he is clearly
passionate about to new audiences, on their own turf. And he has
strong views too about how some of the more rigid aspects of concert
etiquette impose on how we listen to music constraints that the
composers of that music would themselves have been uncomfortable
with. “The music tells you when to applaud and not to,” for example,
is a tenet with interesting implications. Just think of the cracks in
decorum that might result if it were applied without qualification to
our town’s typical concert halls!
Wedman’s contribution was to interweave brief moments of music
and musical treatise (Telemann, Mattheson) with detailed information
about the unique characteristics of her baroque-style bow and instrument,
before concluding with two movements from Bach’s Sei Solo
Sonatas and Partitas. It was an object lesson in everything, from technical
and intellectual skill to visceral and emotional commitment, that
this music demands of its practitioners.
I left with a spring in my step – with the image in my mind of
a solution already well under way, rather than some burdensome
problem to be gnawed over; 25 to 30 people sat and stood, listening as
one to unamplified Bach in a rooftop room at twilight, oblivious to the
noise of the building’s mechanical plant and the dull roar from dining
and meeting rooms below.
Happy reading! There are many more musical moments inside!
publisher@thewholenote.com
INDEX OF ADVERTISERS
5 at the First Chamber Players 56
Adam Sherkin 41, 51
Adi Braun 49
Annex Singers 52
ArtsMedia 64
Associates of the TSO 16, 43
ATMA 5, 69
Aurora Cultural Centre 44, 52
Blythwood Winds 41
Canadian Children’s Opera Company 22
Canadian Opera Company 13, 43, 49, 57
Canadian Sinfonietta 48
Castle Frank House of Melody 47
Cathedral Bluffs Symphony Orchestra 45
Christ Church Deer Park Jazz Vespers 61
Church of the Holy Trinity 41
Claude Watson Secondary Arts Program 46, 51, 65
Eglinton St. George’s United Church 45
Elmer Iseler Singers 31
Fanshawe Chorus London 56
Festival of the Sound 20
First Ontario Performing Arts Centre 55
Grace Church on-the-Hill 42
Greater Toronto Philharmonic Orchestra 44
Hannaford Street Silver Band 25, 45
High Notes Inc. 35
Horizon Tax 64
I Furiosi 47
Isabel Bader Centre for the Performing Arts 4, 54, 55
Ken Page Memorial Trust / The WholeNote 18
Kindred Spirits Orchestra 53
Lawrence Park Community Church 52, 65
Li Delun Music Foundation 53, 63
LizPR 64
Long & McQuade 14
Manning + Ulster Refugee Project 44
MasterPerforming 64
Masterworks of Oakville Chorus & Orchestra 53
Mississauga Festival Choir 52
Mississauga Symphony 50
Mooredale Concerts 45
Music at Metropolitan 41, 50
Music at St. Andrews’s / Embassy of Austria 46
Music Toronto 9, 23, 40, 43
Musicians in Ordinary 47
Musikay 44
Naxos 71, 72
New Music Concerts 40, 48
Oakham House Choir 50
Off Centre Music Salon 33
Opera Atelier 41
Orchestra Toronto 48
Orpheus Choir 30
Pasquale Bros. 62
Pavlo / Hejaz Entertainment 46
Pax Christi Chorale 11
Peterborough Symphony 57
Remenyi House of Music 15
Rhodes Piano 64
Rich Brown 72
Royal Canadian College of Organists 47
Royal Conservatory 39, 45, 85, 87
Saluki Music 64
Scarborough Philharmonic 26
Show One Productions 27
Sine Nomine 49
SING! The Toronto Vocal Arts Festival 19
Soundstreams 29
Southern Ontario Chapter Hymn Society 63
St. James Cathedral 37, 49
St. Jude’s Celebration of the Arts 42
St. Olave’s Church 45
St. Philip’s Jazz Vespers 61
Steinway Piano Gallery 12
Syrinx Concerts 26, 40, 51
Tafelmusik 2, 38, 40, 49, 88
Talisker Players 51
Toronto Children’s Chorus 52
Toronto Consort 17, 52
Toronto Downtown Jazz 19
Toronto Mendelssohn Choir 31
Toronto Operetta Theatre 21
Toronto Symphony Orchestra 3, 43, 49
Toronto Summer Music Festival and Academy 63
Toy Piano Composers 38
Trinity-St. Paul’s Centre 65
U of T Faculty of Music 27, 42
Unitarian Congregation in Mississauga 48
Universal Music Canada 69
Village Voices 53
VOCA Chorus of Toronto 53
Westben Arts Festival Theatre 22
Women’s Musical Club of Toronto 51
thewholenote.com April 1, 2016 - May 7, 2016 | 7

In Step With Time
Steve Reich, Then & Now
WENDALYN BARTLEY
KEVIN LEIGHTON
Then: My first experience
of meeting the
renowned American
composer Steve Reich
was in a master class he gave
for composition students at the
University of Toronto’s Faculty of
Music. It was early in 1976 and he
was in town as the guest of New
Music Concerts who presented
performances of his music
during both an afternoon and
evening concert. In the master
class, I remember sitting spellbound
as I listened to him speak
about his musical ideas that
challenged all I was being taught
in school.
This was at a time when the
serialist aesthetic dominated
the new music world. Hearing
about this radical new approach
was a breath of badly needed fresh
air. He spoke about the importance of being able to hear and perceive
the shifts and changes as they occurred in the music, and about how,
for this to work, the process needed to be gradual – a musical process
that resembled setting a swing in motion and watching it come to rest.
It made complete sense to me.
To back up his words, he asked if anyone in the room would be up
for joining him in playing his piece Piano Phase to demonstrate his
phasing technique, the process he had developed to create this slowly
evolving musical structure. Composer and pianist Henry Kucharzyk,
at the time a student at the faculty, immediately volunteered. I
remember Reich’s surprise that anyone even knew the piece and his
being completely astonished at Kucharzyk’s skill in playing a work
that requires intense focus to perform the shifting rhythmic patterns.
A few days later at the NMC afternoon concert, Piano Phase was
performed again on marimbas by Russell Hartenberger and Bob
Becker, longtime members of the Steve Reich and Musicians ensemble.
The afternoon program also included Clapping Music, Music for Pieces
of Wood and Music for Mallet Instruments, Voices and Organ, and the
evening concert culminated with one of Reich’s favourite pieces, the
hour-long Drumming. I remember too the instantaneous and roaring
standing ovation this piece received, a rare occurrence at a new
music concert.
When I recently contacted New Music Concerts to access the
programs from those concerts, I was told that they had marked the
first time Reich’s music had been performed by anyone other than
members of his own ensemble. This was only possible because of the
presence of Hartenberger and Becker. Both at the time were teaching
percussion at U of T and York, and were members of the Torontobased
Nexus percussion ensemble. In a recent phone conversation,
Hartenberger told me that to make the concert happen, he gathered
together musicians from other members of Nexus, some of his
students, and other Toronto-based musicians he knew. Just how
significant a moment in time was this concert? “Steve was wary of
other people playing his music,” Hartenberger said. “But he knew that
Bob and I knew the music and were able to coach, so there was some
trust there that it would be the way it was supposed to be. He allowed
us to do it, but it was quite a while before anyone outside the group
played those pieces.”
Nexus Then: (from left), Russell Hartenberger,
John Wyre, Michael Craden, Bob Becker.
Hartenberger first met Reich
in 1971 when he was a graduate
student at Wesleyan University and
was invited to join the Drumming
rehearsals; Reich needed percussionists
to help him develop the
ideas for this work. The rehearsal
and composition process were interwoven
and it took weekly rehearsals
over the course of several months
before the piece was finished. “Steve
would demonstrate the new parts
each week, we would play and learn
that part, and then tag it onto what
we had learned the week before.” At
the time there wasn’t a really clear
score, so in order to perform the
piece it was necessary to learn from
someone who had already played
it and could coach performers on
what was supposed to happen. Thus
the difficulty in anyone outside of the
members of Reich’s ensemble being
able to perform not only Drumming, but most of his music written up
to that point, particularly the pieces with multiple performers.
As I dug further into the story of Reich’s music in Toronto, the
impact of the 1976 concerts became even more evident. At least two
of Hartenberger’s percussion students who performed there went on
to become members of the Arraymusic Ensemble, which Kucharzyk
himself joined in 1976 as pianist, later becoming artistic director
from 1982-88. It was under Kucharzyk’s tenure that Array began
performing some of Reich’s music, including the larger pieces Sextet
and Six Pianos. In 1988, Arraymusic’s clarinetist Robert W. Stevenson
performed New York Counterpoint, one of Reich’s pieces in which a
solo performer plays against multiple recordings of the same instrument.
Rather than using the prepared tape available from Boosey &
Hawkes, Stevenson recorded his own tracks and his performance of
the piece became part of
Array’s touring repertoire
throughout Canada and
Europe in the late 80s and
early 90s. In 1991, it was
released on Arraymusic’s CD,
Chroma.
Now it is 2016, 40
years later, and
Reich is returning
to Toronto amidst
a plethora of events that
Soundstreams has organized
to celebrate his 80th
birthday. The momentous visit
will culminate in a concert
at Massey Hall on April 14.
Coincidentally, the concert
will open with a performance
of Clapping Music, the
same piece that began the
1976 afternoon concert, and
performed by the same two
8 | April 1, 2016 - May 7, 2016 thewholenote.com

Music TORONTO
musicians – Reich and Hartenberger. Armed with all these stories of the
impression Reich’s 1976 visit in Toronto had made on me and on others, I
was mildly surprised and a bit disconcerted, when I spoke to him recently
on the DUO phone, to TURGEON
realize that he had only the vaguest memories of that
particular trip (which of course makes sense given the number of times
he has toured around the world).
Once we got past my expectation that he would be able to provide
his own memories of that 1976 concert, to counterpoint my own, we
launched into a conversation about the two main pieces that will be
performed on April 14 – Music for 18 Musicians and Tehillim, which
to his knowledge have not been performed on the same program
before. I was sure I had heard Music for 18 Musicians before somewhere
in Toronto, I told him, although neither of these works
appeared on any of the concert programs for New Music concerts,
Arraymusic or Soundstreams (which has presented two previous
concerts of his music). Later I asked Hartenberger about this, and he
confirmed that “about 10 to 15 years ago,” he performed the work at
the MacMillan Theatre with a group of U of T students who worked for
an entire semester to learn the piece. (The actual date, it turns out, was
April 5 at 8 pm
January 21, 2005.)
Rather than digging up anecdotes from memory’s scrapbook, the
conversation Reich and I embarked upon focused on the steps his
compositional ideas and discoveries have taken over time and how
the explorations of one piece or series of works led quite organically
to the next phase. In order to illustrate how the composing of Music
for 18 Musicians in 1976 marked a turning point in his compositional
Music TORONTO
April 14 at 8 pm
approach, he backtracked even further, explaining talk about how all
the music that had preceded it was based around a basic rhythm or
melodic pattern. ARTEMIS
He illustrated this by tapping out the rhythmic basis
of Drumming saying: “That’s Drumming, and everything else is elaboration
– pitch,
QUARTET
timbre, and canonic placement. The entire hour of
music comes from that tiny little module.” The shift that happened in
the composing of Music for 18 Musicians came when he sat down at
the piano and made up a series of harmonies, “admittedly something
composers have been doing for thousands of years, but I hadn’t been.”
His goal up to that point, he said, had been to keep the harmony
and timbre the same, and have rhythm be what moved the music
forward. He stressed that what made these earlier pieces work with
their interlocking patterns and resultant complex counterpoint was
“to have identical instruments playing against each other. That’s an
acoustic necessity.” In the four sections that make up Drumming, the
first three parts are for multiples of the same instrument (8 bongos,
then 3 marimbas, then 3 glockenspiels), but in the last part all the
instruments are mixed together. This was for him the big breakthrough
that led directly into Music for 18 Musicians and the use of a
mixed instrumental ensemble. He admits
that although this was a step forward for
Steve Reich (London, 2013)
him and at the time resulted in a very
new piece, it was also simultaneously
one step back into traditional western
ways of making music.
The work is scored for a large ensemble
made up of a combination of clarinets,
violin, cello, marimbas, xylophones,
vibraphone, four pianos and
four women’s voices. Harmonically, it is
based on a series of 11 chords that unfold
over an hour with the cues of when to
move forward to the next section coming
from the vibraphone player. “The excitement
for me” Reich said “was in using
mixed orchestration for the first time,
because I’ve been doing it ever since. The
tension of going from one way of writing
to another way is embodied in that piece.
That makes it very unique.”
The other work on the April 14
program is Tehillim, composed in 1981.
This work marks another break from
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what Reich had been doing up to this point, both rhythmically and
in his treatment of the voice. Previously, his rhythmic patterns were
created by dividing up triple metres in various ways, and vocally he
had relied on using vocalise – syllables or vocal sounds rather than
text. “For the first time since I was a student, I decided I was going to
set words, like the normal use of the human voice.” While working,
he began chanting the original Hebrew words of Psalm 19 over and
over until “suddenly a melody popped into my head, while at the
same time this rhythm popped into my head – one, two; one, two,
three; one, two; one, two, three.” Wondering what was happening, “I
suddenly realized it was the unconscious dredging up of my previous
knowledge from years ago of Stravinsky’s Rite of Spring, and Bartok’s
Bulgarian rhythms, which was basically the use of fast changing
metres. And somehow, and who knows how, the Hebrew text attached
itself to those rhythms.”
As he continued to work on the piece, with each of the remaining
three movements built upon the texts of different psalms, he realized
that this process wasn’t going away. Rather it ended up staying
not only for the entire piece but became the basis for The Desert Music
(composed in 1983) and continues to appear in many other instrumental
works to this day. “It became a spontaneous discovery of
another musical language through the setting of the Hebrew text.”
This story of progressive and transformative discovery has been
the hallmark of Reich’s compositional career, going back to his initial
explorations, in the mid-1960s, of what would happen sonically when
playing back a series of tape loops with the same recorded fragment
and listening as they gradually moved out of sync or phase with each
other. The ensuing musical structure manifests itself inhis pieces It’s
Gonna Rain and Come Out, and forms the foundation of how his
musical aesthetic itself has slowly morphed and changed throughout
the years. It’s as if his own musical ideas and discoveries were having
and continue to have a conversation amongst themselves, as became
evident when we talked about his recent compositions.
In 2013, for example, he wrote Quartet for the Colin Currie Group,
a UK virtuosic percussion ensemble devoted to playing Reich’s music.
By deciding to score the piece for two vibraphones and two pianos, he
was using the same core instrumentation that has been the foundation
for many of his previous pieces. What’s distinctive about Quartet,
though, is that it changes key more frequently than in any other piece.
“Harmonically, it’s all over the map, just the opposite of what you’d
associate with me, especially in the early pieces. When I first finished
it, I thought it was a mess, but when I heard it, I found it interesting
and the performers loved it.” Two years later, in 2015, Reich composed
Pulse, scored for a small group of strings and winds, piano and electric
bass. “The pulse is constant, creating a very hypnotic work with
static harmonic changes and just the kind of thing you’d think I would
have written 20 to 30 years ago. Maybe I wrote it in reaction to the
previous piece (Quartet). Sometimes that happens.”
Currently, he is working on a co-commission from The Royal Ballet
in London and Ensemble Signal, based in New York. Titled Runner,
the piece will be premiered on November 10 at the Royal Opera House
in London’s Covent Garden with choreography by Wayne McGregor.
What distinguishes this piece is the incremental changes in rhythmic
values, despite the fact that the tempo doesn’t change. This musical
progression of different note durations reflects the idea that runners
have to pace themselves.
What intrigued me in listening to Reich speak about his music
some 40 years later was how, even though in the early days his music
offered a radically different approach to music making, he remains,
now as he was then, almost bemused by how the evolutionary process
of his musical explorations continually brings him back to the pillars
of western musical tradition and more normal ways of composing.
And as we, the audiences of Toronto, gear up for his April visit, we
can look forward, now as we did then, to the way the magnetic pulse
of the sound weaves its own magic within our ears, as once again we
engage, step by step, with the timeless music of Steve Reich.
The WholeNote’s regular new music columnist, Wendalyn Bartley,
is a Toronto-based composer and electro-vocal sound artist.
Vesnivka at 50
LESLIE FERENC
It’s Tuesday evening and Vesnivka is rehearsing for an upcoming
concert – perhaps the most important in the Toronto choir’s history.
It’s been 50 years since conductor and artistic director Halyna
Kvitka Kondracki founded Vesnivka and the Ukrainian women’s
choir is preparing for its golden anniversary performance. This
month’s concert at Glenn Gould Studio April 17 features the works of
contemporary composers commissioned by Vesnivka over the past
five decades.
I’m excited to sit in on a rehearsal and race across Trinity Bellwoods
Park before making my way down the stairs into the basement of St.
Nicholas Ukrainian School where Vesnivka has practised since day
one. As I enter the hall, the memories begin flooding in.
I was one of the young girls who attended Saturday school at St.
Nick’s where Kondracki established Vesnivka in 1965. From humble
beginnings as an after-school music program to an internationally
acclaimed choir renowned for musical excellence, Vesnivka has
become a leading voice of Ukrainian choral music worldwide, transcending
language barriers and entertaining diverse audiences at
home and abroad.
I was 13 when I joined Vesnivka; I sang in the alto section for more
than 30 years. During that time, the choir performed across Canada,
the eastern United States, South America, Europe and Great Britain on
some of the most prestigious concert stages in the world. Singing at
Carnegie Hall in New York City, the Royal Albert Hall in London and
at a Papal mass next to the magnificent Renaissance altar at St. Peter’s
Basilica in Rome were unforgettable experiences that came with bragging
rights.
A whirlwind seven-city tour of Ukraine in 1991 was life-changing.
From as far back as I remember, my parents had talked about their
beloved homeland and I soaked up its history and culture vicariously.
Stepping onto Ukrainian soil for the first time and walking in the footsteps
of my ancestors was almost surreal. I discovered where I’d come
from and who I was.
The experience was unmatched and I was thrilled to share it with
my choir sisters. We embraced our heritage and the people who
opened their hearts to us. At times we were so moved by their generosity
of spirit, we cried on stage.
There were also tears of joy. Travelling across that vast country on a
bus with 50 of my best friends was so much fun. We’d spontaneously
break out in song or laugh our heads off after someone grabbed the
microphone to tell jokes over the public address system, all the while
sharing goodies like cake, home-baked bread and roast chicken that
had been passed on by relatives after a concert. As the miles rolled
on, we’d chat and get to know one another better. Each tour – across
Canada, France, Germany, Spain, Portugal, Argentina, Brazil, Holland,
Poland and so many others – made our musical family stronger.
For Myroslava Diakun, Vesnivka nourished her passion for singing.
“I grew up in a family that loved music and special occasions at our
house always included singing, usually in three-part harmony,” she
tells me. “Fast forward 50 years and I’m still singing in Vesnivka
with lifelong friends that I met in the choir who have become my
extended family.”
And the songs that brought us together in our youth keep us
connected in adulthood. When “the girls” get together for birthdays,
weddings of our children, christenings and even celebrations of lives
lived, we sing. I join in from the pews when Vesnivka sings the liturgy
at St. Nicholas Ukrainian Catholic Church on Queen St. West.
When I’m feeling nostalgic, I pull out my collection of Vesnivka’s
recordings. This latest release, 50 Seasons of Song, is a compilation of
the “best recordings” of Vesnivka in celebration of the 50th anniversary.
The songs from the early years feature a pure and clean sound
with orchestral arrangements by Canadian composer and two-time
Gemini Award-winner Eric Robertson. There are songs that celebrate
the strength and spirit of Ukrainian women as well as compositions
10 | April 1, 2016 - May 7, 2016 thewholenote.com

an Ontario government agency
Halyna Kvitka Kondracki
by I.B. Vesolowskyj, featuring his popular dance songs of the 40s and
50s with Vesnivka accompanied by Toronto’s Burya Band.
Fittingly in this anniversary year, last month, Vesnivka launched
the first phase of its e-Library of Ukrainian Choral Music. The project
represents a significant milestone for Vesnivka in its mandate of
promoting Ukrainian choral music, says e-Library manager and longtime
Vesnivka member Lesia Komorowsky. “Vesnivka has an impressive
repertoire of Ukrainian classical, folk, contemporary and sacred
music in its archives which it wants to share with singers around the
world – thus leaving a musical legacy for generations to come.”
The e-Library gives users access to this music online, the ability to
download the sheet music in either the original Ukrainian or transliterated
form for performance. Music lovers can explore it at vesnivka.
com and clicking on the e-Library link.
While I haven’t been in the choir for many years, it feels as if I’ve
never left as I walk into the room where old friends welcome me.
“Does this mean you’re coming back to the choir?” they ask before I
take a seat in the back row and wait for the rehearsal to begin.
Aside from the padded chairs and music stands, little has changed
in the hall. It’s still buzzing with energy as it always did before
a concert.
While there are many new faces, there are also familiar ones.
Olenka Wasley, the longest-standing member of the choir, joined in
1965 and hasn’t missed a season yet. “Quite often commitments such
as school, work, family responsibilities or health matters have affected
the membership of many, but I pride myself on being able to manage
all of these and still be an active member,” she says.
Wasley recalls being impressed by Kondracki’s enthusiasm, creativity
and dedication. That hasn’t changed either.
“We all marvelled at her talents,” Wasley tells me, adding that
Vesnivka has been a big part of her life and that of her family which
has supported her every step of the way, knowing how much she loves
singing in the choir. “I would encourage young women to come out
and join Vesnivka and celebrate music through song,” she says.
I’m hoping The Nightingale, (arrangement by Borys Lystopad
based on a traditional Ukrainian folk song), will be part of the evening’s
practice. Its haunting melody, sung a cappella, transports me to
Llangollen, Wales and the 1993 International Eisteddfodd as the judges
announce that Vesnivka’s performance of The Nightingale placed first
in the folk category at the prestigious choral competition. I remember
leaping out of my seat and jumping for joy. It’s how athletes must feel
winning Olympic gold.
While I loved the concerts, participation in music festivals and
competitions opened up the world of international choral music and
opportunities to meet people who love to sing as much as I do.
It was also amazing to bring home the awards – whether it was from
a CBC Choral Competition or the Choral Olympics in Linz, Austria.
Not bad for amateurs.
As the choir warms up, I slip into the adjoining music room
where the walls are covered with photographs, concert posters,
PaxChristiChorale.org
un organisme du gouvernement de l’Ontario
thewholenote.com April 1, 2016 - May 7, 2016 | 11

certificates, awards and
mementos. They tell
the story of Vesnivka’s
history beginning
with Kondracki who
was studying at the
University of Toronto’s
Faculty of Music
when she established
Vesnivka to share her
rich musical heritage. It
wasn’t easy and some
said a youth choir
wouldn’t last. Tenacious
and determined,
Kondracki would prove
them wrong.
Encouraged by her
father Bohdan Zorych,
who had conducted his
own choir in Ukraine,
Kondracki was inspired
by the beautiful music she
sang growing up.
“There is nothing to compare to the pure joy of singing – of using
that fabulous instrument within us to express our passion for life and
love of our Ukrainian culture,” she says. “This gift is a treasure that
gains greater value when shared with others.”
Back in the 60s, few had heard of Ukraine or knew that Mykola
Leontovych, who composed the internationally renowned Carol
of the Bells, was Ukrainian. Over the years, Vesnivka has helped
put Ukrainian choral music on the map attracting culturally
diverse audiences.
Even a lack of Ukrainian music for girls’ voices didn’t keep her
from her métier. When
she couldn’t find suitable
music, Kondracki
rewrote arrangements
from male choir TB
scores to SSA. In 1968,
she commissioned
Ukrainian composer
Andrij Hnatyshyn, living
in Austria, to write an
Eastern Rite Byzantine
mass for Vesnivka in
three- and four-part
harmony which is the
foundation of the choir’s
sacred repertoire. Some
sections are still part
of the liturgy the choir
sings at St. Nicholas.
Kondracki also searched
archives in Ukraine for
original folk songs and
classical music expanding
Vesnivka’s repertoire. She made connections with contemporary
composers there and at home and continues to commission new
works to broaden Vesnivka’s musical horizons bringing new music to
audiences and showcasing talented composers.
“Vesnivka owes a great deal of its success to the incredible talent and
creativity of composers who have given us such wonderful works to
perform over the years,” says Kondracki.
Ukrainian-Canadian composers such as Roman Hurko, whose
Liturgy No.4 (Vesnivka) launched the choir’s anniversary season
last fall, as well as Zenia Kushpeta, Larysa Kuzmenko and Zenoby
Lawryshyn will be featured at this month’s concert.
Kondracki continues to blaze new trails for Vesnivka by collaborating
with ensembles such as the Elmer Iseler Singers, conducted by
Lydia Adams, the Toronto Ukrainian Male Chamber Choir, Roman
Borys, cellist with the Gryphon Trio, and violinist Halyna Dziuryn –
guest artists at the gala concert.
Looking ahead, Vesnivka has been invited to the Ottawa
International Chamber Music Festival this summer. Next year,
Vesnivka will be on stage at Koerner Hall with Orpheus Choir of
Toronto as well as other artists and musicians for a marquee concert
celebrating Canada’s 150th birthday and the 125th anniversary
of Ukrainian settlement in Canada. It will showcase the works of
Canadian composers John Estacio (The Houses Stand Not Far Apart)
and Larysa Kuzmenko (The Golden Harvest).
When Robert Cooper, artistic director of Chorus Niagara and
Orpheus Choir of Toronto, took on the project, Kondracki was the
first person he called. They were introduced back in the 80s while
Cooper was a producer of choral music at the CBC Radio and headed
up the national choral competitions. “Vesnivka always won,” (in the
multicultural category) says Cooper who is also artistic director of
Opera in Concert Chorus and Ontario Male Chorus. Cooper worked
with Kondracki in 2006 when Vesnivka joined more than 250
Canadian singers and musicians onstage at Roy Thomson Hall for
“Chernobyl 20,” commemorating the 1986 Chernobyl nuclear reactor
disaster in Ukraine.
“I’m very aware of Kvitka’s good work,” Cooper continues noting
under Kondracki’s leadership that Vesnivka has maintained “a very
high order of choral sophistication…I enjoy working with Kvitka who
is very authentic, very serious about her music, is an expert when it
comes to Ukrainian choral music and makes things happen.”
While the future is exciting, the focus this evening is on the 50th
anniversary program. I settle into my seat as Kondracki raises her
arms and Vesnivka begins to rehearse. The room fills with the glorious
sound of music. I close my eyes and let my spirit soar.
Vesnivka on tour in St. John’s, Newfoundland; Halyna Kvitka Kondracki (top, centre)
Leslie Ferenc is a member of the Vesnivka
50th anniversary committee.
12 | April 1, 2016 - May 7, 2016 thewholenote.com

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CONVERSATIONS AT THE WHOLENOTE
Monumental Milestones:
Anticipating “Babi Yar”
STERLING BECKWITH HAS BEEN WAITING A LONG TIME FOR
THIS SYMPHONY TO BE PERFORMED HERE. NOT JUST FOR IT TO
BE DONE, BUT TO BE DONE RIGHT. DAVID PERLMAN EXPLAINS
Publishing monthly as we do, it
has to be said that it’s not every
March that we would prepare
for the April issue a story about
a concert that won’t take place until
mid-May (May 13 and 15, to be precise).
But Sterling Beckwith, York University
professor emeritus, and founding chair
of the music department there, is a man
on a mission. And, as he explains, he has
been waiting a long time, not just for this
performance, by the Toronto Symphony
Orchestra conducted by Andrey Boreyko,
of Dmitri Shostakovich’s Symphony
No.13 “Babi Yar,” to be performed here,
but for it to be done right.
“It’s an amazing work and I have
been nervously and excitedly awaiting
Andrey Boreyko
this performance all year, since I heard about it, in fact,” says Beckwith. “But I am still
wondering whether it’s going to live up to expectations – not the music itself or the orchestra,
they are marvellous, but wondering if, and how, it can really connect with our audience. It’s
not enough just for it to be done. It deserves to be done right.”
Parsing what “done right” means to Beckwith in this case is a rigorous exercise. It means, for
one thing, assertive outreach to the communities that should be there to witness it, because
it is part of their collective history. It means rising adequately to the challenge of assembling
an adequate chorus of authentically Russian-sounding basses (“the bass soloist’s cheering
section” as Beckwith describes them), so that they are sonically on the same page as Bolshoitrained
bass soloist Petr Migunov. It means ensuring that the TSO, and all concerned, understand
the historical importance of using Yevtushenko’s original uncensored texts. It means
program notes that address what the monumental work meant in its own time (no easy task,
in a part of the world where people’s histories often lie buried at different depths in the same
piece of land). And perhaps the greatest challenge of all, it means trying to figure out how
to enable “our audience,” most of whom will not understand the language being sung, to
immerse themselves fully in a work of art whose universal truths are so completely grounded
in the particular.
So let’s back up a bit, shall we? Fortunately there’s a good starting point for all this in
The WholeNote itself – a review written by columnist Bruce Surtees in October 2014 of a
Praga SACD release of a recording of the very first performance of this work. Here’s what
Surtees wrote:
On December 18, 1962, defying admonitions from Premier Khrushchev and the Soviet
Presidium, the first performance of Shostakovich’s Thirteenth Symphony was given
in Moscow and dutifully ignored by the press. The composer had set five of Yevgeny
Yevtushenko’s poems, including the recently published Babi Yar, the subject of which was
anti-Semitism and the well-documented, wholesale massacre of Jews in Kiev by the Nazis
in WWII. Further performances were banned until Yevtushenko altered the text, which he
did, but not before December 20 when there was a repeat performance with the original
text…with Kirill Kondrashin conducting the Moscow Philharmonic, two choirs and Vitaly
Gromadsky, bass and speaker…More than a performance, this is a declamation. I know of
no other recorded performance to come even remotely close to the intensity and impact of
this significant and valuable document.
“It’s a piece I’ve had a hankering to be connected to ever since then,” Beckwith explains. “I
was an exchange research scholar in the Soviet Union, way back in the 60s. In fact I arrived a
month after the first performance of this symphony. It was in Moscow on December 18, 1962,
and I arrived in January of 63. As part of the official academic exchange, since my topic had to
do with Russian choral culture, I was attached to the choral department of the then Leningrad,
now St. Petersburg, Conservatory and I soon found out that the choir of the school was looking
forward to participating in the Leningrad premiere of the work – one of the most unusual
SUSSANNE DIESNER
14 | April 1, 2016 - May 7, 2016 thewholenote.com

choral works ever, written entirely for Russian basses and being a bass myself I was assured
that I would be asked to join the chorus! It was tremendous, unexpected, the highlight of my
stay in the Soviet Union.
“Except unfortunately the performance never took place.”
In Beckwith’s view the fact of the work falling into instant disfavour and the resultant
censorship was all about the words, not the music. “Of course it was all about the poem in
this case, not the music. Although I suspect musical censorship in Russia at least, and probably
elsewhere, is usually about the words. In this case, of course the words are the music. The
music exists only powerfully to project the words.”
As Beckwith explains it, the spark for the work was Shostakovich reading Yevgeny
Yevtushenko’s recently published poem Babi Yar. “It starts with this very powerful statement,
‘On Babi Yar, there are no monuments’.”
The “no monuments” remained true until 1976, Beckwith says, but not for want of trying.
“It’s not true that no attempts were made,” he says. But there was no agreement as to what
exactly should be said.
From that one poem, and then others by Yevtushenko, “at some point Shostakovich went
on to say why don’t I make this into a larger work, which at some point he decided to call
a symphony.”
“If not a symphony, what would you call it?” I ask.
“I would call it a civic oratorio,” he says “although even that…a cantata, maybe…or something
like that. It’s for a powerful, male, no-nonsense singer to deliver the text backed up by
a cheering section. The choir is really his support – his cheering section. Occasionally taking
part in some of the events being recounted they become participants briefly. But most of the
time commenting, echoing or reinforcing what the singer is saying. The whole idea is to say
this is ‘the people’ talking through the singer.”
It’s important to Beckwith to convey that even though that poem was the spark for the
work, it was only the springboard. There are in fact five movements, each based on a separate
poem, and each encapsulating a different facet of life in the Soviet Union so recently out of the
Stalinist doghouse.
“The second movement is Humour – humour after the Holocaust, now there’s the opera
composer’s sense of timing! Then there’s At the Store, anchored in the realities of postwar life,
particularly women’s life; then there’s Fears, the poem that Shostakovich asked Yevtushenko
to write for the emerging work. ‘Fears are dying in Russia’ it says, and catalogues them
(although it goes on to list some that are a little newer, perhaps blunting the idea that they are
all dying.”
“And the fifth?” I ask.
“The fifth, Career, is wonderful capstone about careerism” he says. “About the great careers
of men of science and daring who risk all, including opprobrium, persecution etc. to stick to
their guns, Galileo for example. And they are contrasted with the apparatchiks and sellouts,
careerists who flourished through the Stalin era, and just as completely today in Moscow…and
Washington, I dare say, and, who knows, just maybe even in Toronto.”
As for Beckwith’s checklist of what “done right” will mean, there’s room for cautious optimism
on some fronts. The Elmer Iseler Singers and Amadeus Choir bass sections are the core
of the bass cohort, with Beckwith and Iseler/Amadeus conductor Lydia Adams working closely
together, using Beckwith’s system of transcription (another lifelong passion of his) to enable
English speakers to get the sound of the Russian words right. “She reached out to me,” he says,
“which was great, or I would have been after her to do it!”
Recruitment of other singers is under way, although it remains to be seen whether
Beckwith’s healing vision of a bass cohort made up of singers from the Russian, Ukrainian and
Jewish communities can be realized. All concerned are now aware of the nuances of which
texts get used. And as for enabling “our audience,” most of whom will not understand the
language being sung,
to immerse themselves
fully in a work of art
whose universal truths
are so completely
grounded in the
particular, well we will
all have our part to
play in that as the next
six weeks unfold.
David Perlman can be
reached at
publisher@
thewholenote.com
Sterling Beckwith in conversation
with David Perlman
WATCH FOR THIS COMPLETE VIDEOTAPED CONVERSATION AT
THEWHOLENOTE.COM UNDER NEW MEDIA, COMING IN MID APRIL
thewholenote.com April 1, 2016 - May 7, 2016 | 15

Beat by Beat | Early Music
Scilla, Zelenka
and Scaramella
DAVID PODGORSKI
Count Hieronymus Joseph Franz de Paula Graf Colloredo von
Wallsee und Melz, by the grace of God both spiritual and
temporal ruler of the city of Salzburg, had ambitious plans for
his new city. Although an unpopular choice with other church officials,
as his election on the 13th ballot would indicate, Colloredo had
no intention of currying favour with the common people either. His
intentions were loftier. He wanted reform.
Reform, in any age, means not worrying over the popularity of
your policies, and a certain optimism that you’ll be appreciated for
them later. For the archbishop, a well-educated eighteenth-century
modernizer and would-be statesman, this also meant embracing the
ideals of the new Enlightenment. The religious superstition that still
clung to Catholicism after a millenium was to be officially suppressed.
No more pilgrimages, and worshipping relics was frowned upon.
There were to be no more religious processions through the streets,
no kitschy decorations hung in churches and no lengthy orchestral
musical interludes during the Mass. Colloredo’s new modern church
was to shed medieval superstition for the new ideals of reason and
science – and if this meant he could save himself a bit of work, and a
bit of money, along the way, then so much the better.
For the 16-year-old Wolfgang Amadeus Mozart, Colloredo’s reform,
especially the part that involved budget cuts, was an unmitigated
disaster. As the prince-archbishop’s new concertmaster, less music
in church (call it cuts to arts funding) meant fewer commissions, and
therefore less money, for composers like him. Furthermore, as what
we might today refer to as an emerging artist, there was less opportunity
for the young Mozart to distinguish himself by writing largescale
works that could get him a better appointment in the future. So
faced with fewer opportunities Mozart did what artists typically do
– he left to find work elsewhere. In this case, Mozart left for Milan to
write an opera.
The result of Mozart’s journey to Milan was Lucio Silla, an opera
seria based on the story of Julius Caesar’s predecessor (and Rome’s
first dictator) Lucius Sulla. As a career move, the idea of putting on
an opera in Milan circa 1772 seemed like a bit of a sure thing. This
was the third opera the teenage wunderkind would be writing for
the Milanese stage and he would be working with a capable librettist,
the Teatro Ducale’s new appointment, Giovanni di Gamerra. Mozart
also had a few months to devote to the project, more than enough
time for a hyper-prolific composer who had already written some 25
symphonies, seven operas, and four piano concertos. Success, it would
seem, was guaranteed.
Sadly, Lucio Silla didn’t go over quite as Mozart planned, and it
Lucio Silla (Salzburg 2013)
wasn’t his fault, either. The lead tenor fell ill and his replacement
couldn’t handle the part, so many of the best arias in the opera had to
be rewritten or cut out entirely. The other singers were late arriving
in the city and had to begin rehearsing behind schedule. Not only did
they bomb in the premiere, but the opera was considerably longer in
performance than during rehearsal – imagine, if you will, a poorly
sung opera that seems to never end, and you’ll probably have some
idea of how the premiere went. Lucio Silla would be the last opera
written by Mozart for an Italian audience, and after a catastrophic run
the chastened young composer crawled back to Salzburg and the archbishop,
a failure at 16.
I think it’s safe to say that Opera Atelier’s Canadian premiere of
Lucio Silla will raise the admittedly low bar set by its initial premiere.
But they will likely do a lot better than that! Atelier’s artistic directors,
Marshall Pynkoski and Jeannette Lajeunesse Zingg played a significant
role in the show’s triumphant return to Milan at La Scala last year,
under the baton of Marc Minkowski, and an even more extensive role
in the triumphant production of the opera in Salzburg two years prior
to that (including the participation of the Atelier Ballet in the Salzburg
run). Now they get to bring the opera, in their very own production,
to Toronto audiences from April 7 to 16 at the Elgin Theatre, including
the stars of of the Salzburg and La Scala runs (Kresimir Spicer and
Inga Kalna). Unlike Mozart’s Milanese collaborators, Opera Atelier
never fails to put on a great show, and this is a Canadian premiere that
is long overdue! If you see one concert this month, make it this one.
The Orlando Consort, with over 25 recordings to their name, doesn’t
come to town very often (although as a soloist their tenor, Charles
Daniels, is well known to Tafelmusik audiences, and a welcome
guest), but any chance to hear them live is certainly welcome. The
medieval-themed a cappella vocal group is known for their imaginative
concert programming as well as some exceptional singing. Their
latest project is certainly as imaginative as choral concerts get; they’ve
devised a program of music known to have been extant in France
during the lifetime of Joan of Arc and used it to score a compilation
MATTHIAS BAUS
THE ASSOCIATES OF THE
TORONTO SYMPHONY ORCHESTRA
Monday, April 11, 2016, 7:30 p.m.
BOW, BRUSH AND LENS
Kye Marshall
Endangered Species
Arnold Schoenberg String quartet in D major
Felix Mendelssohn String quartet in A minor Op. 13
Performers: Halcyon String Quartet with Paul Meyer and
Wendy Rose, violins • Kent Teeple, Viola • Marie Gelinas, cello •
with guest violinist Amalia Joanou-Canzoneri
Tickets $20, Seniors & Students $17
Trinity-St. Paul’s Centre, 427 Bloor Street W.
Box Office 416-282-6636
www.associates-tso.org
16 | April 1, 2016 - May 7, 2016 thewholenote.com

AMERICAN BACH SOLOISTS/GASLAMP PRODUCTIONS”
Justin Bland
soundtrack to the 1928 silent film classic La passion de Jeanne d’Arc,
by Carl Theodor Dreyer.
As either a work of scholarship or of film scoring, this would have
been a formidable workload. The fact that the Consort has accomplished
both demonstrates incredible artistic vision and dedication,
and I have no doubt the veteran singers will be able to pull it off splendidly.
You can catch this at Koerner Hall at the Royal Conservatory of
Music, April 3 at 3pm.
Zelenka at Tafelmusik: One composer who’s been getting some welldeserved
attention in recent years is the Czech composer Jan Dismas
Zelenka. Since his rediscovery by fellow Czech composer Bedřich
Smetana in the mid-19th century and the publication of a catalogue
running to nearly 200 works, early music audiences have had more
and more chances to hear him over the last few decades. Indeed,
Tafelmusik audiences should already be familiar with the composer –
the group performed his concert overture, Hippocondrie, earlier this
concert season, and an excerpt from one of his sonatas made it on to
their fantastic Galileo Project.
A double bassist, kapellmeister and avid contrapuntalist, Zelenka
had the good fortune to work in the epic Dresden court of Augustus
the Strong, where he wrote sacred works for choir and orchestra.
Zelenka was also well-connected. Besides working with the great
violinist, Johann Georg Pisendel, he was also a personal friend of Bach
and was much admired by both composers. This month, Tafelmusik
honors both Bach and Zelenka as composers of sacred music with a
concert of Zelenka’s Missa Omnium Sanctorum and Bach’s cantata
Weichet nur, betrübte Schatten at their home base at Trinity-St. Paul’s
Centre, April 28 through 30 and May 1.
Bland by name only! A good trumpet player is hard to find, and an
excellent one harder still. It’s again still rarer to find a great player of
the baroque trumpet, since the instrument is considerably harder to
play than its modern counterpart (smaller embouchure, no valves)
and this may explain why Justin Bland is so darn busy and why he
plays with, well, basically everyone. The Copenhagen-based musician
will be visiting Toronto to play with Scaramella in a concert dedicated
to music for baroque trumpet, and featuring the music of Bach,
Melani, Merula and Purcell at Victoria College Chapel on April 16.
The up-and-coming virtuoso will be playing with Scaramella artistic
director Joëlle Morton on violone, the talented young soprano Dawn
Bailey and local hotshot violinists Michelle Odorico and Rezan Onen-
Lapointe, which means that this concert will feature a considerable
amount of talent as well as youthful exuberance. (In the interest of full
disclosure, I should also say that the concert also features this columnist
on harpsichord, whose talent and/or exuberance you will have to
judge for yourselves.)
David Podgorski is a Toronto-based harpsichordist, music
teacher and a founding member of Rezonance. He can
be contacted at earlymusic@thewholenote.com.
thewholenote.com April 1, 2016 - May 7, 2016 | 17

Beat by Beat | Jazz Stories
Braid & McDonald
Czech It Out!
ORI DAGAN
Dream Barriers: David Braid’s artistry continues to find new
directions, moving steadily forward towards the unexpected,
fuelled by tremendous musical gifts. Fresh off a media appearance
to discuss his role as composer for the Ethan-Hawke-starring
Chet Baker biopic, Born to Be Blue, the two-time JUNO winner sat
down for a one-on-one interview to discuss his latest project.
The project revolves around his 12th recording, Flow, which is on
the Steinway & Sons label. Later this year he will perform in Russia,
Norway, Scotland and Australia to support the album; this month
he tours across Canada including a stop in Kingston on April 1 at
St. Mark’s Church, April 4 at London’s Aeolian Hall and April 5 at Jazz
Bistro in Toronto.
The new recording is a collaboration with Prague’s Epoque String
Quartet. “We have a world tour coming up this year, and I really
wanted to bring the Epoque Quartet to Canada, so we’re doing a
cross-country tour.” But in keeping with the project’s genesis, it’s
a tour that will feature three different quartets. “The first ten days
are with [Epoque]; our last concert before they go home is at Jazz
Bistro. Then I fly to Calgary on the sixth and pick up the Borealis
Quartet, then central Canada with the Penderecki String Quartet. So
I’m having a great time working with these amazing musicians and
learning a lot about their world, and intermingling their music with
my world.”
Flow is a unique departure from Braid’s previous efforts, and not
only because of the instrumentation. Courageously conceived, the
bold recording blends Western classical, folk, ancient and world music
forms. Jazz, Braid’s musical home turf, is perhaps more evident in the
spirit of the risk-taking than the sound. So will this effort net another
JUNO nomination and if so, in what category? Braid does not seem to
care, and that’s precisely the point.
“I found it very liberating to cut myself off from thinking in practical
terms – to lose my identity as a ‘jazz pianist’ and just think about
making a program of music that feels like it’s fresh and alive and not
influenced by any practical decision, i.e. not being jazz, or classical.
Not limited by the performance practices of a particular style. I just
wanted to build something that was beautiful, that was artistic, that
people could connect to.”
So why now for this change of direction? “Probably…with me
growing increasingly frustrated playing in jazz venues where the
sound is so ridiculously loud. I feel like I’m not performing at my best
because I’m fighting to create energy. I found that collaborating more
with classical musicians opened up the sonic playing field fully for
me. I’m really interested in playing my instrument and making a good
sound at the piano and using the full range of dynamics, which could
be very expressive. I wanted to go back to acoustic fundamental vibrations:
strings resonating in a room, piano hammers hitting strings in
a room, and nothing that’s modified by technology. Revitalizing the
beauty of natural sound.”
The actual catalyst though, he says, was Werner Herzog’s acclaimed
documentary, Cave of Forgotten Dreams, which debuted at the
Toronto International Film Festival in 2010. The film recounts the
experience of French backpackers, who in 1994 discovered ancient
caves containing paintings covered by mineral deposits, which took
thousands of years to grow.
Braid’s wonderment at the film is still evident as he speaks. “It turns
out these paintings are 32,000 years old, the oldest art work in the
world – twice as old as what was previously considered the oldest.
And if you see these images, we’re not talking about stick figures or
primitive ideas – these are sophisticated three-dimensional drawings
with very contemporary ideas. There’s a painting of a bison with eight
legs – one set of legs extended, the other closed– where else do you
see a single image with multiple movements? It’s a cinematic idea–
and they had the same type of thinking 30,000 years ago – they were
explaining in the film that when you hold torchlight up to the images
on the rocks, the flickering of the torch makes it seem alive and
moving. It’s mindboggling…I had never even seen a film twice before,
but I saw this film nine times! One thing that really came through for
me was that art has the potential to be transformative. This film made
me remember that art can have a much deeper, more fundamental,
ancient purpose.”
In keeping with the theme of visual inspiration, Flow, which will be
released on vinyl as well as compact disc, features a stunningly vibrant
painting on its cover, courtesy of Beijing artist, Sophia Gao. Currently
hanging in Braid’s living room, the work is fittingly titled Qi and will
be on display with several other original works by Gao at Jazz Bistro
when Braid and the Epoque String Quartet play on April 5.
Why did Braid choose the Epoque String Quartet to record with?
The Ken Page Memorial Trust and
WholeNote Media Inc. are proud to present
the first performance by
JIM GALLOWAY’S
WEE BIG BAND
in The Garage, a spacious, acoustically friendly
venue on the ground floor of the CSI Building
at 720 Bathurst Street (two blocks south of Bloor)
under the leadership of Martin Loomer
and supported by Jim’s Friends we invite you
to join the band for an evening of musical
nostalgia, toe-tapping and dancing from
7:30 to 10:30 pm
Thursday 14th April 2016
Tickets $20 each at the door,
cash only please
Should you wish to reserve seating in advance
phone Anne Page at: 416 515 0200
or email: moraig@huntingstewart.com
Premises are licensed
Light menu available
Street parking
David Braid with Sophia Gao’s Qi painting
This concert is dedicated to the
memory of Jim Galloway, Gordon Evans,
Kira Payne and Laurie Bower
ORI DAGAN
18 | April 1, 2016 - May 7, 2016 thewholenote.com

“The last couple of years, I played with a lot of string quartets in
a lot of different countries, and although they are all great, with
the Czech quartet, early on in our collaboration, we talked about
recording. We had done a couple of demo recordings, and a pile of
concerts in Prague. They weren’t sure if it was going to connect with
audiences – we were playing in this jazz club in Prague, the Jazz Dock,
and it’s a real jazz club – here we are with a string quartet and piano,
and they were like – ‘I don’t know if people are going to like it, let’s
see what happens’ – and people went nuts! I felt as though with them,
I broke through my dream barrier in terms of making that special type
of connection with completely fresh new music. We did two more
concerts that tour and we had a similar, deeply emotional response
from the audience which was kind of unexpected. With new music
this is unusual and so it meant a lot.
“At one of the concerts, the Canadian culture attaché was in attendance
and he said ‘I hadn’t seen a reaction like this before – Czech
audiences are usually very critical, especially of new music.’ So that
audience in Prague, which is the first place I put the program out for
public consumption. These guys – all they do is play music. Three out
of the four play in the state orchestra, really well taken care of, their
families are musical royalty. When I wanted to do the recording, they
just said, ‘We’ll just do it at the best recording studio at the Czech television
station with the best engineer, we work there all the time,’ and
boom, there it happened! So for many reasons, it just felt very natural
to do it with these guys.”
Czech mates part two: Jazz singer, educator and impresario, Lynn
McDonald, is no stranger to Prague herself; next month will mark her
nineteenth visit to the Czech capital, where she has sung countless
tunes and absorbed bountiful inspiration. On April 19 at 6pm, she will
be sharing the stage with Prague’s star guitarist Roman Pokorny at 120
Diner (where in the interest of full disclosure I should state that I have
a significant hand in the programming).
continues on page 58
thewholenote.com April 1, 2016 - May 7, 2016 | 19

Beat by Beat | On Opera
Isis and Osiris
Bring In The Old!
Canada’s premier summer classical music festival
at the Charles W. Stockey Centre in
Parry Sound — on beautiful Georgian Bay
j uly 15 th – august 7 th , 2016
ClassiCal
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jazz weekend
cruises • films • talks
60 EvEnts
50 MusiCians
20 EnsEMblEs
www.festivalofthesound.ca
1.866.364.0061
CHRISTOPHER HOILE
With more companies scheduling operas in March and May,
April does not quite overflow with opera performances as it
used to. Nevertheless, an astonishing variety of works are on
offer from warhorses to rarities and from the eighteenth century to
the present.
The month begins with the world premiere of the Canadian
opera Isis and Osiris, Gods of Egypt composed by Peter Anthony
Togni to a libretto by poet Sharon Singer. The opera, presented by
Voicebox: Opera in Concert, concerns the central figures of ancient
Egyptian myth.
Via email Singer explained the importance of the myth and the
genesis of the opera: “I have been working on this project since before
Peter became involved. My fascination with ancient Egypt goes back
many decades. The myth of Isis and Osiris is the overarching myth of
ancient Egypt since it explains and describes the creation of the world
and how evil came into the world and the afterlife. The spine of the
myth is the concept of ma’at which is the Egyptian word for law,
order, truth and justice.
“The opera, Isis and Osiris, Gods of Egypt is inspired by this strange
and compelling myth that centres on one of the world’s great love
stories. Four siblings, children of the gods – Isis, Osiris, Seth and
Nepthys – come to earth to live as human beings. The idealistic King
Osiris and his sister-wife, Queen Isis, bring their people the gifts of
civilization: agriculture, weaving, a code of laws, the arts, and worship
of the gods. Their brother Seth, however, is jealous of their power,
their wisdom and their devotion to each other. He murders Osiris
and usurps the throne, provoking a conflagration that Isis with all her
strength, love, and magic, must try to extinguish.
“This story cried out to be created as an opera, which had never
been done before. It’s a larger-than-life tale filled with sibling rivalry,
jealousy, fratricide, brutal murders, magic and resurrection. In spite
of this bedrock of a story from prehistory, the opera is very contemporary
in the issues that it explores such as the eternal battle between
good and evil, the selfish and power-mad Seth, versus the idealistic
Osiris, who seeks to create a peaceful kingdom founded on justice,
fairness and compassion.”
“I had written the first draft of the libretto for the opera and I was
looking for a composer. Peter and I were introduced by a mutual
friend, mezzo-soprano Andrea Ludwig, who was enthusiastic about
my libretto and recommended it to Peter. When he read it, he emailed
me these words, ‘I read the libretto and I love it! Very dramatic, very
singable…I would love to make this happen!!!’ Four years later, it is
having its world premiere.”
Though the story deals with gods, Singer sees them as very human:
“Since Isis and Osiris are incarnated as human beings, they had to
have human as well as divine qualities.”
For his part, Togni explained his approach to composing the opera:
“I have tried to be true to Sharon Singer’s wonderful libretto. In my
musical response I am going for the humanity – a bright and rich
sound rather than an approximation of what the music might have
sounded like or a tip of the hat to Verdi! Much of music is already
influenced by mystical and exotic sounds such as medieval chant and
eastern scales. You will find this in my choral music for example –
music that is ancient and modern at the same time. I am telling the
story in my own harmonic language. I really wanted the opera to
dance and as result I use many Arabic rhythms and scales.
“There is a slightly baroque influence mixed with that and the
influence of some of the Russian romantic composers. Like a film
score, the sound changes from scene to scene and the range is wide,
20 | April 1, 2016 - May 7, 2016 thewholenote.com

an Ontario government agency
un organisme du gouvernement de l’Ontario
Lucia Cesaroni sings
the role of Isis
everything from ancient
sounding chords to shrieking
jagged, blood-on-the-floor
orchestral screams! The
Egyptians were very forward
thinking and I hint at this
with my use of the electric
organ and harmonies
not unlike Pink Floyd and
Coldplay. If anything, my
music depicts them as a
futuristic people.
“I have scored it for a
chamber orchestra – two
violins, viola, cello, double
bass, oboe, clarinet, harpsichord,
harp, organ and percussion – lots of percussion! Rather like a
baroque band, it has to be tight and crisp sounding.”
Isis and Osiris stars soprano Lucia Cesaroni as Isis, tenor Michael
Barrett as Osiris, mezzo Julie Nesrallah as Nepthys and Michael Nyby
as Seth. With Robert Cooper conducting the chamber orchestra and
the OIC Chorus, the opera runs April 1 and 3.
A Mozart Premiere! Next up is the rarity, Lucio Silla (1772), by
the 16-year-old Mozart presented by Opera Atelier, April 7 to 16.
This is the opera that director Marshall Pynkoski and choreographer
Jeannette Lajeunesse Zingg staged to great acclaim first at the
Mozartwoche Salzburg and the Salzburg Festival in 2013 and later at
La Scala in Milan in 2015. Two stars of the La Scala production will
sing in Toronto – Kresimir Spicer as the Roman dictator Silla (i.e.
Lucius Sulla, 138-78 BC) and Inge Kalna in the trousers role of Cinna.
Joining them will be Peggy Kriha Dye in the second trousers role as
the senator Cecilio. Mireille Asselin is Celia, Silla’s sister. And Meghan
Lindsay is Giunia, Cecilio’s beloved, who is desired by Silla. David
Fallis conducts the Tafelmusik Baroque Orchestra.
The COC's Cuban Carmen: Playing from April 12 to May 15 is Bizet’s
Carmen presented by the Canadian Opera Company. Because of the
long run there is a double cast. Georgian mezzo Anita Rachvelishvili
and French mezzo Clémentine Margaine alternate in the title role.
American tenor Russell Thomas and Canadian David Pomeroy sing
Carmen’s lover Don José. American bass-baritone Christian Van Horn
and American baritone Zachary Nelson sing the toreador Escamillo.
And Canadians Simone Osbourne and Karine Boucher sing Micaëla.
Paolo Carignani conducts.
The COC last presented Carmen in 2010 and premiered the current
production designed by Michael Yeargan and François St-Aubin in
2005. The most exciting aspect of this revival is that it will be directed
by Joel Ivany, the artistic director for the Toronto alternative opera
company Against the Grain Theatre, which has presented such innovative
productions as La Bohème staged in a real pub and recently a
fully staged and choreographed Messiah.
I spoke with Ivany about what challenges there are in directing a
pre-existing physical production where others have made the design
choice to move the location to Cuba and the time to the 1940s.
Ivany says, “I’ve had to try and get inside the mind of the original
artistic team to see what they were after. Thankfully the COC had all
their reference material, including the original sketches, to find out
why it was important for them to set Carmen in this time period.
Ivany tells me that he noticed “that some elements of those original
sketches weren’t implemented into the production. I had a design
person [Camellia Koo] look at it with me to see if we actually could
add anything anywhere or change some elements from how this
production had been done before.” The result will be that “the first
three acts therefore are going to look a little bit different from what
Toronto audiences have seen before.”
The area where Ivany can most exercise his creativity is in directing
the acting, especially since the company is doing the original version
with dialogue instead of recitatives. Ivany says, “For me so much
happens in those dialogues. The storytelling is so incredibly crucial.”
Ivany states his goal: “What I’m going for is a good, character-driven
spectacle event of what this piece
is, within this set and within this
company. The best approach is to
celebrate what is best about this
production and this piece and use
its visual strengths and the chorus to
the best advantage.”
About the contrast between
working with his own company and
with the COC, Ivany says, “It’s great
to be able to do the big, but also to
be doing experimental work with
Against the Grain and seeing where
that can lead. I think that’s what’s
unique and great about Canada, and
Toronto as well, and I think there
are some good days ahead with leaders who are taking chances on
those ideas to make sure that this art form keeps evolving and moving
forward. It’s variety that spurs the creativity.”
Silva-Marin’s Zarzuela Love Affair: From April 27 to May 1 Toronto
Operetta Theatre presents the Canadian premiere of the 1923
zarzuela Los Gavilanes (The Sparrow Hawks) by Jacinto Guerrero
(1895-1951). TOT artistic director Guillermo Silva-Marin introduced
the zarzuela, the Spanish version of operetta, to Toronto audiences,
starting in 2003, immeasurably broadening the palette of music
theatre in Toronto.
The action is set near a Provençal fishing village in 1845. Juan, now
aged 50 and known as the “Indian,” has returned to the village after
having made his fortune in Peru. He left hoping to make enough
money to marry his beloved Adriana, but he finds that in his absence
she married, had a daughter, Rosaura, and is now a widow. Because
Rosaura so much resembles the Adriana he left behind, Juan vows
to marry her, much to the anger of the village and of Rosaura’s
boyfriend Gustavo.
Guillermo Silva-Marin
General Director
A favourite of Zarzuela fans throughout the Latin
world, ‘The Sparrow Hawks’ is filled with romance,
unrequited love, fortune-seekers and misguided
ambition, forged in the fire and passion of Spain.
by Jacinto Guerrero
starring Miriam Khalil, Sarah Forestieri, Ernesto Ramírez
and Guillermo Silva-Marin
Rosalind McArthur, Ivy Spalding, Diego Catalá and Gregory Finney
Larry Beckwith, Conductor
Guillermo Silva-Marin, Stage Director
CANADIAN
PREMIERE!!
The Sparrow Hawks
April 27, 29, 2016 at 8 pm
April 30 and May 1 at 3 pm
416-366-7723 | 1-800-708-6754 | www.stlc.com
thewholenote.com April 1, 2016 - May 7, 2016 | 21

KEN HOWARD
Los Gavilanes will be the sixth
full zarzuela that Silva-Marin has
programmed, but this one has a
special meaning for him. As he
wrote via email, “Los Gavilanes
was the first zarzuela I attended
when it was performed in San
Juan while I studied at Universidad
de Puerto Rico. Actually, it was
my first encounter with the lyric
theatre during a time when I had
little thought that I would someday
become a singer.”
Silva-Marin notes that Guerrero’s
music may remind TOT fans of
another great operetta composer. As he says, “Years later, I found
myself thinking about Los Gavilanes in Toronto. By this time I
had researched and presented Imre Kálmán’s works Countess
Maritza, The Gypsy Princess and Der Zigeunerprimas. On revisiting
Los Gavilanes years ago, I was struck by Guerrero’s similarity to
Kálmán in sonority, orchestration and predilection for melodic invention,
and smiled at recognizing that Madrid and Budapest were not
truly too far apart. Being 1923, verismo in operetta was not at all an
anomaly. Los Gavilanes cannot avoid a Spanish musical sensitivity,
but it is not committed to a folkloric palette, rather a more universal
sound evolving from the purely comical and satirical in operetta of
previous decades.”
The dialogue will be in English and the songs sung in Spanish.
Miriam Khalil will sing Adriana, Sarah Forestieri will be Rosaura and
Ernesto Ramirez will be Gustavo. Guillermo Silva-Marin himself will
sing the role of Juan. Larry Beckwith conducts the TOT Orchestra and
Silva-Marin directs, assisted by Virginia Reh.
COC’s Seventh Rossini: The month closes with the COC’s company
premiere of Rossini’s Maometto II from April 29 to May 14. Acclaimed
Luca Pisaroni as Maometto II. (Sante Fe Opera, 2012)
Italian bass-baritone Luca Pisaroni
makes his COC debut in the title
role in this production created for
Santa Fe Opera in 2012, directed by
David Alden and conducted by early
music expert Harry Bicket. This will
be the seventh Rossini opera the
COC has staged and only its second
Rossini opera seria, after Tancredi
in 2005. Many people will know the
opera better under the title Le Siège
de Corinthe, the name Rossini gave
it when he rewrote the work for
Paris in 1826.
Loosely based on history, the
central character of Maometto II is the Ottoman Sultan Mehmed II
(1432-81) who conquered Constantinople in 1453 and later, in 1470,
the Venetian colony Negroponte on the Greek island of Euboea where
the opera is set. In Maometto II, the Venetian debate how to deal
with the Turkish threat. Calbo counsels the governor, Paolo Erisso,
to continue to fight while General Condulmiero counsels surrender.
Yet, as with most opere serie, the focus is more on love than politics.
Erisso wishes his daughter Anna to marry Calbo but she confesses
that she is in love with a man known to her only as “Uberto.” As one
might expect Uberto turns out to be none other than Maometto II.
Joining Pisaroni is tenor Bruce Sledge as Erisso, soprano Leah
Crocetto as Anna, mezzo Elizabeth DeShong in the trousers role of
Calbo, tenor Andrew Haji as Condulmiero and tenor Aaron Sheppard
as the Muslim noble Selimo.
These five operas are only the largest scale works on offer in April,
yet one could hardly hope for more varied and unusual fare.
Christopher Hoile is a Toronto-based writer on opera and
theatre. He can be contacted at opera@thewholenote.com.
Canadian Children’s Opera Company
Open House
Be a CCOC
Chorister
For a day!
Free
Admission
Ages 3-10: Tuesday, April 19, 5 - 6:30pm
Ages 10-18: Saturday, April 16, 10am - 12pm
at First Unitarian Congregation
175 St Clair Ave. W
Auditions for 2016-17 Season
by appointment
canadianchildrensopera.com
Drama Instruction
Choral Singing
Staging an Opera
Bake Sale
416-366-0467
22 | April 1, 2016 - May 7, 2016 thewholenote.com

great
chamber music
downtown
STRINGS
Oct. 13 Juilliard Quartet
Nov. 10 Quatuor Arthur-LeBlanc
Dec. 1 Suzie LeBlanc,
Robert Kortgaard,
Blue Engine String Quartet
Dec. 15 Gryphon Trio
Jan. 26 St. Lawrence Quartet
Feb. 16 Eybler Quartet
Mar. 2 Prazak Quartet
Mar. 16 Philharmonia Quartett Berlin
PIANO
Oct. 25 Janina Fialkowska
Nov. 15 Danny Driver
Jan. 10 Sean Chen
Feb. 7 Ilya Poletaev
Full season of 12 concerts $479, $434
Other combinations available.
Subscription prices include
handling charges and HST.
All concerts at 8pm.
416-366-7723 1-800-708-6754
order online at www.stlc.com
ONTARIO ARTS COUNCIL
CONSEIL DES ARTS DE L’ONTARIO
Canadian Patrimoine
Heritage canadien

