Volume 22 Issue 7 - April 2017

thewholenote

In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!

PRICELESS

Vol 22 No 7

APRIL 1 - MAY 7, 2017

LISTINGS | FEATURES | RECORD REVIEWS

Russell Braun

on Louis Riel

DANIEL TAYLOR 17.03.22

JENNY PARR 17.03.06

RUSSELL BRAUN 17.03.02

PODCASTING at

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*Apr 2 at George Weston Recital Hall,

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FINAL CONCERTS

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BACH: KEEPING IT

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Directed by Alfredo Bernardini, oboe, and

Cecilia Bernardini, violin

“A sparkling and scintillating performance that was

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The father/daughter team of oboist Alfredo Bernardini and

violinist Cecilia Bernardini co-lead this concert exploring

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April 5–9, 2017

Jeanne Lamon Hall, Trinity-St. Paul’s Centre

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Directed by Ivars Taurins and Elisa Citterio, violin

Celebrate the final concert of the season with newly

appointed Music Director Designate Elisa Citterio as

she directs Haydn’s spirited Symphony No.98. Then,

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May 4–7, 2017

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Volume 22 No 7 | April 2017

FEATURES

6. OPENER | Back in Our Naïve Youth | DAVID PERLMAN

8. CBC TWO: THE LIVING LEGACY | When Harry’s Voice Came to Play | DAVID JAEGER

10. PODCASTING at THE WHOLENOTE | Daniel Taylor: 17.03.22

11. Bach in Bethlehem, Verdi in Jerusalem | DAVID PERLMAN

16. PODCASTING at THE WHOLENOTE | Russell Braun: 17.03.02

18. PODCASTING at THE WHOLENOTE | Jenny Parr: 17.03.06

22. Encounters: John Beckwith at 90 | ANDREW TIMAR

53. Oui The North | PAUL ENNIS

59. Music and Health | How Music Matters | VIVIEN FELLEGI

60. WE ARE ALL MUSIC’S CHILDREN | MJ BUELL

BEAT BY BEAT

12. On Opera | CHRISTOPHER HOILE

17. Early Music | DAVID PODGORSKI

19. Classical & Beyond | PAUL ENNIS

23. In with the New | WENDALYN BARTLEY

25. Art of Song | LYDIA PEROVIĆ

28. Choral Scene | BRIAN CHANG

30. Jazz Stories | ORI DAGAN

32. World View | ANDREW TIMAR

34. Bandstand | JACK MacQUARRIE

54. Mainly Clubs, Mostly Jazz! | BOB BEN

ACD22728

“… Janina Fialkowska is

an international treasure …”

-The ToronTo STar

LISTINGS

36. A | Concerts in the GTA

49. B | Concerts Beyond the GTA

52. C | Music Theatre

54. D | In the Clubs (Mostly Jazz)

57. E | The ETCeteras

ACD22759

DISCOVERIES: RECORDINGS REVIEWED

62. Editor’s Corner | DAVID OLDS

64. Strings Attached | TERRY ROBBINS

66. Keyed In | ALEX BARAN

68. Vocal

70. Classical & Beyond

71. Modern & Contemporary

72 Jazz & Improvised

74. Pot Pourri

74. Something in the Air | KEN WAXMAN

76. Old Wine, New Bottles | BRUCE SURTEES

Named “Révélation

Radio-Canada 2016-2017

AvAilAble from

April 7, 2017

MORE

6. Contact Information & Deadlines

7. Index of Advertisers

58. Classified Ads

G R I G O R I A N . C O M

Cover Photography | Bryson Winchester


FOR OPENERS | DAVID PERLMAN

Back in Our Naïve Youth

Back in our naïve youth as a magazine we used

to handcuff ourselves by proclaiming one or

another month of the year as [some particular

genre] month. As in “April is Opera Month”; or

“March is New Music Month.”

One problem was, of course, that we failed to

inform the hundreds of presenters putting on

concerts every month far enough in advance so that

they could change their plans to fit with our executive

orders.

Another was that, with every passing year, our tidy

little rolodex of genres has eroded as rapidly as the

memories of those among us who still know what a

rolodex is.

But of all the “this month is” edicts and proclamations, the one that

still feels intuitively right to me is the next one coming up after this

one: thanks to the presence in our upcoming May edition of our 15th

annual Choral Canary Pages, there is still an argument to be made for

saying that “May is Choral Month” in The WholeNote.

It’s not because all our stories in the May issue will have choral

themes. It’s because our Canary Pages are not primarily designed

to give audiences information about what choral performances are

coming up, but to give you and me as much information as possible

about what choirs are out there to join, so that we can give ourselves

an opportunity to breathe in loud and joyful unison, voicing common

hopes and feelings with other people on a regular basis. In a world

that conspires in every imaginable way to have us twittering away

in querulous, frightened or acrimonious solitude,

more than ever, making music together affirms our

common humanity.

More than a decade ago I explained in this very

spot that the reason we had called it the Canary

Pages was drawn from the dark days of coal mining,

where caged canaries were strategically deployed

in the tunnels to alert miners to the presence of

poisonous gases. “As long as the canary is singing,

you’re O.K.,” the theory went. “But if the canary

croaks, metaphorically anyway, hold your breath

and run.”

Aside from some surly Hamiltonian (since moved

to Sarnia, I believe) who blasted us for holding

up cruelty to animals as something laudable, it’s an image that

stands up rather well I think. We can, to a significant extent, gauge

the extent to which our arts environment is becoming toxic by

whether community-based, collective music-making remain stable

because those participating in them are able to remain within those

communities.

The erosion from the urban landscape of local venues to listen to

live music is getting some attention these days, which is good. But

the displacement of the people who work in those spaces, musicians

and non-musicians alike, because they can no longer afford to live in

the communities they work in, tells us even more about the fragile

musical health of our cities.

publisher@thewholenote.com

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6 | April 1, 2017 - May 7, 2017 thewholenote.com


INDEX OF ADVERTISERS

Adam Sherkin..................................................37, 48

Adi Braun............................................................... 40

All Saints Kingsway Anglican Church.........31, 39

Amadeus Choir..................................................... 39

Amici Chamber Ensemble...................................47

Annex Singers....................................................... 44

Arts Media Projects............................................. 58

ATMA............................................................. 5, 63, 67

Aurora Cultural Centre....................................... 45

Azrieli Foundation................................................. 77

Bach Children’s Chorus........................................27

Bata Shoe Museum.............................................. 40

Bobcaygeon Music Council/Ensemble Vivant.51

Bridge Records......................................................67

Canadian Children’s Opera Company.............. 43

Canadian Opera Company........................... 43, 47

Cardinal Carter Academy for the Arts..............23

Cathedral Bluffs Symphony Orchestra............ 44

Celebrity Symphony Orchestra......................... 46

Christ Church Deer Park Jazz Vespers........... 56

Church of the Holy Trinity..............................37, 45

Dave Young.............................................................67

Elmer Iseler Singers.......................................27, 49

Elora Festival.......................................................... 16

Ensemble Vivant................................................... 35

Grand Philharmonic Choir.................................. 51

Greater Toronto Philharmonic Orchestra.......42

High Notes............................................................. 49

Horizon Tax............................................................ 58

Humbercrest United Church.............................. 41

I Furiosi................................................................... 43

Isabel Bader Centre for the Perf Arts.................3

Judith Owen/Jane Harbury............................... 56

Kindred Spirits Orchestra...................................42

Lark Ensemble...................................................... 40

Lawrence Park Community Church.................. 41

Les Amis Concerts............................................... 50

Mississauga Festival Choir................................. 49

Mississauga Symphony........................................ 14

Mooredale Concerts........................................... 45

Music at Metropolitan................................... 42, 49

Music at St. Andrew’s.......................................... 38

Music Toronto..........................................................9

Nagata Shachu..................................................... 38

New Music Concerts..................................... 24, 46

Nine Sparrows Arts Foundation........................ 41

Oakham House Choir.......................................... 46

Opera Atelier..........................................................10

ORMTA - Central Toronto Branch..................... 58

Pax Christi Chorale.............................................. 26

Peterborough Singers.........................................52

Remenyi House of Music...................................... 21

Room 217 Foundation.............................................. 7

Roy Thomson Hall................................................. 38

Roy Thomson Hall / Massey Hall....................... 33

Royal Conservatory............................. 15, 41, 46, 79

SING! The Toronto Vocal Arts Festival............. 29

Sony Centre............................................................ 13

Southern Ont Chapter of the Hymn Society....57

St. James Cathedral.............................................25

St. Olave’s Church................................................. 45

St. Thomas’s Anglican Church............................. 11

Stand Up Guy......................................................... 58

Steinway Piano Gallery........................................ 19

Syrinx Concerts Toronto.................................... 44

Tafelmusik....................................... 4, 37, 48, 65, 80

Talisker Players......................................................27

Thanks to Dr. Suzuki Concert Performances. 45

Toronto Children’s Chorus......................38, 48, 57

Toronto Classical Singers....................................47

Toronto Consort ....................................................17

Toronto Mendelssohn Choir.............................. 40

Toronto Operetta Theatre................................... 14

Toronto Symphony Orchestra..................2, 38, 41

Trio Arkel.................................................................47

True North Records............................................. 55

Universal..........................................................63, 65

Windermere String Quartet...............................37

Women’s Musical Club............................. 8, 38, 48

Yorkminster Park Baptist Church..................... 39

thewholenote.com April 1, 2017 - May 7, 2017 | 7


SIMON FRYER, ARTISTIC DIRECTOR

2017

2018

CBC Radio Two: The Living Legacy

OCTOBER 5, 2017 | 1.30 PM

LARA ST. JOHN

Lara St. John, violin

Matt Herskowitz, piano

NOVEMBER 9, 2017 | 1.30 PM

ZODIAC TRIO

Riko Higuma, piano; Kliment Krylovskiy,

clarinet; Vanessa Mollard, violin

MARCH 8, 2018 | 1.30 PM

ELIAS STRING

QUARTET

Sara Bitlloch, violin; Donald Grant, violin;

Martin Saving, viola; Marie Bitlloch, cello

APRIL 12, 2018 | 1.30 PM

Sylvia Schwartz, soprano

Olivier Godin, piano

Simon Fryer with guest cellists:

TORONTO DEBUT

SYLVIA SCHWARTZ

MAY 3, 2018 | 1.30 PM

CELLODRAMA!

Ariel Barnes

Roman Borys

David Hetherington

Paul Widner

Thomas Wiebe

Leanne Zacharias

Winona Zelenka

SPECIAL GUEST: Sarah Slean, soprano

120 th Season

Subscribe to Five Thursday Afternoon

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Harry Somers

When Harry’s

Voice Came

to Play

DAVID JAEGER

The explosion of Canadian artistic creativity that led up to and

accompanied the Canadian centennial celebrations in 1967

spawned ripples that continued for years, if not decades. In

addition to the more than 2000 artistic infrastructure projects that

the federal Centennial Commission created, there were also dozens

of original musical works commissioned, by various bodies including

CBC Radio, to celebrate the milestone. Some of these have remained in

the canon of Canadian classical repertoire, such as Norma Beecroft’s

The Living Flame of Love, Harry Freedman’s Rose Latulippe, Jacque

Hétu’s Woodwind Quintet, Barbara Pentland’s Suite Borealis, Murray

Schafer’s Requiems for the Party Girl, and Harry Somers’ Evocations.

In December 1967 the Canadian Music Centre (CMC) published a

comprehensive catalogue of nearly 200 of these new works. RCA

Victor collaborated with the CBC’s international service, Radio Canada

International (RCI), to create a centennial edition LP series, Music and

Musicians of Canada, which ran to 17 volumes. Other labels, such

as Columbia, also released Canadian classical works, although less

numerous than the RCA/RCI collaboration.

Harry Somers’ and Mavor Moore’s opera Louis Riel was arguably

the crowning achievement among all this creative activity.

The opera was produced by the Canadian Opera Company in 1967,

continues to page 86

PHOTO CREDIT GILBERT A. MILNE & CO.

PHOTO COURTESY CANADIAN MUSIC CENTRE

8 | April 1, 2017 - May 7, 2017 thewholenote.com


thewholenote.com April 1, 2017 - May 7, 2017 | 9


PODCASTING at THE WHOLENOTE

Daniel Taylor: 17.03.22

luck with the

editing” was almost

“Good

the first thing worldrenowned

Canadian countertenor

Daniel Taylor said to Bryson

Winchester, WholeNote podcast

recording technician, when

we sat down for this particular

conversation. And indeed, pinning

the mercurial Taylor down to one

topic of conversation is a tough

task, as his innate musicality takes

him deeper into teaching and

music directing, along with an

intensive concert and recording

schedule remarkable for its range,

both in terms of geography and

repertoire.

As it turned out, we managed to touch on several topics of interest.

Recording: Taylor’s discography is astonishing - at last count he

appears on more than 100 recordings in one capacity or another.

But we started out talking about a fairly recent disc, one dear to his

heart, I’d say, because it yokes so many different aspects of his musical

persona to a single purpose. It’s a 2017 JUNO-nominated Sony release,

titled 4000 Winter, and features an ensemble, under Taylor’s direction,

called the Trinity Choir.

As he explained: “The choir consists, first, of between 10 and 12

Canadian singers, primarily from Ontario and Quebec. Some are

students at the University of Toronto, or graduates. We travelled to

England, we did a concert tour. And joining us were members of the

Tallis Scholars, the Gabrieli Consort and the Monteverdi Choir…three

choirs with whom I’ve performed as a soloist, well, for the last 15

years – people I’ve met along the way with a certain way of listening to

what I think is beauty.

“…It was really experimental. All of our singers hadn’t worked

together. The ten of mine had, in one way or another. And the British

singers had worked together but not all in one group…I brought them

together for a few days of rehearsal and then we started to record. I

remember I was quite apprehensive because I just didn’t know if what

I imagined could actually happen. Which in my mind was bringing

together the sensitivity that some of our North American singers

have to a different approach, but one that I thought could be complementary,

from the British singers…So there it was, and they began,

and I thought, that’s what I thought it could sound like. And it was so

beautiful I just felt fortunate.”

It’s when the conversation went

from talking about this particular

recording to about recording in

general, that, as Taylor warned,

“Good luck with the editing!”

Topics Covered: Early operatic

conducting practices; working

as music director on the recent

U of T Opera School production

of Handel’s Imeneo, directed

by Tim Albery, presented with

both cast and and audience on the

cavernous stage of the MacMillan

Theatre; the relationship between

opera performance and “historical

performance practice”; musing

about whether his singing career

would have a “natural denouement”

before going on to say “actually I’m

finding now, what’s challenging is balancing when I’m conducting,

when I’m singing and when I’m teaching. Because it is almost like

three full-time jobs. So I have to have those different hats.”

It’s interesting how often Handel comes up in the conversation. First

professional opera experience; first time at the Met; first production in

Canada. Interestingly, it was that production of Handel’s Giulio Cesare

at the Met that led directly to one of the more enduring Bach-related

threads in Taylor’s concert life - his uninterrupted 19-year association

with conductor Greg Funfgeld and the Bethlehem, Pennsylvania,

Bach Festival.

“What’s interesting about the Bethlehem Bach Choir is it is very

much a different sort of animal than we’d find in England with the

smaller early music ensembles. The Bethlehem Bach Choir is really in

that great tradition that Robert Shaw had with the Atlanta Symphony

- those big big choruses. What’s inspiring about it is that there’s a

sense of worship but also of community. There’s an earnest quality to

what they do - and they’re so committed to it. It’s really moving.”

To hear the full conversation with Daniel Taylor, or any of our other

podcasts, search for “The WholeNote” in your favourite podcast app,

or go to TheWholeNote.com/podcasts.

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10 | April 1, 2017 - May 7, 2017 thewholenote.com


Bach in Bethlehem, Verdi in Jerusalem

DAVID PERLMAN

According to Chaucer, April is the month

that with its sweet showers “pierces

March’s drought to the root,” causing all

kinds of people, music lovers not excepted, to

get a bit giddy and take themselves off on all

manner of “sundry pilgrimages.” As a lifelong

chronic agoraphobe who typically gets on

airplanes only for trips revolving around grim

duty of one kind or another, I was until last

year, a steadfast exception to the Chaucerian

rule. But 2016 was different. Not once but

twice I noted my nearest exits, turned off all

electronic devices and faithfully obeyed the

fasten seatbelt sign as I took off into the wide

blue yonder for the purpose of attending music

festivals in other parts of the world.

I am, therefore, now an expert on the subject

of music festivals. So pay attention.

Rule number one: Other than the ones that

take place in your hometown and can therefore

be ignored unless you have guests, there are

only two types of festivals.

One is the kind of festival that is sufficiently

compelling in its own right that it causes you to

journey some place you never have thought of

visiting, even if you had heard of it.

The other is a festival you never heard of but taking place somewhere

so special in its own right that you feel compelled to go there at

least once in your lifetime. And when you do, you discover that there’s

a festival there that tickles your musical fancy, so you go to it because

you are already there.

There’s one of each kind in this story: the 2016 first annual

Jerusalem Summer Opera Festival falls into the second category; the

110th Annual Bethlehem Bach Festival falls into the first.

The Bethlehem Bach Festival takes place in Bethlehem, PA, nestled

in the Lehigh Valley region of Southeastern Pennsylvania, this year

on the weekends of May 12-13 and May 19-20. Colonized in the first

half of the 18th century by Moravian settlers, Bethlehem became also,

in the 1860s (across the river from the old town), the site of Lehigh

University, a private school established by businessman Asa Packer.

(The church that bears his name, on the Lehigh campus, remains

the venue for the performance of the Bach Mass in B Minor that is

the climax of each year’s festival.) And between the two halves of the

town, along the riverbank is the looming rusting hulk of what was,

from the 1880s till the 1990s, the steel mill from which Bethlehem

Steel derived its name. Twelve years after the mill was built, in 1898,

the Bethlehem Bach Choir came into being. Two years after that it

gave the first ever complete North American performance of Bach’s B

Minor Mass. Through that whole galvanic century, the choir and the

festival have endured through thick and thin, because they bring to

the music not just a consistently high standard of musicianship, but a

precious intangible – the fact that the music is a living expression of

community.

I’ve written before about how my first awareness of the Bethlehem

Bach Festival came about because of the non-stop procession of topflight

Canadian soloists to the festival, especially since Greg Funfgeld

took on conductorship of the choir in 1983. Countertenor Daniel

Taylor, for example, returns for the 19th consecutive year, joined

again this year by soprano Agnes Zsigovics (a protégée of Taylor’s at

the University of Toronto, and surely a performer to watch) and by

Benjamin Butterfield, also a frequent visitor but absent last year. The

three US soloists are also regulars: soprano Rosa Lamoreaux, baritone

William Sharp and Dashon Burton, bass. One of Funfgeld’s gifts

as a conductor is his sense of balance and blend; another is his loyalty

to his performers. Talk to the soloists and they will tell you that as

much as anything, the opportunity to renew beloved musical relationships

in a consistent context is one of the things that keeps them

coming back.

It’s been said that North America (at least from a colonial perspective)

has too much geography and not enough history, while the

problem in the Middle East is just the reverse. But if one thinks local

rather than global, the distinction starts to blur. Walk from the Hotel

Bethlehem (built in the 1920s with Bethlehem steel!) through the

old Moravian Quarter, across the bridge past the hulk of the steel

mill, where signs of civic landscaping and urban renewal are visibly

starting to happen on the river edge, up the opposite hill to the Packer

Church, and take your place in the audience. There will always be

more than one generation of the same family in the choir that looks

back at you. And the music, when it starts, will have a healing sound

St. Thomas’s Anglican Church, 383 Huron St.

Baroque Music by Candlelight

for Holy Week

A time for quiet reflection

A period ensemble performs

in a historic setting

Monday, April 10 at 8 pm

Pay what you can

Sultan’s Pool, Jerusalem

stthomas.on.ca

thewholenote.com April 1, 2017 - May 7, 2017 | 11


Beat by Beat | On Opera

Rising to the

Challenge of Riel

Greg Funfgeld and Dashon Burton

that is only possible when it is as current as it is timeless.

Jerusalem Opera Festival: Last summer’s trip to the Jerusalem

Opera Festival had several memorable moments. One was sitting, late

at night, on the rooftop licenced patio of the Mamilla Hotel in downtown

Jerusalem, after returning from the evening’s main event, a

thoroughly enjoyable outdoor performance of Rigoletto at the 6000-

seat Sultan’s Pool amphitheatre, a few hundred feet down the hill.

There’s something infinitely less annoying about amplification and

outdoor acoustics when the surroundings are as genuinely imposing.

(Although I do remember thinking, as an ambulance barrelled down

the hill, klaxon blaring, alongside the amphitheatre, right on cue, that

maybe this time Gilda would be saved! The second night’s performance,

at the Sultan’s Pool again, titled “Opera Paradiso,” was, to my

taste less successful, featuring a range of operatic moments from film,

sung and performed live by singers and orchestra while the related

movie excerpts flickered silently onscreen.

I found myself wondering if there was perhaps a trap for the festival

in trying to attract the same 6000 people two days in a row to the one

venue, rather than setting the goal of doing the same show twice in a

row to grow the audience, and to lay on other things, large and small,

for each audience on their “other” night. A better way to build partnerships

in the community, said my small-town brain.

As it happens, this year’s Jerusalem Festival has just been

announced, and someone else must have been thinking along the

same lines I was. There will be two performances of Nabucco, June 21

and 22 at Sultan’s Pool. It will be very interesting to see what else, if

anything, operatic or not, gets programmed head to head with those

two performances.

My favourite story from the whole visit indicates the size of the

challenge ahead. We were in Tel Aviv, home base of the Israeli Opera,

at the end of the visit, being shown around the props and costumes

room, backstage. Our guide, an opera staff member, was talking

frankly about how the two cities were completely different worlds.

(“It’s an hour’s drive at a speed of 30 centuries an hour,” someone

said.) The NIOC staffer described how her own children, growing up

backstage among the props and costumes, had never even been to

Jerusalem until they were five or six years old. Holding tight to her

hand as they walked through the souks with their dizzying variety of

cultural and religious garb, one of the children turned to her, pointing

at someone walking by in unfamiliar attire. “Mommy, what costume is

that?” the child asked.

The greatest challenge for this particular festival, it seems to me,

is that Jerusalem as a city is itself a living opera, on a grander, more

viscerally demanding scale than anything the arts can hope to muster.

It will be interesting to see how much attention this particular festival

can hope to grab moving forward.

David Perlman can be reached at publisher@thewholenote.com.

CHRISTOPHER HOILE

While there are several noteworthy operas on offer in April, one

looms over them all. This is the COC’s first new production

of Harry Somers’ Louis Riel since it premiered in 1967.

Co-produced by the Canadian Opera Company and the National Arts

Centre, the new production will give Canadians the rare opportunity

to see what has often been called the greatest Canadian opera

ever written.

Written and performed for Canada’s centennial in 1967, Louis Riel

is being revived for the sesquicentennial this year. Reasons for the

scarcity of productions of it are not hard to see. The opera is in three

acts and 17 scenes, requires a chorus, a 67-member orchestra and has

39 named roles. Composer Harry Somers and librettist Mavor Moore

wanted to create an epic opera on the model of French grand opera

and one could say they succeeded only too well.

In an interview in March, director Peter Hinton threw light on how

he plans to meet the many challenges that the opera poses. Speaking

of his concept for the production, Hinton explained, “What we’ve

tried to do is create a setting that can serve each of the locations of

the opera but also create a sort of container of imagery that in some

ways sets the entire opera at the trial of Louis Riel. So on the one hand

the set resembles Fort Garry, an enclosure, the contrast of a colonized

building against an incredible landscape of the land, and also a courtroom

where the events of history are put on trial and we’re examining

the motivations and intentions behind enormous ideas like governments,

justice, confederation. So it was very challenging but very

exciting because the ideas of the opera are really big, the history is

very big, and not surprisingly it’s very contemporary. Yes, it’s a historical

story, but it’s one that continues to speak to us today.”

Hinton said that Somers and Moore made an intriguing choice

of subject for an opera meant to celebrate Canada’s centennial: “I

thought it was very interesting that they chose the history of Louis

Riel. And I think that’s a very key kind of distinction because when I

first sat down to listen to it I suspected it might be a very pro-Canada,

‘we are one nation,’ idealized kind of history telling. But I was really

taken with how critical it is, how it brought forward the problems of

Confederation, that it exposed Sir John A. Macdonald and his political

motivations for Confederation in a very critical way. And so it poses

very contemporary questions about what are we commemorating,

what are we celebrating, what, in addition to our history of achievement,

[are] our losses, our injustices, what continues to be needed to

be worked out and expressed and understood today.”

Thus, Hinton’s concept for the opera as a trial means more than

Riel’s trial. Canada and how it was founded are also on trial. In addition,

Hinton points out, he is re-examining the opera itself: “In

another way we’re sort of putting the opera on trial. Clearly, if the

COC were to take on creating a new opera today about Louis Riel, it

would have more indigenous and Métis involvement in the creation of

it. So even more than the challenges of staging the narrative of Louis

Riel, the politics of it have been much more challenging and very, very

difficult to reconcile oneself with because opera itself might be characterized

as one of the most colonial art forms because its roots are so

Eurocentric.”

The solution, as he explains it, was to treat Harry Somers’ and

Mavor Moore’s opera as an artifact of its time.

“It reflects very much the aesthetic sensibilities of contemporary

music of the 1960s and it has great dramatic strength and power and

beauty. It also has many colonial biases. So part of the job here is to do

the opera and let its beauty be heard and soar and not be afraid to cast

light on its biases; not to pretend the opera is an Indigenous creation

12 | April 1, 2017 - May 7, 2017 thewholenote.com


DAVID COOPER

– it is definitely created by two white

settler guys – but to try to open up

a more inclusive representation

in the show.

“And I have to say honestly that

[COC General Director] Alexander

Neef knew exactly what I was talking

about…it took me a long time to

make a commitment to be involved

because of issues about inclusion and

appropriation especially in light of

Truth and Reconciliation. I’m very

aware of my privilege and my own

cultural heritage as a director for

the piece. So I really had to think a

way through that I could contribute

without continuing a legacy of

misrepresentation.”

To achieve this, Hinton has

re-envisioned the opera’s chorus: “In

the original production there was one

very large opera chorus who played

a variety of roles from members of

the Métis Assembly to demonstrators

at an Orangemen’s protest in

Toronto. And I decided to split up

the chorus and identify them culturally.

So we in fact have two choruses

in this production – one which we

are calling the Parliamentary Chorus.

This chorus is in modern dress and

sing the allocated choral parts in the

score but they are removed from the

action. They sit above in a gallery not

Peter Hinton

unlike visitors to a house of parliament

and comment on the opera,

debate the opera, encourage characters

within the narrative to act or

not. But they do nothing. They have

no physical impact on the story or its

outcome. They comment.

“In contrast and in equal representation

in the show is a 35-member

Indigenous chorus who are a physical

chorus and we’re calling them

the Land Assembly. They physically

embody the world in which

the narrative Riel is enacted and

are directly involved in all of the

action but are not given a voice. So

in many respects the opera is one

about silence, about who speaks

on behalf of whom, and who gets

a voice and who doesn’t. And so

what I’m very hopeful about is that

our Land Assembly brings a very

strong Indigenous representation of

bodies on stage and has an impact

of reminding the audience as they

see this story enacted that land is

also about people. And the opera is

also very much people and groups

and where does someone stand as an

individual, what do they represent.

That’s one aspect of the show that

will be very different from the way it

was done 50 years ago.”

The COC has cast Indigenous men

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thewholenote.com April 1, 2017 - May 7, 2017 | 13


and women to make up the Land

Assembly. In addition new characters

have been added to the

opera to present a more informed

history of the Métis and Indigenous

people. The previously unattributed

opening vocal line is now

delivered by a character known as

The Folksinger, to be sung by Jani

Lauzon, a singer of Métis heritage.

The new role of The Activist, to be

played by Cole Alvis of Métis-Irish/

English heritage, will deliver the

Land Acknowledgement as the

opera unfolds, setting the tone for

interpreting the action playing out

on stage.

A separate group of 30 artists will

play the 39 named characters in the

opera with baritone Russell Braun

as the title character. Among these are Joanna Burt, a Métis/Saugeen

Ojibway artist, who sings Sara Riel, Cree actor and playwright Billy

Merasty as the Plains Cree chief Poundmaker and Cree bass-baritone

Everett Morrison as Cree war chief Wandering Spirit.

Justin Many Fingers, a singer, actor and dancer from the Lavern

Kainai Blackfoot Reserve in southern Alberta, will perform two dance

sequences titled “Buffalo Hunt,” in the last scene of Act II, intended as

a reenactment of a Métis buffalo hunt.

Asked if, despite the opera’s biases, it is still a work worth being

revived, Hinton answered, “Definitely. I think it’s a magnificent work

of art. And it’s really important that we revive it and examine it. It was

the first opera written by Canadians with a Canadian story produced

at the Canadian Opera Company and so it’s a very interesting thing

to take a look at what was created 50 years ago, where we have come

Comedy and Romance to rival Franz Lehár!

in that time and how this piece

sits within the repertoire of the

works the COC does. I think it’s

a really important complement

to that. And I think the work is

very powerful and very strong,

but it requires context.

“We have to look at Louis Riel

as one of the first civil activists.

He’s right up there to me

with Martin Luther King and

Malcolm X in the states. He was

an incredibly progressive person

for his time. So looking at the

history again in operatic terms

is incredible and the show

has enormous, enormous power

and range, from satire in the way

that Macdonald and Cartier and

their political manoeuvres are

expressed, to deep tragedy of someone who gave his entire life for

justice for the people and maybe expressed it best in losing it. There’s

a tragedy in that. It’s a magnificent work in that regard, so all of the

efforts of this production are to bring that genius to light in it and to

see how we can see that with the knowledge we have today. Producing

the work is not just a chance to look but but also to guide us forward.”

Louis Riel runs for seven performances from April 20 to May 13

at the Four Seasons Centre in Toronto and on June 15 and 17 at the

National Arts Centre in Ottawa.

(from left) Assistant director Estelle Shook, stage manager

Stephanie Marrs, director Peter Hinton, baritone Russell Braun,

and surtitles producer Gunta Dreifelds at an early rehearsal session

for the COC’s new production of Louis Riel on March 17, 2017.

Christopher Hoile is a Toronto-based writer on opera and

theatre. He can be contacted at opera@thewholenote.com.

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14 | April 1, 2017 - May 7, 2017 thewholenote.com


KOERNER HALL IS:


A beautiful space for music “

THE GLOBE AND MAIL

Les Violons du Roy

with Philippe Jaroussky

THURSDAY, APRIL 13, 8PM

KOERNER HALL

Tickets start at only $40

Québec City’s Les Violons du Roy, conducted

by Mathieu Lussier, and extraordinary

French countertenor Philippe Jaroussky

perform a program of Baroque works by

Händel, Bach, Fux, and Graun.

Generously supported by David G. Broadhurst

Dan Zanes with

Claudia Eliaza:

A Family Concert

SATURDAY, APRIL 22, 1PM

KOERNER HALL

Tickets start at only $25

A former member of rock band

the Del Fuegos, Dan Zanes’s music

is where sea shanties, English

music hall, North American and

West Indian folk music, play party

songs, the spirit of early rock-androll,

and soulful originals collide.

The Montrose Trio & Friends

FRIDAY, APRIL 28, 8PM KOERNER HALL Tickets start at only $40

A Canadian chamber music all-star evening featuring pianist Jon Kimura Parker,

violinist Martin Beaver, and cellist Clive Greensmith playing Brahms’s Piano

Trio No. 1 and joined by special guests to perform Tchaikovsky’s Souvenir de

Florence and Brahms’s Alto Songs.

Generously supported by David G. Broadhurst.

Presented in honour of R.S. Williams & Sons Company Ltd.

Academy Chamber Orchestra

SUNDAY, APRIL 30, 2PM KOERNER HALL

Free (ticket required)

String students from the Phil and Eli Taylor Performance Academy for

Young Artists come together as the Academy Chamber Orchestra to

perform two special concerts.

Natalie Dessay with

Philippe Cassard

TUESDAY MAY 2, 8PM KOERNER HALL

Tickets start at only $40

With French soprano Natalie Dessay “every

vocal phrase is impelled by the emotion

and dramatic intention of the moment.”

(The New York Times) She and pianist

Philippe Cassard will perform a program

called “Women’s Portraits,” featuring works

by Mozart, Schubert, Chausson, Debussy,

and more.

Presented in association with Alliance Française de Toronto

and the Consulat Général de France à Toronto.

The Glenn Gould School

New Music Ensemble

THURSDAY, MAY 4, 8PM

KOERNER HALL

Free (ticket required)

The GGS New Music Ensemble

performs a program of cutting-edge

contemporary music curated by

Brian Current.

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273 BLOOR STREET WEST

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TORONTO (BLOOR ST. & AVENUE RD.) TORONTO


PODCASTING at THE WHOLENOTE

Russell Braun: 17.03.02

Russell Braun dropped by

our studio on March 2,

just back in town after

his umpteenth Mendelssohn

Elijah in Ottawa (around

two and a half decades after

a prescient Robert Cooper

first picked him out of a

University of Toronto student

lineup to perform the role).

“No-one in their 20s should

do it,” he says now, with a laugh. Unsurprisingly for those who know

him, with rehearsals for Louis Riel due to start March 19, he wasn’t

exactly planning to rest up. Both of his sons, he told me, are heavily

involved in baseball so he’s heading off the next day on a side trip

to their respective spring-training camps in Florida, “en route” to

London for a March 13 performance of Senza Sangue (Without Blood),

a one-act opera by Peter Eötvös, based on a novella of the same

name by Alessandro Baricco. His character in Senza is in his 70s, he

informed us.

“In the last few years,” he mused, “my operatic career has tranformed

a little bit from playing basically passionate adolescents to

richly, fully developed adults.”

The upcoming role in Louis Riel, by contrast, requires him to play

a character who goes from his late 20s to his late 30s. But Riel is no

typical 30-year-old, and Braun has been immersing himself in preparation

for the role for a couple of years now.

“I like to really do 90 percent of the work on my own with the

opera, whether it’s Mozart or Debussy or Somers or Eötvös. I love the

interaction between the score and the piano; luckily I can play the

piano well enough to really establish a relationship with the score

before I open my mouth.

“This particular score is rhythmically very, very challenging. Very

often if you are a competent musician you can read through a score,

and then on second, third, fourth reading master more and more.

The Louis Riel score…it almost requires a mathematical analytical

approach before you can even open your mouth and utter a word.…

whenever a composer notates in a particular way I ask myself why.

You know, whether it’s Bach, which is almost devoid of notation

sometimes, or Hugo Wolf, which is extremely specifically notated, or

Massenet, a French composer, also very specifically notated in terms

of interpretation…I always ask myself ‘What is it that this composer

compels me to do?’”

In the case of Somers, he says, “The end result that I think he wants

is to eventually find a natural flow of quasi-recitative and speech

again, and it’s very, very busily notated but you can reach a level

of saturation quite quickly unless you have this goal in mind - that

basically the result [he desires] is a natural rhythmic flow of speech:

now, it looks on the score like it’s a septuplet on a triplet that has a

dotted eighth and a sixteenth note underneath the triplet, within the

septuplet which is actually a five-sixteenth bar [laughs]. But with

difficult music the effort it takes to learn it pays off in the understanding

of it.”

Interestingly, too, at the time we spoke he hadn’t permitted himself

to view or listen to the one available recording of the work, featuring

Bernard Turgeon as Riel, and a cast of performers who have inhabited

Braun’s world, as teachers, mentors and family friends, some for as

long as he can remember.

For him, there are no shortcuts to finding his character. “I need to

make my own mistakes,” he says.

To hear the full conversation with Russell Braun, or any of our other

podcasts, search for “The WholeNote” in your favourite podcast app,

or go to TheWholeNote.com/podcasts.

16 | April 1, 2017 - May 7, 2017 thewholenote.com


Beat by Beat | Early Music

No Silver Lining

DAVID PODGORSKI

In professions that are physically and mentally challenging as

well as competitive, there’s no experience quite as disappointing

as discovering that you’re second best. Back in 1995, a team of

psychologists observed and ranked the emotions displayed by Olympic

athletes right when the final results in their events were announced,

and then again when they were standing on the podium. What

they found was not only that the bronze medal winners seemed

significantly happier than the silver medallists, but that winning a

silver actually caused negative emotions in the athletes who won

them. Instead of celebrating an achievement – and how many people

even know who are the second best in the entire world at something?

– they expressed both sadness and contempt, and harshly critiqued

their own performance, listing their mistakes and replaying the event

in their heads, wishing they had acted differently in order to win gold.

The career of Marc-Antoine Charpentier (1643-1704) is an excellent

example of the frustrations of being almost the greatest. Despite

a professional lifetime of artistic patronage in some of the best courts

in 17th-century France, a mid-career collaboration with Molière, an

appointment as maître de musique for the Jesuit order in France, and

a lifetime composing music with over 500 compositions to his name,

he was still a (distant) second, career-wise, to the greatest French

composer of the period, Jean-Baptiste Lully. It’s important to keep two

things in mind about being second-best to Lully: one, that it doesn’t

mean Charpentier, or any of his other contemporaries, was any less

of a composer, and in many cases Charpentier was arguably better.

Two, that being anything other than the best composer in Louis XIV’s

France came with significant creative limitations on what composers

were allowed to write. Lully, one must bear in mind, was not simply

Les Violons du Roy, with founding conductor Bernard Labadie (left)

interested in writing better music than everyone else. He was also

determined to be the richest and the most influential and, to the best

of his ability, the only composer in France, and the centralization of

French cultural and political life around Versailles made sure he could

maintain an artistic monopoly.

The result for Charpentier was that he couldn’t legally produce an

opera, or indeed any other piece of music, with more than two singers

and six instrumentalists, without the express written permission of

Lully. Although working for the prominent House of Guise meant that

Charpentier could somewhat circumvent this, he still had to wait until

he was 50 years old before he could get an opera produced at court

after Lully finally died in 1687.

The opera in question was Médée (Medea) and although

Charpentier had to wait most of his life to get a chance to write something

like it, the wait was well worth it for the French court. Listening

to Médée, the listener can tell right away that Charpentier was able to

perfectly imitate the style developed by the old Italian monopolist and,

although the opera only ran for a few months, Médée was critically

DAVID CANNON

thewholenote.com April 1, 2017 - May 7, 2017 | 17


well-received by contemporary audiences.

This month, Opera Atelier is reviving the crowning achievement of

a composer whose career never did justice to his compositional talent.

Medea is running April 22 to 29 at the Elgin Theatre and Opera Atelier,

with its exceptional roster of singers, opulent staging and crack pit

orchestra (Tafelmusik), will certainly make this rare performance of a

composer who never got to be the best a must-see.

We like to think we’ve come a long way, culturally, since Louis XIV

and his privilèges royaux, but the distance between first and second

place in Canada still seems like a wide gulf. A perfect example of this

is Les Violons du Roy who, from a vantage point within the Toronto

early music scene, never seem to enjoy the popularity and success of

Tafelmusik.

I’m not sure the lack of coverage is entirely fair to the the Quebec

City-based group, as it’s certainly not lacking for talent. They’ve been

led in the past by Bernard Labadie, Jonathan Cohen and Mathieu

Lussier, all of whom have led full careers and made significant contributions

to the early music field. The group’s members are all perfectly

competent players and have enjoyed a lifetime of experience playing

orchestral, solo and chamber music in Quebec. The group itself is one

of Canadian early music’s stalwarts, having been in operation since

1984 (just five years after Tafelmusik) and now has some 35 recordings

to its name. If there’s any reason this group is being held back, I have

no idea what it is.

This month, you’ll be able to see for yourself what makes Les

Violons du Roy worth hearing, as they’ll be coming to play Koerner

Hall April 13 in a program that includes Bach, Handel, Fux and

Graun. Lussier will be leading the group and, to sweeten the deal, the

orchestra will be joined by the great countertenor Philippe Jaroussky

who, far from being just a voice, has a versatility that lets him sing a

wide range of repertoire from Monteverdi to Fauré. I will be very interested

to hear what this soloist and this group are capable of when they

collaborate.

Music-making has probably been a family business since about as

long as there have been professional musicians. Although the history

of music pedagogy is full of brilliant teachers and outstanding pupils,

it’s difficult to overcome the problem of what the student does when

the lesson ends and he goes home to (one hopes) practise, and a good

deal of the numerous performance issues that arise from a typical

piece of music can be resolved much more quickly in having an older,

more experienced musician on hand at home to help.

The Bach family is an obvious example of such dynasty, but

there are plenty of musicians who also parented a younger generation

of great performers. Tafelmusik explores the theme of musical

families in their concert this month, “Bach: Keeping It in the Family,”

which features one great early music father-daughter duo, Alfredo

and Cecilia Bernardini. Dad is a well-known baroque oboist, and

daughter Cecilia is a baroque violinist who is beginning to shine as a

soloist. They’ll both be coming to Toronto to show off their talents in a

program that includes the JS Bach Concerto for Violin in E Major BWV

1042 and the CPE Bach Oboe Concerto in E-flat Major Wq. 165, as well

as a sinfonia by Bach’s eldest son Wilhelm Friedmann and a Telemann

orchestral suite. This is a pair of soloists who can handle virtuostic

works with ease, and Tafelmusik always sounds great when there’s

a guest director to give a new perspective on performance practice.

Check this concert out April 5 through 9 at Trinity-St. Paul’s Centre.