Beat by Beat | Classical & Beyond
Debargue
and Geniušas
Cool Hand Lukes
PAUL ENNIS
Born at the height of
the Cold War in 1958,
the International
Tchaikovsky competition
(held every four years,
most recently in 2015) has
a checkered history, beginning
with its first winner,
the American Van Cliburn.
Conceived by the Soviet
regime to celebrate the preeminence
of its own musicians
in a contest that
welcomed contenders from
around the world, Cliburn’s
first-place finish (the jury
included Shostakovich,
Richter and Gilels) was acclaimed by music lovers in Moscow and
the West. Last year’s competition likely produced the biggest surprise
since 1958, although it wasn’t the winner, Dmitry Masleev, a by-thebook
Russian.
Lucas Debargue: The surprise was an unheralded Frenchman, Lucas
Debargue, who swept through the first two rounds captivating audiences
and critics with his playing. Seymour Bernstein (Seymour: An
Introduction) was so moved, he sent an email to his list of followers
celebrating Debargue’s artistry: “First, the Medtner is unbelievable!
But I doubt that anyone will ever hear Ravel’s Gaspard performed like
this. The French pianist Lucas Debargue must be in another world.
Simply the most miraculous playing. Perhaps because of this alone he
may win the competition.”
Reportedly, though, Debargue faltered in the final round concerto
performances (he had limited experience in playing with an orchestra)
and was awarded Fourth Prize. More importantly, the Moscow Music
Critics Association bestowed their top honours on him, and SONY
signed the 25-year-old pianist to a record contract.
And now Show One impresario, Svetlana Dvoretsky, has had the
acumen to bring him to Toronto! In what promises to be one of the
most exciting events of the season, Debargue and fellow Tchaikovsky
winner, Lukas Geniušas, will give a unique, joint recital at Koerner
Hall, April 30.
(Debargue’s first CD – which he chose to record live in Paris’ Salle
Cortot to preserve a sense of risk and spontaneity – with works by
Scarlatti, Chopin, Liszt, Ravel (Gaspard de la nuit), Grieg, Schubert
and his own variation on a Scarlatti sonata has just been released. In
a brief sampling, I was struck by the ethereal quality in his playing
of Scarlatti’s K208/L238 Sonata and the breathtaking articulation of
K24/L495. He made K132/L457 his own, ruminative, other-worldly.
K141/L422 was Horowitz-like but with fresh emphases. He also found
the melancholic quality of Grieg’s Melody from Lyric Pieces Book
III and brought an exquisite elegance to Schubert’s familiar Moment
Musical Op.94.)
If Debargue’s backstory weren’t true, few would believe it as fiction.
He heard the slow movement of Mozart’s Piano Concerto No.21 K467
when he was ten, fell under its spell and into the world of music. He
played a friend’s upright piano by ear before beginning lessons at
11 with his first teacher, Madame Meunier, in the northern French
town of Compiègne. He credits her with helping him to find his way
as an artist, but when he moved to Paris to study literature at Diderot
University – yes, he learned English by reading Joyce’s Ulysses – he
stopped playing piano (“I had no great guide, no one to share great
music with,” he told the BBC), using the bass guitar as a musical
outlet. After being away from the piano for years, he accepted an invitation
to a competition in his home province. He won and began
an intense pupil-teacher relationship with Rena Sherevskaya in
Paris at 21.
In a recent interview Debargue gave the German magazine
Crescendo right after he recorded his second solo album in Berlin,
he was asked if he is living differently now, after the competition:
“Externally everything’s changed but internally not. I’m looking for
Lucas Debargue
Lukas Geniušas
the clarity in my interpretation and I always
feel that I need to progress. I’ve always had
it that way. It is far more difficult for me to
put up with many people around me than to
concentrate on the music. Music gives me a
new strength.”
Just a few days before his March 24 Paris
recital, Debargue graciously took the time
to answer a few of my questions via email.
His answers were brief, to the point and
illuminating:
What is your goal as an
interpreter of music?
To find out and then keep
as much as possible the
spirit of the music I play.
Let it live and reach the
listener by being clear and
expressive.
Which pianists from
the past or the present
do you especially
admire? And why?
Horowitz: for his boldness
and freedom. Sofronitsky:
for his boldness and
freedom. Gould: for his
boldness and freedom. I
strongly think that no other
pianist reached the dimension
of Rachmaninov’s
playing though. Sokolov
and Pletnev are my favorite
living pianists. But how can one forget Art Tatum, Monk, Powell
and Erroll Garner? Speaking strictly about piano playing they’re the
best so far. [Debargue is also a jazzer who’s played clubs in Paris; his
Ravinia Festival appearance in August will see him give one classical
and one jazz recital on the same day.]
(I asked about two pieces on his Toronto program.) What is your
approach to playing Gaspard de la nuit?
Live it from the inside after having found the right tempo and sound
for each note.
And Scriabin’s Sonata No.4?
It’s music of fantasy and terror but one has to be very precise in
choosing the right pictures and dynamics for each episode.
Lukas Geniušas: Coming from a musical family, headed by his
grandmother, Vera Gornostaeva, a well-known Russian pedagogue,
Lukas Geniušas took a more conventional path to his second-place
Tchaikovsky finish, which followed second place in the 2010 Chopin
Competition. Geniušas, like Debargue, is just 25 years old and also
took time to answer my email questions. He told me that his grandmother’s
importance in his musical life “both early and current
is impossible to overrate.” It went beyond the bounds of music in
building a foundation for the overall comprehension of art.
Geniušas told me that he has three goals as an interpreter of
music: to create his own personal interpretations without harming
EVGENY EVTYUKHOV
24 | April 1, 2016 - May 7, 2016 thewholenote.com

TM
the composer’s intentions; to seek moments of spiritual presence in
a concert; and to pass on traditions that were passed on to him by
his teachers.
He told me that he grew up admiring Richter and Michelangeli.
“Somehow, intuitively, I have chosen them to be my favourites
among many others whom I listened to on CD and DVD (yes, before
YouTube!),” he said. “Their playing still appears to me the most
complex, multi-layered and profound. Out of contemporary pianists,
I would point to Radu Lupu, Zoltan Kocsis and Boris Berezovsky, who
mostly capture my attention.”
When I asked him about his approach to Prokofiev’s Sonata No.7
and the seven Chopin mazurkas he will play in Toronto he told me
that he first played Chopin mazurkas under his grandmother’s supervision
when he was 11 or 12. He spoke of them as “little jewels” that
were like a diary, about how a traditional Polish dance reveals “some
of the most intimate shades of feelings” as embodied by Chopin, and
how this music was a “particular side” of the teaching experience of
his grandmother’s teacher, Henry [Heinrich] Neuhaus, who taught
Richter, Gilels and Lupu, among many others from 1922 to 1964.
He called the Prokofiev Sonata No.7 one of the central pieces of
20th-century piano music: flawless in form, matchless in its violent
brutality inspired by the outrage of WWII. Instead of taking a stormy
virtuosic approach that may mislead the listener with flashy tricks,
Geniušas prefers an articulated rendering that conveys its depth
of meaning.
With eight CDs to his credit already, Geniušas’ path to an international
career is well on its way. The Guardian wrote of his recent
Southbank recital that he “plays with a prizewinner’s brilliance,
yet with a mature ability to recreate a work’s architecture, and an
expressiveness that doesn’t overtly draw attention to itself.” I can’t
wait to hear him play the two-piano version of Ravel’s La valse with
Debargue, the final piece of their Koerner Hall concert.
Geniušas has been in Toronto before: he came last December (and
will return in April) to play for Dmitry Kanovich’s Looking at the Stars
project that brings professional musicians to unusual venues. “This
experience sweeps beyond words,” he said. “I never expected that
performing in hospitals, shelters and jails could be so emotional and
inspiring.”
Leonid Nediak: A student of Michael Berkovsky, Leonid Nediak
(b. 2003) already has extensive concert experience. (He made his
debut with the Montreal Symphony Orchestra under Kent Nagano
in February 2014.) The grand prize winner of the 2013 and 2014
Canadian Music Competition, both times receiving the highest marks
ever awarded in this event, Nediak makes his TSO debut next January
playing Mozart’s Piano Concerto No.27 K595 under the baton of Peter
Oundjian. At the recent announcement of the TSO’s 2016/17 season,
Nediak played Rachmaninov’s Prelude in G Minor, a performance
that touched all who were there. If you want to get a sense of this
wunderkind before next January, there are two contrasting opportunities
in the next few weeks. On Apr 16, Nediak joins with Norman
Reintamm and the Cathedral Bluffs Symphony in Beethoven’s
kinetic Piano Concerto No.3 Op.37. On May 7, he is the soloist in
Rachmaninov’s romantic masterpiece, his Piano Concerto No.2 Op.18,
with the Kindred Spirits Orchestra, conducted by Kristian Alexander,
the second time Nediak has appeared with this Markham-based
ensemble. (In 2014, they performed Chopin’s Piano Concerto No.1
Op.11 together.) In an email exchange, Alexander told me that Nediak
played the first movement of the Rachmaninov concerto at a Kindred
Spirits audition in 2014. “Leonid played very well, with the right
balance of musicality, expression and technique. His performance was
convincing and offered qualities that resonated with my interpretational
concept about the piece,” he said, explaining the origin of the
May 7 concert. Their Chopin collaboration came about just after that
audition – Nediak already had it in his repertoire -- and “Leonid’s
approach to Chopin’s melodic line was free-spirited and fresh and
required a much higher level of elasticity and flexibility from the
orchestra than usual.”
HANNAFORD STREET
SILVER BAND
PRESENTS
Sunday April 17th, 2016,
3:00 PM. Jane Mallett Theatre
Alain Trudel,
Conductor
Canadian Trumpet sensation Stéphane Beaulac
takes leave from the Los Angeles Philharmonic to
perform Johnny Cowell’s showpiece trumpet
concerto in the finale concert of the 3 day Festival
of Brass under the baton of another Canadian
legend, Alain Trudel.
Stéphane Beaulac,
Trumpet
ACKNOWLEDGEMENTS:
Book Tickets online www.stlc.com For a special group rate (10 or more tickets) Call 416.366.7723 OR 1.800.708.6754
thewholenote.com April 1, 2016 - May 7, 2016 | 25

Describing Nediak’s qualities as a pianist, Alexander said: “Leonid
is a great communicator, able to unlock the emotional content of the
piece and unfold the storyline of the composition. He also has a reach
and versatile palette of colours, natural sense of phrasing and flawless
energy flow.”
QUICK PICKS
Royal Conservatory: Young organ virtuoso
Cameron Carpenter brings his contemporary
sensibility to Koerner Hall Apr 1. (Two days later,
Apr 3, he moves his new custom-designed organ
to the Isabel in Kingston, where, four days later,
on Apr 7, the Korean-born Minsoo Sohn, will
give a live version of his acclaimed recording of
Bach’s Goldberg Variations). Continuing with the
Royal Conservatory, legendary pianist/conductor/
teacher/mentor, Leon Fleisher, conducts the Royal
Conservatory Orchestra, Apr 8. On Apr 12, the
current crop of Rebanks Family Fellows performs
a free concert (tickets required) in Mazzoleni Hall;
on Apr 19, another free concert there is an opportunity
to gauge the future as the Glenn Gould
School presents its Chamber Music Competition
Finals.
Syrinx presents Ensemble Made in Canada
Apr 3 playing piano quartets by Beethoven,
Mendelssohn and Omar Daniel at the Heliconian
Club. The following week Ensemble Made in
Canada travels to Kitchener-Waterloo Chamber Music Society for a
double dose, Apr 8 and 9, including more Beethoven, Schumann and
John Burge as well as the three pieces the group are doing in Toronto.
The group’s cellist Rachel Mercer returns to KWCMS Apr 24 as part of
Ménage á six, in a program of string trios by Dohnányi and Schubert
along with Brahms’ Sextet No.1. And May 3 Till Fellner (whom I
profiled in the March 2015 issue of The WholeNote) also returns to the
Narvesons’ house in Waterloo – that “amazing place” – for a recital of
works by Schumann, Berio and Beethoven.
The Cecilia String Quartet is joined by James Campbell at U of T’s
Walter Hall for a performance of Brahms’ Clarinet Quintet, a cornerstone
of the clarinet repertoire, Apr 4. Sunday, May 1 at 11am, the
Cecilia invites children on the autism spectrum and their families to
the next in its series of free Xenia Concerts. The one-hour performance,
“Bach, Beethoven, and Brahms by the Numbers,” takes place in
the Sony Centre’s lower lobby performance space.
The COC orchestra’s top two violinists, Marie Bérard and Aaron
Schwebel, give a free noontime concert featuring music by Ysaÿe and
Leclair, in the Richard Bradshaw Amphitheatre, Apr 5.
Music Toronto: Apr 5, Duo Turgeon, husband-and-wife duo pianists,
perform a heavyweight program that includes a new arrangement
of Ravel’s Second Suite from Daphnis and Chloe by Vyacheslav
Gryaznov, Lutoslawski’s Variations on a Theme by Paganini and
Brahms’ Variations on a Theme by Haydn. Music Toronto is wellknown
as the hub of string quartet concerts in this city, for bringing
the world’s finest ensembles to the intimacy and congeniality of
the Jane Mallett Theatre. On Apr 14, Music Toronto’s current season
closes with the Berlin-based Artemis Quartet’s highly anticipated
Toronto debut.
Heliconian Hall 35 Hazelton Ave
www.syrinxconcerts.ca 416.654.0877
Rachel Mercer
MANY FACES OF
STRING PLAYING
MAY 28, 2016, 8 P.M.
The TSO: Danish conductor Thomas Søndergård and Swiss pianist
Francesco Piemontesi make their TSO debuts, Apr 6 and 8, with
Sibelius’ cyclic, texturally rich Symphony No.1 Op.39 and Beethoven’s
poetic Piano Concerto No.4 Op.58. Associates of the TSO present the
Halcyon String Quartet (TSO principal and associate
principal second violins, Paul Meyer and
Wendy Rose, and TSO violist Kent Teeple and
cellist Marie Gélinas) playing Schoenberg and
Mendelssohn, Apr 11. Angela Hewitt remounts
her Bach hobbyhorse to perform two keyboard
concertos, BMV1052 and 1056 on Apr 13 and 14.
(On Apr 16, only BMV1052 will be played.) Peter
Oundjian accompanies Ms. Hewitt on all three
days and leads the orchestra in Shostakovich’s
Symphony No.8 Op.65, written in the shadow
of the horror of WWII. The exciting composer/
conductor Matthias Pintscher follows a
performance of his own work, towards Osiris,
with Mahler’s perpetually positive Symphony
No.1 “The Titan” on Apr 28 and 30. Israeli
pianist Inon Barnatan is the soloist in Mozart’s
dark-hued Piano Concerto No.24 K491.
WMCT: The Women’s Musical Club of
Toronto showcases the eminent violist Steven
Dann, his family and friends, Joel Quarrington
and Jamie Parker, in an eclectic recital
dubbed “Dannthology,” on Apr 7. Their 118th
season concludes on May 5 with a crowd-pleasing program by Honens
Laureate, Pavel Kolesnikov.
The Blythwood Winds’ program on Apr 7 “explores the musical
geography of continental Europe, contrasting old-school German
romanticism with the French school of the early 20th century.”
In an intriguing concert at Alliance Française Toronto on Apr 8,
Belgian pianist Olivier de Spiegeleir, plays works by Bach, Beethoven,
SALVATION ARMY SCARBOROUGH CITADEL
2021 LAWRENCE AVENUE EAST (AT WARDEN)
VISIT US AT SPO.CA
NIKKI WESLEY
TICKETS: AT THE DOOR OR ONLINE; EMAIL SPO@SPO.CA OR PHONE 416 429-0007
Ensemble
Made In Canada
April 3, 3pm
Canadian Viola
Quintet
May 1, 3pm
IN COLLABORATION
WITH
26 | April 1, 2016 - May 7, 2016 thewholenote.com

Chopin and Schubert that the movies made even more famous.
In the third concert of a Beethoven String Quartet Cycle that
concludes next season, Jeffery Concerts presents the Pacifica Quartet,
quartet-in-residence at Indiana University, performing the master’s
youthful Op.18 Nos.4 and 6 and the incomparable Op.59 No.1
(“Razumovsky”) on Apr 8.
Apr 9, one day after the Conservatory Orchestra’s concert, the U of
T Symphony Orchestra (led by Uri Mayer) performs two masterpieces
of the orchestral canon, Brahms’ Symphony No.3 and Shostakovich’s
Symphony No.5.
Gallery 345 presents the indefatigable cellist, Rachel Mercer, in a
solo concert, Apr 13. On Apr 15, the versatile violinist, Andréa Tyniec,
joins forces with the sensitive collaborative pianist, Todd Yaniw, in a
wide-ranging program of works by Sokolović, Ysaÿe, Piazzolla, Franck
and Brahms.
The dynamic Eric Paetkau leads the Hamilton Philharmonic in
Elgar’s ineffable Serenade for Strings and Tchaikovsky’s eternal
Symphony No.4 on Apr 16.
Mooredale Concerts presents the infectious Afiara String Quartet in
works by Haydn, Mendelssohn and Dvořák (where they will be joined
by the redoubtable bassist Joel Quarrington) on Apr 17.
Finally, don’t let this under-the-radar concert presented by Music
at St. Andrew’s/Austrian Embassy/Austrian Cultural Forum slip by.
Austrian cellist, Friedrich Kleinhapl, and German pianist, Andreas
Woyke, bring their romantic European sensibility to Mendelssohn,
Franck, Beethoven, Piazzolla and Gade, Apr 22. Steve Smith wrote
this about their September 2009 NYC recital: “Mr. Kleinhapl and
Mr. Woyke supported their idiosyncratic vision of Beethoven with
unimpeachable virtuosity and a thrilling unanimity of spirit. The
intensity with which they listened and responded to each other’s
impetuous gestures was its own reward, but they also shed new light
on these familiar pieces.”
Heart Songs
April 3 @ 2:30 pm
MacMillan Theatre
With the Women’s Chamber Choir,
the Women’s Chorus, the Men’s
Chorus, the University of Toronto
Symphony Orchestra and guest
percussionist Beverley Johnston.
World Music Ensembles
April 7 @ 7:30 pm
Walter Hall
With the African Drumming &
Dancing Ensemble, Latin American
Percussion Ensemble and Steel Pan
Ensemble. Free admission.
TICKETS:
music.utoronto.ca
or 416-408-0208
Cecilia String Quartety
April 4 @ 7:30 pm
Walter Hall
The powerful local quartet, the
Faculty’s Ensemble in Residence,
return for pieces by Agócs,
Mendelssohn and Brahms.
UofT Symphony Orchestra
April 9 @ 7:30 pm
MacMillan Theatre
The UTSO, under conductor Uri
Mayer, perform Brahms’ Symphony
No. 3, Op. 90 in F Major and
Shostakovich’s Symphony No. 5,
Op. 47.
Paul Ennis is the managing editor of The WholeNote.
Last concert April 25. Thank you for joining us, see you in the fall!
thewholenote.com April 1, 2016 - May 7, 2016 | 27

Beat by Beat | In With the New
That’s Curious!
WENDALYN BARTLEY
This month’s column takes a behind-the-scenes look at two
quite different upcoming events in April – the Curiosity Festival
presented by the Toy Piano Composers and an upcoming concert
by the independent pianist/improviser/composer Marilyn Lerner
which while different in nature from the TPC event was also surprisingly
similar to it, in some very interesting ways. There was the piano
connection of course; but also the artists’ interest in combining
different elements, influences and genres to create their own unique
creative statements. This is certainly a theme that comes up regularly
in this column, but I wasn’t necessarily expecting to find this
commonality when I set out to interview both parties.
Monica Pearce: Beginning early in April, the TPC’s first festival, the
Curiosity Festival, aims – in the words of co-founder Monica Pearce –
to “bring together three unique musical explorations that go beyond
what the collective already does.” Known primarily for their chamber
concerts highlighting music written by their composer members, this
festival has three strikingly different components: a series of operas
performed in collaboration with the Bicycle Opera Project on April 1
and 2; a sound installation at the Canadian Music Centre created by
TPC member Nancy Tam on April 6 and 7; and a chamber concert
on April 9 that highlights all things metal, including the presence of
metal music, that genre of rock that developed in the late 60s and 70s
with the rise of bands such as Led Zeppelin and Deep Purple.
The TPC, now in their eighth season, began from a desire by
co-founders Pearce and Chris Thornborrow to create opportunities
for their music to be performed once they had completed their
music studies. At the same time, Pearce acquired a used toy piano
and started writing pieces for the instrument. They both agreed that
calling their new collective Toy Piano Composers would be a playful
and imaginative name. Although the toy piano does not always appear
in all their concerts (a risk, Pearce admits, in terms of managing audiences’
expectations), they have decided to stick with a name that
reflects so clearly the group’s spirit of playful adventure.
The first concert of the festival, “Travelogue,” celebrates TPC’s
ongoing vigorous collaboration with the Bicycle Opera Project. Bicycle
Opera cycles from concert to concert as a way to make the operatic art
form more relevant, intimate and accessible. Their environmentally
friendly approach to travel merged with their vision of showcasing
emerging talent has won them enthusiastic crowds wherever they
happen to go. At the Curiosity Festival, they will be performing four
operas – three composed by TPC members Pearce, Elisha Denburg
and August Murphy-King, and the fourth composed by Tobin Stokes
on recommendation from the Bicycle Opera directors. All four pieces
include aspects of travel – from the bicycle to the space shuttle –
with each work tapping into the terrain of human struggle with life’s
circumstances.
Playback, the sound installation by Nancy Tam at the Canadian
Music Centre’s Chalmers House home, features her expertise and
interest in sound art and theatre. It’s a site-specific work for ten
participants at a time who will be guided around the CMC space
listening over headphones hooked up to individual portable audio
players. Tam’s audio walk will contain excerpts from interviews she
conducted with composers across Canada, as well as recordings of
Tam’s music and soundscape elements. For the interviews, composers
were asked such questions as “What is Canadian music, what is your
relationship to composition and to the CMC?” as well as being asked
to try to remember what the Chalmers House used to look like before
the renovations.
The “Metal” concert includes works by TPC members Fiona Ryan,
Chris Thornborrow, Bekah Simms, Daniel Brophy, Ruth Guechtal and
Alex Eddington. Both Brophy and Guechtal have incorporated the
metal genre influence into their overall compositional style, and this
concert will give them an opportunity to let this influence become
an integral part of a chamber concert. Other thematic approaches
to the idea of metal include
Thornborrow’s exploration of
the metals of industry, Ryan’s
interest in metal at a chemical
level, and of course the use
of metallic instruments. And,
in keeping with their name,
music for the toy piano will
also appear on this concert.
The inaugural Curiosity
Festival takes its place among
the other new music festivals
in the city, and although
not as big and well-funded
as New Creations or 21C, it
is the first festival coming
from the younger generation
of presenters, Pearce
told me. As for its future, TPC
will assess the impact of the
festival to see if it has made
a positive contribution and
if so, how often to repeat it.
Other future visions include
recording, touring and
Monica Pearce
collaborating with ensembles
such as Chamber Cartel from
Atlanta who also present music for the toy piano. And even though
they now have a core ensemble made up of flute, clarinet, piano,
percussion, piano, double bass and conductor, they are committed to
remaining composer-focused, despite the various challenges such as
lack of sustainable funding opportunities that this presents.
Marilyn Lerner: No stranger to collaboration with a wide variety of
ensembles and individual artists, pianist/composer and improviser
Marilyn Lerner decided to take a leap into solo performance for her
upcoming concert at Gallery 345 on April 16. For those not familiar
with Lerner’s music, she has created her own unique and dynamic
blend from a variety of influences, the most central ones being jazz,
free improvisation, contemporary classical and klezmer. Within her
current ensemble, The Ugly Beauties, with cellist Matt Brubeck and
drummer Nick Fraser, she is able to navigate these various genres and
bring a compositional style that combines the notated with the improvised.
This way of working is in fact, she says, a genre unto itself, with
the main question being “How do we get from one composed section
to another?” That’s where the improvisation kicks in. The art of lieder
combined with Yiddish poetry is another love of hers and has been
behind her collaborations with singers such as Toronto’s David Wall
and New Yorker Adrienne Cooper.
So what to expect on April 16? I suspect it will be a fine blended
soup of all of it. In our interview, Lerner told me her plan is to pull out
many pieces she has previously written but which haven’t yet been
performed. “I love harmony, and even though I play a lot of improvised
and free music, this side of me doesn’t get to come out of the
closet. I’ve written a lot of beautiful songs, and would like a chance to
play them, as this seems truer to my own sensibilities.” She used the
phrase “abstract lyricism” to define her approach, with an interest in
an unfolding, restless harmony much like that which you find in the
music of Wagner and Strauss. Influences from French impressionists
Ravel and Debussy also find their way in there, as well as her love of
playing Bach.
And even though these pieces have a composed element to them,
she will bring her improviser self into the mix. In her preparation for
the concert, she will practise various improvising approaches, but
in the moment of the performance it will be a spontaneous treatment.
“I strive to play the piano as a horizontal multi-voiced instrument,
no matter what I’m playing. Interesting, considering that I love
harmony,” she comments. No matter what style or genre she embarks
upon however, ultimately, “my heart is in writing pieces that express
how I’m feeling.”
28 | April 1, 2016 - May 7, 2016 thewholenote.com

Black
CMYK
Pantone
an Ontario government agency
un organisme du gouvernement de l’Ontario
SOUNDSTREAMS AND MASSEY HALL PRESENT:
DAVID KAUFMAN
Marilyn Lerner
Ensemble Goings-on:
New Music Concerts concludes its busy season on Apr 24 with
“Flutes Galore,” a concert featuring 24 flute players performing several
works and premieres by Canadian composers. NMC artistic director
and flutist, Robert Aitken, has three works on the program, including
the world premiere of his latest work Caracas. Other world premieres
include Impulse, a NMC commission by Alex Pauk and Two Fancies
by Robert W. Stevenson. Works by Bruce Mather and Christopher
Butterfield complete the extravaganza concert in what promises to be
a unique sound event with the presence of multiple flutes on stage.
Kitchener-Waterloo: This year marks the 40th anniversary of the
music faculty at Wilfrid Laurier University in Waterloo and the new
music organization NUMUS is celebrating this milestone with orchestral
concerts on Apr 2 and 3 featuring world premieres by Stephanie
Martin and Glenn Buhr. In their Apr 23 concert, SlowPitchSound
presents his hypnotic rhythms and unconventional uses of the turntable
as an instrument in conjunction with cinematic images and
the movements of modern dancer Lybido. Also in the area, Ensemble
Made in Canada performs works by Canadians Omar Daniel,
Apr 8, and John Burge, Apr 9, for the Kitchener-Waterloo Chamber
Music Society.
The Music Gallery presents “Emergents III” on Apr 8 in a show
curated by Alex Samaras. The program begins with a set by the duo
The Science of What? with Jessica Chen and Justin Orok performing
improvisations and deconstructions of popular song. The second set
presents the music of Jeremy Bellaviti, an emerging composer whose
style merges contemporary classical with the rhythmical influences of
folk music. The concert will also feature the premiere of his new work
for violinist Sarah Fraser-Raff.
Arraymusic’s Apr 5 concert, “Four New Works,” presents world
premieres by Anna Höstman, Gregory Newsome, Adam Scime and
Scott Wilson, with guest soprano Carla Huhtanen. Continuum is
heading west in April for a tour of British Columbia in collaboration
with Ballet Kelowna and four choregraphers. Reimagined Renaissance
Music is the theme that will be explored musically in works by
Rodney Sharman, Jocelyn Morlock and Michael Oesterle. Toronto
audiences will have the chance to see and hear this show in the fall.
Additional Listings
Apr 7: Women’s Musical Club of Toronto. Commissioned premiere
by Zosha di Castri.
Apr 8: Essential Opera. Several contemporary operas, each focused
on a different facet of women’s lives featuring composers Leslie Uyeda,
Anna Pidgorna, Anna Höstman, Fiona Ryan, Elizabeth Raum, John
Estacio and Jake Heggie.
Apr 23: mmmm Composers In Concert. New works by Michel
Allard, Marco Burak, Michael Dobinson and Michelle Wells. Stratford.
Apr 27: Canadian Music Centre. Three commissions of Canadian
works by Katarina Curcin, Nicole Lizée and Kati Agócs performed by
the Cecilia String Quartet.
April 28 and 30: Toronto Symphony. towards Osiris (2005) by
German composer Matthias Pintscher.
“The most original musical
thinker of our time” – The New Yorker
STEVE REICH
AT 80
The iconic figure, who has inspired artists
from Radiohead to Bang on a Can, performs
in a celebration of his milestone year.
Featuring: Clapping Music, Tehillim, and
Music for 18 Musicians
April 14, 2016, 8PM | Massey Hall
Call 416-872-4255 or visit masseyhall.com
Wendalyn Bartley is a Toronto-based composer and electrovocal
sound artist. sounddreaming@gmail.com.
thewholenote.com April 1, 2016 - May 7, 2016 | 29

Beat by Beat | Choral Scene
Gjeilo’s Sunrise
Mass Heralds
April’s Abundance
BRIAN CHANG
Lyrical, lush, evocative, and stirring – all
words that help describe Sunrise Mass
by Ola Gjeilo (pronounced Yay-lo). He
is a new composer to me and one that I have
been mesmerized by as I delve into his repertoire.
First premiered in Oslo, Norway, in
2008, Sunrise Mass has captured the imagination
of choirs across the world. It had its
Toronto premiere in the final concert of the
Orpheus Choir’s 2014/2015 season. But I
have the Mississauga Festival Chamber Choir
and artistic director David Ambrose to thank
for my introduction to Gjeilo’s music as they
present this work in “Spring Serenade” on
April 2 at 8pm.
Gjeilo is a Norwegian-American composer
educated at the Norwegian Academy of
Music, Juilliard and the Royal Academy of
Music in London. He is composer-in-residence
for the popular British a cappella
octet – VOCES8 (who were in Ontario last
fall on their first-ever Canadian tour which
included a stop at the Elora Festival, both
in a solo concert and in a joint one with the
Elora Festival Singers and Studio de musique
ancienne de Montréal in the Bach Mass in B
Minor under Noel Edison). Ola Gjeilo himself
will be in Toronto in the fall as part of a
festival of his work sponsored by the University of Toronto, Orpheus
Choir and the Yorkminster Park Baptist Church. Before then, there are
lots of opportunities to enjoy his work over the next month – make it
to as many as you can!
Gjeilo’s Dark Night of the Soul makes an appearance as part of the
Hart House Chorus spring concert, April 3 at 4pm. Conductor Daniel
Norman leads the Gjeilo and Haydn’s Missa in tempore belli (Mass
in Time of War). For this free concert, donations are being accepted
on behalf of Sistema Toronto, a free, accessible childhood music
education organization that started in Venezuela. Great Hall, Hart
House, Toronto.
The Kingston Choral Society and Kingston Community Strings
present “Sunrise: A Musical Celebration.” Gjeilo’s Sunrise Mass will be
performed along with Spring from Haydn’s Seasons, selections from
Schubert’s Mass No.2 in G Major and Aaron Copland’s The Promise of
Living on April 22 at 7:30pm.
The Cantores Celestes Women’s Choir present Gjeilo as part
of “Songs of the Universe” on April 23 at 7:30pm. Director Kelly
Galbraith features Gjeilo’s Song of the
Universal which was inspired by the Walt
Whitman poem of the same name. Also
included are the world premiere of Sergey
Khvoshchinsky’s Hymn to Her Hands and
the Canadian premiere of Mozart’s Missa
in C Major (Sparrow Mass) arranged for
female voices, and more. Cantores will
mark this performance with a donation
to support Syrian refugees to Toronto.
April 23, 7:30pm, Runnymede United
Church, Toronto.
Markham’s Village Voices present “Faces
of Love,” featuring Gjeilo’s The Ground,
an adaptation of the final movement of
his Sunrise Mass. Other works include
Bernstein’s West Side Story and Whitacre’s
Five Hebrew Love Songs. May 7 at 7:30pm.
VOCA Chorus of Toronto presents
“Vast Eternal Sky” on May 7 at 7:30pm.
Artistic director Jenny Crober has chosen
to feature Gjeilo’s Across the Vast, Eternal
Sky, a beautiful musical setting to text
by Charles Anthony Silvestri, inspired by
the idea of a phoenix. The first half of the
concert will feature the Fauré Requiem
Ola Gjeilo
accompanied by the Talisker Players.
Other works by Daley, Lauridsen and
more promise to make this a most lovely evening.
Just the First Weekend!? On the first weekend of April alone, there is
so much happening on the choral landscape it’s almost demoralizing.
BMO
BMO
Financial Group
Financial Group
Financial Group
2015-2016
Making a
Scene!
an Ontario government agency
un organisme du gouvernement de l’Ontario
Robert Cooper, C.M., Artistic Director
Edward Moroney, Accompanist
Walter Mahabir, Apprentice Conductor
SUCH STUFF AS DREAMS ARE MADE ON!
The Lyrical Shakespeare
Saturday April 23, 2016 7:30 p.m.
Trinity-St. Pauls Centre, 427 Bloor St W.
Revel in the genius of Shakespeare’s comedies, tragedies and sonnets through words,
music and song featuring Stratford Festival star Geraint Wyn Davies. Orpheus’ season Finale
spotlights the choral-drama No Mortal Business, a stirring and visionary creation by Canadian
composer Allan Bevan, inspired by The Tempest and performed on the 400th Anniversary
of the death of the Bard.
Orpheus Choir • Geraint Wyn Davies, actor • The Talisker Players
Tickets: $35; $30 senior; $10 student
www.orpheuschoirtoronto.com
30 | April 1, 2016 - May 7, 2016 thewholenote.com

It’s as if every choir in the region has conspired to compete for your
attention. From Kingston to London, there is a performance on everything
from Broadway to Gospel. Here are some highlights:
Hilary Apfelstadt is well-known in the choral community and
has had a hand in the choral education of many
conductors and students around town as director
of Choral Programs at the University of Toronto. As
well as director of several choirs at U of T, she also
conducts Exultate Chamber Singers. April 1 at 8pm
Exultate presents “Stories of Love and Longing,”
featuring Brahms Op. 52 Liebeslieder Waltzes,
Palestrina’s Sicut Cervus and several other works by
Britten, Vissell, Jeff Enns, Mechem and more on.
On April 3 at 2:30pm, Apfelstadt is back, leading
the University of Toronto choral ensembles in
“Heart Songs,” an end-of-term concert featuring
the University of Toronto Symphony Orchestra,
Women’s Chamber Choir and Men’s Chorus.
Highlights include music by Timothy Corlis set to a
poem by Mohawk poet Pauline Johnson: Heart Songs
of the White Wampum (which was a joint commission
with Elektra Women’s Choir, Vancouver, and
Bella Voce Women’s Chorus, Vermont). Beethoven’s
Choral Fantasy will join all the musical forces together. Doctoral
Choral Conducting Candidates Elaine Choi (Timothy Eaton Memorial
Church), Mark Ramsay (Exultate) and Tracy Wong (Mississauga
Festival Youth Choir and Young Voices Toronto) join Professor
Apfelstadt in marshalling the choral forces.
The Toronto Northern Lights Chorus is the 2013 Barbershop
Harmony Society World Champions. These “Silly plants” (YouTube
them, seriously, it’s amazing) made Toronto proud with their awardwinning
top-place finish at the Air Canada Centre and are returning
to defend their title at the international convention in Nashville later
this year. They present “Genius of Music” with an ensemble from the
The Creation
Enjoy Haydn’s grand oratorio performed
by TMC, Festival Orchestra and guest soloists.
WEDNESDAY, APRIL 27 | 7:30 PM
KOERNER HALL
273 BLOOR ST. WEST
TICKETS
$35 – $ 87
VOX TIX
FOR 30
AND UNDER
$20
BOX OFFICE
416-408-0208
ONLINE
www.tmchoir.org/creation
Toronto All-Star Big Band on April 2 at 2pm and 7:30pm.
The Toronto Children’s Chorus and the Cawthra Park Secondary
School Chamber Choir team up for “Good Vibrations.” The TCC main
choir was on tour in Boston and New York City at press time. With
stops at Sanders Theatre in Boston, Carnegie Hall
in NYC and the Aaron Copland School of Music,
they were also invited to sing at the Canadian
Consulate for the Prime Minister who happened
to be in town. What a treat for those kids! Catch
them in action back home on April 2 at 4pm.
Barrie’s Choralfest presents “A Night at the
Opera: Bizet’s Carmen in Concert,” featuring
the Lyrica Chamber Choir, King Edward Choir,
Bravado the Huronia Symphony Orchestra and
various soloists. This grand and well-loved work
is sure to provide a stellar evening of music.
April 2 at 7pm.
Univox and Florivox are two of the busiest and
most accessible community choirs out there in
Toronto at the moment. Dallas Bergen, founder
Hilary Apfelstadt
and artistic director is on a sabbatical, so in
his stead, accomplished soprano, Univox subconductor
and actor Tahirih Vejdani has taken
the reins. Vejdani conducts Univox in a presentation of “Everything
Beautiful: The Music of Broadway,” featuring cabaret superstar Chris
Tsujiuchi and performers from Theatre 20’s composium and conservatory
in hit songs from West Side Story, The Phantom of the Opera
and Wicked on April 2 at 8pm.
Florivox, usually helmed by Vejdani, is being led by Gillian Stecyk
in “Shadows and Light: A Journey Through Dark Corners and Open
Spaces.” In community partnership with Red Door Family Shelter
– one of the only shelters in Toronto that accepts families in crisis
– Florivox will present songs by Adam Guettel, Leonard Cohen and
more on April 3 at 3pm.
Elmer
Iseler
ingers
Musical Friends
S Sunday, May 8 at 4:00 pm
Lydia Adams, Conductor Eglinton St. George’s
and Artistic Director
United Church
35 Lytton Blvd., Toronto
with the
Bach Chamber Youth Choir
Linda Beaupré, Conductor
Programme will
include works by
Imant Raminsh, Peter
Togni and a world
premiere by Jason Jestadt,
winner of the 2015 Ruth Watson
Henderson Choral Composition
Competition.
Tickets 416-217-0537
www.elmeriselersingers.com
Series Sponsor
thewholenote.com April 1, 2016 - May 7, 2016 | 31

Echo Women’s Choir
The Etobicoke Centennial Choir presents “When Daffodils Begin
to Peer,” featuring Paul Halley’s Love Songs for Springtime and
Holst’s Choral Hymns from the Rig Veda amongst others on April 2
at 7:30pm.
The Karen Schuessler Singers present “London Composers
Exposed! Creativity Up Close and Personal.” Featuring works by local
composers, the event is followed by a post-concert reception and a
chance to meet the composers and artists on April 2 at 8pm.
Carmina Burana – Carl Orff’s unrivalled musical masterpiece of
medieval monkish debauchery – continues to be an impressive display
for an effective choir. The Amadeus Choir will doubtless do the work
justice, with the added support of the Buffalo Master Chorale and the
Bach Children’s Choir on April 3 at 4pm.
Other great works this early spring:
The Elmer Iseler Singers and Toronto Ukrainian Male Chamber
Choir join Vesnivka Choir’s “50th Anniversary Gala Concert” on
April 17 at 3pm in Glenn Gould Studio. Conductor Halyna Kvitka
Kondracki founded the Vesnivka Ukrainian Women’s Choir in 1965.
The Oakville Choral Society presents “Wings of a Dove,” featuring
works by Mendelssohn, Haydn, Mozart, Beethoven and Brahms on
April 22 and 23 at 7:30pm.
The Achill Choral Society presents “Celtic Spirit,” featuring Irish,
Scottish and Eastern Canadian songs including Londonderry Air and
Fogarty’s Cove. In true Celtic fashion the Achill Choral Society will be
joined by NUÀ, a traditional trio featuring fiddle, guitar and bodhrán
(Celtic drum) on April 23 at 3pm in Alliston and April 30 at 7:30pm
in Caledon.
Just before the end of the month you can catch the Toronto
Mendelssohn Choir’s presentation of Haydn’s The Creation. An everpopular
piece, Haydn’s classical masterpiece fits very comfortably
in the ear and is always a treat. Look for me in the tenor section on
April 27 at 7:30pm in Koerner Hall.
Echo Women’s Choir presents “Songs of Hope and Resistance:
Celebrating May Day and International Workers’ Day.” A bold idea,
Becca Whitler and Alan Gasser lead Echo in a variety of labourthemed
works including Chilean Victor Jara’s Plegaria a un Labrador
(Worker’s Prayer); French revolutionary song Le temps des cerises
and more, on May 1 at 3pm.
The combined talent of Chorus Niagara, Choralis Camerata and
Chorus Niagara Children’s Choir join with TorQ Percussion Ensemble
and pianists Karin Di Bella and Lynne Honsberger in a compact,
but-no less powerful version of Carmina Burana on May 7 at 7:30pm.
The Toronto Mendelssohn Choir used a similar format in its performance
with TorQ in 2012 and it was very effective.
Univox will join Masterworks of Oakville in a presentation of
Mendelssohn’s grand Elijah on May 7 at 8pm in Oakville and May 8 at
4pm in Toronto. Always a pleasure to hear, this magnificent piece of
music was once more popular than Handel’s Messiah.
Finally, make sure to check out singtoronto.com to see all the fun
of Sing! The Toronto Vocal Arts Festival running from May 4 to 15.
We will have much more about this festival in the May issue of The
WholeNote.
Follow Brian on Twitter @bfchang Send info/media/
tips to choralscene@thewholenote.com.
Beat by Beat | Art of Song
From Tafel To Terfel
Sibelius To Saariaho
HANS DE GROOT
On April 28, Tafelmusik
will present “Zelenka and
Bach,” a concert which
features Jan Dismas Zelenka’s
Missa Omnium Sanctorum.
The German singer, Dorothee
Mields, was engaged to sing
the soprano solo but a decision
was made to open up the other
solo parts to a competition.
The winners were Kim Leeds,
mezzo, Jacques-Olivier Chartier,
tenor, and Jonathan Woody,
bass-baritone.
Leeds and Woody are
American. Leeds has sung a
great deal, mainly Bach, in
the Boston area. In June and
July she will be performing
at the Oregon Bach Festival in
Eugene in concerts that include
the world premiere of James
MacMillan’s Requiem. Woody has a music degree from McGill and is
now based in New York City. While a specialist in baroque music, he
has considerable experience in the performance of modern works,
including singing a part in an opera by Darius Milhaud and a collaboration
with the Rolling Stones. Chartier is the only Canadian of
the three. He is also the only one whom I have heard previously:
earlier this season he sang the tenor arias in the Ottawa Bach Society
performance of Bach’s B Minor Mass. He was very good. The concert,
which will be repeated on April 29, 30 and May 1, will include Bach’s
Cantata No.202 (Weichet nur, betrübte Schatten), in which Mields
will be the soprano soloist.
Bryn Terfel: Like many, I first
became aware of the Welsh
bass-baritone, Bryn Terfel, in
1989, when he was a finalist
in the BBC Singer of the World
Competition in Cardiff. He
did not win the main event –
Dmitri Hvorostovsky did – but
was awarded the Lieder Prize.
Initially he was especially noted
for his Schubert lieder, for
Welsh songs and for some of
the main Mozart baritone roles,
including Figaro, Masetto and
(a little later) Don Giovanni. In
recent years he has moved to
Bryn Terfel
Dorothee Mields
Wagner (Wolfram, Wotan, the
Dutchman, Hans Sachs). He has
sung both the title role and that
of Ford in Verdi’s Falstaff. He
will make his Koerner Hall debut on April 24 (with the pianist Natalia
Katyukova). The first half of the concert will feature Welsh songs but
it will also include Jacques Ibert’s Chansons de Don Quichotte; the
second half will give us songs by Schubert and Schumann.
Finno-Ugric Synergy: Finnish and Hungarian are not Indo-European
languages. Instead they form part of a family called Finno-Ugric.
This probably indicates a common origin for the two peoples. In
32 | April 1, 2016 - May 7, 2016 thewholenote.com

an imaginative move, Mazzoleni
Songmasters have put the two together
with music by Liszt and Bartók on the
one hand and Sibelius and Saariaho
on the other. The singers will be Erin
Wall, soprano, and Stephen Hegedus,
bass-baritone. The pianists are Rachel
Andrist and Robert Kortgaard. Of
special interest is Saariaho’s Changing
Light, in which the violinist Erika
Raum will perform with Erin Wall; at
Mazzoleni Concert Hall, May 1.
Lunch for All Seasons: The free
lunch-time concerts in the Richard
Bradshaw Auditorium at the Four Seasons Centre will resume
on April 19 with Clémentine Margaine, mezzo, and Stephen B.
Hargreaves, piano. Subsequent recitals will be given by Russell
Thomas, tenor, and Michael Shannon, piano on April 21; Simone
Osborne, soprano, and Stephen B. Hargreaves, piano on April 26;
artists of the COC Ensemble Studio and the Atelier lyrique de l’Opéra
de Montréal on April 28; Anita Rachvelishvili, mezzo, and David
Aladashvili, piano on May 3; and Ambur Braid, soprano, with Steven
Philcox, piano, in a celebration of Canadian art song, May 5.
QUICK PICKS
A staged and costumed program of romantic opera, “The Art of the
Prima Donna,” with music by Bellini, Donizetti, Verdi and others, will
be given on Apr 1 at Walter Hall.
Carla Huhtanen will be the soprano soloist in Abigail Richardson-
Schulte’s setting of Alligator Pie by Dennis Lee; with the Toronto
Symphony Orchestra at Roy Thomson Hall, Apr 2.
Pandora Topp will be the singer a program of Piaf songs at The
Extension Room, Apr 2.
Leslie Fagan, soprano, Christopher Mayell, tenor, and Peter
MacGillivray, baritone, will be the soloists in a program that includes
Carmina Burana by Orff and Psalm of David by Dello Joio at Toronto
Centre for the Arts, Apr 3.
Kati Agócs will be the soprano soloist in a newly commissioned
piece by her, with the Cecilia String Quartet at Walter Hall, Apr 4.
Carla Huhtanen, soprano, will sing in a program of new works by
Höstmann, Newsome, Scime and S. Wilson with the Array Ensemble
at Array Space, Apr 5.
Ilana Zarankin and Robin Dann will perform in a Women’s Musical
Club concert, “Dannthology,” given by Steven Dann, viola, with family
and friends at Walter Hall, Apr 7.
Essential Opera presents four sopranos (Erin Bardua, Maureen Batt,
Maureen Ferguson and Julie Ludwig) in a program of contemporary
operas by Uyeda, Raum, Höstmann, Pidgorna, Estacio and Heggie at
Heliconian Hall, Apr 8.
Darlene Shura, soprano, Jacqueline Gélineau, contralto, Asitha
Tennekoon, tenor, and John Holland, baritone, give a free performance
of Bach’s Easter Oratorio at Heliconian Hall, Apr 10.
Leslie Bouza, Carla Huhtanen, Michele DeBoer and Laura Pudwell
will be the singers in a concert devoted to the music of Steve Reich in
honour of his 80th birthday at Massey Hall, Apr 14.
“At the Ball: Social Dance through the Ages” showcases works by
Purcell, Dan Godfrey and Joplin, as well as items from the Playford
and Lowe collections. The singer, at Heliconian Hall, is Paula
Arciniega, mezzo, on Apr 15.
Scaramella presents a concert of works by Purcell, Melani, Bach,
Merula and Odorico at Victoria College Chapel, Apr 16. The singer is
the soprano Dawn Bailey.
Gallery 345 presents Beth Anne Cole singing Gershwin, Apr 17.
Castle Frank House of Melody presents works by Offenbach,
Puccini, Verdi, Gershwin and others that will be sung by Cara Adams,
soprano, Patricia Haldane, mezzo, and Justin Welsh, baritone, Apr 23.
Jessika Whitfield, soprano, and Matthew Whitfield, piano, will
perform a free concert at Metropolitan United Church, Apr 28.
Mira Solovianenko, soprano, and Andrew Tees, baritone, will be
the soloists with the Oakham House Choir of Ryerson University
Erin Wall
on Apr 30. The major work to be
performed is Carl Orff’s Carmina
Burana (Part 1).
Charlotte Burrage, mezzo, and
Clarence Frazer, baritone, will sing at
Metropolitan United Church, May 1.
On May 3 and 4 Krisztina Szabó,
mezzo, and Aaron Durand, baritone,
will perform with the Talisker Players
in a program that includes works by
Purcell, Gluck, Burry, Mahler and
Bernstein.
Julia Morson, soprano, and Rashaan
Allwood, piano, will give a free recital
at Metropolitan United Church on May 5.
And beyond the GTA: Sheila Dietrich, soprano, Carolynne Davy,
mezzo, and Chris Fischer and Lanny Fleming, tenors, will be the soloists
in a program of works by Handel, Monteverdi and Mondonville at
St. George’s Anglican Church, Guelph, Apr 9.
Jennifer Enns Modolo, mezzo, Bud Roach, tenor, and David Roth,
baritone, will be the soloists in the Spiritus Ensemble performance of
two Bach cantatas, Christ lag in Todesbanden and Erfreut euch, ihr
Herzen, in Kitchener, Apr 10.
Georgian Music presents Marie-Josée Lord, soprano, and Hugues
Cloutier, piano, performing works by Granados, Rodrigo, de Falla,
Bernstein, Porter and others in Barrie, Apr 24.
Jeffery Concerts presents Krisztina Szabó, mezzo, and Benjamin
Butterfield, tenor, in a concert that includes Janáček’s The Diary of
One Who Disappeared and Zigeunerlieder by Brahms, Apr 30 at Wolf
Performance Hall, London.
Hans de Groot is a concertgoer and active listener
who also sings and plays the recorder. He can be
contacted at artofsong@thewholenote.com.
APRIL 10, 2016 @ 3 PM
featuring
COLLEEN COOK
JEFFREY HILL
INNA PERKIS
BORIS ZARANKIN
ILANA ZARANKIN
co-presented with THE MUSIC GALLERY
featuring
- V. HOROWITZ
CHRISTINE DUNCAN
LUCY FITZGIBBON
ALEX LUKASHEVSKY
RYAN MACEVOY MCCULLOUGH
MYRIAD3
TO ORDER TICKETS, please call 416.466.1870
offcentremusic.com
TRINITY ST. PAUL’S CENTRE
427 Bloor Street West
thewholenote.com April 1, 2016 - May 7, 2016 | 33

Beat by Beat | World View
Musideum and
Small World:
Two Tales of A
Single City
ANDREW TIMAR
This month I have two tales to tell of musical diversity in this city:
a tale of two presenters. One is of beginnings and continuity,
while the other of (perhaps temporary) endings. Each story has
a different focus, yet they run parallel in their organizers’ mission
of service to our city’s heterogeneous communities of musicians
sounding the music of the world’s peoples and in their sincere dedication
to serve globally curious listeners.
One door closes: The first story began early in March 2016 when I
read Donald Quan’s post on his “Musideum Performers & Supporters”
Facebook group page. I’ve often written about what happens at
Musideum - A World of Musical Instruments in these pages. Quan
opened its doors in late 2007. He summed up his retail music store
enterprise as a “look at music through the eyes of [ethnically diverse]
musical instruments.” He explained the name is an amalgam of three
concepts: museum, music and deum. Inspired by his own challenging
life journey over the past six years, he then morphed the Musideum
into a special live concert room, inspired by an inclusive vision in
which “everyone, regardless of their beliefs, religion, age or what part
of the world they are from, can truly love one another and coexist in
peace simply by speaking the magical language of music.” And he’s
kept the place buzzing until today.
For those unfamiliar with its activities, Musideum has been a
unique fixture in Toronto’s music scene. It serves as a retail worldmusic
instrument store by day. By night, starting about five years ago,
it’s been the venue for a very dense schedule of concerts in its intimate
living room-like space - that’s if your living room was chock-a-block
with working instruments from around the world.
It’s also the only store I can recall where John Cage’s seminal score
4’33” was on prominent display, not as a prop but as a potent symbol
of musical diversity – and merchandise.
John Terauds put his fingers on the special mojo of Musideum in a
May 24, 2008, article The Star. “One customer was so inspired by the
movie Kill Bill that he had to go out and get himself a Chinese bamboo
flute. Until now, finding an ethnic folk instrument from a culture not
one’s own […was quite problematic]. But the mix of world cultures in
Toronto has finally reached a point where an enterprising local musician
thinks it worthwhile to open a store that offers musical instruments
from several cultures from around the globe.”
Quan’s recent Facebook announcement, however, signalled a
fundamental change in direction: “As I am extending my personal
hiatus until late 2016, I am sad to announce that Musideum will be
closing its doors as a store and venue at 401 Richmond on April 2,
2016. The Musideum name will live on and will be parked until a new
opportunity arises. It will reawaken when the time is right.”
The Toronto-born Quan, a musician and multiple award-winning
composer of hundreds of television, film, radio and multimedia
productions, stated that he needed to “take a well-deserved break,
travel to see family, rest [his] weary brain and formulate some new
and exciting projects for perhaps late in the year.” He continued that
although the impetus for this “change was mostly for health reasons,
it is also [because of] the need to watch my kids grow up and to
spend more time with family and friends. I also need a few months
“Musideum will be sorely missed.”
dedicated to practising to get my playing up to where I was before the
[2007] stroke.”
Musideum will be sorely missed. From the earliest days, Quan has
thrown its doors open across numerous musical genres that thread
through the city. I counted over 20 active Facebook pages he set up
with straightforward names like “Musideum Invites Indigenous
Music.” (Long a contributor to the Canadian Aboriginal music scene,
Quan was honoured in 2007 with the Music Industry Award at the
Ninth Annual Canadian Aboriginal Music Awards.)
Other communities were encouraged to participate too on their
own Facebook pages. “Musideum Invites Indian, South Asian
Music,” “Musideum Invites Experimental/Improvised/New Music,”
“Musideum Invites Singer-Songwriters” and “Musideum Invites
World” are just a few examples of his global embrace. These pages
collectively garnered thousands of “likes.”
Within a week of his announcement to close, Quan reached out to
community musicians, again on social media, to help in programming
six concerts during the second half of March. Or as he put
it, “to squeeze some final concerts in before Musideum closes up
shop.” True to form, each show had a different genre focus. I was
invited too, and that’s how I found myself on the pocket-sized
stage playing Indonesian suling (bamboo ring flute) with Iranian
drummer Naghmeh Farahmand and cavaquinho player Nuno Cristo
on the designated World Music night, Thursday, March 17. About 14
other Toronto musicians took their turns too, including flutist Ron
Korb, recently nominated for Best New Age Album at the 2016
Grammy Awards.
Fittingly, Quan served as MC. He spoke passionately about his
dream space where he had tirelessly programmed well over 1,600
concerts in the last five-or-so years. Given that pace, and the fact that
Musideum has been a hands-on manifestation of one man’s passion,
it’s no wonder he needs an extended break.
Though closing his store/venue was “one of the most difficult decisions
in my life to make,” Quan nevertheless views it as a “decision
that heralds a new positive, healthful, personal and creative direction
for me.” As a parting gift to the larger Musideum community of
musicians and store customers, he has announced a “special inventory
sale” for performers on April 3 and for the public on April 4.
I already miss Musideum. I, for one, will treat Quan’s wish to
“awaken [the space] when the time is right” as a promise, not
just a hope.
Another door opens: From April 6 to May 29, in some 14 staged
34 | April 1, 2016 - May 7, 2016 thewholenote.com

concerts and many more events at several
venues across the GTA, Small World Music
presents its 14th Asian Music Series, with the
financial support of the TD Bank and in partnership
with an array of other presenters.
Fittingly, this year the series marks Asian and
South Asian Heritage Month.
This year’s AMS program features “a strong
female presence, with two of the most significant
artists in South Asian music - Anoushka
Shankar and Abida Parveen - performing.”
As well as Indian and hybrid Indian music
on stage, GTA audiences will also have the
opportunity to witness leading performers
of Japanese, Chinese, Pakistani and Iranian
music, along with Latin, ethnic chaos and “telematic
music.” The latter is described on the
Small World Music website as “live performance
via the internet by musicians in different
geographic locations, celebrating the notion of a
smaller world.”
In a bid to reach core audiences, AMS
concerts take place at venues big and small,
in and out of town. Roy Thomson Hall and
Koerner Hall alternate with the Flato Markham
Theatre, Japanese Canadian Cultural Centre, Aga
Khan Museum Auditorium and Lula Lounge. The charming, intimate
Small World Music Centre holds down home base.
New this year, Small World Music Society executive director Alan
Davis and his team have cooked up an intriguing way to bundle
concerts for audiences. These curated concert sets are conveniently
tagged City, Fusion, Soul, Global, Classical and Legends. Those buying
into a set of concerts also receive additional coupons for South-Asian
themed self-improvement activities such as yoga, tabla or bansuri
lessons, in addition to more typical bundle benefits of a coupon (e.g.
admission to the Royal Ontario Museum) and of course discounted
prices. It’s an interesting way to systematically extend the tools of
partnership, a presentational and marketing skill that Davis and Small
World has honed to a keen edge over the years. It is perhaps a key
ingredient in the company’s success, a success which in turn enriches
our entire community. It echoes a central aspect of Small World’s
mission: “to promote understanding between cultures.”
Equitably reflecting such a sprawling mosaic of concerts is certainly
beyond my means here. Probably the best tack is to put the spotlight
on a select few April AMS concerts, leaving the later May shows to the
next issue of The WholeNote.
April 6 AMS launches with a Koerner Hall presentation of the
reigning diva of the world music sitar, Anoushka Shankar. About eight
years ago, I reviewed her last appearance there with her late father,
Ravi Shankar, for readers of this magazine. She has emerged since
with increasing assurance not only as a sitar player, but also as as a
composer in her own right, and as a collaborator with djs, dancers,
flamenco musicians and singers and with Western orchestras. In her
commercially successful albums, she has explored the interstices
between Hindustani music and other genres, plus paying musical
tribute to her father’s vast legacy. Her fourth album, Land of Gold, is
slated to be released just days before the concert, so I have no details to
share of it yet. I am, however, sure that the audience will hear Shankar
and her accompanists featuring music from the new album.
The next day on April 7 the venue switches to the Japanese Canadian
Cultural Centre which presents a concert titled “Tsumugu.” Featuring
Japanese musicians, Keita Kanazashi, Anna Sato and Chie Hanawa, it’s
a mixed program: folk songs from Amami Island along with “bluesy”
Tsugaru shamisen of Aomori prefecture, and coming to a thunderous
climax with taiko drumming aimed to evoke the Japanese spirit.
Saturday April 9 Wu Man and the Shanghai Quartet take the stage of
the Flato Markham Theatre, just north of Highway 7. That’s unfortunately
well beyond the reach of the TTC for those who love “The Better
Way,” but judging from pipa virtuosa Wu Man’s moving performance
last year with the Silk Road Ensemble at Massey Hall, it’s a
journey this downtown music lover will want to make. Presented in
association with Flato Markham Theatre, the concert headlines Wu
Man; abundantly gifted as a musician she has been called a “force of
nature” by Gramophone magazine. Dusted magazine also praised her
performance, describing it as deftly combining “earthly energy and
celestial delight.” Her masterful musicianship has also inspired several
composers, including Terry Riley and Tan Dun. The Shanghai Quartet,
among today’s leading string quartets, will join Wu Man in a program
of music composed or arranged by Chinese musicians called “A Night
in Ancient and New China.” Perhaps I’ll see you there.
Our last peek into the Asian Music Series this issue: Indian master
sitarist Shujaat Khan and Toronto vocalist Ramneek Singh take us
deep into North Indian cultural poetics and centuries-old mystical
traditions. Presented by Aga Khan Museum on April 29, the double
bill concert, titled “Reflections on Kabir and Khusrau,” is presented in
the museum’s Great Poets Series. Kabir was an important fifteenthcentury
Indian mystic, poet and saint. Amīr Khusrau (or Khusraw, CE
1253–1325) of Delhi was a Sufi musician and is often regarded as the
father of Qawwali. His contributions to the advancement of poetry
and music were immense and place him at the heart of the cultural
history of the Indian subcontinent. In music, Khusraw is credited
with the introduction of Persian, Arabic and Turkish elements into
Hindustani classical music, as well as with originating khayal and
tarana forms, features still central to the music today. It’s a pretty safe
bet we will hear vivid performances in both forms by Shujaat Khan
and Ramneek Singh.
From Anoushka Shankar, one of the newest and most syncretistic
voices in Hindustani music today, we get to sonically travel to one of
the tradition’s oldest innovators, represented by Khusraw - all in the
space of one Toronto festival!
Like Donald Quan’s Musideum, that’s some story too!
Andrew Timar is a Toronto musician and music writer. He
can be contacted at worldmusic@thewholenote.com
thewholenote.com April 1, 2016 - May 7, 2016 | 35