If you’d prefer a concert of chamber music this month to a full-scale

French opera or orchestral concerts of high Baroque music, consider

checking out “Fork in The Road,” I Furiosi’ s concert on April 21 at

Calvin Presbyterian Church. It’s somewhat unclear what the group is

up to, but no matter: I Furiosi can always be counted on to put on an

exciting concert with great performers, and this concert will highlight

some seldom-heard composers, including Jean Baptiste Senaillé,

Giuseppe Tartini and Louis Bourgeois.

David Podgorski is a Toronto-based harpsichordist, music

teacher and a founding member of Rezonance. He can

be contacted at earlymusic@thewholenote.com.

PODCASTING at THE WHOLENOTE

Jenny Parr: 17.03.06

Toronto-based “lifelong

theatre person” Jennifer

(Jenny) Parr works as a

director, fight director, stage

manager and coach, and is

equally crazy about movies

and musicals.

So reads the little bio on

our website at the end of her

recent online concert report

for The WholeNote on the

Toronto opening night of the new musical Sousatzka.

It was the “fight director” angle that provided the spark for this

conversation taking place at this particular point in time, but by the

end of our chat I’d say we’d at least touched on all the aspects of her

life alluded to in that little bio.

Parr has been Opera Atelier’s fight director for as long as I can

remember, and the April 2017 production of Charpentier’s Medea has

fight scenes that are the most complex and elaborate of any in the

company’s repertoire.

Here’s a taste of the conversation: “I think of this as one of the big

‘fight’ operas, which for me is of course the most fun. I love working

with Opera Atelier. The first one we did was Persée in 2000. Médée

(Medea) was the second, in 2002. The nice thing was we already

had some dancers I had trained two years earlier for Persée who

could come with a little bit of expertise…how to hold a sword, how

to act with a sword. And we had a big workshop that first time,

experimenting with the choreography. Coming back to it has been

wonderful. It’s been a long time.

There are two big sections. Early on in the opera in Act One there’s

a big section of display at the court, the power of the court and the

quality of the army, so the dancers do a lot of what we term display

fighting, as if they’re fighting invisible opponents…single rapier; rapier

and dagger; rapier and cape, which is a great historical fighting style I

have always wanted to do, and I got to invent a fight for this….

“And then later on in the opera (hopefully I’m not giving away the

story)…the king Creon has gathered together a group of assassins to

capture and kill Medea – she is of course a witch, a very powerful

sorceress – she puts a spell on these assassins and they turn on each

other. There’s a long sequence of the soldiers fighting each other.

Single fighters, two against one, a big almost ballet-meets-swordfighting

combined scene.”

Following the April production Parr will travel, in May, with Opera

Atelier and Tafelmusik to where the opera was born - Versailles. “I

went when the company did Persée and wanted to be there this time

as well, because it’s a slightly different space. The biggest change is

that the stage is raked…so just as a safety concern I want to be there as

they go through the fights. The drops are slightly different distances so

that affects the space you have for a fight. So I always want to be the

one that makes the changes if changes need to be made.”

From being bitten by the theatre bug (“My dad was an actor so I

grew up with that in the blood and all the way through school”), to

how she got her name, to being introduced to the “gentleman’s art

of defence” at Trinity College, to the particular intricacies of scoring

fights to pre-existing music (rather than the more usual film techniques

of scoring music to fight scenes after the fact), to recent (and

future) directing projects revolving around all-female productions

of classical theatre, Parr’s is a diverse and ever-evolving musical and

theatrical skill set, and it comes through nicely in this little chat.

To hear the full conversation with Jenny Parr, or any of our other

podcasts, search for “The WholeNote” in your favourite podcast app,

or go to TheWholeNote.com/podcasts.

BRUCE ZINGER

18 | April 1, 2017 - May 7, 2017 thewholenote.com


Beat by Beat | Classical & Beyond

Sublime Schubert

Is Something to

Behold

PAUL ENNIS

COURTESY CBC

RADIO TWO

The New Orford String Quartet, founded in July 2009, takes

its name from the trailblazing Orford String Quartet whose

26-year career ended in 1991. The New Orford’s pedigree is

impressive: violinists Jonathan Crow and Andrew Wan, respectively

concertmasters of the Toronto Symphony Orchestra and Orchestre

Symphonique de Montréal; Eric Nowlin, principal viola of the Detroit

Symphony Orchestra; and Brian Manker, the OSM’s principal cello.

Their concert April 23, the finale of Mooredale Concerts’ current

season, is the quartet’s third appearance with Mooredale since 2012.

Terry Robbins wrote about their latest CD of Brahms’ two Op.51

Quartets in his February 2016 Strings Attached column for The

WholeNote: “Just about all of the Brahmsian qualities you would want

to hear are present: these are warm, passionate, nuanced, beautifully

judged and balanced performances, full of that almost autumnal,

nostalgic introspection so typical of the composer and with a lovely

dynamic range.”

Notwithstanding the JUNO nomination (Classical Album of the

Year: Solo or Chamber Ensemble) for that Brahms’ String Quartets

CD, which includes the A Minor Op.51 No.2 that they will perform

April 23, the highlight of the afternoon will be the opportunity to

hear Schubert’s Quintet in C Major D956 which represents the peak

of chamber music writing. I asked Mooredale Concerts’ artistic

director, Adrian Fung (also the cellist of the Afiara String Quartet, who

will be playing the Cello II part in the concert), when he first heard

Schubert’s Quintet in C. He said it was a recording with the Cleveland

Quartet and Yo-Yo Ma. Fung was about 10 or 11, shortly after he had

begun the cello. “It was transcendent,” he said. “And only later did

I realize how few recordings (and performances!) respect the true

dynamic markings in the first movement (where the two-cello theme

is intended within a pianissimo dynamic).”

“I was moved by the

sheer complexity and scope

of intention,” he told me.

“It is incredible how each

of the two cellos enables

the other to let go of a

supporting bass line and

soar as a melody. In string

quartets, when the cello

Adrian Fung

soars, usually the viola

needs to step in as best as

it can to provide resonance below. In this work, there is an incredible

spectrum of sound because of the equal balance of two violins,

one viola, and two cellos. One would think there would be more cello

quintets!”

His favourite configuration for performances of the work, he says,

is “an established quartet playing with a guest cellist. There is so

much poetry in how a group’s existing cellist plays a welcoming role –

musically – to a ‘brother/sister’ joining for this masterwork. I love how

in the second movement, Cello II gets such a spotlight playing a recurring,

transcendent, low bass line that is at once melismatic [and] a

deep pondering of life’s meaning.”

Fung first heard the piece live when he was about 15 or so (and a

student at different chamber music festivals), performed by various

faculty musicians coming together to give the work a reading. His

relationship to it has continued to evolve: “From first as a listener,

to having played both Cello I and Cello II parts with my own quartet

New Orford String Quartet

(Afiara) and as a guest with other quartets, the work has opened

up several unexpected riches with each performance. I have had

the privilege of welcoming incredible guest cellists in my role in

Afiara, learning especially from the late Marc Johnson of the Vermeer

Quartet, my mentor Joel Krosnick of the Juilliard String Quartet,

Denis Brott of the first Orford Quartet and Bonnie Hampton. In turn,

I have enjoyed playing the work with the Alexander and Cecilia

String Quartets, among others….The Schubert is truly something

to behold, with so many layers becoming more apparent with each

visit. One of my favourite performances of it was with my Afiara and

Shauna Rolston.”

As for me, I first heard Schubert’s Quintet as a teenager, taken to

the Eaton Auditorium by an aunt and uncle one fall afternoon. It was

played by the Quintetto Boccherini and presented by the Women’s

Musical Club of Toronto. I had never before been so moved by a piece

of chamber music. Many years and many diverse recordings since,

thewholenote.com April 1, 2017 - May 7, 2017 | 19


ELIZABETH DELAGE

I still relish the opportunity

to hear this

sublime music live.

Music in the

Afternoon: The Women’s

Musical Club of Toronto’s

current season comes

to a vigorous conclusion

with two very

different concerts. The

first, on April 6, features

the Toronto debut of the

Aizuri String Quartet,

described by WMCT’s

artistic director Simon

Fryer in his season

announcement as “four

girls in residence at the

Curtis Institute,” in a

program of “how young

composers grappled with

the past.” It’s comprised of early Beethoven (Op.18 No.6), American

Caroline Shaw’s Blueprint (2016), Webern’s late-Romantic Langsamer

Satz and Mendelssohn’s String Quartet No.2 in A Minor Op.13, written

in 1827, just months after Beethoven’s last quartet when Mendelssohn

was just 18.

Then, on May 4 it’s Charles Richard-Hamelin’s turn to shine. The

WMCT can be justifiably proud of their prescience in awarding pianist

Richard-Hamelin their Career Development Award in April 2015.

Only a few months later he became the silver medalist and laureate of

the Krystian Zimerman award for the best sonata at the International

Chopin Piano Competition. Take advantage of his first Toronto fullfledged

solo recital since then, to hear this 27-year-old Canadian

whose pianism exhibits the musicianship and maturity of a more

seasoned artist. His program includes an early Schubert sonata,

Chopin’s captivating Impromptus and Scriabin’s Op.8 and 9, works

which owe much to Chopin.

Lucas Debargue and the TSO. The Tchaikovsky 2015 Competition

keeps on giving. In the last year Show One has presented three of

its prizewinners at Koerner Hall: a unique joint recital of runnerup

Lukas Geniušas and Moscow Music Critics Association prizewinner

Lucas Debargue last spring was followed by the Tchaikovsky

Competition first-place finisher, a polished and secure Dmitry

Masleev, in March 2017. Meanwhile on December 7, 2016, the TSO

and a soulful Geniušas performed Tchaikovsky’s Piano Concerto

No.1. Now, Debargue will join Andrey Boreyko and the orchestra

for a performance of Liszt’s poetic Piano Concerto No.2 in A Major,

April 12 and 13.

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 he stopped playing piano, 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. The finals of the Tchaikovsky Competition marked his concerto

debut. Many attributed his fourth-place finish to his unfamiliarity

with playing with an orchestra, yet he walked away with a Sony Music

recording contract. Now, at 26, he’s bringing his spontaneous and

improvisatory pianistic approach to world stages. Last year in an email

he said that his goal as an interpreter of music is “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.”

QUICK PICKS

Apr 2: Since my article

in our March issue on

the Church of the Holy

Trinity’s Piano Bravura

series, 18-year-old Tony

Yike Yang has been

selected as one of the

30 competitors (and the

youngest) for the 15th

Van Cliburn International

Piano Competition. Don’t

miss this opportunity to

hear him before he heads

down to Fort Worth

TX in May. His formidable

program includes

Mussorgsky’s Pictures

at an Exhibition and

Chopin’s “Funeral March”

Charles Richard-Hamelin

Sonata. Apr 23: Sheng Cai’s

piano recital on Holy Trinity’s Steinway includes two Scarlatti sonatas,

Mozart’s K332, Chopin’s Barcarolle, Schumann’s Humoresque Op.20

and Villa Lobos’ Rudepoêma, written for Arthur Rubinstein.

Apr 2, 4, 5, 7, 8: The ever-resourceful Kitchener-Waterloo Chamber

Music Society presents the Lafayette String Quartet playing the

complete string quartets of Shostakovich. Then, Apr 30, KWCMS’

season continues with a recital by the American colourist Eric Himy

featuring his own piano arrangements of Debussy’s Prélude à l’aprèsmidi

d’un faune and Gershwin’s An American in Paris and Rhapsody

in Blue. And on May 6, the Cecilia String Quartet’s Music Room recital

juxtaposes works by Kati Agócs and Nicole Lizée with Franck’s expressive

Piano Quintet in F Minor (Leopoldo Erice, piano).

Apr 4: COC’s free noontime concert series features violinist Mark

Fewer in “Partita Perfection.” Apr 5: The series continues with

Rossina Grieco in “Piano Panache.” Apr 11: The COC Orchestra brass

play works by Poulenc and Salonen. Apr 20: “Join the siblings of the

Métis Fiddler Quartet on a musical voyage across the trade routes of

the Northwestern frontier. Clap, jig and sing along with this awardwinning

group and discover the history of the Métis people in Canada

through fiddle tunes and songs passed down by elders from across

the country.” May 2: The COC Orchestra winds play works by Haydn,

Beethoven and Jacob. May 4: Members of the COC Orchestra perform

Schubert’s masterful Octet.

Apr 7: Bravo Niagara! presents Jon Kimura Parker in Beethoven’s

formidable Appassionata Sonata, Ravel’s shimmering Jeux d’eau,

Alexina Louie’s Scenes from a Jade Terrace and two movie-themed

pastiches by William Hirtz: Bernard Herrmann Fantasy and Fantasy

on The Wizard of Oz.

Apr 8: Gemma New leads her Hamilton Philharmonic in music by

Beethoven, Mozetich (with solo harpists Erica Goodman and Angela

Schwarzkopf) and Mendelssohn. May 6: Lara St. John joins New and

the orchestra as soloist in Korngold’s Violin Concerto. The concert also

includes two orchestral favourites: Strauss’ Don Juan and Stravinsky’s

Petroushka.

Apr 8, 9: Violinist Scott St. John and violist Sharon Wei join Roberto

De Clara and the Oakville Symphony Orchestra for Mozart’s engaging

Sinfonia Concertante for Violin, Viola and Orchestra K364; the

concert concludes with Tchaikovsky’s passionate Symphony No.6

“Pathétique.”

Apr 9: Pocket Concerts presents a diverse, exciting program

featuring co-artistic director, pianist Emily Rho. After a Glass étude

(No.8) and a Mozart sonata (K310), Rho takes a break while a highpowered

wind quintet performs Ligeti’s compelling Six Bagatelles;

then she joins them for Poulenc’s highly addictive Sextet for Piano

and Wind Quintet Op.100.

Apr 9: Les Amis presents Lynn Kuo, violin, Winona Zelenka, cello,

and Rachael Kerr, piano, performing Schulhoff, Oesterle, Pepa and

20 | April 1, 2017 - May 7, 2017 thewholenote.com


Dvořák’s charming “Dumky” Trio Op.90, in Cobourg.

Apr 9: The Royal Conservatory presents the eminent pianist Louis

Lortie performing Chopin’s Études Op.10 and 25 and Preludes Op.28.

Apr 28: RCM presents the Montrose Trio (Jon Kimura Parker, piano;

Martin Beaver, violin; Clive Greensmith, cello; the latter two are

former members of the disbanded Tokyo String Quartet) and friends

(Barry Schiffman and Erika Raum, violins; Teng Li and Sharon Wei,

violas; Desmond Hoebig, cello; and Allyson McHardy, mezzo-soprano)

in a program that includes Brahms’ Piano Trio No.1 and Alto Songs,

plus Tchaikovsky’s memorable Souvenir de Florence.

Apr 12: The Bata Shoe Museum presents the effervescent

Quartetto Gelato.

Apr 16: Chamber Music Hamilton brings Quatuor Danel to Southern

Ontario, a rare visit to North America for this Belgian-based quartet

that is considered by some as the heirs to European quartets such

as the Beethoven and Pro Arte, with whose surviving members

they studied.

Apr 16: The Rosebud String Quartet, featuring COC Orchestra principal

violist Keith Hamm (founder and artistic director of the Rosebud

Chamber Music Festival in Rosebud, Alberta, his hometown) and COC

Orchestra associate concertmaster/National Ballet Orchestra concertmaster

Aaron Schwebel, performs Haydn and Schumann in historic

Campbell House.

Apr 21: Remenyi House of Music presents Russian-born, Britishbased

pianist Amiran Zenaishvili in a recital devoted to the music

of Brahms.

Apr 21: TSO piccolo Camille Watts and COC/National Ballet

Orchestra piccolo Shelley Brown join forces for Gallery 345’s The Art

of the Flute, with a little help from their friends Erin Cooper Gay,

Aaron Schwebel, Keith Hamm and Britt Riley. Apr 29: The Art of the

Flute continues with RCM faculty-member Sibylle Marquardt and

her friends Fraser Jackson, Monique de Margerie, Paul Pulford and

Michael Donovan.

Apr 21: In the penultimate concert of Jeffery Concerts’ two-year

traversal of the complete Beethoven Quartets, the New Orford String

Quartet performs Op.18 No.3 and No.5, and Op.135; Wolf Performance

Hall, London.

Apr 21, 22: Virtuoso German-Canadian cellist Johannes Moser joins

Edwin Outwater and the Kitchener-Waterloo Symphony in Dvořák’s

grand Cello Concerto in B Minor Op.104; Brahms’ glorious Symphony

No.3 in F Major Op.90 completes the program. May 5, 6: Soprano

Measha Brueggergosman and pianist Stewart Goodyear lend their

star power to “Edwin’s Pops” as Outwater leads his orchestra in PDQ

Bach’s hilarious take on Beethoven’s Fifth and other musical jokes.

Apr 22: Estonian cellist Aare Tammesalu is the soloist for Dvořák’s

ever-popular Cello Concerto in B Minor Op.104, the centrepiece of

Cathedral Bluffs’ “Annual Fundraising Concert and Silent Auction,”

which also features the composer’s beloved Symphony No.9 “From

the New World,” led by Norman Reintamm, who also happens to be

Tammesalu’s pianistic chamber music partner in Trio Estonia.

Apr 22, 23: Honens’ 2015 Laureate Luca Buratto is the soloist

in Mozart’s Piano Concerto No.25 in C Major K503; RBC resident

conductor Earl Lee also leads the TSO in Mendelssohn’s exuberant

Symphony No.4 “Italian.” Apr 27: Buratto, whose first disc for

Hyperion will be released later this year, gives a solo recital at the

Aurora Cultural Centre.

Apr 23: Georgian Music presents the Cecilia String Quartet in

Schubert’s great “Death and the Maiden” String Quartet; Leopoldo

Erice adds his pianism to Franck’s expressive Piano Quintet in F

Minor. Nadia Boulanger once said it contains more ppp and fff markings

than any other chamber piece.

Apr 27: The Eybler Quartet’s Heliconian Hall recital, which includes

classical stalwarts Mozart’s String Quartet in E-flat Major K428 and

Haydn’s String Quartet Op.20 No.2 in C major as well as two early

quartets by Johann Baptist Vanhal, is also a CD-release concert for the

group’s new disc of Vanhal’s Quartets Op.6 Nos.1-6.

Apr 29: TSO principal horn Neil Deland brings his ravishing sound

to Brahms’ Horn Trio with pianist Peter Longworth and Trio Arkel

violinist Marie Bérard. The program concludes with Brahms’ Piano

Quartet No.2 in A Major Op. 26 with Trio Arkel violist Teng Li and

cellist Winona Zelenka joining Bérard and Longworth.

Apr 29: Günter Neuhold conducts the Ontario Philharmonic in

an all-Mozart program. Maria Sourjko is the soloist in the ineffable

Piano Concerto No.21 K467; Jean Desmarais takes the keyboard in the

delightful Piano Concerto No.17 K453. The exhilarating Symphony

No.35 in D Major K385 “Haffner” concludes the evening.

Apr 30: Amici Chamber Ensemble (Joaquin Valdepeñas, clarinet,

David Hetherington, cello, and Serouj Kradjian, piano) is augmented

by violinist Jonathan Crow in a program that begins with Arvo Pärt’s

heavenly Spiegel im Spiegel and ends with Olivier Messiaen’s ethereal

Quartet for the End of Time; in Mazzoleni Hall.

Apr 30: Nocturnes in the City presents Slávka Vernerová-Pěchočová,

a pupil of the great Ivan Moravec, playing piano music by Janáček,

Schumann and Smetana.

May 5: Austrian teenager, violinist Elisso Gogibedashvili, returns

to Sinfonia Toronto and conductor Nurhan Arman two years after

her first appearance with them when she was just 14. The program

includes Mozart’s early Salzburg Symphony K137, Sarasate’s virtuosic

Carmen Fantasy and Schubert’s “Death and the Maiden.”

May 6: The Haliburton Concert Series presents the inimitable

duo of Guy Few, piano/trumpet, and Nadina Mackie Jackson,

bassoon, performing works by Dutilleux, Beethoven, Buhr, Rossini

and Paganini.

Paul Ennis is the managing editor of The WholeNote.

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thewholenote.com April 1, 2017 - May 7, 2017 | 21


Encounters

John Beckwith at 90

First encounters hold a

special fascination for

many of us. The name of

our country for example – so

familiar, yet revealing multiple

rich layers of transcultural

enigmas when you dig deeper –

is no exception.

The word canada first

appears in writing in Jacques

Cartier’s 1535-36 travel journals.

It’s a transcription of the

word kanatha, likely meaning

“village” in a now-extinct

Laurentian language of the

St. Lawrence Iroquoians. Cartier

used it to describe the region he

visited near the contemporary

Quebec City. His tag caught

on: within ten years Canada

appears as a toponym printed

on a French map.

Tracing the roots of that name

back to a discussion between

First Nation native and European

explorer’s interpretive act of labelling some 482 years ago evokes some

of the power of early encounters. It certainly places Canada’s 150th

anniversary into a much larger historical frame.

It also serves as a suitable backstory to the celebrations this year

of the career of the veteran Toronto composer, music educator and

prolific writer John Beckwith, now in his 91st year. He was professionally

associated with the Faculty of Music, University of Toronto, from

1952, serving as dean 1970-77. Between 1985 and his early retirement

in 1990 he served as the first director of its Institute for Canadian

Music – and a number of his compositions mine Canadian themes and

music performance practices.

He is being honoured this year with multiple retrospectives of his

music, including a performance of his Wendake/Huronia (2015).

Dubbed a “choral documentary” Wendake/Huronia is scored for alto,

narrator, chorus, early-instrument ensemble and native drums, and is

set primarily in 17th-century Canada. It was most recently performed

by the Toronto Consort as the second half of the program “Kanatha/

Canada: First Encounters” on February 4, at Trinity-St. Paul’s Centre’s

Jeanne Lamon Hall.

Beckwith’s six-movement work employing voices and period

instruments evokes the pre- and post-contact soundscape of the

St. Lawrence Valley beginning with the sounds of snowshoe travel in

the winter, and canoeing in the summer.

As for the French and Wendat lyrics, Beckwith partly adapted the

words and poetry of Georges Sioui, Wendat Traditional Knowledge

Keeper and Coordinator of Aboriginal Studies at the University of

Ottawa. Sioui’s contributions appear in the angry Lamentation, 1642,

as well as in the more optimistic final movement À l’avenir (To the

Future) “reflecting today’s efforts towards reconciliation of aboriginal

and settler cultures.”

It’s a remarkably ambitious, socially complex and sensitive work

for any composer, let alone one in his tenth decade. Curious about

the man, I spoke to broadcaster and composer David Jaeger, a former

University of Toronto Beckwith student and later a colleague.

ANDREW TIMAR

John Beckwith photographed in 2002 by André Leduc. The photo

is taken from Leduc’s book Composers in My Lens which David

Olds reviews in this month’s Editor’s Corner column.

“I first encountered

Beckwith’s name in the 1969

John Cage book Notations

which included Beckwith’s

Circle, with Tangents [for

solo harpsichord and string

orchestra]” recalled Jaeger. “The

score looked orderly, neat, intellectually

rigorous, meticulous

and clear in its intentions.

Then while a grad student at

U of T I took a course on the

music of Canada. Who better to

teach it but John Beckwith? He

was a very good teacher: wellprepared,

methodical, wellorganized

and professional.”

After joining the CBC in

1973 as a radio music producer

and creating the celebrated

new music program Two New

Hours, Jaeger enjoyed a number

of professional interactions with

Beckwith. “From time to time,

John would receive commissions

from various organizations. He always had surprises in store. His

creative mind is so multifaceted and fertile. Peregrine, his 1989 viola

concerto performed by the Esprit Orchestra, for example, was inspired

by compass settings. If it was music, John was interested. This emerges

clearly in his ‘Canadiana’ pieces, in his adaptations of folk songs and

regional music like [his 1966] Sharon Fragments.”

Jaeger also commented on Beckwith’s place in Canadian music,

education and culture. “His writing has greatly helped his own legacy

through his published works. I’m thinking of his beautifully written

autobiography. I feel that ‘setting the record’ takes active maintenance,

and that it must be regularly presented to the public in order for it to

survive into the next generation.”

Last month the University of Toronto’s Faculty of Music honoured

its former dean with “A 90th Celebration of John Beckwith.” It was

followed by a lecture by Beckwith tellingly titled CanMus Then and

Now, “a comparison between musical life in the centennial year, 1967,

and 50 years later in the sesquicentennial year 2017.” And who better

to provide this insight into CanMus than John Beckwith?

New Music Concerts is adding its seasoned voice to the celebration

on April 28 at Trinity-St. Paul’s Centre with “John Beckwith at

90.” NMC artistic director Robert Aitken invited his longtime friend

and colleague Beckwith to choose the repertoire for the concert. He

selected two of his latest works, Calling (2016) and Quintet (2016).

Both will receive their world premieres. And although Beckwith’s

Avowals (1985) has been recorded by the tenor Benjamin Butterfield

and pianist William Aide for Centrediscs, this will be their first

concert performance of it.

In addition, Beckwith has picked compositions for the concert that

have personal meaning: Stravinsky’s In Memoriam Dylan Thomas

(1954) and String Quartet No. 3 (1962) by his teacher John Weinzweig.

These two works reflect yet another kind of encounter: that with

music and musicians early in a composer’s career, marking it forever.

Andrew Timar is a Toronto musician and music writer. He

can be contacted at worldmusic@thewholenote.com.

22 | April 1, 2017 - May 7, 2017 thewholenote.com


Beat by Beat | In with the New

Singing through a

Century

WENDALYN BARTLEY

I

find it fascinating how particular themes that surface in new music

events happening in the city have a way of rolling into each other.

In my interview in the March issue of The WholeNote with Owen

Pallett, he spoke about how he was bringing a different focus to the

TSO’s New Creations Festival by emphasizing music related to gender

and Indigenous identities as well as genre diversity. A similar theme

of exploring identity is at the heart of Century Song, a music, dance

and image-based stage work created by soprano Neema Bickersteth in

collaboration with choreographer Kate Alton and theatre director Ross

Manson of Volcano Theatre. The piece runs from April 19 to 29 and is

presented by Nightwood Theatre.

Using Virginia Woolf’s novel Orlando as an inspiration, Century

Song moves through a series of scenes spanning 100 years as it

follows the story of a black woman in Canada. The tale is told using

the language of the body – both the wordless sounds of the voice and

the physical gestures created by the choreography. And the story it

tells is one close to Bickersteth’s heart – in fact it is an embodiment

of her own personal journey. The work however didn’t start out with

this goal in mind, Bickersteth told me during our recent phone interview.

Rather it emerged during the development process. The initial

question she wanted to explore was whether a classically based singer

could both sing and dance as is done in music theatre. Together with

Alton, they chose a series of 20th-century compositions for soprano

that used only vocal sounds and no text. While rehearsing, it became

apparent from the feedback that “I had been putting a persona on

top of what I was doing. The music was just a song with no character

or text. But I realized I was pretending to be a white woman while

singing, something I had always done with classical music due to my

university training.”

Bickersteth grew up in Alberta and is a first-generation Canadian

born to parents originally from Sierra Leone. She grew up with a love

of singing and eventually studied classical voice and opera at UBC.

During the rehearsal process when she became aware she was singing

as a white woman, she also discovered that this wasn’t conscious, but

“something that had entered me from early on. It was a personal issue

I needed to take a look at. What are the layers that I don’t even know

are there?” These discoveries took the piece into a different direction,

becoming the threads that tied the entire work together. The character

that emerged “came from within me,” she said.

Each of the selected compositions is staged within a particular location

and time period with a focus on highlighting aspects of Canadian

black history. This is accomplished through the set design, projected

images and costume. Beginning with Rachmaninoff’s Vocalise

written in 1915, the setting is Alberta during the second decade of the

20th century. At that time black communities were relegated to the

outskirts of town, with the men often forced into leaving home to find

work in Edmonton and the women and children struggling to survive.

However, Bickersteth says, “there is always a way through,” and her

character finds that necessary inner strength.

After WWI, things change, and the character is now a well-dressed

jazz singer in Montreal. There is a sense of things being easy and beautiful,

communicated through the shimmering colours of Messiaen’s

Vocalise-Étude composed in 1935. As the music progresses into an

uneasiness, the character begins to raise questions through her sounds

and physical movements about whether this new place she has landed

is really so great after all. This uneasiness grows darker during the

performance of the second Messaien piece, an excerpt from his 1941

composition Quartet for the End of Time during which Bickersteth

becomes a wartime factory worker. The creators adapt a section where

the violin and cello lines play in unison into a vocalise, using electronic

processing on Bickersteth’s voice to create the doubling effect.

Between each of the composed vocal works, Gregory Oh (piano)

and Ben Grossman (percussion) perform structured improvisations

on their respective instruments along with various electroacoustic

sounds sourced from their laptops. These transitional improvisations

were created in collaboration with the composer of Century Song,

Reza Jacobs, along with Debashis Sinha, who performed during earlier

productions of the piece. The music following the Messaien piece is

explosive in nature, highlighting the character’s internal war coming

to terms with things “once believed in, but not anymore. It’s that identity

struggle that causes a breakdown.”

This storm leads into calm with the performance of A Flower by

John Cage, composed in 1950 and set for voice and percussive piano

sounds. The setting is Vancouver, where during the postwar period the

small black community was moved to housing projects, making way

for the Georgia Street viaduct. Using film footage with a rapid succession

of images to create the transition through to the 1970s, the next

persona to appear is modelled after Bickersteth’s mother, who juggled

being a wife and mother while studying and working at a job. She,

like many other women of the 1970s, was determined to do it all and

this level of intense activity is aptly portrayed through the performance

of Récitation 10 by Georges Aperghis. The musicians pick up

the heightened field of action and push it to an extreme tempo while

Bickersteth dances her way through to the final work composed

specifically for her by Jacobs. During this frenetic transition we see

images of different faces wearing clothing from all times and cultures.

Bickersteth explains how this ties into her personal journey with the

piece: “It’s all me. Am I pretending to be someone else? Who am I,

who are you, who do we see each other as? If you see a black woman

dressed up in a sari – what does that mean to you?”

The final Vocalise by Jacobs is the musical moment where

Bickersteth can finally land within her own voice. “Working from

a personal perspective as opposed to a put-on perspective creates a

CARDINAL CARTER ACADEMY FOR THE ARTS

MUSIC DEPARTMENT

PRESENTS

Missa Gaia | Earth Mass

Celebrate our common home in

song and word with 200 singers,

instrumentalists & dancers.

featuring the

World Premiere of Paul Halley’s

In the wide awe and wisdom of the night

Wednesday May 10, 7:30pm

METROPOLITAN UNITED CHURCH

56 Queen Street East, Toronto

GENERAL ADMISSION $15

thewholenote.com April 1, 2017 - May 7, 2017 | 23


freedom that can be heard

and seen in my body. It’s a

freedom that comes from

your heart, from within your

creative centre. My voice is

still my voice, I am classically

trained, but I do have

this curiosity for my ‘other

voices.’ What else can my

voice do, what else can my

body do?” Of Jacobs’ piece

she says: “I think of it as an

anthem. He told me to do

whatever my voice wanted,

since he knows that my voice

wants to do many things

other than straight classical.

You can hear the freedom and

discovery in my voice.”

Changing the conversation in the musical world to include race

and gender has been much slower to emerge than in the visual arts,

film and theatre worlds for example. Bickersteth commented on this:

“What I love and see happening is the mixing of all art and genres. The

more overlapping and connecting that occurs, the more these conversations

will happen and changes will be quicker. I’m hopeful too that

we can be free to do what we want.”

Emergent Events:

With the month of April marking the end of the academic year

comes an abundance of student concerts occurring at all the local

universities. I suggest you check out the listings for the full roster,

but here are a few highlights: On April 3 at the Don Wright Faculty

of Music, Western University a concert by the Contemporary Music

studio and on April 4, an “Electroacoustic Music Compositions

Concert.” Also on at the University of Toronto, the gamUT:

Contemporary Music Ensemble will be performing. Outside the

academic world, two concerts from the Music Gallery’s Emergents

series presents opportunities to hear the latest from young creators.

The concert on April 7 offers performances by Castle If, the electronic

composer Jess Forrest who works with a collection of analog

synthesizers to create soundworlds inspired by the pioneers of electronica,

and Laura Swankey, an innovative improvising vocalist. The

May 5 Emergents concert features performances by The Toronto

Harp Society, whose mandate is to encourage new works for the

harp by Canadian composers, and Toronto’s newest saxophone duo

Stereoscope Duo, with Olivia Shortt and Jacob Armstrong. They too

share a passion for developing repertoire for their instruments, while

celebrating beckwith

Friday April 28, 2017

Neema Bickersteth performing “The Clutch” from Century Song

also mixing in electronics and

collaborations with dancers.

Quick Picks:

Apr 1: Academy Ballet

Classique/Slant. “River Flow:

Confluence of Music, Words,

and Dance.” Interdisciplinary

work celebrating rivers.

World premiere by Owen

Bloomfield; Cambridge.

Apr 2: Esprit Orchestra.

Works by Thomas Adès

(England), Arthur Honegger

(Switzerland), Alexander

Mosolov (Russia), John

Adams (USA), Chris Paul

Harman (Canada).

Apr 6, 13: Toronto Symphony

Orchestra. Sesquies by William

Rowson (April 6) and Marc Bélanger (April 13).

Apr 7: Canadian Music Centre. Centrediscs CD launch: Worlds

Apart by pianist Christina Petrowska Quilico.

Apr 14: Music at Metropolitan. Music for Good Friday. Works by

composers Eleanor Daley, Stephanie Martin, Jeff Enns and others,

along with Eternal Light – A Requiem by Howard Goodall.

Apr 21: Canadian Music Centre. French ensemble Hanatsu miroir

presents works by Canadian, Brazilian, French and Italian composers.

Apr 23: Gallery 345. “The Art of the Flute: A Musical Aviary.” Works

by James Shields, Andrew Staniland, Takemitsu, Saariaho, Hindemith,

Feld and Richard Rodney Bennett.

Apr 28: New Music Concerts. “Celebrating John Beckwith.” Works

by Beckwith including premieres of two works: Calling and Quintet;

John Weinzweig and Stravinsky.

Apr 30, May 7: Wellington Winds. “Wind Symphony Whimsy.”

Featuring The Seven Deadly Sins by Michael Purves-Smith.

May 5: Spectrum Music. “Portraits de Georgian Bay.” Spectrum

composers’ arrangements of songs composed by the Georgian Bay duo

Kelly Lefaive and Joelle Westman.

May 5: Array Ensemble. “The Hits: Array Percussion Trio.” Works by

Jo Kondo, Rolf Wallin, Guo Wenjing and Erik Oña.

May 6: Haliburton Concert Series. “Guy & Nadina.” Includes a work

by Canadian Glenn Buhr.

Wendalyn Bartley is a Toronto-based composer and electrovocal

sound artist. sounddreaming@gmail.com.

JOHN LAUENER

www.NewMusicConcerts.com

Benjamin Butterfield tenor | William Aide piano

Accordes Quartet | NMC Ensemble | Robert Aitken direction

Intro 7:15 | Concert 8:00 | Trinity St. Paul’s Centre | 427 Bloor St. W.

Music by Beckwith, Stravinsky and Weinzweig

Tickets $35|$25|$10 | Call 416.961.9594

24 | April 1, 2017 - May 7, 2017 thewholenote.com


Beat by Beat | Art of Song

Pop Goes

The Brahms!

LYDIA PEROVIĆ

Much of Brahms stays

well apart from pop

culture, but one piece

is a colossal exception: the

third movement of his Third

Symphony has had a prolific

afterlife no other piece by

any Romantic composer can

match. Serge Gainsbourg uses

the melody for the song Baby

Alone in Babylone written for

Jane Birkin, and Carlos Santana

lifts it for Love of My Life. John

Cleese as Basil Fawlty plays it

loudly to irritate his wife Sybil

Sarah Slean

in Fawlty Towers (“Brahms’ Third Racket”). In the 1961 romantic

drama Goodbye Again, based on Françoise Sagan’s novel Aimezvous

Brahms?, it appears in the score alongside other Brahms and

reappears as a jazz song Say No More, It’s Goodbye sung by Diahann

Carroll. Both the film and the novel are about an obstacle-ridden love

affair between an older woman and a younger man, perhaps a nod to

Brahms’ own love life (Clara Schumann was 13 years his senior).

Few have dared tackle the Brahms lieder in pop and singer-songwriter

register. The only one who did it in Canada in recent years is

pianist and composer Lewis Furey. The Lewis Furey Brahms Lieder

project is the result of years of translating, adapting, transposing

and arranging lieder, a selection of which he performed last year in

concert in Montreal. The only one that made YouTube, Forget You,

after Nicht mehr zu dir zu gehen, is an intriguing piece of musical

(re-)creation, but it’s probably too complex to be anywhere in the

vicinity of pop.

For readers quick off the mark this month, Art of Time Ensemble’s

March 31/April 1 “Johannes Brahms: Portrait of a Musical Genius”

program bodes well on this score. The always innovative ensemble

under artistic director Andrew Burashko may yet turn Brahms into

a contemporary pop star, since all the elements seem to be there: an

actual pop singer – Sarah Slean – lending her distinct and recognizable

voice; Burashko at the piano; and four Brahms’ lieder adapted

in English and arranged, fingers crossed, to keep the intricacy of

Brahms’ originals while also achieving the easy communicability and

immediacy of pop songs. Benjamin Bowman (violin), Jethro Marks

(viola) and Rachel Mercer (cello) make up the rest of the performing

ensemble. Piano Quartet No.1 Op.25, Violin Sonata No 2 in A Major

Op.100 and a selection of piano Intermezzi are also on this all-Brahms

program. Will the strings be employed for the lieder too? It remains

to be seen.

Slean will sing four reinvented Brahms songs for the occasion.

Sommerabend (Summer Evening) Op.85 No.1, to the poem by

Heinrich Heine, tells of a quiet walk through the woods and meadows

that ends with a secretive glimpse of a wood fairy bathing under the

moonlight. Bei dir sind meine Gedanken (My Thoughts Are with

You) Op.95 No.2, poem by Friedrich Halm, is a tad more lively: the

piano flutters as do the excited and confused thoughts around the

beloved, unwilling to leave her side, even if it means their wings will

be burned “in the flame of your eyes.” Feldeinsamkeit (Solitude in the

Fields) Op.86 No.2, poem by Hermann Allmers, sounds least amenable

to pop treatment, but I hope to be proven wrong. It’s a resigned,

deceptively brightly coloured, slow-paced meditation on mortality—

through a description of nature, of course; a frequent Romantic

device. Finally, Wie Melodien zieht es (Like Melodies It Passes) Op.105

thewholenote.com April 1, 2017 - May 7, 2017 | 25


I

P A X

Allyson McHardy

No.1, to the poem

by Klaus Groth, is a

witty yet still melancholy

take on writing

poetry and putting

the elusive to words.

Among the many

recorded versions of

the song, the ohne

Worte arrangement

for cello and piano

by Mischa Maisky

and Pavel Gililov is probably the most unusual one around.

These are the four challenges then. Art of Time, Slean and Burashko

will take them on at Harbourfront Centre Theatre March 31 and

April 1 at 8pm.

Mezzos: There’s more Brahms of the traditional kind coming up

later in April and early May. Torontonians will be able to hear two

mezzos in the same Brahms piece, Two Songs for Alto, Viola and

Piano on different occasions: Allyson McHardy with the Montrose

Trio (April 28 at Koerner Hall) and Maria Soulis with Canadian

Sinfonietta (May 6 at Heliconian Hall). Brahms wrote the two songs

published as Zwei Gesange Op.91 for two of his friends, mezzo Amalie

Schneeweiss and her husband, violinist Joseph Joachim. Gestillte

Sehnsucht (Longing at Rest) is a sort of a secular lullaby for grownups,

to words by poet Friedrich Rückert, full of rustling tree leaves and

C H R I S T I

C H O R A L E

P A X

P A X

C H R

restless desires quieting down. Geistliches Wiegenlied or Cradle Song

of the Virgin (Emanuel Geibel, translating Lope de Vega) borrows from

Christian folklore. It opens and closes with a musical citation from a

carol, it’s the palms of Bethlehem that swish, and it is Mary who rocks

her child and hints at what is to come for him. Good things didn’t

befall the real couple in the composing story either: they divorced in

C H R

C H O R A

acrimony, after Joachim unjustifiably accused Schneeweiss of an affair

with an acquaintance. Brahms took her side, and Joachim severed ties

with both.

In Two Songs, there is a lot of room for the mezzo to show off her

spectrum of inflections and her subtle mastery over text (of which

C H O R A L E

I S T

I

P A X


C H R I S T I


C H O R A L E

C

P A X

H O

R

L

E

C H R

L

A

E

I S T

I

I S T

I

there’s a

considerable

amount) while

steering clear

of the pitfalls of

the saccharine

that come with

Wiegenlied.

The Canadian

Sinfonietta

Maria Soulis

concert with

Soulis will

feature two other vocal pieces, Jake Heggie’s Some Times of Day

for mezzo and piano trio and a selection of Mikis Theodorakis’

Greek songs.

Agostino Steffani: Chiefly thanks to Cecilia Bartoli’s tireless

work in favour of his revival – Donna Leon’s mystery The Jewels of

Paradise might have played a part in his popularization – Agostino

Steffani (1654-1728) is gaining a foothold in the operatic repertoire.

On April 28, at Heliconian Hall, as part of their new chamber series

Close Encounters, Tafelmusik will make the case for his return to the

concert repertoire too.

Diplomat and bishop as well as a composer, Steffani left behind

a great many vocal pieces and operas, but only six secular cantatas,

considerably fewer than Vivaldi or Scarlatti. Hai finito di lusingarmi

(lyricist anonymous) is written for high voice, two oboes and

continuo. Italian secular cantatas of the era are structured into aria

and recitative components, and Hai finito unfolds in the A R A R A

scheme. Arcadian characters recur in cantatas – Fileno, Tirsi, Dorilla,

Elvira – with verse metered at 11 or 7 syllables, the dominant metres

of Italian poetry since Petrarch. The lines in arias tend to rhyme in

some form, but in what form and how consistently is up to the poet

(there are rime baciate, alternate, intrecciate and incatenate – words

for the types of rhymes themselves sound like poetry). Digging deep

into the cantata as a poetic and musical form can lead to some fascinating

places. The chapter on the cantata genre in Michael Talbot’s

The Chamber Cantatas of Antonio Vivaldi is an excellent general

P A X


C H R

I S T


C H O R A L E

26 | April 1, 2017 - May 7, 2017 thewholenote.com


introduction to the form.

You will never again lure me, Steffani’s title in English, is a monologue

by a certain Clorindo addressed to Filli by the end of which,

alas, he is lured by Filli again. Antonio Lotti’s aria,Vieni pur ferisci

impiago (Come then wound again) will also be performed in Close

Encounters. It is from his cantata Ti sento, o Dio bendato (I Feel Thee,

Oh Blind God), and belongs in the same general category of wrestling

with Cupid. Its structure is A R A A and the oboe returns as the

melody instrument atop the continuo.

Amid some instrumental Zelenka, Telemann and Fasch, the

sampling of cantatas concludes somewhat incongruously with a

highly religious aria Ich hab mich ihm ergeben (I have given myself

over to Him) from Bach’s Cantata 97 In allen meinen Taten. Musically,

however, it’s a playful number with woodwinds dialoguing and

stealing the show.

Said woodwinds will be manned by John Abberger and Marco

Cera (oboes) and Dominic Teresi (bassoon). Charlotte Nediger will be

continuo-ing from the harpsichord. Soprano Ellen McAteer sings the

three cantatas.

Fête: Toronto vocal ensemble Collectìf, co-founded by COC

Ensemble Studio soprano Danika Lorèn, presents staged vignettes

of art songs based on Verlaine’s poetry cycle, Fêtes galantes (various

composers) and Reynaldo Hahn’s Douze Rondelles. Danika Lorèn,

Whitney O’Hearn, Jennifer Krabbe, Tom King, Adam Harris and

Matthew Dalen perform in the Richard Bradshaw Auditorium on

April 18 at noon.

Countertenor Philippe Jaroussky returns to the Koerner Hall

in a program of Handel arias from operas Flavio, Siroe, Imeneo,

Radamisto and Tolomeo with Les Violons du Roy conducted by the

ensemble’s associate conductor Mathieu Lussier. Also on the April

program: Fux and Graun.

Lydia Perović is an arts journalist in Toronto. Send her your

art-of-song news to artofsong@thewholenote.com.

BACH CHILDREN’S CHORUS

BACH CHAMBER YOUTH CHOIR

Linda Beaupré, Conductor

Eleanor Daley, Pianist

Song

the

of

Earth

SATURDAY MAY 13, 2017

AT 7:30PM

$40 and $35 at the Toronto Centre box office

or TicketMaster at 1-855-985-2787 (ARTS)

Toronto Centre for the Arts 5040 Yonge Street

Photo by Flickr user CIFOR

Used under Creative Commons licence

Design by David Kopulos www.davidkopulos.com

facebook.com/BCCandBCYC bachchildrenschorus.ca

O Canada!

150th Celebration!

Lydia Adams, Conductor

with special guests

Eleanor McCain and her ensemble

Saturday May 6, 7:30 pm

Trinity St. Paul’s United Church

427 Bloor Street West, Toronto

Come and celebrate the music

from Eleanor McCain’s

T R

Share the launch of her new CD!

Also featured are Canadian

compositions by Howard Cable,

Eleanor Daley, Harry Somers

and Derek Healey.

U N R T

H

Tickets: $40 Seniors $35 Students $15

416-217-0537 www.elmeriselersingers.com

A MIXTURE

OF MADNESS

The fine line between insanity

and revelation

MAY 16 & 17, 2017, 8 PM

Ilana Zarankin, soprano | Bruce Kelly, baritone |

Andrew Moodie, actor/reader

Trinity St. Paul’s Centre, 427 Bloor Street West

tickets: 416-978-8849 | uofttix.ca

www.taliskerplayers.ca

thewholenote.com April 1, 2017 - May 7, 2017 | 27


Beat by Beat | Choral Scene

Journeys

of the Spirit

BRIAN CHANG

The Easter season is upon us for April and

as usual, the choral community has many

fantastic offerings of sacred music to

mark the occasion. First, we’ll focus on the Pax

Christi Chorale’s Canadian premiere of grand

Edward Elgar oratorio, The Apostles. For the

non-sacred music inclined, Echo Women’s Choir

has a fantastic concert inspired by American

singer MILCK’s #ICANTKEEPQUIET campaign.

Finally, a host of Quick Picks for the season are

included.

Canadian Premiere of Elgar’s The Apostles

Edward Elgar died in 1934, aged 76. His

work is well known to students of British classical

music but he is best known for the eternal

graduation hymn – Land of Hope and Glory, the end of Pomp and

Circumstance March No. 1. Equally gifted at orchestral and choral

composition, often both, his work can usually be described as thick,

dense and powerful. It is unusual that one of his grandest and biggest

works, The Apostles, has never before been performed in Canada.

Pax Christi Chorale under maestro Stephanie Martin is taking up the

grand work.

Choral lovers here are more familiar with Elgar’s The Dream of

Gerontius, last performed in fall 2014 with the Amadeus Choir and

the Toronto Symphony Orchestra. Elgar’s Enigma Variations makes

frequent appearances on orchestral programs. The Apostles is the

biggest piece he wrote. It requires the forces of six soloists, semichorus

and double choir on top of arge orchestral forces. The personnel

demands are one of the reasons why Martin believes the work hasn’t

been programmed in Canada before. Pax Christi Chorale is joined by

a stellar cast of Canadian talent: Meredith Hall, Krisztina Szabó, Brett

Polegato, Lawrence Wiliford, Daniel Lichti, Michael Uloth and the

Etobicoke School of the Arts chamber choir alongside an orchestra.

Pax Christi is no stranger to grand oratorios, having performed

Elgar’s The Kingdom in 2012, and recently taking on Mendelssohn’s

grandest work – Elijah – in the fall of 2016. Stephanie Martin conducts

the two performances of The Apostles as her finale after 20 years at

the helm of Pax Christi Chorale. She’s thoughtful and insightful about

the music, identifying four key leitmotifs out of the many in Elgar’s

masterpiece. She describes the work of singing through The Apostles

as “peeling back the onion skin to reveal the leitmotifs that shape

the music.”

Elgar was influenced by Wagner, who used the same compositional

technique to inform the narrative of his musical stories. “It almost

gives the music a sense of being a collage,” says Martin. “The music

changes quickly, tonal messages change very quickly” throughout the

music as Elgar delves into this story of Jesus and his followers. Many

of the messages are hidden and not clear to a listening audience. Most

interestingly, the final words of Christ “Eloi Eloi, lama sabachthani

(My God, my God, why have you forsaken me?)” appear not in any

sung lines but in a melody through the orchestra, words written above

the orchestral line. Martin is superbly capable at leading her choirs

through this work and deeply insightful at the hidden messages of

the music.

As with the Verdi Requiem, the solos and choral lines are not

separate and flow in and out of one another throughout The Apostles.

“The oratorio is not constructed in a conventional way,” Martin says.

“The soloists and choirs are integrated.” Usually singing different texts,

overlaying each other, the resulting effect can be triumphant and

bombastic as in “In Caesarea Phillipi” or unsettling and creepy, as in

the “Tower of Magdala.”

Part IV of The Apostles, “The Betrayal” makes up the bulk of the

second half of the concert. It focuses on the story of Judas Iscariot,

sung by bass Michael Uloth. Elgar took great time and energy to

humanize the story of Judas, showing him to be, as Martin says

“remorseful” for his actions, ultimately believing in Jesus and his

work. At the end of “The Betrayal,” Judas “falls apart as he realizes

what he has done” as Martin describes, and he decides to take his own

Stephanie Martin

life. (Participants in the Toronto

Mendelssohn Choir’s Singsation on

March 18 were treated to Uloth’s

Judas and Martin’s approach as they

read through The Apostles.)

Pax Christi Chorale presents

the Canadian premiere of

Edward Elgar’s The Apostles.

April 29, 7:30pm and Sunday

April 30, 3:00pm at Grace Church

on-the-Hill.

#ICANTKEEPQUIET

Echo Women’s Choir, celebrating

25 years, continues to provide

unique offerings that bridge the

classical and contemporary choral

spheres while always maintaining a strong commentary on issues

facing our world. Their concert “We Can’t Keep Quiet!” takes its name

from the #ICANTKEEPQUIET campaign created by American musician

MILCK based on her song Quiet. An artist that “finds comfort

in discomfort,” MILCK created the campaign to be a rallying call to

break cycles of oppression and fear. The song was performed by a

guerilla choir during the Women’s March on Washington, DC, on

January 21, 2017.

Echo will be joined by a host of friends under the leadership of

Becca Whitla and Alan Gasser. Frequent collaborator and artistin-residence

Annabelle Chvostek will take the reins for her song

Firewalker. Including a host of different songs, Echo recently had

a workshop with Hussein Janmohamed. Janmohamed is an Ismaili

Canadian composer, performer, and educator who led Echo in what

Gasser calls “a cultural and spiritual encounter.” Based on the title

“Composing Pluralism: Music at the Intersections,” Janmohamed

led the choir on a shared musical journey with inspirations from

Christian, Muslim, folk, and other traditions.

“The whole thing was a big exercise in trust,” says Gasser. “Normally

a workshop leader will work carefully to make a performance piece

that’s almost satisfying to sing, all in one day… . But what he did was to

open us up, as if he were operating on our compassionate hearts, and

to trust that we’d understand how to make ourselves whole and ready

to perform.” Janmohamed is a unique arts educator in his ability to

open our ways of knowing and coming to music. He was similarly

featured along with Shireen Abu Khader at SingOntario!, the recent

annual Choirs Ontario festival, with a similar experience.

Gasser continues: “Hussein used a combination of the folk song

Shenandoah, with an Islamic chant. He also trusted our community

enough to sing the [Islamic] call to prayer (Azan), in an intimate

way, that kept us open to sacred silence as a response.” Another song

explored was the Dona Nobis Pacem, musically intertwined with a

chant that asks Allah to bless Mohammed (peace be upon him) and

his household with peace.

The choir will share the musical results of this journey they were led

on by Janmohamed. Other features include Leonard Cohen’s Sisters

of Mercy, a set of Georgian folk songs and Peggy Seeger’s Ballad of

Springhill.

Echo Women’s Choir presents “We Can’t Keep Quiet!” celebrating

their 25 th anniversary, Sunday, April 30, 3pm at Church of the

Holy Trinity.

Sacred Music Quick Picks for the Easter season

The Easter season is second only to Christmas in activity for the

choral community. Many choirs are presenting concerts themed

28 | April 1, 2017 - May 7, 2017 thewholenote.com


KIM VANDERDOOY

around Easter and many

fall on Good Friday. The

offerings are wide and

fantastic.

Apr 12, 14: The Toronto

Mendelssohn Choir

presents “Sacred Music

for a Sacred Space.”

(I sing tenor in the

choir.) Always a highlight

of the TMC concert

season, two performances

are offered this

year, a chance to catch

some beautiful choral

highlights including the

Alan Gasser

conducts

Echo Women’s Choir

transcendent Lux Aeterna based on Elgar’s Enigma Variations, the

Allegri Miserere and some not-often performed gems from Healey

Willan: How They So Softly Rest, written to commemorate the lives

of servicemen lost from Willan’s congregation to World War II and his

grand work An Apostrophe to the Heavenly Hosts.

Apr 13, 14, 15, 16: St Anne’s Anglican Church presents “Holy Week

and Easter” featuring sections from Schütz’s Johannes-Passion;

Handel’s Messiah, and Mozart’s Exsultate Jubilate.

Apr 14: The Toronto Beach Chorale presents “Mozart’s Requiem and

More.” Featuring the eternally popular Mozart Requiem, the Chorale is

including performed monologues from Peter Shaffer’s play, Amadeus.

Salieri’s Te Deum is also on the evening’s program for the evening.

Apr 14: The Grand Philharmonic Choir presents Beethoven’s second

most popular choral work, the Missa Solemnis, under the baton

of Mark Vuorinen. This incredibly challenging work is a sure treat

for choral lovers. Bach’s Mass in B Minor and the Missa Solemnis

are hallmarks of the common mass. Pay special attention to the

end of the Credo with its exceptionally difficult fugue in “Et vitam

venturi saeculi.”

Apr 15: The Niagara

Symphony Orchestra

is joined by the Faith

Chorale Gospel Choir,

and the Laura Secord

Secondary School

Concert Choir in “Too

Hot to Handel! – The

Gospel Messiah.” This

glorious performance

will feature blues,

gospel, funk, jazz and

more, all with familiar

melodies we know

and love. The original

Gospel Messiah was the brainchild of the legendary Marin Alsop who

conducted the premiere in 1993.

Apr 19: Edmonton’s Axios Men’s Ensemble visits Toronto’s St. Paul’s

Bloor Street to present “Resurrection: Music from the Ukrainian

Sacred Choral Tradition.” The feature is Father John Sembrat’s setting

of the Resurrectional Divine Liturgy. Axios will be joined by Pro Coro

Canada and a host of international friends including Boyan Ensemble

of Kyiv (Revutsky Academic Male Capella), the Chorus of the Armed

Forces of Ukraine, the Homin Municipal Choir of Lviv, and the

Vydubychi Church Choir of Kyiv.

Apr 29, 30: Musikay presents Handel’s Messiah in two performances,

one in Hamilton, the other in Oakville. The work, normally

performed at Christmas, was meant to be performed at Easter

according to Handel.

Follow Brian on Twitter @bfchang Send info/media/

tips to choralscene@thewholenote.com.

thewholenote.com April 1, 2017 - May 7, 2017 | 29


Beat by Beat | Jazz Stories

Jazzed About

#JazzDay

ORI DAGAN

Who might have

guessed – other than

Marshall McLuhan

– that the world would be

literally at our fingertips with

the mere click of a touch

screen? Imagine it: three of

Toronto’s finest at play: Robi

Botos commanding the Nord,

Mike Downes thumping his

bass and drummer Larnell

Lewis weaving musical magic

last month at Poetry Jazz Café,

an intimate venue of 35 seats.

Their second set was streamed

on Facebook Live, and by

Barbra Lica

the end of the hour, 1000 views were recorded; within a few days

that number was 10,000. Actually, you don’t have to imagine it: go to

Botos’ Facebook page and enjoy the set!

This newish notion of cultivating online audiences by way of

streaming and social media is taking the global jazz community by

storm, one day at a time. Back in 2011, thanks to the advocacy of

Herbie Hancock, the first annual International Jazz Day – April 30

– was adopted by the United Nations Educational, Scientific and

Cultural Organization General Conference. Each year since, #JazzDay

celebrations take place on the last day of April (the month known as

Jazz Appreciation Month since 2002) in a host city and around the

world. In 2016 alone, #JazzDay performances, education programs

and media coverage reached more than three billion people.

“Live streaming and social media are tremendously important

to International Jazz Day in that they help us connect directly with

our audience, which includes both established jazz lovers and those

who may be less familiar,” says Will Ramsey of the Thelonious Monk

Institute, lead non-profit organization charged with planning, promoting

and producing International Jazz Day festivities. “In many

instances, Facebook and Twitter have helped us connect with organizers

where email and phone calls have not worked. These sorts of

tools also provide an unparalleled promotional resource – in just a

few minutes, our social media team can engage hundreds of thousands

of people with content from an organizer in Accra, or Tokyo, or

Kansas City, or Asunción. From the beginning, social media has made

the conversation about International Jazz Day extremely dynamic, in a

way that befits its multicultural, multinational pedigree.

“Each year, we conduct grassroots outreach to hundreds of organizers

in all 195 UNESCO member states. We have a small outreach

team based in the US and France that works around the clock, mobilizing

jazz clubs, cultural houses, libraries, NGOs, festival organizers,

and even jazz musicians and enthusiasts to ensure that International

Jazz Day is meaningfully celebrated on every continent (yes, that

includes Antarctica). The centrepiece of the April 30 celebration, the

All-Star Global Concert, is made available via live webcast each year

from the Global Host City. This is a great tool because it makes it easy

for people around the world to participate in Jazz Day – we often

encourage them to screen the concert, which includes performances

by over two dozen renowned jazz musicians from around the world,

as a simple but powerful way to join the celebration.”

Notably, every nation in the world is invited to take part in #JazzDay,

including a free listing on their website jazzday.com where one can

browse events from Albania to Zanzibar. Ramsey reflects on this

point further:

“It is also worth mentioning that many of our partners live in

difficult circumstances, including conflict zones, areas undergoing

economic difficulties and areas with limited infrastructure. Many

organizers, however, including in places like Niger, Mali, Myanmar,

Iran and Iraq, have thanked us for thinking of them and recognizing

them as someone worthy of partnership. They tell us that no one ever

approaches them from the outside with this kind of initiative – they

get plenty of calls for interviews to talk about poverty, conflict and

war, but never about including them in a global celebration.

“A manager of a music cafe in

Niger, for example, thanked us

profusely for not forgetting about his

people and the artists in his country,

saying that when there is so much

strife and poverty, people forget

that the human spirit needs music,

culture and beauty just as much as

food and water. He said that even

when there is no food, there will

always be music. He said he fights

everyday to keep culture alive despite

the odds and that international

support and recognition from us

gives him credibility on the ground

to keep fighting.

“There is a sense, then, in which International Jazz Day is fulfilling

not just a cultural, but a humanitarian mission. Another example

that sticks out in my mind: we have an organizer in Nepal, a music

school dedicated to jazz called the Kathmandu Jazz Conservatory, who

organizes an event every year. In 2015, just five days before Jazz Day, a

massive earthquake struck Nepal – the worst in over 70 years. It was a

terrible tragedy and they of course could not carry out their planned

celebration on April 30. A few days later, however, the conservatory

contacted us and let us know that they still wanted to hold an event.

It was tremendously important to them to continue making music

and demonstrate their resilience in the face of disaster. We helped

connect them with an international artist who made a marathon trip

from the US to Kathmandu in June. He conducted clinics and masterclasses

with their students and even played in their official Jazz Day

concert. It was the kind of powerful story that really shows the impact

of International Jazz Day each year beyond just the numbers.”

Scroll down to Canada on jazzday.com and you’ll see that Toronto is

part of the action too. On April 30 over brunch at Jazz Bistro, Steven

Taetz and Joanna Majoko will celebrate Ella Fitgerald’s 100th birthday

with Ewen Farncombe at the piano, Soren Nissen on bass and Eric

West on drums.

The centenary of Ella Fitzgerald’s birth can be tracked online at

#EllaAt100. Some additional Ella celebrations you should know about:

on April 24th, Heather Bambrick will salute Ella live on JAZZ.FM91

with Barbra Lica and Tia Brazda. On the First Lady of Song’s actual

birthday, Tuesday, April 25: Billy Newton-Davis sings at Poetry Jazz

Café; Kalya Ramu sings at The Rex; and yours truly at the Elizabeth

Beeton Theatre.

Monk: As much as I love Ella, 1917 was also the birth year of

Thelonious Monk, equally prolific as a composer, pianist and groundbreaking

thinker in jazz. The delightfully nutty genius of modern

music gets a bit of a spotlight this month, and not only because of the

connection between #JazzDay and the Thelonious Monk Institute.

Here in Toronto we have a very cool ongoing tribute to Monk in what

is known as Monk’s Music, one of many side projects for vibraphonist/

marimbist/composer Michael Davidson. On account of his musical

dexterity, the infuriatingly talented Davidson is highly in demand for

studio sessions, leads his own septet and is involved in several other

projects.

“Monk’s Music began as a joint endeavour,” Davidson explains,

“with drummer Dan Gaucher and myself on vibraphone around seven

years ago. We both shared a collective love for the music of Thelonious

Monk and approached the Tranzac Club about a regular performance

slot. Dan and I felt that Monk’s music was underperformed and

30 | April 1, 2017 - May 7, 2017 thewholenote.com


WILLIAM P. GOTTLIEB - THIS IMAGE IS AVAILABLE FROM THE

UNITED STATES LIBRARY OF CONGRESS’S MUSIC DIVISION UNDER

THE DIGITAL ID GOTTLIEB.06191

(left) Thelonious Monk, Minton’s Playhouse, New York, ca. September 1947; (right) Michael Davidson

wanted to take an opportunity to present it regularly with a varied

cast of musicians.

“The Tranzac agreed and we began playing the first and third

Sundays of every month from 5 to 7pm. We would invite many

different musicians to play with us and enjoyed exploring the music

with shifting ensembles each time. After a few years Dan moved back

to the West Coast and I continued the series. Over the years, since I

have internalized much of Monk’s music, I try and breathe new life

into it in each performance while respecting the vast and engaging

body of work he has created.

“In the last two years it has settled into a trio formation with occasional

guests, featuring drummer Nico Dann and double bassist

Jim Sexton. We do free but true interpretations of more obscure

Monk tunes like Coming on the Hudson, Introspection, Jackie-ing,

Ugly Beauty, Off Minor, and well-known tunes like Pannonica or

Criss-Cross. I continue to play his music because it has endless potential

for expansion once you learn his harmonic language. It is a

music of juxtapositions which makes it wonderfully rewarding and

surprising to interpret. It is still not played nearly as much as I think is

warranted.

“It has also branched out to another venue in Toronto, the Emmet

Ray. We perform the second and fourth Sundays of each month from

6 to 8pm . This evolution marks its transformation into a weekly gig

celebrating the harmonically rich, infectiously quirky, dexterously

witty, melodic playground of Thelonious Monk.”

There you have it! Happy Jazz Appreciation Month to all loyal

WholeNote readers and year-round live music appreciators.

Ori Dagan is a Toronto-based jazz musician, writer and

educator who can be reached at oridagan.com.

thewholenote.com April 1, 2017 - May 7, 2017 | 31


Beat by Beat | World View

Our Global Sonic

Mix and Match

ANDREW TIMAR

Arguably one of

the most exciting

features of Toronto’s

musical geography today

is how our metropolis

has emerged as a kind of

globally flavoured creative

seedbed. Over the past few

decades potentially viable

music hybrids of myriad

kinds have been created

and encouraged to flourish.

I’ve touched on many in

this column over the years.

This inclusive scene is

abetted by the presence of

many of the world’s musics

actively performed by

musicians of the first rank.

In this column last month,

for example, I focused on

music-making within the Persian community, which is thriving in the

greater Toronto area.

In addition to performers, the GTA music scene is also supported

by numerous audiences which have developed an appetite for

tasting, mixing and merging of sonic genres from disparate worlds.

Yet another essential element supporting this development includes

a social-political infrastructure comprising community organizations,

governments, venues and media which generally view hybrids

favourably.

Inclusivity and diversity were adopted as part of the core philosophical

platform of the current Canadian government. Recognizing

that this approach is not necessarily the norm in other societies,

Prime Minister Justin Trudeau has repeatedly articulated its outlines,

particularly in his foreign speeches. “Diversity is Canada’s strength,”

he said in London, UK, in 2015. “Canada has learned how to be strong

not in spite of our differences, but because of them…that capacity will

be at the heart of both our success and of what we offer the world.”

Let’s examine how Canada’s appreciation of the value of diversity –

reflected and transformed by (both immigrant and Canadian-born)

musicians through the process of artistic hybridization – is reflected in

and shaped by several April concerts in Toronto.

Small World Music: Asian Music Series

Small World Music’s 15th Annual Asian Music Series, running

April 1 to May 20, is a case in point. About half of the events are

staged at SWM’s own intimate Centre at the Artscape Youngplace.

The 14-concert series came about through networking with partner

presenters such as the Aga Khan Museum, Batuki Music Society and

Raag-Mala, in addition to support by various arts councils and levels

of government. Its private sector sponsor is TD Bank.

The program brings together “emerging artists with internationally

renowned figures, engaging communities around the GTA…embracing

the scope of music from across the Asian cultural landscape – from

India to Japan, via China, Pakistan and Iran….”

In order to assist audiences in navigating the two-month series,

SWM groups concerts into what it calls Explorer Bundles. They are

cannily shaping audience experiences thematically, as well as across

genre and culture of origin. Allowing audiences to “take advantage

of Small World’s place at the heart of the city’s global music scene,”

the bundling of “Asian Music Experiences” is presented through

discounted three-concert packages with the following evocative and

user-friendly titles: Rhythm, Soul, Heritage and Motion.

The Asian Music Series Rhythm Explorer Bundle commences

with the Haniya Aslam Trio on April 1. Aslam is a star in her native

Pakistan, having co-led the country’s first all-female band Zeb and

Haniya. Their groundbreaking 2008 hit album Chup! (Silence!) topped

the charts for months. Now a Toronto resident, singer-guitarist Aslam

fluidly combines pop, folk-rock, alt, blues and jazz with vernacular

songs she learned in her native Khyber Pakhtunkhwa province. Lyrics

in Urdu, Pashto, Dari and

Turkish, and thematically

bold subject matter,

thicken the regional-transnational

tensions in her

songs, yet at the same

time give them unusual

potency. Continuing her

advocacy of transnational

culture in her music, she’s

joined by leading Toronto

world musicians Naghmeh

Farahmand (percussion),

Peter Lutek (winds) and

Waleed Abdulhamid (bass).

The Rhythm Explorer

Bundle continues April 16

with Upanishads, Toronto

Dengue Fever

musician Debashis Sinha’s

new solo project which

explores ancient sacred text

while remaining firmly rooted in the thoroughly contemporary sound

world of electronic and beat-based music. Steeped in his experience

as a second generation South Asian Canadian, Sinha’s music is

“committed to expand[ing] the notions of what it means to express

and be influenced by a life in/between cultures.”

May 6 at 10pm, the Rhythm Explorer Bundle wraps with a lighthearted

“throwback dance party, Globetrotter’s Retro Bollywood

Edition.” Local and international DJs will mix a live “cross-cultural

concoction on the dance floor, in celebration of diversity and inspired

community…with spicy blends of funk, sitar, tabla, soaring vocals

and lush orchestras, all mashed up with modern beats.” Vintage

Bollywood film clips, South Asian-themed decor and a chai bar round

out this multisensory, playful party at Round, 152a Augusta Ave.

Tinariwen and Dengue Fever

Those are only three out of 12 concerts in SWM’s Asian Music Series

which fall into the framework of this issue of The WholeNote so I can’t

possibly highlight them all here, even though I’m itching to. Well –

maybe just one more.

Tinariwen, presented at Massey Hall by Small World Music, Batuki

Music Society and Massey Hall on April 12, is a Grammy Awardwinning

Malian sextet with an impressive international fan following.

Formed in 1979 in Algerian exile by Malian Tuareg musicians,

Tinariwen is among the pioneers of the desert blues genre. Digging

heavily into traditional Tuareg music, but also influenced by Bob

Marley, Carlos Santana, American blues and Bob Dylan, Tinariwen’s

powerful driving music and controversial lyrics address the pain

of exile and the struggle against political repression. Slate called

the group “rock ‘n’ roll rebels whose rebellion, for once, wasn’t just

metaphorical.”

The opening act Dengue Fever is fronted by award-winning

Cambodian native vocalist Chhom Nimol. She sings in both Khmer

and more recently in English. California based, the five-piece band

with standard pop instrumentation takes 1960s Khmer pop music

as its primary source of inspiration. It then liberally adds rock of the

garage and psychedelic persuasion. Rock icon and veteran world

music champion Peter Gabriel said of their music: “It’s done with a lot

of style. It’s spirited, impassioned stuff.”

Tabla and Taiko: April 15 two of Toronto’s veteran world music

groups join forces. Toronto Tabla Ensemble and Nagata Shachu

MARC WALKER

32 | April 1, 2017 - May 7, 2017 thewholenote.com


KAREN E. REEVES

present “Tabla and Taiko: Two Ancient

Traditions Meet” at the Toronto Centre

for the Arts. The promotional material

states the concert is to serve as a “crosscultural

music collaboration of Indian and

Japanese percussive traditions with the

goal of bringing communities together.”

It promises to be a textbook demonstration

of how the evolutionary processes of

artistic hybridization can be developed

over years and successfully presented.

I’ve written before about how both

Toronto-based ensembles have significantly

contributed to the Canadian world

music scene since the 1990s. In pursuing

their groups’ artistic vision they have

both succeeded in raising the profiles of

received Indian and Japanese musics. In

this concert they join hands and drums,

featuring compositions by the two ensembles’

artistic directors, Ritesh Das and

Kiyoshi Nagata. Each is creating works

that maintain their home traditions’

integrity while also searching to integrate

the other group’s inherent strengths. I spoke

to each AD to better understand their collaborative

approach.

“I wrote Sare Panch, in a rhythmic cycle of five and a half beats,”

said Das. “I then modified and fine-tuned it in rehearsal so it would

work with the extreme dynamic range of the taiko ensemble. I’m also

looking forward to performing a piece by Aki Takahashi in 14 beats, as

well as a work where I play solo tabla and Kiyoshi plays the chappa, a

Japanese cymbal.”

How would he characterize the common denominators between the

two quite different groups? “We both share values of respect, discipline

and knowledge,” Das replied without pause.

Kiyoshi Nagata added: “I agree we share those values. [On the other

hand] I always tell Ritesh it’s not our similarities but our differences

that complement one another! For example taiko is loud, tabla is

quiet; taiko is primal, tabla intricate and technical. It’s those kinds of

juxtapositions which offer rich new sonic and artistic possibilities.

“In addition, both our ensembles work within the oral tradition,”

continued Nagata. “Not being bound by notation makes it easier to

communicate, I find. As we like to recite to one another: ‘Once you

say it, you can play it!’ It’s quite liberating to be able to internalize

music in order to express yourself. You could reduce the process to

memorization, internalization and finally

expression. After all, the goal of taiko

practice is that the body becomes the

extension of the rhythm.”

Finally Nagata added “Collaborations

like this are pretty hard to come by.

Toronto is one of the few places where

this could happen. There’s a certain

convenience in having both groups in

the same town. They’re 20 minutes from

us, so we can get together any day of

the week!”

Aga Khan Museum’s “Entrancement”

As for presenters, they are continually

evolving ways to reinterpret aspects of

musical inclusivity, diversity and cultural

framing to their audiences. The Aga Khan

Museum is one such presenter and venue

which has actively welcomed the music

of the world right from its beginnings in

2014. I spoke to Umair Jaffar, performing

arts manager at the AKM about its latest

efforts to retag its concert series in order

to keep it relevant to its patrons.

“We’ve had series called ‘classical’ and

‘world music’ in the past. Now we’re

considering using the word ‘entranced’ however,” said Jaffar. “Trance

is a word that aptly describes and connects several of our upcoming

performing arts programs.”

It is an idea clearly reflected in the “mesmerizing and mood-altering

grooves of Vishwa Mohan Bhatt’s slide guitar” that will be showcased

in his April 22 concert presented in partnership with Raag-Mala

Toronto and Small World Music’s Asian Music Series. The Grammy

Award-winning Bhatt performs exclusively on his bespoke 19-stringed

mohan veena. While his instrument borrows as much from the

Hawaiian and blues slide lap guitars as from the indigenous Indian

veena, the music Bhatt plays on it is strictly Hindustani classical,

relying on the performance of raga. Raga itself is a complex concept in

classical Indian music akin to melodic mode, possessing the power to

“colour the mind” of the performer, as well as to affect the emotions of

the listener.

The April crop from the Toronto global seed bed is promising

indeed!

(top) Nagata Shachu; (bottom) Ritesh Das

Andrew Timar is a Toronto musician and music writer. He

can be contacted at worldmusic@thewholenote.com.

TINARIWEN

With Dengue Fever

WED APR 12 ◆ 8 PM

Presented in partnership with

Batuki Music Society and Small World Music

FOR TICKETS CALL 416-872-4255

OR VISIT MASSEYHALL.COM

thewholenote.com April 1, 2017 - May 7, 2017 | 33


Beat by Beat | Bandstand

Bridging Musical

Distances

JACK MACQUARRIE

It all began in the spring of 1948 when a small research group at the

Bell Telephone Laboratories in Murray Hill, New Jersey, announced

the development of a new electronic device which they named the

“transistor,” initially more of a laboratory curiosity than a practical

component of any electronic device. I recall a telephone call five

years later in 1953 from a friend. He was an engineer in a research

organization in Toronto and had just obtained “management approval”

to purchase two transistors to try them out. Over the next few years

the transistor became the successor, in most applications, to its much

larger power hungry predecessor, the vacuum tube, invented in

1906. It only took till 1956 for the three researchers at Bell Labs to be

awarded the Nobel Prize in Physics for their pioneering work.

Now, 69 years after that 1948 announcement, smart phones, home

computers, flat-screen TVs, GPS units and other compact electronic

systems are homes to countless millions of much smaller transistors.

Cable and satellite TV as well as Internet are the norm in most homes

in this country. We listen to music on all kinds of devices from large

home audio systems to hand-held smart phones. But how has this

impacted on the activities that go into making music, especially as a

collective social endeavour?

Obviously we are able to research titles and composers to assist

in programming, but we may also go to YouTube sites to hear and

watch performances of music to determine their suitability for

possible performance. It is now common practice with many bands

to send email messages to band members with a list of works scheduled

for a rehearsal and YouTube sites to visit to get familiar with the

music prior to a rehearsal. Some groups also send out recordings of

rehearsals for members to review and determine ways to improve.

In fact, I know of one music director (who shall remain nameless)

who became sufficiently technically savvy and innovative to electronically

monitor the playing accuracy of individual band members and

record each individual’s errors. Each member was then presented a

personal report with a rating of their errors per minute. I don’t know

whether or not that is still happening, but I certainly would have no

interest in joining such an ensemble.

The most interesting example of constructive use of this rapidly

evolving technology that I have heard of includes long-distance

instruction and practice over the Internet. It all began when a woman

in Whitehorse in the Yukon decided that she would like to learn to

play clarinet. Wynne Krangle was in Toronto visiting her mother and

decided to drop in to the Long & McQuade store. After she purchased

her clarinet, she asked if they could suggest a clarinet teacher to visit

for introductory lessons before returning to Whitehorse.

They gave her the name and number of Michele Jacot, conductor

of the Wychwood Clarinet Choir. The rest is history. Krangle emailed

Jacot. They met by email, arranged to meet in person and managed to

squeeze in two lessons before Krangle had to return to Whitehorse. As

Jacot says “Wynne was quite the beginner.”

After she returned home they arranged to continue regular lessons

using Skype and FaceTime as the primary means of communication

until Krangle was able to visit Toronto again. As Jacot put it, “She

certainly must have been highly motivated to faithfully practise regularly

in her relative isolation.” There just aren’t that many playing

opportunities for beginning amateur musicians in Whitehorse. On

one of her visits to Toronto Krangle attended one of Jacot’s Wychwood

Clarinet Choir concerts. It was then that Jacot suggested that she play

every rehearsal. Yes, the idea was for Krangle to “virtually attend”

Clarinet Choir rehearsals. She could sit at home in Whitehorse and

observe the rehearsals in Toronto over the Internet. Progressing

from that, the next step was to schedule a lesson every two weeks

using FaceTime.

Last summer, Jacot suggested a challenge for Krangle. It was for her

to learn all 11 pieces of music for the choir’s “Harvest Song” concert

in Toronto in November. The idea was to use the scores and tapes

from the weekly rehearsals and then come to Toronto to be part of at

least two rehearsals and the performance. Krangle arranged to be in

Toronto. She played in the final rehearsal before the concert and in the

dress rehearsal. In her words, “I did just that and had an amazingly

successful time integrating into the choir.” As for the future, she plans

to be in Toronto and perform in the “Sounds of Spring” concert scheduled

for May 28 at the Church of St. Michael and All Angels.

(While on the subject of the Wychwood Clarinet, like many other

groups this sesquicentennial year, the choir is planning for a definite

Canadian component for the spring concert. Composer-arranger Fen

Watkin has written an arrangement for clarinet choir of selections

from the musical Anne of Green Gables. The choir folks intend to add

a visual component to their concert as well. They will be showing

historical photographs of the Wychwood neighbourhood in Toronto

where they perform. Hopefully, there will be pleasant surprises for the

audience, not only regarding local history, but also of the history of

the choir.)

A very different and very heartening example of the creative use of

our rapidly evolving technology has just come to our attention. Many

years ago, Jack Savage, a trombone player from Newmarket formed a

swing band. Ever since he started the group his wife Joyce was their

biggest fan. She never missed a rehearsal or performance. Even after

her husband’s death in May 2016 she was still a devoted fan. However,

her stars were not in alignment when she learned of a memorial

concert for him scheduled for December 7 last year. She had broken

her hip and was bedridden at Orchard Villa Long Term Care residence

in Pickering. Her son Ken couldn’t see how he might get her to that

concert, but was determined to find some solution for her to attend

virtually. Then he learned of the Pickering library’s PPL Connect

program. This is a part of their digital education program where free

Wi-Fi hotspots are available for loan. Ken contacted Saul Perdomo of

the library about the possibility of getting the concert to his mother’s

bedside.

On the night of the concert at the Alexander Muir Senior’s

Residence in Newmarket, Perdomo took an iPad tablet to the

concert. At Joyce’s bedside he had located suitable computer equipment.

During the concert there was Joyce, in her bed almost part of

the action, and even able to interact with band members. This was

the first request of its kind to the library. It not only let Joyce attend

Jack’s memorial concert, but it also brought two retirement communities

together. Sadly Joyce passed away a couple of months later on

February 17 at age 89.

Coming Events

Not only is 2017 Canada’s sesquicentennial year, but it is also the

100th anniversary of the Battle of Vimy Ridge. While this was certainly

not the only large-scale battle of World War I where Canadian troops

fought, it is accorded a special recognition in Canada’s history because

this was the first major battle where the entire Canadian force was

under Canadian command. Several bands have already presented, or

soon will present, some form of special Vimy concert. One of the most

imaginative is that of the “100th Anniversary Vimy Trench Dinner

and Band Concert” on the evening of April 4 at the Flato Markham

Theatre. Organized by the 4th Canadian Mounted Rifles Association,

the concert is being advertised as “The Mayor’s Vimy Concert.”

The evening will begin at 5:30 with a sit-down dinner of typical

foods of that era that would have been served to the men behind the

lines. At 7:00 the audience will move into the theatre for the concert

by two bands. The first band will be a composite group made up of

members from the various regimental reserve bands of the Toronto

Garrison. This band will be conducted by Lt. Nick Arrigo, director

of music of the 7th Toronto Regiment Royal Canadian Artillery

Band. This band will be joined by the Pipes and Drums of York

Regional Police.

Periodically, throughout the concert, a narrator will read letters

home from men at the front. The concept is very similar to that

34 | April 1, 2017 - May 7, 2017 thewholenote.com


performed a few times in recent

years by the Toronto New

Horizons Band under Dan Kapp.

In the New Horizons performances

letters from Europe were

actual letters home from a man

who was later killed in action

during WWII. Since this concert

is about a battle 100 years ago,

there would be little chance of

finding suitable letters. For this

Vimy concert, the letters will be

historically accurate simulated

accounts, carefully crafted by a

history professor, from a soldier,

here called George, his fiancée

Sally and his grandson living

in the present day. The letters

will be read by actors as the band

plays appropriate music softly in

the background. Information and

reservations are available at the

Flato Markham Theatre box office:

905-305-7469.

Allan Calvert

It is with a heavy heart that I

report the passing of Allan Calvert.

One of four children born in Ottawa

from Irish immigrants who came

from Belfast in the 1920s, he moved

to Toronto with his mother and three siblings after his father died.

At an early age he learned to play various brass instruments and in

Salvation Army Bands. Later he became music director and conductor

of the Evangel Temple Brass Band in Toronto. I first met Al when we

were both on the executive of CBA, Ontario. Al was the very diligent

treasurer of that organization for over 25 years.

Odds and Ends

Every once and a while someone will come up with a clever title

for a piece of music which strikes a chord. The opening number in

the latest concert of the Wychwood Clarinet Choir was H2Overture by

Jerry Williams. Yes, it was a medley of over 30 themes with reference

to water in their titles.

In the past, in this column, I have occasionally ranted about people

with smart phones held up so that their bright images are in full view

TICKETS:

www.ensemblevivant.com

ensemblevivant88@gmail.com

416-465-8856

$45.00 General Admission

Includes tax (Service charges are extra)

GRACE CHURCH ON THE HILL

300 LONSDALE RD (at Russell Hill Rd)

TORONTO

Congratulations!

Weston Silver wins Gold! That was the victory pronouncement from the Weston Silver Band when they arrived

home recently from the North American Brass Band Championships in Fort Wayne, Indiana. Not only had WSB

retaken the title, they had done so by more than eight points above their nearest competitor in the field of ten

bands in the First Section. The WSB was the only Canadian band at this prestigious international brass band

competition, and is the first and only Canadian band to take home the title in the history of the competition.