Beat by Beat | Bandstand
What HSSB Has
Built On Brass
Band Beginnings
JACK MACQUARRIE
Last month, you may recall, the
Canadian Band Association,
Ontario had just held its first
"Community Brass Band" weekend,
which got me going in this space, on
the subject of the characteristics of
the brass band, the British Brass Band
Style, Company Bands and Brass Band
Contests.
There’s a whole other story to tell
about how brass bands in the British
tradition, sometimes sponsored by
employers, began to be established
on this side of the Atlantic in the late
19th and early 20th centuries. But first
let’s look at an upcoming event which
encapsulates not only what the brass
band community is all about but also
how far the brass band genre has come.
Hannaford Street Silver Band’s
Festival of Brass: Just as there are few,
if any, professional concert bands in
Canada there are few professional brass
bands. The notable exception is the
Hannaford Street Silver Band, established
some 30 years ago by a group of Toronto professional musicians
who wanted to give the full virtuosic range of brass band idiom a voice
and showcase in Toronto. Their concerts have consequently explored a
much wider range of music than would usually have been considered
part of the brass band repertoire. A recent example: with guest
artist Fergus McWilliam, they presented the Strauss Horn Concerto
No.1 this past February 21. Here was a top musician from the Berlin
Philharmonic performing with a brass band on the only major brass
instrument that is not part of the usual brass band instrumentation.
Also note, the HSSB commitment to broadening the repertoire has
gone beyond rearranging standard repertoire into a vigorous commitment
to commissioning new Canadian works.
Another important outgrowth of the HSSB’s activities has been
their youth program. In 1999 they launched the Hannaford Street
Youth Band under the direction of Anita McAlister. In 2005, another
youth band was created for beginning brass players known as the
Hannaford Junior Band. Soon a third, intermediate, band known as
the Hannaford Community Youth Band was also formed. All three
bands, under the same director, provide musical growth opportunities
for young musicians ranging in age from 11 to the early 20s.
So, for devotees of the Hannafords and brass band fans in general,
the HSSB’s annual Festival of Brass (this year on the weekend of
April 15 to 17) is a must. This festival will be packed with almost
every form of brass music. Friday evening will feature “Rising Stars”
where the finalists of the Hannaford Youth Solo Competition will be
judged on their performances by Alain Trudel and Stéphane Beaulac.
The winner will perform with the Hannaford Band in the Sunday
afternoon concert. Saturday will be devoted to a master class in the
morning followed by a series of performances by “Festival of Brass”
participating bands. On Sunday there will be an open dress rehearsal
in the morning and the “Entre Amis” concert in the afternoon. This
year, Stéphane Beaulac, formerly principal trumpet with Orchestre
Métropolitain in Montreal, now with the Los Angeles Philharmonic,
will be the featured soloist. He will perform Canadian composer
Johnny Cowell’s Concerto in E Minor with the band, under the direction
of another Hannaford distinguished visitor, Alain Trudel.
Crossing the Atlantic: Now back to our previous topic. Certainly the
geography of Canada, with large distances between communities,
made some aspects of the British Brass Band tradition, such as regular
contests, impractical. On the other hand, relative isolation and lack of
other recreational opportunity may have assisted with other aspects,
such as the company band. Certainly, into the 20th century there were
still a few distinguished company bands around, including the Taylor
Safe Works Band, the Heintzman Piano Company Band, where the
famous Herbert L. Clarke was featured,
and the Anglo-Canadian Leather
Company Band in Huntsville, Ontario
where Clarke was the conductor from
1918 to 1923. Originally trained on the
viola, Clarke was smitten by the cornet
and began practising on his brother’s
instrument. He then joined the
band of the Queen’s Own Rifles in 1882
at age 14, in order to obtain his own
government-issue cornet on which
to practise.
Few, if any, company bands are still
operating in Canada. There are still a
number of Salvation Army bands, but
the total number of British-style brass
bands probably does not exceed 30.
Most of these are in Ontario, operate
as recreational or “community” bands
and have long histories going back over
a century in some cases. The most wellknown
include the Oshawa Civic Band,
the Whitby Brass Band, the Weston
Alain Trudel
Silver Band and the Metropolitan Silver
Band of Toronto. Professor Henry
Meredith’s Plumbing Factory Brass Band in London is one which has
risen in stature in recent years.
South of the border: About the same time brass bands were
springing up in Canada similar bands were forming in the US, principally
in the New England States. It wasn’t long, though, before
brass bands caught the attention of one John Sullivan Dwight in
Boston. Ordained as a minister in 1840, Dwight had abandoned the
ministry and developed a deep interest in music, in particular that
of Beethoven. By the 1850s music was becoming a big business in
America and Dwight was soon to become the country’s first music
critic, launching frequent tirades against the popular music of the day,
particularly the brass band. In one memorable instance he wrote: “All
at once the idea of a Brass Band shot forth: and from this prolific germ
sprang up a multitude of its kind in every part of the land, like the
crop of iron men from the infernal seed of the dragon’s teeth.”
NABBA: Dwight notwithstanding, by 1983 the desire for some form
of umbrella organization to coordinate the activities of bands and to
further the brass band movement had resulted in the establishment
of the North American Brass Band Association (NABBA) with stated
aims to “Foster, promote and otherwise encourage the establishment,
growth and development of amateur and professional British-type
brass bands throughout the United States and Canada.”
Cautionary note: if you decide to ask Mr. Google for information
on this organization, type in the full name, not NABBA, or you will
learn more than you ever wanted to know about the National Amateur
Body-Builders’ Association. (Unless of course you are a tuba player
and need some muscle toning.)
While some Canadian bands have participated in NABBA competitions
over the years, the most recent highlight was in the summer of
2014 when the North American Brass Band Summer School (NABBSS)
was first held in Halifax as an integral component of the Royal Nova
36 | April 1, 2016 - May 7, 2016 thewholenote.com

Scotia International Tattoo. We were participants in that first school
and in the tattoo. We would not have missed it for the world. The 2015
event was equally successful and enrollments are well on the way for
this coming summer.
Other Brass Band news from the GTA: I was very surprised and
pleased recently to receive a copy of a new history of the Metropolitan
Silver Band. As the title says, it covers “80 Years of Music-Making at
Metropolitan United Church.” This history was written by the band’s
longest-serving member, Ken Allen, who has been in the band for
71 of those 80 years, 43 of them as its manager. He was fortunate in
having access to meticulously maintained records over the years by a
fellow band member.
Elsewhere I have mentioned, on various occasions, those revolutionary
times when a female musician was “permitted” to join a
band. For the MSB, this occurred in January 1981, when Bill Martyn,
a member of the cornet section and a high school English teacher,
invited one of his students to join the band. Now, 35 years later,
Michele McCall is still in the band and has been the band’s manager
since 2005, when she took over from Ken Allen. Another milestone
was in 2002 when the band appointed its first woman conductor. Fran
Harvey is still the conductor after 14 years at the helm. The history
includes a good selection of pictures, all with dates and identification
of all band members. As I scanned these pictures, lo and behold, there
I was during those years when I was a band member in the 1970s
and 1980s. Late last year the band released a new CD to celebrate its
80-year association with Metropolitan United Church. Titled Amazing
Grace-A Gospel Celebration, it is a compilation of traditional hymns
including one selection, My Lord What a Morning, featuring a solo by
none other than 71-year veteran Ken Allen.
Salvation Army bands have long been a mainstay of the brass band
movement, so it was good to hear of an SA concert coming up later
in the month. Featured will be the Ontario Central East Divisional
Singing Company (Junior Choir) conducted by Elizabeth Colley,
Divisional Young Peoples’ Band – Blood and Fire Brass under
bandleader Bob Gray, and Divisional Reservists’ Band – Heritage Brass
also led by bandmaster Gray. The concert will take place Saturday,
April 23 at 7pm, in the Agincourt Community Church of The Salvation
Army, 3080 Birchmount Rd, Toronto. A freewill offering will be
received during the concert.
Startups are always a good sign of the resurgence of interest in
brass band music, and here’s another one. They are inviting other
brass players to join them. They rehearse Wednesday evenings in
Newmarket and would particularly welcome cornet and tuba players.
If you play a brass instrument, and are interested in exploring that
genre, contact Peter Hussey by email at pnhussey@rogers.com.
New Horizons: From time to time I have reported on the activities of
the many New Horizons groups since their introduction into Canada
about six years ago. The number of groups in Toronto alone has grown
to the extent that the original conductor, Dan Kapp, has relinquished
his duties at the Long & McQuade main store to channel all of his
energies into the many New Horizons groups. With the title of creative
director, Dan will oversee the operations of all Toronto bands, as well
as conduct two or more. While on the subject of New Horizons, a few
days ago I learned of a New Horizons group now thriving in Sudbury.
Where will the next NH group spring up?
Obituary: Unfortunately I must report on the passing of Alex
MacDonald a long-serving member of the Metropolitan Silver Band.
I first met Alex when he and I were living in the same residence at
university many years ago. We played together in the U of T Varsity
band. On one occasion Alex startled us all. We were rehearsing
Sousa’s Stars and Stripes Forever, but we didn’t have anyone to
play the piccolo part. Alex tucked his euphonium under his arm
and pulled a slide whistle from his inner pocket. Suddenly we had
a piccolo.
Jack MacQuarrie plays several brass instruments and
has performed in many community ensembles. He can
be contacted at bandstand@thewholenote.com.
thewholenote.com April 1, 2016 - May 7, 2016 | 37

The WholeNote listings are arranged in four sections:
A.
GTA (GREATER TORONTO AREA) covers all of Toronto
plus Halton, Peel, York and Durham regions.
B.
BEYOND THE GTA covers many areas of Southern
Ontario outside Toronto and the GTA. Starts on page 54.
C.
MUSIC THEATRE covers a wide range of music types:
from opera, operetta and musicals, to non-traditional
performance types where words and music are in some
fashion equal partners in the drama. Starts on page 57.
D.
IN THE CLUBS (MOSTLY JAZZ)
is organized alphabetically by club.
Starts on page 58.
E.
THE ETCETERAS is for galas, fundraisers, competitions,
screenings, lectures, symposia, masterclasses, workshops,
singalongs and other music-related events (except
performances) which may be of interest to our readers.
Starts on page 60.
A GENERAL WORD OF CAUTION. A phone number is provided
with every listing in The WholeNote — in fact, we won’t publish
a listing without one. Concerts are sometimes cancelled or postponed;
artists or venues may change after listings are published.
Please check before you go out to a concert.
HOW TO LIST. Listings in The WholeNote in the four sections above
are a free service available, at our discretion, to eligible presenters.
If you have an event, send us your information no later than the
8th of the month prior to the issue or issues in which your listing is
eligible to appear.
LISTINGS DEADLINE. The next issue covers the period from
May 1 to June 7, 2016. All listings must be received by
Midnight Friday April 8.
LISTINGS can be sent by e-mail to listings@thewholenote.com or
by fax to 416-603-4791 or by regular mail to the address on page 6.
We do not receive listings by phone, but you can call 416-323-2232
x27 for further information.
LISTINGS ZONE MAP. Visit our website to see a detailed version
of this map: thewholenote.com.
Lake
Huron
6
Georgian
Bay
7
2 1
5
Lake Erie
3 4
8
City of Toronto
LISTINGS
Lake Ontario
A. Concerts in the GTA
IN THIS ISSUE: Aurora, Brampton, Etobicoke, King Township,
Markham, Milton, Mississauga, Newmarket, North York, Oakville ,
Richmond Hill, Scarborough, Sharon, Toronto.
MUSICAL THEATRE
The following musicals do not appear
●●Rosedale Heights School of the Arts
in the concert listings. Details for
Musical Theatre. Rent.
these performances can be found in
●●Scarborough Music Theatre. Damn
C. Musical Theatre on page 57.
Yankees.
●●Lower Ossington Theatre. Anne of
●●Shaw Festival. Alice in Wonderland.
Green Gables, Avenue Q, Disney’s The Little ●●Stratford Festival. A Chorus Line.
Mermaid.
●●Theatre Sheridan. Grand Hotel.
●●Mirvish Productions. If/Then, Kinky Boots. ●●Young People’s Theatre. The Wizard of Oz.
Friday April 1
●●12:10: Music at St. Andrew’s. Noontime
Recital: Matthew Li, piano. St. Andrew’s
Church, 73 Simcoe St. 416-593-5600 x231.
Free.
●●12:30: York University Department
of Music. Music @ Midday: York University
Brass and Percussion Ensembles. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 647-459-0701.
Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Classics, opera, operetta, musicals,
ragtime, pop, international and other genres.
Gordon Murray, piano. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-631-4300. PWYC.
Concert in chapel; lunch and snack friendly.
●●5:00: University of Toronto Faculty of
Music. The Art of the Prima Donna. Staged
and costumed program of romantic opera.
Works by Bellini, Donizetti, Verdi and others.
Paul Widner, conductor. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. $20; $10(st).
●●7:00: 3 in the 6ix. 2nd of 3: On a Whim.
Debussy: Trio No.1 in G; Silberberg: On a
Whim; Brahms: Trio No.1 in B. Jane St. Trio.
Runnymede United Church, 432 Runnymede
Rd. 416-767-6729. $25/$20(adv); $15(st/arts);
$5(under 18).
●●7:30: York University Department of
Music. York U Gospel Choir. Karen Burke,
conductor. Sandra Faire and Ivan Fecan Theatre,
Accolade East Building, 4700 Keele St.
416-736-5888. $15; $10(sr/st). Also Apr 2.
●●8:00: Art of Time Ensemble. Erwin Schulhoff.
Dada, Jazz and the String Sextet: Portrait
of a Forgotten Master. Harbourfront
Centre Theatre, 235 Queens Quay W. 416-973-
4000. $25–$59. Also Apr 2.
●●8:00: Aurora Cultural Centre. John
Sheard Presents The American Songbook.
Reid Jamieson and Michael Louis Johnson.
22 Church St., Aurora. 905-713-1818.
$30/$25(adv).
●●8:00: Etobicoke Community Concert
Band. April Fools. Songs by Sinatra, Bennett,
Martin, Darrin and others. Andy DeCampos,
vocals. Etobicoke Collegiate Auditorium,
86 Montgomery Rd., Etobicoke. 416-410-
1570. $15.
●●8:00: Exultate Chamber Singers. Stories
of Love and Longing. Sjolund: Love Lost;
Brahms: Liebeslieder Waltzes Op.52; Palestrina:
Sicut Cervus; Enns: Like as the Hart;
Bissell: A Song of Longing; works by Chatman,
Britten, Mechem and Stroope. St. Thomas’s
Anglican Church (Toronto), 383 Huron St.
416-971-9229. $25; $20(sr); $10(st).
●●8:00: Royal Conservatory. Cameron Carpenter,
Organ. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $35–$75.
BENJAMIN
ALARD
SOLO
HARPSICHORD
BACH
GOLDBERG
VARIATIONS
Mar 31-Apr 3
416.964.6337
tafelmusik.org
●●8:00: Tafelmusik Baroque Orchestra.
Bach Goldberg Variations. Bach: Goldberg
Variations; Trio Sonata from “The Musical
Offering.” Benjamin Alard, solo harpsichord;
Grégoire Jeay, flute; Jeanne Lamon, violin;
Christina Mahler, cello. Trinity-St. Paul’s
Centre, Jeanne Lamon Hall, 427 Bloor St. W.
416-964-6337. $40 and up; $37 and up(sr);
$20–$83(35 and under). Also Apr 2, 3(mat),
5(George Weston Recital Hall).
●●8:00: Toy Piano Composers/Bicycle Opera
Project. TPC Curiosity Festival: Travelogue.
Works by Monica Pearce, August Murphy-
King/Colleen Murphy-King, Elisha Denburg,
38 | April 1, 2016 - May 7, 2016 thewholenote.com

and Tobin Stokes. Members of the Bicycle
Opera Project. Arts and Letters Club, 14 Elm
St. 647-829-4213. $30(festival pass). Also
Apr 2. Festival runs until Apr 9.
●●8:00: Victoria College Chorus. Patience.
Music by Arthur Sullivan. Libretto W. S. Gilbert.
Isabel Bader Theatre, 93 Charles St.
W. 416-978-8849. $20; $15(sr); $10(st). Also
Apr 2(3:00).
●●8:00: Voicebox/Opera in Concert. Isis and
Osiris: Gods of Egypt. Music by Peter Anthony
Togni. Libretto by Sharon Singer. Lucia Cesaroni
(Isis); Michael Barrett (Osiris); Julie Nesrallah
(Nepthys); Michael Nyby (Seth); Stuart
Graham (The Grand Vizier); and others;
Orchestra and Chorus of Voicebox: Opera
In Concert; Robert Cooper, conductor and
chorus director. St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. $52 and
$73. Also Apr 3 (2:30).
●●8:30: Aga Khan Museum/Turkuaz TV.
Turkish Masters Welcomed to the Aga Khan
Museum. Ancient songs of Anatolia using
traditional and modern instruments. Erkan
Oğur, guitar; Ismail Hakkı Demircioğlu, saz
and guitar. Aga Khan Museum Auditorium,
77 Wynford Dr. 416-646-4677. From $45.
Access to galleries with ticket (6:00-8:00).
●●9:00: Skule Music. In Concert. Hart House,
Arbor Room, 7 Hart House Circle. 416-978-
2452. Free.
Saturday April 2
●●12:00 noon: Lower Ossington Theatre.
Disney’s The Litttle Mermaid: A Broadway
Musical. Music by Alan Menken. Lyrics by
Howard Ashman and Glenn Slater. Book by
Doug Wright. Alan Kinsella, stage director.
Randolph Theatre, 736 Bathurst St. 416-915-
6747. $39.99–$69.99. Runs to Apr 24. Days
and times vary.
●●2:00: Orchardviewers. Northern District.
Ensemble from the University of Toronto Faculty
of Music. Northern District Public Library,
Room 224, 40 Orchard View Blvd. 416-393-
7610. Free.
●●2:00: Toronto Northern Lights Chorus.
Genius of Music. Barbershop choral music.
Guest: Toronto All-Star Big Band. George
Weston Recital Hall, 5040 Yonge St. 1-866-
744-7467. $25–$30; $15(st); free(student
ticket with purchase of adult ticket);
free(under 3). Also 7:30.
●●2:00: Toronto Symphony Orchestra. Alligator
Pie. Abigail Richardson-Schulte: Alligator
Pie. Carla Huhtanen, soprano; Dennis Lee,
poet; Kevin Frank, narrator; Earl Lee, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $20.50–$32.75. Also at 4:00.
●●3:00: Victoria College Chorus. Patience.
See Apr 1(8:00).
●●4:00: Toronto Children’s Chorus/Cawthra
Park Chamber Choir. Good Vibrations.
Michel Ross and Alex Wang, piano; Elise Bradley
and Bob Anderson, conductors. Church of
the Redeemer, 162 Bloor St. W. 416-932-8666
x231. $25; $20(sr/st); $10(child).
●●4:00: Toronto Symphony Orchestra. Alligator
Pie. Abigail Richardson-Schulte: Alligator
Pie. Carla Huhtanen, soprano; Dennis Lee,
poet; Kevin Frank, narrator; Earl Lee, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $20.50–$32.75. Also at 2:00.
●●4:30: Beach United Church. Jazz and
Reflection: New Beginnings. Laura Fernandez,
vocals; Don Naduriak, piano; Joaquin
Nunez Hidalgo, drum. 140 Wineva Ave. 416-
691-8082. Freewill offering.
●●7:00: Aga Khan Museum/Raag-Mala Music
Society of Toronto. Raags of the Gharana
Tradition. Evening Raags with Anupama
Bhagwat and Waseem Ahmed Khan. Aga
Khan Museum Auditorium, 77 Wynford Dr.
416-646-4677. $45 and up; $41(members).
Two-concert pkg avail. Also Apr 3(mat).
●●7:00: University of Toronto Scarborough,
Department of Arts, Culture and Media.
Spring Awakening. UTSC Concert Band;
UTSC String Orchestra. Academic Resource
Centre, University of Toronto Scarborough,
1265 Military Trail, Scarborough. 416-208-
4769. Free.
●●7:30: Etobicoke Centennial Choir. When
Daffodils Begin to Peer. Holst: Choral Hymns
from the Rig Veda Op.26 No.1; Six Songs of
Early Canada (arr. Patriquin); Halley: Love
Songs for Springtime; Shearing: Songs and
Sonnets from Shakespeare. Henry Renglich,
conductor. Guests: Unionville Montessori
School Appassionata Singers. Humber Valley
United Church, 76 Anglesey Blvd., Etobicoke.
416-769-9271. $25.
●●7:30: Mississauga Big Band Jazz Ensemble.
Best of Big Band Open Mic. Living
Arts Centre, 4141 Living Arts Dr., Mississauga.
905-306-6000 or 1-888-805-8888.
$30–$45.
●●7:30: Music On The Donway. Retro Ramblers
Quartet. Music of the 50s, 60s, 70s and
beyond. Donway Covenant United Church,
230 The Donway W. 416-444-8444. $20;
free(under 13).
●●7:30: Opera by Request. Weber’s Abu Hassan
and Bartók’s Bluebeard’s Castle. Semistaged
with piano accompaniment. Henry
Irwin, baritone (Abu Hassan); Michele
Danese, soprano (Fatima); Steven Henrikson,
baritone (Omar); Deena Nicklefork,
soprano (Judith); Larry Tozer, baritone (Bluebeard);
Gregory Finney, stage director; William
Shookhoff, piano/conductor. College
Street United Church, 452 College St. 416-
455-2365. $20.
●●7:30: Toronto Concert Orchestra. Piaf
Encore. La Vie en rose, I Love Paris, Rien de
rien, Pauvre Jean, Milord and other songs.
Pandora Topp, vocals (Piaf); Kerry Stratton,
conductor. The Extension Room, 30 Eastern
Ave. 647-352-7041. $45.
●●7:30: Toronto Northern Lights Chorus.
Genius of Music. Barbershop choral music.
Guest: Toronto All-Star Big Band. George
Weston Recital Hall, 5040 Yonge St. 1-866-
744-7467. $25–$30; $15(st); free(student
ticket with purchase of adult ticket);
free(under 3). Also 2:00.
●●7:30: York University Department of
Music. York U Gospel Choir. Karen Burke,
conductor. Sandra Faire and Ivan Fecan Theatre,
Accolade East Building, 4700 Keele St.
416-736-5888. $15; $10(sr/st). Also Apr 1.
●●8:00: Acoustic Harvest. Red Dirt Skinners.
Featuring blues, country, folk, honky
tonk, klezmer and ballads. Opening set: Joal
Kamps. Sarah Skinner, soprano saxophone;
Rob Skinner, guitar and vocals. St. Nicholas
Anglican Church, 1512 Kingston Rd. 416-691-
0449. $25/$22(adv).
●●8:00: Art of Time Ensemble. Erwin Schulhoff.
Dada, Jazz and the String Sextet: Portrait
of a Forgotten Master. Harbourfront
Centre Theatre, 235 Queens Quay W. 416-973-
4000. $25–$59. Also Apr 1.
●●8:00: Mississauga Festival Chamber
Choir. Spring Serenade. Gjeilo: Sunrise
Mass; other works. First United Church (Port
Credit), 151 Lakeshore Rd W., Mississauga.
905-278-3714. $25; $15(child).
●●8:00: Mississauga Symphony Orchestra.
Spring. Copland: Appalachian Spring;
Debussy: Danse sacrée et profane; Dvořák:
Symphony No.6. Erica Goodman, harp; Denis
Mastromonaco, conductor. Hammerson Hall,
Living Arts Centre, 4141 Living Arts Dr., Mississauga.
905-306-6000. $30–$65.
●●8:00: Nagata Shachu Japanese Taiko
Drum and Music Ensemble/TorQ Percussion
Quartet. In Concert. Japanese, Western
and world percussion. TorQ: Richard
Burrows, Adam Campbell, Jamie Drake, and
Daniel Morphy; Kiyoshi Nagata, music director.
Brigantine Room, Harbourfront Centre,
235 Queens Quay W. 416-973-4000.
$35/$30(adv); $20(sr/st).
●●8:00: Royal Conservatory. TD Jazz: Katrina
10 Years On. Blanchard: A Tale of God’s Will
(A Requiem for Katrina). Terence Blanchard,
trumpet. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $40–$95.
●●8:00: Scarborough Philharmonic Orchestra.
Shakespeare in Love: Romeo and
Juliet. Salvation Army Scarborough Citadel,
2021 Lawrence Ave. E., Scarborough. 416-
429-0007. $30; $25(sr); $15(st); $10(child).
●●8:00: Tafelmusik Baroque Orchestra.
Bach Goldberg Variations. See Apr 1. Also
Apr 3(mat), 5(George Weston Recital Hall).
●●8:00: Toronto Symphony Orchestra.
National Arts Centre Orchestra. R. Strauss:
Don Juan; Mozart: Piano Concerto No.20
K466; Sokolović: Ringelspiel; R. Strauss:
Death and Transfiguration. Gabriela Montero,
piano; National Arts Centre Orchestra, guest
orchestra; Alexander Shelley, conductor. Roy
Thomson Hall, 60 Simcoe St. 416-598-3375.
$33.75–$148.
●●8:00: Toy Piano Composers/Bicycle Opera
Project. TPC Curiosity Festival: Travelogue.
Works by Monica Pearce, August Murphy-
King/Colleen Murphy-King, Elisha Denburg,
and Tobin Stokes. Members of the Bicycle
Opera Project. Arts and Letters Club, 14 Elm
St. 647-829-4213. $30(festival pass). Also
Apr 1. Festival runs until Apr 9.
●●8:00: Univox Choir. Everything Beautiful.
Tahirih Vejdani, conductor. Eastminster
United Church, 310 Danforth Ave. 416-463-
2179. $25/20 (sr, st, adv).
Sunday April 3
●●12:30: Harmonia Hungarica. Spring
Orlando Consort:
La passion de
Jeanne d’Arc
SUNDAY, APRIL 3, 3PM
KOERNER HALL
Ask LUDWIG
Concert. Works by Aichinger, Lassus,
Brahms, Bartók, Kodály and others. Katalin
Végh, conductor. First Hungarian Presbyterian
Church, 439 Vaughan Road. 416-971-9754.
Freewill offering.
●●1:30: Payadora Tango Duo. In Concert.
Music of Buenos Aires exploring the past and
present of Argentinian Tango. Neighbourhood
Unitarian Universalist Congregation,
79 Hiawatha Rd. 416-686-6809. $25(family);
$15; $10(sr/child/artist).
●●2:30: University of Toronto Faculty of
Music. Heart Songs. Corlis: Heart Songs of
the White Wampum; Beethoven: Choral Fantasy;
and other works. University of Toronto
Symphony Orchestra; Women’s Chamber
Choir; Men’s Chorus; Beverley Johnston,
marimba; Hilary Apfelstadt, Elaine Choi,
Tracy Wong and Mark Ramsay, conductors.
MacMillan Theatre, Edward Johnson Building,
80 Queen’s Park. 416-408-0208. $30;
$20(sr); $10(st).
●●2:30: Voicebox/Opera in Concert. Isis and
Osiris: Gods of Egypt. See Apr 1 (8:00).
TICKETS ON SALE NOW! 416.408.0208
WWW.PERFORMANCE.RCMUSIC.CA
●●3:00: Royal Conservatory. Orlando Consort:
La passion de Jeanne d’Arc. Koerner
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $30–$55. With a film screening of La
passion de Jeanne d’Arc (1928).
●●3:00: Aga Khan Museum/Raag-Mala Music
If you prefer NOT to read through all 356 listings in this section
looking for Leonid Nediak or Koerner Hall or
Early Music or Syrinx or Zone 3 then don't.
TheWholeNote.com/index.php/listings/ask-ludwig
thewholenote.com April 1, 2016 - May 7, 2016 | 39

Society of Toronto. Raags of the Gharana
Tradition. Afternoon Raags with Ramesh
Mishra and Devaki Pandit. Aga Khan Museum
Auditorium, 77 Wynford Dr. 416-646-4677.
$45 and up; $41(members). Two-concert pkg
avail. Also Apr 2(eve).
●●3:00: Florivox. Shadows and Light. Gillian
Stecyk, conductor. Grace Church on-the-
Hill, 300 Lonsdale Rd. 416-488-7884. $25/20
(sr, st, adv).
Ensemble
Made In Canada
Angela Park, piano
Sharon Wei, viola
Elissa Lee, violin
Rachel Mercer, cello
Sunday April 3, 3pm
SyrinxConcerts.ca
●●3:00: Syrinx. Ensemble Made in Canada.
Works by Beethoven, Schumann, and Omar
Daniel. Angela Park, piano; Sharon Wei, viola;
Elissa Lee, violin; Rachel Mercer, cello. Heliconian
Hall, 35 Hazelton Ave. 416-922-3618.
$25; $20(st). Post-concert reception.
●●3:00: York University Department of
Music. York U Wind Symphony. William
Thomas, conductor. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 416-736-5888. $15; $10(sr/st).
●●3:00: Zephyr Piano Trio. In Concert. Works
by Mendelssohn, Smetana and Piazzolla. Ilona
Beres, Terry Holowach and Edward Hayes.
Humbercrest United Church, 16 Baby Point
Rd. 416-694-8923. $20; $15(sr/st); free(under
12).
●●3:30: Tafelmusik Baroque Orchestra.
Bach Goldberg Variations. See Apr 1. Also
Apr 5(George Weston Recital Hall).
●●4:00: Amadeus Choir of Greater Toronto.
Carmina Burana. Orff: Carmina Burana; Dello
Joio: Psalm of David. Leslie Fagan, soprano;
Christopher Mayell, tenor; Peter MacGillivray,
baritone; Amadeus Choir; Buffalo Master
Chorale; Bach Children’s Choir; Shawn
Grenke, piano. Toronto Centre for the Arts,
5040 Yonge St., North York. 416-446-0188.
$45; $40(sr); $35(under 30); $20(st).
●●4:00: Church of St. Mary Magdalene.
Organ Fireworks. Andrew Adair, organ.
Church of St. Mary Magdalene (Toronto),
477 Manning Ave. 416-531-7955. Free.
●●4:00: Hart House Chorus. Spring Concert.
Haydn: Missa in tempore belli (Mass in
Time of War); Gjeilo: Dark Night of the Soul.
Daivd Eliakis, accompanist; Daniel Norman,
conductor. Hart House, Great Hall, 7 Hart
House Circle. 647-774-0755. Free. Donations
accepted on behalf of Sistema Toronto.
●●4:00: St. Philip’s Anglican Church. Jazz
A. Concerts in the GTA
Vespers: Tribute to Duke Ellington. Mike Murley,
saxophone; Mark Eisenman, piano; Pat
Collins, bass; Barry Elmes, drums. 25 St. Phillips
Rd., Etobicoke. 416-247-5181. Freewill
offering.
●●4:30: Christ Church Deer Park. Jazz Vespers.
Mark Eisenman Trio. 1570 Yonge St. 416-
920-5211. Free. Donations welcome.
●●5:00: Nocturnes in the City. Jan Novotný,
piano. Works by Smetana and Schumann. St.
Wenceslaus Church, 496 Gladstone Ave. 416-
481-7294. $25; $15(st). CANCELLED.
●●7:30: University of Toronto Faculty of
Music. Percussion Ensemble Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
viva electronica
Sun. Apr. 3 | Oliphant Theatre
www.NewMusicConcerts.com
●●8:00: New Music Concerts. Viva Electronica.
Hamel: Dreamer; Kessler: Is It Marion?;
Tan: On the Sensations of Tone II; Ahn: LOL;
Steenhuisen: Vajrayana Tantra Shift. Gregory
Oh, solo piano; Xin Wang, soprano; Wallace
Halladay, saxophone; New Music Concerts
Ensemble; Robert Aitken, conductor. Betty
Oliphant Theatre, 404 Jarvis St. 416-961-
9594. $35; $25(sr/artists); $10(st). Introduction
at 7:15.
Monday April 4
●●12:30: York University Department of
Music. Music @ Midday: Instrumental
Masterclass in Concert. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 647-459-0701. Free.
●●7:30: University of Toronto Faculty of
Music. Cecilia String Quartet. Agócs: Commissioned
piece; Mendelssohn: String Quartet
in e Op.44 No.2; Brahms: Clarinet Quintet
in b Op.115. Cecilia String Quartet; Kati Agócs,
soprano; James Campbell, clarinet. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
$40; $25(sr); $10(st).
●●7:30: York University Department of
Music. York University Concert and Chamber
Choir. Robert Cooper, interim conductor, Ted
Moroney, accompaniment. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 416-736-5888. $15; $10(sr/st).
Tuesday April 5
●●12:00 noon: Canadian Opera Company.
Chamber Music Series: Violin Masters. Works
by Leclair and Ysaÿe. Marie Bérard, violin;
Aaron Schwebel, violin. Richard Bradshaw
Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-363-
8231. Free. Late seating is not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Rising Stars Recital.
Featuring students from the Glenn Gould
School. Yorkminster Park Baptist Church,
1585 Yonge St. 416-241-1298. Free. Donations
welcome.
●●5:00: Toronto Mendelssohn Choir. Free
Pop-Up Concert. Noel Edison, conductor.
Allan Lambert Galleria, Brookfield Place,
181 Bay St. 416-598-0422. Free. Also at 5:30.
●●5:30: Toronto Mendelssohn Choir. Free
Pop-Up Concert. Noel Edison, conductor.
Allan Lambert Galleria, Brookfield Place,
181 Bay St. 416-598-0422. Free. Also at 5:00.
●●7:30: University of Toronto Faculty of
Music. Student Woodwind Chamber Ensemble
Concert. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●7:30: University of Toronto Faculty of
Music. Guitar Orchestra Concert. U of T Art
Centre, 15 King’s College Cir. 416-408-0208.
Free.
●●8:00: Array Music. 4 New Works. Hostman:
Yet, the Rain Falls More Darkly; Newsome:
Capsule; Scime: Scivias - Know the Ways; S.
Wilson: untitled. Array Ensemble; guest: Carla
Huhtanen, soprano. Array Space, 155 Walnut
Ave. 416-532-3019. $20.
●●8:00: Hirut Jazz. Finger Style Guitar Association.
Hirut Restaurant, 2050 Danforth Ave.
416-551-7560. PWYC. Also Apr 19.
Music TORONTO
DUO TURGEON
April 5 at 8 pm
●●8:00: Music Toronto. Duo Turgeon. Valery
Gavrilin: Sketches; Ravel: Second Suite from
Daphnis and Chloe, Vyacheslav Gryaznov:
new arrangement for two pianos; Lutoslawski:
Variations on a theme by Paganini. Anne
Louise-Turgeon, piano; Edward Turgeon,
piano. Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E. 416-366-
7723. $55, $50; $10(st); age 18 to 35 – pay
your age.
BENJAMIN
ALARD
SOLO
HARPSICHORD
BACH
GOLDBERG
VARIATIONS
Apr 5
1.855.985.2787
tafelmusik.org
●●8:00: Tafelmusik Baroque Orchestra.
Bach Goldberg Variations. Bach: Goldberg
Variations; Trio Sonata from “The Musical
Offering.” Benjamin Alard, solo harpsichord;
Grégoire Jeay, flute; Jeanne Lamon, violin;
Christina Mahler, cello. George Weston
Recital Hall, 5040 Yonge St. 1-855-985-2787.
$37 and up; $32 and up(sr); $15–$70(35 and
under). Also Mar 31, Apr 1, 2, 3(mat), (all at
Trinity-St. Paul’s Centre).
Wednesday April 6
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Chopin Preludes.
Rossina Grieco, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-363-
8231. Free. Late seating is not available.
●●12:30: Yorkminster Park Baptist Church.
Angus Sinclair, Organ. 1585 Yonge St. 416-
922-1167. Free.
●●7:00: Civic Light Opera Company. Two by
Two. Music by Richard Rodgers. Lyrics by
Martin Chamin. Book by Peter Stone. Joe Cascone,
director/designer. Zion Cultural Centre,
1650 Finch Ave. E. 416-755-1717. $28. Runs to
Apr 17. Days and times vary.
●●7:30: University of Toronto Faculty of
Music. Vocalis Master’s/DMA Series. Emmanuel
College Chapel, 75 Queen’s Park Cr. E. 416-
408-0208. Free.
●●7:30: University of Toronto Faculty of
Music. gamUT Contemporary Music Ensemble.
Wallace Halladay, director. Walter Hall,
Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-408-0208.
Free.
●●8:00: Royal Conservatory. World Music:
Anoushka Shankar, sitar. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208.
$40–$90.
●●8:00: Toronto Symphony Orchestra.
Beethoven: Piano Concerto 4. Agócs: Perpetual
Summer; Beethoven: Piano Concerto
No.4; Sibelius: Symphony No.1. Francesco Piemontesi,
piano; Thomas Søndergård, conductor.
Roy Thomson Hall, 60 Simcoe St.
416-598-3375. $33.75–$148. Also Apr 8(7:30).
●●8:00: Toy Piano Composers. TPC Curiosity
Festival: Playback. Nancy Tam, curator. Canadian
Music Centre, 20 St. Joseph St. 647-
829-4213. $30(festival pass). Festival runs
until Apr 9.
40 | April 1, 2016 - May 7, 2016 thewholenote.com

Thursday April 7
●●12:00 noon: Adam Sherkin. Chopin: Fantastic
Jest. Chopin: Fantasy in f Op.49; Scherzo
No.3 in c-sharp Op.39; ​Sherkin: ​new work.
Adam Sherkin, piano. Bluma Appel Lobby, St.
Lawrence Centre for the Arts, 27 Front St. E.
416-366-7723. Free. Presented in partnership
with Steinway Piano Gallery.
●●12:00 noon: Encore Symphonic Concert
Band. In Concert: Classics and Jazz. John
Edward Liddle, conductor. Wilmar Heights
Centre, 963 Pharmacy Ave., Scarborough.
416-346-3910. $10. Includes coffee and
snack. Also May 5.
●●12:15: Metropolitan United Church. Noon
at Met. Joshua Ehlebracht, organ. Metropolitan
United Church (Toronto), 56 Queen St. E.
416-363-0331 x26. Free.
●●1:30: Women’s Musical Club of Toronto.
Music in the Afternoon: Dannthology. Biber:
Passacaglia; Zosha di Castri: WMCT commission
premiere; Peter Lieberson: Rumble;
Schumann: Märchenbilder Op.113; Brahms:
Viola Sonata in E-flat Op.12 No.2. Steven Dann,
viola; Nico Dann, percussion; Robin Dann,
vocals; Joel Quarrington, double bass; James
Parker, piano. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-923-7052. $45.
●●7:00: Japanese Canadian Cultural Centre.
Tsumugu. Amami Island folk songs, Tsugaru
shamisen, taiko drumming. Anna Sato, vocals;
Chie Hanawa, Tsugaru shamisen; Keita
Kanazashi, taiko drum and Japanese flute.
6 Garamond Ct. 416-441-2345. $30; $25(JCCC
members).
●●7:00: Toronto Secondary School Music
Teachers’ Association. 65th Annual “Sounds
of Toronto” Concert. Featuring 1,000 students
from 30 schools in song, concert and
jazz bands, string and symphony orchestras,
steel pan, small groups and as student conductors.
Works by Bernstein, Williams, Grainger,
Tchaikovsky, Mozart and others. Massey
Hall, 178 Victoria St. 416-394-7130 x20044.
$10.
●●7:30: Church of the Holy Trinity. Steinway
Piano Fundraising Concert. Works by Burton,
Schubert/Boehm, Linton-France, Chopin,
Debussy, Aitken and Meyer-Obersleben. Robert
Aitken, flute; William Aide, piano. 10 Trinity
Sq. 416-598-4521 x301. $25. Presenting Holy
Trinity’s new Steinway.
April 7 - 16, 2016
Elgin Theatre, 189 Yonge St.
OPER AATELIER.COM
DON’T MISS
TORONTO’S OPER A
EVENT OF THE SEASON!
●●7:30: Opera Atelier. Lucio Silla. Mozart.
Kresimir Spicer (Lucio); Inga Kalna (Cinna);
Mireille Asselin (Celia); Peggy Kriha Dye
(Cecillio); Meghan Lindsay (Giunia); Marshall
Pynkoski, stage director; Jeannette Lajeunesse
Zingg, choreographer; Artists of Atelier
Ballet; Tafelmusik Baroque Orchestra; David
Fallis, conductor. Elgin Theatre, 189 Yonge
St. 1-855-622-2787. $38–$181; $15(under 30).
Media Night. Also Apr 9, 10, 12, 15, 16; start
times vary.
●●7:30: Royal Conservatory. Mazzoleni Masters:
Musicians from Marlboro. Haydn: String
Quartet in C Op.20 No.2; Berg: Lyric Suite;
Dvořák: Piano Quintet No.2 in A Op.81. Itamar
Zorman, Robin Scott, violin; Samuel Rhodes,
viola; Brook Speltz, cello; Cynthia Raim, piano.
Mazzoleni Concert Hall, Royal Conservatory,
273 Bloor St. W. 416-408-0208. $25.
●●7:30: University of Toronto Faculty of
Music. World Music Ensembles. African
Drumming and Dancing Ensemble; Latin-
American Percussion Ensemble; Steel Pan
Ensemble. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
●●8:00: Blythwood Winds. Continental Drift.
Schumann: Rhenish Symphony (Mvt 1; arr.
Vander Hyden); Klughardt: Quintett; Bitsch:
Sonatine; Françaix: Quintet No.1. Tim Crouch,
flute; Anthony Thompson, clarinet; Elizabeth
Eccleston, oboe; Michael Macaulay, bassoon;
Curtis Vander Hyden, horn. Array Space,
155 Walnut Ave. 647-567-7906. $20/$15(adv);
$10(sr/st).
●●9:00: Roy Thomson Hall/Massey Hall. Liz
Loughrey. Rivoli, 334 Queen St. W. 416-872-
4255. $15. Restricted to 19 and over.
Photo: Daniel Foley
Friday April 8
●●12:10: Music at St. Andrew’s. Noontime
Recital: Michael Westwood, clarinet. St.
Andrew’s Church, 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano
Potpourri. Classics, opera, operetta, musicals,
ragtime, pop, international and other
genres. Gordon Murray, piano. Trinity-
St. Paul’s Centre, 427 Bloor St. W. 416-631-
4300. PWYC. Concert in chapel; lunch and
snack friendly.
●●7:00: Soundstreams Salon 21. Clapping
Music. Learn and perform Steve Reich’s
Clapping Music in an 80-person ensemble.
Gardiner Museum, 111 Queen’s Park.
416-504-1282. Free; PWYC. Preferred seating
available.
●●7:30: Alexander Showcase Theatre.
The Addams Family. Music and lyrics by
Andrew Lippa. Book by Marshall Brickman
and Rick Elice. Based on characters created
by Charles Addams. Fairview Library Theatre,
35 Fairview Mall Dr. 416-324-1259. $32;
$27(sr/st). Until Apr 16. Days and times vary.
●●7:30: Essential Opera. She’s The One.
Contemporary operas by Uyeda, Raum, Höstmann,
Pidgorna, Estacio and Heggie. Erin
Bardua, soprano; Maureen Batt, soprano;
Maureen Ferguson, soprano; Julie Ludwig,
soprano; Cheryl Duvall, music director and
piano. Heliconian Hall, 35 Hazelton Ave. 416-
827-3009. $25; $20(sr/st/arts worker).
●●7:30: Leonard Music Services/Shaw Percussion.
The Heillig Manoeuvre. Original jazz
compositions and other works. Henry Heillig,
bass; Stacie McGregor, piano; Alison Young,
saxes; Charlie Cooley, drums. Sharon-Hope
United Church, 18648 Leslie Street, Sharon.
905-722-5449. $25/$20(adv).
‘NOON
AT MET’
Free concerts
at 12:15 pm
Apr. 7
Apr.14
Apr.21
Metropolitan United Church
56 Queen Street E .,Toronto
416-363-0331 (ext. 26)
www.metunited.org
Church of the Holy Trinity
presents
Robert Aitken, flute
William Aide, piano
Thursday April 7, 7:30pm
Join us as we unveil and celebrate
our new Steinway piano.
Hear two of Canada’s pre-eminent musicians,
together for the first time in decades, in a
program of Romantic repertoire.
Music
at Metropolitan
Joshua Ehlebracht,
organist
Ellen McAteer, soprano
Koichi Inoue, pianist
Apr. 28 Jessika Whitfield, soprano
Matthew Whitfield,
pianist
May 5 Julia Morson, soprano,
Rashaan Allwood, pianist
Tickets $25 at the door ~ proceeds to offset new piano expenses ~
Trinity Square, beside the Eaton Centre
416-598-4521 ext. 301 | ht@holytrinitytoronto.org
thewholenote.com April 1, 2016 - May 7, 2016 | 41

●●7:30: Toronto Symphony Orchestra.
Beethoven: Piano Concerto 4. Agócs: Perpetual
Summer; Beethoven: Piano Concerto
No.4; Sibelius: Symphony No.1. Francesco Piemontesi,
piano; Thomas Søndergård, conductor.
Roy Thomson Hall, 60 Simcoe St.
416-598-3375. $33.75–$148. Also Apr 6(8:00).
●●8:00: Alliance Française Toronto. Olivier
de Spiegeleir Classical Concert: Classic
makes its Cinema. Belgian pianist plays works
from the cinema by Bach, Beethoven, Chopin,
Schubert and Strauss. Alliance Française
de Toronto, 24 Spadina Rd. 416-922-2014 x37.
$15; $10(mem/sr/st).
●●8:00: Hirut Jazz. Latin Jazz with Don
Naduriak Quintet. Hirut Restaurant,
2050 Danforth Ave. 416-551-7560. By
donation.
●●8:00: Music Gallery. Emergents III: Jeremy
Bellaviti and The Science of What?
Curated by Alex Samaras. 197 John St. 416-
204-1080. $12; $8(members).
●●8:00: Oakville Centre for the Performing
Arts. Dan Cooper Concert Series: Gordie
MacKeeman and His Rhythm Boys. 130 Navy
St., Oakville. 905-815-2021. $42.
●●8:00: Royal Conservatory. Leon Fleisher
Conducts the Royal Conservatory Orchestra.
Brahms: Violin Concerto in D; R. Strauss: Don
Juan; Ravel: La valse. Alex Volkov, violin; Leon
Fleisher, conductor. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $25–$55.
6:45: Prelude Recital.
●●8:00: Sinfonia Toronto. Elements. McLean:
Elements; Mozart: Rondo for Violin and
Orchestra K269; Beethoven: Grosse Fuge;
Glazunov: Theme and Variations. Brian Lewis,
violin. Glenn Gould Studio, 250 Front St. W.
416-499-0403. $42; $35(sr); $19(arts/nonprofit
worker).
●●8:00: St. Jude’s Church. Celebration of the
Arts: Puttin’ on the Ritz. Selections include
Top Hat, Cheek to Cheek, Heat Wave, Always,
What’ll I Do, and Puttin’ on the Ritz. The Talisker
Players Quartet; Whitney O’Hearn, soprano;
Bud Roach, tenor. St. Jude’s Anglican
Church, 160 William St., Oakville. 905-844-
3972. $30.
●●9:00: Hart House Jazz Ensemble. In Concert.
Hart House, Arbor Room, 7 Hart House
A. Concerts in the GTA
Circle. 416-978-2452. Free.
Saturday April 9
●●3:00: Walmer Road Baptist Church. Organ
Recital and Choir. Works by Bach, Schumann,
Bonet and Kodály. Imre Olah, organ/conductor.
188 Lowther Ave. 416-924-1121. Freewill
offering.
●●7:00: Latin Flute Festival. In Recital. Latin
American music for flutes. Christine Beard,
flute; Christopher Lee, flute; James Brown,
guitar. Hart House, Music Room, 7 Hart House
Circle. 416-294-4259. Entry by donation.
UofT Symphony Orchestra
Uri Mayer, conductor. Performing
Brahms’ Symphony No. 3, Op. 90 in F
Major and Shostakovich’s Symphony
No. 5, Op. 47.
April 9, 2016
MacMillan Theatre, 80 Queen’s Park
$30, $20 senior, $10 student
music.utoronto.ca / 416-408-0208
●●7:30: University of Toronto Faculty of
Music. University of Toronto Symphony
Orchestra. Brahms: Symphony No.3 Op.90
in F; Shostakovich: Symphony No.5 Op.47.
Uri Mayer, conductor. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s Park.
416-408-0208. $30; $20(sr); $10(st).
●●7:30: Coro San Marco. Singing Together.
A celebration of different cultures through
choral music. Armonia; Cantemos; Chinese
Canadian Choir of Toronto; Coro San
Marco; Joyful Singers; La Petite Musicale;
Nayiri Armenian Choir of Toronto; Noor Choir;
Toronto Taiwanese Choir. Toronto Full of Joy
Church, 1100 Petrolia Rd. 416-399-8053 or
905-275-6880. $20.
●●7:30: Jazz Oriental. Making the Rent 2.
Sudanese, Persian and Syrian music. Waleed
Abdulhamid, multi-instrumentalist, vocals;
Naghmeh Farahmand, percussion; Nawras
Nader, lute, guitar and vocals. Eastminster
United Church, 310 Danforth Ave. 416-588-
4769. $20; free(newcomers to Canada/under
12). Collaboration among 4 refugee sponsorship
groups to raise funds.
●●7:30: Opera Atelier. Lucio Silla. Also Apr 9,
10, 12, 15, 16; start times vary.
●●7:30: Toronto Symphony Orchestra. A Midsummer
Night’s Dream and More. Wagner:
“Ride of the Valkyries” from Die Walküre; Handel:
Harp Concerto; Mendelssohn: Selections
from A Midsummer Night’s Dream; Elgar:
Variations on an Original Theme “Enigma”.
Heidi Van Hoesen Gorton, harp; James
Feddeck, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $33.75–$107.
Also Apr 10(3:00).
●●8:00: Gallery 345. Copland 2015: What Is
Future? Spoken word and improvised music.
Bill Gilliam and friends. 345 Sorauren Ave.
416-822-9781. $20/$10(st/arts workers).
●●8:00: Markham Theatre for the Performing
Arts. Wu Man and Shanghai Quartet.
Wu Man, pipa; Shanghai Quartet. 171 Town
Centre Blvd., Markham. 905-305-7469.
$59–$64.
●●8:00: Oakville Symphony Orchestra. The
Titan. Saint-Saëns: Piano Concerto No.2;
Mahler: Symphony No.1 “The Titan.” Guest:
Sheng Cai, piano. Oakville Centre for the Performing
Arts, 130 Navy St., Oakville. 905-815-
2021 or 888-489-7784. $54; $49(sr); $26(st/
child). Also Apr 10(mat).
●●8:00: Royal Conservatory. Johnny Clegg.
Blend of Western pop and South African
Zulu rhythms. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $50–$90.
●●8:00: Toy Piano Composers. TPC Curiosity
Festival: Metal. Works by Fiona Ryan, Chris
Thornborrow, Bekah Simms, Daniel Brophy,
RuthGuechtal, and Alex Eddington. Toy Piano
Composers Ensemble; Pratik Gandhi, conductor.
Heliconian Hall, 35 Hazelton Ave. 647-
829-4213. $15–$20. Festival runs until Apr 9.
Sunday April 10
●●10:30am: Lawrence Park Community
Church. Lion King. Elton John: Lion King medley;
J.S. Bach: “Alleluia” from Cantata No.142.
Confederation Centre Youth Chorus; Donald
Fraser, conductor. 2180 Bayview Ave. 416-
489-1551. Freewill offering. Religious Service.
●●2:00: Jacqueline Gélineau presents. Easter
Oratorio BWV249. J.S. Bach. Darlene Shura,
soprano; Jacqueline Gélineau, contralto;
Asitha Tennekoon, tenor; John Holland, baritone;
Brahm Goldhamer, conductor and harpsichord.
Heliconian Hall, 35 Hazelton Ave.
416-922-3618. Free; donations accepted.
●●2:00: Oakville Symphony Orchestra. The
Titan. See Apr 9(eve).
●●3:00: Music at Islington. Triptych: Prelude/Chorale/Fugue.
An exploration of
musical forms by J.S. Bach with transcriptions
by Siloti and Busoni, mirrored by Franck,
linked by Liszt and Wagner. Asher Ian Armstrong,
piano. Islington United Church,
25 Burnhamthorpe Rd. 416-239-1131. PWYC.
Food Bank donation appreciated.
●●3:00: Off Centre Music Salon. 21st Annual
Schubertiad: Beyond the Brook. Colleen
Cook, Jeffrey Hill, Inna Perkis, Boris Zarankin
and Ilana Zarankin. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-466-1870. $50; $40(sr/
st); $15(young adult); $5(child).
●●3:00: Opera Atelier. Lucio Silla. Also Apr 10,
12, 15, 16; start times vary.
●●3:00: Royal Conservatory. Valentina
Lisitsa, piano. Scriabin: Preludes; Poème in
D-flat Op.41; Flammes sombres Op.73; Polonaise
in B-flat Op.21; Poème tragique in B-flat
Op.34; Poème satanique in C Op. 36; Tchaikovsky:
Children’s Album Op.39; Rachmaninoff:
Piano Sonata No.1 in d Op.28. Koerner
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $35–$85.
●●3:00: St. Paul’s Bloor Street. Organ
Recital. Works by Bach, Boëllmann and Widor.
Thomas Bell, organ. 227 Bloor St. E. 416-961-
8116. Free. Retiring collection.
●●3:00: Toronto Symphony Orchestra. A
Midsummer Night’s Dream and More. Wagner:
“Ride of the Valkyries” from Die Walküre;
Handel: Harp Concerto; Mendelssohn: Selections
from A Midsummer Night’s Dream;
Elgar: Variations on an Original Theme
presents
Christ Church Cathedral Choir,
Oxford UK
with Dr. Stephen Darlington, conductor in a
programme of Sacred English Choral Music – the
concluding concert of their 2016 Canada and US tour.
Sunday April 10, 7pm
Tickets $30 • 416-488-7884 or
online at gracechurchonthehill.ca
42 | April 1, 2016 - May 7, 2016 thewholenote.com

“Enigma”. Heidi Van Hoesen Gorton, harp;
James Feddeck, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $33.75–
$107. Also Apr 9(7:30).
●●4:30: Northlea United Church. New Beginnings:
Jazz Vespers Service. Assorted jazz
repertoire with words from scripture, poetry,
ancient prayers, and wisdom from a mixture
of faith traditions. Alex Pangman, jazz vocals;
Rob Rowe, piano; Kelly Arrey, drums; Mike
Pelletier, bass. 125 Brentcliffe Rd. 416-425-
5252. PWYC.
●●7:00: Grace Church on-the-Hill. Christ
Church Cathedral Choir of Oxford. Sacred
English Choral Music. Dr. Stephen Darlington,
conductor. 300 Lonsdale Rd. 416-488-
7884. $30.
●●7:30: Brampton Chamber Music Concert
Series. In Concert. Jarred Dunn, piano;
young/community artists selected by audition.
St. Paul’s United Church (Brampton),
30 Main St. S., Brampton. 905-450-9220.
PWYC.
●●7:30: University of Toronto Faculty of
Music. Percussion Ensemble Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
●●8:00: Somewhere There/Arraymusic.
Toronto’s Hottest Improvisers. Array Space,
155 Walnut Ave. 416-532-3019. $10/PWYC.
●●8:30: Canada-Israel Cultural Foundation/
Toronto Downtown Jazz. Spotlight on Israeli
Culture Festival: Israeli Jazz Showcase.
Avishai Cohen Quartet; Roni Eytan Quintet.
Rex Jazz and Blues Bar, 194 Queen St. W. 416-
598-2475. $20; cash only.
Monday April 11
●●9:00am: University of Toronto Faculty of
Music. Choirs sing from 9am to noon and 1pm
to 3pm. Annual High School Choral Festival.
MacMillan Theatre, Edward Johnson Building,
80 Queen’s Park. 416-408-0208. Free.
See Festivals in section E: The ETCetteras for
more details.
●●7:00: St. Paul’s United Church (Oakville).
In Concert. P.E.I. Confederation Youth
Chorus. 454 Rebecca St., Oakville. 905-845-
3427. Freewill donation.
BOW, BRUSH
AND LENS
April 11
Kye Marshall, Arnold
Schoenberg, Felix Mendelssohn
www.associates-tso.org
●●7:30: Associates of the Toronto Symphony
Orchestra. Five Small Concerts: Bow, Brush
and Lens. Schoenberg: String quartet in D;
Marshall: Endangered Species; Mendelssohn:
String quartet in a Op.13. Halcyon String
Quartet: Paul Meyer, violin; Wendy Rose, violin;
Kent Teeple, viola; Marie Gélinas, cello;
guest: Amalia Joanou-Canzoneri, violin. Trinity-St.
Paul’s Centre, 427 Bloor St. W. 416-282-
6636. $20; $17(sr/st).
●●7:30: Donald Berman Chai Lifeline, Canada.
Sing for the Children: British, Yiddish,
and Kiddush! Simon Spiro; Mike Burstyn; Cantor
Helfgot. Roy Thomson Hall, 60 Simcoe St.
1-888-416-2424. $50 and up.
●●8:00: Roy Thomson Hall/Massey Hall.
Cooder - White - Skaggs. Bluegrass, country,
blues and gospel music. Ry Cooder, guitar;
Sharon White, vocals and guitar; Ricky
Skaggs, mandolin and guitar; Cheryl White,
vocals; Mark Fain, bass; and others. Massey
Hall, 178 Victoria St. 416-872-4255. $60–$95.
Tuesday April 12
●●12:00 noon: Canadian Opera Company.
Jazz Series: Strayhorn @ 100. Strayhorn:
Take the “A” Train; Chelsea Bridge; and
other works. Humber Studio Jazz Ensemble.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Late
seating is not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Jane St. Trio: Rebecca
Macleod, violin; Sarah Steeves, cello; Talisa
Blackman, piano. Yorkminster Park Baptist
Church, 1585 Yonge St. 416-241-1298. Free.
Donations welcome.
●●7:00: Acting Up Stage Company.
Reframed. Music by Sara Farb, Erin Shields
and Julie Tepperman. Lyrics by Britta Johnson,
Bryce Kulak and Kevin Wong. Brand-new
short musicals inspired by AGO paintings. Art
Gallery of Ontario, 317 Dundas St. W. 416-979-
6608. $40; $25(st). Until April 17. Times vary.
CARMEN
Bizet
APRIL 12
to MAY 15
coc.ca
●●7:30: Canadian Opera Company. Carmen.
Bizet. Anita Rachvelishvili/Clémentine Margaine,
mezzos (Carmen); Russell Thomas/
David Pomeroy, tenors (Don José); and
others; Joel Ivany, director; Paolo Carignani,
conductor. Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
$50–$435. English Surtitles. Also Apr 17, 20,
23, 28, May 4, 6. Start times vary.
●●7:30: Opera Atelier. Lucio Silla. Also Apr 12,
15, 16; start times vary.
●●7:30: Royal Conservatory. Rebanks Family
Fellowship Concert. Solo and chamber works
performed by musicians enrolled in Rebanks
Family Fellowship and International Performance
Residency Program. Mazzoleni Concert
Hall, Royal Conservatory, 273 Bloor St. W. 416-
408-0208. Free (ticket required).
●●7:30: Silverthorn Symphonic Winds.
59-Minute Soiree. Wilmar Heights Centre,
963 Pharmacy Ave., Scarborough. 416-301-
5187. $10. Free parking; wheelchair accessible.
Post-concert treats and conversation,
followed by an open rehearsal.
Wednesday April 13
●●7:30: Canadian Music Centre. Duo Demel.
Works by Associate Composers from the
early 20th century. Daniel Hasznos, clarinet;
Osvaldo Gomes Santos, flute. 20 St. Joseph
St. 416-961-6601 x202. $20; $15(CMC members/arts
workers).
●●8:00: Gallery 345. Cello Evolution. Works by
Bach, Cassado, Downing, Sigesmund and Bottermunc.
Rachel Mercer, cello. 345 Sorauren
Ave. 416-822-9781. $25/$10(st).
ANGELA
HEWITT
PLAYS BACH
APR 13, 14 & 16 | TSO.CA
●●8:00: Toronto Symphony Orchestra.
Angela Hewitt Plays Bach. Bach: Piano Concerto
No.5 in f BWV1056; Piano Concerto No.1
in d BWV1052. Shostakovich: Symphony No.8.
Angela Hewitt, piano; Peter Oundjian, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $33.75–$148. Also Apr 14.
Thursday April 14
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Baseball, Yoga, and
Other Sports for the Contemporary Pianist.
Pew: Bagatelles; works by Rakowski and Gosfield.
Kara Huber, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-363-
8231. Free. Late seating is not available.
●●12:15: Metropolitan United Church. Noon
at Met. Ellen McAteer, soprano. Metropolitan
United Church (Toronto), 56 Queen St. E. 416-
363-0331 x26. Free.
●●2:00: Orchardviewers. Piano Recital by
Joan Zarry. Northern District Public Library,
Room 224, 40 Orchard View Blvd. 416-393-
7610. Free.
●●7:30: Ken Page Memorial Trust/WholeNote
Media Inc. Jim Galloway’s Wee Big
Band. CSI Annex, 720 Bathurst St. 416-515-
0200. $20.
Music TORONTO
ARTEMIS
QUARTET
April 14 at 8 pm
●●8:00: Music Toronto. Artemis Quartet.
Schubert: Quartettsatz in c D703; Bartók:
Quartet No.6 Sz.114; Beethoven: Quartet
in F Op.59 No.1 “Razumovsky”. Jane Mallett
Theatre, St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. $55, $50;
$10(st); age 18 to 35 – pay your age. Toronto
Debut.
●●8:00: Soundstreams/Massey Hall. Steve
Reich at 80. Reich: Clapping Music; Tehillim
(Canadian premiere); Music for 18 Musicians.
Lesley Bouza, Michele DeBoer, Carla Huhtanen,
Laura Pudwell, voice; Steve Reich, Russell
Hartenberger, Garry Kvistad, Bob Becker,
Ryan Scott, Michelle Colton, Haruka Fujii, percussion;
Leslie Dala, conductor (Tehillim); and
others. Massey Hall, 178 Victoria St. 416-872-
4255. $22–$67.50.
●●8:00: Toronto Symphony Orchestra.
Angela Hewitt Plays Bach. Bach: Piano Concerto
No.5 in f BWV1056; Piano Concerto
No.1 in d BWV1052. Angela Hewitt, piano;
Peter Oundjian, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $33.75–$148.
7:15: Pre-concert chat (Apr 14). Also Apr 13.
Friday April 15
●●12:10: Music at St. Andrew’s. Noontime
Recital: Emily Chiang, piano. St. Andrew’s
Church, 73 Simcoe St. 416-593-5600 x231.
Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Classics, opera, operetta, musicals,
ragtime, pop, international and other genres.
Gordon Murray, piano. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-631-4300. PWYC.
Concert in chapel; lunch and snack friendly.
●●7:30: Heliconian Club. At the Ball: Social
Dance Through the Ages. Works by Purcell,
Dan Godfrey, Joplin, and from the Playford
and Lowe collections. Karen Millyard
and the Jane Austen Dancers; Dorothy de
Val, piano; Playford’s Pleasure and friends;
Nadina Mackie Jackson, bassoon; Paula
Arciniega, mezzo; and others. Heliconian
Hall, 35 Hazelton Ave. 416-922-3618. $25;
free(child).
●●7:30: Opera Atelier. Lucio Silla. Also Apr 15,
16; start times vary.
thewholenote.com April 1, 2016 - May 7, 2016 | 43