Over 1000 musicians from across the United States and Canada converge annually at the Championships,

organized by the North American Brass Band Association (nabba.org) to compete with fellow brass bands and

musicians. The contest is broken into sections of progressively more difficult levels (Third, Second, First and

Championship). Musicians must perform two challenging compositions, a set test piece and a work of their

own choice, totalling a performance time of approximately 25 minutes. Local brass band music lovers will have

a chance to hear the band at their next concert. Their “BRASSapalooza” will feature music from the North

American Championships on Sunday, April 2, at 3pm in the Glenn Gould Studio, 250 Front St. W., Toronto.

of the audience members behind them. So, it was time to take action.

At the last two concerts attended, I took the risk of asking a few users

to put their distracting devices away. Rather than any adverse reactions,

I received apologies in all cases.

There’s nothing like authenticity when researching costumes for

period productions. Being a longtime Gilbert and Sullivan aficionado,

I was a bit perplexed to see an advertisement for this year’s Stratford

Festival’s production of HMS Pinafore. There we see a man dressed as

a sailor in the Royal Navy, but wearing the “Dixie cup” hat of the US

Navy. Such integration!

Jack MacQuarrie plays several brass instruments and

has performed in many community ensembles. He can

be contacted at bandstand@thewholenote.com.

Ensemble Vivant

80TH BIRTHDAY TRIBUTE

TO JAZZ GREAT RICK WILKINS

A portion of proceeds will benefit

, a well-established

charity providing under-served

GTA children with access to live

high-caliber classical and jazz

concerts and music education, free

of charge.

Tax receipts available for donations

of $20.00 or more.

www.euterpemusicarts.com

Special guests

BRIAN

BARLOW

MIKE

MURLEY

GUIDO

BASSO

@ensemblevivant

GRACE CHURCH ON THE HILL

MAY 11, 2017 7:30pm

thewholenote.com April 1, 2017 - May 7, 2017 | 35


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 49.

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 52.

D.

IN THE CLUBS (MOSTLY JAZZ)

is organized alphabetically by club.

Starts on page 54.

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 57.

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, 2017. All listings must be received by

Midnight Saturday 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, Bowmanville, Brampton, Burlington, Etobicoke,

Georgetown, Markham, Milton, Mississauga, North York, Oakville, Oshawa,

Scarborough, Stouffville, Thornhill, Toronto, Toronto Island.

Saturday April 1

●●2:00: National Ballet of Canada. Genus,

Tarantella, Self and Soul, and The Concert.

Music by Joby Talbot, Deru, and Chopin;

orchestrated by Clare Grundman. Wayne

McGregor, choreographer; Jerome Robbins,

choreographer. Four Seasons Centre for the

Performing Arts, 145 Queen St. W. 416-345-

9595. $39-$265. Also Apr 1(all 7:30); Mar 30,

Apr 2(all 2:00).

●●7:00: Native Earth Performing Arts/

Danceworks Coworks. Niimi’iwe. Margaret

Grenier and Karen Jamieson: light breaking

broken; the NDN way by Brian Solom Electric

Moose. Aki Studio, Daniels Spectrum,

585 Dundas St. E. 416-531-1402. $25.

●●7:30: Etobicoke Centennial Choir. The Mozart

Requiem. Mozart: Requiem; Brahms: How

Lovely Is Thy Dwelling Place; Rutter: The Lord

Is My Shepherd; Poulenc: Gloria and Laudamus

Te; Duruflé: Sanctus and Pie Jesu from

Requiem. Shana Brown, soprano; Erin Ronningen,

alto; Lance Keiser, tenor; Lawrence

Shirkie, baritone; Carl Steinhauser, piano

and organ. Humber Valley United Church,

76 Anglesey Blvd., Etobicoke. 416-769-9271.

$30.

●●7:30: National Ballet of Canada. Genus, Tarantella,

Self and Soul, and The Concert. See

Apr 1(2:00). Also Apr 2(2:00).

●●7:30: Toronto Symphony Orchestra.

Beethoven: Violin Concerto. Cheryl Cooney:

Are we not drawn onward, we few, drawn

onward to (a) new era?: Sesquie for Canada’s

150th; Beethoven: Violin Concerto; Stravinsky:

Petrouchka. Karen Gomyo, violin; Robert

Trevino, conductor. Roy Thomson Hall,

60 Simcoe St. 416-598-3375. $33.75-$107.

Also Apr 2(mat) at George Weston Recital

Hall.

●●7:30: University of Toronto Faculty of

Music. Wind Ensemble. McCune: Caveat; Bartók:

Folk Suite; Wijeratne: Invisible Cities.

TorQ Percussion Quartet; Gillian Mackay, conductor.

MacMillan Theatre, Edward Johnson

Building, 80 Queen’s Park. 416-408-0208.

$30; $20(sr); $10(st).

●●7:30: University of Toronto Spirit Singers.

Would You Harbour Me? Guests: Common

Thread. MacLeod Auditorium, Medical

Science Building, UofT, 1 King’s College Circle.

416-946-3119. $5-$15. Fundraising concert

for Syrian Youth.

●●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).

●●8:00: Acoustic Harvest. In Concert. Dave

Gunning, singer/songwriter. St. Nicholas

Anglican Church, 1512 Kingston Rd. 416-729-

7564. $25/$22(adv).

●●8:00: Angelwalk Theatre. Any Dream Will

Do: Music of Andrew Lloyd Webber. Lyric Theatre,

Toronto Centre for the Arts, 5040 Yonge

St. 1-855-985-2787. $39; $34(arts worker);

$25(under 30).

●●8:00: Art of Time Ensemble. Johannes

Brahms: Portrait of a Musical Genius. Intermezzi

for Solo Piano (selected); Piano Quartet

No.1 Op.25; Violin Sonata No.2 in A Op.100;

Lieder (selected). Benjamin Bowman, violin;

Andrew Burashko, piano; Jethro Marks, violin;

Rachel Mercer, cello; Sarah Slean, singer;

and others. Harbourfront Centre Theatre,

235 Queens Quay W. 416-973-4000. $25-$64;

$25(arts); $15(under 30/st).

●●8:00: Canadian Sinfonietta. Violin, Cello

and Piano Recital. Rachmaninoff: Sonata

for Cello and Piano; Handel-Halvorsen: Passacaglia

for Violin and Cello; An Lun Huang:

Piano Trio. Angela Park, piano; Joyce Lai, violin;

András Weber, cello. Heliconian Hall,

35 Hazelton Ave. 647-223-2286. $30; $25(sr);

$20(st).

●●8:00: Gallery 345. Art of the Piano: Sheng

Cai. Works by Scarlatti, Schumann, Chopin,

Liszt and Villa-Lobos. 345 Sorauren Ave. 416-

822-9781. $20; $10(st).

●●8:00: Masterworks of Oakville Chorus

and Orchestra. A German Requiem. Brahms.

Clodagh Earls, soprano; Jeremy Ludwig, baritone;

full orchestra and choir. St. Matthew’s

Catholic Church, 1150 Monks Passage, Oakville.

905-399-9732. $30; $25(sr); $10(st);

free(under 11 with adult). Also Apr 2(mat).

●●8:00: Royal Conservatory of Music. TD

Jazz The Art of the Trio Series. Jason Moran,

piano; The Bandwagon; Alexander Brown

Trio. Koerner Hall, Telus Centre, 273 Bloor St.

W. 416-408-0208. $40-$85.

●●8:00: Scarborough Philharmonic Orchestra.

A Night at the Opera. Strauss: Die

Fledermaus Overture; Borodin: Polovetsian

Dances; Mozart: Voyagers’ Chorus from

Idomeneo; Puccini: O mio babbino from

Gianni Schicchi; Verdi: Overture to La forza

del destino. Toronto Choral Society; Ronald

Royer, conductor. Salvation Army Scarborough

Citadel, 2021 Lawrence Ave. E.,

Scarborough. 416-429-0007. $30; $25(sr);

$15(st).

●●8:00: Small World Music Centre. Haniya

Aslam Trio and Guests. Haniya Aslam, guitar,

mandolin and vocals; Waleed Abdulahmeed,

bass; Naghmeh Farahmar, percussion; Peter

Lutek, winds. Small World Music Centre, Artscape

Youngplace, 180 Shaw St. 416-536-

5439. $30/$20(adv).

Sunday April 2

●●10:00am: Michael Johnston Music Studio.

10th Annual Recital and Spring Celebrations.

Folk, pop, jazz, classical, blues, rock and world

music. Students of all ages sing, play piano,

guitar, drums, ukulele, accordion and trumpet.

Lula Lounge, 1585 Dundas St. W. 416-588-

0307. $20/$18(adv); $15/$12(under 17/adv);

free(performers).

●●2:00: Hart House Chorus. Mozart’s

Requiem. Hart House, Great Hall, 7 Hart

House Circle. 647-774-0755/416-978-2452.

Free.

●●2:00: National Ballet of Canada. Genus,

Tarantella, Self and Soul, and The Concert.

See Apr 1.

●●2:00: Royal Conservatory. Sunday Interludes:

Anton Nel. Works by Mozart and Schumann.

Anton Nel, piano. Mazzoleni Concert

Hall, Telus Centre, 273 Bloor St. W. 416-408-

0208. Free (ticket required).

●●2:30: University of Toronto Faculty of

Music. Choral Kaleidoscope. Works by

36 | April 1, 2017 - May 7, 2017 thewholenote.com


Brahms, Daley, Enns, Fauré, Rudoi and Schumann;

S. Webb: new work (premiere). Men’s

Chorus; Women’s Chorus; Mark Ramsay,

Elaine Choi and Melissa Lalonde, conductors.

MacMillan Theatre, Edward Johnson Building,

80 Queen’s Park. 416-408-0208. $30;

$20(sr); $10(st).

●●3:00: Masterworks of Oakville Chorus

and Orchestra. A German Requiem. Brahms.

Clodagh Earls, soprano; Jeremy Ludwig, baritone;

full orchestra and choir. St. Matthew’s

Catholic Church, 1150 Monks Passage, Oakville.

905-399-9732. $30; $25(sr); $10(st);

free(under 11 with adult). Also Apr 1(eve).

●●3:00: Off Centre Music Salon. A Musical

Invasion of Paris: The Mighty Four. Michèle

Bogdanowicz, Lucia Cesaroni, Lara Dodds-

Eden, Inna Perkis, Boris Zarankin, and others.

Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-

466-1870. $50; $40(sr/st); $15(young adult);

$5(child).

●●3:00: Toronto Symphony Orchestra.

Beethoven: Violin Concerto. Beethoven: Violin

Concerto; Debussy: Prelude to Afternoon of a

Faun; Stravinsky: Petrouchka. Karen Gomyo,

violin; Robert Trevino, conductor. George

Weston Recital Hall, 5040 Yonge St. 416-598-

3375. $44.25-$100.50. Also Apr 1(7:30, Roy

Thomson Hall).

●●3:00: Weston Silver Band. Brassapalooza.

Glenn Gould Studio, 250 Front St. W. 1-866-

908-9090. $27/$25(adv); $22(sr)/$20(adv);

$17(st)/$15(adv).

on period instruments

Mozart

By Any Other Name

April 2, 3:00

●●3:00: Windermere String Quartet. Mozart

by Any Other Name. Chevalier de Saint-

Georges: Quartet in C Minor; Rossini: Grand

Sonata No.2 in A; Kraus: Quartet Op.1 No.3;

Mozart: Eine kleine Nachtmusik. St. Olave’s

Anglican Church, 360 Windermere Ave. 416-

769-0952. $25; $20(sr); $10(st). On period

instruments.

●●3:00: York University Department of

Music. York U Wind Symphony. James

McDonald/David Lum, conductors. Tribute

Communities Recital Hall, Accolade East

Building, YU, 4700 Keele St. 416-736-5888.

$15; $10(sr/st).

●●4:00: Cathedral Church of St. James.

Organ Recitals: Thomas Fitches. 65 Church

St. 416-364-7865. Free. Donations welcomed.

●●4:00: Church of St. Mary Magdalene

(Toronto). Organ Music for Lent. Andrew

Adair, organ. 477 Manning Ave. 416-531-

7955. Free.

●●4:00: Church of St. Peter and St. Simonthe-Apostle.

Passiontide Concert. Bach:

Johannes (St. John) Passion. Choir of St.

Peter and Simon-the-Apostle Anglican

Church; Lenard Whiting, tenor (Evangelist);

members of the Canadian Sinfonietta; Robin

Davis, conductor. 525 Bloor St. E. 416-923-

8714. $30; $25(sr/st/underwaged).

Piano Bravura

The New Generation

Sunday April 2, 4:00 pm

www.holytrinitytoronto.org

●●4:00: Church of the Holy Trinity/Steinway

Piano Gallery Toronto. Piano Bravura:

The New Generation. Tony Yike Yang, piano.

Church of the Holy Trinity, 10 Trinity Sq. 416-

598-4521. $30/$25(adv); $20/$15(st/adv).

●●4:00: Eglinton St. George’s United Church

Choir. Magnificent Mozart. Parry: I Was Glad;

Handel: Zadok the Priest; Mozart: Regina

Coeli, Ave Verum, Requiem. ESG Choir and

Orchestra; Simon Walker, organ; Shawn

Grenke, conductor. Eglinton St. George’s

United Church, 35 Lytton Blvd. 416-481-1141.

$35; $25(st).

●●4:00: Gallery 345. Judith Owen in Concert.

CD release of Somebody’s Child. Judith Owen,

piano and vocals; Leland (Lee) Sklar, bass;

Gabriella Swallow, cello; Pedro Sugundo, percussion;

and others. 345 Sorauren Ave. 416-

822-9781. $25.

●●4:00: ORMTA Central Toronto Branch.

Scholarship Concert. Performances by member

teachers. The Music Gallery, 197 John

St. 416-485-6562. $25/$20(adv). Fundraising

event.

●●4:00: St. Philip’s Anglican Church. Jazz

Vespers. Ted Quinlan Trio. 31 St. Phillips Rd.,

Etobicoke. 416-233-1125. Freewill donation.

Religious service.

●●5:00: Consulate General of Poland in

Toronto/Our Lady of Sorrows Roman Catholic

Church. To the Faithful Departed. Prof.

Roman Perucki, organ. Our Lady Of Sorrows

Catholic Church, 3055 Bloor St. W. Etobicoke.

416-571-3680. Free.

●●7:30: Hart House Symphonic Band. Angels

in Architecture. Mackey: Xerxes; Hosay: Persis;

Lauridsen: O Magnum Mysterium; R.W.

Smith arr.: Star Trek: Through the Generations;

Ticheli: Angels in the Architecture. Hart

House, Great Hall, 7 Hart House Circle. 416-

978-2452. Free.

●●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.

●●7:30: University of Toronto Faculty of

Music. Percussion Ensemble. Walter Hall,

Edward Johnson Building, University of

Toronto, 80 Queen’s Park. 416-408-0208.

Free.

●●8:00: Esprit Orchestra. Overdrive. Adès:

Violin Concerto (Concentric Paths); Honegger:

Pacific 231; Mosolov: The Iron Foundry;

John Adams: Short Ride in a Fast Machine;

Harman: Blur. Véronique Mathieu, violin; Alex

Pauk, conductor. Koerner Hall, Telus Centre,

273 Bloor St. W. 416-408-0208. $40-

$60; $40-$55(sr); $22-$32(under 30);

$20-$25(st).

Monday April 3

●●12:30: York University Department of

Music. Music at 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. Brass Chamber Ensembles Concert.

Walter Hall, Edward Johnson Building, University

of Toronto, 80 Queen’s Park. 416-408-

0208. Free.

Tuesday April 4

●●9:00am: University of Toronto Faculty of

Music. Annual High School Choral Festival.

Local high school choirs and U of T choral faculty;

Men’s Chorus, Women’s Chamber Choir,

members of Young Voices Toronto. Mac-

Millan Theatre, Edward Johnson Building,

80 Queen’s Park. 416-408-0208. Free. Choirs

sing from 9:00 to noon and 1:00 to 3:00.

●●12:00 noon: Canadian Opera Company.

Chamber Music Series: Partita Perfection.

Ysaÿe: Ballade; Bach/Harman: Partitas. Mark

Fewer, violin. Richard Bradshaw Amphitheatre,

Four Seasons Centre for the Performing

Arts, 145 Queen St. W. 416-363-8231. Free.

First-come, first-served. Late seating not

available.

●●12:10: Nine Sparrows Arts Foundation/

Yorkminster Park Baptist Church. Lunchtime

Chamber Music: Omar Ho, Clarinet.

Yorkminster Park Baptist Church, 1585 Yonge

St. 416-241-1298. Free. Donations accepted.

●●1:00: Cathedral Church of St. James.

Organ Recitals: Thomas Gonder. 65 Church

St. 416-364-7865. Free. Donations welcomed.

●●7:00: Salsa Loca. In Concert. Evening of

dining, live music and salsa dancing. Lula

Lounge, 1585 Dundas St. W. 416-588-0307.

$25/$20(adv). In support of Dancing with

Parkinson’s and the Humber College Scholarship

Fund.

●●7:30: Avery Raquel. “Without A Little

Rain” CD Release Concert. Avery Raquel,

vocals; Adrean Farrugia, piano; Ross Mac-

Intyre, bass; Joel Haynes and Jackson

Haynes, drums; and others. 3030 Dundas

West, 3030 Dundas St. W. 416-769-5736.

$15/$20(with CD).

●●7:30: University of Toronto Faculty of

Music. gamUT: Contemporary Music Ensemble.

Wallace Halladay, conductor. Walter

Hall, Edward Johnson Building, University

of Toronto, 80 Queen’s Park. 416-408-0208.

Free.

Wednesday April 5

●●12:00 noon: Canadian Opera Company.

Piano Virtuoso Series: Piano Panache. Bach:

Toccata in C Minor; Liszt: Piano Sonata in B

Minor. Rossina Grieco, piano. Richard Bradshaw

Amphitheatre, Four Seasons Centre for

the Performing Arts, 145 Queen St. W. 416-

363-8231. Free. First-come, first-served. Late

seating not available.

●●12:30: Yorkminster Park Baptist Church.

Noonday Organ Recitals: Joshua Ehlebracht.

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

BACH: KEEPING IT

IN THE FAMILY

Directed by Alfredo Bernardini, oboe,

and Cecilia Bernardini, violin

April 5-9, Jeanne Lamon Hall,

Trinity-St. Paul’s Centre

(416) 964-6337

tafelmusik.org

●●7:00: Tafelmusik. Bach: Keeping It in the

Family. J.S. Bach: Ouverture BWV194A,

reconst. by A. Bernardini; Concerto for violin in

E BWV1042; C.P.E. Bach: Concerto for oboe in

E-flat W1.165; W.F. Bach: Sinfonia in F Fk67; Telemann:

Orchestral suite in D Minor TWV55:d3.

Guest directors: Alfredo Bernardini, oboe, and

Cecilia Bernardini, violin. Trinity-St. Paul’s Centre,

427 Bloor St. W. 416-964-6337. $39-$93.

Also April 6,7,8(8:00pm) and April 9(3:30pm).

●●7:30: University of Toronto Faculty of

Music. Guitar Orchestra Concert. Jeffrey

McFadden, conductor. Art Museum of U of T,

7 Hart House Circle. 416-408-0208. Free.

Thursday April 6

●●12:00 noon: Adam Sherkin/Steinway

Piano Gallery. Chopin: Poetic Jest II. Chopin:

Scherzo No.3 Op.39; Scherzo No.4 Op.54​

thewholenote.com April 1, 2017 - May 7, 2017 | 37


Women’s Musical Club of Toronto

Music in the Afternoon

AIZURI QUARTET

violins, viola, cello

Thursday, April 6, 1.30 p.m.

Tickets $45

416-923-7052

www.wmct.on.ca

20 TH ANNUAL

FREE NOON

HOUR CHOIR

& ORGAN

CONCERTS

A. Concerts in the GTA

; Sherkin: Tagish Fires; Somers: Strangeness

of Heart; Three Sonnets. Adam Sherkin,

piano. St. Lawrence Centre for the Arts,

Bluma Appel Lobby, 27 Front St. E. 416-366-

7723. Free.

●●12:00 noon: Encore Symphonic Concert

Band. Monthly Concert. Big band, swing, jazz

and film scores. John Liddle, conductor. Wilmar

Heights Centre, 963 Pharmacy Ave.,

Scarborough. 416-346-3910 or 647-287-

5390. $10. First Thursday of each month.

Refreshments available or bring your lunch.

●●1:30: Women’s Musical Club of Toronto.

Music in the Afternoon. Beethoven: Quartet

in B-flat Op.18 No.6; Caroline Shaw: Blueprint;

Webern: Langsamer Satz; Mendelssohn:

Quartet in A Minor Op.13. Aizuri Quartet (Miho

Saegusa, violin; Ariana Kim, violin; Ayane

Kozasa, viola; Karen Ouzounian, cello). Walter

Hall, Edward Johnson Building, University of

Toronto, 80 Queen’s Park. 416-923-7052. $45.

●●7:30: University of Toronto Faculty of

Music. U of T Concert Orchestra. Paul Widner,

conductor. Walter Hall, Edward Johnson

Building, University of Toronto, 80 Queen’s

Park. 416-408-0208. Free.

●●8:00: Lemon Bucket Orkestra. In Concert

with Lowdown Brass Band. Balkanklezmer-gypsy-party

punk music. The

Great Hall, 1087 Queen St. W. 416-792-1268.

$20-$30(adv).

●●8:00: Small World Music Centre. Music for

Mosul with Rob Simms. Small World Music

Centre, Artscape Youngplace, 180 Shaw St.

416-536-5439. Free.

●●8:00: Tafelmusik. Bach: Keeping it in the

Family. See Apr 5. Also April 7,8 (8:00pm) and

April 9(3:30pm).

TS

Toronto

Symphony

Orchestra

Mahler

Symphony 10

Apr 6 & 7

Thomas Dausgaard, conductor

TSO.CA

●●8:00: Toronto Symphony Orchestra. Mahler:

Symphony 10. William Rowson: Fanfare:

Sesquie for Canada’s 150th (world premiere);

Schumann: Cello Concerto; Mahler/Cooke:

Symphony No.10. Joseph Johnson, cello;

Thomas Dausgaard, conductor. Roy Thomson

Hall, 60 Simcoe St. 416-598-3375. $33.75-

$148. Also Apr 7(7:30).

Friday April 7

●●12:00 noon: Roy Thomson Hall. Noon Hour

Concerts: Spirituals, Blues, Jazz and Classics.

Nathaniel Dett Chorale; Andrew Adair, organ;

Brainerd Blyden-Taylor, conductor. 60 Simcoe

St. 416-872-4255. Free. First-come, firstserved

seating.

●●12:10: Music at St. Andrew’s. Noontime

Recital. Ravel: Miroirs. Andrew Fu, piano. St.

Andrew’s Church (Toronto), 73 Simcoe St. 416-

593-5600 x231. Free.

●●1:10: Gordon Murray Presents. Piano Potpourri.

Featuring classics, opera, operetta,

musicals, ragtime, pop, international and other

genres. Gordon Murray, piano. Trinity-St. Paul’s

Centre (Chapel), 427 Bloor St. W. 416-631-

4300. PWYC. Lunch and snack friendly.

●●5:00: Canadian Music Centre. Centrediscs

CD Launch: Worlds Apart. Pianist Christina

Petrowska Quilico launches CD Worlds Apart.

20 St. Joseph St. 416-961-6601 x202. Free

with RSVP.

●●7:30: Leaside United Church. An Anniversary

Celebration. 60th Anniversary of the Pipe

Organ and Canada’s 150th Anniversary. Chancel

Choir; Cynda Fleming, trumpet; William

Maddox, organ; Sharon Beckstead, music director.

822 Millwood Rd. 416-425-1253. Free.

●●7:30: St. Andrew’s Presbyterian Church,

Humber Heights. A Classic Organ Recital.

Phantom of the Opera. George Heldt, organ.

1579 Royal York Rd., Etobicoke. 416-247-0572.

$15; $10(st).

●●7:30: Toronto Symphony Orchestra. Mahler:

Symphony 10. Christine Donkin: Hopewell

Cape: Sesquie for Canada’s 150th (TSO premiere);

Schumann: Cello Concerto; Mahler/

Cooke: Symphony No.10. Joseph Johnson,

cello; Thomas Dausgaard, conductor. Roy

Thomson Hall, 60 Simcoe St. 416-598-3375.

$33.75-$148. Also Apr 6(8:00).

●●7:45: Jane Austen Dancing. An Evening

with Jane Austen. Pieces from Jane Austen’s

time, including classical and ballads. Alanna

Ellison, harp. Mackenzie House Museum,

82 Bond St. 416-578-1031. $35; $30(sr/st).

7:45: visit to historical print shop; 8:30: concert

and historical games; refreshments.

●●8:00: Aurora Cultural Centre. John

Sheard Presents Lynn Miles. 22 Church St.,

Aurora. 905-713-1818. $35/$30(adv).

●●8:00: Music Gallery. Emergents III:

Castle If + Laura Swankey. Joe Strutt, curator.

197 John St. 416-204-1080. $12; $8(st/

members).

FRIDAY

NOONTIME

RECITALS

APRIL 7, 21, 28 & MAY 5

@ 12:10pm free

No recital on Good Friday, April 14

Bösendorfer Imperial

piano featured in

many recitals

St. Andrew’s Church

King & Simcoe Streets

standrewstoronto.org

●●8:00: Nagata Shachu. Toronto Taiko Tales.

Aki Studio, Daniels Spectrum, 585 Dundas

St. E. 416-651-4227. $30; $20(sr/st). Also

Apr 8(2:00 and 8:00); Apr 9(2:00).

●●8:00: Royal Conservatory of Music. Bramwell

Tovey Conducts the Royal Conservatory

Orchestra. K. Murphy: A Thousand Natural

Shocks; R. Strauss: Ein Heldenleben; Korngold:

Violin Concerto in D; and other works.

Jennifer Murphy, violin. Koerner Hall, Telus

Centre, 273 Bloor St. W. 416-408-0208. $25-

$55. 6:45: prelude recital.

●●8:00: Sinfonia Toronto. Distant Light. Evangelista:

Spanish Airs; Vasks: Violin Concerto

“Distant Light”; R. Strauss: Metamorphosen.

Andréa Tyniec, violin; Nurhan Arman, conductor.

Glenn Gould Studio, 250 Front St. W.

416-499-0403. $42; $35(sr); $15(st).

●●8:00: Tafelmusik. Bach: Keeping It in the

Family. See Apr 5. Also April 8, 9(3:30pm).

Saturday April 8

●●2:00: Nagata Shachu. Toronto Taiko Tales.

See Apr 7. Also Apr 8(8:00); Apr 9(2:00).

●●3:00: Schola Cantorum Choral Ensemble.

Songs of the Homelands: A Farewell Concert.

Choral music in the German language.

Ursula Ivonoffski, soprano soloist. St. Ansgar

Lutheran Church, 1498 Avenue Rd. 416-

481-8484. $15.

●●4:00: Toronto Children’s Chorus.

REFLECTIONS

Featuring songs of hope

and peace from Canada to

New Zealand

Rosedale United Church

Sat April 8 4PM

torontochildrenschorus.com

38 | April 1, 2017 - May 7, 2017 thewholenote.com


Reflections. Songs of hope and peace.

Whanau: Kuarongo; Enns: Da Pacem; Orban:

Mass #6; Janmohamed/Abu-Khader: new

work. Guests: Carol Lynn Fujino and Virginia

Chen Wells, violins; Winona Zelenka, cello;

Stan Klebanoff, trumpet. Rosedale United

Church, 159 Roxborough Dr. 416-932-8666

x231. $25; $20(sr/st); $10(child).

●●7:00: Mississauga Big Band Jazz Ensemble.

Big Band Open Mic. Cooksville United

Church, 2500 Mimosa Row, Mississauga.

905-270-4757. $20; $10(sr/st).

●●7:30: Fairlawn Avenue United Church. Sing

for Joy! Forrest: Jubilate Deo (Canadian premiere);

and other sacred music. The Fairlawn

Choirs, Fairlawn Senior Choir (Rebecca

Whelan and Lynn McMurray, soloists); chamber

orchestra; Eleanor Daley, conductor.

28 Fairlawn Ave. 416-481-6848. $20.

●●7:30: Milton Philharmonic Orchestra.

Classical Gold. Beethoven: Egmont Overture;

Weber: Bassoon Concerto; Grieg: Peer

Gynt Suite No.1. Sebastian Malette, bassoon.

St. Paul’s United Church (Milton), 123 Main

St. E., Milton. 905-302-3169. $25; $20(sr);

$15(under 12).

●●7:30: University of Toronto Faculty of

Music. UofT Symphony Orchestra. Debussy:

Images; Chausson: Poème Op.25; Ravel:

Daphnis et Chloé Suite No.2. Danielle Greene,

violin; Uri Mayer conductor. MacMillan Theatre,

Edward Johnson Building, 80 Queen’s

Park. 416-408-0208. $30; $20(sr); $10(st).

6:45: pre-performance chat with professors

and graduate students.

●●8:00: Canadian Sinfonietta. Young Artists

Concert: Happy 150th Birthday, Canada!

Pepa: “Highland Cathedral” Bagpipe Overture;

Grieg: Holberg Suite. Dan MacMillan,

bagpipes; 2nd Annual Young Artist Competition

Winners. Tyndale Chapel, 3377 Bayview

Ave. 647-223-2286. $35; $30(sr); $20(st).

●●8:00: Jazz Performance and Education

Centre (JPEC). Dueling Pianos: Father and

Son. Eddie and Quincy Bullen; Carribean Jazz

Collective. Studio Theatre, Toronto Centre for

the Arts, 5040 Yonge St., North York. 1-855-

985-2787. $35; $20(st).

●●8:00: Massey Hall. Live at Massey Hall Series:

Bill and Joel Plaskett Solidarity Tour.

178 Victoria St. 416-872-4255. $18.94-$39.50.

●●8:00: Nagata Shachu. Toronto Taiko Tales.

See Apr 7. Also Apr 9(2:00).

●●8:00: Oakville Symphony Orchestra. Passionate

Drama. Tchaikovsky: Symphony No.6;

Mozart: Sinfonia Concertante for Violin and

Viola; and other works. Scott St. John, violin;

Sharon Wei, viola. Oakville Centre for the

Performing Arts, 130 Navy St., Oakville. 905-

815-2021 or 888-489-7784. $25-$64. Also

Apr 9(2:00).

●●8:00: Royal Conservatory of Music.

World Music: Alex Cuba and Friends. Latin

soul music. Guests: Jim Cuddy; and others.

Koerner Hall, Telus Centre, 273 Bloor St. W.

416-408-0208. $45-$90.

●●8:00: Tafelmusik. Bach: Keeping it in the

Family. See Apr 5. Also April 9 (3:30pm).

●●8:00: Toronto Downtown Jazz. TD Discovery

Series Special Projects: So Long Seven.

New works exploring West African influence

on jazz and blues. Neil Hendry, guitar,

mandolin; William Lamoureux, violin, vocals;

Ravi Naimpally, tabla, percussion; Tim Posgate,

banjo. Guest: Amara Kante, percussion,

djembe. Small World Music Centre, Artscape

Youngplace, 180 Shaw St. 416-536-5439.

$15(adv).

Sunday April 9

●●10:00am: All Saints Kingsway Anglican

Church. Palm Sunday Procession with Donkey.

2850 Bloor St. W. 416-769-5224. Freewill

offering. Religious service.

●●10:00am: Michael Johnston Music Studio.

10th Annual Recital and Spring Celebrations.

Folk, pop, jazz, classical, blues, rock and world

music. Students of all ages sing, play piano,

guitar, drums, ukulele, accordion and trumpet.

Lula Lounge, 1585 Dundas St. W. 416-588-

0307. $20/$18(adv); $15/$12(under17/adv);

free(performers).

●●2:00: Nagata Shachu. Toronto Taiko Tales.

See Apr 7.

●●2:00: North York Concert Orchestra/

Bravo Academy. Kids on Broadway Family

Concert. Rafael Luz, conductor. Toronto Centre

for the Arts, 5040 Yonge St., North York.

416-628-9195. $25; $20(sr); $18(st). Also

4:30.

●●2:00: Oakville Symphony Orchestra. Dramatic

Passion. Tchaikovsky: Symphony No.6;

Mozart: Sinfonia Concertante for Violin and

Viola; and other works. Scott St. John, violin;

Sharon Wei, viola. Oakville Centre for the

Performing Arts, 130 Navy St., Oakville. 905-

815-2021 or 888-489-7784. $25-$64. Also

Apr 8(8:00).

●●2:00: Pocket Concerts. Pocket Concert

Near Bayview and Blythwood. Poulenc: Sextet

for Winds and Piano; Ligeti: Six Bagatelles

for Wind Quintet; works by Mozart and Philip

Glass. Sarah Jeffrey, oboe; Leslie Allt, flute;

Gabriel Radford, horn; Fraser Jackson, bassoon;

Michah Heilbrunn, clarinet; Emily Rho,

piano. Private Home at corner of Bayview and

Blythwood. 647-896-8295. $48; $32(19-35);

$15(under 19).

●●3:00: Royal Conservatory of Music.

Invesco Piano Concerts: Louis Lortie. Chopin:

12 Études Op.10; 12 Études Op.25; 24 Preludes

Op.28. Koerner Hall, Telus Centre, 273 Bloor

St. W. 416-408-0208. $45-$90. 7:15: pre-concert

chat with Rick Phillips.

●●3:00: Shaftesbury Salon Series. And So It

Goes. Music by Cole Porter, Noel Coward, Stephen

Sondheim and others. Brett Polegato,

baritone; Robert Kortgaard, piano. Atrium,

21 Shaftesbury Ave. 416-519-7883. $35.

Refreshments available.

Celebrating the 25th anniversary of Dr. Roberta Bondar’s flight into space

Featuring:

Amadeus Choir of Greater Toronto

Lydia Adams, conductor

Shawn Grenke, conductor and pianist

Special Guest: Dr. Roberta Bondar

Eglinton St. George’s

United Church

35 Lytton Blvd, Toronto

at Lytton Blvd and Duplex Ave,

one block west of Yonge St

Tickets in advance or at the door:

$45 adults | $40 seniors | $35 under 30 | $20 student • Phone: 416-446-0188

CHORAL

PASSIONTIDE

DEVOTION

A vocal and instrumental

expression of faith

for Holy Week and Easter.

The Yorkminster Park choir, with

Willliam Maddox, perform music

by Rheinberger and Mendelssohn.

Palm Sunday, aPril 9, 3:00pm

Yorkminster Park BaPtist ChurCh

1585 Yonge street | 416-922-1167 | yorkminsterpark.com

thewholenote.com April 1, 2017 - May 7, 2017 | 39


●●3:00: Yorkminster Park Baptist Church.

Choral Passiontide Devotion. A vocal and

instrumental expression of faith for Holy

Week and Easter. Works by Rheinberger and

Mendelssohn. Yorkminster Park Choir; William

Maddox, organ. 1585 Yonge St. 416-922-

1167. Free.

●●3:30: Tafelmusik. Bach: Keeping It in the

Family. See Apr 5.

●●4:00: All Saints Kingsway Anglican

Church. Cantata for Passiontide. Samuel

Coleridge-Taylor: The Atonement. Nathaniel

Dett Chorale; All Saints Kingsway Church

Choir; Brainerd Blyden-Taylor, conductor.

2850 Bloor St. W. 416-769-5224. Freewill

offering.

●●4:00: Cathedral Church of St. James.

Organ Recitals: David Briggs. 65 Church St.

416-364-7865. Free. Donations welcomed.

●●4:30: Christ Church Deer Park. Jazz Vespers.

Mike Hurley Duo. 1570 Yonge St. 416-

920-5211. Freewill offering. Religious service.

●●4:30: North York Concert Orchestra/

Bravo Academy. Kids on Broadway Family

Concert. Rafael Luz, conductor. Toronto Centre

for the Arts, 5040 Yonge St., North York.

416-628-9195. $25; $20(sr); $18(st). Also

2:00.

A. Concerts in the GTA

ADI BR AUN

berlin, berlin

APRIL 9, 7PM

THE JAZZ BISTRO

251 VICTORIA ST.

416 363 5299

●●7:00: Adi Braun. Berlin, Berlin. Berlin cabaret

music. Cabarazz CD sneak peak; songs

by Weill, Hollaender, Spoliansky, Braun and

others. Tom King, piano; Pat Collins, bass;

SACRED MUSIC FOR

A SACRED SPACE

Take a moment for calm and reflection and

immerse yourself in contemplative music

surrounded by the beauty of St. Paul’s Basilica.

Enjoy the powerful experience of music floating

down from the loft—Sanders’ Reproaches,

Allegri’s stunning Miserere and Pärt’s A Deer’s Cry.

After intermission, works by Lotti, Willan, Elgar

and Mendelssohn complete the evening.

Wednesday, April 12 at 7:30 pm

Good Friday, April 14 at 7:30 pm

St. Paul’s Basilica – 83 Power Street

Tickets

$35 & $50,

$35 & $45 seniors

$20 VoxTix for patrons

30 and under

tmchoir.org

New This Year

Seat selection and printat-home

tickets available

through RCM Tickets.

Purchase online or call

416.408.0208.

Photo by Brian Summers

Daniel Barnes, drums. Guests: Tony Quarrington,

guitar, banjo; Juan Gabriel Olivares,

clarinet. Jazz Bistro, 251 Victoria St.

416-363-5299. $20(cover). Reservations

recommended.

●●7:00: Knox Presbyterian Church. Brockes

Passion. Handel: Brockes Passion; other

works by Bach and Handel; congregational

hymns. Choir and soloists of Knox Presbyterian

Church; strings and organ; Roger Bergs,

conductor. 630 Spadina Ave. 416-921-8993.

Freewill offering.

●●7:30: Amadeus Choir of Greater Toronto.

High Flight. Lydia Adams, conductor; Shawn

Grenke, conductor and pianist; guest: Dr.

Roberta Bondar. Eglinton St. George’s United

Church, 35 Lytton Blvd. 416-446-0188. $45;

$40(sr); $35(under 30); $20(st).

●●7:30: Gallery 345. Jazz at Gallery 345: CD

Release Root Structure. Mike Downes, bass;

Ted Quinlan, guitar; Robi Botos, piano; Larnell

Lewis, drums. 345 Sorauren Ave. 416-822-

9781. $25; $10(st).

LARK

ENSEMBLE

with ERICA

GOODMAN, harp

APRIL 9, 7:30pm

CORKIN GALLERY,

DISTILLERY DISTRICT

●●7:30: LARK Ensemble. April in Paris. Saint-

Saëns: Sonata for violin and harp; Tournier:

Quintet for flute, harp and strings; Ravel:

Sonata for violin and cello; Ropartz: Quintet

for flute, harp and strings. Leslie Allt, flute;

Aaron Schwebel, violin; Keith Hamm, viola;

Roberta Janzen, cello. Guest: Erica Goodman,

harp. Corkin Gallery, 7 Tank House Ln.

416-979-1980. $35; $20(st). Refreshments

included.

Monday April 10

●●8:00: St. Thomas’s Anglican Church. Baroque

Music by Candlelight for Holy Week.

A period ensemble led by Larry Beckwith

performs in a historic setting. St. Thomas’s

Anglican Church (Toronto), 383 Huron St.

416-979-2323. PWYC.

Tuesday April 11

●●12:00 noon: Canadian Opera Company.

Chamber Music Series: The Beauty of Brass.

Works by Poulenc, Salonen, Turrin and Mac-

Dougall. COC Orchestra brass (Robert Weymouth,

trumpet; Mikhailo Babiak, horn;

Charles Benaroya, trombone); Rachel Kerr,

piano. Richard Bradshaw Amphitheatre,

Four Seasons Centre for the Performing

Arts, 145 Queen St. W. 416-363-8231. Free.

First-come, first-served. Late seating not

available.

●●1:00: Cathedral Church of St. James.

Organ Recitals: David Briggs. 65 Church St.

416-364-7865. Free. Donations welcomed.

●●7:30: Annerin Productions. A Night with

Sinatra and Friends. Come Fly with Me; My

Way; Strangers in the Night; New York, New

York; and others. Rick Michel, impressionist.

Sony Centre for the Performing Arts, 1 Front

St. E. 1-855-872-7669. $49.50-$69.50.

●●7:30: Silverthorn Symphonic Winds.

59 Minute Soirée. A variety of lighter music,

conversation with the musicians, refreshments

and open rehearsal. Wilmar Heights

Centre, 963 Pharmacy Ave., Scarborough.

416-742-4237. PWYC; $10 suggested. Free

parking; wheelchair accessible.

●●8:00: Flato Markham Theatre. Russian

National Ballet Theatre: Swan Lake. 171 Town

Centre Blvd., Markham. 905-305-7469. $64-

$69. Also Apr 12 and 13.

Wednesday April 12

●●12:30: Organix Concerts/All Saints Kingsway.

Kingsway Organ Recital Series. Simon

Walker, organ. All Saints Kingsway Anglican

Church, 2850 Bloor St. W. 416-769-5224.

Freewill offering.

●●5:30: Canadian Opera Company. Jazz Series:

Moving Mountains. Contemporary acoustic

jazz. Mike Downes Trio. Richard Bradshaw

Amphitheatre, Four Seasons Centre for the

Performing Arts, 145 Queen St. W. 416-363-

8231. Free. First-come, first-served. Late seating

not available.

●●7:00: Friends In Concert Against Brain

Tumours. Benefit Concert. Choral and instrumental

works by Barber, Debussy, Gershwin,

Mozart, and others. Victoria College Chapel,

73 Queen’s Park Cr. E. (416) 820-3711. Freewill

donation. Proceeds to the Brain Tumour

Foundation of Canada.

TICKETS AVAILABLE AT

BATASHOEMUSEUM.CA

APRIL 12

●●7:30: Bata Shoe Museum. Quartetto Gelato.