Great Artist
Music Series
presents
Brasil
Guitar Duo
Friday, April 15,
8 pm
auroraculturalcentre.ca
905 713-1818
●●8:00: Aurora Cultural Centre. Brasil Guitar
Duo. Works by Piazzolla, Rameau, Castelnuovo-Tedesco,
Gismonti, Brouwer and
others. 22 Church St., Aurora. 905-713-1818.
$34; $28(sr/st).
●●8:00: Gallery 345. Andrea Tyniec, Violin and
Todd Yaniw, Piano. Works by Brahms, Franck,
Ysayë, Sokolović and Piazzolla. 345 Sorauren
Ave. 416-822-9781. $25/$10(st).
●●8:00: Manning Ulster Refugee Project.
An Evening with Valery Lloyd-Watts. Works
by Chopin, Beethoven, Schumann, Khachaturian
and others. Valery Lloyd-Watts, piano.
A. Concerts in the GTA
Church of St. Mary Magdalene (Toronto),
477 Manning Ave. 416-526-6237. PWYC; $20
suggested. Fundraising concert in support of
refugee resettlement.
●●8:00: Roy Thomson Hall/Massey Hall.
Hayden: A 20th Anniversary Celebration of
Everything I Live For. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-872-4255. $25–$35.
●●8:00: Roy Thomson Hall/Massey Hall.
Classic Albums Live: Pink Floyd’s Animals.
Massey Hall, 178 Victoria St. 416-872-4255.
$29.50-$59.50.
●●8:00: Roy Thomson Hall/Massey Hall.
Engelbert Humberdinck. Roy Thomson Hall,
60 Simcoe St. 416-872-4255. $79.50-$120.00.
Saturday April 16
●●2:00: King Music Collective. Cettina
Donato. Steve Wallace, bass; Terry Clarke,
drums. Home of Michele Mele and Luciano
Tauro, 15785 8th Concession, King Township.
416-486-6742. $30; $15(st). Includes beverage
and snacks.
●●4:30: Bach on the Beach. Elizabeth Anderson
and Patrick Dewell, Organ. Beach United
Church, 140 Wineva Ave. 416-691-8082. Freewill
offering. Informal reception before
concert.
●●4:30: Opera Atelier. Lucio Silla. Also Apr 16;
start times vary.
●●7:00: Latin Flute Festival. Canadian Showcase
Concert. Nora Shulman, Camille
Watts, Sue Hoeppner, Christopher Lee,
flutes; and others. Hart House, Music Room,
7 Hart House Circle. 416-294-4259. Entry by
donation.
●●7:30: CoexisDance. In Concert. Array
Manning Ultster Refugee Project
presents
Space, 155 Walnut Ave. 416-532-3019. TBA.
●●7:30: Jubilee Order of Good Cheer. Last
Night of the Proms. Land of Hope and Glory,
The Maple Leaf Forever and other favourites.
Audience sing-along. Jubilee United
Church, 40 Underhill Dr. 416-447-6846. $10;
free(youth).
Dufay
world of
The
Stéphane Potvin
artistic director
April 16
●●7:30: Musikay. The World of Dufay. Works
by Dufay, Binchois, Ockeghem, Josquin and
others. Stéphane Potvin, conductor. St. John’s
United Church, 226 Randall St., Oakville. 905-
825-9740. $30; $25(sr); $15(35 and under).
6:30: Pre-concert chat and tea.
●●7:30: Opera by Request. Don Giovanni.
Mozart. In concert with piano accompaniment.
Lawrence Cotton, baritone
(Don Giovanni); Douglas Tranquada, baritone
(Leporello); Stephanie de Ciantis, soprano
(Donna Anna); Brigitte Bogar, soprano
(Donna Elvira); and others; William Shookhoff,
piano and music director. College Street
United Church, 452 College St. 416-455-
2365. $20.
●●7:30: St. Basil’s Church, University of
St. Michael’s College. French Connection.
Works from the height of French organ music
in the first half of the 20th century. Messiaen:
L’Ascension; Duruflé: Prélude et Fugue
sur le nom d’Alain Op.7; Vierne: Symphonie
No.6 Op.59. Rashaan Allwood, organ. 50 St.
Joseph St. 416-926-7110. Free.
●●7:30: St. Paul’s Anglican Church. Lorne Lofsky
Benefit Concert. Lorne Lofsky, jazz guitar;
Kieran Overs, bass; Robin Claxton, drums.
227 Church St., Newmarket. 905-853-7285.
$15. Wine and beer bar. Proceeds to fund the
church’s community outreach program.
●●7:30: Toronto Symphony Orchestra.
Angela Hewitt Plays Bach. Bach: Piano Concerto
No.1 in d BWV1052. Shostakovich: Symphony
No.8. Angela Hewitt, leader and piano;
Peter Oundjian, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $33.75-$107.
Pre-concert lobby party.
●●7:30: York University Theatre. Works in
Progress. Array Space, 155 Walnut Ave. 416-
532-3019. TBA.
●●8:00: Cathedral Bluffs Symphony Orchestra.
Annual Fundraising Concert and Silent
Auction. Williams: Suite from The Star Wars
Epic; Williams/Ottman: Selections from
Superman Returns; Beethoven: Piano Concerto
No.3 in c; Bernstein: Overture to Candide;
West Side Story Suite; and other
works. Leonid Nediak, piano; guests: Rosemary
Galloway Quartet. P.C. Ho Theatre, Chinese
Cultural Centre of Greater Toronto,
5183 Sheppard Ave. E., Scarborough. 416-
879-5566. $35/$30(adv).
●●8:00: Gallery 345. The Art of the Piano:
Fragments of Dreams. Original compositions
and improvisations. Marilyn Lerner, piano.
345 Sorauren Ave. 416-822-9781. $25/$15(st).
●●8:00: Greater Toronto Philharmonic
Orchestra. French Bouquet. Ravel: Bolero;
Fauré: Pavane; Offenbach: Ballet Parisienne;
Debussy: Nocturnes; P. Mercure: Kaleidoskope;
songs by J. Brel. Bradley Christenssen,
baritone; Jean-Michel Malouf, conductor. Calvin
Presbyterian Church, 26 Delisle Ave. 647-
238-0015. $25; $20(sr/st).
●●8:00: Healey Willan Singers. Women and
Songs III. Works by von Bingen, A. Parker,
Tavener, Oscar Peterson and others. John
Stephenson, accompanist; Ron Ka Ming Cheung,
conductor. Guests: Brown Public School
Junior Choir (Tanya Turner, conductor); Chris
Porter, conductor. Church of St. Martin-inthe-Fields,
151 Glenlake Ave. 416-519-0528.
$20; $15(sr/st). Cash only.
●●8:00: Jazz Performance and Education
Centre. Fred Hersch Trio. Fred Hersch, piano;
John Hébert, bass; Eric McPherson, drums.
George Weston Recital Hall, 5040 Yonge St.
416-461-7744. $40; $20(st).
●●8:00: Scaramella. Sound the Trumpet.
Works by Purcell, Melani, Bach, Merula, and
others. Dawn Bailey, soprano; Justin Bland,
trumpet; Rezan Onen-Lapointe and Michelle
Odorico, baroque violins; Joëlle Morton,
violone; David Podgorski, harpsichord. Victoria
College Chapel, 91 Charles St. W. 416-
760-8610. $30; $25(sr); $20(st).
●●8:00: Royal Conservatory. Simon
Shaheen’s Zafir. Solo and chamber works
performed by musicians enrolled in Rebanks
Family Fellowship and International Performance
Residency Program. Simon Shahee,
44 | April 1, 2016 - May 7, 2016 thewholenote.com

Simon Shaheen’s
Zafir: Musical Winds
from North Africa
to Andalucia
Saturday, april 16, 8pm,
Koerner Hall
TICKETS ON SALE NOW! 416.408.0208
WWW.pErfOrmANCE.rCmuSIC.CA
violin, oud; Qantara; Nidal Ibourk, voice; Auxi
Fernandez, flamenco dance; Juan Pérez Rodríguez,
flamenco piano. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208.
$35-$90.
Sunday April 17
●●1:15: Mooredale Concerts. Music and Truffles.
Interactive concert for young people age
5-11 with excerpts from main concert (3:15).
Afiara String Quartet: Valerie Li and Timothy
Kantor, violins; Eric Wong, viola; Adrian Fung,
cello. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park. 416-
922-3714 x103. $13; includes chocolate truffle.
3:15: main performance.
●●1:30: Kingston Road Village Concert Series.
Cecilia String Quartet. Kingston Road
United Church, 975 Kingston Rd. 416-699-
6091. $20; $10(st); free(under 13).
●●1:30: Riccardo Iannello. Endless Horizons
CD Release. Riccardo Iannello, tenor; Sabatino
Vacca, conductor. Guests: Deanna Pauletto,
mezzo; France Bellemare, soprano.
Eglinton Grand, 400 Eglinton Ave. W. $60
cash only. A portion of proceeds to Mental
Health at MacKenzie Health Hospital in Richmond
Hill.
●●2:00: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also Apr 20, 23, 28, 30,
May 4, 6, 8, 10, 12, 13, 15. Start times vary.
Sun. 17th April at 4 p.m.
Evensong
for St. George
plus St. George’s Tea and at 5:
THE WORLD OF
SHAKESPEARE
AND BYRD
Douglas Cowling
(of Toronto’s Tallis Choir)
takes an entertaining look
at the life and works of
William Shakespeare
and his contemporary,
English Renaissance
composer William Byrd
St. Olave’s Church
Bloor and Windermere
416-769-5686 stolaves.ca
●●2:00: Canzona Chamber Players. Violin/Piano
Duo. Works by Mozart, Messiaen,
Shostakovich, Medtner and Beethoven. Christopher
Miranda, piano; Jessica Tong, violin.
St. Andrew by-the-Lake Anglican Church,
Cibola Ave., Toronto Island. 416-822-0613.
$20. Also Apr 18(eve; St. George the Martyr
Church).
●●3:00: Gallery 345. The Leaves. Meditation
and conversation with Komachi’s life
and poetry. Beth Anne Cole, vocals; Marsha
Coffey, piano. 345 Sorauren Ave. 416-822-
9781. $20.
●• ●3:00: Hannaford Street Silver Band. Band Entre
Amis. Entre Cowell: Amis. Trumpet Sensational. Concerto; and Final other
works. Festival Stéphane of Brass Beaulac, Concert. trumpet; Book Alain Trudel,
tickets conductor. online Jane www.stlc.com
Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E.
416-366-7723. $50.
●●3:00: Vesnivka Choir. 50th Anniversary
Gala Concert. Guests: Elmer Iseler Singers;
Lydia Adams; Roman Borys, cello; Halyna Dziuryn,
violin; Toronto Ukrainian Male Chamber
Choir. Glenn Gould Studio, 250 Front St. W.
416-246-9880. $40–$60. Reception follows.
●●3:15: Mooredale Concerts. Afiara String
Quartet with Joel Quarrington, double bass.
Cathedral Bluffs
SYMPHONY ORCHESTRA
Norman Reintamm
Artistic Director/Principal Conductor
Saturday April 16, 2016 8 pm
BEETHOVEN: Piano Concerto 3 in C minor
with rising star pianist LEONID NEDIAK
BERNSTEIN: Candide Overture
West Side Story Suite
featuring the ROSEMARY GALLOWAY QUARTET
ADVANCE TICKETS: $30 all ages AT THE DOOR: $35 all ages
P.C. HoTheatre 5183 Sheppard Avenue East, Scarborough
The Ontario Trillium Foundation is an
agency of the Government of Ontario
Haydn: String Quartet in C Op.50 No.2 “Prussian”;
Mendelssohn: String Quartet No.2 in a
Op.13; Dvořák: String Quintet No.2 in G Op.77.
Afiara String Quartet: Valerie Li and Timothy
Kantor, violins; Eric Wong, viola; Adrian Fung,
cello. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park.
416-922-3714 x103. $30; $20(under 30). 1:15:
Music and Truffles family concert.
●●4:00: Eglinton St. George’s United Church.
Prima Donna Choralis: Mary Lou Fallis and
Peter Tiefenbach Return to Church. Operatic
comedy, dramatic solos and choir. Mary
Lou Fallis, soprano; Peter Tiefenbach, piano;
Krista Rhodes, piano; Eglinton St. George’s
Choir; Shawn Grenke, conductor. 35 Lytton
Blvd. 416-481-1141. $35.
●●4:00: Miles Nadal JCC. Community Concert:
Opera for All. Singers from across the
city perform opera choruses. Asher Farber,
piano; Alvaro Lozano Gutierrez, conductor.
Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-
922-8435. $10.
●●4:00: St. Olave’s Anglican Church. World of
Shakespeare and Byrd. Choral Evensong for St.
George. 360 Windermere Ave. 416-769-5686.
Free; donations welcomed. 5:00: Discussion by
Douglas Cowling. St. George’s Tea follows.
cathedralbluffs.com | 416.879.5566
●●4:00: St. Philip’s Anglican Church. Jazz
Vespers for Jaymz Bee’s Birthday. Genevieve
Marentette, Alex Pangman and Joyce Barth,
vocals; Robert Scott; piano. 25 St. Phillips Rd.,
Etobicoke. 416-247-5181. Freewill offering.
●●4:30: Christ Church Deer Park. Jazz Vespers.
Alison Young Quartet. 1570 Yonge St.
416-920-5211. Free. Donations welcome.
●●7:00: Thanks to Dr. Suzuki Concert Performances.
Gala Concert 2016. Suzuki repertoire
and chamber music performed by
senior violin, viola, cello, flute and piano students
from Suzuki schools across the GTA.
First Unitarian Church, 175 St. Clair Ave. W.
416-466-0208. $10–$35.
●●7:30: Lula Lounge. Bill Heffernan Celebrates
release of The Horses Are Loose.
1585 Dundas St. W. 416-588-0307. $10 cover.
Monday April 18
●●7:00: Earl Haig Secondary School / Claude
Watson Music. Choral Concert. Haydn:
The Creation (excerpt); Bach: Sanctus in D;
Holst: Hymns from the Rig Veda; Grieg: Ave
2015–2016 CoNCeRt SeRIeS
SUNDAY APRIL 17 th
4:00 P.m.
Mary Lou
FaLLis and Peter
tieFenbach
return to
church
with the esG choir
A thrilling afternoon of
operatic comedy,
dramatic solos and choir.
Mary Lou Fallis, Soprano
Peter Tiefenbach, Piano
Krista Rhodes, Piano
Shawn Grenke, Conductor
Tickets $35
35 Lytton Blvd., Toronto
416.481.1141
www.esgunited.org
thewholenote.com April 1, 2016 - May 7, 2016 | 45

Earl Haig /
Claude Watson
Music presents
Choral Night
April 18, 7pm
Grace Church-on-the-Hill
claudewatson.ca
maris stella; Fauré: Cantique de Jean Racine;
works by Debussy, Ravel, Poulenc, Bruckner
and others. Earl Haig Singers; Voces Excelsis;
Voces Profundis; Choirs of Claude Watson
Secondary Program; Timothy Sullivan,
music director. Grace Church on-the-Hill,
300 Lonsdale Rd. 416-395-3210 x20141. $10;
$5(st).
●●7:30: Canzona Chamber Players. In Concert.
Works by Mozart, Messiaen, Shostakovich,
Medtner and Beethoven. Christopher
Miranda, piano; Jessica Tong, violin. St.
George the Martyr Church, 197 John St. 416-
822-0613. $20. Also Apr 17(mat)(St. Andrew
by-the-Lake Church).
●●8:00: Miles Nadal JCC. Bel Canto! Italian
Songs and Opera. Alvaro Lozano Gutierrez,
baritone; Asher Farber, piano. 750 Spadina
Ave. 416-924-6211 x155. $20.
Tuesday April 19
●●12:00 noon: Canadian Opera Company.
Vocal Series: Arena del Amor. French
and Spanish love songs. Clémentine Margaine,
mezzo; Stephen B. Hargreaves, piano.
Richard Bradshaw Amphitheatre, Four
FRIDAY
APRIL 22
an evening of
chamber music
TIME
FRIEDRICH
ANDREAS
KLEINHAPL
VIOLONCELLO
A. Concerts in the GTA
TICKETS: $ 25/ $ 20 (4+)
Online: standrewstoronto.org
Or pay at the door
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Late
seating is not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Rising Stars Recital.
Featuring students from the Glenn Gould
School. Yorkminster Park Baptist Church,
1585 Yonge St. 416-241-1298. Free. Donations
welcome.
●●7:00: Living Arts Centre. Stomp. 4141 Living
Arts Dr., Mississauga. 905-306-6000. $55–
$85. Also Apr 20.
●●7:00: Royal Conservatory. Glenn Gould
School Chamber Competition Finals. Ensembles
of The Glenn Gould School compete for
over $11,000 in prizes and the chance to perform
a Prelude Recital in Koerner Hall preceding
a Royal Conservatory Orchestra
performance. Mazzoleni Concert Hall, Royal
Conservatory, 273 Bloor St. W. 416-408-0208.
Free (ticket required).
●●7:30: Westwood Concerts. A Soldier’s
Tale. Stravinsky: Divertimento; Duo Concertante;
Firebird Suite; and Trio from L’Histoire
du soldat. Jasper Wood, violin; Gregory Millar,
piano; Michael Westwood, clarinet.
Gallery 345, 345 Sorauren Ave. 416-822-9781.
$20; $10(st).
●●8:00: Hirut Jazz. Finger Style Guitar Association.
Hirut Restaurant, 2050 Danforth Ave.
416-551-7560. PWYC. Also Apr 5.
●●8:00: Jazz Bistro. Cettina Donato.
Steve Wallace, bass; Terry Clarke, drums.
251 Victoria St. 416-363-2259. $20; $15(st).
Wednesday April 20
●●12:30: Yorkminster Park Baptist Church.
Josh Ehlebracht, Organ. 1585 Yonge St. 416-
922-1167. Free.
●●7:00: Living Arts Centre. Stomp. 4141 Living
Arts Dr., Mississauga. 905-306-6000. $55-
$85. Also Apr 19.
●●7:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also Apr 23, 28, 30, May 4,
6, 8, 10, 12, 13, 15. Start times vary.
●●8:00: Oratory, Holy Family Church. Oratorium
Saeculare. Bach: Jesus Christus,
unser Heiland, der von uns den Zorn Gottes
wandt BWV688; Orchestral Suite No.2 in
2016 7:30 PM
WOYKE
PIANO
AGAINST
St. Andrew’s
Church
King W. & Simcoe
TTC: St. Andrew
b BWV1067; Aria: Seele Deine Specereien
BWV249; Sung Compline (Fournier: Nunc
Dimittis; Byrd: Regina Caeli); Bach: Prelude
and Fugue in a BWV543. Emma Elkinson,
flute; Chris Verrette, violin; Julie Wedman,
violin; Patrick Jordan, viola; Philip Fournier,
organ/cembalo; and others. 1372 King St.
W. 416-532-2879. Free. Donations accepted.
Includes a talk given by one of the Fathers of
the Oratory.
●●9:00: Roy Thomson Hall/Massey Hall.
Massey Hall Band Rivoli Residency. Rivoli,
334 Queen St. W. 416-872-4255. $10.
Restricted to 19 and over.
Thursday April 21
●●12:00 noon: Canadian Opera Company.
Vocal Series: Songs for Springtime. Russell
Thomas, tenor; Michael Shannon, piano.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Late
seating is not available.
●●12:15: Metropolitan United Church. Noon
at Met. Koichi Inoue, piano. Metropolitan
United Church (Toronto), 56 Queen St. E. 416-
363-0331 x26. Free.
●●2:00: Orchardviewers. Piano Recital by
Anastasia Kulikova. Northern District Public
Library, Room 224, 40 Orchard View Blvd.
416-393-7610. Free.
●●7:30: Nagata Shachu Japanese Taiko
Drum and Music Ensemble. Nagata
Shachu With Ron Davis Symphronica. Lula
Lounge, 1585 Dundas St. W. 416-588-0307.
$25/$20(adv); $15(st).
●●7:30: Sony Centre For The Performing
Arts. Shen Yun. Chinese music and dance.
Sony Centre for the Performing Arts, 1 Front
St. E. 1-855-872-7669. $60-$200. Also Apr 22,
23(mat & eve), 24(mat).
●●8:00: Gallery 345. CD Launch Concert.
Duane Andrews and the Conception Bay
String Quartet; Lenny Solomon. 345 Sorauren
Ave. 416-822-9781. $25; $20(sr/arts workers);
free(under 13). At the door for cash only.
●●8:00: Gallery 345. Mitchell Yolevsky, Clarinet
and Cecilia Lee, Piano. Works by Poulenc,
Saint-Saëns, Debussy and others.
345 Sorauren Ave. 416-822-9781. $20; $10(st).
●●8:00: Oakville Centre for the Performing
Arts. Dan Cooper Concert Series: Ruthie Foster.
Guest: Harrison “Sweettaste” Kennedy.
130 Navy St., Oakville. 905-815-2021. $62.
●●8:00: Roy Thomson Hall/Massey Hall.
Randy Bachman. Guests: Terra Lightfoot; The
Harpoonist & the Axe Murderer. Massey Hall,
178 Victoria St. 416-872-4255. $39.50–$79.50.
●●8:30: Hugh’s Room. Dave Gunning: CD
Release - Lift. Guests: Gordie MacKeeman
and His Rhythm Boys. 2261 Dundas St. W. 416-
531-6604. $22.50/$20(adv).
Friday April 22
●●12:10: Music at St. Andrew’s. Noontime
Recital: Aaron Chow, piano. St. Andrew’s
Church, 73 Simcoe St. 416-593-5600 x231.
Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Classics, opera, operetta, musicals,
ragtime, pop, international and other genres.
Gordon Murray, piano. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-631-4300. PWYC.
Concert in chapel; lunch and snack friendly.
●●7:15: Master Class Players. A Visit to
Vienna. Music connected with or inspired by
Vienna. Lenore Beatty, piano; Deanne Bogdan,
piano; Ron Jordan, piano; Joe Wearing, piano;
Joan Zarry, piano and others. Jubilee United
Church, 40 Underhill Dr. 416-951-1856. $20.
In support of the Stephen Lewis Foundation’s
Grandmothers Campaign. Marketplace (preconcert).
Complimentary Viennese strudel,
coffee and tea (post-performance).
●●7:30: Brampton Folk Club. The Bombadils.
St. Paul’s United Church (Brampton), 30 Main
St. S., Brampton. 647-233-3655. $15; $12(sr/
st).
●●7:30: Music at St. Andrew’s/Austrian
Embassy/Austrian Cultural Forum. Rebels
Against Time: An Evening of Chamber Music
with Kleinhapl and Woyke. Sonatas by Mendelssohn,
Beethoven and Franck; Tangos by
Gade and Piazzolla. Friedrich Kleinhapl, cello;
Andreas Woyke, piano. St. Andrew’s Church,
73 Simcoe St. 416-593-5600 x231. $25.
●●7:30: Oakville Choral Society. Wings of a
Dove. Works by Mendelssohn, Haydn, Mozart,
Beethoven and Brahms. Guest: Julie Ludwig,
soprano. Clearview Christian Reformed
Church, 2300 Sheridan Garden Dr., Oakville.
905-302-9017. $30/$25(adv); $15(st);
free(children under 12). Also on Apr 23.
●●7:30: RCCO Toronto Centre. Organ Recital.
Works by Bach, Cochereau, Duruflé, Franck
and Vierne. Maurice Clerc, organ. St. Basil’s
Church, University of St. Michael’s College,
50 St. Joseph St. 416-929-6400. $20;
free(RCCO Toronto members).
●●7:30: Sony Centre For The Performing
Arts. Shen Yun. See Apr 21. Also Apr 23(mat
& eve), 24(mat).
●●8:00: Pavlo. In Concert. Pavlo Simtikidis,
guitar. Danforth Music Hall, 147 Danforth Ave.
1-855-985-5000. $40-$70. Also Apr 23.
●●8:00: Roy Thomson Hall/Massey Hall.
Buddy Guy. Massey Hall, 178 Victoria St. 416-
872-4255. $49.50-$79.50.
●●8:00: Royal Conservatory. Quiet Please,
There’s a Lady on Stage Series: Lizz Wright
and Patricia O’Callaghan. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208.
$35-$80.
Saturday April 23
●●2:00: Sony Centre For The Performing
Arts. Shen Yun. See Apr 21. Also Apr 23(eve),
24(mat).
●●2:00: The Royal Conservatory. Los Lobos
46 | April 1, 2016 - May 7, 2016 thewholenote.com

Disconnected (Family Concert). Chicano
roots to American rock and roll, acoustic
style. Koerner Hall, Telus Centre, 273 Bloor
St. W. 416-408-0208. $25-$35. Also at 8:00
(full concert).
●●7:00: Salvation Army. In Concert. Ontario
Central East Divisional Singing Company
(Junior Choir); Divisional Young People’s Band
(Blood and Fire Brass); Divisional Reservists’
Band (Heritage Brass). Salvation Army Agincourt
Community Church, 3080 Birchmount
Rd, Scarborough. 416-497-7520. Freewill
offering.
●●7:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also Apr 28, 30, May 4, 6, 8,
10, 12, 13, 15. Start times vary.
●●7:30: Cantores Celestes Women’s Choir.
Songs of the Universe. Robinson: De Profundis
(Canadian premiere); Khvoshchinsky:
Hymn to Her Hands (world premiere);
works by Gjeilo, Class, Mozart and others.
Kelly Galbraith, conductor. Guests: Emperor
String Quartet; Matthew Coons, organ; Ellen
Meyer, piano. Runnymede United Church,
432 Runnymede Rd. 416-655-7335. $25.
Donation will be made to the Syrian Refugee
Project.
DIVAS, DOLLS
AND A DUDE
from La Scala
to 42nd Street
Saturday April 23,
7:30pm
St. Andrew’s United Church
117 Bloor St. E, Toronto
●●7:30: Castle Frank House of Melody. Divas,
Dolls and a Dude: From La Scala to 42nd
Street. Works by Offenbach, Puccini, Verdi,
Gershwin and others. Cara Adams, soprano;
Patricia Haldane, soprano; Justin Welsh, baritone;
Steven Kettlewell, piano. St. Andrew’s
United Church (Bloor St.), 117 Bloor St E. 416-
997-4978. $20. Portion of proceeds to The
Red Door.
●●7:30: Concerts at Scarborough Bluffs.
Young Singers Choir of Ajax. Scarborough
Bluffs United Church, 3739 Kingston Rd.,
Scarborough. 416-267-8265. $15.
●●7:30: Manuele Mizzi. An Evening of Love,
Laughter and Singing. Operatic, musical theatre
and popular favourites. Christina Lianos,
soprano; Jennifer Mizzi, soprano; Manuele
Mizzi, tenor; Kate Carver, piano. Asbury and
West United Church, 3180 Bathurst St. 416-
939-9520. $20.
●●7:30: Oakville Choral Society. Wings of a
Dove. See Apr 22.
●●7:30: Opera by Request. Norma. Bellini. In
concert with piano accompaniment. Chantal
Parent (Norma); Sarah Christina Steinert
(Adalgisa); Dillon Parmer (Pollione); Andrew
Tees (Oroveso); Jennifer Routhier (Clotilde);
Fabian Arciniegas (Flavio); William Shookhoff,
piano and music director. College Street
United Church, 452 College St. 416-455-
2365. $20.
●●7:30: Orpheus Choir of Toronto. Such Stuff
as Dreams Are Made On: The Lyrical Shakespeare.
Bevan: No Mortal Business. Orpheus
Choir of Toronto; Geraint Wyn-Davies, narrator;
The Talisker Players. Trinity-St. Paul’s
Centre, 427 Bloor St. W. 416-530-4428. $35;
$30(sr); $10(st).
●●7:30: Sony Centre For The Performing
Arts. Shen Yun. See Apr 21. Also Apr 24(mat).
I FURIOSI
BAROQUE ENSEMBLE
I’LL BE
WATCHING
YOU
Saturday, April 23 rd • 8pm
Calvin Presbyterian Church
www.ifuriosi.com
●●8:00: I Furiosi Baroque Ensemble. I’ll
Be Watching You. Works by Corelli, Strozzi,
Handel and others. Guests: Lucas Harris,
theorbo; Marcus Cera, oboe. Calvin Presbyterian
Church, 26 Delisle Ave. 416-536-2943.
$20/$10(adv).
●●8:00: Aga Khan Museum/Small World
Music. World Music Series: DakhaBrakha.
Earth. Aga Khan Museum Auditorium,
77 Wynford Dr. 416-646-4677. $50 and up;
$40.50 and up(sr/st).
●●8:00: Alliance Française Toronto. Trinity
Mpho and his band: Setswana Traditional
Music. Botswana-born songwriter,
composer and recording artist presents
an afrojazz concert. Alliance Française de
Toronto, 24 Spadina Rd. 416-922-2014 x37.
$15; $10(mem/sr/st).
●●8:00: Canadian Sinfonietta. Young Artist
Competition Concert. Prokofiev: Classical
Symphony; Peter and the Wolf; concertos to
be performed by competition winners TBA.
Glenn Gould Studio, 250 Front St. W. 416-357-
1707. $35; $30(sr); $20(st).
●●8:00: Pavlo. In Concert. Pavlo Simtikidis,
guitar. Danforth Music Hall, 147 Danforth Ave.
1-855-985-5000. $40–$70. Also Apr 22.
●●8:00: Roy Thomson Hall/Massey Hall. SF
Jazz Collective: Originals and the Music of
Michael Jackson. Massey Hall, 178 Victoria St.
416-872-4255. $39.50–$69.50.
●●8:00: Royal Conservatory. Music Mix: Los
Lobos Disconnected. Los Angeles band with
Chicano roots combines rock & roll, Tex-
Mex, country, American roots, blues, folk and
brown-eyed soul. La Bamba. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
$40–$85. Also at 2:00: Family Concert.
●●8:00: Musicians in Ordinary. Sweet Swan
of Avon: Shakespeare’s Sorrows. Readings
from Pericles, Hamlet, Macbeth and other
plays. Dowland: Lachrimae; other works
by Dowland and his contemporaries. Seth
Lerer, reader; Hallie Fishel, soprano; John
Edwards, lute; Musicians In Ordinary Violin
ORGANIST
IN RECITAL
Maurice
Clerc,
Organist of
Dijon Cathedral,
France
Music by J.S. Bach, Cochereau,
Franck, Langlais, Mouret, Marcello,
Tournemire and Vierne.
Friday, April 22, 2016
7:30 pm
Band; Christopher Verrette, conductor. Heliconian
Hall, 35 Hazelton Ave. 416-535-9956.
$30; $20(sr/st).
Sunday April 24
●●1:30: Classical Music Conservatory. Music
For a Cause: Benefit Concert for CAMH.
Veins; Headspace; Kyra Millan, vocals; Lindsay
Foote & Eslin McKay, guitar, voice and violin;
Matt Elwood, banjo; Sarah Steeves, cello;
and others. Roncesvalles United Church,
214 Wright Ave. 416-537-5995. $20; $10(st/
children); or PWYC. All proceeds donated
to CAMH, Centre for Addiction and Mental
Health.
●●1:30: Seicho-No-Ie Toronto. Viola Concert.
Keith Hamm, viola. 662 Victoria Park
Ave. 416-690-8686. $20; free(12 and under).
Non-perishable food donation for Daily Bread
Food Bank.
●●2:00: Gallery 345. Phil Dwyer, Saxophone
and Don Thompson, Piano. 345 Sorauren Ave.
416-822-9781. $25; $20(sr); $15(st).
●●2:00: Shevchenko Musical Ensemble.
125th Anniversary of Ukrainian Immigration
to Canada. Songs, music and dance reflecting
the Ukrainian traditions brought to Canada
by the immigrants and of the people with
whom they lived and worked. Shevchenko
Choir; Toronto Mandolin Orchestra; vocal
St. Basil’s Catholic Church
50 St. Joseph St., Toronto, ON.
Admission: $20
RCCO Toronto Centre members: Free
INFO 416-434-7945 rccotoronto.ca
thewholenote.com April 1, 2016 - May 7, 2016 | 47

and instrumental Soloists; Desna Ukrainian
Dance Company; Alexander Veprinsky, artistic
director. St. Michael’s College School,
1515 Bathurst St. 416-533-2725. $35; $20(st).
●●2:00: Sony Centre For The Performing
Arts. Shen Yun. See Apr 21.
presents
Juno-nominated
World Music Ensemble
SUNDAY, APRIL 24, 2PM
www.uucm.ca
●●2:00: Unitarian Congregation in Mississauga.
Autorickshaw. Featuring various
styles of music from South and North Indian
classical music to folk, pop, jazz-fusion and
chill-out electronic. 84 South Service Rd.,
Mississauga. 905-278-5622. $25; $20(sr/
st); PWYC.
April 24, 2016 | 3pm
Viva Italia
Joel Quarrington performs Steps to Ecstasy by M. Mozetich and
Grand Concerto in F# minor by G. Bottesini
Pre-concert Chat at 2:15
A. Concerts in the GTA
●●2:00: Trio Bravo. In Concert. Weber: Concertino
for Clarinet; Fauré: Pelléas and Mélisande
(arr. Selleck); and other works. Terry
Storr, clarinet; Baird Knechtel, viola; John
Selleck, piano. All Saints Kingsway Anglican
Church, 2850 Bloor St. W. 416-242-2131. $25;
$20(sr/st).
●●3:00: David Occhipinti. Art Song Concert.
Original works by David Occhipinti. Michael
Davidson, vibraphone; Aline Homzy, violin;
Jeff LaRochelle, clarinet; Soren Nissen, bass;
Sheba Thibadeau, bassoon; and others. Alliance
Française de Toronto, 24 Spadina Rd.
416-588-4200. $20; $12(sr/st).
●●3:00: Orchestra Toronto. Viva Italia! Verdi:
Overture to Nabucco; Donizetti: Una furtiva
lagrima; Puccini: Nessun dorma and Che gelida
manina; Morricone: Gabriel’s Oboe from
The Mission; Rota: Love Theme from The Godfather;
Bottesini: Elegy No.1 in D, Concerto
No.2 in b; Mozetich: Steps to Ecstacy. Andrew
Walker, tenor; Joel Quarrington, double bass;
Kevin Mallon, conductor. George Weston
Recital Hall, 5040 Yonge St. 1-855-985-2787.
$43; $37(sr); $15(child and OTopus). Pre-concert
chat (2:15).
●●3:00: Royal Conservatory. Vocal Concerts:
Bryn Terfel, Bass-Baritone and Natalia
Katyukova, Piano. Works by Schubert, Schumann,
B. Davies, Ibert, F. Keel, I. Lewis and
others. Koerner Hall, Telus Centre, 273 Bloor
St. W. 416-408-0208. $50–$140.
●●3:30: Junction Trio. A Cuban-style Earth
Day Celebration with Arrollando! Guests:
Alejandro Céspedes, Arrollando Carnaval
Ensemble; Junction Trio (Jamie Thompson,
flute; Ivana Popovic, violin; Raphael
an Ontario government agency
un organisme du gouvernement de l’Ontario
Kevin Mallon, Musical Director
Gabriel’s Oboe from the Mission by E. Morricone
Love Theme from The Godfather by N. Rota
Andrew Walker, Tenor, performs Che gelida manina from La Boheme and
Nessun Dorma from Turandot by G. Puccini
George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St.
Tickets: Adults $43, Seniors $37, Children & OTopus (under 29) $15 available
at ticketmaster.ca 1-877-985-2787 or in person at the Toronto Centre for the
Arts Box Office
www.orchestratoronto.ca
Weinroth-Browne, cello). St. Anne’s Anglican
Church, 270 Gladstone Ave. 416-536-3160.
PWYC; $20 suggested. Refreshments.
●●7:00: UTSC Community Band. Musician’s
Nostalgia. Works by Horowitz, Erikson,
Whitacre and others. Jason Dallas,
euphonium; Pratik Gandhi, conductor; Kishan
Chouhan, assistant conductor. Agincourt Collegiate
Institute, 2621 Midland Ave. 647-893-
7945. Free.
Chamber Music at
St. George on Yonge
Sunday April 24, 7:30 pm
Chris Gongos, horn
Vanessa May-Lok Lee, piano,
Joyce Lai, violin
canadiansinfonietta.com
●●7:30: Canadian Sinfonietta. Chamber Music
at St. George on Yonge. Koechlin: Four Pieces
for violin, horn and piano; Mozart: Horn Trio
in E-flat; Brahms: Trio for violin, horn and
piano Op.40. Joyce Lai, violin; Chris Gongos,
horn; Vanessa May-Lok Lee, piano. St. George
Anglican Church, 5350 Yonge St. 416-221-
8342. $25, $20(sr/st).
Sun. Apr. 24 | St Luke’s Church
2
flutes galore!
www.NewMusicConcerts.com
●●8:00: New Music Concerts. Flutes Galore.
Aitken: Tsunami; Solesmes; Stevenson: Two
Fancies; Mather: Hors Piste – OFF Track; Pauk:
Impulse; Butterfield: Bosquet. David Hetherington,
cello; New Music Concerts Flute
Orchestra; Robert Aitken, Robert W. Stevenson,
Alex Pauk and Christopher Butterfield,
direction. St. Luke’s United Church,
353 Sherbourne St. 416-961-9594. $35;
$25(sr/arts worker); $10(st). Introduction
at 7:15.
●●8:00: Somewhere There/Arraymusic.
Toronto’s Hottest Improvisers. Array Space,
155 Walnut Ave. 416-532-3019. $10/PWYC.
Monday April 25
●●7:30: University of Toronto Faculty of
Music. Felix Galimir Chamber Music Award
Concert. Featuring this year’s prize-winning
ensemble. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. PWYC.
Tuesday April 26
●●12:00 noon: Canadian Opera Company.
Vocal Series: Fruit and Sacred Ground. R.
Strauss: Mädchenblumen; Emery: Three
Songs; other works. Simone Osborne, soprano;
Stephen B. Hargreaves, piano. Richard
Bradshaw Amphitheatre, Four Seasons Centre
for the Performing Arts, 145 Queen St.
W. 416-363-8231. Free. Late seating is not
available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Benjamin Smith, piano.
Yorkminster Park Baptist Church, 1585 Yonge
St. 416-241-1298. Free. Donations welcome.
●●7:30: Living Arts Centre. Shen Yun. Chinese
music and dance. 4141 Living Arts Dr.,
Mississauga. 1-855-416-1800. $60–$150.
Also Apr 27, 28(eve/mat).
Wednesday April 27
●●12:30: Yorkminster Park Baptist Church.
Christel Wiens, Organ. 1585 Yonge St. 416-
922-1167. Free.
●●7:00: Earl Haig Secondary School /
Claude Watson Music. Music Elective Night.
Earl Haig Secondary School, Cringan Hall,
100 Princess Ave., North York. 416-395-3210
x28141. $10; $5(st).
●●7:00: North York Central Library. Shakespeare’s
Birthday Celebration: Elizabethan
Music. Tudor era music by the Early Music
Ensemble of the University of Toronto, Faculty
of Music. 5120 Yonge St. 416-395-5639. Free;
register by phone.
●●7:30: Canadian Music Centre. Cecilia
String Quartet. Three commissions of Canadian
works by Katarina Curcin, Nicole Lizée
and Kati Agócs. Min-Jeong Koh, violin; Sarah
Nematallah, violin; Caitlin Boyle, viola; Rachel
Desoer, cello. 20 St. Joseph St. 416-961-6601
x202. $20; $15(CMC members/arts workers).
●●7:30: Living Arts Centre. Shen Yun. Chinese
music and dance. 4141 Living Arts Dr.,
Mississauga. 1-855-416-1800. $60–$150.
Also Apr 26, 28(eve/mat).
●●7:30: Toronto Mendelssohn Choir.
Haydn’s The Creation. Noel Edison, conductor.
Koerner Hall, Telus Centre, 273 Bloor
St. W. 416-598-0422. $35–$87; $35–$81(sr);
$20(VoxTix 30 and under).
●●8:00: Toronto Operetta Theatre. Los Gavilanes
(The Sparrow Hawks). By Jacinto
Guerrero. Miriam Khalil (Adriana); Sarah Forestieri
(Rosauara); Ernesto Ramirez (Gustavo);
Guillermo Silva-Marin (Juan); and
others; Larry Beckwith, conductor; Guillermo
Silva-Marin, stage director; Virginia Reh,
assistant stage director. Jane Mallett Theatre,
St. Lawrence Centre for the Arts,
27 Front St. E. 416-366-2773. $72-$95. Also
Apr 29, 30(3pm); May 1(3pm).
48 | April 1, 2016 - May 7, 2016 thewholenote.com

Thursday April 28
●●12:00 noon: Canadian Opera Company.
Vocal Series: Collaborations. Arias and
ensembles. Singers from the COC Ensemble
Studio and Atelier lyrique de l’Opéra de
Montréal. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Late
seating is not available.
●●12:15: Metropolitan United Church. Noon
at Met. Jessika Whitfield, soprano; Matthew
Whitfield, piano. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-363-0331 x26.
Free.
●●2:00: Living Arts Centre. Shen Yun. Chinese
music and dance. 4141 Living Arts Dr.,
Mississauga. 1-855-416-1800. $60–$150.
Also Apr 26, 27, 28(eve).
●●7:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also Apr 30, May 4, 6, 8, 10,
12, 13, 15. Start times vary.
●●7:30: High Notes Avante Productions. Gala
for Mental Health. Jean Stilwell, co-host; Luba
Goy, co-host; Richard and Lauren Margison;
Robert Kortgaard, piano; and others. Richmond
Hill Centre for the Performing Arts,
10268 Yonge St., Richmond Hill. 905-787-
8811. $65/$35(adv). VIP reception(6:30).
●●7:30: Living Arts Centre. Shen Yun. Chinese
music and dance. 4141 Living Arts Dr.,
Mississauga. 1-855-416-1800. $60–$150.
Also Apr 26, 27, 28(mat).
●●8:00: Markham Theatre for the Performing
Arts. Kiran Ahluwalia. Guest: Rez
Abbasi, guitar. 171 Town Centre Blvd., Markham.
905-305-7469. $59–$64.
ZELENKA
& BACH
Apr 28–May 1
416.964.6337
tafelmusik.org
●●8:00: Tafelmusik. Zelenka and Bach.
Zelenka: Missa Omnium Sanctorum; Bach:
Wedding Cantata. Dorothee Mields, soprano;
Kim Leeds, mezzo; Jacques-Olivier Chartier,
tenor; Jonathan Woody, bass; Ivars Taurins,
conductor. Trinity-St. Paul’s Centre, Jeanne
Lamon Hall, 427 Bloor St. W. 416-964-6337.
From $38; from $30(sr); $15–$81(under 36).
Also Apr 29, 30, May 1(mat).
●●9:00: Burdock. Christa Couture: Album
Launch - Long Time Leaving. Guest: Corinna
Rose. 1184 Bloor St. W. 416-546-4033.
$12/$10(adv).
MAHLER
SYMPHONY 1
MATTHIAS PINTSCHER,
CONDUCTOR
APR 28 & 30 | TSO.CA
●●8:00: Toronto Symphony Orchestra. Mahler
Symphony 1. Matthias Pintscher: towards
Osiris (Canadian premiere); Mozart: Piano
Concerto No.24 K491; Mahler: Symphony
No.1 “Titan.” Inon Barnatian, piano; Matthias
Pintscher, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $33.75–$148.
Also Apr 30.
Friday April 29
●●12:10: Music at St. Andrew’s. Noontime
Recital: William Bellehumeur, piano. St.
Andrew’s Church, 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Classics, opera, operetta, musicals,
ragtime, pop, international and other genres.
Gordon Murray, piano. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-631-4300. PWYC.
Concert in chapel; lunch and snack friendly.
MAOMETTO II
Rossini
APRIL 29
to MAY 14
coc.ca
●●7:30: Canadian Opera Company. Maometto
II. Rossini. Luca Pisaroni, bass-baritone
(Maometto); Bruce Sledge, tenor (Governor
Erisso); Leah Crocetto, soprano (Anna); Elizabeth
DeShong, mezzo (Calbo); and others;
David Alden, director; Harry Bicket, conductor.
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
$50–$435. In Italian with English Surtitles.
Also May 1, 3, 5, 7, 11, 14. Start times vary.
●●7:30: Cathedral Church of St. James.
Last Night of the Proms. Choir of St. James
Cathedral; Cathedral Parish Choir; Band of
the Royal Regiment of Canada; Ian Sadler,
organ; Robert Busiakiewicz, conductor; Kevin
Anderson, conductor. 65 Church St. 416-364-
7865 x245. $40/$35(adv).
●●7:30: Knox College. Stylus Phantasticus.
Buxtehude: “Nun freut euch, lieben Christen
g’mein” BuxWV210; Handel: Organ Concerto
in F “Cuckoo and the Nightingale”; Bach: Trio
Sonata in G BWV530; Toccata and Fugue in d
BWV538 “Dorian”. Rashaan Allwood, organ.
Knox College Chapel, 59 St. George St. 416-
978-4500. Free.
●●7:30: Lorne Park Baptist Church. Organ
Concert Series: Simon Walker, organ.
1500 Indian Rd., Mississauga. 905-271-6697.
$20. Proceeds in support of Refugee Fund.
●●8:00: Curtain Call Players. The Best Little
Whorehouse in Texas. Music and lyrics
by Carol Hall. Lyrics by Larry L. King and
Peter Masterson. Fairview Library Theatre,
35 Fairview Mall Dr. 416-703-6181. $28. Runs
to May 7. Dates and times vary.
●●8:00: eVoid Collective/Arraymusic. eVoid
Dance Jam. Attendees are invited to dance to
improvised music. Array Space, 155 Walnut
Ave. 416-532-3019. PWYC.
●●8:00: Music Gallery. St. Dirt Elementary
School: 15th Anniversary plus DUST.
197 John St. 416-204-1080. $15/$13(adv);
$10(members).
●●8:00: Oakville Centre for the Performing
Arts. Dan Cooper Concert Series: Patricia
O’Callaghan Sings Leonard Cohen. 130 Navy
St., Oakville. 905-815-2021. $62.
●●8:00: Roy Thomson Hall/Massey Hall. Live
at Massey Hall: Rheostatics. Guest: Amelia
Curran. Massey Hall, 178 Victoria St. 416-872-
4255. $18.94–$29.50.
●●8:00: Roy Thomson Hall/Massey Hall. An
Evening with Alan Frew: Hits of the 80s Reimagined.
Great Hall, 1087 Queen St. W. 416-
872-4255. $35. Restricted to 19 and over. Also
Apr 30.
●●8:00: Sine Nomine Ensemble for Medieval
Music. De Animalibus: A Medieval Musical
Bestiary. St. Thomas’s Anglican Church
(Toronto), 383 Huron St. 416-978-8849 (reservations)
or 416-638-9445 (info). $20;
$15(sr/st/unwaged).
●●8:00: Tafelmusik. Zelenka and Bach. See
Apr 28. Also Apr 30, May 1(mat).
●●8:00: Toronto Operetta Theatre. Los Gavilanes
(The Sparrow Hawks). See Apr 27. Also
Apr 30(3pm); May 1(3pm).
●●8:30: Aga Khan Museum/Small World
Music. Shujaat Khan and Ramneek Singh:
Reflections on Kabir and Khusrau. Shujaat
Khan, sitar; Ramneek Singh, vocals. Aga Khan
Museum Auditorium, 77 Wynford Dr. 416-646-
4677. $52–$65.
ADI BRAUN
SINGS
KURT
WEILL
APRIL 29 & 30
TOM KING ~ piano
PAT COLLINS ~ bass
DANIEL BARNES ~ drums
www.adibraun.com
●●9:00: Jazz Bistro. Adi Braun Sings Kurt
Well. Tom King, piano; Pat Collins, bass; Daniel
Barnes, drums. 251 Victoria St. 416-363-5299.
$20. Also Apr 30.
Saturday April 30
●●2:30: Bel Canto Singers. Here Comes
the Sun. Linda Meyer, conductor; Jacqueline
Mokrzewski, piano. Scarborough Bluffs
United Church, 3739 Kingston Rd., Scarborough.
416-286-8260. $20. Also 7:30.
sine nomine
Ensemble for Medieval Music
De animalibus
A medieval
musical Bestiary
Friday, April 29, 8 pm
Saint Thomas's Church
383 Huron Street
Tickets $20 / $15
416-978-8849 uofttix.ca
Information 416-638-9445
sinenominetoronto@gmail.com
thewholenote.com April 1, 2016 - May 7, 2016 | 49

●●3:00: Toronto Operetta Theatre. Los Gavilanes
(The Sparrow Hawks). See Apr 27. Also
May 1(3pm).
●●4:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also May 4, 6, 8, 10, 12, 13, 15.
Start times vary.
●●6:30: Northlea United Church. Spring
to New Life: A Syrian Refugee Fundraiser.
Songs of longing and home. Theresa Tova;
David Warrack; Cara Matthew; Roula Said;
David Sparrow. 125 Brentcliffe Rd. 416-425-
5252. $25.
●●7:30: Achill Choral Society. Celtic Spirit.
Burns: Londonderry Air; Rogers: Fogarty’s
Cove; and other favourites. Christopher
Dawes, piano; Trio NUA(fiddle, guitar, Bodhran
drum); A. Dale Wood, director. Mayfield
Secondary School, 5000 Mayfield St., Caledon.
519-307-1024. $25; $10(ages 13-18);
$5(under 12). Also Apr 23(mat; Alliston).
●●7:30: Bel Canto Singers. Here Comes
the Sun. Linda Meyer, conductor; Jacqueline
Mokrzewski, piano. Scarborough Bluffs
United Church, 3739 Kingston Rd., Scarborough.
416-286-8260. $20. Also 2:30.
●●7:30: Islington United Church. Don Banks
Music Awards Concert: Stars of the Future. A
concert by young finalists performing for the
annual music awards. Guest: Etobicoke Youth
Band. 25 Burnhamthorpe Rd. 416-239-1131. Free.
●●7:30: Oakham House Choir of Ryerson University.
Celebrate! 30th Anniversary Concert.
Orff: Carmina Burana (Part I); works by
Bach, Mozart, Bizet, Rutter and others. Mira
Solovianenko, soprano; Andrew Tees, baritone;
Oakham House Choir; Toronto Sinfonietta;
Matthew Jaskiewicz, conductor. Bloor
DENIS MASTROMONACO
MUSIC DIRECTOR &
C O N D U C T O R
A. Concerts in the GTA
Street United Church, 300 Bloor St. W. 416-
960-5551. $30/$25(adv); $15(st; free(12 and
under).
●●7:30: Oakville Chamber Orchestra.
Concerto Competition Grand Prize Winners.
Catherine Ma, piano; Michaela Johns,
cello. St. John’s United Church (Oakville),
262 Randall St., Oakville. 905-483-6787. $30;
$25(sr); $20(st). Also May 1(mat; St. Simon’s
Anglican, Oakville).
●●7:30: Toronto Chapter of the Duke
Ellington Society. Celebration of the 117th
anniversary of Duke Ellington’s birth. Rex
Hotel Jazz Orchestra: John MacLeod, trumpet;
Mike Murley, saxophone; John Johnson,
saxophone; Terry Promane, trombone; Jim
Vivian, bass; and others. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-239-2683. $40. Proceeds
to support the TDES.
●●8:00: Mississauga Symphony Orchestra.
Star Wars. Hammerson Hall, Living Arts Centre,
4141 Living Arts Dr., Mississauga. 905-
306-6000. From $48.
●●8:00: Roy Thomson Hall/Massey Hall. An
Evening with Alan Frew: Hits of the 80s Reimagined.
Great Hall, 1087 Queen St. W. 416-
872-4255. $35. Restricted to 19 and over. Also
Apr 29.
●●8:00: Show One Productions. Two Piano
Winners of the XV International Tchaikovsky
Competition: Lucas Debargue and Lukas
Geniušas. Grieg: Two Norwegian Dances for
four hands; Chopin: Seven Mazurkas; Prokofiev:
Sonata No.7; Scarlatti: Two Sonatas; Scriabin:
Sonata No.4 in F-sharp Op.30; Ravel:
Gaspard de la nuit; La valse for two pianos.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $35–$90.
●●8:00: Tafelmusik. Zelenka and Bach. See
Apr 28. Also May 1(mat).
●●8:00: Toronto Symphony Orchestra. Mahler
Symphony 1. Matthias Pintscher: towards
Osiris (Canadian premiere); Mozart: Piano
Concerto No.24 K491; Mahler: Symphony
No.1 “Titan”. Inon Barnatian, piano; Matthias
Pintscher, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $33.75–$148.
Also Apr 28.
●●9:00: Jazz Bistro. Adi Braun Sings Kurt
Well. Tom King, piano; Pat Collins, bass; Daniel
Barnes, drums. 251 Victoria St. 416-363-5299.
$20. Also Apr 29.
Sunday May 1
●●2:00: Canadian Opera Company. Maometto
II. See Apr 29. Also May 3, 5, 7, 11, 14. Start
times vary.
●●2:00: Metropolitan United Church. Second
Marg and Jim Norquay Celebration Concert.
Charlotte Burrage, mezzo; Clarence
Frazer, baritone. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-363-0331 x26.
$20; $10(18 and under).
●●2:00: Royal Conservatory. Academy Chamber
Orchestra. Works by Bach, Beethoven,
Britten and Paganini. String students from
The Phil and Eli Taylor Performance Academy
for Young Artists. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. Free (ticket
required).
●●2:00: Royal Conservatory. The Hungarian-
Finnish Connection. Saariaho: Changing Light
for soprano and violin; works by Liszt, Bartók,
Sibelius, and others. Leslie Ann Bradley,
soprano; Stephen Hegedus, bass-baritone;
Rachel Andrist, piano; Robert Kortgaard,
piano. Guest: Erika Raum, violin. Mazzoleni
Concert Hall, Royal Conservatory, 273 Bloor
St. W. 416-408-0208. $25.
●●2:00: Visual and Performing Arts Newmarket
(VPAN). Fung-Chiu Piano Duo.
Newmarket Theatre, 505 Pickering Cres.,
Newmarket. 905-953-5122. $30; $25(sr);
$10(st).
●●3:00: Community Baroque Orchestra
of Toronto. Capriccio Stravagante. Vivaldi:
“Autumn” from The Four Seasons; and works
by Muffat, Buonamente and Farina. Guest:
Elyssa Lefurgey-Smith, conductor and violin.
Ballroom, 519 Community Centre, 519 Church
St. 416-604-3440. Free.
●●3:00: Echo Women’s Choir. Songs of
Hope and Resistance: Celebrating May Day
and International Workers’ Day. Jara: Plegaria
a un Labrador (Worker’s Prayer); Barnwell:
Would you Harbor Me?; Maruxiña
(mine workers’ song); Le Temps des cerises;
Kucho; and other songs. Jennifer Foster, guitar;
Becca Whitla and Alan Gasser, conductors.
Church of the Holy Trinity, 10 Trinity Sq.
416-779-5554. $20/$15(adv); $10(sr/child/un/
under-waged). Wheelchair accessible.
●●3:00: Menno Singers/Pax Christi Chorale
of Toronto. A Cappella Masterworks. Works
by Rheinberger, Brahms, Mendelssohn, Willan,
Schafer and others. Grace Church onthe-Hill,
300 Lonsdale Rd. 416-488-7884. $40;
$35(sr); $25(st). Also Apr 30 (Kitchener).
●●3:00: Oakville Chamber Orchestra. Concerto
Competition Grand Prize Winners.
Catherine Ma, piano; Michaela Johns, cello.
St. Simon’s Anglican Church, 1450 Litchfield
Rd., Oakville. 905-483-6787. $30; $25(sr);
$20(st). Also Apr 30(eve; St. John’s United,
Oakville).
MSOEpic
Music at Metropolitan
presents
Charlotte Burrage, mezzo-soprano
Clarence Frazer, baritone
Music
at Metropolitan
Sunday, May 1 at 2:00
pm
The Second Marg and Jim Norquay Celebration Concert
Admission: $20/ $10 ages 18 and under
Tickets: www.metunited.org or 416-363-0331 ext. 26
56 Queen Street E ast,Toronto
50 | April 1, 2016 - May 7, 2016 thewholenote.com

Scott St. John, violin
Sharon Wei, viola
Solomiya Ivakhiv, violin
Douglas McNabney, viola
Tom Wiebe, cello
Sunday May 1, 3pm
Heliconian Hall
35 Hazelton Avenue
SyrinxConcerts.ca
●●3:00: Syrinx. In Concert. Works by Brahms
and Dvořák; new Canadian work by David
Myska. Scott St. John, violin; Solomiya Ivakhiv,
violin; Douglas McNabney, viola; Sharon
Wei, viola; Tom Wiebe, cello. Heliconian Hall,
35 Hazelton Ave. 416-654-0877. $25; $20(st).
Post-concert reception.
●●3:00: Toronto Operetta Theatre. Los Gavilanes
(The Sparrow Hawks). See Apr 27.
●●3:30: Tafelmusik. Zelenka and Bach. See
Apr 28.
●●4:00: Church of St. Mary Magdalene
(Toronto). Organ works by Bach and Buxtehude.
Andrew Adair, organ. 477 Manning Ave.
416-531-7955. Free.
●●5:00: Nocturnes in the City. Drew Jurečka
Jazz Trio. Restaurant Praha, Masaryktown,
450 Scarborough Golf Club Rd. 416-481-7294.
$25; $15(st).
●●11:00: Cecilia String Quartet. Xenia Concert:
Bach, Beethoven, and Brahms by the
Numbers. Sony Centre for the Performing
Arts, 1 Front St. E. 416-738-8488. Free. For
families affected by autism.
Monday May 2
●●7:30: Elmer Iseler Singers. GET MUSIC!
Gala Concert. Choral music by Canadian and
international composers. Secondary school
choirs with their conductors; Elmer Iseler
Singers (Lydia Adams, conductor). Metropolitan
United Church (Toronto), 56 Queen
St. E. 416- 217-0537. $25; free(full-season EIS
subscribers).
Tuesday May 3
●●12:00 noon: Canadian Opera Company.
Vocal Series: Georgian Romance. Songs by
Rachmaninoff, Falla, Ravel, Fauré and Taktakishvili.
Anita Rachvelishvili; mezzo; David
Aladashvili, piano. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
Free. Late seating is not available.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Asher Armstrong,
piano. Yorkminster Park Baptist Church,
1585 Yonge St. 416-241-1298. Free. Donations
welcome.
●●7:30: Canadian Opera Company. Maometto
II. See Apr 29. Also May 5, 7, 11, 14. Start times
vary.
Earl Haig /
Claude Watson
Music presents
Symphony ~
Band Night
May 3, 7:30pm • Cringan Hall,
Earl Haig Secondary School
claudewatson.ca
●●7:30: Earl Haig Secondary School/Claude
Watson Music. Symphony-Band Night. Borodin:
Polovtsian Dances; Prokofiev: Classical
Symphony (Mvts.1 and 2); Mozart: Flute
Concerto in G (Mvt.1); Elgar: Cello Concerto
(Mvt.1); Mendelssohn: Concerto for Violin
and Piano (Mvt.1); Weber: Concerto for
Clarinet (Mvt.1). Earl Haig Symphonic Band,
John McGregor, director; Earl Haig Chamber
Strings, Alan Torok, director; Earl Haig Symphony
Orchestra, Timothy Sullivan, director.
Earl Haig Secondary School, Cringan Hall,
100 Princess Ave., North York. 416-395-3210
x28141. $10; $5(st).
CROSS’D BY
THE STARS
❚ Tales of true love,
doomed by the fates
May 3 & 4, 8:00 pm
www.taliskerplayers.ca
Talisker Players Music
●●8:00: Talisker Players. Cross’d by the
Stars. Music and readings from the letters,
diaries and memoirs of great lovers
through the ages. Purcell: When I Am Laid in
Earth (Dido’s Lament) from Dido and Aeneas;
Gluck: Che faró senza Euridice from Orfeo
ed Euridice; Burry: The Highwayman; Mahler:
Lieder eines fahrenden Gesellen (Songs
of a Wayfarer); Bernstein: Songs from West
Side Story. Talisker Players; Krisztina Szabó,
mezzo; Aaron Durand, baritone; Stewart
Arnott, actor/reader. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-466-1800. $40; $30(sr);
$10(st). 7:15: Pre-concert chat. Also May 4.
Wednesday May 4
●●12:00 noon: Canadian Opera Company.
Dance Series: Vital Few. 605 Collective; Lisa
Gelley, artistic co-director; Josh Martin, artistic
co-director. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231. Free.
Late seating is not available.
●●12:30: Yorkminster Park Baptist Church.
Sharon Beckstead, Organ. 1585 Yonge St.
416-922-1167. Free.
●●7:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also May 6, 8, 10, 12, 13, 15.
Start times vary.
●●8:00: Coleman Lemieux et Compagnie.
Against Nature/À Rebours. Music by James
Rolfe. Libretto by Alex Poch-Goldin. Alexander
Dobson, baritone; Geoffrey Sirett, baritone;
Laurence Lemieux, dancer; John Hess, piano;
Parmela Attariwala, violin; Carina Reeves,
cello; James Kudelka, choreographer. The
Citadel, 304 Parliament St. 416-364-8011 x1.
$50. Runs May 4–8, 11–15.
●●8:00: Talisker Players. Cross’d by the
Stars. See May 3.
Thursday May 5
●●12:00 noon: Adam Sherkin/Steinway
Piano Gallery. Liszt: Wild New Wizardry II.
Liszt: Transcendental Etudes No.3 The Wild
Hunt and No.8 Paysage; Grand Paganini
Etudes No.4 and No.6; Sherkin: First Sonata
(Cŵn Annwn “The Hounds of Hell,” 2016); Tagish
Fires (2015). Adam Sherkin, piano. Bluma
Appel Lobby, St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. Free.
●●12:00 noon: Canadian Opera Company.
Vocal Series: A Celebration of Canadian Art
Song. Ross: The Living Spectacle; works by
Beckwith and Rickard. Ambur Braid, soprano;
Steven Philcox, piano; Artists from the Faculty
of Music of the University of Toronto. Richard
Bradshaw Amphitheatre, Four Seasons Centre
for the Performing Arts, 145 Queen St.
W. 416-363-8231. Free. Late seating is not
available.
●●12:00 noon: Encore Symphonic Concert
Band. In Concert: Classics and Jazz. John
Edward Liddle, conductor. Wilmar Heights
Centre, 963 Pharmacy Ave., Scarborough.
416-346-3910. $10. Includes coffee and
snack. Also Apr 7.
●●12:15: Metropolitan United Church. Noon
at Met. Julia Morson, soprano; Rashaan Allwood,
piano. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-363-0331 x26.
Free.
●●1:30: Women’s Musical Club of Toronto.
Music in the Afternoon: Pavel Kolesnikov,
Piano. C.P.E. Bach: two sonatas; Beethoven:
Sonata No.30 in E Op.109; Chopin: Selected
mazurkas and nocturnes; Scherzo No.4 in E
Op.54. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park. 416-
923-7052. $45.
Women’s Musical Club of Toronto
Music in the Afternoon
PAVEL KOLESNIKOV,
Honens Laureate,
piano
Thursday, May 5, 1.30 p.m.
Tickets $45
416-923-7052
www.wmct.on.ca
●●7:00: North York Central Library. Asian
Heritage Month: Tablix. Fusion of tabla, technology
and electronic music. Gurpreet Chana,
tabla. 5120 Yonge St. 416-395-5639. Free;
register by phone.
●●7:30: Art and Action Productions. Thrill
of Jazz. Jazz version of selections from
Tchaikovsky: The Seasons; Tribute to Oscar
Peterson. Fonograf Jazz Quartet. John Bassett
Theatre, 255 Front St. W. 647-477-8897.
$55–$115.
●●7:30: Canadian Opera Company. Maometto
II. See Apr 29. Also May 7, 11, 14. Start times
vary.
●●7:30: Royal Conservatory. Glenn Gould
School New Music Ensemble. Boulez: Dérive
2; other works by A. Norman and Sokolović.
Brian Current, curator. Conservatory Theatre,
273 Bloor St. W. 416-408-0208. Free
(ticket required).
●●8:00: Music Gallery/Geordie McDonald.
Geordie McDonald: The March of the Robots.
Music Gallery, 197 John St. 416-204-1080. $10;
$8(members).
Friday May 6
●●12:10: Music at St. Andrew’s. Noontime
Recital: Asher Armstrong, piano. St.
Andrew’s Church, 73 Simcoe St. 416-593-
5600 x231. Free.
●●1:10: Gordon Murray Presents. Piano Potpourri.
Classics, opera, operetta, musicals,
ragtime, pop, international and other genres.
Gordon Murray, piano. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-631-4300. PWYC.
Concert in chapel; lunch and snack friendly.
●●3:30: Young Voices Toronto. Colour Me
Spring. ZARI Georgian Folk Ensemble; Andy
Morris, percussion, Tracy Wong and Brenda
thewholenote.com April 1, 2016 - May 7, 2016 | 51