327 Bloor St. W. 416-979-7799 x445. $40.

Includes aperitivo.

●●7:30: Royal Conservatory of Music.

Rebanks Family Fellowship Concert. Fellows

from Rebanks Family Fellowship and International

Performance Residency Program at

Glenn Gould School. Mazzoleni Concert Hall,

40 | April 1, 2017 - May 7, 2017 thewholenote.com


Royal Conservatory, 273 Bloor St. W. 416-408-

0208. Free.

●●7:30: Toronto Mendelssohn Choir. Sacred

Music for a Sacred Space. A concert of contemplative

music. Allegri: Miserere; works

by Pärt, Lotti, Lucaszewski, Mendelssohn and

Willan. Toronto Mendelssohn Choir; Noel Edison,

conductor. St. Paul’s Basilica, 83 Power

St. 416-598-0422. $35-$50; $45(sr);

$20(under 31). Also Apr 14.

●●8:00: Flato Markham Theatre. Russian

National Ballet Theatre: Swan Lake. 171 Town

Centre Blvd., Markham. 905-305-7469. $64-

$69. Also Apr 11 and 13.

●●8:00: Massey Hall. Tinarimen with Dengue

Fever. 178 Victoria St. 416-872-4255.

$29.50-$89.50.

TS

Toronto

Symphony

Orchestra

Liszt

Piano

Concerto 2

Apr 12 & 13

Lucas Debargue, piano

TSO.CA

●●8:00: Toronto Symphony Orchestra. Liszt:

Piano Concerto 2. Simon Cole: Dark Forest:

Sesquie for Canada’s 150th (TSO premiere);

Christos Hatzis: The Isle Is Full of Noises;

Liszt: Piano Concerto No.2; Brahms: Symphony

No.3. Lucas Debargue, piano; Andrey

Boreyko, conductor. Roy Thomson Hall,

60 Simcoe St. 416-598-3375. $33.75-$148.

Also Apr 13(2:00).

Thursday April 13

●●12:00 noon: Canadian Opera Company.

Dance Series: Red River Special. Traditional

and contemporary styles of Métis dance

and music. V’ni Dansi’s Louis Riel Métis Dancers.

Richard Bradshaw Amphitheatre, Four

Seasons Centre for the Performing Arts,

145 Queen St. W. 416-363-8231. Free. Firstcome,

first-served. Late seating not available.

●●2:00: Toronto Symphony Orchestra. Liszt:

Piano Concerto 2. Marc Bélanger: Wink from

Drummondville to Toronto: Sesquie for Canada’s

150th (TSO premiere); Christos Hatzis:

The Isle Is Full of Noises; Liszt: Piano Concerto

No.2; Brahms: Symphony No.3. Lucas

Debargue, piano; Andrey Boreyko, conductor.

Roy Thomson Hall, 60 Simcoe St. 416-598-

3375. From $33.75. Also Apr 12(8:00).

●●6:30: All Saints Kingsway Anglican

Church. Maundy Thursday: Paschal Supper

and Gethsemane Vigil. 2850 Bloor St. W. 416-

769-5224. Freewill offering. Religious service.

●●7:30: St. Anne’s Anglican Church. Holy

Week and Easter. Schütz: Johannes-Passion

(excerpts); Handel: Messiah (excerpts);

Mozart: Exsultate Jubilate. St. Anne’s Chamber

Orchestra. 270 Gladstone Ave. 416-536-

3160. Religious service. Freewill offering.

Les Violons du Roy

with Philippe Jaroussky

THURS., APR. 13, 8PM KOERNER HALL

TICKETS ON SALE NOW! 416.408.0208

WWW.PERFORMANCE.RCMUSIC.CA

●●8:00: Royal Conservatory of Music. Chamber

Music Concert: Les Violons du Roy with

Philippe Jaroussky. Works by Handel, Bach,

Fux and Graun. Les Violons du Roy; Philippe

Jaroussky, countertenor; Mathieu Lussier,

conductor. Koerner Hall, Telus Centre,

273 Bloor St. W. 416-408-0208. From $40.

●●8:00: Flato Markham Theatre. Russian

National Ballet Theatre: Swan Lake. 171 Town

Centre Blvd., Markham. 905-305-7469. $64-

$69. Also Apr 11 and 12.

●●9:00: Michael Murphy. Don’t Tell Oscar.

Music with rock influence by composers

including Oscar Bettison, Harry Stafalakis,

David Lang and others. Alumni of the UofT

Contemporary Music Ensemble; VC2 (Cello

Duo) and others. Buddies in Bad Times Theatre,

12 Alexander St. 416-666-8168. $15 or

PWYC; Free(UofT music students).

Friday April 14

●●10:00am: All Saints Kingsway Anglican

Church. Good Friday: The Way of the Cross.

2850 Bloor St. W. 416-769-5224. Freewill

offering. Religious service.

●●10:30am: Lawrence Park Community

Church. Requiem. Fauré. Kimberley Briggs,

soprano; Alastair Smyth, baritone; instrumental

ensemble; Lawrence Park Community

Church Choir; Mark Toews, conductor.

2180 Bayview Ave. 416-489-1551. Freewill

offering.

●●10:30am: St. Anne’s Anglican Church. Holy

Week and Easter. Schütz: Johannes-Passion

(excerpts); Handel: Messiah (excerpts); Mozart:

Exsultate Jubilate. St. Anne’s Chamber

Orchestra. 270 Gladstone Ave. 416-536-3160.

Religious service. Freewill offering.

GOOD FRIDAY LITURGY

April 14 at 11am

Rheinberger: Stabat Mater

Sanders: The Reproaches

Humbercrest

United Church

16 Baby Point Road, Toronto

humbercrest.ca

●●11:00am: Humbercrest United Church.

Good Friday Liturgy. Rheinberger: Stabat

Mater for Strings and Organ; Sanders: The

Reproaches (a cappella). Melvin J. Hurst,

music director. 16 Baby Point Rd. 416-767-

6122. Freewill offering. Religious service.

●●12:00 noon: All Saints Kingsway Anglican

Church. Good Friday: Solemn Liturgy and

Eucharist. 2850 Bloor St. W. 416-769-5224.

Freewill offering. Religious service.

●●4:00: Nine Sparrows Arts Foundation/

Yorkminster Park Baptist Church. Good Friday

Concert: Music and Readings for a Most

Holy Day. Anne Lindsay, Celtic violin; Sharlene

Wallace, Celtic harp; Lark Popov, piano; Stephen

Boda, organ; Yorkminster Park Baptist

Church Choir; The Hedgerow Singers; Colleen

Burns, narrator; Rev. Dr. Peter Holmes,

narrator. Yorkminster Park Baptist Church,

1585 Yonge St. 416-241-1298. Free. Donations

accepted. Religious service.

●●7:00: New Apostolic Church (Rexdale).

Reflections on His Passion, Sacrifice, and Glory.

NAChorale and the African, Caribbean and Children’s

Choirs of the New Apostolic Church.

6484 Finch Ave. W. 1-888-622-7828. Free. Light

Refreshments. Wheelchair accessible. Donations

to The Albion Boys and Girls Club.

●●7:30: Music at Metropolitan. Eternal Light:

Music for Good Friday. Goodall: The Lord Is

My Shepherd; Eternal Light, A Requiem and

works by Monteverdi, Daley, Martin, Sirett,

and others. Metropolitan Festival Choir,

instrumentalists and soloists. Metropolitan

United Church (Toronto), 56 Queen St. E. 416-

363-0331 x26. $20; $10(18 and under).

●●7:30: Toronto Beach Chorale. Mozart’s

Requiem and more. Mozart: Requiem, Salieri:

Coronation Te Deum; monologues from the

NiNe SparrowS artS FouNdatioN

presents

The Good Friday

ConCerT

Music and Readings for a Most Holy Day

Friday, april 14, 2017, 4pm

Special GueStS

Anne Lindsay, Celtic violin

sharlene Wallace, Celtic harp

Featuring:

Lark popov, piano

stephen Boda, organ

the YpBC choir

William Maddox, conductor

the Hedgerow singers

eric robertson, conductor

Colleen Burns

rev. Dr. peter Holmes

narrators

yorkminSter park BaptiSt church

1585 Yonge street | 416-922-1167 | ADMISSION FREE

thewholenote.com April 1, 2017 - May 7, 2017 | 41


play Amadeus. Jocelyn Fralick, soprano; Lillian

Brooks, mezzo; Ryan Harper, tenor; Matthew

Cassils, baritone; orchestra. Kingston

Road United Church, 975 Kingston Rd. 416-

699-6634. $25; $12(7-18yrs); free(under 7).

●●7:30: Toronto Mendelssohn Choir. Sacred

Music for a Sacred Space. A concert of contemplative

music. Allegri: Miserere; works

by Pärt, Lotti, Lucaszewski, Mendelssohn and

Willan. Toronto Mendelssohn Choir; Noel Edison,

conductor. St. Paul’s Basilica, 83 Power

St. 416-598-0422. $35-$50; $45(sr);

$20(under 31). Also Apr 12.

DEATH AND

TRANSFIGURATION

Strauss, Tchaikovsky,

& Rachmanninoff

Rudin Lengo,

piano

FRIDAY APRIL 14, 8PM

ksorchestra.ca

A. Concerts in the GTA

METROPOLITAN FESTIVAL CHOIR,

SOLOISTS AND INSTRUMENTALISTS

DR. PATRICIA WRIGHT, CONDUCTOR

●●8:00: Kindred Spirits Orchestra. Death

and Transfiguration. Tchaikovsky: The Tempest

(fantasy overture); Rachmaninoff: Piano

Concerto No.3; R. Strauss: Death and Transfiguration.

Rudin Lengo, piano; Michael Berec,

host; Kristian Alexander, conductor. Flato

Markham Theatre, 171 Town Centre Blvd.,

Markham. 905-305-7469. $30-$40; $25(sr);

$15(youth). 7:15: pre-concert recital and

discussion.

●●8:00: Vesuvius Ensemble. Passio: The

Mater Dolorosa in Popular Tradition. Popular

and classical music for Holy Week. Heliconian

Hall, 35 Hazelton Ave. 416-922-3618.

$35; $15(sr/st).

Saturday April 15

●●7:00: Toronto Tabla Ensemble/North York

Arts. Tabla and Taiko: Two Ancient Traditions

Meet. Cross-cultural music collaboration of

Indian and Japanese percussive traditions

with goal of bringing communities together.

New works by Ritesh Das and Kiyoshi Nagata.

Nagata Shachu. Toronto Centre for the Arts,

5040 Yonge St., North York. 1-855-985-

2787. $30.

●●7:30: Canadian Chinese Society for the

Arts. Waltzes, Butterflies and Dreams. Works

by Beethoven, Vivaldi, Lehar, He/Chen, Prokofiev,

Rota and Gardel. Angel Wang, violin;

Barry Shiffman, violin; George Gao,

erhu; Peter Longworth, piano; Claudio Vena,

conductor. George Weston Recital Hall,

5040 Yonge St. 416-733-9388. $28-$88.

●●7:30: St. Anne’s Anglican Church. Holy

Week and Easter. Schütz: Johannes-Passion

(excerpts); Handel: Messiah (excerpts);

Eternal Light:

MUSIC FOR GOOD FRIDAY

Motets by Monteverdi

on the 450th anniversary of his birth

Music from Canada by Daley, Martin, Teehan, Sirett & Enns

Eternal Light: A Requiem and

The Lord is My Shepherd both by Goodall

GOOD FRIDAY

APRIL 14, 2017, 7:30 P.M.

Metropolitan United Church

56 Queen Street East (at Church Street), Toronto, Ontario

TICKETS: $20/10 AGES 18 AND UNDER

Buy yours from the Met E-Store at www.metunited.org

or call 416-363-0331 ext. 26

Mozart: Exsultate Jubilate. St. Anne’s Chamber

Orchestra. 270 Gladstone Ave. 416-536-

3160. Freewill offering. Religious service.

●●8:00: All Saints Kingsway Anglican

Church. Holy Saturday: The Great Vigil of

Easter and Eucharist. 2850 Bloor St. W. 416-

769-5224. Freewill offering. Religious service.

●●8:00: Greater Toronto Philharmonic

Orchestra. Romantica. Beethoven: Coriolan

Overture; Mendelssohn: A Midsummer

Night’s Dream; Grieg: Piano Concerto; and

other works. Arthur Tang, piano; Holly Chaplin,

soprano; John Palmer, conductor. Calvin

Presbyterian Church, 26 Delisle Ave. 647-238-

0015. $25; $20(sr/st).

Sunday April 16

●●8:00am: All Saints Kingsway Anglican

Church. Easter Day: Eucharist. 2850 Bloor

St. W. 416-769-5224. Freewill offering. Religious

service.

●●10:00am: All Saints Kingsway Anglican

Church. Easter Day: Choral Eucharist with

Brass Quartet. 2850 Bloor St. W. 416-769-

5224. Freewill offering. Religious service.

●●10:30am: Music at St. Andrew’s. Traditional

Easter Sunday Service. Works by

Cruger, Vulpius, Willan, Howells, Widor. St.

Andrew’s Gallery Choir; Cathedral Brass;

Daniel Bickle, organist. St. Andrew’s Church

(Toronto), 73 Simcoe St. 416-593-5600 x231.

Free. Religious service.

●●10:30am: St. Anne’s Anglican Church. Holy

Week and Easter. Schütz: Johannes-Passion

(excerpts); Handel: Messiah (excerpts); Mozart:

Exsultate Jubilate. St. Anne’s Chamber

Orchestra. 270 Gladstone Ave. 416-536-3160.

Freewill offering. Religious service.

●●3:00: Stereo Live. Rosebud String Quartet.

Haydn: Quartet Op.20 No.1; Schumann: Quartet

No.3. Sheila Jaffé and Aaron Schwebel,

violins; Keith Hamm, viola; Arnold Choi, cello.

Campbell House Museum, 160 Queen St. W.

416-597-0227. $25.

●●4:00: Cathedral Church of St. James.

Organ Recitals: David Briggs. 65 Church St.

416-364-7865. Free. Donations welcomed.

●●8:00: Massey Hall. Leif Vollebekk. The

Great Hall, 1087 Queen St. W. 416-872-4255.

$19.50. 19+ event.

●●8:00: Small World Music Centre. Upanishads.

Artscape Youngplace, 180 Shaw St.

416-536-5439. $20/$15(adv).

Monday April 17

●●7:30: Chorisma. Choral Concert for Holy

Week. Once Upon a Tree Cantata (excerpts)

and other works. Lona Richardson, accompaniment;

Sebastian Meadows-Helmer, violin;

Robert Richardson, conductor. Thornhill

United Church, 25 Elgin St., Thornhill. 905-

731-8318. Freewill offering. In support of Hill

House Hospice.

Tuesday April 18

●●12:00 noon: Canadian Opera Company.

Vocal Series: Fête. Staged vignettes of art

song based on Verlaine: Fêtes galantes. Collectìf.

Richard Bradshaw Amphitheatre, Four

Seasons Centre for the Performing Arts,

145 Queen St. W. 416-363-8231. Free. Firstcome,

first-served. Late seating not available.

●●12:10: Nine Sparrows Arts Foundation/

Yorkminster Park Baptist Church. Lunchtime

Chamber Music: Rising Stars Recital.

Students from the Glenn Gould School. Yorkminster

Park Baptist Church, 1585 Yonge St.

416-241-1298. Free. Donations accepted.

●●1:00: Cathedral Church of St. James.

Organ Recitals: Joel Vanderzee. 65 Church

St. 416-364-7865. Free. Donations welcomed.

●●7:00: Don Mills Collegiate. Jazz Night at

Lula. Traditional and contemporary jazz.

Music department from Don Mills Collegiate.

Lula Lounge, 1585 Dundas St. W. 416-588-

0307. $15; $10(sr); $5(st).

●●7:30: Bellissimo Academy for Music.

Dang Thai Son Piano Recital. Schubert: Allegretto

in C Minor D916; 12 German Dances

D790; 6 Impromptus D899; Chopin: Prelude

in C-sharp Minor Op.45; 3 Mazurkas; Scherzo

No.2; Liszt: Réminiscences de Norma. Flato

Markham Theatre, 171 Town Centre Blvd.,

Markham. 905-305-7469. $30-$90.

●●8:00: Laila Biali. In Concert. Rose Theatre,

1 Theatre Ln., Brampton. 905-874-2800. $38.

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. A multimedia

journey featuring projections,

movement and song. Works by Rachmaninoff,

Messaien, Cage, Aperghis and R. Jacobs.

Neema Bickersteth, soprano; Gregory Oh,

piano; Ben Grossman, percussion and computers.

Crow’s Theatre, 345 Carlaw Ave. 647-

341-7390. PWYC-$35. Also Apr 19, 20, 21, 22,

24(1:30), 25, 26, 27, 28, 29(2:00).

●●8:00: Toronto Symphony Orchestra. Best

of Rodgers and Hammerstein. Music from

The Sound of Music, South Pacific, Carousel,

Oklahoma!, The King and I, and other

works. Chilina Kennedy, vocalist; Ryan Silverman,

vocalist; Amabile Choirs of London, Canada;

Steven Reineke, conductor. Roy Thomson

Hall, 60 Simcoe St. 416-598-3375. $33.75-

$107. Also Apr 19(2:00 & 8:00).

Wednesday April 19

●●12:30: Yorkminster Park Baptist Church.

Noonday Organ Recitals: Manuel Piazza.

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

●●2:00: Toronto Symphony Orchestra. Best

of Rodgers and Hammerstein. Music from

The Sound of Music, South Pacific, Carousel,

Oklahoma!, The King and I, and other

works. Chilina Kennedy, vocalist; Ryan Silverman,

vocalist; Amabile Choirs of London, Canada;

Steven Reineke, conductor. Roy Thomson

Hall, 60 Simcoe St. 416-598-3375. $29.50-

$83.75. Also Apr 18, 19(8:00).

42 | April 1, 2017 - May 7, 2017 thewholenote.com


●●7:00: Lorne Park Baptist Church. Rachel

Mahon Organ Concert. 1500 Indian Rd., Mississauga.

905-278-7833. Freewill offering.

5:45: community dinner $5 (call to reserve). In

support of The Compass storefront ministry.

●●7:30: Axios Men’s Ensemble. Resurrection:

Music from the Ukrainian Sacred Choral Tradition.

Sembrat: Resurrectional Divine Liturgy;

other works by Bortniansky, Vedel and Hurko.

Pro Coro Canada; Boyan Ensemble of Kyiv

(Revutsky Academic Male Capella); Chorus of

the Armed Forces of Ukraine; Homin Municipal

Choir of Lviv; Vydubychi Church Choir of

Kyiv; Michael Zaugg, conductor. St. Paul’s Bloor

Street, 227 Bloor St. E. 780-906-1549. $35.

●●7:30: Cathedral Church of St. James. Gustav

Mahler: Symphony No.2 “Resurrection.”

Transcribed for organ and performed by

David Briggs. Choir of St. James Cathedral;

Robert Busiakiewicz, conductor; Julia Morson,

soprano; Christina Stelmacovich, mezzo.

65 Church St. 416-364-7865 x245. $20-$40;

$150(includes post-concert reception).

●●8:00: Flato Markham Theatre. Laila Biali.

171 Town Centre Blvd., Markham. 905-305-

7469. $54-$59.

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 20, 21, 22, 24(1:30), 25, 26, 27, 28,

29(2:00).

●●8:00: Royal Conservatory of Music. Quiet

Please, There’s a Lady on Stage: Monsieur

Periné and Patricia Cano. South American

music. Koerner Hall, Telus Centre, 273 Bloor

St. W. 416-408-0208. $35-$70.

●●8:00: Toronto Symphony Orchestra. Best

of Rodgers and Hammerstein. Music from

The Sound of Music, South Pacific, Carousel,

Oklahoma!, The King and I, and other works.

Chilina Kennedy, vocalist; Ryan Silverman,

vocalist; Amabile Choirs of London, Ontario;

Steven Reineke, conductor. Roy Thomson

Hall, 60 Simcoe St. 416-598-3375. $33.75-

$107. Also Apr 18(8:00), 19(2:00).

Thursday April 20

●●12:00 noon: Canadian Opera Company.

Chamber Music Series: Northwest Voyage.

Métis Fiddler Quartet. Richard Bradshaw

Amphitheatre, Four Seasons Centre for the

Performing Arts, 145 Queen St. W. 416-363-

8231. Free. First-come, first-served. Late seating

not available.

●●7:30: Canadian Opera Company. Louis Riel.

LOUIS

RIEL

SOMERS

APR 20 –

MAY 13

coc.ca

Somers. Russell Braun, baritone; and others;

Peter Hinton, director. Four Seasons Centre

for the Performing Arts, 145 Queen St. W. 416-

363-8231. $35-$235; $22(under 30). In English,

French and Cree. Also Apr 23(2:00), 26,

29(4:30), May 2, 5, 13.

●●7:30: Toronto Symphony Orchestra. What

Makes It Great?®: An American in Paris.

Gershwin: An American in Paris. Rob Kapilow,

conductor and host. Massey Hall, 178 Victoria

St. 416-598-3375. $34.75-$83.75.

●●7:30: University of Toronto Faculty of

Music. U of T Symphony Orchestra: Special

Concert. Rossini: Overture to La gazza

Ladra; Wladigeroff: Violin Concerto Op.11 in F

Minor; Bischof: Concerto for flutes Op.11 No.1;

Tchaikovsky: Capriccio Italien Op.45. Mario

Hossen, violin; Luisa Sello, flutes; Uri Mayer,

conductor. MacMillan Theatre, Edward Johnson

Building, 80 Queen’s Park. 416-408-0208.

$30; $20(sr); $10(st). 6:45: pre-performance

chat with professors and graduate students.

●●8:00: Nightwood Theatre presents a

Volcano production. Century Song. See

Apr 18. Also Apr 21, 22, 24(1:30), 25, 26, 27, 28,

29(2:00).

Friday April 21

●●12:10: Music at St. Andrew’s. Noontime

Recital. Bach: Italian Concerto; Beethoven:

Sonata Op.110; Liszt: Rigoletto Paraphrase.

David Potvin, piano. St. Andrew’s Church

(Toronto), 73 Simcoe St. 416-593-5600 x231.

Free.

●●1:10: Gordon Murray Presents. Piano Potpourri.

Featuring classics, opera, operetta,

musicals, ragtime, pop, international and

other genres. Gordon Murray, piano. Trinity-St.

Paul’s Centre (Chapel), 427 Bloor St.

W. 416-631-4300. PWYC. Lunch and snack

friendly.

●●7:00: Remenyi House of Music. Amiran

Zenaishvili plays Brahms. Brahms: Two Rhapsodies

Op.79; Romance in F Op.118 No.5; Piano

Sonata No.3 in F Minor Op.5. Amiran Zenaishvili,

piano. Remenyi House of Music, Music

Room, 210 Bloor St. W. 416-727-6526. Free.

●●7:30: Canadian Music Centre. Hanatsu miroir.

Works by Canadian, Brazilian, French and

Italian composers. 20 St. Joseph St. 416-961-

6601 x202. $20; $15(arts worker).

●●7:30: Heliconian Club. All That Jazz. Gershwin:

Three Preludes; Nimmons; Images

entre nous; Kye Marshall: Themantics; Ellington:

Don’t Get Around Much Anymore; Weill:

It Never Was You. Evelina Soulis, piano; Rita

Greer, clarinet; Louise Morley, piano; Velma

Ko, violin; Dorothy DeVal, piano; Ruth Kazdan,

piano; Janet Catherine Dea, soprano.

Heliconian Hall, 35 Hazelton Ave. 416-922-

3618. $25; free(child). Includes post-concert

refreshments.

●●7:30: Korean Canadian Chamber Concerts.

Spring Is in the Air. Mozart: Clarinet

Quintet; Brahms: Clarinet Quintet. Cecilia

Kang, clarinet; Korean Canadian Chamber

Concerts String Quartet. St. George Anglican

Church, 5350 Yonge St. 416-737-0521.

$20; $10(st).

●●7:30: Oakville Choral Society. The Canadian

Maple. Bowser (world premiere). Anne

Marie Leonard, accompanist. Clearview

Christian Reformed Church, 2300 Sheridan

Garden Dr., Oakville. 905-302-9017.

$30/$25(adv); $15(st); free(under 13). Also

Apr 22(mat).

●●8:00: Gallery 345. The Art of the Flute:

Camille Watts and Shelley Brown. Works by

Shields, Staniland, Takemitsu, Saariaho, Hindemith

and others. Guests: Erin Cooper Gay,

Aaron Schwebel, Keith Hamm and Britt Riley.

345 Sorauren Ave. 416-822-9781. $25; $10(st).

I FURIOSI

BAROQUE ENSEMBLE

FORK

IN THE

ROAD

Fri. April 21 st , 2017 8pm

www.ifuriosi.com

●●8:00: I Furiosi Baroque Ensemble. Fork

in the Road. Works by Senaillé, Tartini, Bourgeois

and others. Guests: Debra Nagy, oboe;

Lucas Harris, lute/theorbo. Calvin Presbyterian

Church, 26 Delisle Ave. 416-923-9030.

$25; $15(sr/st). Wheelchair accessible.

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 22, 24(1:30), 25, 26, 27, 28, 29(2:00).

●●8:00: Small World Music Centre. Andrew

McPherson Sings Bardo. Small World Music

Centre, Artscape Youngplace, 180 Shaw St.

416-536-5439. $20/$15(adv).

●●8:00: Toronto Winds. Song and Dance.

Wallace: Diversions; d’Indy: Song and Dances

Op.50; Piazzolla: Libertango; Levy: Grand Russian

Fantasia; Cable: Point Pelee; Spittal: Consort

for Ten Winds. Aaron Hodgson, trumpet;

Dylan Rook Maddix, conductor. Hart House,

Debates Room, 7 Hart House Circle. 647-468-

5075. $15; $10(sr/st).

Saturday April 22

●●1:00: Royal Conservatory of Music. Family

Concert Series: Dan Zanes. Guest: Claudia

Eliaza, vocals, guitar, flute, percussion.

Koerner Hall, Telus Centre, 273 Bloor St. W.

416-408-0208. $25-$35.

●●2:00: Oakville Children’s Choir. “A Few

Good Men” in Concert. Guests: Mississauga

Festival Choirs Youth Choir, Resonance (Bob

Anderson, conductor); Boys in B from Cawthra

Park. First United Church (Port Credit),

151 Lakeshore Rd W., Mississauga. 905-337-

7104. $25; $20(sr); $15(child).

●●2:00: Oakville Choral Society. The Canadian

Maple. Bowser (world premiere). Anne

Marie Leonard, accompanist. Clearview

Christian Reformed Church, 2300 Sheridan

Garden Dr., Oakville. 905-302-9017.

$30/$25(adv); $15(st); free(under 13). Also

Apr 21(eve).

●●2:00: Tafelmusik. Close Encounters of the

German Kind. Works by Telemann, Zelenka

thewholenote.com April 1, 2017 - May 7, 2017 | 43


and Fasch. Conservatory Theatre, Telus Centre,

273 Bloor St. W. 416-408-0209. $93.

Introductions by the performers. Also

Apr 28(11am, Heliconian Hall).

●●3:00: Canadian Children’s Opera Company.

Mulligan’s Toy Shop. By Elizabeth Raum. Junior

Divisions of the CCOC; Lynn Janes, conductor;

Gergely Szokolay, piano; Dean Burry,

stage director. First Unitarian Congregation,

175 St. Clair Ave. W. 416-366-0467. $20;

$15(sr/st); $5(child).

●●7:00: Toronto Chapter of American Harp

Society. Duo Scorpio. Andres: Le jardin des

paos; Akiiho: Two Bridges; Dietz: Rival of

Mars; Muhly: Fast Dances; Andres: Parvis-

Parvis, Bernard Andres. Kati Andrews and

Kristi Shade, harps. Armour Heights Presbyterian

Church, 105 Wilson Ave. 416-660-7146.

$25; $15(st).

●●7:30: Aga Khan Museum. Mohan Veena

with Vishwa Mohan Bhatt. 77 Wynford Dr.

416-646-4677. From $30.

O Canada!

A Choral Landscape

Come hear

the landscape sing…

Saturday, April 22,

7:30 pm

Grace Church on- the-Hill

www.annexsingers.com

●●7:30: Annex Singers. O Canada! A Choral

Landscape. Works by Willan, Emery, Daley,

Dett and Chatman; folk melodies from French

Canada, Alberta and the Maritimes; songs

A. Concerts in the GTA

from the First Nations. Maria Case, director;

guests: fiddle trio Ariko. Grace Church onthe-Hill,

300 Lonsdale Rd. 416-968-7747. $25;

$20(sr); $15(under 30); free(under 13).

●●7:30: Cantores Celestes Women’s Choir.

Sing Sea to Sea, Celebrating Canada. Classical,

folk and Celtic music. Log Driver’s Waltz;

Cohen: Hallelujah; Cable: Sing Sea to Sea;

Hauntings; Lindsay and Quarrington: four

new works. Kate Carver, piano; Anne Lindsay,

fiddle; Tony Quarrington, guitar; Matthew

Coons, organ; Jordan O’Connor, bass;

Stuart Laughton, trumpet; Kelly Galbraith,

conductor. Runnymede United Church,

432 Runnymede Rd. 416-655-7335. $25.

●●7:30: Islington United Church. Don Banks

Music Awards Finalists Competition Concert.

Young performers competing in strings,

winds, voice and piano. 25 Burnhamthorpe

Rd. 416-239-1131. Free with food bank

donation.

●●7:30: Opera Atelier. Medea. Music by Marc-

Antoine Charpentier, libretto by Thomas Corneille.

Peggy Kriha Dye, soprano (Medea);

Colin Ainsworth, tenor (Jason); and others;

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. $39-$194.

Opens Apr 22, 7:30pm. Also Apr 23(3:00pm),

Apr 25, 26, 28, 29(4:30pm).

●●7:30: Opera by Request. Orfeo ed Eurydice.

Music by Christoph Willibald Gluck, libretto

by Ranieri de’ Calzabigi. In concert with

piano accompaniment. Kellie Masalas, soprano

(Orfeo); Antonina Ermolenko, soprano

(Eurydice); Sharon Tikiryan, soprano (Amor);

Stephanie Ferracane, stage director; William

Shookhoff, piano and music director. College

Street United Church, 452 College St. 416-

455-2365. $20.

●●7:30: Toronto Symphony Orchestra. Mozart

and Mendelssohn. C. Labadie: Entwined:

Sesquie for Canada’s 150th (TSO premiere);

Rossini: Overture to L’italiana in Algeri; Mozart:

Piano Concerto No.25 K503; Mendelssohn:

Symphony No.4 “Italian.” Luca Buratto,

piano; Earl Lee, RBC Resident Conductor. Roy

Thomson Hall, 60 Simcoe St. 416-598-3375.

$33.75-$107. Also Apr 23(3:00).

●●8:00: Cathedral Bluffs Symphony Orchestra.

Annual Fundraising Concert and Silent

Auction. Dvořák: Symphony No.9 in E Minor

Op.95 “From the New World”; Cello Concerto

in B Minor Op.104. Aare Tammesalu,

cello; Norman Reintamm, conductor. P.C. Ho

Theatre, Chinese Cultural Centre of Greater

Toronto, 5183 Sheppard Ave. E., Scarborough.

416-879-5566. $35; $30(adv). 7:15: Preconcert

talk.

●●8:00: Gallery 345. What Is Freedom?

(Resistance Is Fertile!). Spoken word with

composed and improvised new music. Bill Gilliam

Art Ensemble. 345 Sorauren Ave. 416-

822-9781. $20; $10(st).

●●8:00: Healey Willan Singers. Spring

Romance. Music of love and new beginning.

Brahms: Four Songs for women’s choir; Hamilton:

Prayer of a Woman (Canadian premiere).

Karen Koh, harp; Ariana Douglas and

Brian Taylor, French horn; John Stephenson,

piano; Ron Ka Ming Cheung, conductor.

St. Martin-in-the-Fields Anglican Church,

151 Glenlake Ave. 416-519-0528. $20; $15(sr/

st).

●●8:00: Music Gallery/88 Days of Fortune.

Cosmic Soul: SassyBlack + Obuxum + M.I.

Blue. Music Gallery, 197 John St. 416-204-

1080. $15/$13(adv); $10(st/members).

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 24(1:30), 25, 26, 27, 28, 29(2:00).

●●8:00: Royal Conservatory. Music Mix:

Wayne Shorter Quartet. Koerner Hall, Telus

Centre, 273 Bloor St. W. 416-408-0208. From

$55. 7:15: Pre-concert talk.

●●8:00: Scaramella. Diversions: Great and

Small. Schubert: Arpeggione Sonata; Rossini:

Duetto; Hummel: Quintet Op.87; and other

works. Andrea Botticelli, fortepiano; Elizabeth

Loewen Andrews, classical violin; Matthew

Antal, classical viola; Joel Tangjerd, classical

cello; Joëlle Morton, contrabasso. Victoria

College Chapel, 73 Queen’s Park Cr. E. 416-

760-8610. $20-$30.

●●8:10: G. Murray Presents. Baroque to

Blues #4. Songs by G. Murray. Gordon Murray,

voice and piano. Trinity-St. Paul’s Centre

(Chapel), 427 Bloor St. W. 416-631-4300.

PWYC. Concert finishes at about 9:10.

Sunday April 23

●●1:15: Mooredale Concerts. Music and Truffles:

New Orford String Quartet with Adrian

Fung, cello. Interactive concert for young

people age 5-11; adults welcome. Walter

Hall, Edward Johnson Building, University of

Toronto, 80 Queen’s Park. 416-922-3714 x103.

$20. 3:15: Main performance.

●●1:30: Classical Music Conservatory. Benefit

Concert for Princess Margaret Cancer

Centre. Classical, jazz, rock and indie.

Beth Polese and Sonya Harper Nyby, sopranos;

Hannah Bussiere, vocals, guitar, violin;

Mado Christie, piano; Brandon Wall,

jazz guitar; Classical Music Conservatory

rock band students. Roncesvalles United

Church, 214 Wright Ave. 416-537-5995. PWYC,

$20/$10(child) suggested. 100% of proceeds

go to Princess Margaret. Families and children

welcome.

●●2:00: Canadian Opera Company. Louis

Riel. See Apr 20. Also Apr 26, 29(4:30), May 2,

5, 13.

●●2:00: Canzona Chamber Players. Colleen

Allen Trio. Colleen Allen, saxophone, clarinet,

flute; Alex Samaras, vocals; Mike Downes,

bass; Adrean Farrugia, piano. St. Andrew

by-the-Lake Anglican Church, Cibola Ave.,

Toronto Island. 416-822-0613. $25. Also

Apr 24 (eve, Music Gallery).

●●2:00: Clarington Concert Band. Silver

Anniversary Concert. Works by Howard

Cable, Gordon Lightfoot, and others.

Danny Bronson, singer and songwriter; Louie

Madrid Calleja, guest conductor. Bowmanville

High School Auditorium, 49 Liberty St. N.,

Bowmanville. 416-566-0398. $20; $10(st).

●●2:30: Live@West Plains! Early Morning

Rain Concert. Music by Joni Mitchell, Gordon

Lightfoot, John Denver, Joan Baez, Leonard

Cohen and others. Nicole Coward, singersongwriter.

Guest: David Henman. West

Plains United Church, 549 Plains Rd. W., Burlington.

905-529-4871. $20(includes refreshments).

Wheelchair-accessible.

●●3:00: Gallery 345. Peter Stoll and Friends:

New Sounds from an Ancient Land. Peter

Stoll, Sahar Azar, Anoush Taba’i, Bahar Tavasoli,

clarinets; Asal Iranmehr and Saman

Shahi, pianos; and others. 345 Sorauren Ave.

416-822-9781. $20; $10(st).

●●3:00: Opera Atelier. Medea. See Apr 22.

Also Apr 25, 26, 28, 29(4:30pm).

●●3:00: Syrinx Concerts Toronto. Glick’s

Suites Hébraïques. All six suites performed

together for the first time. Live CD recording.

Susan Hoeppner, flute; James Campbell,

clarinet; Wallace Halladay, saxophone; Elissa

Lee, violin; Barry Shiffman, violin; Sharon Wei,

viola; Cameron Crozman, cello; Angela Park,

piano. Heliconian Hall, 35 Hazelton Ave. 416-

699-4949. $35; $25(st).

●●3:00: Toronto Symphony Orchestra. Mozart

and Mendelssohn. Rossini: Overture

to L’italiana in Algeri; Mozart: Piano Concerto

No.25 K503; Mendelssohn: Symphony

No.4 “Italian.” Luca Buratto, piano; Earl Lee,

RBC Resident Conductor. Roy Thomson Hall,

60 Simcoe St. 416-598-3375. $29.50-$83.75.

Also Apr 22(7:30).

●●3:15: Mooredale Concerts. New Orford

String Quartet with Adrian Fung, cello.

Brahms: String Quartet in A Minor Op.51 No.2;

Hétu: Scherzo for String Quartet Op.54; Schubert:

String Quintet in C Major D956. Walter

44 | April 1, 2017 - May 7, 2017 thewholenote.com


Hall, Edward Johnson Building, University of

Toronto, 80 Queen’s Park. 416-922-3714 x103.

$40; $20(under 30). 1:15: Music and Truffles

family concert.

●●4:00: All Saints Kingsway Anglican

Church. Jazz Vespers. Kelly Jefferson Quartet.

2850 Bloor St. W. 416-233-1125. Freewill

offering. Religious service.

●●4:00: Cathedral Church of St. James.

Organ Recitals: Ian Sadler. 65 Church St. 416-

364-7865. Free. Donations welcomed.

Piano Bravura

The New Generation

Sunday April 23, 4:00 pm

www.holytrinitytoronto.org

●●4:00: Church of the Holy Trinity/Steinway

Piano Gallery Toronto. Piano Bravura: The

New Generation. Sheng Cai, piano. Church of

the Holy Trinity, 10 Trinity Sq. 416-598-4521.

$30/$25(adv); $20/$15(st/adv).

●●4:00: St. Olave’s Anglican Church. The

Best of Friends. Choral Evensong; readings

from Shakespeare, Brontë, L.M. Montgomery

and Longfellow; and other works.

St. Olave’s Arts Guild; Hannah Corbett, violin.

360 Windermere Ave. 416-769-5686. Free;

donations welcomed. St. George’s Tea follows.

Religious service.

●●4:30: Christ Church Deer Park. Jazz Vespers.

Amanda Tosoff Quartet. 1570 Yonge

St. 416-920-5211. Freewill offering. Religious

service.

●●7:00: Thanks to Dr. Suzuki Concert Performances.

Gala Concert. Celebrating the life

and teachings of Dr. Shinichi Suzuki. Suzuki

repertoire and chamber music. Senior violin,

viola, cello, flute and piano students from

Suzuki schools across the GTA. Plast Concert

Hall, 516 The Kingsway, Etobicoke. 647-637-

1530. $35(family); $15; $10(sr/st).

●●7:30: Koichi Inoue. Brampton Chamber

Music Concert Series. Anna Kuk, violin; Renee

Huynh Barabash and Jarred Dunn, piano. St.

Paul’s United Church (Brampton), 30 Main St.

S., Brampton. 905-450-9220. PWYC.

Monday April 24

●●1:00: Cathedral Church of St. James.

Organ Recitals: Imre Oláh. 65 Church St. 416-

364-7865. Free. Donations welcomed.

●●1:30: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 25, 26, 27, 28, (all at 8:00), 29(2:00).

●●3:00: Orchestra Toronto. Canadian Light

Classics. Herriott: Newfie Bullet (world premiere);

Raum: Halifax Harbour; McPhee:

Tabuh-Tabuhan (Toccata for Orchestra);

Hales: Theme from The Beachcombers. Kevin

Mallon, conductor. George Weston Recital

Hall, 5040 Yonge St. 1-855-985-2787. $43;

$37(sr); $15(under 30).

Sunday 23rd April at 4 p.m.

Festive Evensong

for St. George

plus St. George’s Tea and at 5:

THE BEST

OF FRIENDS

St. Olave’s Arts Guild

with drama, poetry and

comedy from Shakespeare,

Bronté, L.M. Montgomery

and Longfellow; a tribute to

Vera Lynn at 100; a dramatic

reading of What is a friend?

and some glorious violin solos

played by Hannah Corbett

St. Olave’s Church

Bloor and Windermere

416-769-5686 stolaves.ca

●●7:30: Canzona Chamber Players. Colleen

Allen Trio. Colleen Allen, saxophones, clarinet,

flute; Alex Samaras, vocals; Mike Downes,

bass; Adrean Farrugia, piano. Music Gallery,

197 John St. 416-822-0613. $25. Also

Apr 23 (mat, St. Andrew by-the-Lake Anglican

Church).

●●7:30: University of Toronto Faculty of

Music. Felix Galimir Chamber Music Award

Concert. Featuring this year’s winning

ensemble. Walter Hall, Edward Johnson

Building, University of Toronto, 80 Queen’s

Park. 416-408-0208. PWYC. Proceeds to Felix

Galimir Chamber Music Award Fund.

Tuesday April 25

●●12:00 noon: Canadian Opera Company.

Vocal Series: A Woman’s Life and Love. Schumann:

Frauenliebe und -leben; and other

works. Lauren Eberwein, mezzo; Danika Lorèn,

soprano. Richard Bradshaw Amphitheatre,

Four Seasons Centre for the Performing Arts,

145 Queen St. W. 416-363-8231. Free. Firstcome,

first-served. Late seating not available.

●●12:10: Nine Sparrows Arts Foundation/

Yorkminster Park Baptist Church. Lunchtime

Chamber Music: Lyndsay Promane, Mezzo.