O’Connor, conductors; Sheldon Rose, accompaniment.
Trinity-St. Paul’s United Church,
427 Bloor St. W. 416-762-0657. $25; $15(sr/st).
●●7:30: Canadian Opera Company. Carmen.
Bizet. See Apr 12. Also May 8, 10, 12, 13, 15.
Start times vary.
●●7:30: University Settlement Music & Arts
School. Faculty Favourites. St. George the
Martyr Church, 197 John St. 416-598-3444
x243. PWYC; $10 suggested. Fundraising
concert in support of Music & Arts School
programming.
De Temps
Antan
The joie de vivre
of Quebec’s
musical past!
Friday, May 6, 8pm
auroraculturalcentre.ca
905 713-1818
A. Concerts in the GTA
●●8:00: Toronto Consort. Monteverdi Vespers.
La Rose des Vents, cornetto and sackbut
ensemble; Charles Daniels, tenor and
director. Trinity-St. Paul’s Centre, Jeanne
Lamon Hall, 427 Bloor St. W. 416-964-6337.
$27-$64; $22-$58(sr); $10(st/30 and under).
7:00: pre-concert talk. Also May 7, 8(mat).
●●8:00: Aurora Cultural Centre. De Temps
Antan in Concert. 22 Church St., Aurora.
905-713-1818. $32/$28(adv).
●●8:00: Lawrence Park Community Church.
Fridays @ 8 Hymn Festival. Celebrating Welsh
tenor Glyn Evans’ retirement as soloist with
the Lawrence Park Community Church Choir.
North York Temple Band; Glenn Barlow, bandmaster;
choir and soloists of Lawrence Park
Community Church Choir; Mark Toews, music
director. 2180 Bayview Ave. 416-489-1551.
Free; donations welcome.
●●8:00: Roy Thomson Hall/Massey Hall.
George Thorogood and The Destroyers.
Guest: JW Jones. Massey Hall, 178 Victoria St.
416-872-4255. $49.50–$99.50.
●●8:00: Tempus Choral Society. It’s a Grand
Night for Music. It’s a Grand Night for Singing;
I Lived; Swingin’ with the Gershwins; Norwegian
Wood; Love at Home; other works. Tempus
Choral Society; Tempus Children’s Choir;
Tempus Jazz Choir. Clearview Christian
Reformed Church, 2300 Sheridan Garden Dr.,
Oakville. 905-334-9375. $20.
Saturday May 7
●●9:45am: Sing! The Toronto Vocal Arts Festival.
Ruach Singers at Beth Shalom Synagogue.
Beth Shalom Synagogue, 144 Eglinton
St. W. 416-694-6900. Free.
●●12:00 noon: Sing! The Toronto Vocal Arts
Festival. Free Concert. Empire A Cappella;
O’Pears; Retrocity; and Concrete A Cappella.
Distillery Historic District, 55 Mill St. 416-694-
6900. Free. Trinity Square.
●●3:00: Toronto Children’s Chorus. Music of
the Spheres. Krisztina Szabó, mezzo. Toronto
Centre for the Arts, 5040 Yonge St., North
York. 416-250-3708. $35.50–$45.50.
●●4:00: Royal Conservatory. Mischa Maisky.
Bach: Cello Suites Nos.1, 4 and 5. Mischa
Maisky, cello. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $35–$85.
Also at 8:00.
●●4:30: Beach United Church. Jazz and
Reflection: Southern Charm. Downtown Jazz
Band. 140 Wineva Ave. 416-691-8082. Freewill
offering.
●●6:00: Sing! The Toronto Vocal Arts Festival.
Duly Noted. Toronto’s all-women’s a
cappella ensemble sings everything from
madrigals to Feist. 120 Diner, 120 Church St.
416-792-7725. PWYC ($10-$20 suggested).
The
Annex
Singers
Songs & Sonnets
A Shakespeare celebration
g
Come hear where fancy is bred...
Saturday, May 7th, 7:30 pm
Grace Church on-the-Hill
www.annexsingers.com
●●7:30: Annex Singers Chamber Choir.
Songs & Sonnets: A Shakespeare Celebration.
Commemoration of the words, life
and times of the Bard on the 400th anniversary
year of his death. Works by Tallis,
Dowland, M. Harris and G. Shearing. Maria
Case, conductor. Grace Church on-the-Hill,
300 Lonsdale Rd. 416-968-7747. $25; $20(sr);
$15(under 30); free(12 and under).
●●7:30: Canadian Men’s Chorus. On Growing
Up. Emery: O My Love; Macdonald: Blues
for a Green Boy; Vaughan Williams: The Vagabond;
Sametz: We Two; Takach: Mad. Guests:
ASLAN Boys Choir; Thomas Bell, artistic director.
Music Gallery, 197 John St. 519-305-
1351. $35/$30(adv); $25(st)/$20(adv).
●●7:30: Canadian Opera Company. Maometto
II. See Apr 29. Also May 11, 14. Start times
vary.
●●7:30: Village Voices. Faces of Love. Carlyle
Sharpe: Laudate Nomen; Ola Gjeillo: The
Ground; medley from West Side Story; and
other classic and popular music. Village
Voices Community Choir; Mira Solovianenko
and Natalya Matyusheva, sopranos; Oleksandra
Fedyshyn, violin. Markham Missionary
Church, 5438 Major Mackenzie Dr.
Choralia
Canadiana
ARTISTIC DIRECTOR
DAVID AMBROSE
Saturday, May 7 / 8 pm / Hammerson Hall, Living Arts Centre
New works by innovative Canadian composers + Mary Lou Fallis &
Peter Tiefenbach with their hilarious version of choral music history.
Tickets: info@mississaugafestivalchoir.com and at the door
f themississaugafestivalchoir.com l mfchoir / mfchoir.com
52 | April 1, 2016 - May 7, 2016 thewholenote.com

Faces of
Saturday, May 7, 2016
Markham Missionary Church
7:30 pm $25 adult $10 student
Tickets at door
villagevoices.ca
27 years strong!
E., Markham. 905-763-4172. $25; $10(st);
free(under 12).
●●7:30: Home Smith Bar at The Old Mill
Toronto. Monica Chapman Quartet. 21 Old
Mill Rd. 416-236-2641. No cover.
●●7:30: Milton Philharmonic Orchestra. A
Night at the Proms. Milton Centre for the
Arts, 1010 Main St. E., Milton. 905-878-6000
or 1-866-257-0004. $25; $20(sr/st/child).
●●7:30: Opera by Request. Catalani’s La
Wally. In concert with piano accompaniment.
Sarah Hood (Wally); Paul Williamson
(Giuseppe Hagenbach); Michael Robert-Broder
(Vincenzo Gellner); Brigitte Bogar (Walter);
and others; William Shookhoff, piano and
music director. College Street United Church,
452 College St. 416-455-2365. $20.
●●7:30: VOCA Chorus of Toronto. Vast Eternal
Sky. Fauré: Requiem; works by Lauridsen,
Gjeilo, Daley, Arlen and others. Elizabeth
Polese, soprano; Lawrence Shirkie, baritone;
Talisker Players Orchestra; Jenny Crober,
conductor; Elizabeth Acker, accompanist.
Eastminster United Church, 310 Danforth
Ave. 416-947-8487. $25; $20(sr); $10(st).
Masterworks of Oakville Chorus & Orchestra
with the Univox Choir of Toronto
Elijah
Mendelssohn’s
Saturday, May 7 at 8 pm
St. Matthew Catholic Church, Oakville
Sunday, May 8 at 4 pm
Metropolitan United Church, Toronto
Charlene Pauls, soprano; Christina Stelmacovich, mezzo-soprano;
Chris Fischer, tenor; Daniel Hambley, bass
Adults $30, Seniors $25, Student $10, Child 10 and under FREE
masterworksofoakville.ca
univoxchoir.org
thewholenote.com April 1, 2016 - May 7, 2016 | 53

●●8:00: Kindred Spirits Orchestra. In Concert.
Tchaikovsky: Symphony No.2; Rachmaninoff:
Piano Concerto No.2; Brahms:
Academic Festival Overture. Alexa Petrenko,
host; Kristian Alexander, conductor; Leonid
Nediak, piano. Flato Markham Theatre,
171 Town Centre Blvd., Markham. 905-305-
7469. $15–$35.
●●8:00: Masterworks of Oakville/Univox
Choir. Elijah. Mendelssohn. Charlene Pauls,
soprano; Christina Stelmacovich, mezzo;
Chris Fischer, tenor; Daniel Hambly, bass. St.
Matthew’s Catholic Church, 1150 Monks Passage,
Oakville. 905-399-9732. $30; $25(sr);
$10(st); free(child). Also May 8(mat; Toronto).
●●8:00: Royal Conservatory. Mischa Maisky.
Bach: Cello Suites Nos.2, 3 and 6. Mischa
Maisky, cello. Koerner Hall, Telus Centre,
B. Concerts Beyond the GTA
IN THIS ISSUE: Alliston, Barrie, Belleville, Cambridge, Cobourg,
Dundas, Guelph, Haliburton, Hamilton, Kingston, Kitchener,
Leamington, Lindsay, London, Niagara-on-the-Lake, Peterborough,
St. Catharines, St. Jacobs, St. Thomas, Stratford, Waterloo, Windsor.
Friday April 1
●●12:30: Don Wright Faculty of Music. Western
University Singers: Jubliant Song. Von
Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-
3767. Free.
●●7:00: Don Wright Faculty of Music. St.
Cecilia Singers in Concert with McMaster
Women’s Chorus: Voices In Splendour. St.
Peter’s Cathedral Basilica, 196 Dufferin Ave.,
London. 519-661-3767. Free.
●●7:30: Adventure Canada/Acoustic Muse
Concerts. The Northwest Passage in Story
and Song. David Newland, host/singer/songwriter;
Steafan Hannigan; Saskia Tomkins;
Oisin Hannigan; guests: Dayna Manning, Paul
Mills, and Scallywag. Museum London Theatre,
421 Ridout St. N., London. 519-319-5847.
$25/$20(adv).
●●7:30: University of Waterloo Department
of Music. Balinese Gamelan Ensemble. Students
play by ear on various gamelan instruments,
consisting of gongs, metallophones,
drums and flutes. Theatre of the Arts, University
of Waterloo, 200 University Ave. W.,
A. Concerts in the GTA
Ask LUDWIG
273 Bloor St. W. 416-408-0208. $35–$85.
Also at 4:00.
●●8:00: Toronto Consort. Monteverdi Vespers.
See May 6. Also May 8(mat).
●●8:10: Gordon Murray Presents. Piano
Soirée: Maytime. Romberg: Will You Remember?
(from Maytime); The Desert Song and
One Alone (from The Desert Song); I Bring A
Song Of Love and You Will Remember Vienna
(from Viennese Nights); and other works. (All
arr. G. Murray). Gordon Murray, piano. Trinity-St.
Paul’s Centre, 427 Bloor St. W. 416-631-
4300. PWYC. Concert in chapel.
●●10:00: Globetrotter/Small World Music.
Adham Shaikh. The Round, 152 Augusta Ave.
647-205-0559. $15–$20.
Waterloo. 519-885-0220 x24226. Free.
●●8:00: Don Wright Faculty of Music. Wind
Ensemble Concert: I Pity the Fool. Bernstein:
Overture to Candide; H.O. Reed: La Fiesta
Mexicana; and other works. Paul Davenport
Theatre, Talbot College, Western University,
1151 Richmond St. N., London. 519-661-3767.
Free.
●●8:00: Kitchener-Waterloo Symphony
Orchestra. Janina Plays Chopin. Morlock:
Solace; Chopin: Piano Concerto No.2 in f;
Dvořák: Symphony No.7 in d. Janina Fialkowska,
piano; Heiichiro Ohyama, conductor. Centre
in the Square, 101 Queen St. N., Kitchener.
519-745-4711. $19 and up. Also Apr 2.
●●8:00: University of Guelph College of
Arts. Emotion and Commotion. University
of Guelph Concert Winds; John Goddard,
conductor. Guelph Youth Music Centre,
75 Cardigan St., Guelph. 519-824-4120
x52991. $10; $5(sr/st).
Saturday April 2
●●1:30: University of Guelph College of Arts.
Conducting Masterclass Concert. University
If you prefer NOT to read through this whole section looking for
your Town or for Chamber Music or NUMUS or Corelli
or Pacifica or Zone 5 then don't.
TheWholeNote.com/index.php/listings/ask-ludwig
of Guelph Choirs. Harcourt Memorial United
Church, 87 Dean St., Guelph. 519-824-4120
x52991. Price TBA.
●●7:00: Barrie Choralfest. A Night at the
Opera: Bizet’s Carmen in Concert. Beste Kalender,
mezzo (Carmen); Michael Nyby, baritone
(Escamillo); Romulo Delgado, tenor
(Don José); Aleksandra Balaburska, soprano
(Micaëla); Scott Hurst, storyteller; Lyrica
Chamber Choir; King Edward Choir; Bravado;
Huronia Symphony Orchestra; Oliver Balaburski,
artistic director and conductor. Barrie
Central Collegiate, 125 Dunlop St. West, Barrie.
705-739-4228. $25, $10(st), $5(child).
●●7:30: FirstOntario Performing Arts Centre.
The Men of the Deeps. 250 St. Paul St.,
St. Catharines. 905-688-0722. $52; $25(univ/
college st); $5(high school st). Limited tickets.
AT QUEEN’S UNIVERSITY, KINGSTON ON
BOMBOLESSÉ
QUEBEC’S JOIE-DE-
VIVRE BRAZILEIRO!
Saturday, April 2 at 7:30 PM
theisabel.ca
●●7:30: Isabel Bader Centre for the Performing
Arts. Joie-de-Vivre-Brazileiro!
Bombolessé. 390 King St. W., Kingston. 613-
530-2050. $29; $24(faculty/staff); $15(st).
●●7:30: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. Spring
Glory. Brock University Choirs; guest: Avanti
Chamber Singers. St. Thomas Anglican
Church, 99 Ontario St., St. Catharines. 905-
688-5550. $15; $10; $5(eyeGo).
●●7:30: Oriana Singers of Northumberland.
Operetta 101. Works by Lehár, Bernstein,
Sondheim, and Gilbert & Sullivan.
Virginia Hatfield, vocals. Trinity United Church
(Cobourg), 284 Division St., Cobourg. 613-
392-7423. $25; $22(sr); $10(st).
●●7:30: University of Waterloo Department
of Music. Reaching Out: University Choir.
A unique exploration of cross-cultural and
inter-cultural community song. First United
Church (Waterloo), 16 William St. W., Waterloo.
519-885-0220 x24226. $10; $5(sr/st).
●●8:00: Don Wright Faculty of Music. Symphony
Orchestra. Featuring the winner of
2015 Maritsa Brookes Concerto Competition.
Danbee Ko, piano. Paul Davenport Theatre,
Talbot College, Western University,
1151 Richmond St. N., London. 519-661-3767.
Free.
●●8:00: Karen Schuessler Singers. London
Composers Exposed! Creativity Up Close
and Personal. Works by London composers
J. Christmas, S. Hardy, S. Holowitz, M. Emery,
S. Quartel, J. Smallman, B. Van der Hoek, D.
Cook, B. Ratcliffe and K. White. Wesley-Knox
United Church, 91 Askin St., London. 519-
455-8895. $22/$20(adv); $20/$18(adv/sr);
$10(st); free (child). Post-concert reception
to meet the composers.
●●8:00: Kitchener-Waterloo Symphony
Orchestra. Janina Plays Chopin. See Apr 1.
●●8:00: NUMUS. Main Series: In Celebration
– 40 Years of the Faculty of Music at WLU.
Stephanie Martin: Babel for Orchestra and
Choirs (world premiere); Buhr: Concerto for
Piano and Orchestra (world premiere); and
other works. Keenan Reimer-Watts, piano.
Wilfrid Laurier University, Theatre Auditorium,
75 University Ave. W., Waterloo. 519-
896-3662. $20; $5(st). Also Apr 3(mat).
Sunday April 3
●●2:00: Don Wright Faculty of Music. Symphony
Orchestra. Featuring a finalist of
2015 Maritsa Brookes Concerto Competition.
Rachelle Li, violin. Paul Davenport Theatre,
Talbot College, Western University,
1151 Richmond St. N., London. 519-661-3767.
Free.
●●2:00: Kawartha Concerts. Little Big Frog.
Masks, puppetry, poetry, music and dance.
Faustwork Mask Theatre. Glenn Crombie
Theatre, Fleming College, 200 Albert Street
S., Lindsay. 705-878-5625. $15; $5(youth/
child). Also Mar 5(Peterborough).
●●2:00: University of Waterloo Department
of Music. UW Jazz Ensemble. Jazz
classics. Conrad Grebel University College,
140 Westmount Rd. N., Waterloo. 519-885-
0220 x24226. $10; $5(sr/st). Reception to
follow.
AT QUEEN’S UNIVERSITY, KINGSTON ON
CAMERON
CARPENTER
BACH CHOPIN SHOSTAKOVICH CARPENTER
Sunday, April 3 at 2:30 PM
theisabel.ca
●●2:30: Isabel Bader Centre for the Performing
Arts. Not Your Grandma’s Organist.
Works by Bach, Chopin, Shostakovich
and Carpenter. Cameron Carpenter, organ.
390 King St. W., Kingston. 613-530-2050.
From $13.50.
●●3:00: Guelph Youth Singers. The Mythical
Forest. Guelph Youth Music Centre,
75 Cardigan St., Guelph. 519-763-3000. $25;
$20(sr/st); $5(eyeGO).
●●3:00: NUMUS. Main Series: In Celebration
– 40 Years of the Faculty of Music at WLU. See
Apr 2(eve).
●●3:00: University of Guelph College of Arts.
Chamber Music Recital. University of Guelph
Chamber Ensembles; Henry Janzen, conductor.
Goldschmidt Room, 107 MacKinnon
54 | April 1, 2016 - May 7, 2016 thewholenote.com

Bldg., 50 Stone Rd. E., Guelph. 519-824-4120
x52991. Free; donations welcome.
●●7:30: University of Waterloo Department
of Music. Chiaroscuro: Contrasts in Light
and Dark. Chamber Choir sings music spanning
five centuries. Works by Schafer, Mac-
Millan, des Prez, Gesualdo, Parton and others.
St. John the Evangelist Anglican Church,
23 Water St. N., Kitchener. 519-885-0220
x24226. $10; $5(sr/st).
Monday April 4
●●7:30: University of Waterloo Department
of Music. Instrumental Chamber Ensembles.
Featuring six different chamber ensembles,
including a brass group. Works by Bach,
Schubert and others. Conrad Grebel University
College, 140 Westmount Rd. N., Waterloo.
519-885-0220 x24226. Free. Reception
to follow.
●●8:00: Don Wright Faculty of Music. Contemporary
Music Studio Concert. Von
Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-
3767. Free.
Tuesday April 5
●●6:00: Don Wright Faculty of Music. Electroacoustic
Music: Student Composers Concert.
Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond St. N., London.
519-661-3767. Free.
●●7:00: McMaster School of the Arts.
Ensemble Concerts Series. Percussion
Ensemble. Robinson Memorial Theatre,
McMaster University, 1280 Main Street West,
Hamilton. 905-525-9140 x27671. Free.
Wednesday April 6
●●12:00 noon: Midday Music with Shigeru.
Louis Lefaive, piano and Music Students from
Elmvale High School. Jazz and pop. Hi-Way
Pentecostal Church, 50 Anne St. N., Barrie.
705-726-1181. $5; free(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Pierre Beaudre, Classical Guitar.
Works by Rodrigo, Brouwer, Villa-Lobos and
Domeniconi. KWCMS Music Room, 57 Young
St. W., Waterloo. 519-886-1673. $30; $20(st).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. Becoming Baroque. Fasch: Concerto
in d; Handel: Concerto Grosso in
e Op.6 No.3; Corelli: Concerto Grosso in
B-flat Op.6 No.11; Rebel: Les élémens, simphonie
nouvelle; Rameau: Suites Nos.1 and
2 from Dardanus. Allene Chomyn, curator;
guest: Jeanne Lamon, director. First
Nations Church, 16 William St. W., Waterloo.
519-745-4711. $36. Also Apr 8(Guelph);
9(Cambridge).
Thursday April 7
●●7:00: University of Guelph College of
Arts. Jazz Concert. University of Guelph Jazz
Ensemble; Ted Warren, conductor. Manhattan’s
Pizza Bistro and Music Club, 951 Gordon
St., Guelph. 519-824-4120 x52991. $2 cover or
donation at the door.
●●7:30: FirstOntario Performing Arts Centre.
Johnny Clegg Band. 250 St. Paul St., St.
Catharines. 905-688-0722. $55; $25(univ/
college st); $5(high school st).
Friday April 8
●●8:00: Jeffery Concerts. Pacifica Quartet.
Wolf Performance Hall, 251 Dundas St., London.
519-672-8800. $35; $30(sr); $15(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Ensemble Made In Canada I. Piano
quartets of Beethoven, Mendelssohn and
Omar Daniel. KWCMS Music Room, 57 Young
St. W., Waterloo. 519-886-1673. $35; $20(st).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. Becoming Baroque. Fasch: Concerto
in d; Handel: Concerto Grosso in e
Op.6 No.3; Corelli: Concerto Grosso in B-flat
Op.6 No.11; Rebel: Les élémens, simphonie
nouvelle; Rameau: Suites Nos.1 and 2 from
Dardanus. Allene Chomyn, curator; guest:
Jeanne Lamon, director. Harcourt Memorial
United Church, 87 Dean St., Guelph.
519-745-4711. $36. Also Apr 6(Waterloo);
9(Cambridge).
Saturday April 9
●●7:30: Barrie Concerts. Sinfonia Toronto
and Brian Lewis, Violin. McLean: Elements;
and works by Glazunov, Beethoven and Mozart.
Nurhan Arman, conductor. Hi-Way
Pentecostal Church, 50 Anne St. N., Barrie.
705-726-1181. $85.
●●7:30: Guelph Chamber Choir. Virtuoso Baroque.
Handel: Dixit Dominus; Vivaldi: Gloria;
Mondonville: Dominus regnavit. Sheila Dietrich,
soprano; Janice Coles, mezzo; Carolynne
Davy, mezzo; Chris Fischer and Lanny Fleming,
tenors; and others; Musica Viva Ensemble;
Gerald Neufeld, conductor. St. George’s
Anglican Church (Guelph), 99 Woolwich St.,
Guelph. 519-763-3000 or 1-877-520-2408.
$25; $10(st/under 30); $5(eyeGO/under 14).
On period instruments.
●●7:30: McMaster School of the Arts.
Ensemble Concerts Series. McMaster University
Choir. Central Presbyterian Church
(Hamilton), 165 Charlton Ave. W., Hamilton.
905-525-9140 x27671. Free.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Ensemble Made In Canada II. Piano
quartets of Beethoven and Schumann; John
Burge: Duo for violin and cello. KWCMS Music
Room, 57 Young St. W., Waterloo. 519-886-
1673. $35; $20(st).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. Becoming Baroque. Fasch: Concerto
in d; Handel: Concerto Grosso in
e Op.6 No.3; Corelli: Concerto Grosso in
B-flat Op.6 No.11; Rebel: Les élémens, simphonie
nouvelle; Rameau: Suites Nos.1 and
2 from Dardanus. Allene Chomyn, curator;
guest: Jeanne Lamon, director. Central Presbyterian
Church (Cambridge), 7 Queens
Sq., Cambridge. 519-745-4711. $36. Also
Apr 6(Waterloo); 8(Guelph).
Sunday April 10
●●1:30: University of Guelph College of Arts.
Contemporary Music Concert. University
of Guelph Contemporary Music Ensemble;
Joe Sorbara, conductor. Silence, 46 Essex
St., Guelph. 519-824-4120 x52991. $5 cover
charge at the door.
●●2:30: Isabel Bader Centre for the Performing
Arts. Minsoo Sohn, Piano. Bach:
Goldberg Variations; Brahms: Variations on
a Theme of Handel. 390 King St. W., Kingston.
613-533-2424. $27; $22(faculty/staff);
$13.50(st).
AT QUEEN’S UNIVERSITY, KINGSTON ON
MINSOO SOHN
BACH GOLDBERG
VARIATIONS
Sunday, April 10 at 2:30 PM
theisabel.ca
●●4:00: Spiritus Ensemble. Easter in Leipzig.
Bach: Cantata 66 Erfreut euch, ihr Herzen;
Cantata 4 Christ lag in Todesbanden; Cantata
6 Bleib bei mir (opening chorus). Jennifer
Enns Modolo, Bud Roach and David Roth,
solos; Kenneth Hull, conductor. St. John the
Evangelist Anglican Church, 23 Water St. N.,
Kitchener. 519-579-8335. $5–$25.
●●7:00: NUMUS. Mix Series: Emerging Curators.
Original work by winner of NUMUS’s
first annual Student Curator Contest for postsecondary
students. Kathryn Ladano, artistic
director. Block3 Brewery, 1430-2 King St.
N., St. Jacobs. 519-664-1001. $15; $10(sr/arts
workers); $5(st).
Wednesday April 13
●●2:30: Seniors’ Serenade. Contrasts. Handel:
Sonata in b; Doppler: Fantaisie Pastorale
Hongroise; Bartók: Suite Paysane Hongroise;
Barber: Canzone; Briccialdi: Il Carnevale
di Venezia. Allan Pulker, flute; Pegah Yazdani,
piano. Grace United Church (Barrie),
350 Grove St. E., Barrie. 705-726-1181. Free.
3:30: tea and goodies, $5.
●●8:00: Kitchener-Waterloo Chamber
Music Society. Jerzy Kaplanek, Violin; Francine
Kay, Piano. Ravel: Sonata for violin and
piano; Messiaen: Theme and Variations for
violin and piano; Schumann: Piano Quartet.
Jerzy Kaplanek, violin; Francine Kay, piano;
Christine Vlajk, viola; Kaitie Schlaikjer, cello.
KWCMS Music Room, 57 Young St. W., Waterloo.
519-886-1673. $35; $20(st).
Thursday April 14
●●7:30: Songwriters Circle. Dave Gunning:
CD Release - Lift. Guests: Sean McCann, The
Laws, and Paul Langille. Canada Southern
Railway Station, 750 Talbot St., St. Thomas.
519-719-6885. $45.
Friday April 15
●●7:00: Road to Kingsville Folk Festival Concerts.
Dave Gunning: CD Release - Lift. Bank
Theatre, 10 Erie St. S., Leamington. 1-800-
838-3006. $20.
●●7:30: Cuckoo’s Nest Folk Club. Hannah
Sanders and Ben Savage. Chaucer’s
Pub, 122 Carling St., London. 519-473-2099.
$18/$15(adv).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. The von Trapps. Edelweiss; Dream
a Little Dream of Me; other works. Melanie von
Trapp; Amanda von Trapp; August von Trapp;
Edwin Outwater, conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-745-
4711. $19 and up. Also Apr 16.
Collectif9
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Montreal's renowned nine-piece string ensemble presents
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thewholenote.com April 1, 2016 - May 7, 2016 | 55

Saturday April 16
●●2:00: Kitchener-Waterloo Symphony
Orchestra. Youth Orchestra Program Concert
3. Centre in the Square, 101 Queen St. N.,
Kitchener. 519-745-4711. $13; $11(child).
●●7:30: Arcady Ensemble. Handel’s Messiah.
Ronald Beckett, conductor. St. James Anglican
Church (Cambridge), 520 Ellis Rd., Cambridge.
519-658-4547. $30/$25(adv); $15(st).
●●7:30: FirstOntario Performing Arts Centre.
Digging Roots. 250 St. Paul St., St. Catharines.
905-688-0722. $35; $25(univ/college
st); $5(high school st).
●●7:30: Hamilton Philharmonic Orchestra.
Tchaikovsky’s Fourth. Elgar: Serenade for
Strings; Tchaikovsky: Symphony No.4; Richardson-Schulte:
Trumpet Concerto (world
premiere). Michael Fedyshyn, trumpet; Eric
Paetkau, conductor. Hamilton Place, 10 Mac-
Nab St. S., Hamilton. 905-526-7756. $10-$67.
6:30 pre-concert talk.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Mary Kenedi, Piano. Liszt: Les Jeux
d’Eaux à la Villa D’Este; Kodály: Folksong
(from Hary Janos); Dances of Marosszék;
Bartók: Fantasy No.1; Suite Op.14; Roumanian
Folk Dances; 15 Hungarian Peasant
Songs, Nos.6-15; Conway-Baker: Sonata for
Piano; and other works. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$30; $20(st).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. The von Trapps. See Apr 15.
●●8:00: Pavlo. In Concert. Pavlo Simtikidis,
guitar. Olde Walkerville Theatre,
1564 Wyandotte St. E., Windsor. 519-253-
2929. $40–$75.
●●8:00: Registry Theatre. Dave Gunning: CD
Release - Lift. 122 Frederick St., Kitchener.
519-578-1570. $18–$20.
Sunday April 17
●●2:00: Gallery Players of Niagara. Tunes
and Tangos: The Festive Chôros Music of Brazil.
Michele Jacot, clarinet; Douglas Miller,
flute; Timothy Phelan, guitar; Mike Phelan,
percussion. Silver Spire United Church,
366 St. Paul St., St. Catharines. 905-468-
1525. $5–$34.
●●3:00: Dublin Street United Church. A Legacy
of Joy. Works by members of the Bach
family including Philip Emmanuel and C.P.E.
Bach; other works by Barrie Cabena. Barrie
Cabena, organ; Members of the Dublin Street
Choir; Neil McLaren, baritone; Margaret Robinson,
flute. 68 Suffolk St. W., Guelph. 519-
821-0610. Freewill offering. Sponsored by
Friends of Music.
●●3:00: Wellington Wind Symphony. Cartoons
and Fantasies. Gershwin: Rhapsody in
Blue; works by Mussorgsky, Bach and Dello
Joio; and TV themes. Heidi Wall, piano; Daniel
Warren, conductor. Grandview Baptist
Church, 250 Old Chicopee Dr., Kitchener.
519-669-1327. $20; $15(sr); free(st). Also
Apr 24 (Waterloo).
●●4:30: Music at Saint Thomas’. German
and Canadian: An Organ Recital. Buxtehude:
Praeludium in g BuxWV163; Laurin: Excerpts
from Twelve Short Pieces; Bach: Prelude
and Fugue in C BWV547; Daveluy: Prelude
and Fugue in E-flat (1959); Cabena: Sonata
Simplicitate (Sonata XLIX) in the Form of a
Trio Op.511(world premiere). Rachel Laurin,
organ. St. Thomas’ Anglican Church
B. Concerts Beyond the GTA
(Belleville), 201 Church St., Belleville. 613-
962-3636. Freewill offering.
●●7:30: Folk Under the Clock. Double Bill:
International Songwriters. Martyn Joseph
and Dave Gunning, vocals. Market Hall Performing
Arts Centre, 140 Charlotte St., Peterborough.
705-749-1146. $35; $25(st).
Tuesday April 19
●●7:30: FirstOntario Performing Arts Centre.
Ruthie Foster. Guest: Harrison Kennedy.
250 St. Paul St., St. Catharines. 905-688-
0722. $49; $25(univ/college st); $5(high
school st).
Wednesday April 20
●●12:00 noon: Music at St. Andrews. Andrew
Adair, Organ. St. Andrew’s Presbyterian
Church (Barrie), 47 Owen St., Barrie. 705-
726-1181. $5; free(st).
●●7:30: Plumbing Factory Brass Band. Meet
the Plumbers. Tuba Mirum; Prince Henry Fanfare;
Pink Panther; Brahms and Mozart Medleys;
March from Aida; and other works.
Henry Meredith, conductor. Byron United
Covenant Church, 420 Boler Rd., London.
519-471-1250 or 519-659-3600. $15/$13(adv);
$10/$8(st/adv). Refreshments to follow.
Thursday April 21
●●7:30: Perimeter Institute. Classical World
Artists Series. J. Kuusisto: Valo; Respighi: Violin
Sonata in b; Beethoven: Violin Sonata No.9.
Elina Vähälä, violin. Mike Lazaridis Theatre of
Ideas, Perimeter Institute, 31 Caroline St. N.,
Waterloo. 519-883-4480. $83; $55(st). Valid
ID needed for student rate.
Friday April 22
●●7:30: Kingston Choral Society/Kingston
Community Strings. Sunrise: A Musical Celebration.
Gjeilo: Sunrise Symphonic Mass. Isabel
Bader Centre for the Performing Arts,
390 King St. W., Kingston. 613-533-2424. $25.
●●7:30: Kitchener-Waterloo Symphony
Orchestra. The Geometry of Music: Harold
Scott MacDonald Coxeter. Edwin Outwater,
conductor; Krista Blake, curator. Conrad Centre
for the Performing Arts, 36 King St. W.,
Kitchener. 519-745-4711. $36. Also Apr 23.
●●8:00: Barrie Folk Society. Dave Gunning:
CD Release - Lift. MacLaren Art Centre,
37 Mulcaster St., Barrie. 705-721-9696.
$25/$20(adv).
●●8:00: Duane Andrews. In Concert. Conception
Bay String Quartet. Pearl Company
Theatre, 16 Steven St., Hamilton. 905-
524-0606. $25/$20(adv); free(child). Also
Apr 21(Toronto) and Apr 23(Peterborough).
Saturday April 23
●●3:00: 5 at the First Chamber Music Series.
String Extravaganza V: Back to Brahms.
Schubert: Trio in B-flat D471; Dohnányi: Serenade
for String Trio; Brahms: Sextet No.1
in B-flat Op.18. Yehonatan Berick and Csaba
Koczo, violins; Caitlin Boyle and Theresa
Rudolph, violas; Rachel Desoer and Rachel
Mercer, cellos. First Unitarian Church of
Hamilton, 170 Dundurn St. S., Hamilton. 905-
399-5125. $5–$20.
●●3:00: Achill Choral Society. Celtic Spirit.
Burns: Londonderry Air; Rogers: Fogarty’s
Cove; and other favourites. Christopher
Dawes, piano; Trio NUA(fiddle, guitar,
Bodhran drum); A. Dale Wood, director. Knox
Presbyterian Church (Alliston), 160 King
St. S., Alliston. 519-307-1024. $25; $10(ages
13-18); $5(under 12). Also Apr 30(eve;
Caledon).
●●7:30: Kitchener-Waterloo Symphony
Orchestra. The Geometry of Music: Harold
Scott MacDonald Coxeter. See Apr 22.
●●7:30: mmmm Composers In Concert.
New and Used Music. New works by Allard,
Burak and Dobinson; and other works. Michel
Allard, Marco Burak, Michael Dobinson
and Michelle Wells. Zion Lutheran Church,
202 Erie St., Stratford. 519-271-8527. By
donation.
●●8:00: Duane Andrews. In Concert. Conception
Bay String Quartet. Gordon Best Theatre,
216 Hunter St. W., Peterborough. 705-
876-8884. $25/$20(adv); free(child). Also
Apr 21(Toronto) and Apr 22(Hamilton).
●●8:00: NUMUS. Mix Series: Rabbit Hole.
Mixed media. SlowPitchSound (Cheldon
Paterson, turntable); Lybido, dance; winner of
NUMUS’s 3rd annual Student Improvisation
Audition. Button Factory, Waterloo Community
Arts Centre, 25 Regina St. S., Waterloo.
519-886-4577. $15; $10(sr/arts workers);
$5(st).
Sunday April 24
●●2:30: Georgian Music. Marie-Josée Lord,
Soprano and Hugues Cloutier, Piano. Works
by Granados, Rodrigo, Falla, Bernstein, Porter
and others. Grace United Church (Barrie),
350 Grove St. E., Barrie. 705-726-1181. $65;
free to new subscribers of 2016/17 season.
●●3:00: Wellington Wind Symphony. Cartoons
and Fantasies. Gershwin: Rhapsody in
Blue; works by Mussorgsky, Bach and Dello
Joio; and TV themes. Heidi Wall, piano; Daniel
Warren, conductor. Knox Presbyterian
Church (Waterloo), 50 Erb St. W., Waterloo.
519-669-1327. $20; $15(sr); free(st). Also
Apr 17 (Kitchener).
●●7:00: Zula Music & Arts Collective Hamilton.
Lina Allemano 4. Workers Arts and
Heritage Centre, 51 Stuart St., Hamilton. 905-
522-3003. $15/$10/adv).
●●7:30: Cuckoo’s Nest Folk Club. Canal Street
String Band. Chaucer’s Pub, 122 Carling St.,
London. 519-473-2099. $18/$15(adv).
●●7:30: Folk Under the Clock. Gordie
MacKeeman and His Rhythm Boys: Black
Mountain Rag. Market Hall Performing Arts
5 at the first
CHAMBER
MUSIC SERIES
— PRESENTS —
String Extravaganza V:
Back to Brahms
Schubert, Dohnanyi & Brahms
SAT APR 23, 3PM
Hamilton
5ATTHEFIRST.COM
Centre, 140 Charlotte St., Peterborough. 705-
749-1146. $35; $25(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Ménage à six String Sextet. Schubert:
String Trio in B-flat D471; Dohnányi: Serenade
Op.10 (string trio); Brahms: Sextet No.1
in B-flat. Yehonatan Berick and Csaba Koczo,
violins; Theresa Rudolph and Caitlin Boyle,
violas; Rachel Mercer and Rachel Desoer,
cellos. KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
Wednesday April 27
●●7:30: Royal Canadian College of Organists.
Maxine Thévenot Organ Concert. St. George’s
Cathedral (Kingston), 270 King St. E., Kingston.
613-548-4617. $25; $20(sr); $10(st).
Friday April 29
●●8:00: Kitchener-Waterloo Symphony
Orchestra. KWS Concerto Celebration.
Weber: Andante and Hungarian Rondo; Pallett:
New Work for Viola and Orchestra; Marcello:
Oboe Concerto in c; Ravel: Tzigane;
Glinka: Kamarinskaya; Bartók: Concerto
for Orchestra. Bénédicte Lauzière, violin;
Natasha Sharko, viola; James Mason, oboe;
Ian Hopkin, bassoon; KWS Youth Orchestra;
Edwin Outwater, conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-745-
4711. $19 and up. Also Apr 30.
Saturday April 30
●●2:30: Kitchener-Waterloo Symphony
Orchestra. Music in Your Neighbourhood.
Matt Piche, violin; WCI Strings; Daniel Bartholomew-Poyser,
conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-745-
4711. $19 and up.
Gerald Vreman
Allison Benstead
Notes on Love ~ Brahms
FanshaweChorusLondon.org
●●7:30: Fanshawe Chorus London. Notes on
Love. Brahms: Liebeslieder Waltzes; other
works. Concert Players Orchestra; Guests:
Allison Wiebe-Benstead and Gerald Vreman.
First St. Andrew’s United Church, 350 Queens
Ave., London. 519-433-9650. $30; $25(sr/st).
●●7:30: Marilyn I. Walker School of Fine and
Performing Arts, Brock University. Avanti
Chamber Singers: Water Music - Of Rain,
River and Sea. Covenant Christian Reformed
Church, 278 Parnell Ave., St. Catharines.
905-688-5550. $25/$20(adv); $20/$15(sr/st/
adv); $5(eyeGo).
56 | April 1, 2016 - May 7, 2016 thewholenote.com

●●7:30: Menno Singers/Pax Christi Chorale
of Toronto. A Cappella Masterworks. Works
by Rheinberger, Brahms, Mendelssohn, Willan,
Schafer and others. St. Peter’s Lutheran
Church, 49 Queen St. N., Kitchener. 519-
576-8751. $40; $35(sr); $25(st). Also May 1
(Toronto).
APRIL 30, 2016
7:30pm at SHOWPLACE
thepso.org
●●7:30: Peterborough Symphony Orchestra.
Last Night at the Proms. Elgar: Enigma Variations;
Arne: Rule Britannia; Parry: Jerusalem.
Leslie Fagan, soprano; Michael Newnham,
conductor. Showplace Performance Centre,
290 George St. N., Peterborough. 705-742-
7469. $28.50–$39.50; $15(st). 6:40: Pre-concert
talk.
●●8:00: Jeffery Concerts. The Diary of One
Who Disappeared. Janáček: The Diary of One
Who Disappeared; Brahms: Zigeunerlieder
Op.103; other works. Krisztina Szabó, soprano;
Benjamin Butterfield, tenor; Arthur
Rowe, piano; and others. Wolf Performance
Hall, 251 Dundas St., London. 519-672-8800.
$35; $30(sr); $15(st).
●●8:00: Kitchener-Waterloo Symphony
Orchestra. KWS Concerto Celebration. See
Apr 29.
Sunday May 1
●●3:00: Melos Choir and Period
Instruments/H’art School of Smiles. Music
with H’art. Pachelbel: Canon; works by Palestrina,
Praetorius, Josquin, Bach and Telemann.
St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-767-7245.
$25/$22(adv); $15(st/sr); $5(child).
Tuesday May 3
●●8:00: Kitchener-Waterloo Chamber
Music Society. Till Fellner, Piano. Schumann:
Papillons Op.2; Fantasie in C Op.17;
Berio: Cinque Variazioni; Beethoven: Sonata
No.13 Op.27 No.1 Quasi una fantasia. KWCMS
Music Room, 57 Young St. W., Waterloo. 519-
886-1673. $40; $25(st).
Wednesday May 4
●●7:30: FirstOntario Performing Arts Centre.
Collectif9. 250 St. Paul St., St. Catharines.
905-688-0722. $5-$43.
●●8:00: Kitchener-Waterloo Symphony. Evolution.
Handel: Sinfonia from Act I of Giulio
Cesare; Corelli: Concert Grosso, Op.6 No.8
in g; Christmas Concerto; J.C. Bach: Sinfonia
Concertante; Haydn: Symphony No.22 in
E-flat "The Philosopher"; Sinfonia Concertante
in B-flat. Daniel Bartholomew-Poyser,
conductor; Bénédicte Lauzière, violin; John
Helmers, cello; James Mason, oboe; Ian Hopkin,
bassoon. First United Church (Waterloo),
16 William St. W., Waterloo. 519-745-4711.
$36. Also May 6 (Guelph)
Friday May 6
●●7:30: Centre in the Square. Shen Yun. Chinese
music and dance. 101 Queen St. N.,
Kitchener. 1-855-416-1800. $58.50-$119.50.
●●8:00: Bravo Niagara! Festival of the Arts.
3rd Annual Spring into Music: @ Stratus
#PianoParty. Selections from Tracing
Light, House of Many Rooms. Peter Bence,
piano; Laila Biali Trio. Stratus Vineyards,
2059 Niagara Stone Rd., Niagara-on-the-
Lake. 289-868-9177. $59–$79. Includes glass
of wine. Festival runs May 6 and 7.
●●8:00: Kitchener-Waterloo Symphony. Evolution.
Handel: Sinfonia from Act I of Giulio
Cesare; Corelli: Concert Grosso, Op.6 No.8
in g; Christmas Concerto; J.C. Bach: Sinfonia
Concertante; Haydn: Symphony No.22
in E-flat "The Philosopher"; Sinfonia Concertante
in B-flat. Daniel Bartholomew-Poyser,
conductor; Bénédicte Lauzière, violin; John
Helmers, cello; James Mason, oboe; Ian Hopkin,
bassoon. Harcourt Memorial United
Church, 87 Dean St., Guelph. 519-745-4711.
$36. Also May 4 (Waterloo)
Saturday May 7
●●1:00: Bravo Niagara! Festival of the Arts.
3rd Annual Spring into Music: @ Stratus
#PianoParty. Works by Chopin. Tony Yike
Yang, piano. Stratus Vineyards, 2059 Niagara
Stone Rd., Niagara-on-the-Lake. 289-868-
9177. $39–$59. Includes glass of wine. Festival
runs May 6 and 7.
●●5:00: Bravo Niagara! Festival of the Arts.
3rd Annual Spring into Music: @ Stratus
#PianoParty. Selections from album Diversity.
Canadian solo debut of Quincy Jones’s
piano protégé Emily Bear. Stratus Vineyards,
2059 Niagara Stone Rd., Niagara-on-the-
Lake. 289-868-9177. $49–$99. Includes glass
of wine. Festival runs May 6 and 7.
●●7:30: Barrie Concerts. Toronto Concert
Orchestra and Thomas Torok, Piano. Saint-
Saëns: African Fantasy; Piano Concerto No.3.
Kerry Stratton, conductor. Hi-Way Pentecostal
Church, 50 Anne St. N., Barrie. 705-
726-1181. $85; free to new subscribers of
2016/17 season.
●●7:30: Chorus Hamilton. Operatic Choruses.
Works by Purcell, Verdi, Leoncavallo,
Bizet, Humperdinck, and others. Tora Klassen,
soprano; Morgan Traynor, mezzo; Jason
Ragan, tenor; Erika Reiman, piano; David Holler,
direction. St. Paul’s United Church (Dundas),
29 Park St. W., Dundas. 905-526-7938.
$25; $20(sr/st).
●●7:30: Chorus Niagara. Carmina Burana.
Orff. Guests: TorQ Percussion Ensemble;
Karin di Bella and Lynne Honsberger,
pianos; Choralis Camerata; Chorus Niagara
Children’s Choir. FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
1-855-515-0722 or 905-688-0722. $40;
$38(sr); $15(st); $25(under 30), $12(child).
6:30: Pre-concert chat.
●●7:30: Grand Philharmonic Chamber Choir.
The Spirit Sings. Rachmaninoff: Vespers
(excerpts); Hatzis: De Angelis; Tavener: Svyati.
Ben Bolt-Martin, cello; Grand Philharmonic
Choir; Mark Vuorinen, conductor. St. Matthew’s
Lutheran Church, 54 Benton St., Kitchener.
519-578-1570 or 1-800-265-8977. From
$25.
●●7:30: Haliburton Concert Series. Back to
Back with Richard and Lauren Margison.
Classical, opera, music theatre, folk, pop and
jazz music. Richard Margison, tenor; Lauren
Margison, soprano; Jérémie Pelletier,
piano. Northern Lights Performing Arts Pavilion,
5358 County Rd. 21, Haliburton. 705-457-
3272. $60(3 concert series).
●●7:30: Orchestra Kingston. In Concert. Rossini:
Overture to The Barber of Seville; Burge:
Concerto for 4 Violins; and other works.
●●Acting Up Stage. Reframed. Music and
lyrics by Sara Farb and Britta Johnson, Erin
Shields and Bryce Kulak, Julie Tepperman
and Kevin Wong. Brand new short musicals
inspired by the Richard Barry Fudger Memorial
Gallery at the Art Gallery of Ontario. Art
Gallery of Ontario, 317 Dundas St W. 416-979-
6608. $40, $25(st). Opens April 12, 7:00pm.
Runs to April 17. Times vary. Visit
actingupstage.com for details.
●●Alexander Showcase Theatre. The
Addams Family. Music and lyrics by Andrew
Lippa, book by Marshall Brickman and
Rick Elice, based on characters created by
Charles Addams. Fairview Library Theatre,
35 Fairview Mall Drive. 416-324-1259. $32,
$27(sr/st). April 8-16, days and times vary.
Visit alexandershowcasetheatre.com for
details.
●●Barrie Choralfest. A Night at the Opera:
Bizet’s Carmen in Concert. Beste Kalender,
mezzo (Carmen); Michael Nyby, baritone
(Escamillo); Romulo Delgado, tenor
(Don José); Aleksandra Balaburska, soprano
(Micaëla); Scott Hurst, storyteller; Lyrica
Chamber Choir; King Edward Choir; Bravado;
Huronia Symphony Orchestra; Oliver Balaburski,
artistic director and conductor. Barrie
Central Collegiate, 125 Dunlop St. West,
CARMEN
Bizet
APRIL 12
to MAY 15
coc.ca
C. Music Theatre
Guests: Canta Arya. Isabel Bader Centre for
the Performing Arts, 390 King St. W., Kingston.
613-634-9312. $30/$25(adv).
●●8:00: Kitchener-Waterloo Symphony. Evolution.
Handel: Sinfonia from Act I of Giulio
Cesare; Corelli: Concert Grosso, Op.6 No.8
in g; Christmas Concerto; J.C. Bach: Sinfonia
Concertante; Haydn: Symphony No.22
in E-flat “The Philosopher”; Sinfonia Concertante
in B-flat. Daniel Bartholomew-Poyser,
conductor; Bénédicte Lauzière, violin; John
Helmers, cello; James Mason, oboe; Ian Hopkin,
bassoon. Central Presbyterian Church,
7 Queen’s Square, Cambridge. 519-745-4711.
$36.
MUSIC THEATRE covers a wide range of music types including opera, operetta and
musicals as well as non-traditional performance genres where words and music are in
some fashion equal partners in the drama. These listings have been sorted alphabetically
BY PRESENTER. Some information here is also included in our GTA and Beyond The GTA
listings sections. Readers whose primary interest is MUSIC THEATRE should start their
search with this section.
Barrie. 705 -739- 4228. $25, $10(st), $5(child).
April 2, 7:00pm.
●●Brampton Music Theatre. Jesus Christ
Superstar. Music by Andrew Lloyd Webber,
lyrics by Tim Rice. Rose Theatre, 1 Theatre
Lane, Brampton. 905-874-2800. $35, $28(sr/
st), $22(children). Opens Mar 31, 7:30pm.
Runs to April 9. Days and times vary. Visit
bramptonmusictheatre.com for details.
●●Canadian Opera Company. Carmen. Music
by Georges Bizet, libretto by Henri Meilhac
and Ludovic Halévy. Anita Rachvelishvili,
mezzo; Clémentine Margaine, mezzo. Joel
Ivany, stage director. Paolo Carignani, conductor.
Four Seasons Centre, 145 Queen St.
W. 416-363-8231. $50-$435. Opens April 12,
7:30pm. Runs to May 15. Days and times vary.
Visit coc.ca for details.
●●Canadian Opera Company. Maometto II.
Music by Gioachino Rossini, libretto by Cesare
della Valle. Luca Pisaroni, bass-baritone..
David Alden, stage director. Harry Bicket,
conductor. Four Seasons Centre, 145 Queen
St. W. 416-363-8231. $50-$435. Opens April
29, 7:30pm. Runs to May 14. Days and times
vary. Visit coc.ca for details.
●●Chorus Niagara. Carmina Burana. Music
by Carl Orff. Guests: TorQ Percussion Ensemble;
Karin di Bella and Lynne Honsberger,
MAOMETTO II
Rossini
APRIL 29
to MAY 14
coc.ca
thewholenote.com April 1, 2016 - May 7, 2016 | 57

pianos; Choralis Camerata; Chorus Niagara
Children’s Choir. FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
1 -855-515- 0722. $40; $38(sr); $15(st);
$25(under 30), $12(child). May 7, 7:30pm.
●●Civic Light Opera Company. Two by Two.
Music by Richard Rodgers, lyrics by Martin
Charnin, book by Peter Stone. Joe Cascone,
director/designer. Zion Cultural Centre,
1650 Finch Ave. E. 416-755-1717. $28. Opens
April 6, 7:00pm. Runs to April 17. Days and
times vary. Visit civiclightoperacompany.com
for details.
●●Coleman Lemieux & Compagnie. Against
Nature / À Rebours. Music by James Rolfe,
libretto by Alex Poch-Goldin. Second in a series
of music/dance/theatre pieces by James
Kudelka. The Citadel, 304 Parliament St. 416-
364-8011x1. $50. Opens May 4, 8:00pm. Runs
to May 15.
●●Curtain Call Players. The Best Little Whorehouse
in Texas. Music and lyrics by Carol Hall,
book by Larry L. King and Peter Masterson.
Fairview Library Theatre, 35 Fairview Mall Dr.
416-703-6181. $28. Opens April 29, 8:00pm.
Runs to May 7. Days and times vary. Visit curtaincalltoronto.com
for details.
●●Essential Opera. She’s The One. Contemporary
operas by Uyeda, Raum, Höstmann,
Pidgorna, Estacio and Heggie. Erin Bardua,
soprano; Maureen Batt, soprano; Maureen
Ferguson, soprano; Julie Ludwig, soprano;
Cheryl Duvall, music director and piano. Heliconian
Hall, 35 Hazelton Ave. 416 -827- 3009.
$25; $20(sr/st/arts worker). April 8, 7:30pm.
●●Living Arts Centre. Stomp. The international
award-winning percussion sensation.
Mississauga Living Arts Centre,
4141 Living Arts Dr. 905-306-6000. $55-$85.
April 19, 7:00pm. Also April 20.
●●Lower Ossington Theatre. Anne of Green
Gables. Music by Norman Campbell, lyrics by
Don Harron, Norman Campbell, Elaine Campbell
and Mavor Moore, book by Don Harron,
based on novel by Lucy Maud Montgomery.
The Lower Ossington Theatre, 100A Ossington
Ave. 416-915-6747. $49.99-$59.99. Opens
April 14, 7:30pm. Runs to May 8. Days and
times vary. Visit lowerossingtontheatre.com
for details.
●●Lower Ossington Theatre. Avenue Q. Music
and lyrics by Robert Lopez and Jeff Marx,
book by Jeff Whitty. Seanna Kennedy, stage
director. The Lower Ossington Theatre, 100A
Ossington Ave. 416-915-6747. $49.99-$59.99.
Opens Mar 10, 7:30pm. Runs to April 3. Days
and times vary. Visit lowerossingtontheatre.
com for details.
●●Lower Ossington Theatre. Disney’s
The Little Mermaid: A Broadway Musical.
Music by Alan Menken, lyrics by Howard
Ashman and Glenn Slater, book by Doug
Wright. Alan Kinsella, stage director. Randolph
Theatre, 736 Bathurst St. 416-915-
6747. $39.99-$69.99. Opens April 2, 12:00pm.
Sat 12/3:30pm; Sun 12/3:30pm; to April 24.
●●Metro Youth Opera. The Rape of Lucretia.
Music by Benjamin Britten, libretto by Ronald
Duncan. Aki Studio, Daniels Spectrum,
585 Dundas St E. 416-531-1402. $35; $30(sr);
$20(st). Opens April 29, 7:30pm. Also April
30, May 1, 2:30pm.
●●Mirvish. If/Then. Music by Tom Kitt, book
and lyrics by Brian Yorkey. Princess of Wales
Theatre, 300 King St W. 416-872-1212. $35-
$130. Opens April 12, 8:00pm. Runs to May 8.
C. Music Theatre
Tues-Sat(8pm), Wed/Sat/Sun(2pm).
●●Mirvish. Kinky Boots. Music and lyrics by
Cyndi Lauper, book by Harvey Fierstein. Jerry
Mitchell, stage director and choreographer.
Royal Alexandra Theatre, 260 King St.W. 416-
872-1212. $35-$130. Ongoing. Tues-Sat(8pm),
Wed/Sat/Sun(2pm).
●●Opera Atelier. Lucio Silla. Music by Wolfgang
Amadeus Mozart, libretto by Giovanni de
Gamerra. Kresimir Spicer (Lucio); Inga Kalna
(Cinna); Mireille Asselin (Celia); Peggy Kriha
Dye (Cecillio); Meghan Lindsay (Giunia); Marshall
Pynkoski, director; Jeannette Lajeunesse
Zingg, choreographer; Artists of Atelier
Ballet; Tafelmusik Baroque Orchestra; David
Fallis, conductor. Elgin Theatre, 189 Yonge
St. 1-855-622-2787. $38-$181; $15(under 30).
Opens Apr 7, 7:30pm. Runs to Apr 16. Days
and times vary. Visit operaatelier.com for
details.
●●Opera by Request. Don Giovanni. Music
by Wolfgang Amadeus Mozart, libretto by
Lorenzo Da Ponte. College Street United
Church, 452 College St. 416-455-2365. $20.
April 16, 7:30pm.
●●Opera by Request. Norma. Music by Vincenzo
Bellini, libretto by Felice Romani. College
Street United Church, 452 College St.
416-455-2365. $20. April 23, 7:30pm.
●●Opera by Request. La Wally. Music by
Alfredo Catalani, libretto by Luigi Illica. College
Street United Church, 452 College St.
416-455-2365. $20. May 7, 7:30pm.
●●Oriana Singers of Northumberland. Operetta
101. Music by Lehar, Bernstein, Sondheim,
Gilbert and Sullivan. Virginia Hatfield,
soloist. Trinity United Church, Division Street
at Chapel Street, Cobourg. 613-392-7423. $25;
$22(sr); $10(st). April 2, 7:30pm.
●●Opera by Request. Weber’s Abu Hassan
and Bartók’s Bluebeard’s Castle. Music
by Carl Maria von Weber and Béla Bartók,
libretti by Franz Carl Hiemer and Béla Balázs.
Henry Irwin, baritone (Abu Hassan); Michele
Danese, soprano (Fatima); Steven Henrikson,
baritone (Omar); Deena Nicklefork, soprano
(Judith); Larry Tozer, baritone (Bluebeard);
Gregory Finney, stage director; William
Shookhoff, piano/conductor. College Street
United Church, 452 College St. 416-455-2365.
$20. April 2, 7:30pm.
●●Rosedale Heights School of the Arts
Musical Theatre. Rent. Music, lyrics and book
by Jonathan Larson. Additional material by
the RHSA’s Musical Theatre Class of 2015-
2016. Rosedale Heights School of the Arts,
711 Bloor St. E. 416-393-1580. $15; $10(st).
Opens April 13, 7:00pm. Runs to April 15.
●●Scarborough Music Theatre. Damn Yankees.
Music and lyrics by Richard Adler and
Jerry Ross, book by George Abbott and Douglass
Wallop. Scarborough Village Theatre,
3600 Kingston Rd. 416-267-9292. $27. Opens
April 28, 8:00pm. Runs to May 14. Days and
times vary. Visit theatrescarborough.com.
●●Shaw Festival. Alice in Wonderland. Music
and lyrics by Allen Cole, book by Peter Hinton,
based on the book by Lewis Carroll. Festival
Theatre, 10 Queen’s Parade, Niagara-on-thelake.
1-800-511-7429. $35 and up. Previews
begin April 27, 2:00pm. Runs to October 16.
Days and times vary. Visit shawfest.com for
details.
●●Soulpepper Concert Series. Downtown
Manhattan - The Melting Pot. Writer and Host
Albert Schultz, Music Director Mike Ross,
Lynn McDonald's Czech Connection continued from page 19
I asked McDonald about her connection to Prague and how she
became such a loyal tourist. She was happy to share her memories:
“When a dear friend from Czechoslovakia, now the Czech
Republic, died suddenly, I made it my mission to visit his homeland,”
she recalls. “In Prague I felt more at home than I do in my own province!
I never get lost. My biggest thrill is packing my music charts
and going somewhere I do not speak the language. I smile at the
band, I count the tune in, and then we communicate.”
The Czechs are not “touristic," as she puts it. “They make no
effort to be phony or charming. Having suffered both Nazi dictatorship,
ghettoization, and then Communist occupation, they are quite
serious. However, Czechs form very deep and lasting friendships. I
was sincerely welcomed in the
90s. It was rare to get a visitor’s
visa and took weeks. They
called me ‘Canada,’ saying ‘You
must be Canada,’ when we met
over the years. Back in my early
visits to Bohemia, we would
practise by candlelight in small
flats heated by coal, electricity
being an ‘option.’ I swear all the
musicians lived on nicotine and
caffeine then. Oh, and Pilsen on
a good day.”
“They often asked if I was
a diplomat, a jazz ambassador.
The jazz musicians at
that time had all learned their
craft in secret, behind closed
Lynn McDonald
and company create an original concert that
explores the history and culture of the original
neighbourhoods of New York. Young
Centre for the Performing Arts, 50 Tank
House Lane. 416-866-8666. $25-$60. Opens
April 2, 7:30pm. Runs to April 12. Days and
times vary. Visit soulpepper.ca for details.
●●Stratford Festival. A Chorus Line. Music
by Marvin Hamlisch, lyrics by Edward Kleban,
book by James Kirkwood and Nicholas
Dante. Conceived and originally directed and
choreographed by Michael Bennett. Donna
Feore, director and choreographer. Festival
Theatre, 55 Queen St, Stratford. 1-800-
567-1600. $25-$175. Previews begin April 19,
2:00pm. Runs to October 30. Days and times
vary. Visit stratfordfestival.ca for details.
●●Theatre Sheridan. Grand Hotel. Music and
lyrics by Robert Wright and George Forrest,
book by Luther Davis. Macdonald-Heaslip
Hall, 1430 Trafalgar Road, Oakville. 905-
815-4049. $25; $22.50(sr). Opens April 12,
7:30pm. Runs to April 24. Days and times vary.
Visit tickets.sheridancollege.ca for details.
●●Theatre Sheridan. Sunday in the Park with
George. Music and lyrics by Stephen Sondheim,
book by James Lapine. Studio Theatre,
1430 Trafalgar Road, Oakville. 905-815-4049.
$25; $22.50(sr). Opens April 14, 7:30pm. Runs
to April 24. Days and times vary. Visit tickets.
sheridancollege.ca for details.
●●Toronto Concert Orchestra. Piaf Encore.
La vie en rose; I Love Paris, Rien de rien,
Pauvre Jean, Milord and other songs. Pandora
Topp, vocals (Piaf); Kerry Stratton, conductor.
The Extension Room, 30 Eastern Ave.
647-352-7041. $45. April 2, 7:30pm.
●●Toy Piano Composers/Bicycle Opera
Beat by Beat | Jazz Stories
Project. TPC Curiosity Festival: Travelogue.
Works by Monica Pearce, August Murphy-
King/Colleen Murphy- King, Elisha Denburg,
and Tobin Stokes. Members of the Bicycle
Opera Project. Arts and Letters Club, 14 Elm
St. 647 -829- 4213. $30(festival pass). Opens
April 1, 8:00pm. Also April 2.
●●University of Toronto Faculty of Music.
The Art of the Prima Donna. Staged and costumed
program of romantic opera. Works by
Bellini, Donizetti, Verdi and others. Paul Widner,
conductor. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. $20; $10(st). April 1,
5:00pm.
●●Victoria College Chorus. Patience. Music
by Arthur Sullivan, libretto by W.S. Gilbert.
Isabel Bader Theatre, 93 Charles St.W. 416-
978-8849. $20; $15(sr); $10(st). April 1,
8:00pm. Also April 2, 3:00pm.
●●Voicebox/Opera in Concert. Isis and
Osiris: Gods of Egypt. Music by Peter Anthony
Togni, libretto by Sharon Singer. Lucia Cesaroni
(Isis); Michael Barrett (Osiris); Julie Nesrallah
(Nephtis); Michael Nyby (Seth); Stuart
Graham (The Grand Vizier); and others;
Orchestra and Chorus of Voicebox: Opera
in Concert; Robert Cooper, conductor and
chorus director. St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. $52 and
$73. Apr 1, 8:00pm and Apr 3, 2:30pm.
●●Young People’s Theatre. The Wizard of
Oz. Music and lyrics by Harold Arlen and
E.Y.Harburg, book by L. Frank Baum. Young
People’s Theatre, 165 Front St.E. 416-862-
2222. $10-$55. Opens April 4, 10:15am. Runs
to May 15. Days and times vary. Visit
youngpeoplestheatre.ca for details.
58 | April 1, 2016 - May 7, 2016 thewholenote.com

doors, mostly from contraband recordings, which they still value.
The Communists were pulling out and all kinds of Czech art was
coming out of the alleyways and shadows into the bright light of day.
Classical musicians were changing to jazz and playing, literally on the
bridge all night. I was so exhilarated by the value put on freedom. The
Czechs restored their beloved Prague to its former 16th-century glory,
with new velvet and gold, recobbled streets and fresh paint and frescoes.
Sadly in 2002, the Vlata River flooded its banks and destroyed
much of their hard work. They started over. The Czechs are in a
constant process of reinventing themselves; tirelessly healing, fixing,
repairing.”
Over the past few decades, McDonald has become intimately
familiar with the city’s jazz club scene, as well as the Praguers’
way of life:
“In Prague, there is a cover charge. People value art and come out
seven nights a week to hear music, cuddle in the corner and relax.
They are smoking less in the clubs today, if at all. Their homes are
small flats so Praguers socialize in coffee shops and clubs.
“Czechs love the standards. They listen with their eyes shut, experiencing
what they had only heard on recordings. I enjoy walking home
at 1am, hearing my solitary footsteps on the cobblestones, feeling safe
in the medieval narrow streets and the archaic gas lamplights. Sheer
bliss for me. There is no physical crime that I have heard of. The odd
beggar, but I always carry provisions for them.”
When she isn’t in Prague, McDonald proudly presents live jazz for
people who want to listen; she currently books a series at the Jester’s
Court in Port Perry:
“There is a no-talking policy. I was raised in George’s Spaghetti
House, the Imperial Room, Café des Copains and Montreal Bistro,
where there was attentive silence during the performances. That
is why players like to come to Port Perry to be in my music series
in the Listening Room at Jester’s Court. I pay them, feed them and
guarantee an appreciative
audience.
Roman Pokorny
People drive from
Barrie, Peterborough,
Oshawa, Bowmanville,
Newmarket and
Toronto to sit in a
quiet reverie. Similar
to the vibe in Prague,
if you can believe it!”
McDonald met guitarist Roman Pokorny in the early 1990s; he put
together a band for her and booked gigs.
“When I first heard Roman (romanpokorny.com) he was cranking
out one blues after another at the Ungelt in Prague. His band, Blues
Box Heroes, cleans up all the awards. The next night he was in a
Latin band, Brazilian Mood, with Yvonne Sanchez. The third time I
saw him he was playing like Grant Green in a fabulous jazz venue.
Roman is a force of Nature on the guitar. Powerful and aggressive or
tasty and delicate. A child in Europe is handed an instrument at four
years of age and expected to practise daily for hours, for years. He did
and it shows. During the height of Communist oppression he would
ride his bicycle to the forest and practise alone or jam with friends,
willing to chance getting caught, learning forbidden American jazz
songs. Czech folk know that nothing is free and nothing comes easy.
“Roman is recording with a New York rhythm section and visiting
me for a few days. Tuesday April 19 at 6pm as you know, we are at
120 Diner. But Jester’s Court (Sunday, April 17, 7pm) is in the works
and also Blues and Brews at the Old Flame Brewery with Howard
Ross and Dave Restivo. (Wednesday, April 20, 8pm).”
Ori Dagan is a Toronto-based jazz musician, writer and
educator who can be reached at oridagan.com.
D. In the Clubs (Mostly Jazz)
120 Diner
120 Church St. 416-792-7725
120diner.com (full schedule)
April 1 6pm The Sinners Choir. April 2 6pm
Autorickshaw; 8:30pm Chelsea Bennett;
10pm Robert Scott. April 3 6pm Thaller
Family Klezmer Band; 8pm KlezFactor; 10pm
iSpy. April 5 6pm AHI; 8pm Linda Lavender;
10pm Royal Condition. April 6 6pm Genevieve
Marentette; 8pm Lisa Particelli’s GNO Jazz
Jam. April 7 6pm Laura Marks; 8pm Chelsea
Keeney; 10:30pm Sophia Perlman & Terra
Hazelton. April 8 6:30pm Stevey Ross and
the Blue Mambo Swing. April 9 6pm Samantha
Windover. April 10 5pm Pamela Hyatt’s
80th Birthday Cabaret. April 12 6pm Emilie
Mover; 8pm Andrea Ramolo; 10pm Chelsea
McBride’s Cityscape. April 13 6pm Genevieve
Marentette; 8pm Lisa Particelli’s GNO
Jazz Jam. April 14 6pm Ryley Murray Trio.
April 15 6pm Simone Morris +1. April 16 6pm
Brian Katz; 11pm Natasha Buckeridge. April
17 6pm Jacky Bouchard; 8pm Mel Cote. April
19 6pm From Prague: Roman Pokorny; 8pm
Chris Birkett; 10pm Tiffany Gooch. April 20
6pm Mandy Goodhandy; 8pm Lisa Particelli’s
GNO Jazz Jam. April 21 6pm Janet Whiteway.
April 22 6pm Rita di Ghent. April 23 6pm
Melissa Lauren & Nathan Hiltz. April 24 6pm
PerlHaze; 8pm Rachel Piscione. April 26 6pm
Aaron de Souza; 8pm Ben Anthony; 10pm
The Koopa Troop. April 27 6pm Genevieve
Marentette; 8pm Lisa Particelli’s GNO Jazz
Jam. April 28 6pm Reuven Grajner; 8:30pm
The Ault Sisters; 10:30pm Leslie Huyler. April
29 6pm Kevin Barrett & Sharron McLeod.
April 30 6pm Whitney Ross Barris; 8:30pm
Chris Gale Trio plays Ellington & Strayhorn;
10:30pm Sarah Thawer Trio.
Alleycatz
2409 Yonge St. 416-481-6865
alleycatz.ca
All shows: 9pm unless otherwise indicated.
Call for cover charge info.
April 1 Orangeman. April 2, 9, 16 Soular. April
7, 21 Carlos Morgan & The Flow. April 8 North
of 7 Band. April 14, 28 Solo & Duets Concert
Series. April 15, 23, 29, 30 Lady Kane. April
22 Taxi.
Artword Artbar
15 Colbourne St., Hamilton. 905-543-8512
artword.net (full schedule)
April 1 8pm Worst Pop Band Ever: Adrean
Farrugia (piano), Chris Gale (sax), Drew Birston
(bass), Tim Shia (drums) feat. Sophia
Perlman (voice) $10. April 7 8pm The ON
TOPIC Trio: Kim Ratcliffe (guitar), Aubrey
Dayle (drums), Brad Cheeseman (bass) $10.
April 8 8pm Aaron Z Trio $10. April 14 8pm
Jazz vocal jam with Sue Ramsay Trio PWYC
($10 suggested). April 16 8pm Jude Johnson
with Carl Horton (piano) & Mike Malone
(trumpet) $15. April 22 8pm Love & Spring:
Colina Phillips (voice), Stacie McGregor
(piano), Mike Milligan (bass), Ted Warren
(drums) $15.
Bloom
2315 Bloor St. W. 416-767-1315
bloomrestaurant.com
All shows: 19+. Call for reservations.
April 21 7pm Alex Pangman (voice) with
Peter Hill (piano), John MacLeod (trumpet)
$45 (dinner included).
Blue Goose Tavern, The
1 Blue Goose St. 416-255-2442
thebluegoosetavern.com
Every Sun 4pm Blues At the Goose with
the Big Groove Rhythm Section and special
guests.
Burdock
1184 Bloor St. W. 416-546-4033
burdockto.com (Full schedule)
April 9 8pm Sonuskapos Jazz Orchestra
$10(adv)/$20(door).
Castro’s Lounge
2116e Queen St. E 416-699-8272
castroslounge.com (full schedule)
All shows: No cover/PWYC
C’est What
67 Front St. E (416) 867-9499
cestwhat.com (full schedule)
April 2, 16, 30 3pm The Boxcar Boys. April 3
3pm Annie Bonsignore $10. April 9, 23 3pm
The Hot Five Jazzmakers.
De Sotos
1079 St. Clair Ave. W 416-651-2109
desotos.ca (full schedule)
Every Sun 11am Sunday Live Jazz Brunch
No cover.
Emmet Ray, The
924 College St. 416-792-4497
theemmetray.com (full schedule)
All shows: No cover/PWYC
Fat City Blues
890 College St. 647-345-8282
Every Sun 8:30pm Fraser/Melvin Band.
Every Thurs 8:30pm The Mercenaries. April
1 9:30pm Freeman Dre & The Kitchen Party
$5. April 15 9:30pm Sugar Brown $5. April
16 9:30pm Charlie Jacobson $5. April 22
9:30pm Tyler Yarema $5.
Gate 403
403 Roncesvalles Ave. 416-588-2930
gate403.com
All shows: PWYC.
April 1 5pm The Spirit of Jazz feat. Nina Richmond;
9pm “The Pearl Motel”. April 2 5pm
Bill Heffernan and His Friends; 9pm Danny
Marks and Alec Fraser Duo. April 3 5pm
Grateful Sunday feat. Trevor Cape and The
Field; 9pm Virginia MacDonald Jazz Quartet.
April 4 5pm Mike and Jill Daley Jazz Duo;
9pm Blues and Troubles. April 5 5pm Howard
Willett Blues Duo; 9pm Leigh Graham Jazz
Duo. April 6 5pm Sebastian Brown Solo from
Spain; 9pm Julian Fauth Blues Night. April
7 5pm Bruce Chapman Blues Duo with feature
guests; 9pm Darcy Windover Band. April
8 5pm Lisa Patterson and The Roam Project;
9pm Dennis Gaumond and Jen Gillmor
Blues Duo. April 9 5pm Bill Heffernan and
His Friends; 9pm Julian Fauth Blues Quartet.
April 10 5pm Hello Darlings; 9pm Kurt
Nielsen and Richard Whiteman Jazz Band.
April 11 5pm Jorge Miguel Latin Music Solo;
9pm Chris Staig Trio. April 12 5pm Grant
Lyle Blues Music; 9pm Angela Howard Jazz
Band. April 13 5pm Michelle Rumball with
friend; 9pm Julian Fauth Blues Night. April
14 5pm Amber Leigh Jazz Trio; 9pm Kevin
thewholenote.com April 1, 2016 - May 7, 2016 | 59

MICHAEL G STEWART
Beat by Beat | Mainly Clubs, Mostly Jazz!
Sheila’s Back in
Town!
BOB BEN
Sheila Jordan. Is it April 1 or
April 2 as you are reading this? If
so, you should be calling Jazz Bistro
to make reservations for tonight
for Sheila Jordan’s first appearance
in Toronto in, if I’m not missing
anything, two years. Almost exactly, in
fact: it was near the end of March 2014
when Jordan appeared for three
consecutive nights at Chalkers Pub.
For two nights she performed accompanied
by Don Thompson on piano
and Neil Swainson on bass, and on the
third night she led a vocal workshop,
accompanied by Thompson alone. I
was in attendance at all three events,
having volunteered, way ahead of
time, for door duties.
Sheila Jordan comes across on
and off stage as a warm and caring
person. You can always tell whether
someone has any genuine interest in
Sheila Jordan
what other people are saying, or whether
they’re waiting for their own turn to talk. Sheila belongs to the former
camp. She cares about people. She loves the world. She has a sense
of humour and a sense of wonder, and all that is on display when
she performs.
When she performs, she’s equal parts singer and storyteller – both
during and in between songs. Her songs are both deliberate and spontaneous
– rehearsed and subject to change. Each time you hear her
sing, it is worth hearing. As the concerts grow chronologically further
away, my memories of them become fuzzier. But almost a year ago, I
wrote that “In addition to being a genuine and adventurous performer,
[Sheila is] one of the sweetest, most infectiously charming people I’ve
ever spoken with.” I stand by that.
I bought two CDs while I was there – one of Jordan’s, Yesterdays,
which is a duo album with bassist Harvie Swartz, and the Thompson/
Swainson duo album, Tranquility, both of which I will recommend
wholeheartedly, and the latter of which was reviewed for The
WholeNote by the late Jim Galloway earlier that year.
These concerts will take place at Jazz Bistro on April 1 and 2; the
cover charge is $20 and dinner reservations are, as I write this, still
available.
Nathan Hiltz: The following day, April 3, at the same venue, you can
check out Nathan Hiltz’s trio, with Pat Collins on bass and Morgan
Childs on drums, playing tunes by one of my favourite jazz composers,
and by very far my favourite jazz lyricist, Cole Porter. On
some tunes, those lyrics will be delivered by Ori Dagan, in
whose mouth those lyrics can be said to be in good hands.
Or, around good teeth – whatever you like.
I know I’ve taken up all this space talking about a couple
of shows which, more likely than not, are in the past as you
read this, so before signing off, I want to direct your attention
to a weekly engagement which shows no signs of stopping.
If you dig or dug Hiltz’s guitar playing in a trio setting,
you may dig him in the organ jazz quartet Organic, which
generally features Bernie Senensky on the organ, Hiltz
on guitar, Childs on drums, and Ryan Oliver on sax. The
band has been together since its genesis over a decade ago,
Oliver’s brainchild, and their effortless chemistry makes
that more than apparent. They play weekly on Sundays at
Joe Mama’s. There is no cover or tip jar, so you can take the
money you saved on that and buy more drinks at the bar
than you normally would.
Musideum: You’ll notice, if you thumb through the listings
this month, that Musideum is conspicuously absent.
Early last month, Musideum owner and founder, Donald
Quan, announced that the end of March would mark the
end of Musideum as a venue for the foreseeable future. Quan
is indefinitely – but not necessarily permanently – closing Musideum
to focus on other understandably indispensable aspects of his life:
his health, his family, his friends and his own musicianship.
Musideum was a remarkable venue, an intimate space in which to
interact with other people: as a performer to an audience, as an audience
to a performer, or artist to artist to artist. It will remain open as a
store for the first few days of April, so I’d encourage anyone who still
has the chance to, go now and check it out.
And I hope to see you all soon, in one club or another. Check
the listings!
Bob Ben is The WholeNote’s jazz listings editor. He
can be reached at jazz@thewholenote.com.
D. In the Clubs (Mostly Jazz)
Laliberté Jazz & Flamenco Trio. April 15 5pm
Sam Broverman Jazz Duo; 9pm Jacob Gorzhatssan
Quintet feat. Kyla Charter. April
16 5pm Bill Heffernan and His Friends; 9pm
Sweet Derrick Blues Band. April 17 5pm Jeff
Taylor and The SLT; 9pm Josh Lane: Toronto
Jazz Collective. April 18 5pm Thomas Williams
Jazz Trio; 9pm Linda Carone Vintage
Jazz n’ Blues. April 19 5pm Sarah Kennedy
and Matt Pines Jazz Duo; 9pm Heather Luckhart:
Blues/Roots/Jazz Band. April 20 5pm
Rick Maltese: Rick’s Three in One; 9pm Julian
Fauth Blues Night. April 21 5pm Concord Jazz
Quintet; 9pm Tiffany Hanus Jazz Band. April
22 5pm Carter Brodkorb Jazz Quintet; 9pm
Fraser Melvin Blues Band. April 23 5pm Bill
Heffernan and His Friends; 9pm John Deehan
Jazz Band feat. Zoe Chilco. April 24 5pm Six
Points Jazz Orchestra; 9pm Ben Walker Jazz
Trio. April 25 5pm Mark Rainey Jazz Band;
9pm Chelsea McBride Jazz Trio. April 26 5pm
Kevin Bolger Jazz Trio; 9pm Kalya Ramu Jazz
Band. April 27 5pm L.A.Turcotte: Sultants of
Soul; 9pm Julian Fauth Blues Night. April 28
5pm G Street Jazz Trio; 9pm Kristin Lindell
Jazz Band. April 29 5pm Lisa Patterson and
The Roam Project; 9pm Jacob Gorzhatssan
Quintet feat. Donovan Locke. April 30 5pm
Bill Heffernan and His Friends; 9pm Donné
Roberts Band.
Grossman’s Tavern
379 Spadina Ave. 416-977-7000
grossmanstavern.com (full schedule)
All shows: No cover (unless otherwise noted).
Every Sat The Happy Pals Dixieland jazz jam.
Harlem Restaurant
67 Richmond St. E. 416-368-1920
harlemrestaurant.com (full schedule)
All shows: 7:30-11pm (unless otherwise
noted). Call for cover charge info.
April 1 Gyles. April 2 Jazzbiscuit. April 8 The
Sean Stanley Trio & Sokhna-Dior. April
9 Simone Morris Trio. April 23 Gib & Tam.
April 29 Madette. April 30 Kristen Fung.
Hirut Cafe and Restaurant
2050 Danforth Ave. 416-551-7560
Every Sun 3pm Open Mic with Nicola
Vaughan: folk/country/jazz/world/r&b PWYC.
April 5, 19 8pm Finger Style Guitar Association
PWYC. April 8 8pm Don Naduriak (piano)
Quintet with Bob Rice (trumpet), John ‘JJ’
Johnson (sax), George Koller (bass), Joaquin
Hidalgo (drums) PWYC. April 29 9pm Hirut
Hoot Cabaret: 4 year anniversary $5.
Home Smith Bar – See Old Mill, The
Hugh’s Room
2261 Dundas St. W. 416-531-6604
hughsroom.com
All shows: 8:30pm (unless otherwise noted).
Every Sun 12pm Michael Johnston
Music Studio presents 9th Annual Student
Recital & Spring Celebration
$17(adults)/$11.50(kids). April 1 Ken Whiteley’s
Freedom Blues CD Release Concert
$20(adv)/$22.50(door). April 2 Connie Kaldor
$27.50(adv)/$30(door). April 5 10am
Toronto Ravel $15. April 6 8pm The JAZZ.
FM91 Songwriters Series – We Insist! Jazz
Songs of Protest $40. April 8 Jack de Keyzer
$22.50(adv)/$25(door). April 9 Seems Like
Only Yesterday – A Tribute to Jesse Winchester
$30(adv)/$32.50(door). April
10 Heather Nova $25(adv)/$27.50(door).
April 11 Little Miss Higgins and The Winnipeg
Five $22.50(adv)/$25(door). April
13, 14 Old Man Luedecke and Tim O’Brien
$32.50(adv)/$37(door). April 15 Martyn
Joseph $22.50(adv)/$25(door). April 16 Tom
Rush with Matt Nakoa $45(adv)/$50(door).
April 17 NEeMA – CD Release
$22.50(adv)/$25(door). April 20 Double Bill
– Emm Gryner – CD Release and Sarah Smith
$25(adv)/$30(door). April 21 Dave Gunning
with Gordie MacKeeman and His Rhythm
Boys $20(adv)/$22.50(door). April 22 Dark
Angel: The Music of Roy Orbison featuring
Patrick Brealey $22.50(adv)/$25(door).
60 | April 1, 2016 - May 7, 2016 thewholenote.com

April 23 4th Annual Anniversary ‘A Celebration
of Levon Helm’ $35(adv)/$40(door).
April 28 BluesIn’ Toronto presents Double
Bill – Samantha Martin & Delta Sugar
and Cheryl Lescom & The Tucson Choir
Boys $25(adv)/$30(door). April 29,
30 Borrowed Tunes – The Music of Neil Young
$32.50(adv)/$35(door).
Jazz Bistro, The
251 Victoria St. 416-363-5299
jazzbistro.ca
Every Sun 12pm Piano Brunch with Eli Pasic
$5. April 1, 2 9pm Sheila Jordan with Don
Thompson (piano), Kieran Overs (bass) $20.
April 3 7pm Nathan Hiltz Plays Cole Porter
$15. April 5 8pm Chauvet Project Epoque
String Quartet (Prague) & David Braid $25.
April 6 7:30pm Andrew Beg Sings Rat Pack
Classics $15. April 7 9pm Gillian Margot’s
“Black Butterfly” Project $20. April 8 9pm
Mandy Lagan Sings the Joni Mitchell Songbook
and More with Kevin Turcotte (trumpet),
Amanda Tosoff (piano), Ted Quinlan (guitar),
Andrew Downing (bass), Blair Mackay (percussion)
$15. April 9 9pm Joel Miller (sax)/
Geoff Keezer (piano) Quartet with Fraser Hollins
(bass), Greg Ritchie (drums) $20. April 14
8pm Grandmothers Partnering with Africa –
In Support of the Stephen Lewis Foundation
with The Heavyweights Brass Band and guest
vocalists Jackie Richardson and Jay Douglas
$45. April 15, 16 9pm Myriad3 $15. April
17 7pm Daniela Nardi’s (voice) Espresso Manifesto
with Ron Davis (piano), Mike Downes
(bass), Kevin Barrett (guitar), Steve Heathcote
(drums) $20. April 19 8pm Concetta
Donato. April 20 8pm Morgan Childs Quartet
$15. April 21 9pm Howie Silverman (piano)
CD Release ‘Duets’ with Pat Collins (bass),
Ethan Ardelli (drums), Bill McBirnie (flute),
Sarah Silverman (voice) $15. April 22, 23
9pm Steve Holt (piano) Quartet with Kieran
Overs (bass), Barry Elmes (drums), Kevin Turcotte
(trumpet on Fri), Chris Gale (sax on Sat)
$15. April 24 7pm Acoustic Version. April 29,
30 9pm Adi Braun sings Kurt Weill with Tom
King (piano), Pat Collins (bass), Daniel Barnes
(drums) $20.
Jazz Room, The
Located in the Huether Hotel, 59 King St. N.,
Waterloo. 226-476-1565
kwjazzroom.com (full schedule)
All shows: 8:30pm-11:30pm unless otherwise
indicated. Attendees must be 19+.
April 1 Pram Trio: Jack Bodkin (piano),
Mark Godfrey (bass), Eric West (drums) CD
Release “Saga 13”″ $18. April 2 Chris Wallace’s
(drums) Many Names Quartet with Jeff King
(saxophone), Adrean Farrugia (piano), Dan
Fortin (bass). $20. April 8 Andy Klaehn Group
$15. April 9 6:30pm Mike Anderson (piano)
& Joe Brand (bass) opening for Johanna
Pavia & Soul Drive $20. April 10 4pm Joel Miller
(Montreal) & Geoff Keezer Quartet (NYC)
$20. April 15 Brent Rowan Group $15.
April 16 NYC’s Alex Goodman (guitar) Quintet
with Matt Marantz (sax), Eden Ladin (piano),
Rick Rosato (bass), Jimmy Macbride (drums)
$20. April 22 The Worst Pop Band Ever:
Dafydd Hughes (piano), Chris Gale (sax), Gordon
Mowat (bass), Tim Shia (drums) $18.
April 23 Brian Dickinson Big Band $25. April
29 Carey West (voice) Quartet with Thomas
Hammerton (piano), Tyler Wagler (bass),
Dave O’Neil (drums) $15. April 30 Eric St.
Laurent (guitar) Trio with Jordan O’Connor
(bass), Michel DeQuevedo (percussion) $16.
Joe Mama’s
317 King St. W 416-340-6469
joemamas.ca
Every Tue 6pm Jeff Eager. Every Wed 6pm
Thomas Reynolds. Every Thurs 9pm Blackburn.
Every Fri 10pm The Grind. Every
Sat 10pm Shugga. Every Sun 6:30pm
Organic: Nathan Hiltz (guitar); Bernie
Senensky (organ); Ryan Oliver (sax), Morgan
Childs (drums).
KAMA
214 King St. W. 416-599-5262
kamaindia.com (full schedule)
Every Wed 5:30pm Jazz with the Kama
House Band.
Local Gest, The
424 Parliament St. 416-961-9425
April 3 4:30pm Artie Roth Trio.
Lula Lounge
1585 Dundas St. W. 416-588-0307
lula.ca (full schedule)
Manhattans Pizza Bistro & Music Club
951 Gordon St., Guelph 519-767-2440
manhattans.ca (full schedule)
All shows: PWYC.
April 1 Eclectic Vinyl Orchestra. April 2 Jazz
Meets Blues. April 3, 10 Grace Peters. April
5, 15, 19 Carmen Spada. April 6, 20 Jamie
‘Giggles’ Mitges. April 7 University of Guelph
Jazz Ensemble. April 9 Parker Wilson Duo.
April 10, 24 Stan Chang & Erick Bruck. April
12, 26 Paul Taylor. April 13, 21 John Zadro.
April 14 David Hollingshead & Isaiah Farahbakhsh.
April 22 Lara Solnicki Trio. April
23 Joni Nehrita & Jane Lewis. April 27 D Eve
Archer. April 29 Gary Beck & Sideways. April
30 ¡DO! - drums and organ.
Mezzetta Restaurant
681 St. Clair Ave. W 416-658-5687
mezzettarestaurant.com (full schedule)
All shows: 9pm, $8 (unless otherwise noted).
Monarch Tavern
12 Clinton St. 416-531-5833
themonarchtavern.com (full schedule)
April 11 7:30pm Martin Loomer & His Orange
Devils Orchestra $10.
Morgans on the Danforth
1282 Danforth Ave. 416-461-3020
morgansonthedanforth.com (full schedule)
All shows: 2pm-5pm. No cover.
April 24 Lisa Particelli’s Girls Night Out Jazz
Jam.
Nawlins Jazz Bar & Dining
299 King St. W. 416-595-1958
nawlins.ca
All shows: No cover/PWYC.
Every Tue 6:30pm Stacie McGregor. Every
Wed 7pm Jim Heineman Trio. Every Thu 8pm
Nothin’ But the Blues w/ Joe Bowden (drums)
and featured vocalists. Every Fri, Sat 8:30pm
N’awlins All Star Band. Every Sun 7pm
Brooke Blackburn.
Nice Bistro, The
117 Brock St. N., Whitby. 905-668-8839
nicebistro.com (full schedule)
April 20 Zoé Chilco Duo $39.99 (dinner
included).
Old Mill, The
21 Old Mill Rd. 416-236-2641
oldmilltoronto.com
The Home Smith Bar: No reservations. No
cover. $20 food/drink minimum. All shows:
7:30pm-10:30pm
April 1 Canadian Jazz Quartet & Friends:
Frank Wright (vibraphone), Ted Quinlan (guitar),
Pat Collins (bass), Don Vickery (drums),
feat. Alex Dean (sax). April 2 Chris Gale (sax)
Trio with Amanda Tosoff (piano), Jon Maharaj
(bass). April 5 In Concert and Conversation
with Gene DiNovi. April 7 Tara Davidson
(sax) Quartet with Mike Murley (sax), Michael
Davidson (vibes), Andrew Downing (bass).
April 8 Lenny Solomon (violin) Trio with Bernie
Senensky (piano), Shelly Berger (bass).
April 9 Ilana Waldston’s (voice) Jazz ‘n’
Laughs Trio with Mark Kieswetter (piano),
Ross MacIntyre (bass). April 14 Roberto
Occhipinti (bass) Trio with James Hill (piano),
Ian Wright (drums). April 15 Ori Dagan
(voice) Trio with Mark Kieswetter (piano),
Jordan O’Connor (bass). April 16 Lou Pomanti
(piano) Trio with Marc Rogers (bass),
Mark Kelso (drums). April 21 Lara Solnicki
(voice) Trio with Ted Quinlan (guitar), Andrew
Downing (bass). April 22 Bernie Senensky
(piano) Trio with Steve Wallace (bass), Terry
Clarke (drums). April 23 Luis Mario Ochoa
(voice, guitar) Quartet with Hilario Duran
(piano), Louis Simao (bass), Luis Orbegoso
(percussion). April 28 Rob Piltch (guitar) Trio
with Neil Swainson (bass), Davide DiRenzo
(drums). April 29 Jocelyn Barth (voice) Trio
with Bernie Senensky (piano), Jon MacMurchy
(sax). April 30 Bruce Cassidy (trumpet,
flugelhorn, EVI) Trio with Tom Szczesniak
(piano), Ted Quinlan (guitar).
Only Café, The
972 Danforth Ave. 416-463-7843
theonlycafe.com (full schedule)
All shows: 8pm unless otherwise indicated.
April 13, 27 Lazersuzan.
Paintbox Bistro
555 Dundas St. E. 647-748-0555
paintboxbistro.ca (Full schedule)
Pilot Tavern, The
22 Cumberland Ave. 416-923-5716
thepilot.ca
All shows: 3:30pm. No cover.
April 2 Pat Labarbera Quartet. April 9 Alison
Young Quartet. April 16 Turboprop: Kelly Jefferson
(alto & soprano saxes), Shirantha Beddage
(tenor & soprano saxes), William Carn
(trombone), Adrean Farrugia (piano), Jim
Vivian (bass), Ernesto Cervini (drums). April
23 Mike Murley Quartet. April 30 Bob Brough
(sax) Quartet with Adrean Farrugia (piano),
Artie Roth (bass), Terry Clarke (drums).
Poetry Jazz Café
224 Augusta Ave. 416-599-5299
poetryjazzcafe.com (full schedule)
Reposado Bar & Lounge
136 Ossington Ave. 416-532-6474
reposadobar.com (full schedule)
Every Wed Spy vs. Sly vs. Spy. Every Thurs,
Fri 10pm Reposadists Quartet: Tim Hamel
(trumpet), Jon Meyer (bass), Jeff Halischuck
(drums), Roberto Rosenman (guitar).
Reservoir Lounge, The
52 Wellington St. E. 416-955-0887
reservoirlounge.com (full schedule).
All shows: 9:45
Every Tue, Sat Tyler Yarema and his Rhythm.
Every Wed The Digs. Every Thu Stacey
Kaniuk. Every Fri Dee Dee and the Dirty
Martinis.
Rex Hotel Jazz & Blues Bar, The
194 Queen St. W. 416-598-2475
therex.ca (full schedule)
Call for cover charge info.
April 1 4pm Hogtown Syncopators; 6:30pm
Artie Roth Quartet; 9:45pm Kelly Jefferson
St. Philip’s Anglican Church
Featuring some of Toronto’s best jazz musicians
with a brief reflection by Jazz Vespers Clergy
Sunday, April 3, 4:00 pm | Jazz Vespers: Tribute to
Duke Ellington | Mike Murley (saxophone), Mark Eisenman
(piano), Pat Collins (bass), Barry Elmes (drums)
Sunday, April 17, 4:00 pm | Jazz Vespers for
Jaymz Bee’s Birthday | Genevieve Marentette,
Alex Pangman and Joyce Barth (vocals), Robert Scott (piano)
St. Philip’s Anglican Church | Etobicoke
25 St. Phillips Road (near Royal York + Dixon)
416-247-5181 • stphilips.net • free will offering
Sunday, May 8 at 4:30 pm
Lenny Solomon, violin; Bernie Senensky, piano
Sunday, April 3 at 4:30 pm
MARK EISENMAN TRIO – Mark Eisenman, piano
Steve Wallace, bass; John Sumner, drums
Sunday, April 17 at 4:30 pm ALISON YOUNG QUARTET
Christ Church Deer Park, 1570 Yonge St. 416-920-5211
(north of St. Clair at Heath St.)
www.thereslifehere.org Admission is free; donations are welcome.
thewholenote.com April 1, 2016 - May 7, 2016 | 61

Quartet. April 2 12pm The Sinners Choir;
3:30pm Conor Gains Blues; 7:30pm Nick Teehan
Group; 9:45pm Kelly Jefferson Quartet.
April 3 12pm Excelsior Dixieland Jazz;
3:30pm Club Django; 7pm Angela Turone
Duo; 9:30pm Pram Trio. April 4 6:30pm University
of Toronto Student Jazz Ensembles;
9:30pm Humber College Student Jazz
Ensembles. April 5 6:30pm Melissa Lauren
Quartet; 9:30pm Anna Webber’s Simple
Trio. April 6 6:30pm Bugaloo Squad;
9:30pm New York’s Manuel Valera Trio. April
7 6:30pm Ross Wooldridge Trio; 9:30pm
New York’s Manuel Valera Trio. April 8 4pm
Hogtown Syncopators; 6:30pm Artie Roth
Quartet; 9:45pm Eric St. Laurent’s Rough
Cocktail. April 9 12pm The Sinners Choir;
3:30pm Socialist Night School; 7:30pm Nick
Teehan Group; 9:45pm The Cookers Quintet.
April 10 12pm Hart House Jazz Ensembles;
3:30pm Red Hot Ramble; 8pm Israeli
Jazz Showcase: Berklee’s Roni Eitan Quintet
opens for New York’s Avishai Cohen Quintet.
April 11 6:30pm University of Toronto
Student Jazz Ensembles; 9:30pm York University
Jazz Orchestra. April 12 6:30pm Melissa
Lauren Quartet; 9:30pm Kirk MacDonald
Quartet. April 13 6:30pm Bugaloo Squad;
9:30pm Kirk MacDonald Quartet. April
14 6:30pm Ross Wooldridge Trio; 9:45pm
Alex Goodman Quintet. April 15 4pm Hogtown
Syncopators; 6:30pm Artie Roth Quartet;
9:45pm Alex Goodman Quintet. April 16
12pm The Sinners Choir; 3:30pm Mississagua
Big Band; 7:30pm Nick Teehan Group;
9:45pm Roberto Occhipinti. April 17 12pm
Excelsior Dixieland Jazz; 3:30pm Dr. Nick &
The Rollercoasters; 7pm Angela Turone Duo;
9:30pm Darren Sigesmund’s Strands. April
18 6:30pm Peter Hill Quintet; 9:30pm Brian
Dickinson Jazz Orchestra. April 19 6:30pm
Melissa Lauren Quartet; 9:30pm Brian Dickinson
Jazz Orchestra. April 20 6:30pm Bugaloo
Squad; 9:30pm Andrew McAnsh. April 21
6:30pm Ross Wooldridge Trio; 9:30pm Rob
Cappalletto. April 22 4pm Hogtown Syncopators;
6:30pm Artie Roth Quintet; 9:45pm
New York’s Quinsin Nachoff Trio. April 23
12pm The Sinners Choir; 3:30pm Advocats
Big Band; 7:30pm Nick Teehan Group; 9:45pm
Dave Young Quintet. April 24 12pm Excelsior
Dixieland Jazz; 3:30pm Freeway Dixieland;
7pm Ken Aldcroft; 9:30pm Three Blind
Mice. April 25 6:30pm Peter Hill Quartet;
8:30pm John MacLeod’s Rex Hotel Orchestra.
April 26 6:30pm Melissa Lauren Quartet;
9:30pm Classic Rex Jazz Jam hosted by
Chris Gale. April 27 6:30pm Bugaloo Squad;
9:30pm Ryley Murray. April 28 6:30pm Ross
Wooldridge Trio; 9:30pm Rachel Piscione.
April 29 4pm Hogtown Syncopators; 6:30pm
Artie Roth Quintet; 9:45pm Joel Haynes’ Jazz
D. In the Clubs (Mostly Jazz)
PASQUALE BROTHERS
PURVEYORS OF FINE FOOD
Collective. April 30 12pm The Sinners Choir;
3:30pm Laura Hubert Band; 7:30pm Nick Teehan
Group; 9:45pm Kiki Misumi Quintet.
Salty Dog Bar & Grill, The
1980 Queen St. E. 416-849-5064
(full schedule)
thesaltydog.ca
Sauce on the Danforth
1376 Danforth Ave. 647-748-1376
sauceondanforth.com
All shows: No cover.
Every Mon 9pm The Out Of Towners: Dirty
Organ Jazz. Every Tue 6pm Julian Fauth.
Galas and Fundraisers
●●April 09 11:30am-1:30: La Jeunesse Youth
Orchestra. 6 th Annual Soup and Symphony
Fundraiser. Enjoy delicious soups donated by
local caterers and restaurants, while you listen
to our orchestra rehearsal. Silent auction.
Calvary Pentecostal Church, 401 Croft St. E.,
Port Hope. 866-460-5596. $20.
●●April 11 6:30: Soundstreams. Gala starring
composer Steve Reich. Exclusive opportunity
to meet Steve Reich. Features Reich-inspired
DJ grooves with live video and dance, plus a
special performance of Reich’s Drumming;
classical cocktails, delectable eats, silent auction.
Integral House, 194 Roxborough Drive.
416-504-1282; soundstreams.ca $175-$250.
●●April 16 7:30: Grand Philharmonic Choir.
Fiesta Latina Fundraiser and Concert. Music,
food and art. Canadian Clay and Glass Gallery,
25 Caroline St. N. Waterloo. 519-578-6885;
www.grandphilchoir.com $100 (partial tax
receipt to be issued).
●●April 28 6:30: High Notes Avante
Productions Inc. High Notes Gala for Mental
Health. Inspiring and uplifting evening of
music, speeches, dance, poetry and laughter.
Co-hosted by comedienne Luba Goy and Classical
96.3 FM’s mezzo soprano, Jean Stilwell.
6:30: VIP reception and mental health display;
7:30: concert. Richmond Hill Centre for
Performing Arts, 10268 Yonge St., Richmond
Hill. 905-787-8811; rhcentre.ca $35 and up.
Competitions
●●April 01 Now open for applications: Etobicoke
Philharmonic Orchestra. Young Composers
Competition for the 2016/17 season.
Canadian composers 32 years of age and
under may submit entries. The Grand Prize
winner’s composition will be performed at
the EPO’s final concert of the 2016/17 season,
CATERING
(416) 364-7397 WWW.PASQUALEBROS.COM
Seven44
(Formerly Chick n’ Deli/The People’s Chicken)
744 Mount Pleasant Rd. 416-489-7931
seven44.com (full schedule)
All shows: 7:30pm
April 4 Advocats Big Band. April 11 Mega City
Swing Band. April 18 George Lake Big Band.
Toni Bulloni
156 Cumberland St. 416-967-7676
tonibulloni.com (full schedule)
No cover. Saturday shows: 9pm. $30 food/
drink minimum. Sunday shows: 6pm. $25
food/drink minimum.
E. The ETCeteras
May 12, 2017. For more information, guidelines
and entry form: eporchestra.ca Application
deadline: November 4 2016.
Festivals, Fairs, Festivities
●●April 02 7:00: Toronto Gilbert and Sullivan
Society. April Meeting. Join us for song,
snacks and cheer, with spectacular performers.
St. Andrew’s United Church, 117 Bloor St.
E. 416-763-0832. $5 for non-members.
●●April 15 (deadline): Coalition for Music Education.
12th Annual Music Monday. All music
makers are invited to submit videos that
showcase learning and making music in their
schools/communities. All videos received by
April 15, 2016 will be considered for inclusion
in the Music Monday - Coast2Coast
(#MMC2C) powered Music Monday webcast.
For more information: www.musicmonday.ca
●●April 24 2:00-5:00: Classical Music Club
Toronto. Monthly sessions offer a prepared
program, audio and video recordings and
informal discussion with refreshments. This
month’s program provides a detailed overview
of Shostakovich’s Symphony No. 13 Babi
Yar which is being performed by the TSO in
May. Excerpts from various recordings will be
presented. For information and location: 416-
597-1924 or info@classicalmusicclubtoronto.
org $25 (annual membership fee); no charge
for first-time visitors.
Lectures, Salons, Symposia
●●April 07 7:30: Darchei Noam Synagogue.
Jews’ Muse: Gustav Mahler. A mix of lecture,
music and discussion with lecturer Rick Phillips
as he explores the music of Mahler - the
influences that shaped his music, the impact
he left on his times, and his lasting legacy.
864 Sheppard Ave. W. 416-638-4783;
darcheinoam.ca/event/JewishComposers
$20 or $45 for all four dates.
●●April 08 7:00: Soundstreams Salon 21.
Clapping Music. Learn and perform Steve
Reich’s Clapping Music in an 80-person
ensemble to celebrate his 80 th birthday. Gardiner
Museum, 111 Queen’s Park. 416-504-
1282. Free; PWYC preferred seating available.
●●April 15 – 17: Guitar Society of Toronto.
Third annual Toronto Guitar Weekend. Features
Brazilian guitarists Celso Machado
and Carlos Barbosa Lima. Includes concerts,
lectures, master class with Carlos
Barbosa Lima (Sunday at 1:00; venue: Victoria
College), a luthier and vendor fair. All
Friday and Saturday events at Church of St.
Tranzac
292 Brunswick Ave. 416-923-8137
tranzac.org
3-4 shows daily, various styles. Mostly PWYC.
Every Mon 10pm Open Mic Mondays. Every
Thurs 7:30pm Bluegrass Thursdays: Houndstooth.
Every Fri 5pm The Foolish Things
(folk). This month’s shows include: April 3, 17
5pm Monk’s Music. April 5 7:30pm Ali Berkok;
10pm Peripheral Vision. April 10 10pm The
Lina Allemano Four. April 12 7:30pm Aurochs;
10pm Bedroom. April 19 10pm Blunt Object.
April 17 7:30pm Diane Roblin. April 26 10pm
Nick Fraser Presents. April 29 10pm The
Ryan Driver Sextet.
Simon-the-Apostle, 525 Bloor St. E. Information
and registration: 416-964-8298;
guitarsocietyoftoronto.com
●●April 17 2:00: North York Music Festival.
The Piano – Then and Now! Where did the
piano come from? Who were some of the
greatest figures in piano history? Joe Ringhofer
presents a light-hearted yet informed
look at some of the key players in the history
of the piano and its design. Lawrence Park
Community Church, 2180 Bayview Ave. 416-
788-8553; northyorkmusicfestival.com $20.
●●April 19 1:30: Oakville Opera Guild. My Life
in the Chorus – the High Notes and the Low
Notes. Guest speaker: Joyce Sitarski, chorister
and founder of Masterworks of Oakville.
Oakville Public Library Central Branch,
120 Navy St., Oakville. 905-827-5678;
Oakville.Opera.Guild@outlook.com $10 (proceeds
go towards our scholarship fund, to
be awarded to a student attending the Faculty
of Music at the U of Toronto, and support
our annual donation to the Canadian Opera
Company).
●●April 19 & 26, 6:30-8:30: The Royal Conservatory.
Music Appreciation Class: Haydn:
The Creation. Join instructor Rick Phillips and
special guest, TMC artistic director Noel Edison,
for a 2-week exploration of this magnificent
work. TELUS Centre for Performance
and Learning, 273 Bloor St. W. 416-408-2824
x363. $99.
●●April 28 7:00: North York Central
Library. Opera Talk: Dying for Love in Rossini’s
Maometto II. Join Opera Canada editor
Wayne Gooding as he uses audio and visual
elements to explore works from the Canadian
Opera Company’s 2015/16 season. Auditorium,
5120 Yonge St. To register: 416-395-
5639. Free.
Master Classes
●●April 03 2:00: North York Music Festival.
Open Violin Master Class. Violinist Moshe
Hammer will coach six senior level students.
Open to auditors. Lawrence Park Community
Church, 2180 Bayview Ave. 416-788-8553;
northyorkmusicfestival.com $20.
●●April 10 2:00: North York Music Festival.
Open Piano Master Class with Prof. William
Aide. Open to auditors. Lawrence Park Community
Church, 2180 Bayview Ave. 416-788-
8553; northyorkmusicfestival.com $20.
●●May 07 6:30: Li Delun Music Foundation.
Piano Master Class. With Haochen Zhang,
First Prize Winner, Van Cliburn Competition.
Robert Lowrey’s Piano Experts, 2 nd Floor,
62 | April 1, 2016 - May 7, 2016 thewholenote.com

Lydia Pederson
COMMUNITY ACADEMY
JULY 31-AUGUST 7, 2016
943 Eglinton Ave. E. 416-490-7962. $15; VIP
$20.
Screenings
●●April 03 4:00 and 7:30: Toronto Jewish
Film Society/Ashkenaz Foundation. Rock
in the Red Zone (Israel, 2015). War, music,
love, and fate come together in this powerful
documentary. Director Laura Bialis travels
to Sderot, the town that revolutionized Israeli
rock music and whose proximity to the Gaza
Strip puts it on the front lines. Al Green Theatre,
Miles Nadal JCC, 750 Spadina Ave. 416-
924-6211 x606. $15; $10 (ages 18-35).
●●April 08 7:00: Toronto Silent Film Festival/
Ensemble Polaris. Epic of Everest. Screening
of 1924 film with new score. Revue Cinema,
400 Roncesvalles Ave. torontosilentfilmfestival.com/tickets.
$20; $15 (sr/st).
●●April 16 7:30: Joseph Patrick. Brew & View:
MOULIN ROUGE Sing-along Film Screening.
The words will be on-screen with the movie.
Randolph Theatre, 736 Bathurst St. 416-915-
6747. $15 (age 19 +).
●●April 23 7:30: Joseph Patrick. Brew &
View: CHICAGO Sing-along Film Screening.
The words will be on-screen with the movie.
Randolph Theatre, 736 Bathurst St. 416-915-
6747. $15 (age 19 +).
Workshops
●●April 01 7:30: CAMMAC Recorder Players’
Society. Amateur recorder players
are invited to join in the playing of early
music. Mount Pleasant Road Baptist Church,
527 Mount Pleasant Rd. 416-597-0485; cammac.ca
$15 (non-members). Refreshments
included.
●●April 03 1:00-3:30: World Fiddle Day
Toronto. Workshop led by musician Anne
Lederman. Join players of bowed string
instruments to learn world folk repertoire for
our community event at Fort York on May 21.
Long & McQuade Clinic Space, 935 Bloor St.
W. For more information and repertoire: 647-
217-4620; worldfiddledaytoronto.ca Practice
sessions by donation.
●●April 09 10:30am: Toronto Mendelssohn
Choir. Singsation Saturday: Choral Workshop.
Guest conductor Hilary Apfelstadt leads
a workshop on Mendelssohn’s Elijah and
Haydn’s The Creation. Cameron Hall, Yorkminster
Park Baptist Church, 1585 Yonge St.
416-598-0422, x223; tmchoir.org/singsationsaturdays
$10.
Write a Hymn?
Who, me?
●●April 10 2:30: Southern Ontario Chapter
Hymn Society. Sing familiar tunes and new
words. Lydia Pederson, clinician. Refreshments
at 2:30; singing at 3:00. Royal York
Road United Church, 851 Royal York Rd. 416-
342-6034. Free.
●●April 16 10:00am-12:00 noon: Canadian
Children’s Opera Company. Opera Day - Senior
Divisions Open House. Participate in workshops
alongside current CCOC members.
Meet the cast and production team for The
Hobbit. Includes choral singing, drama, staging
and more. Appropriate for ages 10 to
17. First Unitarian Congregation, 175 St. Clair
Ave. W. 416-366-0467. Free.
●●April 17 2:00-4:30: CAMMAC Toronto
Region. Reading for singers and instrumentalists
of Haydn’s Mass in Time of War. Daniel
Norman, conductor. Christ Church Deer
Park, 1570 Yonge St. 416-605-2793. $10; $6
(members).
●●April 19 5:00-6:30: Canadian Children’s
Opera Company. Opera Day - Junior Divisions
Open House. Participate in workshops alongside
current CCOC members. Includes choral
singing, drama, staging and more. Appropriate
for ages 3 to 10. First Unitarian Congregation,
175 St. Clair Ave. W. 416-366-0467. Free.
●●April 23 9:00am-4:00: The Orillia Vocal
Ensemble. CHORAL GOLD: Raising the Bar in
Choral Technique. Full day workshop for anyone
16 or older, to learn more about choral
music technique. Clinicians: Dr. Dean Jobin-
Bevans (Lakehead University), Jenny Crober
(VOCA Chorus), and Dr. Lee Willingham (Wilfrid
Laurier University). Lakehead University
Orillia Campus, 500 University Ave., Orillia.
$50 (includes lunch and refreshments). To
register or for more information: 705-955-
0056. Registration is limited to 100 singers.
●●April 24 1:00-4:00: Array/Evergreen Club
Contemporary Gamelan (ECCG). MEETUP:
A Workshop For All. Come one, come all and
play with us! A hands-on meet-up that brings
people together to play beautiful Indonesian
instruments. Array Space, 155 Walnut Ave.
416-532-3019. $10.
●●April 24 1:30-5:00: CAMMAC Recorder
Players’ Society. Spring Workshop. Amateur
recorder players are invited to join in the
playing of early music with coach Colin Savage.
77 Carlton St. 416-597-0485; cammac.ca
$30 (non-members). Refreshments included.
THREE PROGRAMS FOR ADULT
AMATEUR MUSICIANS
The TSM Community Academy invites you to play and
sing for pleasure and push your abilities to a new level,
while spending a week with artists of the Toronto
Summer Music Festival.
CHAMBER MUSIC WITH TSO
PRINCIPALS AND GUESTS
18-20 Participants (Strings, Wind Quintet, 2 pianists,
open to individuals and pre-formed ensembles)
Mentors: Jonathan Crow (Concertmaster, TSO), Shane
Kim (violin, TSO), Eric Nowlin (Associate Principal viola
TSO), Emmanuelle Beaulieu-Bergeron (cello, TSO), David
Hetherington (cello), Sarah Jeffrey (Principal oboe, TSO)
PIANO MASTERCLASS
WITH DAVID JALBERT
12-15 Participants (Minimum suggested level, Grade 10
RCM Piano)
CHAMBER CHOIR
WITH MATTHIAS MAUTE
Rehearse and prepare the Vivaldi’s Gloria and Britten’s
Hymne to St. Cecilia with renowned choral conductor,
virtuoso recorder player and composer, Matthias Maute.
Afternoon activities include voice-coaching and individual
lessons. The week will culminate with a performance in
Walter Hall.
APPLY NOW BY VISITING
TORONTOSUMMERMUSIC.COM
The Community Academy is made possible by the generous support of the Metcalf Foundation.
thewholenote.com April 1, 2016 - May 7, 2016 | 63

Classified Advertising | classad@thewholenote.com
WholeNote CLASSIFIEDS can help you
recruit new members for your choir or band
/ orchestra or find a new music director!
Advertise your help wanted needs or
promote your services starting at only $24/
issue. Inquire by April 23 for the May issue.
classad@thewholenote.com
AUDITIONS & OPPORTUNITIES
Available positions with the KINDRED
SPIRITS ORCHESTRA: 2nd Oboe, 1st Horn,
2nd Trumpet, 2nd (tenor) Trombone, 3rd
(bass) Trombone, Principal Pianist, sectional
Violins, Violas, Cellos and Contrabasses. The
KSO is an auditioned-based civic orchestra
in residence at Flato Markham Theatre.
Weekly rehearsals are held on Tuesday
evening at the state-of-the-art Cornell
Recital Hall (HWY 407 ETR and 9th Ln). For
more information visit www.KSOchestra.ca
or e-mail Jobert Sevilleno at
GM@KSOrchestra.ca
The Celtic Fiddle Orchestra of Southern
Ontario is looking for additional musicians:
violin, viola, cello, bass and flute. We practice
twice a month on Sunday afternoons from
1:30 to 4:00 at the QEPCCC in Oakville. Please
contact Jill Yokoyama at 905-635-8079 or
email cfoso.exec@gmail.com
COUNTERPOINT COMMUNITY ORCHESTRA
(www.ccorchestra.org) welcomes volunteer
musicians for Monday evening rehearsals
at the 519 Church Street Community Centre
in downtown Toronto. No audition. We’re
especially looking for harp, trombone and
strings players. Email info@ccorchestra.org.
DO YOU LOVE TO SING? Are you looking for
a choir that performs every type of sacred
music, from Byrd to Britten, Howells to
Hogan? The Anglican Church of St. John the
Baptist seeks all voice types to enhance their
Mass Choir. Services take place on Sundays
at 10:30 AM in the Beaches, one of Toronto’s
most active and artistic neighbourhoods.
For more information, contact music@
stjohnsnorway.com or 647-302-2074
JOIN THE 0NTARIO POPS. Oboe, clarinet,
trombone, tuba and strings players WANTED!
Monday rehearsals. No Auditions. Register at
www.ontariopopsorchestra.com
MUSIC DIRECTOR NEEDED for orchestra@
uwaterloo, the extra-curricular orchestra
at the University of Waterloo. Application
deadline May 9, details at www.orchestra.
uwaterloo.ca/pdf/MusicDirectorAd.pdf
NORTH YORK CONCERT ORCHESTRA is
interested in welcoming new players. We
are a community orchestra which rehearses
throughout the year on Weds. nights, York
Mills Collegiate in Don Mills. There are four
subscription concerts and several outreach
opportunities. Especially interested in
hearing from first violinists and string bass
players. Please contact personnel@nyco.
on.ca for further information.
INSTRUCTION & COURSES
FLUTE LESSONS. Classical flute lessons for
all ages and levels. Located near Davenport-
Lansdowne. Contact Meghan at 647-226-
5488, meghan@meghancornett.com
www.meghancornett.com
FLUTE, PIANO, THEORY LESSONS. RCM
exam preparation. RCM certified advanced
specialist. Samantha Chang, FTCL,
FLCM, Royal Academy of Music PGDip,
LRAM, ARCT. Toronto, Scarborough 416-293-
1302, samantha.studio@gmail. com
www.samanthaflute.com.
LESSONS FOR ALL! Friendly and firm -
I’m an experienced musician and mom
teaching piano and singing to children (and
young at heart) in my Toronto home (East
Leslieville). To discuss your child’s need for
music-making please contact
kskwhite@gmail.com.
PIANO LESSONS FOR ADVANCED
STUDENTS Prepare for RCM exams,
competitions. Play musically with freedom
and ease. Professional instruction with Dr.
Réa Beaumont (DMA, MMus, MusBacEd,
ArtDipMus, ARCT). Midtown Toronto studio,
near subway, parking.
info@reabeaumont.com.
PIANO LESSONS WITH CONCERT PIANIST
EVE EGOYAN eveegoyan.com All ages,
all levels welcome, at Earwitness Studio,
Artscape Youngplace (downtown Toronto).
Eve’s own exposure to exceptional teachers
during her developmental years makes her a
communicative, intuitive and creative teacher
with over 25 years teaching experience
(private lessons, masterclasses, adjudication)
Each student is an individual. Email Eve to set
up a free introductory meeting at
eve.egoyan@bell.net
PRIVATE VIOLIN LESSONS: All ages
welcome! Beginner to professional. Lessons
in english and french, music studio in the
Annex. info@andreatyniec.ca
PRIVATE VOICE/PIANO/THEORY
LESSONS: Experienced, BFA Certified
Teacher located at Christ Church Deer
Park (Yonge & St. Clair). Prepares you or
your child for RCM exams, competitions &
auditions. Contact Jessika:
jwithakmusic@gmail.com 647-214-2827.
VegasNorth’s 2016 BIG BAND WORKSHOPS
These big band workshops focus on teaching
intermediate/advanced musicians how to
rehearse/perform in a big band ensemble
while having a ton of fun rehearsing
great charts. 12 sessions - Noon - 2 PM on
Sundays from April - June 2016 Location -
The Rehearsal Factory 330 Geary. Toronto
Registration is now open. info@vegasnorth.ca
WARMHEARTED PIANO TEACHER with
sterling credentials, unfailing good humor,
and buckets of patience. Royal Conservatory
washouts and nervous learners especially
welcome. Lovely Cabbagetown studio. “Best
teacher ever!” - Beaches tween. “Beats
studying with those Quebec nuns!” - Rosedale
senior. Peter Kristian Mose, 416.923.3060.
www.MoseMusicalArts.com. My students
have never won any prizes, except for love of
music. (And loyalty.)
FOR SALE / WANTED
CLASSICAL RECORD AND CD COLLECTIONS
WANTED. Minimum 350 units. Call, text or
e-mail Aaron 416-471-8169 or A@A31.CA.
FRENCH HORN suitable for advanced student
or working musician. One owner since 1978,
excellent condition. mjbuell@gmail.com
SAXOPHONE Bundy Selmer alto student
model; BASSOON Linton student
model; EUPHONIUM Besson four valve
compensating with laquer finish. Phone
416-964-3642.
STOLEN FROM CAR – Lorée OBOE &
ENGLISH HORN: What once was lost, now is
found. See story on page 84.
salukimusic@gmail.com
www.salukimusic.com
Introducing
BUSINESS
CLASSIFIEDS!
Ideal for ongoing promotion
of your services and products
to the WholeNote’s musically
engaged readership, in print and on-line.
Book by April 23, 2016 for our May edition!
classad@thewholenote.com
Rhodes
Electric Piano
Repair and Restoration
victormio@sympatico.ca
www.victormio.com
Ace Your Auditions
Mental Skills for
Performing Artists
Lisa Chisholm
www.masterperforming.ca
NEED HELP WITH
YOUR TAXES?
Specializing in personal
and business tax returns
including prior years
and adjustments
HORIZON TAX SERVICES INC.
• free consultation • accurate work
For CRA stress relief call:
1-866-268-1319
hts@horizontax.ca
www.horizontax.ca
DO YOU DRIVE?
Do you love
The WholeNote?
Share the love and earn a little
money! Join The WholeNote’s
circulation team: 9 times a year,
GTA and well beyond. Interested?
Contact:
circulation@thewholenote.com
RESTORE & PRESERVE
YOUR MEMORIES
Recital and gig tapes | 78’s
& LPs | VHS and Hi8 | 35mm
Slides |News clippings | Photos
& more, transferred to
digital files: CD’s, DVD’s,
or Video slideshow
ArtsMediaProjects
416.910.1091
Press kits,
image consulting,
& social media
for performers
www.lizpr.com
64 | April 1, 2016 - May 7, 2016 thewholenote.com

TIME FOR SPRING CLEANING! Is that
accordion gathering dust in your closet?
Are your band days just a hazy memory?
Someone out there would love to give your
nice old musical a new life. Advertise your
unused instruments or find one for sale with
a WholeNote classified ad! Contact classad@
thewholenote.com.
MUSICIANS AVAILABLE
SWEETHEART PARTY BAND? Do you provide
live music for weddings? Maybe also for
wakes, roasts & retirements, and all kinds of
occasions? Advertise your ensemble right
here for as little as $24 plus tax!! Contact
classad@thewholenote.com by April 23 for
the May edition!
SERVICES
ACCOUNTING AND INCOME TAX SERVICE
for small business and individuals, to save
you time and money, customized to meet
your needs. Norm Pulker, B. Math. CMA.
905-251-0309 or 905-830-2985
CD LINER NOTES, PROMO MATERIAL,
CONCERT PROGRAMS, LIBRETTI, WEB SITE
CONTENT AND MEMOIRS need proofreading
and editing for correct spelling and grammar,
clarity and consistency. Contact Vanessa
Wells, wellsread@editors.ca, for a copy editor
with a music background. Quick turnaround
and reasonable rates! wellsreadediting.ca
VENUES AVAILABLE / WANTED
ARE YOU PLANNING A CONCERT OR
RECITAL? Looking for a venue? Consider
Bloor Street United Church. Phone: 416-924-
7439 x22. Email: tina@bloorstreetunited.org.
PERFORMANCE / REHEARSAL / STUDIO /
OFFICE SPACE AVAILABLE: great acoustics,
reasonable rates, close to Green P Parking,
cafés & restaurants. Historic church at
College & Bellevue, near Spadina. Phone
416-921-6350. E-mail
ststepheninthefields@gmail.com.
Attention all Choirs!
Auditions coming
up?
Looking for a new
music director or
accompanist?
WholeNote classified ads get
your message out
cheep cheep cheep!
25% discount on classifieds if you join
the upcoming 2016 Canary Pages!
Classifieds deadline is April 23
classad@thewholenote.com
Trinity-St. Paul’s Centre
“One of the Top Five Classical Music
Venues in Toronto... Intimate. Ideal for
period ensembles and orchestras.”
(Michael Vincent, Musical Toronto)
Book with us today!
416-922-8435, ext. 21
tsp@trinitystpauls.ca
trinitystpauls.ca/sanctuary-jeanne-lamon-hall/
High School
Musicality
Come and study at Toronto’s
specialized High School of the Arts
MUSIC PROGRAMS IN:
Strings | Woodwinds | Brass |
Percussion | Piano | Voice | Composition
The Earl Haig Symphony Orchestra
First Place Orchestra, Toronto Kiwanis Festival 2016
Claude Watson Secondary Arts Program, Earl Haig Secondary School
100 Princess Avenue, North York, ON | (416) 395-3210 x20137
Other Claude Watson Programs: DANCE | VISUAL ARTS | DRAMA | FILM
Choral Night
April 18, 7pm
Grace Church-on-the-Hill
Symphony-Band Night
May 3, 7:30pm
Cringan Hall, Earl Haig Secondary School
Tickets and info
416- 395-3210 x 20141
claudewatson.ca
For more information visit
www.earlhaig.ca
View our YouTube channel
Visit us on Facebook & Twitter
CLAUDE WATSON MUSIC
thewholenote.com April 1, 2016 - May 7, 2016 | 65