Yorkminster Park Baptist Church, 1585 Yonge

St. 416-241-1298. Free. Donations accepted.

●●6:00: Music Gallery/RPM. What Sovereignty

Sounds Like: Towards A New Music In

Indigenous Tkaronto. Jeremy Dutcher; Ziibiwan.

Music Gallery, 197 John St. 416-204-

1080. Free.

●●7:30: Opera Atelier. Medea. See Apr 22. Also

Apr 26, 28, 29(4:30pm).

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 26, 27, 28, 29(2:00).

Wednesday April 26

●●12:00 noon: Canadian Opera Company.

Piano Virtuoso Series: Early Piano Music of

Harry Somers. Somers: First Sonata: Testament

of Youth; other works by Sherkin. Adam

Sherkin, piano. Richard Bradshaw Amphitheatre,

Four Seasons Centre for the Performing

Arts, 145 Queen St. W. 416-363-8231.

Free. First-come, first-served. Late seating not

available.

●●12:00 noon: TO.U Collective/Music at St.

Andrew’s. Piano Recital. Helmut Lachenmann:

Variations on a Theme by Schubert; Serynade.

Stephanie Chua, piano. St. Andrew’s Church

(Toronto), 73 Simcoe St. 416-593-5600 x231.

Free.

●●12:00 noon: York Region Chamber Music.

Noon Hour Harp Concert. Emily Belvedere,

harp. Aurora Cultural Centre, 22 Church St.,

Aurora. 647-995-3818. By donation; $15 suggested.

All ages welcome, including babies,

toddlers and children.

●●12:30: Organix Concerts/All Saints Kingsway.

Kingsway Organ Recital Series. Dr.

Richard Birney-Smith, organ. All Saints Kingsway

Anglican Church, 2850 Bloor St. W. 416-

769-5224. Freewill offering.

●●12:30: Yorkminster Park Baptist Church.

Noonday Organ Recitals: Thomas Fitches.

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

●●1:30: Serenata Singers. A Sesqui Serenade.

Tributes to Canada, Atlantic Canada folk

songs, show tunes. Vincent Cheng, conductor;

Stan Farrow, piano. Toronto Korean Presbyterian

Church, 67 Scarsdale Rd., North York. 416-

699-5798. $25/$20(adv). Also Apr 28 (eve).

●●7:30: Canadian Opera Company. Louis Riel.

See Apr 20. Also Apr 29(4:30), May 2, 5, 13.

●●7:30: Opera Atelier. Medea. See Apr 22. Also

Apr 28, 29(4:30pm).

●●7:30: Toronto Symphony Orchestra.

Toronto Symphony Youth Orchestra Spring

Concert. Wagner: Prelude and Liebestod from

Tristan und Isolde; Tchaikovsky: Symphony

No.6 “Pathétique.” Earl Lee, RBC Resident Conductor.

Koerner Hall, Telus Centre, 273 Bloor

St. W. 416-598-3375. $16-$28.

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 27, 28, 29(2:00).

●●8:00: Toronto Operetta Theatre. The Chocolate

Soldier. Oscar Straus. Jennifer Taverner;

Anna Caroline Macdonald; Michael

Nyby; Gregory Finney; Austin Larusson; and

Eugenia Dementzis; Peter Tiefenbach, conductor;

Guillermo Silva-Marin, stage director.

Jane Mallett Theatre, St. Lawrence Centre for

the Arts, 27 Front St. E. 416-366-7723 or 1-800-

708-6754. $29-$49. Also Apr 28(8:00); 29 and

30(all 3:00).

Thursday April 27

●●9:00am: Royal Conservatory of Music.

Aimia Discovery Series: Glenn Gould School

Chamber Music Competition Finals. Koerner

Hall, Telus Centre, 273 Bloor St. W. 416-408-

0208. Free. Until 3:00.

●●12:00 noon: Canadian Opera Company.

Vocal Series: Collaborations. Arias and ensembles.

Young artists 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. Firstcome,

first-served. Late seating not available.

●●6:00: Toronto Children’s Chorus. Vocal

Academy Recital. Showcase of skills developed

under the tutelage of Dr. Darryl Edwards.

Toronto Children’s Chorus Vocal Academy

members. Calvin Presbyterian Church,

26 Delisle Ave. 416-932-8666 x231. Donations

accepted.

●●7:30: Eybler Quartet. Haydn Central + Vanhal.

CD release. Heliconian Hall, 35 Hazelton

Ave. 416-463-2154. $25; $22(sr); $15(st/arts

workers). All proceeds to Toronto Heliconian

Club.

●●8:00: Aurora Cultural Centre. Great Artist

Music Series. Luca Buratto, piano. 22 Church

St., Aurora. 905-713-1818. $34; $28(sr/st).

Great Artist

Music Series

presents

Luca

Buratto,

piano

Thurs., April 27,

8pm

auroraculturalcentre.ca

905 713-1818

thewholenote.com April 1, 2017 - May 7, 2017 | 45


●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 28, 29(2:00).

●●8:00: Royal Conservatory of Music. Quiet

Please, There’s a Lady on Stage: Rosanne

Cash. Cash/Leventhal: songs from The River

and the Thread. Koerner Hall, Telus Centre,

273 Bloor St. W. 416-408-0208. $40-$85.

Friday April 28

●●11:00am: Tafelmusik. Close Encounters

of the German Kind. Works by Telemann,

Zelenka and Fasch. Heliconian Hall,

35 Hazelton Ave. 416-964-6337. Prices TBA.

Introductions by the performers. Also

Apr 22(2:00, Conservatory Theatre).

●●12:10: Music at St. Andrew’s. Noontime

Recital. Ravel: Sonatine; Liszt: Après une lecture

du Dante; Poulenc: Trois Novelettes.

Lee Stratton, piano. St. Andrew’s Church

(Toronto), 73 Simcoe St. 416-593-5600 x231.

Free.

●●1:10: Gordon Murray Presents. Piano Potpourri.

Featuring classics, opera, operetta,

musicals, ragtime, pop, international and

other genres. Gordon Murray, piano. Trinity-St.

Paul’s Centre (Chapel), 427 Bloor St.

W. 416-631-4300. PWYC. Lunch and snack

friendly.

●●7:30: Opera Atelier. Medea. See Apr 22.

Also Apr 29(4:30pm).

●●7:30: Serenata Singers. A Sesqui Serenade.

Featuring tributes to Canada, Atlantic

Canada folk favourites, show tunes. Serenata

Singers; Vincent Cheng, conductor; Stan

Farrow, piano. Toronto Korean Presbyterian

Church, 67 Scarsdale Rd., North York. 416-

699-5798. $25/$20(adv). Also Apr 26 (mat).

CELEBRATING BECKWITH

Apr. 28, Trinity St.Paul’s Centre

www.NewMusicConcerts.com

●●8:00: New Music Concerts. Celebrating

John Beckwith. Beckwith: Calling (premiere);

Avowals; Quintet (premiere);

Weinzweig: String Quartet No.3; Stravinsky:

In Memoriam Dylan Thomas.

Benjamin Butterfield, tenor; William

Aide, piano; Accordes String Quartet;

New Music Concerts Ensemble; Robert Aitken,

artistic director. Trinity-St. Paul’s Centre,

427 Bloor St. W. 416-961-9594. $35; $25(sr/

arts worker); $10(st).

●●8:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

Also Apr 29(2:00).

A. Concerts in the GTA

The Montrose Trio

& Friends

FRIDAY, APRIL 28, 8PM

KOERNER HALL

TICKETS ON SALE NOW! 416.408.0208

WWW.PERFORMANCE.RCMUSIC.CA

●●8:00: Royal Conservatory of Music. Chamber

Music Series: Montrose Trio and Friends.

Concert opens with performance by winners

of the Glenn Gould School Chamber Competition.

Brahms: Piano Trio No.1; Tchaikovsky:

Souvenir de Florence; Brahms: Alto Songs.

Montrose Trio (Jon Kimura Parker, piano;

Martin Beaver, violin; Clive Greensmith, cello);

Allyson McHardy, mezzo; Barry Shiffman,

viola; and others. Koerner Hall, Telus Centre,

273 Bloor St. W. 416-408-0208. $40-$80.

●●8:00: Toronto Operetta Theatre. The Chocolate

Soldier. See Apr 26. Also Apr 29 and

30(all 3:00).

Saturday April 29

●●2:00: Nightwood Theatre presents a Volcano

production. Century Song. See Apr 18.

●●2:00: Northern Lights Chorus. Girl Power!

Guests: The BUZZ. Lyric Theatre, Toronto

Centre for the Arts, 5040 Yonge St. 416-

250-3708. $30-$35/$100(VIP); $10(st);

free(under 3). Also 7:30. 5:30: reception for

VIP ticket holders.

●●2:00: Toronto Symphony Orchestra. The

Hockey Sweater. Roch Carrier, narrator;

Christopher Gongos, horn; Abigail Richardson-Schulte,

host; Alain Trudel, conductor.

Roy Thomson Hall, 60 Simcoe St. 416-598-

3375. $20.50-$32.75. Also at 4:00.

●●3:00: Toronto Operetta Theatre. The Chocolate

Soldier. See Apr 26. Also Apr 30(3:00).

●●4:00: Toronto Symphony Orchestra. The

Hockey Sweater. Roch Carrier, narrator;

Christopher Gongos, horn; Abigail Richardson-Schulte,

host; Alain Trudel, conductor.

Roy Thomson Hall, 60 Simcoe St. 416-598-

3375. $20.50-$32.75. Also at 2:00.

●●4:30: Canadian Opera Company. Louis Riel.

See Apr 20. Also May 2, 5, 13.

●●4:30: Opera Atelier. Medea. See Apr 22.

●●7:00: Canadian Children’s Opera Company.

Commedia. Selections inspired by the

Commedia dell’arte tradition. Members of

the Canadian Youth Opera Chorus; Principal

Chorus of the CCOC; Teri Dunn, music director;

Gergely Szokolay, piano; Alix Sideris,

writer and stage director. Jackman Studio,

Joey and Toby Tanenbaum Opera Centre,

227 Front St. E. 416-366-0467. $20; $15(sr/st);

$5(under 6).

●●7:00: Celebrity Symphony Orchestra.

Maestro Rozbicki’s Canada 150 Birthday Gala.

This Land Is Your Land; Hockey Night in Canada;

songs by Céline Dion, Paul Anka, Michael

Bublé and others. Viva Trio; Krystian Adam

Krzeszowiak; Anna Lasota; Stanislas Vitort;

Martina Ortiz-Luis; and others. Church on

the Queensway, 1536 The Queensway, Etobicoke.

416-255-0141. $40-$65. Reserved seating

event.

●●7:30: Canadian Men’s Chorus. With Glowing

Hearts. Tribute to Canadian music including

works by Sirett, Daley, Cohen and others.

Music Gallery, 197 John St. 519-305-1351.

$35/$30(adv); $25(under 30)/$20(adv).

●●7:30: Duke Ellington Society. Music of Duke

Ellington. Humber Faculty Big Band. Walter

Hall, Edward Johnson Building, University of

Toronto, 80 Queen’s Park. 416-239-2683. $35.

●●7:30: Jubilee Order of Good Cheer. Concert

for Canada. Canadian songs from the

past 150 years; audience participation. Jubilee

Choir; guest soloists. Jubilee United

Church, 40 Underhill Dr. 416-447-6846. $10;

free(youth).

●●7:30: Northern Lights Chorus. Girl Power!

Guests: The BUZZ. Lyric Theatre, Toronto

Centre for the Arts, 5040 Yonge St. 416-

250-3708. $30-$35/$100(VIP); $10(st);

free(under 3). 5:30: reception for VIP ticket

holders. Also 2:00.

●●7:30: Oakham House Choir Society. Canada

150: With Glowing Hearts. Haydn: The

Creation (excerpts); Ruth Henderson: Magnificat;

Norbert Palej: The Future of the

Nation (premiere); and other works. Kyla

Cook, soprano and fiddle; Riccardo Iannello,

tenor; Justin Welsh, baritone; Matthew

Jaskiewicz, conductor; Oakham House

Choir; Toronto Sinfonietta. Calvin Presbyterian

Church, 26 Delisle Ave. 416-960-5551.

$30/$25(adv); $15(st); free(under 13).

●●7:30: Oleg Samokhin, Piano. In Concert.

Bach-Busoni: Chaconne; Schubert: Sonata

A Minor Op.42; Beethoven: Sonata A Op.101;

Chopin: 4 Impromptus. St. Luke’s Catholic

Church, 39 Green Ln., Thornhill. 1-800-838-

3006 or 647-296-6851. $17-$27.

●●7:30: Pax Christi Chorale. The Apostles.

Elgar: English Passion; The Kingdom (prequel).

Meredith Hall, Krisztina Szabó, Brett

Polegato, Lawrence Wiliford and others;

Etobicoke School of the Arts chamber choir;

Stephanie Martin, conductor. Grace Church

on-the-Hill, 300 Lonsdale Rd. 416 488-7884.

$45; $40(sr); $25(st). Also Apr 30(mat).

●●7:30: Toronto Full of Joy Church. Singing

Together 22nd Anniversary Concert.

Celebration of Canada’s 150th year of cultural

diversity with choral music. Cro-Arte;

Toronto Taiwanese Choir; Joyful Singers;

Nayiri Armenian Choir of Toronto; Noor Choir.

Guest: Brenda Chen, piano. 1100 Petrolia Rd.

416-667-0468. $20. Also May 6.

●●7:30: Trio Arkel. Full of Brahms. Brahms:

Horn Trio; Piano Quartet. Guests: Neil Deland,

French horn; Peter Longworth, piano. Trinity-St.

Paul’s Centre, 427 Bloor St. W. 416-409-

6824. $30; $15(st).

●●7:30: Unitarian Congregation in Mississauga.

Mary Needham Presents. Cabaret

Spring Fling on Broadway. Show Music. Yorkminstrels

Show Choir. 84 South Service Rd.,

Mississauga. 905-278-6364. $20. Refreshments

available.

●●8:00: Gallery 345. The Art of the Flute: A

Musical Aviary. Works by Novak, Ravel, Messiaen,

Dutilleux, Connesson and Donovan.

Sibylle Marquardt, flute; Fraser Jackson, bassoons;

Paul Pulford, cello; Monique de Margerie,

piano; Michael Donovan, baritone.

345 Sorauren Ave. 416-822-9781. $25; $10(st).

●●8:00: Mississauga Symphony Orchestra.

Carmen. Music by Georges Bizet. Beste Kalender,

mezzo (Carmen); Romulo Delgado,

tenor (Don José); Denis Mastromonaco, conductor.

Hammerson Hall, Living Arts Centre,

4141 Living Arts Dr., Mississauga. 905-306-

6000. $50-$80.

●●8:00: Ontario Philharmonic. Masters Series:

For the Love of Mozart! Mozart: Piano

Concerto No.17; Piano Concerto No.21 “Elvira

Madigan;” Haffner Symphony. Jean Desmarais,

piano; Maria Sourjko, piano. IOUT

Regent Theatre (Oshawa), 50 King St. E., Oshawa.

905-721-3399 x2. From $45; $25(youth).

46 | April 1, 2017 - May 7, 2017 thewholenote.com


●●8:00: Royal Conservatory of Music/

Toronto Blues Society. Music Mix: Down in

the Delta. Raoul and The Big Time. Guests:

Super Chikan; Big Dave McLean; Anthony

“Big A” Sherrod; Divine Brown. Koerner Hall,

Telus Centre, 273 Bloor St. W. 416-408-0208.

$35-$85.

●●8:00: Small World Music Centre. Korean

Traditional Music Association of Canada. Artscape

Youngplace, 180 Shaw St. 416-536-

5439. $30/$20(adv).

Sunday April 30

TOSCA

PUCCINI

APR 30 – MAY 20

coc.ca

●●2:00: Canadian Opera Company. Tosca.

Puccini. Adrianne Pieczonka and Keri Alkema,

sopranos (Tosca); Paul Curran, director; Keri-

Lynn Wilson, conductor. Four Seasons Centre

for the Performing Arts, 145 Queen St. W.

416-363-8231. $35-$235; $22(under 30). English

Surtitles. Also May 4, 6, 7(2:00), 9, 11, 12,

14(2:00), 17, 18, 19, 20(4:30).

●●2:00: Royal Conservatory of Music. Taylor

Academy Chamber Orchestra. String

students from Phil and Eli Taylor Performance

Academy for Young Artists. Koerner

Hall, Telus Centre, 273 Bloor St. W. 416-408-

0208. Free.

●●2:00: Shevchenko Musical Ensemble. Celebrating

Canada’s 150th Birthday. Song, music

and dance, reflecting Canada’s Indigenous,

French and English peoples and Ensemble’s

Ukrainian heritage. Toronto Mandolin

Orchestra; Shevchenko Choir Singers; dancers;

Alexander Veprinskiy, conductor.

St. Michael’s College Centre for the Arts,

1515 Bathurst St. 416-533-2725. $35; $20(st).

●●3:00: Echo Women’s Choir. Spring Concert:

We Can’t Keep It Quiet! Chvostek: Firewalker;

Leonard Cohen: Sisters of Mercy;

Seeger: Oh Had I a Golden Thread (arr. Gasser);

and other works. Becca Whitla, piano

and conductor; Alan Gasser, conductor;

guests: Nancy White and Suzy Wilde, vocals;

Annabelle Chvostek, conductor. Church of

the Holy Trinity, 10 Trinity Sq. 416-779-5554.

$20/$15(adv); $10(sr/child/unwaged). Wheelchair

accessible.

APRIL 30, 2017 • 3PM

●●3:00: Amici Chamber Ensemble. Messiaenic

Revelations. Messiaen: Quartet for

the End of Time. Joaquin Valdepeñas, clarinet;

Jonathan Crow, violin; David Hetherington,

cello; Serouj Kradjian, piano. Mazzoleni

Concert Hall, Telus Centre, 273 Bloor St. W.

416-408-0208. $45; $40(sr); $15(under 31);

$10(st).

●●3:00: Musikay Choir. Messiah. Kira Braun,

soprano; Madison Arsenault, alto; Michael P.

Taylor, tenor; Maciej Bujnowicz, baritone; Stéphane

Potvin, conductor. St. John’s United

Church (Oakville), 262 Randall St., Oakville.

905-825-9740. $15-$35. Also Apr 29

(Hamilton).

●●3:00: Pax Christi Chorale. The Apostles.

Elgar: English Passion; The Kingdom (prequel).

Meredith Hall, Krisztina Szabó, Brett

Polegato, Lawrence Wiliford and others;

Etobicoke School of the Arts chamber choir;

Stephanie Martin, conductor. Grace Church

on-the-Hill, 300 Lonsdale Rd. 416 488-7884.

$45; $40(sr); $25(st). Also Apr 29(eve).

●●3:00: Toronto Operetta Theatre. The Chocolate

Soldier. See Apr 26.

●●4:00: Toronto Classical Singers. Musical

Tribute Fit for Country and Queen! An afternoon

of pomp and pageantry to salute Canada’s

150th, the Queen’s 65th and TCS’ 25th.

Handel: Coronation Anthems; Elgar: Coronation

Ode; Zadok the Priest; Land of Hope

and Glory. Beth Hagerman, soprano; Sandra

Boyes, mezzo; Steven McClare, tenor; Bruce

Kelly, baritone; Talisker Players Orchestra;

Jurgen Petrenko, conductor. Christ Church

Deer Park, 1570 Yonge St. 416-444-7863. $30.

●●5:00: Canadian Croatian Choral Society.

Fifth Anniversary Concert. Humber Valley

United Church, 76 Anglesey Blvd., Etobicoke.

416-234-9994 or 905-337-8646. $25. Also

May 7 (Oakville).

●●5:00: Nocturnes in the City. In Concert.

Works by Janacek, Schumann and Smetana.

Slávka Vernerová-Pěchočová, piano. St.

Wenceslaus Church, 496 Gladstone Ave. 416-

481-7294. $25; $15(st).

●●7:00: Church of St. Andrew, Scarborough.

Metropolitan Silver Band. Featuring

classics, marches, great musicals, religious

music, popular selections and contemporary

works written and arranged for brass band.

2333 Victoria Park Ave., Scarborough. 416-

447-1481. $20; $10(st); $5(child). Complimentary

post-concert refreshments.

Monday May 1

●●7:30: Toronto Masque Theatre. The Ben

Jonson Project: The Vision of Delight. Staged

reading of Jonson’s The Vision of Delight, reimagined

and accompanied by an array of

musical styles. Atrium, 21 Shaftesbury Ave.

416-410-4561. $25.

Tuesday May 2

●●12:00 noon: Canadian Opera Company.

Chamber Music Series: Great Wind Octets.

Haydn: Octet in F; Beethoven: Rondino in

E-flat; Jacob: Divertimento. Members of the

COC Orchestra wind section. Richard Bradshaw

Amphitheatre, Four Seasons Centre for

the Performing Arts, 145 Queen St. W. 416-

363-8231. Free. First-come, first-served. Late

seating not available.

●●12:10: Nine Sparrows Arts Foundation/

Yorkminster Park Baptist Church. Lunchtime

Chamber Music: Jialiang Zhu, Piano.

Yorkminster Park Baptist Church, 1585 Yonge

St. 416-241-1298. Free. Donations accepted.

●●7:30: Canadian Opera Company. Louis Riel.

See Apr 20. Also May 5, 13.

●●8:00: Royal Conservatory of Music.

Vocal Concert: Natalie Dessay with Philippe

ToronTo CLaSSiCaL

SinGerS

TRIO

Marie Berard - Teng Li - Winona Zelenka

Presents

Guest Artists

Neil Deland, French Horn

Peter Longworth, Piano

Full

of

Brahms

Handel’s Coronation Anthems

and Elgar’s Coronation Ode

pomp and pageantry aplenty. ..

With soloists,

The Talisker Players Orchestra

Jurgen Petrenko, conductor

Saturday, April 29 th , 7:30 PM

Trinity St.Paul's Centre, 427 Bloor St.W

Cidel Asset Management

Sunday, April 30, 2017 at 4 pm

Christ Church Deer Park

1570 Yonge Street, at Heath St. W.

www.torontoclassicalsingers.ca

Tickets $30

thewholenote.com April 1, 2017 - May 7, 2017 | 47


Cassard. Works by Schubert, Liszt, Fauré,

Bizet and Pfitzner. Natalie Dessay, soprano;

Philippe Cassard, piano. Koerner Hall, Telus

Centre, 273 Bloor St. W. 416-408-0208. From

$40.

Wednesday May 3

●●12:30: Yorkminster Park Baptist Church.

Noonday Organ Recitals: Patrick Dewell.

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

●●8:00: Toronto Symphony Orchestra. Arabian

Nights. Morawetz: Carnival Overture

Op.2; Boulez: Le soleil des eaux; Rimsky-Korsakov:

Scheherazade Op.35. Carla Huhtanen,

soprano; Soundstreams Choir 21 (David Fallis,

conductor); Peter Oundjian, conductor. Roy

Thomson Hall, 60 Simcoe St. 416-598-3375.

From $33.75.

Thursday May 4

●●12:00 noon: Canadian Opera Company.

Chamber Music Series: Schubert Octet.

Schubert: Octet in F. Members of the COC

Orchestra. Richard Bradshaw Amphitheatre,

Four Seasons Centre for the Performing Arts,

145 Queen St. W. 416-363-8231. Free. Firstcome,

first-served. Late seating not available.

●●12:00 noon: Encore Symphonic Concert

Band. Monthly Concert. Big band, swing, jazz

and film scores. John Liddle, conductor. Wilmar

Heights Centre, 963 Pharmacy Ave.,

Scarborough. 416-346-3910 or 647-287-

5390. $10. First Thursday of each month.

Refreshments available or bring your lunch.

Women’s Musical Club of Toronto

Music in the Afternoon

AIZURI QUARTET

violins, CHARLES viola, cello

RICHARD-HAMELIN,

Thursday, piano April 6, 1.30 p.m.

Thursday, May 4, 1:30pm

Tickets $45

416-923-7052

Tickets $45

www.wmct.on.ca

416-923-7052

www.wmct.on.ca

●●1:30: Women’s Musical Club of Toronto.

Music in the Afternoon. Mozart: Fantasy in D

Minor K397; Chopin: Four Impromptus, Three

Mazurkas; Babadjanian: Elégie; Schumann:

Sonata No.1 in F-sharp Minor Op.11. Charles

Richard-Hamelin, piano. Walter Hall, Edward

Johnson Building, University of Toronto,

80 Queen’s Park. 416-923-7052. $45.

●●2:00: Toronto Symphony Orchestra. Schumann

Piano Concerto. Jordan Pal: New Work;

Schumann: Piano Concerto in A Minor Op.54;

Bartok: Concerto for Orchestra. Jan Lisiecki,

piano; Peter Oundjian, conductor. Roy Thomson

Hall, 60 Simcoe St. 416-598-3375.

$29.50-$83.75.

A. Concerts in the GTA

●●7:30: Canadian Opera Company. Tosca. See

Apr 30. Also May 6, 7(2:00), 9, 11, 12, 14(2:00),

17, 18, 19, 20(4:30).

●●7:30: Royal Conservatory. Aimia Discovery

Series: Glenn Gould School New Music

Ensemble. Brian Current, curator. Conservatory

Theatre, Telus Centre, 273 Bloor St. W.

416-408-0208. Free (ticket required).

●●8:00: Adam Sherkin, Piano. Write Off the

Keyboard. Mozart: Sonata in D K311; Liszt:

Années de pèlerinage Book I S160 Nos.1,

2 & 5; Chopin: Scherzo No.1 in B Minor

Op.20; Rachmaninoff: Morceaux de fantasie

Op.3 Nos.3 & 4; Somers: Sonata No.1

(Testament of Youth); and works by Sherkin.

Jane Mallett Theatre, St. Lawrence Centre

for the Arts, 27 Front St. E. 416-366-7723.

$55; $50(sr); $40(35 and under). Post-show

reception.

MOZART MASS

IN C MINOR

Directed by Ivars Taurins and

Elisa Citterio, violin

May 4–7

Koerner Hall, TELUS Centre

(416) 408-0208

tafelmusik.org

●●8:00: Tafelmusik. Mozart Mass in C Minor.

Haydn: Symphony No.98 in B-flat; Mozart:

Mass in C Minor. Tafelmusik Chamber Choir;

Elisa Citterio, violin and director (Haydn);

Ivars Taurins, director (Mozart). Koerner

Hall, Telus Centre, 273 Bloor St. W. 416-408-

0208. $26-$117. Also May 5, 6, 7(3:30).

Friday May 5

●●12:10: Music at St. Andrew’s. Noontime

Recital. Beethoven: Piano Trio Op.70 No.1

“Ghost”; Arensky: Piano Trio No.1 in D Minor

Op.32. Bedford Trio (Jialiang Zhu, piano; Allessia

Dissimino, violin; Andrew Ascenzo, cello).

St. Andrew’s Church (Toronto), 73 Simcoe St.

416-593-5600 x231. Free.

●●1:10: Gordon Murray Presents. Piano Potpourri.

Featuring classics, opera, operetta,

musicals, ragtime, pop, international and

other genres. Gordon Murray, piano. Trinity-St.

Paul’s Centre (Chapel), 427 Bloor St.

W. 416-631-4300. PWYC. Lunch and snack

friendly.

●●7:30: Canadian Opera Company. Louis Riel.

See Apr 20. Also May 13.

●●7:30: Opera by Request. Lohengrin. Music

and libretto by Richard Wagner. In concert

with piano accompaniment. Jason Lamont,

tenor (Lohengrin); Stephanie DeCiantis, soprano

(Elsa); Andrew Tees, baritone (Telramund);

Kristine Dandavino, mezzo-soprano

(Ortrud); Norman Brown, baritone (King

Henry); Michael Robert-Broder, baritone

(Herald); William Shookhoff, piano and music

director. College Street United Church,

452 College St. 416-455-2365. $20.

●●8:00: Array Ensemble. The Hits: Array Percussion

Trio. Works by Jo Kondo, Rolf Wallin,

Guo Wenjing and Erik Oña. Array Space,

155 Walnut Ave. 416-532-3019. Price TBA.

●●8:00: Music Gallery. Emergents IV: Harp

Society + Stereoscope Duo. 197 John St. 416-

204-1080. $12; $8(st/members).

●●8:00: Room 217 Foundation. Voices That

Care. Margaret Atwood, Ben Heppner, Donnell

Leahy, Natalie MacMaster, Murray

McLauchlan, Albert Schultz. Glenn Gould Studio,

250 Front St. W. 905-852-2499 or 1-844-

985-0217. $175.

●●8:00: Sinfonia Toronto. Death and the

Maiden. Mozart: Salzburg Symphony K137;

Tchaikovsky: Meditation from “Souvenir

d’un lieu cher”; Sarasate: Carmen Fantasy;

Schubert: Death and the Maiden.

Elisso Gogibedashvili, violin; Nurhan Arman,

conductor. Toronto Centre for the Arts,

5040 Yonge St., North York. 416-499-0403.

$42; $35(sr); $15(st).

●●8:00: Small World Music Centre. Monsoon.

Artscape Youngplace, 180 Shaw St.

416-536-5439. $30/$20(adv). May 05 8:00:

Spectrum Music. Portraits de Georgian Bay.

Arrangements of Georgian Bay’s compositions

by Spectrum composers. Georgian

Bay (Kelly Lefaive, violin/voice; Joelle Westman,

guitar/voice); Anna Atkinson, violin/

viola; Lydia Munchinsky, cello; Tim Crouch,

flute; Juan Olivares, clarinet/bass clarinet;

Chris Pruden, piano. Alliance Française de

Toronto, 24 Spadina Rd. 416-937-6180. $15;

$10(sr/st/arts).

●●8:00: Tafelmusik. Mozart Mass in C Minor.

See May 4. Also May 6, 7(3:30).

Saturday May 6

●●1:30: Oakville Children’s Choir. The Best of

Broadway! Guests: instrumentalists from the

Oakville community. Oakville Centre for the

Performing Arts, 130 Navy St., Oakville. 905-

337-7104. $25; $20(sr); $15(child). Also 4:30.

●●2:30: Bel Canto Singers. Love in Any Language:

A Celebration of 150 Years. Michael

Gomiega, conductor; Jacqueline Mokrzewski,

accompanist. Scarborough Bluffs United

Church, 3739 Kingston Rd., Scarborough.

416-286-8260. $20. Also 7:30.

IN PEACE

&

CELEBRATION

Toronto Centre for the Arts

Sat May 6 3PM

torontochildrenschorus.com

●●3:00: Toronto Children’s Chorus. In Peace

and Celebration. A celebration of artistic

director Elise Bradley’s 10th season and

Canada’s 150th birthday. Works by Dolloff,

Janmohamed, Abu-Khader, Peterson, Raminsh

and Sirett. Toronto Centre for the Arts,

5040 Yonge St., North York. 416-932-8666

x231. $35.50-$45.50.

●●4:30: Oakville Children’s Choir. The Best

of Broadway! Guests: instrumentalists from

the Oakville community; OCC Alumni. Oakville

Centre for the Performing Arts, 130 Navy

St., Oakville. 905-337-7104. $25; $20(sr);

$15(child). Also 1:30.

●●7:00: Creating Space Yoga Studio. Nicholson

and Whale. Works by Albeniz, Barrios,

Piazzolla and Schubert. Warren Nicholson,

guitar; Mark Whale, violin; Whale String Quartet.

594 Chartwell Rd., Oakville. 905-337-

3598. $25. Limited seating; advance tickets

recommended.

●●7:00: Georgetown Choral Society. Canada

150 Eh! A celebration of 150 years of

Canadian music in four voices. Gordon Lightfoot:

Railroad Trilogy; Stompin’ Tom Connors:

Hockey Song; Leonard Cohen: Hallelujah;

and other songs. Guest: James Gordon, performer

and narration. Georgetown Christian

Reformed Church, 11611 Trafalgar Rd.,

Georgetown. 905-877-7795. $20.

●●7:00: Thomas Gonder presents. Organ

Inauguration Concert. Organ Masterworks.

Thomas Gonder, organ. St. Matthew’s Anglican

Church, Islington, 3962 Bloor St. W.,

Etobicoke. 416-622-1154. Freewill offering.

●●7:30: Bel Canto Singers. Love in Any Language:

A Celebration of 150 Years. Michael

Gomiega, conductor; Jacqueline Mokrzewski,

accompanist. Scarborough Bluffs United

Church, 3739 Kingston Rd., Scarborough.

416-286-8260. $20. Also 2:30.

●●7:30: Canadian Opera Company. Tosca. See

Apr 30. Also May 7(2:00), 9, 11, 12, 14(2:00), 17,

18, 19, 20(4:30).

●●7:30: Christ Church Centre for the Performing

Arts. “I Dreamt a Pink Sea.” Works

by Rachmaninoff, Chopin, Debussy, Ravel,

Liszt. Valentin Bogolubov, piano; Ludmila

Gontcharova-Bogolubova, vocalist.

254 Sunset Blvd., Stouffville. 905-640-1461.

$30(adv).

48 | April 1, 2017 - May 7, 2017 thewholenote.com


O Canada!

150th Celebration!

With Eleanor McCain and

her Canadian Songbook CD

Sat. May 6

416-217-0537

●●7:30: Elmer Iseler Singers. O Canada!

150th Celebration! Launch of Eleanor

McCain’s new CD The Canadian Songbook.

Music from The Canadian Songbook; other

works by Cable, Daley, Janmohamed, Somers

and Healy. Eleanor McCain, soprano; Hussein

Janmohamed; Lydia Adams, conductor. Trinity-St.

Paul’s Centre, 427 Bloor St. W. 416-217-

0537. $40; $35(sr); $15(st).

●●7:30: High Notes Avante Productions. Gala

for Mental Health. Dan Hill, Luba Goy and

Friends. Flato Markham Theatre, 171 Town

Centre Blvd., Markham. 905-305-7469. $40;

$70(VIP).

●●7:30: Music at Metropolitan. Marg and Jim

Norquay Celebration Concert. Jordan Scholl,

baritone; Lesley Bouza, soprano. Metropolitan

United Church (Toronto), 56 Queen St. E.

416-363-0331. $20; $10(18 and under).

●●7:30: Princeton Entertainment. Pokemon:

Symphonic Evolutions. Music from 10 generations

of Pokemon games. Sony Centre for

the Performing Arts, 1 Front St. E. 1-855-872-

7669. $31.00-$116.00.

●●7:30: Toronto Full of Joy Church. Singing

Together 22nd Anniversary Concert. Celebration

of Canada’s 150th year of cultural diversity.

Coro San Marco; Chinese Canadian Choir

of Toronto; La Petite Musicale of Toronto;

Cantemos; Armonia Choir. Guest: Brenda

Chen, piano. 1100 Petrolia Rd. 416-667-0468.

$20. Also April 29.

●●8:00: Acoustic Harvest. In Concert. Kolin

Stewart, composer and guitar. St. Nicholas

Anglican Church, 1512 Kingston Rd. 416-729-

7564. $25/$22(adv).

●●8:00: Canadian Sinfonietta. Chamber

Music with Voice. Brahms: Two Songs for

Piano, Viola and Voice; Heggie: Some Times

of Day for Mezzo and Piano Trio; Theodorakis:

A Selection of Greek Songs; John S. Gray:

Piano Quartet (world premiere); Schumann:

Piano Quartet. Maria Soulis, mezzo; Erika

Crinó, piano; Joyce Lai, violin; Ian Clarke,

viola; András Weber, cello. Heliconian Hall,

35 Hazelton Ave. 647-223-2286. $30; $25(sr);

$20(st).

FROM BROADWAY

TO HOLLYWOOD

Favourite melodies of yesterday

and today coming to life

Saturday May 6, 8:00pm

themississaugafestivalchoir

mfchoir.com

●●8:00: Mississauga Festival Choir. From

Broadway to Hollywood. Hammerson Hall,

Living Arts Centre, 4141 Living Arts Dr., Mississauga.

905-306-6000. $37.

●●8:00: Scarborough Philharmonic Orchestra.

Taking Flight with Music. Brahms: Symphony

No.3; Hungarian Rhapsody No.1;

Demuynck: Alerion; Rachmaninoff: Variations

on a Theme of Paganini. Lisa Tahara,

piano. Salvation Army Scarborough Citadel,

2021 Lawrence Ave. E., Scarborough. 416-

429-0007. $30; $25(sr); $15(st).

●●8:00: Tafelmusik. Mozart Mass in C Minor.

See May 4. Also May 7(3:30).

Sunday May 7

●●2:00: Canadian Opera Company. Tosca.

See Apr 30. Also May 9, 11, 12, 14(2:00), 17, 18,

19, 20(4:30).

●●2:00: Royal Conservatory. Sunday Interludes:

Bohemians in Brooklyn. A chamber

musical by Tom Allen. Music by Britten,

McPhee, Bernstein, Weill, Tom Allen and

Paul Bowles. Patricia O’Callaghan and Kevin

Fox. Mazzoleni Concert Hall, Telus Centre,

273 Bloor St. W. 416-408-0208. Free (ticket

required).

●●3:00: Etobicoke Suzuki Music. Strings:

The Next Generation. Violin, viola and cello

performers ages 3 to 18. Plast Concert Hall,

516 The Kingsway, Etobicoke. 416-239-4637.

PWYC. Food bank donations accepted.

●●3:00: Florivox. Be Our Guest. Songs from

The Sound of Music, Les Misérables, Wicked,

Hamilton and others. Joshua Tamayo,

conductor. Guests: Victor Cheng; Alex Furlott;

Fraser McEvoy. Beach United Church,

140 Wineva Ave. 416-691-8082. $25/$20(adv);

$20(sr/st).

●●3:00: Music at Islington. Impressions of

Spring: Songs from the Heart. Art songs by

Dowland, Fauré, Schubert, Vaughan Williams,

R. Strauss and others. Lyndsay Promane,

mezzo; Holly Kroeker, piano. Islington United

Church, 25 Burnhamthorpe Rd. 416-239-1131.

PWYC. Food bank donations accepted.

●●3:30: St. Anne’s Anglican Church. Canadiana

Spring Concert. Canadian music compositions

to celebrate the 150th anniversary

A Literal Love Story:

The Cabaret

Saturday, May 6, 7:30 pm

Metropolitan United Church, Toronto

of Confederation. 270 Gladstone Ave. 416-

536-3160. $15; $10(sr/st); free(under 12).

●●3:30: Tafelmusik. Mozart Mass in C Minor.

See May 4.

●●4:00: Church of St. Mary Magdalene

(Toronto). George Thalben-Ball’s Variations

on a Theme by Paganini. Andrew Adair,

organ. 477 Manning Ave. 416-531-7955. Free.

●●5:00: Canadian Croatian Choral Society.

Fifth Anniversary Concert. Holy Trinity Croatian

Catholic Church, 2110 Trafalgar Rd.,

Oakville. 416-234-9994 or 905-337-8646.

$25. Also Apr 30 (Etobicoke).

B. Concerts Beyond the GTA

IN THIS ISSUE: Barrie, Belleville, Bobcaygeon, Brantford, Cambridge,

Cobourg, Collingwood, Creemore, Elmira, Fergus, Guelph, Haliburton,

Hamilton, Kitchener, London, Niagara-on-the-Lake, Peterborough,

Port Hope, St. Catharines, Stratford, Wasaga Beach, Waterloo.

Saturday April 1

●●1:00: Academy Ballet Classique/Slant.

River Flow: Confluence of Music, Words, and

Dance. Interdisciplinary work celebrating rivers.

Bloomfield: River Flow (world premiere).

Slant: Marion Samuel-Stevens, soprano;

Tilly Kooyman, bass clarinet; Owen Bloomfield,

piano; Rae Crossman, speaker; students

from Academy Ballet Classique; guests:

Mateo Galindo Torres and Clara Isley, dancers;

Michele Hopkins, choreographer. Cambridge

Centre for the Arts, 60 Dickson St.,

Cambridge. 519-339-9150. $20; $15(under

13). Cash only at door. Also at 3:30.

●●2:00: Penelope Dale Presents. Sing, Sing,

Sing! Don’t Sit under the Apple Tree (with

Anyone Else but Me); Boogie Woogie Bugle

Boy; Sing, Sing, Sing; Chattanooga Choo Choo;

Taking A Chance On Love. Treblemakers Adult

Community Choir; Susan Connolly, violin and

bass; Quammie Williams, percussion; Richard

Maddock, piano; Penelope Dale, soprano.

New Life Church, 28 Tracey Ln., Collingwood.

705-352-4595. Freewill offering. Portion of

proceeds to the Alzheimer Society of Canada,

and to the Post-Traumatic Stress Disorder

Association of Canada. Also Apr 2 (Wasaga

Beach); 8 (Creemore).

●●2:30: Don Wright Faculty of Music. Symphony

Orchestra Concert. Works by Copland,

Massenet and Beethoven. Christian Golding,

piano; Tyrone Paterson, conductor. Paul

Davenport Theatre, Talbot College, Western

University, 1151 Richmond St. N., London. 519-

661-3767. Free.

●●3:30: Academy Ballet Classique/Slant.

River Flow: Confluence of Music, Words, and

Dance. Interdisciplinary work celebrating rivers.

Bloomfield: River Flow (world premiere).

Slant: Marion Samuel-Stevens, soprano;

Tilly Kooyman, bass clarinet; Owen Bloomfield,

piano; Rae Crossman, speaker; students

from Academy Ballet Classique; guests:

Mateo Galindo Torres and Clara Isley, dancers;

Michele Hopkins, choreographer. Cambridge

Centre for the Arts, 60 Dickson St.,

Cambridge. 519-339-9150. $20; $15(under

13). Cash only at door. Also at 1:00.