WE ARE ALL MUSIC’S CHILDREN
April’s Child
Mireille Asselin
MJ BUELL
Mireille Asselin was born in Ottawa,
and grew up in St. John, New
Brunswick, and the Ottawa Valley.
She attended école secondaire publique De
La Salle, Ottawa, and moved to Toronto to
begin her bachelor of music at the Glenn
Gould School.
Now in her third season with the
Metropolitan Opera, Asselin made her Met
debut in the 2014/15 season in Manon, in the
role of Pousette. This season, as cover for the
role of Adele in Die Fledermaus, conducted
by James Levine, she was called upon to
perform when soprano Lucy Crow became ill.
Asselin sang the role on opening night (last
December 4) – by all accounts to the delight
of those who attended. (There’s a great interview
with Asselin at schmopera.com about
how the Met’s understudies prepare.)
“…Possessed of a beautiful crystalline
voice with a cool, bright middle register and
clear-as-a-bell top, Asselin has
a natural charm in her voice
and in her bearing.…“(Eric C.
Simpson. New York Classical
Review, December 5, 2015)
Last October in Toronto you
may have heard her in Mahler’s
Symphony No.4 with the Royal
Conservatory Orchestra, or more
recently in a Songmasters Series
recital at Mazzoleni Hall called
“Le travail du peintre,” with baritone
Brett Polegato. April 7 to 16
Asselin will sing the role of Celia
in Opera Atelier’s much-anticipated
production of Lucio Silla.
In May she will sing the title
role in Handel’s Berenice with
La Nuova Musica (London, UK)
at the Göttingen International
Handel Festival, and in June she’ll sing
Mahler’s Symphony No.8 with the Calgary
Philharmonic, followed by Cosi Fan Tutte at
Ashlawn Opera (Charlottesville VA).
Asselin earned her master’s from Yale
University’s opera program. She was a
member of the Canadian Opera Company’s
Ensemble Studio (2011 to 2013), and a Toronto
Summer Music Academy Fellow (Art of
Song) in 2012. Prior to her studies at Yale, she
completed a B.Mus. at the RCM Glenn Gould
School in Toronto.
Tell us about your childhood photo. It was
the dress rehearsal for our ballet school’s
year-end show. My mom and I had put great
care into making my cardboard tin-foil
star and I was quite proud of it. We always
performed our shows in the local high school
auditorium. I remember my classmates, and
the test of my patience having to wait for
(what seemed like) hours in my costume until
it was our turn to practise our scene on the
stage. I was fascinated with the older ballerinas
who seemed so graceful and talented.
Mireille Asselin lives in Riverdale with her partner
Chris Enns. Some of her other pastimes include
fawning over cute dogs in the park, taking math
classes for fun, baking unnecessary treats and
passionately advocating for Toronto’s east end.
Anything you would like to tell young
Mireille? I don’t think I would give young
me any special advice, because every hurdle
I encountered growing up taught me a hard
lesson that I am grateful for today. I think kids
have a beautiful curiosity and lack of selfconsciousness
that should be left alone for
as long as possible. I would, however, love to
have a casual chat with her…I think it would
be hilarious! I was a precocious, headstrong
kid, and I’m sure I’d profess opinions and
make categorical statements that would give
me quite a chuckle now. But you know, come
to think of it, I’d probably just tell her that she
was a lucky kid to have such a great family
and that she should give her mom an extra
kiss for bringing her to ballet classes.
What’s your absolute earliest memory of
hearing music? My mom says I first kicked
in her tummy during the Dance of the
Sugarplum Fairy at a performance of The
Nutcracker! My own strongest
memory is my father picking me
up and dancing me around our
living room to The Temptations:
I’ve got sunshine on a cloudy
day. When it’s cold outside I’ve
got the month of May. I guess
you’d say – what can make me
feel this way? My girl (my girl,
my girl) Talkin’ ’bout my girl…
Where did hearing music fit
into your childhood? Growing
up in a small-town I heard music
mostly at home (CBC was always
on in our kitchen), and in my
community at church, camps and
in my school choir.
A first memory of making
music? Endlessly singing Disney
songs into a little tape recorder
which I’m sure my parents regretted giving
me immediately. I was also very gifted at my
little xylophone!
CONGRATULATIONS TO OUR WINNERS!
Love conquers all, including (eventually) ancient Rome’s most infamous dictator, but the road to freedom and
democracy is paved with passion and plotting in Mozart’s first masterpiece, Lucio Silla. Presented by Opera Atelier
(April 7 to 16), at the Elgin Theatre, this new Canadian production features Kresimir Spicer in the title role of Lucio Silla
with Inga Kalna as Cinna. Mireille Asselin sings the role of Celia (Silla’s sister), with Peggy Kriha Dye as Cecillio and
Meghan Lindsay as Giunia. A pair of tickets each for Veronica Clarke-Hanik and Joe Orlando.
AND…for those who guessed correctly, but whose names were not drawn, Opera Atelier has created a special discount
code just for you – we’ll be in touch soon to provide it!
Ash Roses (Centrediscs 2014) is The Canadian Art Song Project celebration of Canadian composer Derek Holman and his
20-year prolific period of writing art songs. The featured artists are Mireille Asselin and Lawrence Wiliford, known for
their dedication to song and chamber repertoire, with Liz Upchurch (piano) and Sanya Eng (harp). All works previously
unrecorded! A copy for Otto Rath.
66 | April 1, 2016 - May 7, 2016 thewholenote.com

Making music with others? I joined choir
in first grade because I was new at school
and wanted to make friends. I remember our
choir director telling us to feel like Chia Pets,
with grass growing out of our heads in order
to get us to sing with more head voice and a
nice straight posture.
A first music teacher? Mrs. Goud was the
most special of my early piano instructors.
She had a beautiful house in the country,
she was glamorous and kind, and encouraged
me to compose. She made playing piano
about making music, not just getting all the
right notes.
The origins of your appetite for staged
works? I was always a theatrical kid,
putting on little pageants for my family and
performing in lots of different capacities. I
was also quite terrified of playing piano and
singing in front of people but I think that
my stubborn nature ensured that I couldn’t
quit just because it made me uncomfortable.
Ironically, I feel that it was precisely because
performing in public was such a challenge
for me that I took to it and ultimately made it
my career…
For a longer version of this interview
please visit thewholenote.com.
NEW CONTEST
Who is May’s Child?
Toronto, circa 1961
~ ~ Artistic director, impresario,
teacher, chamber musician.
~ ~ This warm smile has welcomed
summer music audiences in
hometown Toronto since 2010, at
Domaine Forget from 2001 to 2005.
~ ~ He can still play some
serious strings.
(See our concert listings, May 1.)
Know our Mystery Child’s name?
WIN PRIZES!
Send your best guess by midnight
on April 25.
musicschildren@thewholenote.com
REMEMBERING
Robin Engelman (1937 – 2016)
Intersecting with His Percussive Life
ANDREW TIMAR
As I write this, Robin
Engelman’s website
is filling up with
dozens of tributes, both
moving and humorous,
from around the world.
CBC Radio broadcaster
Tom Allen, on his show
Shift, eulogized Robin
for his “voracious love of
life and pursuit of knowledge,”
for his “integrity
and passion for getting
things right.”
Percussionist, music
teacher, composer, oenophile
and amateur golfer
Robin Engelman had
an active musical career
ranging over half a century
conducted at the highest
This photo, ca. 1972-73, captures York University instructors
Trichy Sankaran and Robin Engelman in the latter’s York
percussion studio in alert, active percussive dialogue. It’s
how I remember both men when I first met them.
artistic level, so perspectives on his life and work will be many, varied and likely, as often as
not, focused as much on the individuals he influenced as on Robin himself. He enlivened many
lives, mine included. Here is my take on it.
His musical path began in the US, but his distinguished contribution to Toronto’s musical
life was wide and deep. As a percussionist he had extended engagements with our symphony
orchestra under the eminent conductors Seiji Ozawa and Karel Ančerl, our opera company,
and for more than 15 years with New Music Concerts. It was, however, his nearly four decades
performing with Nexus that most keenly defined his career as a musician.
Being an avid Toronto concertgoer and an active contemporary music student, then musician
and composer, I witnessed and savoured Robin’s work in each of his roles from the
1960s on. Witnessing him among his varied colleagues in the act of musicking proved to be
defining musical moments, keys of inspiration. They helped to unlock the doors of my own
musical journey.
He was also a passionately critical teacher and musical mentor to generations of percussionists.
Though I was never formally his student, our paths first crossed at York University in
the early 1970s. I was already an undergrad there, focused on the bassoon, composition and
ethnomusicology, when Robin made his presence known, and felt, as an instructor of percussion
there. His studio at Founders College, chock-a-block with orchestral and non-Western
percussion instruments, was heady turf for young musical keeners like me.
In this early 1970s photo, Engelman is playing the standard drum practice pad with an
intense musical focus, not on his instrument his hands or thoughts, but rather on his musical
partner of the moment. With drumsticks in hand, he’s tackling “Three Camps” (according to
his own caption to the photo) with his illustrious York University colleague, my teacher and
later fellow performer, Trichy Sankaran, here playing the kanjira. They’re surrounded by the
tools of Robin’s trade. Looking closer, we see they’re poised like two dancers, the tension and
excitement of their musical dialogue palpable in their body language and gaze.
With minimalism in the York air – and Nexus right in the thick of it (more on that later)
– I started a student percussion-centric group which made its own music cheekily tagged
R[hythm] Pals. Robin encouraged me and permitted us to rehearse at his studio. He also
generously allowed us to use his instruments, including the kulintang, a gongchime from the
Southern Philippines, which I played extensively in the ensemble in concerts at York, A Space,
The Music Gallery and at the University of Western Ontario, London. That kulintang, the gong
ensemble in which it is featured, R-Pals, as well as the numerous performances of Nexus I
attended at the time, were all determining factors in setting the tone for my lifelong taste for
the sounds of percussion, and more specifically, gong ensembles.
That specific sonic taste for gongs has morphed into a career-long deep and abiding
affection, exemplified most enduringly in my 33 years with Toronto’s Evergreen Club
Contemporary Gamelan, Canada’s pioneering ensemble of its kind. Robin had, over the
decades, attended a number of ECCG concerts, partly because he was genuinely passionate
about avant-garde music, but in large part I think, in order to support – and sometimes challenge
– the local community of percussionists, many of whom considered him a mentor. As
more of his former University of Toronto students began to perform with the group, Robin
COLLECTION OF ROBIN ENGELMAN
thewholenote.com April 1, 2016 - May 7, 2016 | 67

RAMONA TIMAR
R-Pals rehearse in Robin Engelman’s studio at York U. (left to right: Don
MacMillan, David Kent, Andrew Timar, Nicholas Kilbourn, ca 1974).
made it a point to see what we were doing. In 2014, he even published
his review of an ECCG concert on his website. Following a lifelong
practice of telling it as he saw and heard it, he pulled no punches!
On April 14, Soundstreams will present “Steve Reich at 80,” in
celebration of one of the shakers of musical minimalism, and as I
had alluded to earlier, there’s a Robin and Nexus connection here
too. Nexus co-founders Russell Hartenberger and Bob Becker were
both also original members of the seminal Steve Reich and Musicians,
formed in 1966. Then, when Nexus was born in 1971 in Toronto, Robin
was on board as a charter member. During their many extensive residencies,
national and international tours, Robin was there (installments
of his tour diaries can be read on the Nexus website). And
Reich’s music was often on the program. His minimalist masterwork,
Music for Pieces of Wood, videoed in a 1984 Tokyo concert, has
surpassed 242,000 YouTube views.
Returning once more to that evocative early 1970s photo of
Sankaran and Robin, to me it captures a key feature of that era’s York
University music scene and Robin’s place in it. In retrospect, the place
was at the beating heart of a kind of transcultural music making, and
for a few (trans)formative years I was privileged to be part of it. I’ve
spent a career since exploring several such musical broader crossings
and meetings. That photo reminds us that Robin’s York studio was
one of its early touchstones, while his continuing friendship was yet
another. He is already missed by many.
The WholeNote’s regular world music columnist, Andrew
Timar, is a Toronto musician and music writer.
HalfTones Highlights
Peter Maxwell Davies’ Canada Connection
THE INTERNATIONALLY RENOWNED COMPOSER AND FORMER MASTER OF THE QUEEN’S MUSIC DIED OF
LEUKEMIA ON MONDAY, MARCH 14, AT THE AGE OF 81. IN THE MARCH 16 ISSUE OF HALFTONES, OUR
MIDMONTH E-LETTER, OUR SOCIAL MEDIA EDITOR, SARA CONSTANT WROTE ABOUT HIS INFLUENCE.
BBC
In a recent article by Andrew Clements,
The Guardian referred to the late Sir
Peter Maxwell Davies as “one of the
great fixed points in the firmament of
British music.” Perhaps best known in
North America for works like his music
theatre piece, Eight Songs for a Mad
King, Maxwell Davies was a prolific
composer who over his long career tried
his hand at an array of classical genres
and styles. From his early experimental -
and at times controversial - pieces, to his
more symphonic writing of the 1970s,
to his ‘light classical’ approach later in
life, Maxwell Davies’ musical voice was a
many-chaptered, multifaceted one.
It just so happens that Maxwell Davies
was a frequent visitor to Canada and the
United States, both as a guest composer
and conductor - and sometimes serving as
both, as he did on tour in Canada with the
Scottish Chamber Orchestra in 1988. He
also left a musical impression, writing Job -
a massive three-part oratorio, over an hour
in length - for the CBC Vancouver Orchestra
and Vancouver Bach Choir, who premiered
it in 1997.
More locally in the Toronto scene, Maxwell
Davies proved a valuable resource for
such local fixtures as Aradia Ensemble’s
Kevin Mallon - who was a student of his at
Dartington College of Arts - and New Music
Concerts, when the organization was still in
its infancy. In the early years of NMC in the
1970s - a tone-setting time both for the young
Peter Maxwell Davies
concert series and the Canadian new music
scene at large - Maxwell Davies compositions
figured prominently in the programming,
featured alongside works by Claude
Vivier in 1976 as well as in a show specifically
dedicated to Maxwell Davies later that year.
Interviewed at the time by the CBC, NMC
director Robert Aitken cited Maxwell Davies’
aesthetic as an approachable, complementary
counterpart to music like that of Vivier’s,
and the 1970s as a transitional time for new
music, where “music is more exciting now
than it perhaps has ever been…where literally,
anything goes.”
That interview is archived online (at musiccentre.ca/node/16954)
by the Canadian
Music Centre, where you can check it out for
a glimpse into Toronto’s - and Maxwell
Davies’ - musical past. And as for New
Music Concerts, now approaching its
45th season, things still seem musically
as exciting as ever. You can find details
on their upcoming April 3 program “Viva
Electronica,” which features electroacoustic
works from a host of Canadian
composers, in our listings and at
newmusicconcerts.com.
Incidentally, baroque ensemble Aradia
is scheduled to close its 2015/16 season
with a performance on June 4 of none
other than Maxwell Davies’ infamous
Eight Songs for a Mad King, featuring a
guest appearance by Montreal-based new
music group Paramirabo. While maybe
the reason behind this performance’s
suddenly-apt timing isn’t the cheeriest one,
the piece is a real modern classic, and Aradia
and Paramirabo are sure to put on a topnotch
show. You can find the details online at
aradia.ca.
Sara Constant is social media editor at
The WholeNote and studies musicology at
the University of Amsterdam. She can be
contacted at editorial@thewholenote.com.
Sign up for HalfTones!
Scroll down on thewholenote.com to our
“Newsletter Signup” box to sign up for
HalfTones, and keep an eye on your inbox
mid-April for the next issue.
68 | April 1, 2016 - May 7, 2016 thewholenote.com

DISCOVERIES | RECORDINGS REVIEWED
DAVID OLDS
As I have had occasion to mention before,
my day job is general manager at New
Music Concerts, an occupation with
brings me into contact with some of the finest
musicians and composers from across Canada
and around the world. So in the spirit of full
disclosure I will say that I have had professional
dealings with the artists involved in the
project Horațiu Rădulescu – Piano Sonatas
and String Quartets. Pianist Stephen Clarke has been a frequent
performer on our series over the years and in January we had the
great pleasure of presenting JACK Quartet in conjunction with Music
Toronto. Rădulescu (1942-2008) was a Romanian composer active
in the French school of spectral composition. He wrote six piano
sonatas and six string quartets during a career which saw him based
in France, Germany and later Switzerland, after leaving his homeland
in 1969. Volume One of this series (Mode Records 290), which will
ultimately include all of the sonatas and quartets, presents us with
three very contrasting works, Piano Sonata No.2 Op.82 (1991), String
Quartet No.5 Op.89 (1990-95) and Piano Sonata No.5 Op.106 (2003).
As this is my first exposure to Rădulescu’s music it is hard to know
whether the difference in approach between the keyboard and string
writing has more to do with the nature of the instruments themselves
or if it is simply a matter of different concerns in the different works.
Each of the pieces has a subtitle taken from the Tao te Ching of the
sixth-century BC Chinese philosopher Lao Tzu. The Second Piano
Sonata “being and non-being create each other” is in three movements:
Immanence, Byzantine Bells and Joy, in decreasing durations
of Fibonacci proportions (we are told in the excellent notes by Bob
Gilmore). The overall feel of the piece is contemplative, with even
the “Joy” of the third movement seeming contained rather than
exuberant. We are even treated to echoes of Beethoven’s “fateknocking”
theme from the Fifth Symphony in the closing moments
of the sonata. While in his earlier years Rădulescu had treated the
piano in a number of unconventional ways – turning it on its side and
bowing the strings with rosined cords; retuning the piano spectrally to
free the natural harmonics hampered by tempered tuning – with the
Second Sonata he seems to have reconciled his language to the use of
a conventional concert instrument.
This is not the case with the Fifth String Quartet “before the
universe was born,” which uses a number of extended techniques to
expand the palette of the strings in some unimaginable ways, which
is to say that there are some sounds produced that I can’t begin to
understand the origins of. The 29-minute work is in 29 brief sections,
each with a quote from Lao Tzu beginning with “The unnamable
is eternally real (darkness, the gateway to all understanding)” and
ending “The world is sacred (it can’t be improved).” Again contemplation
is the mood of the piece, with clouds of quiet sounds, but
just past the halfway point things get more aggressive and there is an
extended section of quite abrasive sound. Although there are moments
of respite along the way, the work ends with insect-like buzzing
and gnashing.
The Fifth Sonata “settle your dust, this is the primal identity”
returns to modal melodic material. It is based on Romanian folk music
and its drone- and bell-like passages are a genuine relief after the dark
journey of the Fifth Quartet. Perhaps the subtitle of the third movement
tells it all: “Use your own light /and return to the source of light.
This is called practicing eternity.”
Stephen Clarke, who we know is comfortable in many modern
idioms from the gentle, sparse music of Linda Catlin Smith to the
aggressive complexity of Pierre Boulez, seems well at home in this
largely unknown repertoire. And with their extensive work with
Helmut Lachenmann I can’t think of another group better suited to
the extended demands of Rădulescu’s string writing than JACK.
In keeping with the full disclosure of my
opening paragraph, it was New Music Concerts
who first brought Steve Reich to Toronto back
in 1976 and was responsible for my initial
exposure to his music. In recent years it has
been our colleagues at Soundstreams who
have been Reich’s premier sponsors in the city
and this month they will pay tribute to “Steve
Reich at 80” with a performance of, in my
opinion, the jewel in the crown of his oeuvre,
Music for 18 Musicians.
In October 2014 the Ballet de l’Opéra
national de Paris presented choreographer
Anne Teresa de Keersmaeker’s Rain (Bel Air Classiques BAC126), a
setting of Music for 18 Musicians as performed by Ensemble Ictus
and Synergy Vocals under Georges-Elie Octors’ direction. I admit to
being out of my zone of comfort here, not being well versed, or even
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VIVALDI : LES VIOLONS DU ROY
MATHIEU LUSSIER conductor
Mathieu Lussier leads the Quebecbased
ensemble Les Violons du Roy
in this recording of quintessential
works selected from the 500
concertos composed by Vivaldi.
SCHUBERT
To celebrate the 65th birthday of
world-renowned pianist Janina
Fialkowska, ATMA Classique
is delighted to release this
new recording of Schubert’s
Impromptus and Sonata.
Hélène Grimaud’s WATER is an
evocative, experimental, deeply
personal project combining her
two greatest passions: music and
nature.
thewholenote.com April 1, 2016 - May 7, 2016 | 69

particularly interested, in modern dance. But the ten athletic dancers
running gazelle-like (or is it Giselle-like?) around the stage in patterns
reminiscent of a Samuel Beckett play on speed proved to be almost as
hypnotic as the music. The focus of the film is understandably on the
dancers, with only occasional tantalizing glimpses of the musicians,
but the 5.1 Dolby digital sound is immaculate and the performance is
compelling.
Concert Note: On April 14, Soundstreams presents a very ambitious
program at Massey Hall, including Reich’s iconic Clapping Music, the
large choral work Tehillim and Music for 18 Musicians.
Steve Reich provides the bridge to the next
disc, Density, featuring flutist Claire Chase
(clairechase.net) which has been waiting
patiently on my desk for the past year. It
opens with Reich’s Vermont Counterpoint
for 11 flutes (piccolos, flutes and alto flutes),
conceived as a work for flute “choir” or to be
overdubbed by one player (as first performed
and recorded by Ransom Wilson). As with all the works on this disc,
Chase plays all of the parts in studio recordings in which the layers
blend seamlessly. All are by living composers with the exception of the
title piece Density 21.5 which Edgard Varèse (1883-1965) composed
for a solo platinum flute in 1936 (21.5 grams being the approximate
density of a cubic centimeter of platinum). The other works all involve
multiple flutes and/or electronics.
Of particular note for its rich sonorities is Marcos Balter’s Pessoa
for six bass flutes. Alvin Lucier’s Almost New York for piccolo, flute,
alto, bass and contrabass flutes, and pure wave oscillators, takes
some getting used to. The pure electronic sounds are quite harsh
in comparison with the warmth of the natural flutes, but eventually
our ears adjust and the contrast is quite effective. That being said,
Philip Glass’ homage to Erik Satie, Piece in the Shape of a Square for
two flutes, comes as breath of fresh air after 25 minutes of the sterile
sounds produced by Lucier’s oscillators.
Luciform for flute and electronics by Mario Diaz de León presents a
very different electronic soundscape: synthetic layerings and contrapuntal
accompaniments to the rich sounds of the flute in its lower
register. Again, to my ears, the purely acoustic sounds produced by
the platinum flute in Varèse’s Density 21.5 are more interesting by far.
Nevertheless, Chase is to be congratulated not only for her dexterity
throughout the full range of flute family but also for her diverse choice
of repertoire, producing a 75-minute homophonic program that holds
our interest from start to finish.
Concert Note: To hear all the members of the conventional flute
family (contrabass to piccolo) combined in a live flute orchestra I
recommend (conflict of interest duly noted) “Flutes Galore,” a concert
of contemporary music for 24 flutes presented by New Music Concerts
on April 24 at Saint Luke’s United Church.
If Claire Chase has shown mastery in
combining all the members of one instrumental
family through “the magic of the
studio,” what is to be said of Mike Herriott?
On Isn’t Life Grand (mikeherriott.com) this
consummate musician is responsible for not
only the entire horn section (piccolo trumpet,
trumpets, flugelhorns, French horns and
trombones), but also basses and piano. He is
joined by frequent collaborator Richard Moore on drums and percussion
throughout, with a (very) few other guests on several tracks. The
overall sound is rich and warm and takes me back to the great horn
arrangements I heard in my formative years from the likes of Chicago,
Lighthouse and Blood, Sweat and Tears. Herriott penned all the tunes
and, with the exception of the extended Free at Last arranged by the
late, great Canadian flugelhorn icon, Kenny Wheeler, did all the arranging
too. Fittingly, Herriott provides a lush flugelhorn solo on Free at
Last and is joined by Dave Reid for a bass trombone solo. The style is
quite mainstream, and I am left thinking that with some lyrics and
a singer like David Clayton Thomas this music could have been top
of the charts back in the day. I mean that in the nicest possible way
though and am in awe of this one-man big band that is Mike Herriott.
Another disc that spans mainstream jazz
and pop sensibilities is Taylor Cook’s The
Cook Book (taylorcook.com). In this instance
though, the composer/leader has some fine
Toronto players contributing to his ensemble.
This is not to say that Cook is a one-trick pony
by any means. The basic tracks see him on alto
sax, flute and clarinet, with bandmates Jack
Bodkin, keyboards, Brandon Wall, guitar, Justin Gray, acoustic and
electric bass, and Robin Claxton, drums. This is complemented by a
host of horns and woodwinds on such tracks as the rollicking Biker’s
Dozen and the sultry Lilia which also includes string quartet. Another
track where the ranks swell is Cook’s effective arrangement of On the
Sunny Side of the Street which features a horn sextet. All of the other
tracks are composed and arranged by Cook, including Splainin’ with
lyrics by Neil Surkan and plaintive vocals by Alex Samaras, with the
exception of the closing, soulful Testifyin’ by Fender Rhodes-playing
Bodkin. In all, The Cook Book provides some tasty recipes, prepared to
perfection.
As noted with modern dance above, I
confess to being somewhat out of my comfort
zone in the world of serious modern jazz. In
my formative years however, I did spend quite
a bit of time combing the shelves of John
Norris’ Jazz and Blues Centre down on King
St. West and building a collection of the standards
of the time: Monk, Coltrane, Hawkins,
Rollins, Davis, Parker, Coleman, MJQ, Brubeck and, as mentioned
in last month’s column, even the Quintet of the Hot Club of France.
Montreal bassist Alain Bédard and his acoustic Auguste Quartet take
me back to those exciting years of discovery. Circum Continuum
(Effendi Records FND 144) features Félix Stussi on piano, Samuel
Blais on saxophones, Bédard on contrabass and Michel Lambert
on drums. The music is old fashioned in the sense that is reminiscent
of the music I was listening to in the 70s and 80s from the pioneers
of post-bop jazz: uncompromising yet cohesive, melodic without
being tuneful. Often busy in its undercurrents, but overlaid with long
lines, and with nothing extraneous – all four members of the machine
integral to the process. Bédard composed nine of the 13 tracks with
the other members each contributing one of their own. The only
“outside job” is Oelo by Gilles Bernard, inspired by Sonny Rollins’
Oleo. Lambert’s Blue Mitch begins with an enervated extended drum
and saxophone duet, eventually tamed by the bass and piano before
reestablishing their dominance in a harmolodic-style ending. Blais’
Noirceur Passagère features a haunting saxophone melody that gives
way to a pizzicato bass solo that segues into Stussi’s Garissa evoking
a Night in Tunisia sensibility. Bédard’s Le Gras Mollet with its block
chord melody in the sax, piano and bass over a walking drum and
cymbal line brings this excellent disc to a very satisfying conclusion.
David Olds, DISCoveries Editor
discoveries@thewholenote.com
We welcome your feedback and invite submissions. CDs and
comments should be sent to: DISCoveries, WholeNote Media Inc.,
The Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON
M5S 2R4. We also encourage you to visit our website thewholenote.
com where you can find added features including direct links to
performers, composers and record labels, “buy buttons” for on-line
shopping and additional, expanded and archival reviews.
70 | April 1, 2016 - May 7, 2016 thewholenote.com

Narratives on Life – music for cello and
piano is the latest CD from the Ottawa
duo of cellist Joan Harrison and pianist
Elaine Keillor (Marquis MAR 81467). The four
varied works are connected by the composers’
shared Jewish heritage and are not often heard
– indeed, three of the performances here are
world premiere recordings.
Srul Irving Glick’s Chagall Suite for Cello
and Piano is a three-movement work from 1993 inspired by the Marc
Chagall paintings The Cellist, The Lights of the Wedding and The Big
Circus. There’s some lovely tone and colour from the cello, although
the piano seems to be a bit far back in the balance.
My feeling that the playing was perhaps a bit too subdued was
reinforced by the second work, the Sonata for Cello and Piano by the
Canadian composer Steven Gellman. Completed in 1994, its third
movement finale is titled Scherzo (on a Heavy-Metal rhythm), but
while the playing here is more than up to the technical challenges it
really seems to need more fire and energy.
The one work I would have thought would be a first recording
turned out to be the only one that wasn’t. The musically multitalented
child prodigy Hélène Riese Liebmann was born in Berlin
in 1795 and was already having her compositions published by 1813,
a quite remarkable achievement in an age when the likes of Fanny
Mendelssohn and Clara Schumann would have to resort to having
their compositions published under the names of their respective
brother and husband. The Grand Sonata in B-flat Major for Cello and
Piano Op.11 is a very pleasant work and it is very much of its time.
While studying at Yale University Harrison met the son of the
American composer Maurice Gardner (1909-2002) whose Sonata for
Cello and Piano completes the CD.
Gardner had a long and varied musical career in many commercial
spheres, and was finally able to concentrate on non-commercial
compositions when he reached his 60s. Harrison’s acquaintance
with his son led to her being coached by the composer himself in the
playing of this sonata, and it shows: it’s not only the strongest and
most assured work on the CD, but also draws the most committed and
convincing playing from the performers.
It’s a fine ending to a very interesting CD.
Say what you will about Antonio Vivaldi – and despite the huge
popularity of his music, he isn’t everyone’s favourite composer – his
voice is unmistakeable. We’ve all heard the old line – that Vivaldi
didn’t write 500 concertos but wrote the same concerto 500 times
– but the truth is that despite the continuous sequences, circles of
fifths, arpeggios, scales and rhythmic patterns that tend to obscure
the frequent absence of any real melodic material, there is a delightful
freshness and inventiveness and a sense of spontaneity that runs
throughout his instrumental music.
TERRY ROBBINS
before the final Concerto in C Major for Two Trumpets, Strings and
Continuo RV537, whose familiar opening three notes will immediately
bring to mind the closing doors on a TTC subway car for Toronto
residents; the dazzling third movement brings to a close a CD that is a
pure delight from start to finish.
The orchestral texture is warm and bright, with a discreet
and beautifully balanced continuo and a clear and resonant
recorded sound.
The young Spanish ensemble Trio Rodin
is featured in a lovely CD of music of their
homeland with Enrique Granados Chamber
Music with Piano (Ævea Æ16013).
Chamber music was a neglected field in late
19th-century Spain, a situation that Granados
addressed in his compositions; his Piano Trio
Op.50 was one of two chamber works that he
performed on his debut in Madrid’s musical
society in 1895. It’s an attractive work that allows all three performers
here to showcase their technique, their warm tone and their ensemble
skills. For this recording Trio Rodin worked from the autograph
manuscript source, apparently only recently identified.
Pianist Jorge Mengotti is joined by cellist Esther García in the three
pieces Madrigal, Danza gallega and Trova, all adapted from previous
Granados works and all dedicated to Pablo Casals.
The remaining eight tracks on the CD feature violinist Carles Puig.
Romanza is a lovely, lyrical miniature that brings sensitive playing
from the duo. The Tres preludios are extremely short (less than four
minutes in total) but quite effective.
The unfinished Sonata for Violin and Piano completes the disc. It
dates from the same period as the Piano Trio, but until fairly recently
the beautifully rhapsodic first movement was thought to be all that
was completed; Trio Rodin, however, found a completed second
movement in the same manuscript source as the Piano Trio, together
with very brief opening fragments for an Andante and a Finale; all the
material is presented here.
The works here are all finely crafted and beautifully played, with an
exceptionally clean recorded sound.
Every now and then a CD comes along that reminds you how
easily you can lose track of contemporary composers and their works
if your focus is always on the standard repertoire and the established,
traditional composers, and how much of real value you can
consequently miss.
Visit TheWholeNote.com/Listening
These qualities are more than captured in
Vivaldi, the outstanding new CD from Les
Violons du Roy under Mathieu Lussier (ATMA
ACD2 2602). Moreover, the six concertos
here display the wide range of solo combinations
that Vivaldi used, as 16 of the orchestra
members are featured as soloists. Just look
at the range of works: the two Concertos in
F Major for Violin, Two Oboes, Bassoon,
Two Horns, Strings and Continuo RV569 and RV574; the Concerto
in B Minor for Four Violins, Cello, Strings and Continuo RV580; the
Concerto in G Minor for Violin, Two Recorders, Two Oboes, Bassoon,
Strings and Continuo RV577; and the Concerto in E Minor for Four
Violins, Strings and Continuo RV550.
There is a brief Sinfonia from the opera La verità in cimento, RV739
'Glassworlds Vol. 3' reveals the
"Metamorphosis" in Glass’s work
from his '80s film and theatre
transcriptions, through "The
Olympian", composed for the Los
Angeles Olympiad, to rarities such
as "Coda".
Despite the popularity of
Khachaturian’s ballet music, his
works for piano have been relatively
neglected. This CD combines
arrangements of popular pieces
with less familiar works.
thewholenote.com April 1, 2016 - May 7, 2016 | 71

One such CD is Meanderings, the terrific
new solo release from the Israeli violinist Yael
Barolsky (negevmusic.wix.com/negevmusic).
While Luciano Berio’s name will be familiar
to most, the same may not be true for Dai
Fujikura (b.1977), a Japanese composer now
resident in the UK; the Boston-born Israeli
composer Amos Elkana (b.1967); the soloist’s
father, Lithuanian Michael Barolsky (1947-2009); and Italian Luca
Francesconi (b.1956), although all five composers are represented here
by strong, engrossing works.
Berio’s Sequenza VIII from 1976 is at the heart of the album for
Barolsky, who credits its character and technical demands as leading
to, and influencing the selection of, the other works on the CD. The
ease and comfort with which she negotiates a really challenging piece
more than bear out her statement that it is a piece she has loved and
performed for many years.
Fujikura’s 2010 composition Fluid Calligraphy for violin and
optional video (the latter obviously not included here, but viewable in
a complete performance on daifujikura.com) is an attempt to recreate
the principles of Japanese calligraphy by using the bow as the equivalent
of the calligrapher’s brush. Although it encompasses a wide range
of technical effects it remains a very accessible work.
Elkana’s Reflections for violin and electronics was written for
Barolsky in 2014 and is dedicated to her. A computer records the
solo violin, but only at specific points in the solo part, and plays the
recordings back through four speakers positioned beside the player.
The result is a multi-layered collage of voices where distinguishing
between the live and recorded playing becomes virtually impossible
at times; only the first appearance of new material clearly identifies
the live soloist. It’s extremely effective, with mixes of high and low
registers, pizzicato and arco sections and fast and slow tempi, with a
beautiful quasi-chordal section at the end.
Michael Barolsky’s Prana (the Sanskrit word for life force) for violin
and tape from 1977 fuses the composer’s melodic lines with fragments
from the Bach D Minor Allemande (in slow tempo) against a background
of electronic sounds invoking nature.
Francesconi’s 1991 composition Riti neurali for violin and ensemble
is a live recording with the Israel Contemporary Players under Ilan
Volkov. Subtitled Third Study on Memory, it was inspired by the
composer’s fascination with a particular theory on the function
of memory.
Barolsky’s playing is simply outstanding throughout a CD that is a
significant addition to the contemporary solo violin discography.
Lutenist Žak Ozmo explores the music of Vincenzo Galilei on The
Well-Tempered Lute Tones I-IV, another excellent CD from Hyperion
(CDA68017).
Galilei was a respected member of the Camerata, an influential
group of humanists, musicians, poets and
intellectuals active in Florence in the late
1500s. The music here is taken from his Il
Primo Libro d’intavolatura di liuto (1584),
written for a six-course lute and which Ozmo,
in the outstanding booklet notes, calls the first
substantial musical collection to champion the
versatility of a well-tempered tuning system,
demonstrating the lute’s ability to transpose
pieces to any of the 12 degrees of an equally tempered scale. Ozmo
explains in fascinating detail the philosophical, interpretational and
technical challenges that the work presents – which he says push both
the player and the instrument to their limits – as well as the questions
that need to be answered in order to perform it.
The technical challenges are clearly handled well, although the
playing seems a bit dry and tight at times, no doubt due to the fact
that in order to play the pieces on each step of the scale, the index
finger of the left hand needs to be kept flat on the fingerboard after
the first step. Anyone who has ever tried playing classical guitar with a
permanent full barre chord will know what that entails!
Still, this is a fascinating CD that will doubtless more than repay
repeated listening.
There’s another series of the Beethoven
Complete String Quartets making its way
through these remarkable works, this time
by the Quartetto di Cremona on the audite
label (92.684). The first volume was issued in
March 2013.
I haven’t heard any of the previous releases,
but if the new Volume V Super Audio CD is
anything to go by, then I’ve really been missing something. There’s
only one quartet on this issue – No.15, the String Quartet in A Minor
Op.132 – but the ensemble is joined by the outstanding Lawrence
Dutton on viola for the early String Quintet in C Major Op.29.
This Italian quartet has been around for ten years now, and much is
made of their training with the Quartetto Italiano’s Piero Farulli and
the Alban Berg Quartet’s Hatto Beyerle; the resulting mix of an intuitive,
emotional approach to the music with the classical German-
Austrian focus on form and structure. Their playing here certainly
bears that out, with a fine sense of shape and form never compromising
the warmth and spontaneity of the playing.
Three further volumes are planned to complete the series of eight
regular-priced CDs. How this set will fare in a fiercely competitive
field where 2CD issues and box sets are the norm remains to be
seen, but the performances themselves will more than hold their
own, I’m sure.
Visit the Listening Room Online. Enhanced reviews. Click to listen. Click to buy.
What if you could
listen in?
Now you can!
Previously uploaded to
the Listening Room
Fairouz has rapidly become one
of the most highly regarded
composers of his generation. The
songs on 'No Orpheus' represent a
decade of his writing for voice.
ABENG is the 3rd album from
electric bassist Rich Brown.
The music has been described as
highly charged, richly imaginative,
and at times poignant.
TheWholeNote.com/Listening
For more information
Thom McKercher at
thom@thewholenote.com
Orbis is an album through which
contemporary works are given a
new and vibrant life. The harp like
you’ve never heard it before!
72 | April 1, 2016 - May 7, 2016 thewholenote.com

Keyed In
ALEX BARAN
Janina Fialkowska’s new recording of
Schubert – Piano Sonata No.7; Four
Impromptus (ATMA ACD2 2699) is an
example of familiar repertoire rethought,
reconsidered and reinvented. Nothing has
been turned on its head nor has Schubert been
over-examined for missed content. The genius
of his ideas lies in both their lyric value and in
the exquisite nature of his supporting accompaniments.
What Fialkowska has done is to redraw the emotional map
that guides her playing through Schubert’s straightforward material.
She plays the Impromptu No.2 in A-flat Major Op.142 D935 as if it
were something sacred. The opening idea is delivered in utter simplicity
and the middle section rises to a speed and intensity not often
heard. This pulls the work’s emotional poles further apart and gives
greater impact to the quiet ending. The other three impromptus, too,
are wonderfully recast.
The Piano Sonata No.7 in E -flat Major Op.122 D568 benefits from
a release of tempo strictures in the second and third movements.
Fialkowska gives Schubert’s simple ideas an airy freedom that feels so
completely right. She is, as ever, the mature interpreter we have come
to admire.
Concert Note: On April 1 and 2 Janina Fialkowska performs
Chopin’s Concerto in F Minor with the Kitchener-Waterloo Symphony
at the Centre in the Square.
It’s always a pleasure to hear a new
recording from Angela Hewitt, regardless
of the repertoire. Early 2016 saw the release
of Domenico Scarlatti – Sonatas (Hyperion
CDA67613), her first project with this material
and one which she hopes to pursue more. In
her liner notes, Hewitt makes reference to
the scholarly debate over whether the sonatas
were originally intended to be paired or not.
She has, nevertheless, chosen to devise her own groupings, to the
sonatas’ best advantage.
Playing her long-favoured Fazioli, Hewitt delivers a flawless technical
performance with clarity never sacrificed to speed. Scarlatti’s
sonata structures are simple enough to navigate and one might expect
that in the course of 16 such works a certain amount of predictability
would set in. But this never happens as Hewitt gives the main idea
of each sonata a completely fresh approach. She also never misses a
contrapuntal opportunity, and plenty abound throughout. Her ornaments
and figures are perfect. She is also completely at ease using
whatever technical advantage the modern piano offers to this older
repertoire, whether dynamic or colouristic. The Sonata in G Minor
Kk8 is an excellent example of this as is the Sonata in F Minor Kk69.
The final track is a bit of surprise as Hewitt’s choice of tempo is
notably slower than most often heard. This turns the Sonata in E
Major Kk380 into a far more thoughtful and even slightly melancholy
utterance than we expect. We look forward to her next set of
Scarlatti sonatas.
Concert Note: On April 13, 14 and 16, Angela Hewitt performs two
piano concertos by Bach with the Toronto Symphony Orchestra. The
program also features Symphony No.8 by Shostakovich, conducted by
Peter Oundjian.
In her latest disc Hélène Grimaud – Water
(Deutsche Grammophon CD 00289 479
3426), pianist Hélène Grimaud draws from
the well of repertoire using water as its inspiration.
Nearly every composer has written
something depicting an aspect of water
whether vast or minute. Her choices of works
were guided by a live performance project
incorporating art, music and architecture. Set
in a New York armoury drill hall carefully flooded for added effect, the
performance reflected her environmental concerns around the treatment
of water as one of humanity’s most precious resources.
Grimaud immerses herself completely in the nature of the
water theme. Aided by the cavernous acoustic of the armoury, she
captures all the fluidness and sparkling images created by her chosen
composers. Liszt’s Les Jeux d’eaux à la Villa d’Este is among the best
tracks for its articulate shimmer in the upper registers. The Takemitsu
Rain Tree Sketch II is beautiful for its deeply haunting reserve and
Fauré’s Barcarolle flows with unbound rhythmic freedom throughout.
The best track is, however, Debussy’s La Cathédrale engloutie. Here
Grimaud evokes an architectural grandness and solemnity so appropriate
to the composer’s image for the piece.
The recording produced at the art installation is combined with
seven electro-acoustic compositions by Nitin Sawhney that act
as transitions between her eight piano pieces. The contemporary
works serve effectively as transitions between the traditional repertoire
and are, in fact, titled as such, Transition 1, 2, etc. They alternate
seamlessly from one track to the next and make for a truly fascinating
listen.
It’s hard to imagine the mindset that a pianist must adopt to undertake
an extensive project like Valentina Lisitsa plays Philip Glass
You can find enhanced reviews of all discs below the yellow line at TheWholeNote.com/listening
"This dazzling debut album features
pure, emotionally eloquent vocals,
refreshingly eclectic selections
and stylistic arrangements that are
sure to leave you smiling."
Jan Lisiecki performs the complete
works of Robert Schumann for
piano and orchestra with Antonio
Pappano leading the Orchestra
dell'Accademia Nazionale di S.
Cecilia
Saffo is full of surprising & striking
elements, with a strong musical
realisation of the text, supportive
string and woodwind writing and
vivid choral effects.
Critically acclaimed world-jazz
group AVATAAR explores rhythmic
hypnotism, cinematic sonic
landscapes and soaring melody
through a seamless marriage
of ancient and modern musical
sounds.
thewholenote.com April 1, 2016 - May 7, 2016 | 73

(Decca 478 8079 DH2). This two-disc set
contains nine selections from The Hours and
other films like Mishima and The Truman
Show. Lisitsa also plays the Metamorphosis
I-V and the half-hour long How Now.
Conventionally, one imagines a performer
mapping out thematic structure and development,
and attending to such concerns as
articulation and phrasing. But in Glass’ world
these things can have far less significance and a performer may look
elsewhere to prepare.
Glass describes himself as a composer of “music with repeating
structures” and it’s this device that predominates throughout the
repertoire in this set. Lisitsa takes an approach that respects the
important patterns of Glass’ work but leaves her enough expressive
room to use speed and dynamics to shape the music. This is
most evident in How Now and Wichita Vortex Sutra. The experience
of playing this often hypnotic music is challenging. Lisitsa reaches
successfully for the other worldliness of Glass’ minimalist voice. She
never loses herself in it because she understands that the immersive
experience of Glass’ music is best reserved for the listener.
Concert Note: Valentina Lisitsa performs at Koerner Hall at 3pm
on April 10. The program will include Scriabin, Tchaikovsky
and Rachmaninov.
Young pianist Nicolas Horvath has a very
impressive reputation as a Liszt interpreter. It’s
no surprise then, that his approach to Glass in
Philip Glass – Glassworlds 3; Metamorphosis
(Grand Piano GP691) is strikingly different.
His own liner notes to this recording reveal
his inclination toward analytical detail. At the
keyboard he extracts thematic material from
the rotating structures that Glass sets spinning
like so many Buddhist prayer wheels. In doing so he compels the
listener to experience the music more melodically than its hypnotic
patterns might otherwise allow. This sets his performance of the
Metamorphosis I-V apart from most others. The melodic imperative
that seems to drive Horvath’s interpretation of Glass’ music is
even more powerful in Einstein on the Beach and the Piano Sonatina
No.2 (1959). There’s even a hint of programmatic interpretation in the
piano version of The Olympian – Lighting of the Torch and Closing.
By contrast, however, Horvath completely abandons all classical/
romantic sensibilities in Two Pages (1968), choosing instead to favour
the dominant mechanical nature of the repeating figures, leaving
only Glass’ subtle changes to play with the listener’s mind. This kind
of versatility makes Horvath a compelling interpreter and presents
the repertoire in a deeply engaging and listenable way. This disc is the
third volume in his Glassworlds series.
Kariné Poghosyan is an Armenian-
American pianist teaching at the Manhattan
School of Music. With a scholarly thesis on
the piano music of Aram Khachaturian to
her credit, her latest recording Khachaturian
– Original Piano Works and Transcriptions
(Grand Piano GP673) demonstrates the
affinity she has for this composer’s work.
The disc includes a new piano transcription
of the Masquerade Suite with its familiar Waltz, and the Suite
No.2 from the ballet Spartacus, in a new arrangement by Matthew
Cameron. Both performances are world premieres but the latter
is impressive for the way it presents the ballet’s well-known main
theme, particularly in its wide, sweeping orchestral gestures.
Also on the disc is Poem, a very early and somewhat troubled work
that Poghosyan performs with conviction, finding great serenity in the
quieter sections to balance the work’s darker passages.
The recording’s finest piece is, however, the Piano Sonata from
1961, one of Khachaturian’s few formal efforts in larger forms. The
opening movement is breathtaking for its relentless motion that only
has a brief respite midway through. Poghosyan plays this brilliantly
and brings it to an edge-of-your-seat close. The second movement is
remarkable for its unfamiliar and sometimes experimental language.
The final movement brings back the energy of the first but with more
intensity. This must be an exhausting piece to perform live. It is excitement
combined with mystery and Poghosyan plays it masterfully.
We tend to have set notions of the personalities
that shaped the music of most historical
periods. While the names of those who
dominate obscure the lesser, we sometimes
find, in the shadows, new material that helps
us understand an age in a richer way. And so it
is with the music of Daniel Steibelt and a new
recording by Howard Shelley that presents
three of his piano concertos in Stiebelt
(Hyperion CDA68104).
Born to German/French parents, Steibelt was a contemporary of
Mozart and Beethoven. He built his career as a pianist and composer
in France and England at the turn of the 19th century. He is reported
to have famously challenged Beethoven to a piano duel and forever
lived with the humiliation of that ill-conceived contest. Steibelt’s
music shows his remarkable keyboard facility with extended runs and
complex ornamentation. Although his work shows him to have been
a fine tunesmith, he is judged to have been much less competent at
thematic development.
Pianist and conductor Howard Shelley performs the Piano
Concertos Nos. 3, 5 and 7 with the Ulster Orchestra. Shelley’s
playing is graceful and delivers the full value of Steibelt’s decorative
tunes, many of them finely crafted and memorable, especially
the Scottish folk melodies in the slow movements. The orchestra
is superbly balanced with the piano, and while conducted from
the keyboard, their performance is unerringly intimate with the
soloist. The recording is a welcome document of a deserving, if lesser
known, composer.
Lauded by critics as the finest fortepiano
performer of our time, Kristian Bezuidenhout
has issued another installment in his ambitious
Mozart recording project, Mozart
Keyboard Music Vols. 8 & 9 (Harmonia Mundi
HMU 907532.33). Bezuidenhout plays a fortepiano
built in 2009, copied from a Viennese
Walter & Sohn of 1805. The instrument is
tuned to A 430 and set in unequal temperament. This has the effect
of reducing the instrument’s resonance in keys not part of C Major’s
harmonic overtone series, like D and F. This is hardly noticeable since
the fortepiano has, overall, characteristically less resonance than our
modern pianos.
These two volumes are well programmed with plenty of contrasting
pieces that make listening through their entirety highly enjoyable.
The familiar Sonata in C Major K545 opens the set and is striking for
the degree of clarity and articulation Bezuidenhout is able to express
at this keyboard. He plays the Gigue in G Major K574 with an incisive
angularity applied to both the rhythmic patterns and the intervallic
leaps that must have delighted Mozart in writing them. He also
includes three sets of variations and a couple of fragments completed
by Mozart scholar Robert Levin.
Bezuidenhout is a dynamic player not shy about digging into the
instrument forcefully to generate a fortissimo. He’s equally adept at
key touch so light that some notes seem to disappear on first hearing.
A quick replay confirms their presence but only at the softest levels.
The two-disc set contains selected works from 1774 to 1790 and, like
the rest of the series, is not chronological.
74 | April 1, 2016 - May 7, 2016 thewholenote.com

VOCAL
The Way of the Pilgrim
Toronto Consort
Marquis Classics MAR 81465
(marquisclassics.com)
!!
The Toronto
Consort was founded
in 1972. Since then it
has been recognized
as one of the finest
ensembles in the
world specializing in
medieval, renaissance
and early baroque
music. This disc is a reissue, first released by
Dorian in 2000. The ensemble is essentially
the same as that performing now, with one
exception: the recording was made before the
soprano Michele DeBoer joined the group.
Although the title of the CD emphasizes
pilgrimage, the subtitle, “Medieval Songs of
Travel,” shows that “travel” is taken in a wider
sense: we have here songs about the Crusades,
about the miracles performed by the Virgin
Mary (linked to the Spanish pilgrimage Salas),
about spring and love written by wandering
monks (the Carmina Burana) and about the
vicissitudes in one’s own life (the autobiographical
poem by Oswald von Wolkenstein,
one of the last minnesingers). Making these
works ready for performance would have
involved a considerable amount of work.
While good modern editions are available,
it must be remembered that the music has
come down to us in the shape of monophonic
songs. Everything added to the tune would
have to be added by the performer.
The performances on the CD are always
enjoyable. I was particularly taken with the
soprano Katherine Hill’s performances in the
Cantiga Ben pode Santa Maria, mezzo Laura
Pudwell’s rendering of Bonum est confidere
from the Carmina Burana and with Pudwell’s
unaccompanied performance Jerusalem se
plaint, a lament written in response to the
retreat of the Crusader army from Egypt in
1221. A lively and informative essay by David
Fallis, the artistic director of the Toronto
Consort, is a valuable supplement.
Hans de Groot
Concert Note: The Toronto Consort’s season
concludes with performances of Monteverdi’s
Vespers of 1610 with special guest British
tenor Charles Daniels, joined by tenor Kevin
Skelton and Montreal’s premier cornetto
and sackbut ensemble La Rose des Vents on
May 6, 7 and 8 at Trinity-St.Paul’s Centre.
Monteverdi – Vespro Della Beata Vergine
Monteverdi Choir; English Baroque
Soloists; Sir John Eliot Gardiner
Alpha 705
!!
Sir John Eliot Gardiner has conducted
Monteverdi’s Vespers many times. In the
booklet that comes
with this DVD he
relates how he first
conducted the work
in 1964 when he was
still an undergraduate
at Cambridge. He
also mentions that he
received a great deal
of cooperation from
various academics.
His tutor even
arranged for him to have a year off from his
work for the History Tripos so that he could
concentrate on the Monteverdi. The performance
was in the splendid late Gothic chapel at
King’s College, Cambridge. Recently Gardiner
was invited to conduct the work again in
King’s College Chapel and the essay in the
DVD booklet is clearly the program note for
that performance.
Gardiner has conducted the work several
times on CD and also once on an earlier DVD
where the venue was the Basilica of St. Mark
in Venice. The venue on this recording is yet
another space, the late 17th century Chapelle
Royale de Versailles. That church is not as
spectacular as the Chapel at King’s College or
St. Mark’s Basilica but the architectural space
works well. The cinematographer has also
made good use of the frescos in the church to
heighten the baroque ambiance in which the
work is performed.
In his introductory essay, Gardiner writes
that already in 1964, he found “the smooth,
polite euphony of the collegiate choral style
of the early 60s” unsuitable for this work. He
has not changed his mind: this performance
is dramatic and vigorous. Apart from some
rather ungainly entrances by the solo tenors
in the concluding Magnificat, it is also beautifully
sung and played.
Hans de Groot
Concert Note: As mentioned above, the
Toronto Consort presents Monteverdi’s
Vespers at Trinity-St. Paul’s on May 6, 7 and 8.
Rossini – Mosè
Raimondi; Kabatu; Ganci; Mihai; Polinelli;
Veneranca Fabbrica del Duomo di Milano;
Francesco Quattrocchi
Cmajor 735308
!!
This was one of
the events specially
created for the Milan
Expo 2015 that
coincided with the
150th anniversary of
Italian Unification
and what better way
to celebrate than to
perform an opera
in the magnificent
Gothic cathedral,
Duomo di
Milano, that took 600 years to build. The
majestic interior became awash in cascading
multicoloured curtains of light giving an
impressive backdrop to the action.
The original opera, well over three hours
long, Mosè in Egitto by the 24-year-old
Rossini, was written for Naples. He later
revised it for Paris and turned it into French
(Moise et Pharaon) thereby losing a lot of
the originality and freshness of the original.
The creators of this particular event in their
wisdom used this second version (translated
back into Italian) and condensed it into a oneand-a-half-hour
“semi-staged sacred melodrama”
of overblown and repetitive religious
scenes of divine miracles, dispensing with
much of the love story, the human drama and
the wonderful music that made this opera a
success and caused it to survive for nearly 200
years. Fortunately, the immortal Prayer Scene
at the banks of the Red Sea was kept, ending
the show on a positive note.
This being in Italy and especially Milan, the
mostly young singers are all excellent, their
voices gloriously resounding in the spacious
acoustics of the cathedral. Isabelle Kabatu as
Queen Sinaide is especially memorable in her
highly emotionally charged scene, and in the
title role the venerable Ruggero Raimondi at
74, amazingly enough can still sing the role
although his voice is somewhat compromised
by now. The young Italian conductor
Francesco Quattrocchi, well attuned to the
Rossini idiom, brings out beautiful sounds
and sonorities. All in all the opera is severely
truncated, but still an impressive, visually
resplendent show for this special occasion.
Janos Gardonyi
Wagner – Tannhäuser
Seiffert; Petersen; Mattei; Pape;
Prudenskaya; Sonn; Staatskapelle Berlin;
Daniel Barenboim
Bel Air Classiques BAC122
!!
The exiled and
penniless Wagner’s
first real international
break came in 1860
when Emperor
Napoleon III invited
him to perform his
Tannhäuser in Paris,
an event that became
the biggest scandal
in the history of
opera. Riots broke
out, people were beating each other up,
screaming, yelling and throwing things at the
singers while the Emperor and his Empress
were sitting in the royal box unable do a
thing. Wagner quickly withdrew the score
and hurriedly left Paris.
Tannhäuser, Wagner’s tortured dilemma
between physical and spiritual love, however,
not only survived 150 years but is triumphantly
vindicated here in Berlin. The big
problem facing directors today is how to
make opera relevant in the 21st century;
there have been many failures, stupidly
conceived updated concepts by second-rate
thewholenote.com April 1, 2016 - May 7, 2016 | 75

directors. Acclaimed choreographer Sasha
Waltz was the Staatsoper’s unlikely but brilliant
choice to direct, and with her emphasis
on the poetry of movement to underline the
drama – exquisitely composed scenes with
dancers mingling with the singers – there
is constant motion adding excitement and
visual splendour.
There is musical splendour of the highest
order as well. A superb cast: Peter Seiffert, a
strong heldentenor as Tannhäuser, his voice
rich, sensitive and expressive with no sign
of fatigue through the gruelling four hours.
Ann Petersen is a glorious Elizabeth both in
joy and later in her suffering. Peter Mattei,
probably today’s greatest lyrical baritone is a
noble, elegant and aristocratic Wolfram. René
Pape (Landgraf) and Marina Prudenskaya
(Venus) are also memorable in their lesser
roles. Maestro Barenboim conducts the entire
score from memory with forward thrust
and quickening of pulse in the resplendent
and joyful scenes of the second act, broadening
into sustained slow tempi in the tragic
but sublime third. Wonderful performance,
highly recommended.
Janos Gardonyi
Ravel – L’Heure espagnole; Don Quichotte à
Dulcinée
Lombardo; Druet; Antoun; Barrard;
Courjal; Le Roux; Orchestre National de
Lyon; Leonard Slatkin
Naxos 8.660337
!!
Maurice Ravel
loved a challenge.
Why else would he
embrace the prospect
of writing a new take
on the comic Italian
opera in French, on a
Spanish theme? The
Spanish Hour, filled
with flirtation, comical characters and cuckolds,
is far from being a bedroom farce. It is,
instead, a great example of Ravel’s musical
genius, especially when it comes to orchestration.
While he pays homage to the Spanish
musical idiom, he also respects the distinct
musicality of the French language, whether
scoring the straightforward observations of
Ramiro, the rapid plotting of Concepción, or
the over-the-top buffoonery of Gonzalve and
Don Inigo. The result is playful, poetic and
impressionistic.
The accompanying work, three songs of
Don Quixote sung to Dulcinea, has a much
less happy theme – and history. It is the very
last thing Ravel composed (in 1933) and was
commissioned by the celebrated film director,
G. W. Pabst for a new film version of the story
of the knight of La Mancha. Alas, as they say
in the film biz, it ended up on the cutting
room floor and was replaced by Jacques
Ibert’s four songs on the same theme. This
insult galled Ravel to the point of considering
a lawsuit against the producers, but he eventually
gave up on this…quixotic pursuit. The
film’s loss is our gain, as these songs remain
a popular vehicle for baritone voice, as
rendered here by François Le Roux, one of the
leading exponents of French chanson.
Robert Tomas
Alec Roth – A Time to Dance
Ex Cathedra; Jeffrey Skidmore
Hyperion CDA68144
!!
Alex Roth’s A Time
to Dance is divided
into four major
sections, each representing
a season and
time of day, with each
featuring a different
soloist: soprano for
Spring Morning,
tenor in Summer Noon, alto for Autumn
Evening and bass in Winter Night. Adding
choir and orchestra, the hour-long cantata,
uses almost the same instrumentation as
Bach’s Magnificat; thus the two works were
paired for the cantata’s premiere performance
by Ex Cathedra in 2012.
With texts drawn from biblical verse as well
as well-loved poets such as Blake, Dickinson,
Donne, Manley Hopkins, Marlowe and Yeats,
a fertile groundwork is provided for a great
variety of expression in the music. The piece
opens with the bass and choir singing from
Ecclesiastes (To everything there is a season).
Through Roth’s deft characterization, soprano
Grace Davidson evokes the beauty of spring;
tenor Samuel Boden the romance and sensuality
of summer, alto Matthew Venner the
ripeness of autumn and bass Greg Skidmore
the gravity of winter. All come together
for the marvellous Epilogue followed by
an exuberant After-dance in which Roth
expects the singers to hand-clap as well as
actually dance.
The other pieces included on the recording
are a little more conventional and reserved,
though still lovely; Roth’s Magnificat and
Nunc dimittis is set for a smaller choir with a
chamber organ part for left hand only; Men
and Angels, for unaccompanied choir, showcases
Ex Cathedra’s thoughtful and meticulous
delivery.
Dianne Wells
CLASSICAL AND BEYOND
In Search of Chopin
A film by Phil Grabsky
Seventh Art Productions SEV182
!!
Traditionally, the lives of classical
composers haven’t fared all that well on
film. We have only to think back to Miloš
Forman’s acclaimed Amadeus which, in the
opinion of many music lovers, left something
to be desired in its portrayal of Mozart
as a childish jokester who also happened to
be a musical genius. And certain biographies
currently posted online seem questionable
in quality. In Search
of Chopin is something
very different,
a sensitive documentary
by Phil Grabsky
on the Seventh Art
label and the fourth
in his series of DVDs
focusing on the lives
of great composers.
Through the use
of exquisite photography,
a well-delivered narration by Juliet
Stevenson and readings by David Dawson of
selected correspondence, In Search of Chopin
takes the viewer on a 39-year journey, from
the composer’s beginnings in Żelazowa Wola,
Poland, to his untimely demise in France in
1849. Commentaries from those connected
with the Chopin Institute in Warsaw and from
musicologist Jeremy Siepmann further add
to this compelling biography and from the
beginning, I was struck by a wonderful sense
of intimacy. The viewer becomes a privileged
visitor to the rooms where Chopin lived and
created – in Warsaw, in Vienna, at Nohant and
his city of exile, Paris.
Yet the film is more than a mere life story;
indeed, it views the composer through his
music more than most documentaries do.
Interviews with renowned pianists such
as Ronald Brautigam, Lars Vogt, Daniel
Barenboim and Leif Ove Andsnes shed
light on the composer’s output in new and
revealing ways. Furthermore, the numerous
musical examples seem particularly generous
in length while those performed by Nelson
Goerner, Kevin Kenner and Janusz Olejniczak
in concert on an early Erard instrument with
the Orchestra of the Eighteenth Century
provide the viewer with a sound very close
to what Chopin would have heard during
his lifetime.
Adept editing and attractive bonus features
further add to the appeal of this exemplary
biography, a worthy tribute to the “poet of the
piano.” Highly recommended.
Richard Haskell
Mendelssohn – A Midsummer Night’s
Dream; Hebrides Overture; Fair Melusine
Overture
Swedish Chamber Orchestra and Radio
Choir; Thomas Dausgaard
BIS Hybrid SACD 2166
!!
Felix Mendelssohn
was born in Hamburg
on February 3, 1809,
and a no more prophetic
name than Felix
(Latin for “happy”)
could have been given
him if his music tells
the tale. His ebullient
Overture to A Midsummer Night’s Dream was
written when he was 17 and was followed 17
years later by more miniatures to comprise
a suite of Incidental Music. That he chose
76 | April 1, 2016 - May 7, 2016 thewholenote.com

to compose these extra pieces populated by
those same scampering fairies of the Overture
was brilliant.
The Incidental Music is composed of the
Overture that sets the stage and introduces
the cast, followed by 13 pieces including the
Scherzo, Nocturne, Intermezzo, Wedding
March and other delights.
Dausgaard’s tempi may feel slightly headlong,
with an impetuosity that imbues a
breathtaking expectancy even when we know
the score well. This is a performance that
has the listener leaning forward so as not to
miss a single, unexpected nuance. Constant
re-evaluation of textures in almost every
chord is different in weight and balance from
what we are used to, keeping us alert for what
is to come. We can see those fairies being as
disruptive as they are in Shakespeare.
The uniquely mid-nineteenth-century
quality of the score is brought out with
extremely precise orchestral execution, transparent
and articulate, adding a zing unlike
any others. This is pure Mendelssohn and, for
me, exemplary.
Similarly, the two familiar overtures are
meticulously prepared, drawing even a blasé
listener into these interpretative revelations
and performance bench marks.
Bruce Surtees
Concert Note: On April 9 and 10 the Toronto
Symphony Orchestra presents “A Midsummer
Night’s Dream & More” featuring Mendelssohn’s
incidental music, Handel’s Harp
Concerto, Elgar’s Enigma Variations and
Wagner’s Ride of the Valkyries under the
baton of James Feddeck in his TSO debut.
Miroirs: Dutilleux; Liszt
Jonas Vitaud
NoMadMusic NMM028 (nomadmusic.fr)
!!
Miroirs is a
solo piano album
of Romantic and
20th-century repertoire
by French
pianist Jonas Vitaud
that stems, in part,
from his work with
Henri Dutilleux (1916-2013) at the Cordessur-Ciel
festival in 2004.
The CD immediately transports us into
harmonically adventurous worlds with Liszt’s
Angelus, Klavierstück, Valse oubliée, Nuages
gris and Dutilleux’s three Preludes: D’ombre
et de silence, Sur un même accord, Le jeu des
contraires (1973-1988). However, Vitaud has
changed the order of the pieces and interjects
a Dutilleux prelude between each of
Liszt’s four late compositions. His rationale is
to show parallels between the works written
by these two very different composers, with
Vitaud describing Liszt as a prolific virtuoso
and Dutilleux as “a composer of the night.”
The reordering may be confusing for a listener
who is not following along with the liner
notes, however Vitaud consistently conveys
an acute awareness of harmonic colour and
masterfully presents works that are not
performed as often as they should be.
The album gradually leads to Liszt’s
virtuoso Mephisto Waltz before closing
with Dutilleux’s musically and technically
complex Piano Sonata Op.1 (1948). Dutilleux
consciously defied classification and rejected
a number of 20th-century compositional
idioms while expanding elements of the
Impressionist tradition. Many of his compositions
are refined and deeply moving, such
as the Choral et variations, the final movement
in the piano sonata, which Vitaud
delivers superbly. Particularly impressive is
Vitaud’s ability to convey strength without
harshness even in the most technically difficult
passages, resulting in an innovative
and beautifully performed CD, released to
coincide with Dutilleux’s centenary.
Dr. Réa Beaumont
Woodwinds
Woodwinds of the Royal Concertgebouw
Orchestra
RCO Live LC-14237
!!
This varied,
attractive program
of 20th-century
woodwind chamber
music presented by
Concertgebouw wind
players is a credit to
all concerned. For
me the highlights
are Poulenc’s Sextet (1932/39) and Jánaček’s
Mládí (1924). The well-known Poulenc is
played with sensitivity, and Jeroen Bal’s handling
of the piano part is particularly subtle.
Fine recordings of this work are numerous:
the recent Berlin Counterpoint on Genuin
is more energetic and virtuosic; while the
London Conchord Ensemble on Champs Hill
has a more reverberant acoustic. But to me,
the shifting senses of nonchalance, dreaminess
and high spirits in the composition are
most stylishly captured in this reading.
Jánaček’s late and wonderful Mládí evokes
his memories of childhood in Moravia, with
instrumental suggestions of speech, song,
dance and play. The group projects frequent
changes of activity and emotional tone confidently.
Intonation is unfailingly accurate and
Lucas Navarro’s oboe playing is particularly
expressive.
Martinů’s Sextet for Piano and Wind
Instruments (1929) avoids consistent style and
instrumentation. The Scherzo is to me the
best movement; flutist Emily Beynon’s virtuosity
and tone make it shine. Gershwin-jazzy
passages burst in on several movements, and
the Concertgebouw winds turn the whole
into a witty, enjoyable experience. The early
Sonatina for Oboe, Clarinet and Bassoon
(1931) by Sándor Veress (1907-1992) features
intriguing dissonance, attractive lyricism and
vital rhythm in turn, all conveyed convincingly
by the reed trio who seem throroughly
at home with the work’s Hungarian
folk idioms.
Roger Knox
MODERN AND CONTEMPORARY
Prokofiev – Piano Concertos 2 & 5
Vadym Kholodenko; Fort Worth Symphony;
Miguel Harth-Bedoya
Harmonia Mundi USA – HMU 807631
!!
Among the
plethora of emerging
piano virtuosos
a name to watch is
Vadym Kholodenko,
the Ukrainian
winner of the 2013
Van Cliburn competition.
Of special
interest is his partnership with the Fort
Worth Symphony including the recording
of all five Prokofiev piano concertos.
Kholodenko’s stylistic and technical rapport
with conductor Miguel Harth-Bedoya and
orchestra shows in fine ensemble playing. I
come to this Prokofiev Concerto No.2 (1913)
with memories: Yefim Bronfman’s blazing
performance with the Toronto Symphony;
also novelist Philip Roth’s astounded account
of Bronfman’s Prokofiev Two in The Human
Stain. Khodolenko’s technique is fully sufficient
yet he emphasizes expressive, lyrical
aspects more, starting with the expansive
opening melody. He even manages to
make the cadenza’s romantic ballast sound
meaningful. The perpetual motion Scherzo
and heavy tramping Intermezzo have fewer
expressive opportunities. The Finale does
however, amid much virtuosic bravado that
Kholodenko also navigates successfully.
By 1932 when he wrote Concerto No.5
Prokofiev was seeking stylistic simplicity, no
doubt under increasing pressure from the
Soviet regime. Many passages show that he
still had the ability to be both musically childlike
and inventive. For example, the second
movement’s clock-ticking motion becomes
interesting with lightning quick scales and
staccatos that pianist and orchestra make
sound crystalline. In the fourth movement,
the piano weaves beautifully around lyrical
winds; later on, the performers achieve the
required solemnity. I look forward to the
other three concertos from this team.
Roger Knox
Bartók; Ligeti
Ensemble InterContemporain; Matthias
Pintscher
Alpha 217
!!
Though György
Ligeti’s early largescale
works brought
him fame, his name
was largely absent
from North American
thewholenote.com April 1, 2016 - May 7, 2016 | 77

orchestra programs in the 1980s. As a result,
for many, he is associated with bagatelles and
études instead of megaliths like Atmosphères.
This Ensemble InterContemporain recording,
better than merely reminding us of his
orchestral roots, reaffirms his genius in
both styles.
This is especially true of the Piano
Concerto, featuring Hidéki Nagano, which
feels at times like orchestral Ligeti and
intimate Ligeti happening simultaneously,
the sound streams occasionally lining up in
a happy coincidence akin to those moments
when a car’s turn signal blinks in time with
the radio. This mechanical analogy is particularly
apt, as the perpetual motion piano part
also conjures up Conlon Nancarrow’s player
piano works. The second movement showcases
Ligeti’s trademark cosmic orchestral
writing; here he weaves slide whistles
and ocarinas into the fabric of a soundscape
reminiscent of his Lontano for orchestra, delicately
toeing the line between the apocalyptic
and the mawkish in a way only Ligeti can.
Also featured are Ligeti’s concertos for
violin and cello. Ligeti described his piano
concerto as “music as frozen time, as an
object in an imaginary space,” but these
words might be yet better suited to his Cello
Concerto, performed here by Pierre Strauch.
The above are joined by two Bartók pieces,
Contrasts and the Sonata for Two Pianos and
Percussion, and appropriately enough – for
no two composers offer a more compelling
solution to the problems posed by a world
where both trite tonality and humourless
avant-gardism are equally exhausted.
Elliot Wright
Concert Note: Matthias Pintscher makes
his Toronto Symphony Orchestra debut
conducting Mahler’s Symphony No.1,
Mozart’s Piano Concerto No.24 (with Inon
Barnatan) and his own Towards Osiris on
April 28 and April 30.
Samuel Andreyev – Moving
ensemble proton bern; Matthias Kuhn
Klarthe K014 klarthe.com
!!
Paris-based
Canadian composer
Samuel Andreyev is
deeply influenced
by the plastic arts;
he describes the first
work on this disc, the
Marcel Duchampinspired
La Pendule de Profil, in terms of
cubism, and his pieces tend toward an objectlike
quality. A good analog for the entire
decade of work represented here, however,
might be abstract impressionism. The impressionists
placed the immediacy of perception
above all else, carefully modulating light
and colour to reproduce the experience of
motion and time. The abstract impressionists
took it further, distilling the object until
only motion and colour remained. Andreyev,
too, reduces musical perception to its elementary
components, exploiting attack and especially
timbre for their visceral, immediate
impressions.
Where the abstract impressionism analogy
fails, however, is in Andreyev’s meticulous
structural clarity. An abstract impressionist
painting overwhelms with its chaotic density.
Andreyev’s music, although saturated with
chromaticism, is not spatially dense, and as
a result the listener perceives the music as
both weighty but translucent, ordered but
atemporal.
The miracle material that enables this
remarkable paradox is ensemble proton
bern itself; the symbiosis between composer
and the musicians is palpable throughout.
As rare instrument specialists, the Swiss
ensemble gives free rein to Andreyev’s
timbral explorations. The best examples are
PLP, which features the Lupophon, a bass
oboe with a fibrous, tenor saxophone-like
sound, and Bern Trio, an ethereal gossamer
fog for quartertone-tuned harp, viola, and
oboe d’amore. A moving disc in both senses
of the word.
Elliot Wright
Simon Martin – Hommage à Leduc,
Borduas, et Riopelle
Quatuor Bozzini; Quasar quatuor de
saxophones; Trio de guitares contemporain
Ambiances Magnétiques Collection QB CQB
1616 (quatuorbozzini.ca)
!!
The young
composer Simon
Martin has created
three separate works
here with highly
distinct instrumentation
in homage to
a trinity of closely
linked Québécois
painters central to the history of Canadian
art. The first piece L’heure mauve, inspired by
the Ozias Leduc painting and the last of these
works to be composed (2009), is performed
by a trio of classical guitarists. Historically,
Martin has arrived at the earliest of these
painters last and he’s matched Leduc’s
symbolist landscape with an extraordinary
minimalism, organizing a piece that matches
periods of silence with complex rhythmic
patterns created on strummed flurries or
plucked notes on open strings.
Projections libérantes (2007), named for a
text by Paul-Émile Borduas, was composed
for Quasar saxophone quartet. The piece uses
saxophone multiphonics created by alternate
fingerings and shifting embouchures to mine
the instruments’ sonic resources, drawing, for
example, simultaneous low-frequency blasts
and whistling highs from the baritone.
That sonic creativity is matched by Martin’s
handling of the string quartet in Icebergs et
Soleil de minuit — Quatuor en blanc, which
takes its inspiration from Jean-Paul Riopelle’s
series of black and white paintings. It’s a
series of brief vignettes, sometimes highly
gestural, in which Quatuor Bozzini explores
different textures often employing harmonics
to create a kind of richly nuanced transparency,
a contradictory dense thinness of sound
resembling the texture of a painted surface, as
clusters can gradually reduce to single attenuated
pitches.
What ties these works together is Martin’s
fascination with the physical matter engaged
by these painters and the power of brush or
spatula strokes in their work, qualities transferred
to his own dramatic exploration of
individual instrumental timbres and subtly
evolving sounds. The ultimate effect resembles
the dynamic stillness and material transformation
that links his three subjects’ work.
It’s music of power, beauty and originality,
worthy of its subjects.
Stuart Broomer
Mohammed Fairouz – No Orpheus
Kate Lindsey; Kiera Duffy; Christopher
Burchett
Naxos 8.559783
!!
The young
American composer
Mohammed Fairouz
has quickly become a
widely performed and
recorded composer.
Although barely
into his 30s, Fairouz
has been commissioned by many important
American institutions and performers. In
his latest Naxos release Fairouz has compiled
a selection of art song spanning a ten-year
range in his output. The disc is comprised
of four works that incorporate texts by
W.B. Yeats, Edgar Allan Poe and William
Wordsworth, along with selections from the
writings of Alma Mahler, the ancient Arabic
poet Ibn Shuhayd and contemporary poets
Wayne Koestenbaum and Lloyd Schwartz.
This collection reinforces Fairouz’s command
over his approach to musical expression.
Those who are familiar with his musical
language appreciate it for an immediate sense
of accessibility, its strong link to popular
music infused with light romanticism and
a familiar lyricism. Fairouz writes well for
the voice. There is clarity of intention in his
vocal writing that leaves nothing beyond the
surface for the listener.
Mezzo-soprano Kate Lindsey, soprano Kiera
Duffy and baritone Christopher Burchett
bring a strong sense of musicality and drama
to this recording and are able to interpret
this music with a calming sense of ease and
intuitiveness. At times the music is bare. The
instrumental writing for cello and piano make
for a light accompaniment that – despite a
sense of clarity – perhaps leaves the listener
wanting a bit more. Where clarity of artistic
voice elevates this music to certain successful
neighbourhoods, a deeper level of expression
is perhaps lacking throughout. This recording
provides a light, pleasing listening experience
78 | April 1, 2016 - May 7, 2016 thewholenote.com

that doesn’t pin the listener down with any
type of heavy material.
Adam Scime
Elena Langer – Landscape with Three
People
Anna Dennis; William Towers; Nicholas
Daniel
harmonia mundi HMU 907669
!!
Elena Langer,
a Russian-born
composer who
studied in London,
writes in an
idiom that recalls
Mussorgsky’s Pictures
at an Exhibition as
orchestrated by Ravel;
she combines a Russian folk sensibility with
modern orchestral colours and a deep understanding
of the resonances between text
and music.
This is especially true of the title piece, a
work for soprano, countertenor, oboe, harpsichord
and trio of strings. Here Langer casts
the poetry of Lee Harwood, a 20th-century
English poet best known for being John
Ashbery’s lover during the 1960s, in a
baroque-inspired musical mould. There is an
uneasiness in the configuration, though – the
poems, dealing as they do with urban love,
threaten to struggle free from the old-fashioned
harmonic conventions that constrain
them. Langer, delighting in this tension,
exploits it to very wry effect. This is especially
true of the oboe part, which, ostensibly representing
the third figure in a love triangle with
the soprano and countertenor, frequently
seems to make stage-whispered asides to the
audience, offering commentary on the action
in the way only wickedly good gossip can.
“This is my first love scene,” sing the soprano
and countertenor, but the oboe’s acidic obbligato
implies mockingly that this is neither
their first nor their last “first love scene” at all.
Ultimately, the oboe is subsumed by the affair,
and the three figures are left to swirl in the
purgatorial ambiguity of their similar tessiture.
Such nuances pervade the works of this
vital composer.
Elliot Wright
JAZZ AND IMPROVISED
Abeng
Rich Brown
Independent RDB03 (rinsethealgorithm.
bandcamp.com/album/abeng)
!!
Rich Brown, one
of Canada’s and the
world’s preeminent
bassists, has produced
an impassioned reaction
to, and path
forward from, some
of the darkest forces
of human nature, specifically racism and
divisiveness. He has chosen the abeng, an
instrument originally fashioned by escaped
Jamaican slaves, as a metaphor for a call to
unity. This message comes at a perilous time
in world affairs. He has assembled a cast of
some of Canada’s top musicians to interpret
Abeng’s compositions and the result is great
depth and complexity. The rhythm section
team of Brown and drummer Larnell Lewis
establishes a broad, open canvas on which
everything seems possible.
Mahishmatish opens the recording with
a melody that incorporates a long held note,
perhaps the sound of the abeng. Saxophonists
Luis Deniz on alto and Kelly Jefferson on
tenor trade phrases that rise in intensity with
the incredible feel and interplay provided by
Brown and Lewis. Pianist Robi Botos solos
effortlessly over Window Seat’s across-thebar-lines
groove. Chant of the Exiled (Abeng)
is a perfect miniature, featuring trumpeter
Kevin Turcotte and percussionist Rosendo
Chendy Leon in its mournful exploration.
Brown holds off until track four, Promessa,
before treating us to his remarkably lyrical
bass soloing. Chris Donnelly, who shares
keyboard duties with Botos, plays a beautifully
evocative intro to This Lotus Ascension
and continues on to improvise over the
doubled bass/alto sax melody. Abeng is a
masterful recording that confirms Rich
Brown’s position as one of our country’s most
important musicians.
Ted Quinlan
Concert Note: Rich Brown and the Abeng
Quintet open for the Ernie Watts Quintet on
May 21 at the George Weston Recital Hall.
Fulfillment
Michael Blake
Songlines SGL1615-2 (songlines.com)
!!
Michael Blake is
among New York’s
most esteemed saxophonists,
but he
frequently returns to
Vancouver where he
works with some key
members of the city’s
jazz community. Fulfillment is a very special
Vancouver project that uses up to ten musicians
in an extended suite devoted to a dark
episode in the city’s history: in 1914 several
hundred Sikh immigrants on board the
Komagata Maru were refused entry to Canada
by means of laws designed specifically to
exclude Asians. In subsequent events, advocates
for the passengers were murdered in
Vancouver and 19 were killed in an altercation
with British officials on their return to India.
Blake’s suite abounds in complex emotions
and original textures, gradually developing a
cumulative impact. The theme of the opening
Sea Shanty intertwines his soprano saxophone
with Emma Postl’s voice to create an
effect that’s at once dissonant and ethereal;
there’s a coiling improvised duet between
Blake’s soprano and Chris Gestrin’s synthesizer
on Perimeters in which the two instruments
are almost indistinguishable; a series
of duets among the string players on Arrivals
is highlighted by the unlikely combination
of Peggy Lee’s cello and Ron Samworth’s
banjo. Exaltation is an extended jam that
adds Neelamjit Dhillon’s tabla drums to
the densely textured rhythms created by
drummer Dylan van der Schyff, bassist André
Lachance and the rest of the group.
At the core of Blake’s music there’s the
consistent legacy of modern jazz, from the
extended use of blues structure and compositional
inspirations from Ornette Coleman,
Charles Mingus and Oliver Nelson to the overarching
expressive power of his tenor saxophone,
best embodied here on the evocative
Battle at Baj Baj, directly inspired by John
Coltrane’s elegiac Alabama.
Stuart Broomer
Songs and Dances from The Muted Note
The Disguises
Ambiences Magnetiques AM 227
(actuellecd.com)
!!
Trombonist/
composer Scott
Thomson crafted this
series of song settings
for poems by the late
British Columbian
poet P.K. Page in
2012-2013, first
recording them in a
series of spare and artful duets with the singer
Susanna Hood (The Muted Note, & Records,
ET20). The project later expanded to include
Hood’s choreography for four dancers and a
quintet called The Disguises, adding alto saxophonist
Yves Charuest, bassist Nicolas Caloia
and drummer Pierre Tanguay to the original
duo. The result is remarkable, sacrificing
some intimacy but gaining greater resilience
and highlighting the strength of Thomson’s
melodies, like the vibrant Picking Daffodils.
The Disguises represent some of Montreal’s
finest improvisers and Thomson has achieved
a fine balance in the writing, creating
arrangements that frame and expand Page’s
luminous language without drowning it out,
sometimes employing understated dissonance
to suggest ambiguity. Thomson has
studied with the veteran trombonist Roswell
Rudd, and at times The Disguises strongly
suggests the clarity and interplay of the New
York Art Quartet, the brilliant band that Rudd
co-led in the mid-60s: Charuest’s solo on
The Understatement consists of brief elliptical
phrases with shifting timbres, recalling
the subtle work of NYAQ saxophonist
John Tchicai.
While it’s the wedding of poem and sound
that unites these works, moments of spontaneous
musical creation abound, like the
energy and precision that Caloia and Tanguay
bring to The Disguises/The Masks, or the
thewholenote.com April 1, 2016 - May 7, 2016 | 79

dovetailing lines of Hood and Charuest on
Star-Gazer. Thomson’s accompaniment to
Hood’s voice on The Metal and the Flower
flirts with silence to suggest birds and tiny
woodland creatures, while the brashly vocal,
plunger-muted solo of The Mole conveys
generations of jazz trombone playing.
Stuart Broomer
The World Is Alright
Aimée Butcher
Independent (aimeebutcher.com)
!!
This debut album
by singer/songwriter
Aimée Butcher,
recorded when she
was only 22, demonstrates
clearly her
ability to compose,
and deliver beautifully,
melodies which are both substantially
interesting and satisfyingly – almost frustratingly
– catchy.
The band, a quintet featuring Butcher’s
voice, Chris Pruden on piano and keyboards,
Brandon Wall on guitar, Jeff Deegan on bass
and Robin Claxton on drums, all of whom
are recent graduates of U of T’s hailed music
program, has several feet planted firmly in
the contrasting, sometimes feuding, worlds of
jazz and pop. Songs like Stay or Drive and The
World Is Alright are where Butcher’s hooks
really shine: these are on the one hand pop
songs, melodies that would feel at home in
the mouths of singers like Alanis Morisette or
Michael Bublé; and on the other hand recordings
that highlight delicious, distinctly jazzy
improvisations, including a simple, brief scat
solo by Butcher. Especially notable is Pruden’s
piano solo on the title track. It builds and
develops perfectly, organized yet exciting; I
always find myself saying “yeah” at the end.
Butcher’s band also re-imagines songs by
Joni Mitchell, Radiohead, and, delightfully,
Jann Arden; the haunting duo of Butcher
accompanied by Wall’s guitar on Arden’s
It Looks Like Rain might be my favourite
track. With a pulse only lightly suggested,
on an ethereal bed of swelling chords,
Butcher delivers Arden’s song as though it
was her own.
Bob Ben
OUTgoing
François Carrier; Steve Beresford; John
Edwards; Michel Lambert
FMR Records FMRCD400 (francoiscarrier.
com)
!!
As much as
this performance
is entirely improvised
the musicians
also offer finely
gauged and beautifully
regulated music.
The benefits are
immediately apparent in OUTgoing, which
is not only audaciously spelled, but contains
music that is also unflinchingly dynamic.
The players – saxophonist François Carrier,
pianist Steve Beresford, bassist John Edwards
and drummer Michel Lambert – offer music
that is impetuous, inventive and laced with
paprika. In one episode after another on this
empirically existential recording the players
make music that is technically challenging
and impeccably pointed. There is a miraculous
balance between simplicity, depth and
virtuosity, all in the service of expression.
Steve Beresford’s piano playing has an
impish wit which, when pursued by the
saxophone of Carrier, is pushed to address
the saxophonist with an effect that borders
on an almost “three-handed” playing,
achieved by huge scales that sweep from top
to bottom of the keyboard. Carrier’s own
playing on saxophone as well as the exotic
Chinese oboe, is informed by themes decorated
with abandon, while Beresford passes
the harmonics between himself and Carrier
(especially on Kingsland Road) decorated
with swirling arpeggios to once again give the
illusion of there being three hands playing.
The piece ends with passages of interlocking
lines between saxophone and piano entwined
with some impressive arco playing by
bassist John Edwards. This is a sparkling disc
which combines the talent of four astonishingly
versatile musicians to create iridescent
showers of notes cascading with echoing,
scintillating exuberance.
Raul da Gama
Wrong Is Right
Noisy Minority
Intakt Records CD 262
NYC Five
Angelika Niescier; Florian Weber
Intakt Records CD 263
In Motion
Richard Poole; Marilyn Crispell; Gary
Peacock
Intakt Records CD 264
!!
At the very end of
music’s spectrum,
almost like planetary
rumblings from
outside the Milky
Way, free improvisations
imbue today’s
music with a glorious
sheen. Instrumental movements that one is
accustomed to hearing are turned on their
head enabling us to hear, with unabashed
fascination, the explosive whimsy captured
by some of the finest musicians alive
today. Taking a leaf from Berg and Webern,
Stravinsky and Stockhausen as much as from
Anthony Braxton and Muhal Richard Abrams,
Roscoe Mitchell and Lester Bowie, musicians
– some who have been playing pretty conventional
swing – have been blazing new trails,
birthing, in every sense, a new avant-garde.
This trend in Europe is vastly different from
the one in America, which is rooted as much
in the blues as it is in the music of Europe.
Across the pond the “New Thing” dives
daringly into triumphantly free improvisation
that is almost completely bereft of the
blues, although it might sometimes dig into
jazz for idiomatic inspiration. Here are three
wonderful discs from the Swiss label Intakt
(intaktrec.ch) that exemplify everything that
is bold and beautiful about European free
improvisation.
Wrong Is Right is a performance that
provides a burst of acclamation with loud
triumphant chords fittingly made by musicians
who are the epitome of the triumph of
musicianship. Saxophonist Omri Ziegele is
also a voice artist and leads the power quartet
that includes one of the finest trombonists in
the business. Ray Anderson has been celebrated
for his brilliant tone colours and
impeccable use of timbre, all embodied in the
highest form of artistry. The repertoire on this
disc has music that is arranged in a suite-like
manner. Everything – especially the brilliant
Decimal System and Wrong Is Right – celebrates
the unexplored nooks and crannies of
the instruments’ vast repertoire.
NYC Five is a beautifully
constructed
album of songs by one
of the most extroverted
saxophonists in
Europe. Angelika
Niescier might not be
a name many are
familiar with but the
Cologne-based alto saxophonist inhabits
many worlds seemingly at once. The music
that is improvised is strikingly majestic and
the written work – especially the ballad,
Invaded – is likely to tear your heart out for
its deep emotion and exquisite showers of
notes by the pianist Florian Weber. The
ubiquitous American drummer Tyshawn
Sorey makes an electrifying appearance
wherever he goes and this record is no exception.
Watch out for the lightness and bounce
of Ralph Alessi’s trumpet – the other
American of repute on the album.
“Cats with nine
lives” is how tempting
it is to describe pianist
Marilyn Crispell,
drummer Richard
Poole and most definitely
the monumental
bassist, Gary
Peacock, on In Motion.
These leading exponents of their instruments
almost intuitively bring dramatic, fresh
tones and textures to notes and chords that
you have heard hundreds of times before. The
almost vocal styles of Crispell and Peacock
have endeared them to generations of freethinking
musicians and here they show
why. Their explosive whimsy is captured on
Backseat of the Galaxy, In Motion and Isle of
Nowhere. The rest of the repertoire is no less
80 | April 1, 2016 - May 7, 2016 thewholenote.com

wondrous and is full of joyous evocation and
revels in the über-virtuosity of all three musicians
whose brilliance has no limits.
Raul da Gama
POT POURRI
A Tribute
Band of the Welsh Guards
British Military Music Archive
BMMAWG1502 (bmma.org.uk)
!!
This two-disc
set commemorates
the 100th anniversary
of the establishment
of The Band of
the Welsh Guards.
In 1915, as the British
army expanded
during the First World
War, it was felt that Wales should be represented
in the Brigade of Guards. The regiment
was formed in February of that year.
Soon after, when the establishment of a band
was approved, the city of Cardiff helped to
purchase a set of instruments, and the band
began rehearsals in October. By the time of
their first concert in the London Opera House
on March 1, 1916, the band had already been
in a studio and recorded the first six numbers
of CD1. By the end of the year 1916, founding
members of that band had recorded all 12
numbers on the first CD. While recording
techniques have improved significantly, the
audio quality is quite amazing.
While CD1 contains mostly patriotic
music, CD2, recorded between 1921 and
1940, contains a variety of musical styles
including several novelty numbers of the type
performed by bands in the years between the
wars. Such numbers as Gaiety Echoes and
Wedded Whimsies certainly aren’t likely to
be found in the repertoire of concert bands
of 2016. One particular novelty number that
used to be very popular is The Whistler and
His Dog. Written by Arthur Pryor, famed
trombone virtuoso of the Sousa band, it has
many of the band members whistling the
melody and then ends with loud barking.
This CD even contains a couple of numbers
by the Dance Orchestra. All in all, an excellent
preservation of the musical history of the
Welsh Guards.
Jack MacQuarrie
Orono Cornet Band
Orono Cornet Band
Great Canadian Town Band Festival
(oronocornetband.com)
!!
Some years ago,
trombone player
and old town band
music fan, David
Climenhage established
the Great
Canadian Town Band
Festival in the small
town of Orono, east
of Toronto. While the festival no longer operates,
Climenhage has now focused on another
aspect of his interest in the music of the early
town bands in Canada. When he got together
with Toronto musician Herbert Poole they
discovered that they had a common interest
in the collection and restoration of old brass
musical instruments. They soon decided that,
since their instruments were made to produce
music, not just to be admired, they should
form a band.
The result is Orono Cornet Band which
performs the music of the period when the
instruments were built. The result is this
recording with music composed between
1855 and 1890. Top flight musicians
performing on period instruments, ranging
from cornets to such lesser-known oddities
as the ophicleide and helicon, provide a rare
insight into the musical life of small town
Canada before motion pictures, radio or
television. Where else could you hear such
works for a town dance as the Take Me Home
Quickstep or the Blue Dahlia Polka Mazurka.
Unfortunately, there are no program notes,
and while I had never heard of any of the
composers, a little research provided much
information on one of them. F. H. Torrington
founded the Toronto College of Music
which became the first music affiliate of the
University of Toronto. In 1894 he conducted
the very first concert in Massey Hall. For
devotees of early brass band music this
recording is a must.
Jack MacQuarrie
Something in the Air
Preserving Rediscovered Free Music Classics
KEN WAXMAN
Fully grasping the intricacies of musical history often depends on
the availability of recorded documents. That’s why many musical
histories are re-evaluated once hitherto little known performances
become accessible. This is especially crucial when it comes to
completely or mostly improvised sounds. Reissued and/or rediscovered
sessions, which preserve ephemeral moments, confirm the
music’s wide dissemination. More importantly they add the equivalent
of additional sentences that provide a fuller understanding of the
free music story.
Consisting of almost 78 minutes of music,
First Duo Concert (Emanem 5038 emanemdisc.com)
is particularly relevant because
it captures one dozen interactions between
American multi-reedist Anthony Braxton and
British guitarist Derek Bailey. Recorded in
1974, it displays the similarities, and as significantly,
the differences between free music
concepts. Even at this early date Bailey and
many of his London-based colleagues rejected the idea of playing
anything but in-the-moment music. But as true to the Association
for the Advancement of Creative Musicians (AACM) ethos as Knights
Templar would be to their creed during the Crusades, the saxophonist/clarinetist
brought not only familiarity with the blues form,
but also an interest in semi-composed material and extended explorations
in certain techniques to the date – concerns that remain with
him more than 40 years later. When the completely improvised Area 3
(open) is reached, congruence turns to cooperation. What originally
could have been the jolts produced when two blindfolded players
collided with one another turns into a motley garment whose patchwork
can envelop grinding string buzzes and harsh clangs as well as
resonating timber wolf-like saxophone snarls and moderated bass
clarinet ostinato. If gating banjo-like reverb plus internal body tube
puffs and renal-like vibrations from his reed collection on Braxton’s
part still disturb the evolving continuum like pointed flecks in rough
wood grain, then his unexpected peeps and pops lessen as both aim
towards measured expression. Allowing each partner’s full expression
during single unaccompanied tracks, the duo reaches the zenith
of mutual understanding on the extended Area 11 (open). While each
still tests the limits of the other’s convictions with the zeal of a small
child taunting the family pet, harsh, oblique strums and quivering,
aviary-styled peeps from the clarinet finally dovetail enough so that
aggressive string thumb taps fit into an accompanying groove, as later
thewholenote.com April 1, 2016 - May 7, 2016 | 81

circular tweets from sopranino saxophone, clarinet and flute settle
uneasily next to guitar strokes. The concluding Area 12 with its corkscrew
reed squeaks and rugged string quivers gives notice that neither
improvisational philosophy has bested the other. But the framework
for future reciprocal idea exchanges has been set.
Three years earlier the protean trio of
German saxophonist Peter Brötzmann,
Belgian pianist Fred Van Hove and Dutch
percussionist Han Bennink was constantly
touring the continent confirming that a
bellicose interpretation of free jazz wasn’t
confined to Americans. The CD 1971 (Corbett
vs Dempsey CD 020 corbettvsdempsey.com)
reissues the band’s justly famous, furiously
unyielding set at that year’s New Jazz Meeting, but adds an additional
almost 16 minutes of sound recorded four months earlier that
demonstrate the hair-trigger-like technical skill that goes into what
initially seems like relentless bombast. Like the proverbial tough guy
with the gentle interior, Van Hove for one uncovers elegant nearromantic
phrasing on Filet Americain, which he expands with harsh
clanging, sounding as if he prepared the piano with thumbtacks.
Bennink confines himself to clattering reverberations and Brötzmann
blows with a burr-like tone. I.C.P. No.17 is more aggressive, with the
saxophonist’s subterrestrial exposition echoed by Bennink probably
honking through a Tibetan radung or long metal bass horn. Just For
Altena the 26-minute final showcase then shows how a palpitating
rhythm can be maintained even as the players push techniques past
expected instrumental limits. Spelled by the percussionist’s smashing
cracks, horn blowing and yells, Brötzmann’s virtually endless honks
and glottal punctuation sound as if he’s soon going to be pushing
blood out of his horn as well as air. Still he manages to work in quotes
from Bavarian marches, polkas, Mexican hat dances and limitless freejazz
glossolalia as he plays, often unaccompanied, reaching beyond the
highest imaginable altissimo slur. Like a hyperactive canine, Bennink
is also in motion, shoving everything from a conga-drum interlude
to bass drum resonation to gong and cymbal clashes into his accompaniment
as if boiling a potluck stew. Van Hove marathon-runner-like
glissandi share space with crackling kinetic expositions that whack
the keys and strings as frequently as they play them. Is it any wonder
that at this time this trio could challenge any electrified rock band for
pure excitement?
Another band that could do the same was
the Willem Breuker Kollektief (WBK), like
Bennink, part of Amsterdam’s fertile improv
scene. Mixing anarchistic stunts, parody,
constant motion, classic tune recreations plus
free-form playing with top-line musicianship,
the nine-piece group led by saxophonist/
clarinetist Breucker (1944-2010) was the
epitome of post-modernism. Yet unlike more academically oriented
Fluxus or Dada experimentalists, the WBK was so entertaining that
this two-CD set recorded live in France, Angoulême 18 mai 1980 (Fou
Records FR-CD 9&10 fou.records.free.fr), ends with the raucous
audience demanding three successive encores. A European equivalent
of Sun Ra’s Arkestra, but infinitely less serious-minded, here the
group mixes the precision of Glenn Miller’s band, the romping swing
of Count Basie’s and the humour of Laurel and Hardy. During the
concert modern jazz originals, a tango, Kurt Weil’s Song of Mandalay,
Les Brown and his band of Renown’s theme song Sentimental Journey
and finally the hokey I Believe – to disperse the crowd – race by at
record pace. Additionally, following Big Busy Band where the group’s
solid brassy power is broken up by Rob Verdurmen’s flashy drumming
à la Gene Krupa, plus bassist Arjen Gorter playing Blues in the
Closet, Breucker exposes his inner Benny Goodman and tenor saxophonist
Maaren van Norden outscreams Big Jay McNeeley. Eventually
an episode of pseudo-show-biz banter introduces March & Sax Solo
with Vacuum Cleaner where Breucker does just that, improvising
in tandem and in opposition to the whining household appliance.
Like a squad of quick change artists the WBK is capable of taking on
any persona, with pianist Henk de Jonge for instance, comping like
a bopper, knocking out stride piano asides, beginning and ending
Flat Jungle with romantic flourishes and extravagant glissandi that
could be Vladimir Ashkenazy playing Chopin, channels Cecil Taylor’s
contrasting dynamics in the song’s centre and mocks the saxophonist’s
appropriation of the highest altissimo notes in existence with
studied, flamboyant quotes from Rhapsody in Blue. Gorter’s bass
line and Verdurmen’s back beat ensure that foot-stomping elation
is always present, even if the rhythm team may sometimes feel like
extras in a Marx Brothers movie with all the musical mayhem going
on around them. Still any band that on Potsdamer Stomp mocks rock
music’s overwrought yakety saxes via dueling solos from Breuker and
baritone Bob Drissen, at the same time as playing Name That Tune,
as fragments of everything from Chick Corea’s Spain to the Marine
Hymn to circus music loom into earshot, confirms that these discs
do a lot more than fill in a three-year gap in the WBK discography.
They’re a jubilant listening experience on their own.
If music’s value is judged by its pervasive
acceptance, then the tracks on Frictions/
Frictions Now (NoBusiness Records NBCD
79 nobusinessrecords.com) are as notable as
the better-known efforts by Breuker, Braxton-
Bailey and Brötzmann. Independent of other
connections, members of the Free Jazz Group
Wiesbaden (FJGW) developed a caustic and
punchy free music variant, which mixed
musique concrète and chance notions from notated music, folkloric
instruments and tropes plus improvisation that went beyond freebop
into sonic intoxication. Recorded in 1969 and 1971 and released in
limited edition, the German band members eventually pursued other
paths. Like Quebec’s Walter Boudreau, who went from leading the
Zappa-esque ensemble l’Infonie to become a composer and artistic
director of Société de musique contemporaine du Québec, trumpeter
Michael Sell abandoned improvisation for fully notated work in the
1980s; saxophonist/pianist/flutist Dieter Scherf played with major
German free jazzers later in the decade before abandoning music
because of dental problems; drummer Wolfgang Schlick and guitarist
Gerhard König’s histories are even more obscure. However the three
tracks here demonstrate the band’s originality. Coming across like a
spiky combination of Jimi Hendrix, Sonny Sharrock and Earl Scruggs,
König’s chord-shredding flanges insinuate into whatever spaces the
horns leave open with a style that includes surf music intonation,
single-string finesse and preparations that could come from double
bass. Schlick’s coiled rumbles and consistent thumps range from
martial to miasmatic; he doesn’t swing but keeps the pieces moving
notwithstanding, even when slamming his metal bracket for unusual
rhythms. Squeezing death rattles and hunting-horn-like blares from
his trumpet, Sell’s tone resembles those of ur-New Thing players
like Earl Cross and Don Ayler. Yet when he unites with Schlick they
harmonize enough to approach contemporary jazz, and even flutter
out rounded grace notes on the final Frictions Now Part II, to reach
a meandering, delicate tempo. Leaping among his instruments like
an unsupervised child in a music store, Scherf brings something
different to each one. On alto saxophone, obviously influenced by the
atonal techniques of American free jazzers, his honks, snorts and blats
include crying vibrations that add an unconventional Teutonic melancholy.
Brief shenai and oboe interludes introduce World Music allusions
to the middle of the extended Frictions, while his inner-piano
strums join with König’s finger-style ornamentation on the same
piece for stark tonal outlines, finally climaxing with a moving motif
that appears to judder from cadence to cacophony and back again.
Like crate digging in a second-hand vinyl store, reissues like these
can reveal unexpected values. They confirm the talents of the known
or introduce unfamiliar stylists who should have been better known
first time out.
Ken Waxman reviews The Necks and the Ulrich Gumpert Quartet at
thewholenote.com.
82 | April 1, 2016 - May 7, 2016 thewholenote.com

Old Wine, New Bottles | Fine Old Recordings Re-Released
A
new box of Philips Classics restores to
the catalog a wealth of analogue recordings
that were, not so long ago, in wide
demand by music lovers around the world:
Philips Classics The Stereo Years – 50 Analogue
Albums in Original Jackets (Decca 4788977,
50 CDs). After WWII Philips entered the blossoming
long-playing record business by issuing
American Columbia recordings in Europe under their own Philips
mini-groove imprint. Columbia, inventors of the long-playing record,
owned the LP logo and for many years no other manufacturer could
call their product an LP. Very soon LP became generic however and
that was that.
Philips productions were of the highest quality, both sonically and
in their immaculate pressings. In fact, when their discs were eventually
pressed in North America, knowledgeable music lovers sought
out the better sounding Dutch pressings in their gatefold covers even
though they were marginally more expensive. It may be of some
interest to audiophiles that after Ray Dolby developed his noise reduction
system that enabled producers and engineers to make more
accurate and wider range recordings, Dolby became the universal
noise reduction system (and still is). Philips, though, preferred to
tilt the high frequencies up in the recording and reverse the process
for playback. Simple…tape hiss gone. There’s more to it than that,
but that’s how Philips touted it at the time. In 1979 when Polygram
bought Decca they owned DG, Philips and Decca, and although each
company shared their technologies with the others, each retained its
own recognizable sound due to the preferred choice of microphones,
set-up and certainly recognizable artistic preferences. Philips, in close
cooperation with Sony, devised and perfected digital encoding and
in 1979 began recording digitally. The recorded performances in this
box are from the analogue era, 50 recordings in replicas of their LP
original jackets, often with bonus tracks.
Most music lovers of a certain age – make
that of any age – will be thrilled to the teeth to
hear the musicians whose artistry lives on in
these recordings. Dutch soprano Elly Ameling
sings Schumann, Frauenliebe und -leben
and Liederkreis, and ten Schubert lieder with
Dalton Baldwin and Jörg Demus (1973, 1979).
Mezzo Janet Baker sings Handel and Gluck
with Raymond Leppard (1972, 1975). Cristina
Deutekom, the Dutch coloratura, sings Verdi,
Bellini, J. Strauss, etc. (1969, 1971). Dramatic soprano, Jessye Norman
sings Ravel’s Shéhérazade and Berlioz’s Les Nuits d’été (1979). Gérard
Souzay, the French baritone, sings Handel, Rameau, Lully and Ravel
(1963, 1968). José Carreras sings 16 arias from Verdi to Rossini (1976,
1980); and there are others.
Pianist Claudio Arrau, once a towering figure, plays Liszt’s Twelve
Transcendental Etudes (1976) and the Concert Paraphrase on Aida
(1971), also Beethoven’s Third and Fourth Piano Concertos with
the Concertgebouw Orchestra and Bernard Haitink (1964). Alfred
Brendel plays Schubert’s Sonata D960, The Wanderer Fantasy and
Three Klavierstücke D946 (1971, 1974), Liszt’s two concertos and
Totentanz (LPO Haitink, 1972), three Mozart concertos, K450, K467
and K488 (1971, 1981) and of course, the Sviatoslav Richter Sofia
recital of February 1958. And lots more.
How about symphonies? Brahms’ First and Fourth (van Beinum),
Saint-Saëns’ Third (Daniel Chorzempa organ, Edo de Waart). I
must mention that this recording was made with the Rotterdam
Philharmonic in the organ’s home, De Doelen, Rotterdam.
Overwhelming sound. Simply fabulous! Well deserving of mention
are the Concertgebouw Orchestra recordings: The Sibelius Second
conducted by George Szell, the Dvorak Seventh under Colin Davis,
Heldenleben (Haitink), Bruckner Ninth (Haitink), Bruckner Fifth
BRUCE SURTEES
(Eugene Jochum), Schubert Ninth (Haitink) and many other so wellremembered
classic recordings.
In this collection there is not a single recording or performance
of less than exemplary quality but check them all out for yourself at
deccaclassics.com/us/cat/4788977.
Arthaus Musik has issued a Blu-Ray video of a really great live
performance of Mahler’s Das Lied von der Erde with Sir Colin Davis,
the Bavarian Radio Symphony and soloists Doris Soffel and Kenneth
Riegel (ArtHaus Musik 109113). It is fortunate for us that this 1988
event from Munich was flawlessly documented in both audio and
video. Davis is not usually remembered for his Mahler, although he
has directed impressive productions throughout his career.
Davis was such a natural, intuitive Mahlerian in this performance
that it’s a pity that he did not set down a complete cycle of this
calibre. Of course he has the redoubtable Bavarian Radio Symphony
Orchestra, with whom he recorded the First, Fourth and Eighth,
who are surely at home in this work. The best news is the choice of
soloists because both Riegel and Soffel have not been able to elsewhere
demonstrate their mastery of this demanding work. From the
first song, Riegel creates a bright, constantly dramatic tone, cutting
through the orchestral welter. Here we can see just how fluently he
projects every meaning of the text with intense, vehement authority.
Soffel is captured in a role for which she was clearly born. In this
production her alto voice is perfect for the role. She comes into her
own after the orchestral interlude in Der Abschied where she projects
a sense of loneliness and emptiness with the tone of her voice wherein
she keeps any warmth under strict control, to crushing effect.
Mahler, deeply superstitious, salted away the finished score and
never heard it performed.
Leonid Kogan (1924-1982) was born in Kiev
and came to be one of the foremost violinists
of the 20th century. From about 1955 on,
he was considered to be among the supreme
artists of his era. One only needs to hear
any of his recordings to agree. Archipel has
returned to the catalog the three Brahms Violin
Sonatas with his accompanist Andrei Mytnik
(ARPCD 03550). The first two are studio recordings and the third live
from Moscow in 1956. As a bonus there are the Brahms Hungarian
Dances 1, 2, 4 and 17. From the first few bars of the First Sonata,
through to an inspired finale we hear totally natural Brahms played
with commanding mastery.
The late Leonard Rose was an American
cellist who was best known during the 1950s
and the 1960s through his Columbia recordings
of concertos with the New York Philharmonic
and the Philadelphia Orchestra and later as
a member of the very special Istomin-Stern-
Rose Trio. Well-respected are his early 1950s
recordings with the New York Philharmonic,
of which he was principal cellist, of Bloch’s Schelomo with Dimitri
Mitropoulos and Tchaikovsky’s Rococo Variations under George Szell.
Although many or most of his Columbia recordings remain in print
as reissues, collectors are always on the lookout for live performances
from around the world residing in radio archives. There are three
cello concertos: Dvořák with Charles Dutoit and the ORTF Orchestra
(1967); Saint-Saëns No.1 and Tchaikovsky’s Rococo Variations with
Louis de Froment from Radio Luxembourg (1961); and Beethoven’s
Fifth Cello Sonata with Eugene Istomin (Stratford, 1969). From WQXR
in NYC, playing with pianist Nadia Reisenberg, Rose plays Beethoven’s
Third Cello Sonata and Brahms First Cello Sonata (1973). These
performances issued by Doremi (DHR-8038/9, 2CDs) are not intended
to replace his commercial recordings but to confirm and enjoy his
unmistakable, now legendary powerful sonorities and musicianship.
thewholenote.com April 1, 2016 - May 7, 2016 | 83

THIS ENDING HAS A HAPPY STORY
Return of The Littlest Oboe!
(AND WHY ONE SHOULD NEVER UNDERESTIMATE THE IMPORTANCE OF COMMUNITY)
Lorée came home! A year and a half later, and none the worse for wear.
Many of you know me as the person who does display-ad bookings
for this magazine. Others might remember me as the
writer of the World Music column from mid-2004 to early
2011. In addition, I’m an oboist, a longtime member of the Niagara
Symphony, and freelancer around the Toronto area. A year and a half
ago, I did something no musician should do – I left my instruments,
oboe and English horn in a single black rectangular case, in my car.
Mind you, I’d been doing this for years, on all those highway stops
on the way to gigs, catching a quick bite to eat, or a coffee. Why lug
around more than I needed? And besides, who would know what that
is anyway – the case isn’t shaped like a violin or cello, nothing to give
away its contents or value.
It was September 11, 2014, and I had just driven back to Toronto
from Ottawa. It was a Thursday evening and the traffic on the 401
coming into the city was heavy and slow, making the trip longer
than usual. I picked up some groceries, dropped off a passenger,
then instead of going home to unload my car, decided to head to The
WholeNote office to catch up with some work. It was around 8pm,
and I parked on Lennox St. just off Bathurst, south of Bloor, across
from the Midas automotive shop. I grabbed my purse, a bag of food,
and my WholeNote-related work satchel, and headed up to the office
nearby. I’d glanced at the instrument case on the back seat of my
trusty 1995 Toyota Corolla wagon…naw, too much to carry…and who’d
know what that was anyway.
I guess I had a lot to do at the office; it was 11pm when I returned
to the car, got in and drove home up toward St. Clair Ave. There was
a chill in the air, but I was too tired to register the fact that there
shouldn’t in fact be a breezy chill, since all my windows were closed.
I parked in my usual spot behind my building and began to unload on
the driver’s side. You can imagine my shock when, lo and behold, no
instrument case to be found! And my blue backpack containing an old
computer was also missing. Then I noticed the shattered glass, and the
entirely missing rear passenger-side window.
Without going into too much detail, my feeling from Toronto police
KAREN AGES
was that this was not a high priority for them. Though they assured
me they were taking the case seriously, being “theft over $5,000,”
it was three weeks before any investigation began. To make matters
worse, the instruments were not insured. In the meantime, I needed
to borrow an English horn for the opening concert of the Niagara
Symphony season only a week away. (I still had my old Greenline
oboe; the stolen one was a new Lorée). Gary Armstrong owner of Gary
Armstrong Woodwinds, came to the rescue, and when I entered his
Queen Street shop the day after the theft to pick up an instrument,
he informed me he’d had a call from someone at Knox Presbyterian
Church on Spadina, saying they’d found some of my stuff in their
dumpster area in the laneway behind the church. They knew to call
Gary, because of a repair receipt containing his info, and my name,
that they’d found. I raced over – in addition to the receipt that I’d left
in the pouch of the instrument case, there was my Niagara Symphony
music, a reed case with my name on it, and the blue backpack, but
no computer and no instruments or case. But now I knew exactly
where the thief had been after the theft, to dump items that might
link me to the instruments. And, there were surveillance cameras on
a private garage in the laneway facing the dump site! I contacted the
homeowner, but by the time police got onto the case and then waited
for the camera owner (the homeowner’s son) to return to town, the
footage from that evening had been erased!
I had an outpouring of support from friends and colleagues on
Facebook. I posted my instrument serial numbers, which were in
turn shared by colleagues to their contacts, including music stores
and instrument dealers. The WholeNote ran a monthly classified ad
with all the info. I posted the theft to a couple of online stolen instrument
registries, looked in pawn shops, and had help from friends
checking sites such as eBay and Kijiji. Time passed. Life went on. I
eventually bought a used English horn, and continued to play my
20-year-old reliable Greenline oboe. I thought about my stolen instruments
a lot, imagining them rotting in landfill somewhere, or perhaps
enjoying a new life in China, never to be traced again. Or perhaps
they were nearby, in the possession of someone wondering what to do
with them.
And then the miraculous happened! Twelve days ago at the time
of writing, I got a phone call from a music store not far from Toronto
– they had my instruments! Someone had brought them in for
appraisal. After exchanging some information, I was able to pick
them up from that region’s police station. The music store wished
to remain anonymous here, fearing that eventually word might leak
out, deterring would-be thieves or individuals in possession of stolen
instruments from bringing them in for repair or evaluation, so I am
respecting that wish. But
thanks to a community of
individuals who spread the
word, and to the on-theball
employees of that music
store who smelled a rat
and checked their internal
system, I have my precious
instruments back, and in
good condition I might add.
Miracles do happen, with a
bit of help from friends.
"Endings" invites readers to submit stories of musical interest in which something takes an unanticipated turn for the better! Stories should be between
900 and 1,000 words in length. Remuneration for stories published in this space takes the form of a $250 gift certificate, to a worthy musical
cause of the contributor's choosing, to be used for display advertising in The WholeNote. (Some restrictions may apply.)
Send stories for consideration, with "Happy Endings" in the subject line, to publisher@thewholenote.com
84 | April 1, 2016 - May 7, 2016 thewholenote.com

KOERNER HALL IS:
“
A beautiful space for music “
THE GLOBE AND MAIL
Musicians from Marlboro
tHurSday, april 7, 7:30pm, maZZoleni ConCert Hall
an annual favourite of the mazzoleni masters! led by the respected
Samuel rhodes, former violist of the Grammy award-winning Juilliard
String Quartet, the program features Haydn’s String Quartet in C major,
Berg’s Lyric Suite, and dvořák’s piano Quintet.
Generously supported by Dr. Günes N. Ege-Akter
The Glenn Gould School
Chamber Competition Finals
WedneSday, april 19, 7pm
maZZoleni ConCert Hall
Hear the talented ensembles of the Glenn Gould
School compete for over $11,000 in prizes
and the chance to perform a prelude recital
in Koerner Hall preceding a royal Conservatory
orchestra performance.
Presented in honour of
R.S. Williams & Sons Company Ltd.
Simon Shaheen’s
Zafir: Musical Winds
from North Africa
to Andalucia
Saturday, april 16, 8pm
Koerner Hall
Simon Shaheen and Qantara bring
to life the Arab music of Al-Andalus
and blend it with flamenco.
Generously supported by
Mohammad and Najla Al Zaibak
Presented in association with the
Canadian Arab Institute and the
Toronto Palestine Film Festival
Leon Fleisher conducts
The Royal Conservatory
Orchestra and
Alex Volkov
Friday, april 8, 8pm Koerner Hall
prelude reCital at 6:45pm
legendary pianist and conductor
leon Fleisher leads the rCo in
a program of Brahms’s Violin Concerto
with alexander Volkov, r. Strauss’s
Don Juan, and ravel’s La valse.
Generously supported by
Leslie & Anna Dan
Rebanks Family Fellowship Concert
tueSday, april 12, 7:30pm maZZoleni ConCert Hall
Hear artists on the cusp of major careers. This concert features solo
and chamber works performed by Rebanks Fellows currently enrolled
in the one-year Rebanks Family Fellowship and International
Performance Residency Program.
Generously supported by the Rebanks Family and
The W. Garfield Weston Foundation
Songmasters:
The Hungarian-Finnish
Connection
Sunday, may 1, 2pm
maZZoleni ConCert Hall
Explore the Finnish-Hungarian connection
with works by Liszt, Bartók, Sibelius,
and others, with soprano Leslie Ann Bradley,
bass-baritone Stephen Hegedus,
and pianists Rachel Andrist and
Robert Kortgaard.
Special guest violinist Erika Raum
will join Leslie Ann Bradley to perform
Kaija Saariaho’s Changing Light.
TICKETS START AT ONLY $25! 416.408.0208 www.performance.rcmusic.ca
273 BLOOR STREET WEST
(BLOOR 237 Bloor ST. & AVENUE Street RD.) WeSt
TORONTO (Bloor St. & aVenue rd.) toronto

CBC Radio Two: The Golden Years
Coming of Age
in the 1990s
DAVID JAEGER
The decade of the 1990s witnessed a flourishing of Canadian
musical creativity, in terms of both the composition of significant
new works and the growing maturity of several organizations
that commissioned and presented performances of
them. Two New Hours, the contemporary music program I created
for CBC Radio Two, turned 12-years-old on New Years Day, 1990. We
had already commissioned over 100 new Canadian works, and were
just “hitting our stride,” as the saying goes. Included among the many
outstanding Canadian works whose world premieres were yet to be
broadcast on Two New Hours in the 1990s were Glenn Buhr’s Cathedral
Songs, Harry Freedman’s Borealis, Jacques Hétu’s Concerto for
Trombone and Orchestra, Alexina Louie’s Shattered Night, Shivering
Stars, Murray Schafer’s Concerto for Accordion and Orchestra, Harry
Somers’ Third Piano Concerto, Ann Southam’s Webster’s Spin and
hundreds more works of exceptional quality. It was already clear that
the investment CBC had made in new musical creation was yielding
large-scale returns.
In November 1990, in a live network broadcast from Quebec City on
both CBC Radio Two and Radio-Canada, Chris Paul Harman, then a
19-year-old, became the youngest Grand Prize winner in the National
Radio Competition for Young Composers. At the end of that decade,
the Grand Prize went to Brian Current. In both instances, Harman and
Current were subsequently voted top young composers at the International
Rostrum of Composers in Paris, launching their careers on
the international stage. It was clear that CBC’s investment in identifying
and developing emerging young Canadian composers was
providing a high-power talent pool for the future.
Karen Kieser (1948–2001) was head of CBC Radio Music as the
90s began. Karen was a firm believer in the CBC’s role as an institution
that developed Canadian musical talent, not only to assure that
there would be Canadian artists of international standard available to
future CBC programmers, but as a fulfillment of the Broadcasting Act,
the cornerstone legislation that created the CBC, and which is still in
force today. The effort that Karen put into talent development in the
1980s planted the seeds for an explosion of musical initiatives in the
1990s. She was particularly supportive of the CBC’s talent competitions
and she made it a priority to increase their public visibility by
investing in the promotion of the concerts and broadcasts of the CBC/
Radio-Canada Young Performers, Young Composers and the choral
competitions.
Among her many accomplishments, we owe the existence of Glenn
Gould Studio to her. Her formidable determination ensured that it was
included in the plans for the Canadian Broadcasting Centre, against
all odds. As crunch time approached to finalize the plans for the
Broadcasting Centre in the late 1980s, Karen battled those planners
who considered a dedicated music studio to be an unnecessary frill.
I remember that dark Friday, when word arrived that the “performance
studio,” as it was then labelled, had been officially purged from
the design plan. It was a temporary setback, as Karen counterattacked,
rallying support and seeing to it that a world class music production
facility would be in the music department’s tool kit when the Centre
opened in 1992.
Karen moved to the new Canadian Broadcasting Centre in 1992,
not as head of Radio Music, but rather as executive director of Glenn
Gould Studio (GGS). One of her first production decisions in this
new capacity was to set aside budget for programming contemporary
music. She asked me to conceive and produce concerts that would
broaden the range of otherwise standard classical repertoire she was
offering in GGS-sponsored concerts. A highlight of that first season
was our presentation of the percussion group, Nexus: Bob Becker,
The Karen Kieser
Prize in Canadian
Music is displayed, and
awarded annually, at
University of Toronto's
Faculty of Music.
William Cahn, Russell Hartenberger, Robin Engelman (1937–2016) and
John Wyre (1941–2006). All were eager to exploit the perfect acoustics
of the new hall, and to accomplish this, we designed a concert titled
“Classics of Contemporary Percussion.” The program included Drumming
(Part 1) by Steve Reich, Third Construction by John Cage, Rain
Tree by Toru Takemitsu and The Birds by William Cahn. The sold-out
concert was a brilliant success, a fabulous broadcast, and it certainly
showed off the Nils Jordan-designed acoustics of Glenn Gould Studio.
Encounters: In 1993 Karen also asked me, as executive producer of
Two New Hours, to create a new music concert series at GGS in partnership
with Lawrence Cherney, who was busy transforming his
organization, Chamber Concerts Canada, into Soundstreams Canada.
With Karen’s support, Lawrence and I created Encounters, a series
of concerts pairing music by a significant Canadian composer with
works by a composer who was internationally recognized. The series
was co-presented by GGS and Soundstreams Canada and broadcast
on Two New Hours. In the first season we produced concerts in GGS
that paired Canadians Ann Southam, Michael J. Baker and Barry Truax
with Estonian Arvo Pärt, American Terry Riley and Englishman Gavin
Bryars, respectively. Encounters was a successful format, both for
concert and radio audiences, and the series continued to the end of the
decade. A highpoint of this collaboration was in 1997, when Soundstreams
expanded the Encounters concept and produced the Northern
Encounters Festival, a large undertaking described as “a circumpolar
festival of the arts.”
Another signature feature of the new Canadian Broadcasting Centre
was the Barbara Frum Atrium. The design team had conceived the
ten-story, glass-topped atrium as a public space, where people could
gather in a friendly atmosphere. There was always a notion that the
space might serve to host performance events, but it wasn’t until
1995 that the appropriate grand statement was realized. In 1993, on
the heels of the success of the Winnipeg Symphony’s New Music
Festival, I asked WSO composer-in-residence, Glenn Buhr, to compose
a piece of music that would be an expression of musical community
building. The work would be designed as a surround-sound symphony
for performance in the Barbara Frum Atrium: on the ground floor,
up in the balconies, and with antiphonal brass groups sounding
from the very top floors. Glenn responded to the challenge and he
began composing Cathedral Songs, a work that included the Toronto
Symphony, Nexus, the Toronto Children’s Choir and the Hannaford
Street Silver Band. In March of 1995, these forces were assembled for a
concert titled Cathedral Songs, in which the eponymous composition
by Glenn Buhr had its premiere. Each participating group performed
separately in the first half of the concert, and then all together in
Glenn’s composition in the second part. The Atrium’s 700 seats were
full, and the concert was broadcast live-to-air, yielding an audience
of thousands of listeners across Canada. The concert, the broadcast,
the new work and all the other pieces performed that night made a
statement. Canadians, creating together and aspiring for excellence,
can achieve greatness. Alec Frame, vice president of CBC Radio at the
time, told me, “I wish that concert could have gone on forever!” It was
a highpoint of Canadian music in the 90s, and there was still half a
decade to go!
David Jaeger is a composer, producer and broadcaster based in
Toronto.
KEVIN KING
86 | April 1, 2016 - May 7, 2016 thewholenote.com

Tanya Tagaq
Kronos Quartet
Dawn of Midi
Brad Mehldau Jherek Bischoff John Oswald
TWENTY-FIRST CENTURY MUSIC FESTIVAL MAY 25-29/2016
7 CONCERTS
5 DAYS
21+ PREMIERES
“
GUTSY. ”
THE GLOBE AND MAIL
TODAY’S MOST INNOVATIVE MUSICIANS
AND COMPOSERS BRING US FRESH NEW
SOUNDS AND IDEAS.
Kronos Quartet Tanya Tagaq Brad Mehldau
John Oswald Jherek Bischoff Dawn of Midi
Brian Current Nicole Lizée James Ehnes &
Andrew Armstrong Fodé Lassana Diabaté
Continuum Contemporary Music Geeshie Wiley
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