●●7:00: Grand Philharmonic Choir. Classical

Connections. Grand Philharmonic Youth

Choir. Guests: Kitchener-Waterloo Symphony

Youth Orchestra; Joseph Gaucho, conductor.

St. John’s Lutheran Church, 22 Willow St.,

Waterloo. 519-578-6885. $15.

Songs and duets exploring the

more complicated sides of love

Jordan Scholl, baritone and

Lesley Bouza, soprano

ADMISSION $20 & $10 (18 AND UNDER)

Tickets: Estore at metunited.org and 416-363-0331 Ext. 26

The Marg and Jim Norquay Celebration Concert

thewholenote.com April 1, 2017 - May 7, 2017 | 49


●●7:30: Guelph Chamber Choir. Bach’s St.

John Passion. Sheila Dietrich, soprano; Jennifer

Enns-Modolo, alto; James McLean, tenor

(Evangelist); Daniel Lichti, bass-baritone

(Jesus); Gordon Burnett, baritone (Pilate,

Peter); Orchestra Viva; Gerald Neufeld, conductor.

River Run Centre, 35 Woolwich St.,

Guelph. 519-763-3000. $35; $10(st/under 31);

$5(under 15/eyeGO). Sung in English. On period

instruments. Infants not admitted. 6:30:

pre-concert talk with John Buttars.

●●7:30: Marilyn I. Walker School of Fine and

Performing Arts, Brock University. Viva

Voce! Choral Series: Finale. Vivaldi: Magnificat;

other works. Brock University Choirs,

Brock Music Alumni. Cairns Hall, FirstOntario

Performing Arts Centre, 250 St. Paul St.,

St. Catharines. 905-688-0722 or 1-855-515-

0722. $15; $10(sr/st); $5(eyeGo).

●●7:30: University of Waterloo Department

of Music. Shadows and Light: University of

Waterloo Choir. Gamon: Elements; Cohen:

Hallelujah; Emory: Goodnight; Esenvalds:

Only in Sleep; Taylor: The Lonesome Road;

and other works. Dr. Gerard Yun, conductor.

First United Church (Waterloo), 16 William

St. W., Waterloo. 519-885-8220 x24226. $10;

$5(sr/st).

●●8:00: Kitchener-Waterloo Symphony.

Charlie Chaplin’s Modern Times. Screening

of Chaplin’s film Modern Times with orchestral

score performance. Timothy Brock, conductor.

Centre in the Square, 101 Queen St.

N., Kitchener. 519-745-4711 or 1-888-745-4717.

$19-$86.

Sunday April 2

●●2:00: Penelope Dale presents. Sing, Sing,

Sing! Don’t Sit under the Apple Tree (with

Anyone Else but Me); Boogie Woogie Bugle

Boy; Sing, Sing, Sing; Chattanooga Choo Choo;

Taking A Chance On Love. Treblemakers

Adult Community Choir; Susan Connolly, violin

and bass; Quammie Williams, percussion;

Richard Maddock, piano; Penelope Dale, soprano.

Wasaga Beach Community Presbyterian

Church, 208 Mosley St., Wasaga Beach.

705-352-4595. Freewill offering. Portion of

proceeds to the Alzheimer Society of Canada,

and to the Post-Traumatic Stress Disorder

Association of Canada. Also Apr 1 (Collingwood);

8 (Creemore).

●●2:00: University of Waterloo Department

of Music. UW Jazz Ensemble. Works by

Hefti, Zawinel, McGrath and others. Michael

Wood, director. Conrad Grebel University College,

140 Westmount Rd. N., Waterloo. 519-

885-8220 x24226. $10; $5(sr/st). Reception

to follow.

●●3:00: Elora Festival Singers. Bach Motets.

St. Joseph’s Catholic Church (Fergus), 760 St.

David St. N., Fergus. 519-846-0331. $40;

$17(st); $6(child).

●●3:30: Hamilton Cello Extravaganza.

Cello Extravanganza IV. Treasa Levasseur,

host; VC2. First Unitarian Church of Hamilton,

170 Dundurn St. S., Hamilton. 905-399-

5125. $25.

●●4:00: Oriana Singers of Northumberland.

Requiem and Rebirth. Rutter: Requiem; and

other choral works. Guests: La Movida Chamber

Choir of Toronto. St. Paul’s Presbyterian

Church, 131 Walton St., Port Hope. 613-392-

7423. $25; $22(sr/adv); $10(st).

●●7:30: University of Waterloo Department

of Music. Instrumental Chamber Ensembles.

B. Concerts Beyond the GTA

Works by Beethoven, Dvořák and others. Conrad

Grebel University College, 140 Westmount

Rd. N., Waterloo. 519-885-8220 x24226. Free.

Reception to follow.

●●8:00: Kitchener-Waterloo Chamber Music

Society. Shostakovich Quartets 1. Shostakovich:

Quartets Nos. 1-3. Lafayette String Quartet.

KWCMS Music Room, 57 Young St. W.,

Waterloo. 519-886-1673. $35; $20(st).

Monday April 3

●●8:00: Don Wright Faculty of Music.

Contemporary Music Studio. Von Kuster

Hall, Music Building, Western University,

1151 Richmond St. N., London. 519-661-3767.

Free.

Tuesday April 4

●●12:00 noon: Marilyn I. Walker School of

Fine and Performing Arts, Brock University.

RBC Foundation Music@Noon. Piano

and guitar students. Cairns Hall, FirstOntario

Performing Arts Centre, 250 St. Paul St., St.

Catharines. 905-688-5550 x3817. Free.

●●6:00: Don Wright Faculty of Music. Electroacoustic

Music Compositions Concert.

Von Kuster Hall, Music Building, Western University,

1151 Richmond St. N., London. 519-

661-3767. Free.

●●7:30: Marilyn I. Walker School of Fine and

Performing Arts, Brock University. University

Wind Ensemble: Music for the Soul. Partridge

Hall, FirstOntario Performing Arts

Centre, 250 St. Paul St., St. Catharines. 905-

688-0722 or 1-855-515-0722. $10; $5(under

15/eyeGo); free(current MIWSFPA students).

●●8:00: Kitchener-Waterloo Chamber Music

Society. Shostakovich Quartets 2. Shostakovich:

Quartets Nos. 4-6. Lafayette String

Quartet. KWCMS Music Room, 57 Young St.

W., Waterloo. 519-886-1673. $35; $20(st).

Wednesday April 5

●●12:00 noon: Midday Music with Shigeru.

Daniel Johnston and Music Students from

Bear Creek Secondary School. Hi-Way Pentecostal

Church, 50 Anne St. N., Barrie. 705-

726-1181. $5; free(st).

●●8:00: Kitchener-Waterloo Chamber Music

Society. Shostakovich Quartets 3. Shostakovich:

Quartets Nos. 7-9. Lafayette String Quartet.

KWCMS Music Room, 57 Young St. W.,

Waterloo. 519-886-1673. $35; $20(st).

●●8:00: Kitchener-Waterloo Symphony.

Stravinsky and Beethoven: Baroque. J.S.

Bach: Chorale Nos.253, 254, 255 and 256;

Stravinsky: Pulcinella Suite; Vivaldi: La Follia;

Beethoven: String Quartet No.15 3rd

mvt. “Heiliger Dankgesang”. Bénédicte Lauzière,

curator/leader/violin; Daniel Bartholomew-Poyser,

conductor. First United Church

(Waterloo), 16 William St. W., Waterloo.

519-745-4711 or 1-888-745-4717. $36. Also

Apr 7(Guelph), 8(Cambridge).

Friday April 7

●●12:00 noon: Marilyn I. Walker School of

Fine and Performing Arts, Brock University.

Music in the Hallway. Jazz standards and

old favourites, as well as classical chamber

music. Music Ed, student jazz and chamber

ensembles. Dr. Charles A. Sankey Chamber

(hallway outside), MacKenzie Chown Complex

Brock University, 1812 Sir Isaac Brock Way,

St. Catharines. 905-688-5550 x3817. Free.

●●3:00: Stratford Concert Band. A Trip

Across Canada! Celebrating Canada’s 150th

anniversary. Ali Matthews, singer/songwriter.

Avondale United Church, 194 Avondale Ave.,

Stratford. 519-301-2516. $15; $5(st).

●●7:30: Bravo Niagara! Festival of the Arts.

Jon Kimura Parker, Piano. Beethoven: Appassionata;

Hirtz: Bernard Herrmann Fantasy;

Fantasy on The Wizard of Oz; Louie: Scenes

from a Jade Terrace; Ravel: Jeux d’eau. St.

Mark’s Anglican Church (Niagara-on-the-

Lake), 41 Byron St., Niagara-on-the-Lake.

289-868-9177. $25-$65.

●●8:00: Craig Cardiff Presents. Live at

Revival House with Craig Cardiff. Revival

House, 70 Brunswick St., Stratford. 519-

273-3424. $59.99(dinner/concert); $25(concert

only).

●●8:00: Kitchener-Waterloo Chamber Music

Society. Shostakovich Quartets 4. Shostakovich:

Quartets Nos. 10-13. Lafayette String

Quartet. KWCMS Music Room, 57 Young St.

W., Waterloo. 519-886-1673. $35; $20(st).

●●8:00: Kitchener-Waterloo Symphony.

Stravinsky and Beethoven: Baroque. J.S.

Bach: Chorale Nos.253, 254, 255 and 256;

Stravinsky: Pulcinella Suite; Vivaldi: La Follia;

Beethoven: String Quartet No.15 3rd mvt.

“Heiliger Dankgesang.” Bénédicte Lauzière,

curator/leader/violin; Daniel Bartholomew-

Poyser, conductor. Harcourt Memorial United

Church, 87 Dean Ave., Guelph. 519-745-4711

or 1-888-745-4717. $36. Also Apr 5(Waterloo),

8(Cambridge).

Saturday April 8

●●10:00am and 11:00am: Kitchener-Waterloo

Symphony. Voyage of Mendelssohn

Mouse. Music from different European countries.

KWS String Quartet. Conrad Centre

for the Performing Arts, 36 King St. W.,

Kitchener. 519-745-4711 or 1-888-745-4717.

$13; $11(child). 9:00: Pre-concert activities.

Post-concert meet the performers. Also

11:00; Apr 22(Elmira); 29(Waterloo Museum,

Kitchener).

●●2:00: Penelope Dale presents. Sing, Sing,

Sing! Don’t Sit under the Apple Tree (with

Anyone Else but Me); Boogie Woogie Bugle

Boy; Sing, Sing, Sing; Chattanooga Choo Choo;

Taking a Chance on Love. Treblemakers Adult

Community Choir; Susan Connolly, violin and

bass; Quammie Williams, percussion; Richard

Maddock, piano; Penelope Dale, soprano.

Creemore Canadian Legion, 27 Wellington St.

W., Creemore. 705-352-4595. Freewill offering.

Portion of proceeds to the Alzheimer

Society of Canada, and to the Post-Traumatic

Stress Disorder Association of Canada. Also

Apr 1 (Collingwood); 2 (Wasaga Beach).

●●2:30: Niagara Symphony Orchestra. Dig

It! Current: A Young Person’s Guide to New

Music; Burry: Carnival of the Dinosaurs. Dean

Burry, narrator; Bradley Thachuk, conductor.

FirstOntario Performing Arts Centre, 250 St.

Paul St., St. Catharines. 905-688-0722 or

1-855-515-0722. $34; $14(st); $12(child);

$5(eyeGO). Also Apr 9.

●●7:30: Barrie Concerts. Hamilton Children’s

Choir. Zimfira Poloz, conductor. Hi-Way

Pentecostal Church, 50 Anne St. N., Barrie.

705-726-1181. Free (with purchase of 2017/18

subscription).

●●7:30: Cuckoo’s Nest Folk Club. 2016-

2017 Concert Series: Steel City Rovers. Celtibilly

(Celtic and North American fusion). Ryan

McKenna, baritone; Joel McKenna, vocals,

guitar; Mark Fletcher, wind, strings, keys,

Scottish small pipes; Dave Neigh, fiddle; Dave

Gould, percussion. Chaucer’s Pub, 122 Carling

St., London. 519-319-5847. $25/$20(adv).

●●7:30: Hamilton Philharmonic Orchestra. A

Midsummer Night’s Dream. Beethoven: Creatures

of Prometheus Overture; Mozetich: The

Passion of Angels; Mendelssohn: A Midsummer

Night’s Dream. Erica Goodman, harp;

Angela Schwarzkopf, harp; Gemma New,

conductor; guest: Hamilton Children’s Choir.

Hamilton Place, 10 MacNab St. S., Hamilton.

905-526-7756. $10-$67. 6:30: Pre-concert

talk.

●●7:30: Stratford Symphony Orchestra.

Stories of the Woods. Dvořák: Symphony

No. 6 in D; and other works. Matisse and

Aled Blundell, trumpets; Jennifer Bywaters,

horn. Knox Presbyterian Church (Stratford),

142 Ontario St., Stratford. 519-271-0990.

$40; $10(st).

●●8:00: Kitchener-Waterloo Chamber Music

Society. Shostakovich Quartets 5. Shostakovich:

Quartets Nos. 14, 15. Lafayette String

Quartet. KWCMS Music Room, 57 Young St.

W., Waterloo. 519-886-1673. $35; $20(st).

●●8:00: Kitchener-Waterloo Symphony.

Stravinsky and Beethoven: Baroque. J.S.

Bach: Chorale Nos.253, 254, 255 and 256;

Stravinsky: Pulcinella Suite; Vivaldi: La Follia;

Beethoven: String Quartet No.15, 3rd

mvt. “Heiliger Dankgesang.” Bénédicte Lauzière,

curator, leader, violin; Daniel Bartholomew-Poyser,

conductor. Central Presbyterian

Church (Cambridge), 7 Queens Sq., Cambridge.

519-745-4711 or 1-888-745-4717. $36.

Also Apr 5(Waterloo), 7(Guelph).

Sunday April 9

●●2:00: Mannheim Virtuosi. Winter Concert

Series: Spring Jubilee with Mannheim Virtuosi.

Avondale United Church, 194 Avondale

Ave., Stratford. 519-273-3424. $25. Brunch

reservations can be made by contacting

Revival House. Proceeds support United Way

Perth-Huron.

●●2:30: Niagara Symphony Orchestra. Dig

It! Current: A Young Person’s Guide to New

Music; Burry: Carnival of the Dinosaurs. Dean

Burry, narrator; Bradley Thachuk, conductor.

FirstOntario Performing Arts Centre, 250 St.

Paul St., St. Catharines. 905-688-0722 or

1-855-515-0722. $34; $14(st); $12(child);

$5(eyeGO). Also Apr 8.

50 | April 1, 2017 - May 7, 2017 thewholenote.com


●●3:00: Les Amis. In Concert. Works by

Schulhoff, Oesterle, Pepa and Dvořák. Lynn

Kuo, violin; Winona Zelenka, cello; Rachael

Kerr, piano. St. Peter’s Anglican Church

(Cobourg), 240 College St., Cobourg. 905-

372-2210. $35/$30(adv); $15/$10(st/adv).

Wednesday April 12

●●2:30: Seniors Serenade. Dave Stewart and

His Eastview Secondary Choral Students.

Grace United Church (Barrie), 350 Grove St.

E., Barrie. 705-726-1181. Free. 3:30: tea and

cookies $5.

●●8:00: Kitchener-Waterloo Chamber Music

Society. Guitar Recital. Pujol: Preludio Triston;

Candombe en mi; Rodrigo: Junto al generalife;

En los trigales; Maza: Campanas del

alba; Domeniconi: Variations on an Anatolian

folksong; Beauvais: Appalachian Colours;

Kavanagh: Briny Ocean; Merlin: Suite del

Recuerdo. Emma Rush, guitar. KWCMS Music

Room, 57 Young St. W., Waterloo. 519-886-

1673. $30; $20(st).

Thursday April 13

●●7:30: Stratford Symphony Orchestra.

Celebrating 150 Years. Ridout: Fall Fair; works

by Cable and other composers. Trent Severn,

folk trio (Emm Gryner, Dayna Manning, Lindsay

Schindler). Knox Presbyterian Church

(Stratford), 142 Ontario St., Stratford. 519-

271-0990. $40; $10(st).

Friday April 14

●●7:30: Grand Philharmonic Choir.

Beethoven: Missa Solemnis. Leslie Fagan,

soprano; Krisztina Szabó, mezzo; Owen

McCausland, tenor; Geoffrey Sirett, baritone;

Kitchener-Waterloo Symphony; Mark

Vuorinen, conductor. Centre in the Square,

101 Queen St. N., Kitchener. 519-578-1570.

$30-$78; $14(st and under 30); $5(child/high

school st).

Saturday April 15

●●2:30 and 7:30: Niagara Symphony Orchestra.

Too Hot to Handel! The Gospel Messiah.

Sharon Riley and the Faith Chorale Gospel

Choir; Laura Secord Secondary School Concert

Choir; Bradley Thachuk, conductor.

FirstOntario Performing Arts Centre, 250 St.

Paul St., St. Catharines. 905-688-0722 or

1-855-515-0722. $69; $64(sr); $34(30 and

under); $14(st); $12(child); $5(eyeGO).

Sunday April 16

●●2:00: Chamber Music Hamilton. Quatuor

Danel. Tchaikovsky: Andante Cantabile from

String Quartet No.1; Borodin: Nocturne from

String Quartet No.2; Weinberg: Notturno

from String Quartet No.7; Weinberg: Scherzo

from String Quartet No.5; Tishchenko: String

Quartet No.1 Op.8. Art Gallery of Hamilton,

123 King St. W., Hamilton. 905-525-7429. $30;

$27(sr); $10(st).

●●4:30: Music at St. Thomas’s. Celebrating

the 40th Anniversary of St. Thomas’s Organ

Installation. Francine Nguyen-Savaria and

Matthieu Latreille, organ. St. Thomas’s Anglican

Church (Belleville), 201 Church St., Belleville.

613-962-3636. PWYC.

Wednesday April 19

●●12:00 noon: Music at St. Andrew’s. Lenard

Whiting, organ and Michael Barth, trumpet.

St. Andrew’s Presbyterian Church

(Barrie), 47 Owen St., Barrie. 705-726-1181.

$5; free(st).

●●7:30: Plumbing Factory Brass Band. 19th-

Century Brass Band Music in Honour of the

Sesquicentennial. Rossini: La gazza ladra (The

Thieving Magpie); mid-19th-century Canadian

works (Ontario Quick March, The Burlington

Polka, The Regimental March of the 13th Battalion

of Canadian Volunteers and others);

and other works. Henry Meredith, conductor.

Byron United Church, 420 Boler Rd., London.

519-471-1250 or 519-659-3600. $15/$13(adv);

$10(st)/$8(adv). Refreshments and conversation

follow.

●●8:00: Kitchener-Waterloo Chamber

Music Society. Chamber Music Recital. Short

pieces by Handel, Carovillano, Abreu, Mancini,

Mozart, Moszkovski, Vaughan Williams, Constant,

Fauré, Gouvy and S. Cohen. Acclarion

(David Carovillano, accordion; Becky Carovillano,

clarinet). KWCMS Music Room, 57 Young

St. W., Waterloo. 519-886-1673. $25; $15(st).

Friday April 21

Presented by

Bobcaygeon Music Council

Ensemble Vivant

APRIL 21

TRINITY UNITED CHURCH

Bobcaygeon, Ontario

●●7:30: Bobcaygeon Music Council. Ensemble

Vivant. Jazz-infused styles from Latin to ragtime

to the Great American Songbook. Trinity

United Church (Bobcaygeon), 42 William St.,

Bobcaygeon. 705-731-7497. Free.

●●8:00: Jeffery Concerts. New Orford String

Quartet. Beethoven: Quartet in D Op.18 No.3;

Quartet in A Op.18 No.5; Quartet in F Op.135.

Wolf Performance Hall, 251 Dundas St., London.

519-672-8800. $35; $30(sr); $15(st).

●●8:00: Kitchener-Waterloo Symphony.

Dvořák’s Cello Concerto. Riho Esko Maimets:

new commission; Brahms: Symphony No.3 in

F; Dvořák: Cello Concerto in B Minor. Johannes

Moser, cello; Edwin Outwater, conductor.

Centre in the Square, 101 Queen St. N., Kitchener.

519-745-4711 or 1-888-745-4717. $19-

$82. Also Apr 22.

Saturday April 22

●●10:30am: Kitchener-Waterloo Symphony.

Voyage of Mendelssohn Mouse. Music

from different European countries. KWS

String Quartet. Woolwich Memorial Centre,

24 Snyder St. S., Elmira. 519-745-4711

or 1-888-745-4717. $13; $11(child). 9:30: Preconcert

activities. Post-concert meet the

performers. Also Apr 8(Conrad Centre, Kitchener);

29(Waterloo Museum, Kitchener).

●●2:00: Kitchener-Waterloo Symphony.

Youth Orchestra Concert 2. Five KWS Youth

Orchestra ensembles. Centre in the Square,

101 Queen St. N., Kitchener. 519-745-4711 or

1-888-745-4717. $13; $11(child).

●●7:00: Grand Philharmonic Choir. Children’s

Choir Spring Sing. Grand Philharmonic

Children’s Choir; Andrea deBoer-Jones,

conductor. Knox Presbyterian Church (Waterloo),

50 Erb St. W., Waterloo. 519-578-

6885. $15.

●●8:00: Kitchener-Waterloo Symphony.

Dvořák’s Cello Concerto. Riho Esko Maimets:

new commission; Brahms: Symphony No.3

in F; Dvořák: Cello Concerto in b. Johannes

Moser, cello; Edwin Outwater, conductor.

Centre in the Square, 101 Queen St. N., Kitchener.

519-745-4711 or 1-888-745-4717. $19-

$82. Also Apr 21.

Sunday April 23

●●2:00: Melissa-Marie Shriner. Streisand

and Garland: A Cabaret Afternoon. Melissa-

Marie Shriner, vocals; Stu Harrison, piano;

Ross MacIntyre, upright bass. Mahtay Café,

241 St. Paul St., St. Catharines. 905-941-6916.

$20/$17(adv).

●●2:30: Georgian Music. Cecilia String

Quartet and Leopoldo Erice, piano. Schubert:

String Quartet No.14 “Death and the

Maiden”; Franck: Piano Quintet. Grace United

Church (Barrie), 350 Grove St. E., Barrie.

705-726-1181. Free (with purchase of 2017/18

subscription).

Wednesday April 26

●●12:15: St. Andrew’s Presbyterian Church.

Wednesday Noon-Hour Concerts: Jennifer

“From the heart, let it

return to the heart!”

– Beethoven

Rodriguez, flute. Accompanist TBA. St.

Andrew’s Presbyterian Church (Kitchener),

54 Queen St. N., Kitchener. 226-647-1290.

Free. Low-cost lunch available from 11:30am.

●●8:00: Sanderson Centre for the Performing

Arts. Trans-Canada Highwaymen.

Hit songs, road stories, jokes, secrets and

surprises. Moe Berg, Chris Murphy, Craig

Northey and Steven Page. 88 Dalhousie St.,

Brantford. 519-758-8090 or 1-800-265-0710.

$55; $20(uGO); $5(eyeGO).

Friday April 28

●●6:00: INNERchamber Concerts. For the

Love of Mozart. Factory 163, 163 King St.,

Stratford. 519-271-5140. $42; $10(st).

Saturday April 29

●●10:30am: Kitchener-Waterloo Symphony.

Voyage of Mendelssohn Mouse. Music from

different European countries. KWS String

Quartet. Waterloo Region Museum, 10 Huron

Rd., Kitchener. 519-745-4711 or 1-888-745-

4717. $13; $11(child). 9:30: Pre-concert activities.

Post-concert meet the performers. Also

Apr 8(Conrad Centre, Kitchener); 22(Elmira).

●●7:30: Marilyn I. Walker School of Fine

and Performing Arts, Brock University.

Viva Voce! Choral Series: Avanti Chamber

Singers – Choral Flora. Covenant Christian

Reformed Church, 278 Parnell Ave., St. Catharines.

905-688-5550 x3817. $25; $20(sr/

st); $5(eyeGo). $5 discount on adv. tickets

at Thorold Music, Booksmart or from members

of Avanti Chamber Singers (not applicable

to eyeGo).

●●7:30: Musikay Choir. Messiah. Kira Braun,

soprano; Madison Arsenault, alto; Michael P.

Grand Philharmonic Choir presents:

Beethoven

thewholenote.com April 1, 2017 - May 7, 2017 | 51


Taylor, tenor; Maciej Bujnowicz, baritone; Stéphane

Potvin, conductor. Canadian Martyrs

Church, 38 Emerson St., Hamilton. 905-528-

4632. $15-$35. Also Apr 30 (Oakville).

Sunday April 30

●●3:00: Wellington Winds. Wind Symphony

Whimsy. Works by Cable, Holst, Reed

and Schumann; Purves-Smith: The Seven

Deadly Sins for Alto Clarinet and Winds (premiere).

Stephen Fox, alto clarinet; Daniel

Warren, conductor. Grandview Baptist

Church, 250 Old Chicopee Dr., Kitchener.

519-669-1327. $20; $15(sr); free(st). Also

May 7(Waterloo).

●●7:30: Cuckoo’s Nest Folk Club. 2016-

2017 Concert Series: Joe Crookston.

Chaucer’s Pub, 122 Carling St., London. 519-

319-5847. $25/$20(adv).

●●8:00: Kitchener-Waterloo Chamber Music

Society. Piano Recital. Gershwin: Preludes;

Rhapsody in Blue; and other works. Eric Himy,

piano. KWCMS Music Room, 57 Young St. W.,

Waterloo. 519-886-1673. $35; $20(st).

Wednesday May 3

●●12:00 noon: Midday Music with Shigeru.

Tabitha Johnson and Thomas Torok: Two

Pianos. Concertos by Grieg and Mozart. Hi-

Way Pentecostal Church, 50 Anne St. N., Barrie.

705-726-1181. $5; free(st).

●●12:15: St. Andrew’s Presbyterian Church.

Wednesday Noon-Hour Concerts: Douglas

Haas, organ. St. Andrew’s Presbyterian

Church (Kitchener), 54 Queen St. N., Kitchener.

226-647-1290. Free. Low-cost lunch

available from 11:30am.

●●7:30: Chorus Niagara. Phantom of the

Opera. 1925 silent film with live, original

choral soundtrack featuring works by

Gluck, Gounod, Bizet, Saint-Saëns, and Poulenc.

Lynne Honsberger, organ. FirstOntario

Performing Arts Centre, 250 St.

Paul St., St. Catharines. 1-855-515-0722

Syd Birrell & the 100 Voices of the

Requiem

Mozart’s

&Arias

featuring

Ellen McAteer - Soprano

Daniel Taylor - Counter Tenor

Benjamin Butterfield - Tenor

Alex Dobson - Baritone

Ian Sadler - Organ

Sat., May 6 • 7:30 p.m.

George Street United Church

534 George St. N., Peterborough

peterboroughsingers.com

B. Concerts Beyond the GTA

or 905-688-5550 x0722. $42; $40(sr);

$27(under 30); $17(st); $15(child) $5(high

school). Pre-concert chat at 6:30.

Friday May 5

●●7:00: St. Andrew’s Presbyterian Church

(Kitchener). Douglas Haas: Celebration Concert.

54 Queen St. N., Kitchener. 226-647-

1290. Free.

●●8:00: Kitchener-Waterloo Symphony.

Edwin’s Pops: A Night of Music and Comedy.

PDQ Bach’s take on Beethoven’s fifth symphony

and other musical humour. Measha

Brueggergosman, soprano; Stewart Goodyear,

piano; Edwin Outwater, conductor. Centre

in the Square, 101 Queen St. N., Kitchener.

519-745-4711 or 1-888-745-4717. $19-$86.

Also May 6.

Saturday May 6

●●2:00: King Edward Choir. The Coronation

of King Edward VII: A dramatic re-enactment.

Works by Gibbons, Bach, Handel and

Parry. Floydd Ricketts, conductor; Dan McCoy,

accompanist. Collier Street United Church,

112 Collier St., Barrie. 705-305-6797. $25;

$15(st). Also 7:30.

●●7:30: Haliburton Concert Series. Guy

and Nadina. Works by Borodin, Beethoven,

Buhr, Rossini and Paganini. Guy Few, piano,

trumpet; Nadina Mackie Jackson, bassoon.

Northern Lights Performing Arts Pavilion,

5358 County Rd. 21, Haliburton. 705-457-

3272. 3-concert subscription: $60; $25(st).

●●7:30: Hamilton Philharmonic Orchestra.

Stravinsky and Lara St. John. R. Strauss: Don

Juan; Korngold: Violin Concerto; Buhr: Akasha

(Sky); Stravinsky: Petrouchka. Lara St.

John, violin; Gemma New, conductor. Hamilton

Place, 10 MacNab St. S., Hamilton. 905-

526-7756. $10-$67. 6:30: Pre-concert talk.

●●7:30: King Edward Choir. The Coronation

of King Edward VII: A dramatic re-enactment.

Works by Gibbons, Bach, Handel and

Parry. Floydd Ricketts, conductor; Dan McCoy,

accompanist. Collier Street United Church,

112 Collier St., Barrie. 705-305-6797. $25;

$15(st). Also 2:00.

●●7:30: Peterborough Singers. Mozart’s

Requiem and Arias. Ellen McAteer, soprano;

Daniel Taylor, countertenor; Benjamin Butterfield,

tenor; Alexander Dobson, baritone; Ian

Sadler, organ. George Street United Church,

534 George St. N., Peterborough. 705-745-

1820. $30; $20(under 30); $10(st).

●●7:30: St. Paul’s Anglican Cathedral. Three

Cathedrals Choral Festival Gala Concert.

Works by Willan, Neswick, Greene, Martin

and Britten. Cathedral Choirs of St. Paul’s

Cathedral, Buffalo, NY; St. Paul’s Cathedral,

Detroit, MI; St Paul’s Cathedral, London, ON.

472 Richmond St., London. 519-343-3225

x221. $25; $10(sr/st).

●●7:30: Teo Milea. A New Beginning in Waterloo.

Autumn Sky; A New Beginning; Smile;

Today/Tomorrow. Terry Lim; flute; Teo Milea,

piano. Jazz Room, Huether Hotel, 59 King St

N., Waterloo. 647-877-2607. $35. Also May 13

(Toronto).

●●8:00: Bravo Niagara! Festival of the

Arts. Quincy Jones Artist Justin Kauflin.

Justin Kauflin, piano. Stratus Vineyards,

2059 Niagara Stone Rd., Niagara-on-the-

Lake. 289-868-9177. $29-$69.

●●8:00: Kitchener-Waterloo Chamber Music

Society. Chamber Music Recital. With two

quartets by Canadian women composers.

Franck: Piano Quintet; Agocs: Tantric Variations;

Lizée: Isabella Blow at Somerset

House. Cecilia Quartet; Leopoldo Erice, piano.

KWCMS Music Room, 57 Young St. W., Waterloo.

519-886-1673. $35; $20(st).

●●8:00: Kitchener-Waterloo Symphony.

Edwin’s Pops: A Night of Music and Comedy.

PDQ Bach’s take on Beethoven’s Fifth Symphony

and other musical humour. Measha

Brueggergosman, soprano; Stewart Goodyear,

piano; Edwin Outwater, conductor. Centre

in the Square, 101 Queen St. N., Kitchener.

C. Music Theatre

519-745-4711 or 1-888-745-4717. $19-$86.

Also May 5.

Sunday May 7

●●3:00: Wellington Wind Symphony. Wind

Symphony Whimsy. Alfred Reed: Othello; William

Schuman: New England Triptych; Holst:

Second Suite for Military Band; M. Purves-

Smith: Seven Deadly Sins for Solo Alto Clarinet

and Wind Ensemble. Steven Fox, alto

clarinet; Dan Warren, conductor. Knox Presbyterian

Church (Waterloo), 50 Erb St.

W., Waterloo. 519-669-1327. $20; $15(sr);

free(st). Also Apr 30(Kitchener).

These music theatre listings contain a wide range of music theatre types including opera,

operetta, musicals and other performance genres where music and drama combine. Listings

in this section are sorted alphabetically by presenter.

●●Alexander Showcase Theatre. Kiss Me

Kate. Music and lyrics by Cole Porter, book by

Samuel and Bella Spewack. Fairview Library

Theatre, 35 Fairview Mall Drive. 416-324-

1259. $32, $27(sr/st). Runs to Apr 8. Wed-

Sat(7:30pm), Sun(2:00pm).

●●Angelwalk Theatre. Any Dream Will

Do: The Music of Andrew Lloyd Webber.

Lyric Theatre, Toronto Centre for the Arts,

5040 Yonge St. 416-901-2299. $39. Runs to

Apr 1.

●●Brampton Music Theatre. The Little Mermaid.

Music by Alan Menken, lyrics by Howard

Ashman with Glenn Slater, book by Doug

Wright. Rose Theatre, 1 Theatre Ln., Brampton.

905-874-2800. $35; $28(sr/st); $22(ch).

Runs to Apr 8. Thu-Sat(7:30pm).

●●Canadian Children’s Opera Company. Mulligan’s

Toy Shop. By Elizabeth Raum. Junior

Divisions of the CCOC; Lynn Janes, conductor;

Gergely Szokolay, piano; Dean Burry, stage

director. First Unitarian Congregation, 175 St.

Clair Ave. W. 416-366-0467. $20; $15(sr/st);

$5(child). Apr 22, 3:00pm.

●●Canadian Children’s Opera Company.

Commedia. Selections inspired by Commedia

dell’arte; Mozart: Marriage of Figaro

(excerpts). Members of the Canadian Youth

Opera Chorus; Principal Chorus of the CCOC;

Teri Dunn, music director; Alix Sideris, writer

and stage director. Jackman Studio, Joey and

Toby Tanenbaum Opera Centre, 227 Front St.

E. 416-366-0467. $20; $15(sr/st); $5(under 6).

Apr 29, 7:30pm.

●●Canadian Opera Company. Louis Riel.

Music by Harry Somers, libretto by Mavor

Moore. Russell Braun, baritone; and others;

Peter Hinton, director. Four Seasons Centre

for the Performing Arts, 145 Queen St. W. 416-

363-8231. $35-$235; $22(under 30). In English,

French and Cree. Opens Apr 20, 7:30pm.

Also Apr 23(2:00), 26, 29(4:30), May 2, 5, 13.

●●Canadian Opera Company. Tosca. Music

by Giacomo Puccini, libretto by Luigi Illica

and Giuseppe Giacosa. Adrianne Pieczonka

and Keri Alkema, sopranos (Tosca); Paul Curran,

director; Keri-Lynn Wilson, conductor.

Four Seasons Centre for the Performing Arts,

145 Queen St. W. 416-363-8231. $35-$235;

$22(under 30). English Surtitles. Opens

Apr 30, 2:00pm. Also May 4, 6, 7(2:00), 9, 11,

12, 14(2:00), 17, 18, 19, 20(4:30).

●●Canadian Stage. Endings. Created and performed

by Tamara Saulwick. Berkeley Street

Downstairs Theatre, 26 Berkeley St. 416-368-

3110. $39-$69. Opens Apr 26, 8:15pm. Runs

to Apr 30. Wed-Sat(8:15pm), Thurs(1:00pm),

Sun(2:15pm).

●●Canadian Stage. The Return. Created

by Yaron Lifschitz with Quincy Grant and

the Circa Ensemble. Bluma Appel Theatre,

27 Front St. E. 416-368-3110. $39

and up. Opens May 3, 8:00pm. Runs to

May 7. Wed/Thurs/Sat(8:00pm), Fri(7:00pm),

Sun(1:00pm).

●●Civic Light Opera Company. Simply Barbra.

Steven Brinberg (Barbra). Zion Cultural

Centre, 1650 Finch Ave. E. 416-755-1717. $28.

Runs to Apr 9. Days and times vary. Visit civiclightoperacompany.com

for details.

●●Curtain Call Players. Legally Blonde: The

Musical. Music and lyrics by Laurence O’Keefe

and Nell Benjamin, book by Heather Hach.

Fairview Library Theatre, 35 Fairview Mall Dr.

416-703-6181. $28. Opens Apr 28, 8:00pm.

Runs to May 6. Thurs-Sat(8:00pm). Sat/

Sun(2:00pm). Note: May 6(aft only).

●●Drayton Entertainment. Joseph and the

Amazing Technicolor Dreamcoat. Music by

Andrew Lloyd Webber, lyrics by Tim Rice.

Dunfield Theatre Cambridge, 46 Grand Ave.

S., Cambridge. 1-855-372-9866. $27-$46.

Runs to Apr 2. Days and times vary. Visit draytonentertainment.com

for details.

●●Drayton Entertainment. Singin’ in the Rain.

Music and lyrics by Nacio Herb Brown and

Arthur Freed, book by Betty Comden and

Adolph Green. St. Jacobs Country Playhouse,

40 Benjamin Rd. E., Waterloo. 1-855-372-

9866. $27-$46. Runs to Apr 15. Tues/Wed/

Thurs/Sat/Sun(2:00pm), Thurs-Sat(7:30pm).

Also Apr 11(7:30pm).

●●Drayton Entertainment. Million Dollar

Quartet. Features music of Johnny Cash,

Jerry Lee Lewis, Carl Perkins, and Elvis Presley.

Dunfield Theatre Cambridge, 46 Grand

Ave. S., Cambridge. 1-855-372-9866. $27-

$46. Opens April 11, 2:00pm. Runs to May 7.

Tues/Wed/Thurs/Sat/Sun(2:00pm), Thurs-

Sat(7:30pm). Also Apr 12, 7:30pm. Note: no

show Apr 16.

●●Grand Theatre. Colours in the Storm.

Music, lyrics and book by Jim Betts. Grand

Theatre, 471 Richmond St, London. 519-

672-8800. $29.95-$82.50. Opens Apr 18,

7:30pm. Runs to May 6. Tues-Thurs(7:30pm),

Fri/Sat(8:00pm), Sat/Sun(2:00pm). Also

May 3(1:00pm).

●●Lower Ossington Theatre. Mary Poppins.

Music and lyrics by Robert B. Sherman

and Richard M. Sherman, with George Stiles

and Anthony Drewe, book by Julian Fellowes,

52 | April 1, 2017 - May 7, 2017 thewholenote.com


Presented by:

based on the books and the film. Lower Ossington

Theatre, 100A Ossington Ave. 1-888-

324-6282. $54.99-$64.99. Runs to Apr 30.

Fri-Sat(7:30pm), Sat(3:30pm). Sun(12:00pm,

4:00pm).

●●Lower Ossington Theatre. Little Shop of

Horrors. Music by Alan Menken, lyrics and

book by Howard Ashman. Lower Ossington

Theatre, 100A Ossington Ave. 1-888-

324-6282. $54.99-$64.99. Runs to May 14.

Fri-Sat(7:30pm), Sat(3:30pm). Sun(4:00pm).

●●Lower Ossington Theatre. Sister Act.

Music by Alan Menken, lyrics by Glenn Slater,

book by Bill and Cheri Steinkellner with

Douglas Carter Beane. Randolph Theatre,

736 Bathurst St. 1-888-324-6282. $49.99.

Runs to Apr 9. Fri-Sat(7:30pm), Sat(3:30pm).

Sun(12:00pm, 4:00pm).

●●Mississauga Symphony Orchestra. Carmen.

Music by Georges Bizet, libretto by

Henri Meilhac and Ludovic Halévy. Denis Mastromonaco,

conductor. Hammerson Hall,

Living Arts Centre, 4141 Living Arts Dr., Mississauga.

905-306-6000. $50-$80. Apr 29,

8:00pm.

●●Mirvish. The Book of Mormon. Music,

lyrics and book by Trey Parker, Robert Lopez,

and Matt Stone. Princess of Wales Theatre,

300 King St.W. 416-872-1212. $49-$200. Runs

to Apr 16. Tues-Sat(8:00pm), Sat(2:00pm),

Sun(1:30pm, 7:30pm).

●●Mirvish. Mrs. Henderson Presents. Music

by George Fenton and Simon Chamberlain,

lyrics by Don Black, book by Terry Johnson,

based on the film. Royal Alexandra Theatre,

260 King St. W. 416-872-1212. $38-$175.

Runs to Apr 23. Tues-Sat(8:00pm), Wed/Sat/

Sun(2:00pm).

●●Mirvish. Strictly Ballroom, the Musical.

Created by Baz Luhrmann. Princess of Wales

Theatre, 300 King St. W. 416-872-1212. $38-

$139. Opens Apr 26, 8:00pm. Runs to June 25.

Wed-Sat(8:00pm), Wed/Sat/Sun(2:00pm).

●●National Ballet of Canada. Genus and The

Concert. Music by Joby Talbot, Deru, and

by Frédéric Chopin, orchestrated by Clare

Grundman. Wayne McGregor, choreographer

and Jerome Robbins, choreographer. Four

Seasons Centre for the Performing Arts,

145 Queen St. W. 416-345-9595. $39-$265.

Runs to Apr 2. Wed-Sat(7:30pm), Thurs/Sat/

Sun(2:00pm).

●●Nightwood Theatre. Century Song. Created

by Neema Bickersteth, Kate Alton and

Ross Manson. Neema Bickersteth, performer.

This exquisitely unique show features music

by some of the past 100 years’ most adventurous

composers, as well as projections by Germany’s

fettFilm – extraordinary visuals that

bring alive major art movements of the 20th

century. Guloien Theatre, 345 Carlaw Ave.

647-341-7390. $20. Opens Apr 19, 8:00pm.

Runs to Apr 29. Tues-Sat(8:00pm). Also

Apr 24(1:30pm). Note: Apr 29 at 2:00pm.

●●Onstage Uxbridge. Little Shop of Horrors.

Music by Alan Menken, lyrics and book

by Howard Ashman. Uxbridge Music Hall,

16 Main St. S., Uxbridge. Onstageuxbridge.

com. $20. Runs to April 8. Thurs-Sat(7:30pm),

Sat/Sun(2:00pm). Note: Apr 8(aft only).

●●Opera Atelier. Medea. Music by Marc-

Antoine Charpentier, libretto by Thomas Corneille.

Peggy Kriha Dye, soprano (Medea);

Colin Ainsworth, tenor (Jason); and others;

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. $39-$194.

Opens Apr 22, 7:30pm. Also Apr 23(3:00pm),

Apr 25, 26, 28, 29(4:30pm).

●●Opera by Request. Orfeo ed Eurydice.

Music by Christoph Willibald Gluck, libretto

by Ranieri de’ Calzabigi. In concert with

piano accompaniment. Kellie Masalas, soprano

(Orfeo); Antonina Ermolenko, soprano

(Eurydice); Sharon Tikiryan, soprano (Amor);

Stephanie Ferracane, stage director; William

Shookhoff, piano and music director. College

Street United Church, 452 College St. 416-

455-2365. $20. Apr 22, 7:30pm.

●●Opera by Request. Lohengrin. Music and

libretto by Richard Wagner. In concert with

piano accompaniment. Jason Lamont, tenor

(Lohengrin); Stephanie DeCiantis, soprano

(Elsa); Andrew Tees, baritone (Telramund);

Kristine Dandavino, mezzo-soprano (Ortrud);

Norman Brown, baritone (King Henry);

Michael Robert-Broder, baritone (Herald);

William Shookhoff, piano and music director.

College Street United Church, 452 College St.

416-455-2365. $20. May 5, 7:30pm.

●●Scarborough Music Theatre. Man of

La Mancha. Music by Mitch Leigh, lyrics

by Joe Darion, book by Dale Wasserman.

Scarborough Village Community Centre,

3600 Kingston Rd. 416-267-9292. $27; $25(sr/

st); $23(ch). Opens May 4, 8:00pm. Runs to

May 20. Thurs-Sat(8:00pm), Sun(2:00pm).

Note: May 20 show at 2:00pm.

●●Scarborough Philharmonic Orchestra. A

Night at the Opera. Strauss: Die Fledermaus

Overture; Borodin: Polovetsian Dances;

Mozart: Voyager’s Chorus from Idomeneo;

Puccini: O Mio Babbino from Gianni Schicchi;

Verdi: Overture to La Forza Del Distino.

Toronto Choral Society; Ronald Royer, conductor.

Salvation Army Scarborough Citadel,

2021 Lawrence Ave. E., Scarborough.

416-429-0007. $30; $25(sr); $15(st). Apr 1,

8:00pm.

●●Shaw Festival. Me and My Girl. Music by

Noel Gay, book and lyrics by L. Arthur Rose

and Douglas Furber, with revisions by Stephen

Fry and Mike Ockrent. Festival Theatre,

10 Queen’s Parade, Niagara-on-the-lake.

1-800-511-7429. $35 and up. Previews begin

Apr 5, 2:00pm. Runs to October 15. Days and

times vary. Visit shawfest.com for details.

●●Soulpepper Concert Series. True Patriot

Love: A Concert. Young Centre for the Performing

Arts, 50 Tank House Lane. 416-866-

8666. $25-$69. Opens April 11, 7:30pm. Also

April 13, April 15(1:30pm).

●●Stratford Festival. Guys and Dolls. Music

and lyrics by Frank Loesser, book by Jo Swerling

and Abe Burrows. Donna Feore, director

and choreographer. Festival Theatre,

55 Queen St, Stratford. 1-800-567-1600. $25

and up. Previews begin Apr 15, 2:00pm. Runs

to Oct 29. Days and times vary. Visit stratfordfestival.ca

for details.

●●Stratford Festival. HMS Pinafore. Music by

Arthur Sullivan, lyrics and book by W.S. Gilbert.

Avon Theatre, 99 Downie St., Stratford.

1-800-567-1600. $25 and up. Previews begin

May 4, 2:00pm. Runs to Oct 21. Days and times

vary. Visit stratfordfestival.ca for details.

●●Tarragon Theatre. Midsummer (A Play

with Songs). The hilarious story of a great lost

weekend of ill-advised romance: bridge-burning,

car chases, wedding bust-ups, midnight

trysts, poignant pop songs, honest humour,

and self-loathing hangovers. Tarragon

Theatre Mainspace, 30 Bridgman Ave. 416-

531-1827. $60; $49(sr); $29(st). Opens Apr 18,

8:00pm. Runs to May 28. Tues-Sat(8:00pm),

Sat/Sun(2:30pm). Note: no shows Apr 22(aft),

Apr 26, May 20(aft), May 27(aft).

●●Teatro Proscenium Limited Partnership/

Garth Drabinsky. Sousatzka. Music and lyrics

by Richard Maltby, Jr and David Shire, book

by Craig Lucas, based on the novel by Bernice

Rubens. Elgin Theatre, 189 Yonge St. 1-855-

985-5000. $60-$175. Runs to Apr 9. Tues-

Sat(8:00pm), Wed/Sat/Sun(2:00pm).

●●Theatre Aquarius. Mamma Mia! Music and

lyrics by Benny Andersson, Björn Ulvaeus,

and some songs with Stig Anderson. Book

by Catherine Johnson. Theatre Aquarius,

190 King William St, Hamilton. 905-522-7529.

$30 and up. Opens Apr 19, 8:00pm. Runs to

May 14. Tues-Sat(8:00pm), Sat/Sun(2:00pm).

●●Theatre Passe Muraille. Stupidhead! Written

and Performed by Katherine Cullen and

Britta Johnson. Theatre Passe Muraille Mainspace,

16 Ryerson Ave. 416-504-7529. $38;

$33(sr); $17(under 30). Runs to Apr 2. Tues-

Sat(7:30pm), Sat/Sun(2:00pm).

●●Theatre Sheridan. How to Succeed in Business

without Really Trying. Music and lyrics

by Frank Loesser, book by Abe Burrows, Jack

Weinstock and Willie Gilbert, based on the

book by Shepherd Mead. Macdonald-Heaslip

Hall, 1430 Trafalgar Rd, Oakville. 905-815-

4049. $25. Opens Apr 11, 7:30pm. Runs to

Apr 23. Tues-Thur(7:30pm), Fri-Sat(8:00pm),

Sat/Sun(2:00pm). Note: no show Apr 14/16.

●●Theatre Sheridan. Senza Luce. Music and

lyrics by Neil Bartram, book by Brian Hill. Studio

Theatre, 1430 Trafalgar Rd, Oakville. 905-

815-4049. $25. Opens Apr 13, 7:30pm. Runs to

Apr 23. Tues-Sat(7:30pm), Sat/Sun(2:00pm).

Note: no show Apr 14/16.

●●Toronto Masque Theatre. The Ben Jonson

Project: A Vision of Delight. Staged reading of

Ben Jonson’s A Vision of Delight, re-imagined

and accompanied by array of musical styles.

Atrium, 21 Shaftesbury Ave. 416-410-4561.

$25. May 1, 7:30pm.

●●Toronto Operetta Theatre. The Chocolate

Soldier. Music by Oscar Straus. Jennifer

Taverner; Anna Macdonald; Michael Nyby;

Peter Tiefenbach, conductor; Guillermo Silva-

Marin, stage director. Jane Mallett Theatre,

St. Lawrence Centre for the Arts, 27 Front St.

E. 416-366-7723 or 1-800-708-6754. $29-$49.

Opens Apr 26, 8:00pm. Also Apr 28(8:00); 29

and 30(all 3:00).

●●Wavestage Theatre. Anything Goes. Music

and lyrics by Cole Porter. Original book by

P.G. Wodehouse, Guy Bolton, Howard Lindsay,

and Russel Crouse, with new book by Timothy

Crouse and John Weidman. Newmarket

Theatre, 505 Pickering Cres, Newmarket.

wavestagetheatre.com. $29; $24(sr/st).

Opens Apr 20, 7:30pm. Runs to Apr 23. Thurs-

Sat(7:30pm), Sun(1:30pm).

Oui The North

PAUL ENNIS

On April 19, 340 unique

feature films will

screen for free in more

than 1700 locations in Canada,

plus over 60 international sites

like Canadian embassies and

Canadian military bases, to

celebrate our country’s movies

in this sesquicentennial

year. From 90 screenings

in Toronto to two in

far-flung Tuktoyaktuk, NWT,

(appropriately The Sun at

Midnight and The Lesser

Blessed), the country will be

blanketed in movies from

coast to coast to coast in what

is billed as the world’s largest

On The Web

film festival. “Everything from high to low,” Reel Canada’s artistic

director Sharon Corder told me mid-March. […]

I am one of many who believe Zacharias Kunuk’s Atanarjuat:

The Fast Runner (2001) is the best Canadian film ever made. Music

by Huun-Huur-Tu, Christopher Mad’dene, traditional Inuit ajaja

songs and throat singing, plus Chris Crilly’s score back this Inuit tale

handed down over the generations. A masterpiece of stunning landscapes,

epic in scope […]

Finally, there is François Girard’s Thirty Two Short Films About

Glenn Gould (1993), its elegantly constructed vignettes a masterful

distillation of the life of a (musical) genius. That is the film I would

choose to watch on National Canadian Film Day 150. Luckily for

me, it’s showing at TIFF Bell Lightbox on April 19. Writer-actor Don

McKellar and star Colm Feore are special guests.

For the entire article please go to thewholenote.com.

thewholenote.com April 1, 2017 - May 7, 2017 | 53


Beat by Beat | Mainly Clubs, Mostly Jazz!

So Long Seven’s

Cross-Cultural

Chamber Music

BOB BEN

Lately, I have been walking around and humming the melody of

You Must Believe in Spring, partially because it’s a nice melody,

and partially as a reminder – sometimes it’s easy to forget that

warmer days are in fact on their way. As we wait for our little corner

of the world to thaw, it may help our collective state of mind if we

listened to some music that carries in it echoes of warmer places.

Like, for example, South Asia, or West Africa, or the Mediterranean.

Such echoes can be found in the lineup of the eclectic So Long

Seven, which showcases Neil Hendry on the mandolin and guitar,

Tim Posgate on the banjo, Ravi Naimpally on the tabla and the

remarkably young (barely out of his teens) William Lamoureux on

the violin. With this unusual blend of instruments, and a collective

and unmistakable jazz sensibility, So Long Seven’s highly organized,

mostly non-hierarchical approach to composition and improvisation

constitutes what I would call cross-cultural chamber music.

A year ago – almost to the day, as I write this – the band released

their eponymous debut album, a colourful and contemplative work of

art, and a formidable effort that will be tough to follow.

Aside from the quality of the music, what captures me about this

album is the fact that, from top to bottom, each tune seems to share

a goal; this is not just a collection of tracks that will demonstrate the

versatility and skill of a band, but a cohesive work that is united by

one purpose. What that purpose is, I suppose, up to each individual

listener. When the music has no words, it can be tough to pinpoint

or articulate these things, even though you may have a strong sense

of them. My first instinct would be to call it music to meditate to, but

that may be too restrictive since not everyone meditates (and I don’t).

D. In the Clubs (Mostly Jazz)

(from left) William Lamoureux, Tim Posgate, Ravi Naimpally and Neil Hendry

I’ll call it music to think to.

My favourite track by far is the one which opens the album, Torch

River Rail Company. The introspective and rhythmically driven

melody, which rolls like a train over the five-beat pattern that underlies

it, maintains its momentum through these almost arbitrary -

though definitely not arbitrary - pauses; as Lamoureux takes his bow

off the strings, or as the rhythm section freezes, you can almost hear it

continue, and you are not the least bit startled when it comes back in.

The melody and accompaniment - separately - continue to weave in

and out like that, and it’s fascinating to hear.

You’ll have two opportunities to hear So Long Seven in Southern

Ontario this month. If you’re in or around Hamilton, you can catch

them at Artword Artbar on April 7; if you live closer to Toronto and

you aren’t able to get out to Hamilton, you can catch up with them

the very next day, April 8, at the Small World Music Centre, a short

walking distance from the corner of Dundas and Ossington.

I’ll level with you on this one: while I’m confident that I’ve seen

all the footage of them that exists on the Internet, I’ve never seen So

Long Seven live. I have a friend who used to invite me to their shows

constantly back when they were known as Oolong 7, but it wasn’t

until recently that I started to dive into their recorded music. So if I

make it out to Hamilton, I’ll be discovering them right alongside you.

I hope to see you there.

Bob Ben is The WholeNote’s jazz listings editor. He

can be reached at jazz@thewholenote.com.

120 Diner

Alleycatz

Blue Goose Tavern, The

C’est What

120 Church St. 416-792-7725

120diner.com (full schedule)

All shows: PWYC ($10-$20 suggested)

Every Tue 6pm Leslie Huyler; 8pm Annie Bonsignore;

10pm Chris Brikett. Every Wed 6pm

Students from Hannah Burge’s Centennial

College Studio; 8pm Lisa Particelli’s GNO Jazz

Jam. Every Sat 6pm John Alcorn $20. April

2 6pm Femme Fatale Musicale w/ Sarah Gibbons

$20; 8:30pm Nicky’s Solo Improvised

Musical w/ Nicky Nasrallah $20. April 6 6pm

Laura Hubert & Nathan Hiltz; 9pm Carla

Casanova, Heather Christine, Arlene Paculan,

Kat Leonard. April 7 6pm Denielle Bassels:

Tribute to Billie Holiday. April 9 6pm

Robyn Harrison & Lea Beauvais $20; 8:30pm

The Sedina Show: In These Trying Times $20.

April 13 6pm Paul Lamarche & TIMA. April

14 6pm Irene Harrett Group. April 16 7pm

Sienna Dahlen & Francois Jalbert. April 20

6pm Ryley Murray Trio. April 21 6pm Christian

Bell-Young. April 23 6pm David Warrack

Presents $20; 8:30pm David Warrack

Presents $20. April 27 6pm Karen Racicot

& Aniko Myles. April 28 6pm Ros Kindler &

Lynda Covello. April 30 6pm Sam Broverman:

International Jazz Day Cabaret $20; 8:30pm

Bobby Hsu’s Ob-Sessions $20.

2409 Yonge St. 416-481-6865

alleycatz.ca

All shows: 9pm unless otherwise indicated.

Call for cover charge info.

April 1, 29 Soular. April 7, 15, 22 Lady Kane.

April 8 Jamesking. April 14 Universal Boogie

Band. April 21 Jamesking. April 28 North of

7 Band.

Artword Artbar

15 Colbourne St., Hamilton. 905-543-8512

artword.net (full schedule)

April 6 8pm The Amy Project: the music of

Amy Winehouse with Marni Shuster (voice),

Anthony Caradonna (guitar), Ian Taylor

(bass), Bob DiSalle (drums) $10. April 7 8pm

So Long Seven: Neil Hendry (guitar, mandolin),

William Lamoureux (violin), Ravi Naimpally

(tabla), Tim Posgate (banjo) $15. April

14 8pm Beg to Differ Trio: Tim Ninehouse

(keys, voice), Doug Sikma (guitar), Steve Foster

(drums).

Bloom

2315 Bloor St. W. 416-767-1315

bloomrestaurant.com

All shows: 19+. Call for reservations.

1 Blue Goose St. 416-255-2442

thebluegoosetavern.com

Every Sun 5pm Blues at the Goose with the

Big Groove Rhythm Section.

Burdock

1184 Bloor St. W. 416-546-4033

burdockto.com (full schedule)

All shows: 9pm

April 7 9pm Kitchen Orkestra Album Release

$20(adv)/$25(door). April 15 9pm Different

Era EP Release $8(adv)/$10(door).

Cameron House, The

408 Queen St. W. 416-703-0811

thecameron.com (full schedule)

Castro’s Lounge

2116e Queen St. E. 416-699-8272

castroslounge.com (full schedule)

All shows: No cover/PWYC

April 8 9pm Paul Reddick. April 9 4pm Fraser

& Daley.

Cavern Bar, The

76 Church St. 416-971-4440

thecavernbar.ca (full schedule)

67 Front St. E. (416) 867-9499

cestwhat.com (full schedule)

April 1, 15, 29 3pm The Hot Five Jazzmakers.

April 8, 22 3pm The Boxcar Boys.

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

April 6 9pm John-Wayne Swingtet: John Farrell

(guitar), Abbey Sholzberg (bass), Wayne

Nakamura (guitar), Alexander Tikhonov

(clarinet). April 13 9pm Bossa Tres PWYC.

April 20 9pm Vokurka’s Vicarious Virtuoso

Violin.

Gate 403

403 Roncesvalles Ave. 416-588-2930

gate403.com

All shows: PWYC.

April 1 5pm Bill Heffernan’s Saturday Sessions;

9pm The Tin Pan Jazz Band. April 2

54 | April 1, 2017 - May 7, 2017 thewholenote.com


5pm Grateful Sunday; 9pm Evan Desaulnier

Jazz Trio. April 3 5pm Mike and Jill Daley Jazz

Duo; 9pm Jazz Mondays with the Tim Hamel

Trio and featured guests.

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.

Every Sun 10pm The National Blues Jam

with Brian Cober. Every Wed 10pm Bruce

Domoney. April 2 4:30pm New Orleans Connection

All Star Jazz Band.

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.

Every Mon Neil Brathwaite. April 7, 14 Gyles.

April 21 JWT.

Hirut Cafe and Restaurant

2050 Danforth Ave. 416-551-7560

Every Sun 3pm Open Mic with Nicola

Vaughan PWYC. April 2, 9, 23, 30 7:30pm

Eucalyptus Calypso/Dancehall/Reggae/Bossa

Nova ensemble residency. April 7 8pm Wally

Brooker and the Concord Jazz Quintet PWYC.

April 8 12pm Sharron Katz & Friends PWYC;

8pm Ernest Lee & Cotton Traffic PWYC ($10

suggested). April 4, 18 8pm Finger Style Guitar

Association PWYC. April 14 8pm Don

Naduriak PWYC. April 28 9pm Hirut Hoot

Cabaret 5 year anniversary $5.

Home Smith Bar – See Old Mill, The

Jazz Bistro, The

251 Victoria St. 416-363-5299

jazzbistro.ca

April 1 9pm rinsethealgorithm $20. April

2 7pm Stephanie Martin $15. April 4 7pm

Jazz FM Sounds of Italy series with Franco

D’Andrea $40. April 6, 7 9pm Eliana Cuevas

Quintet. April 8 9pm Coldjack $20. April 9

7pm Adi Braun $20. April 11, 18 6pm Robert

Scott; 8:30pm Robert Scott (piano) & Genevieve

Marentette (voice). April 14, 15 9pm The

Nightporters $15(Fri)/$20(Sat). April 16 7pm

Nathan Hiltz Trio. April 19 8pm Aj Bridel $20.

April 20 8:3pm Colin Hunter & The Anthony

Terpstra Seventet - Mostly Frank $15. April

21, 22 8:3pm Colin Hunter & The Joe Sealy

Quartet $15. April 23 7pm Jim Betts: The

Betts Yet Tickets purchased through Smile

Theatre. April 25 8pm DUFFMUSIQ $10.

April 26 8pm John MacMurchy $15. April

28, 29 9pm The Christopher Simmons Trio

$15(Fri)/$20(Sat).

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 LaBoeuf Brothers $18. April 7 Mike

Murley Trio $20. April 8 Michael Occhipinti’s

Creation Dream – The Music of Bruce

Cockburn – featuring Elizabeth Sheppard

(voice) $25. April 14 Oliver Babaz Trio $16.

April 15 Eliana Cuevas $25. April 21 Jason

White Trio $20. April 22 Kite Trio $16. April

28 Derek Hines Quintet $18. April 29 On Topic

Trio $16.

La Revolucion

2848 Dundas St. W. 416-766-0746

larev.webs.com

Every Tue 9pm Duets with Peter Hill and featured

guests. Every Fri Les Petits Noveaux.

Every Sat 7:30pm Saturday Night Jazz

(lineup TBA).

Local Gest, The

424 Parliament St. 416-961-9425

Local Pub, The

396 Roncesvalles Ave. 416-535-6225

localpub.ca (full schedule)

Lula Lounge

1585 Dundas St. W. 416-588-0307

lula.ca (full schedule)

April 1 10:30pm Lula All Stars & DJ Santiago

Valasquez $15. April 2 10am Michael Johnston

Music Studio’s 10th Annual Recital &

Spring Celebrations $18(adv)/$20(door).

April 4 7pm Salsa Loca $20(adv)/$25(door).

April 6 7:15pm Marvin Gaye & Luther Vandross

birthday bash $10(adv)/$15(door).

April 7 7:30pm Lula Music and Arts Centre

$15; 10:30pm Yani Borrell & DJ Suave

$15. April 8 10:30pm Manny Cardenas &

DJ Santiago Valasquez $15. April 9 10am

Michael Johnston Music Studio’s 10th

Annual Recital & Spring Celebrations

$18(adv)/$20(door). April 14 7:30 Sonia

Aimy $15; 10:30pm Papiosco y los Ritmicos

and DJ Suave $15. April 15 10:30pm La

Borinqueña plus DJ Santiago Valasquez $15.

April 18 7pm Don Mills Collegiate Jazz Night

$15(gen)/$10(sr)/$5(st). April 21 7:30pm

Fern Lindzon $15; 10:30pm Café Cubano &

DJ Suave $15. April 22 10:30pm Ricky Franco

& The P-Crew Orchestra and DJ Santiago

Valasquez $15. April 23 2:45pm Fred Penner

$15(adv)/$20(door). April 28 7:30pm Scott

Kemp Trio $15.

Manhattans Pizza Bistro & Music Club

951 Gordon St., Guelph 519-767-2440

manhattans.ca (full schedule)

All shows: PWYC.

Every Mon Sandy Macdonald. April 1, 13 Joe

Lucchetta. April 2 Stan Chang & Erick Bruck.

April 4 Kent & Harry’s Sidewalk Revival.

April 5, 25 Brad Halls. April 6 Brad Cheeseman

Trio. April 7, 19 Giggles. April 8 Jazz

meets blues. April 9, 23 Grace Peters. April

11, 30 David Hollingshead & guests. April 12,

26 Paul Taylor. April 14 Hammerbomb. April

15 Practical Spark. April 18, 28 John Zadro.

April 20 Hammerton/Wagler/O’Neill. April

21 Tom Altobelli Trio. April 22 Kevin Dempsey

Trio. April 27 Carmen Spada.

Mây Cafe

876 Dundas St. W. 647-607-2032

maytoronto.com (full schedule)

Mezzetta Restaurant

681 St. Clair Ave. W. 416-658-5687

mezzettarestaurant.com (full schedule)

All shows: 9pm, $8 (unless otherwise noted).

April 5 Jordan Saull & James Brown (guitars).

April 12 Kyle Marshall (cello) & Don Ionescu

(guitar). April 19 Dave Young (bass), Reg

GREAT CANADIAN ROOTS MUSIC

Natalie MacMaster

Donnell Leahy - ONE

Matt Andersen

Honest Man

Murray McLauchlan

Love Can’t Tell Time

See these artists and more at VOICES that CARE, a benefit concert for the Room 217 Foundation

Glenn Gould Theatre

Friday May 5, 2017 | Reception at 7pm - Show at 8pm

Order online at www.voicesthatcare.ca or by phone at (905) 852-2499

thewholenote.com April 1, 2017 - May 7, 2017 | 55


Schwager (guitar). April 26 Jonno Lightstone

(clarinet, flute), Brian Katz (guitar, piano).

Monarch Tavern

12 Clinton St. 416-531-5833

themonarchtavern.com (full schedule)

April 3 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 30 Lisa Particelli’s Girls’ Night Out East

Jazz Jam.

N’awlins 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 12 Farrucas Latin Duo $39.99 (dinner

included). April 26 Paper Moon $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 Don Vickery (drums) Trio with Mark

Eisenman (piano), Neil Swainson (bass). April

4 In Concert and Conversation with Gene

DiNovi. April 6 Edmonton’s PJ Perry (sax) Trio

with Reg Schwager (guitar), Neil Swainson

(bass). April 7 Canadian Jazz Quartet: Frank

Wright (vibes), Ted Quinlan (guitar), Pat Collins

(bass), Don Vickery (drums), feat. John

MacMurchy (sax). April 8 Brian Blain (guitar,

voice) Blues Campfire with Bill King (piano),

Manitoba Hal (ukulele). April 13 Bruce Cassidy

(trumpet, flugelhorn, EVI) Trio with Tom

Szczesniak (piano, bass), Reg Schwager (guitar,

bass). April 15 Lenny Solomon (violin) Trio

with Reg Schwager (guitar), Shelly Berger

(bass). April 20 Ron Westray (trombone, flugelbone)

Trio with Chris Banks (bass), Daniel

Barnes (drums). April 21 Sharon Smith

(voice) Trio with Jordan Klapman (piano),

Shelley Miller (bass). April 22 Gord Sheard’s

(piano, accordion) ‘Sinal Aberto’ Quartet

D. In the Clubs (Mostly Jazz)

with Luanda Jones (voice), George Koller

(bass), Mark Kelso (drums). April 27 Anthony

Panacci (piano) Trio with Will Jarvis (bass)

Mark Kelso (drums). April 28 Brian Barlow

(drums) Trio with Robi Botos (piano), Scott

Alexander (bass). April 29 Wendy Lands

(voice) Quartet with Steve Hunter (piano),

Russ Boswell (bass), Jim Gillard (drums).

Only Café, The

972 Danforth Ave. 416-463-7843

theonlycafe.com (full schedule)

All shows: 8pm unless otherwise indicated.

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 1 Gene Smith (trombone) Quartet

with Lorne Lofsky (guitar), Barry Romberg

(drums), Jon Maharaj (bass). April 8 Bernie

Senensky Quartet. April 15 Steve Amirault

(piano) Quartet with Mike Murley (sax), Pat

Collins (bass), Ethan Ardelli (drums). April

22 Daniel Barnes (drums) Quartet with William

Sperandei (trumpet), Ewen Farncombe

(piano), Paul Novotny (bass).

Poetry Jazz Café

224 Augusta Ave. 416-599-5299

poetryjazzcafe.com (full schedule)

April 11 7pm Ori Dagan feat. Alex Pangman

$20. April 18 7pm Kensington Market Jazz

Festival Surprise Event $20. April 25 7pm

Billy Newton-Davis $20.

Reposado Bar & Lounge

136 Ossington Ave. 416-532-6474

reposadobar.com (full schedule)

Every Wed Spy vs. Sly vs. Spy. Every Thu,

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: 9:45pm

Every Tue, Sat Tyler Yarema and his Rhythm.

Every Wed The Digs. Every Thu Stacey

Kaniuk, Mary McKay. 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.

Featuring some of Toronto’s best jazz musicians

with a brief reflection by Jazz Vespers Clergy

Sunday, April 9 at 4:30 pm

MIKE MURLEY DUO

Mike Murley, saxophone & Reg Schwager, guitar

Sunday, April 23 at 4:30 pm

AMANDA TOSOFF 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.

April 1 12pm The Sinners Choir; 3:30pm

George Lake Big Band; 7pm Teri Parker Quartet;

9:45pm Gene Smith Quintet. April 2 12pm

Excelsior Dixieland Jazz Band; 3:30pm R.C.M.

Student Recitals; 7pm Autobahn; 9:30pm

Jonno Lightstone’s Klezmology. April 3

6:30pm University of Toronto Student Jazz

Ensembles; 9:30pm Brooklyn/Texas’ Ghost

Note. April 4 6:30pm TBA; 9:30pm Brooklyn/Texas’

Ghost Note. April 5 6:30pm Justin

Gray Trio; 9:30pm New York’s Le Boeuf

Brothers. April 6 6:30pm The A/C Unit;

9:30pm New York’s Le Boeuf Brothers. April

7 4pm Hogtown Syncopators; 6:30pm Bugaloo

Squad; 9:45pm Louis Simao Group. April

8 12pm The Sinners Choir; 3:30pm Paul Reddick;

7pm Parker Abbott Trio; 9:45pm Dave

Young Quintet. April 9 12pm Hart House Student

Jazz; 3:30pm Red Hot Ramble; 7pm Autobahn;

9:30pm Harrison Argatoff. April 10

6:30pm University of Toronto Student Jazz

Ensembles; 9:30pm Humber College Student

Jazz Ensembles. April 11 6:30pm Kalya

Ramu Quintet; 9:30pm Classic Rex Jazz Jam.

April 12 6:30pm Justin Gray Trio; 9:30pm

New York’s Matt Marantz & Trio De Janeiro.

April 13 6:30pm The A/C Unit; 9:30pm Paul

DeLong’s Bucket of Fish Orchestra. April 14

4pm Hogtown Syncopators; 6:30pm Bugaloo

Squad; 9:45pm N.Y.’s Avi Granite Six. April 15

12pm The Sinners Choir; 3:30pm Advocats Big

Band; 7pm Teri Parker Quartet; 9:45pm New

York’s Noah Preminger Quartet. April 16 12pm

Excelsior Dixieland Jazz Band; 3:30pm Mr.

Rick’s Tin Pan Alley; 7pm Autobahn; 9:45pm

New York’s Noah Preminger Quartet. April 17

6:30pm Peter Hill Quintet; 9:30pm Mike Malone

& The Writers Jazz Orchestra. April 18

6:30pm Kalya Ramu Quintet; 9:30pm Classic

Rex Jazz Jam hosted by Chris Gale. April 19

6:30pm Justin Gray Trio; 9:30pm Jesse Malone

Quintet. April 20 6:30pm The A/C Unit;

9:45pm Boston’s Carlos Averhoff Jr. Quintet.

April 21 4pm Hogtown Syncopators;

6:30pm Bugaloo Squad; 9:45pm Boston’s Carlos

Averhoff Jr. Quintet. April 22 12pm The Sinners

Choir; 3:30pm Laura Hubert Band; 7pm

Parker Abbott Trio; 9:45pm Jake Chisholm.

April 23 12pm Excelsior Dixieland Jazz Band;

3:30pm Dr. Nick; 7pm Autobahn; 9:30pm

Barry Romberg Group. April 24 6:30pm Peter

NEW ALBUM OUT 3/3/17

Hill Quintet; 8:30pm John MacLeod’s Rex Hotel

Orchestra. April 25 6:30pm Kalya Ramu Quintet;

9:30pm Classic Rex Jazz Jam hosted by

Chris Gale. April 26 6:30pm Justin Gray Trio;

9:30pm Montreal’s Kite Trio. April 27 6:30pm

The A/C Unit; 9:45pm Montreal’s Dave Turner

Quartet. April 28 4pm Hogtown Syncopators;

6:30pm Bugaloo Squad; 9:45pm Montreal’s

Dave Turner Quartet. April 29 12pm The Sinners

Choir; 3:30pm Chris Hunt Tentet +2; 7pm

Teri & The Dan Dann’s; 9:45pm Steve Koven’s

Project Rex. April 30 12pm Excelsior Dixieland

Jazz Band; 3:30pm Freeway Dixieland; 7pm

Autobahn; 9:30pm San Francisco’s Darren

Johnston Quintet.

Salty Dog Bar & Grill, The

1980 Queen St. E. 416-849-5064

thesaltydog.ca (full schedule)

Every Tue, Wed Jazz Night.

Sauce on the Danforth

1376 Danforth Ave. 647-748-1376

sauceondanforth.com

All shows: No cover.

April 1 Ike Cedar and the Day Drinkers. April

8 Matt Morgan. April 15 The Wanted. April

22 Howard Willett. April 29 Melanie Peterson.

Seven44

(Formerly Chick n’ Deli/The People’s Chicken)

744 Mount Pleasant Rd. 416-489-7931

seven44.com (full schedule)

All shows: 7:30pm

Every Mon Big Band night.

Tranzac

292 Brunswick Ave. 416-923-8137

tranzac.org

3-4 shows daily, various styles. Mostly PWYC.

Every Mon 10pm Open Mic Mondays. Every

Fri 5pm The Friends of Hugh Oliver (folk).

April 2, 16 5pm Monk’s Music. April 4 10pm

Peripheral Vision. April 11 10pm Michael

Davidson. April 16 7:30pm Diane Roblin. April

18 10pm Ken McDonald. April 25 10pm Nick

Fraser Presents. April 28 10pm Ryan Driver.

JUDITH OWEN

Featuring

Legendary LELAND SKLAR (Bass)

PEDRO SEGUNDO (PERCUSSION)

GABRIELLA SWALLOW (CELLO)

LIZZIE BALL (VIOLIN)

GALLERY 345

345 SORAUREN AVE #3, TORONTO, ON

APRIL 2ND

4PM | SHOW

SOMEBODY’S CHILD

debuted in Toronto on

JUDITHOWEN.NET

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56 | April 1, 2017 - May 7, 2017 thewholenote.com


Lectures, Salons, Symposia

●●Apr 9 2:00: Classical Music Club of

Toronto. Mozart Mass in C Minor. A selection

of recordings (audio and video) relative

to one of the great masterpieces of the choral

repertoire. For information and location contact

John Sharpe 416-898-2549. $25 (annual

membership fee); no charge for first-time

visitors. Nominal donation accepted to cover

cost of refreshments.

●●Apr 12 7:00: North York Central Library.

Opera and Revolution: Rebel without a

Chance: How Does Louis Riel Draw the Line

between Hero and Anti-hero? Audio-visual

presentation by Opera Canada editor Wayne

Gooding. Harry Somers’ Louis Riel follows

seminal political upheavals in Canadian history

immediately after confederation in 1867; these

events helped build the young country but

also led to the execution of its titular hero. Don

Mills Library, 888 Lawrence Ave. E. To register:

416-395-5710. Free.

●●Apr 21 9:00am-7:30pm: 35th Annual Canadian

Music Week. Music Cities Summit:

The Mastering of a Music City. Exploring

the relationship between creative city

planning and the role music plays in quality-of-life

for city residents, with speakers

from municipal governments and music

industries from around the world including

Toronto, Nashville, Milan, Bogota, Detroit,

Brooklyn and beyond. Sheraton Centre,

123 Queen St. W. To register: musiccitiessummit.com/register/

cmw.net/conferences/

music-summit/3-day-music-summit

●●Apr 21 9:00am-6:00: University of Toronto

Faculty of Music / Munk School of Global

Affairs. Hearing Riel. Major interdisciplinary

symposium investigating the fraught historical

subject matter contained in Harry

Somers’ opera Louis Riel and its political implications

for today. Speakers include Chief Justice

Beverley McLachlin, author John Ralston

Saul, Justice Minister Jody Wilson-Raybould,

Canadian Opera Company Director Peter Hinton,

Métis scholar Adam Gaudry and Indigenous

rights lawyer Jean Teillet, great-grand

niece of Riel. Innis College Town Hall, 2 Sussex

Ave. Free tickets may be reserved in advance,

beginning April 4, by visiting coc.ca/HearingRiel

or by calling the COC Box Office at 416-

363-8231. Limit of one ticket per person.

●●Apr 22 10:30am-12:00 noon: Guitar Society

of Toronto. Toronto Guitar Weekend:

Train like an athlete – Mental and physical

strategies from athletics, adapted for musicians.

Lecture by Brent Crawford, DMA Candidate,

U of Toronto. Church of St. Peter and

St. Simon-the-Apostle, 525 Bloor St. E. 416-

964-8298; http://guitarsocietyoftoronto.

com/concert-season/#weekend $15 or allevent

registration $135.

●●Apr 22 1:30-3:00: Guitar Society of

Toronto. Toronto Guitar Weekend: The Art of

Takemitsu: Examining his Guitar Music and

the Connection to the Visual Art of Klee and

Miro. Lecture by Shawn Pickup, DMA Candidate,

U of Toronto. Church of St. Peter and St.

Simon-the-Apostle, 525 Bloor St. E. 416-964-

8298; http://guitarsocietyoftoronto.com/

concert-season/#weekend $15 or all-event

registration $135.

●●Apr 25 6:00: The Music Gallery / Revolutions

Per Minute. What Sovereignty Sounds

Like: Towards a New Music In Indigenous

E. The ETCeteras

Tkaronto. A forum for Tkaronto’s Indigenous

musical artists to share their perspective

on the sounds of sovereignty and emerging

musical communities in Canada’s cultural capital.

Moderated by classically trained Wolastoq

First Nation vocal artist, Jeremy Dutcher; featuring

emerging Anishinaabe electronic artist

and Tkaronto resident, Ziibiwan. The Music

Gallery, 197 John St. 416-204-1080. Free.

Masterclasses

●●Apr 08 1:00: Tafelmusik. Guest Artist

Masterclass with oboist Alfredo Bernardini.

Working with emerging artists on baroque

flute, oboe and bassoon. Open to the public.

Jeanne Lamon Hall, Trinity-St. Paul’s Centre,

427 Bloor St. W. 416-964-9562 x235. Free

(donations appreciated).

●●Apr 23 1:00-4:00: Guitar Society of

Toronto. Toronto Guitar Weekend: Master

Class with The Eden Stell Duo. Church of St.

Peter and St. Simon-the-Apostle, 525 Bloor

St. E. 416-964-8298; guitarsocietyoftoronto.

com/concert-season/#weekend $15 or allevent

registration $135.

Open Houses

●●Apr 01 10:00am: Canadian Children’s Opera

Company. Open House. First Unitarian Congregation

of Ontario, Sunderland Hall, 175 St.

Clair Ave. W. 416-366-0467. Free.

Singalongs, Circles

●●Apr 01 7:00: Toronto Gilbert and Sullivan

Society. Join us for a fun evening of music and

song. St. Andrew’s United Church, 117 Bloor St.

E. 416-763-0832. $5 (non-members).

●●Apr 07 5:30: Rusty Musicians. Baroque

Jam. For all woodwinds, strings and keyboard

to meet and play together. St. Michael’s

and All Angels, 611 St. Clair Ave. W. 647-303-

2199. Free.

●●Apr 19 7:30: Toronto Shape Note Singing

Community. Monthly Sacred Harp Singing.

Everyone is welcome, no experience necessary.

There are songbooks to borrow. Music

room, Bloor Street United Church, 300 Bloor

St. W. 647-838-8764. PWYC donation. 7:00:

Short introductory workshop.

Tours

●●Apr 02 10:30am: Canadian Opera Company.

90-Minute Tour of the Four Seasons

Centre. Led by a trained docent; includes

information and access to the Isadore and

Rosalie Sharp City Room, the Richard Bradshaw

Amphitheatre and R. Fraser Elliott Hall,

as well as backstage areas like wig rooms

and dressing rooms, the orchestra pit, and

other spaces that only a stage door pass could

unlock. Four Seasons Centre for the Performing

Arts, 145 Queen St. W. 416-363-8231;

coc.ca $20 (adults); $15 (sr/st). Also Apr 09,

23, 30, May 07.

●●Apr 09 10:30am: Canadian Opera Company.

90-Minute Tour of the Four Seasons Centre.

See Apr 02 listing. Also Apr 23, 30, May 07.

●●Apr 23 10:30am: Canadian Opera Company.

90-Minute Tour of the Four Seasons Centre.

See Apr 02 listing. Also Apr 09, 30, May 07.

●●Apr 30 10:30am: Canadian Opera Company.

90-Minute Tour of the Four Seasons Centre.

See Apr 02 listing. Also Apr 09, 23, May 07.

●●May 07 10:30am: Canadian Opera Company.

90-Minute Tour of the Four Seasons

Centre. See Apr 02 listing. Also Apr 09, 23, 30.

Workshops

●●Apr 02 1:30-4:00: Toronto Early Music

Players Organization. Workshop coached by

recorder player Matthias Maute. Bring your

early instruments and a music stand. Armour

Heights Community Centre, 2140 Avenue Rd.

416-779-5750. $20.

●●Apr 08 10:30am-1:00: Toronto Mendelssohn

Choir. Singsation Saturday. Sing gospel

music under the direction of Karen Burke, cofounder

of the Toronto Mass Choir and associate

professor of gospel choir and jazz vocals

at York U. Yorkminster Park Baptist Church,

Cameron Hall, 1585 Yonge St. 416-598-0422;

tmchoir.org $10 (includes refreshments).

Register at the door.

●●Apr 13 5:00-9:30pm: Canadian Opera

Company. Youth Opera Lab. Workshop

exploring the traditional music of the Métis

people. Led by musician and educator Conlin

Delbaere-Sawchuk of the Métis Fiddler

Quartet. For teens and young adults ages

16-24; includes the opportunity to observe an

on-stage rehearsal of the COC’s production of

Somers› Louis Riel. Four Seasons Centre for

the Performing Arts, 145 Queen St. W. Free;

advance application is required at coc.ca/YOL

to secure one of the 25 spots available.

●●Apr 21 7:30: Toronto 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;

torecorder.wordpress.com/ $15 (non-members).

Refreshments.

JOIN THE CHORUS!

Celebrating 40 years as Toronto’s Voice of Excellence

Learn

sight-singing,

ear-training and

theory

●●Apr 23 2:00: CAMMAC Toronto Region.

Reading for singers and instrumentalists

of Berlioz’s Te Deum. Ori Siegel, conductor.

Christ Church Deer Park, 1570 Yonge St. 416-

386-0258. $10; $6(members).

●●Apr 23 2:30: Southern Ontario Chapter of

the Hymn Society. Exploring Sacred Song

in Canada from over 150 Years with Margaret

Leask. We will sing songs from pre-

Confederation to Canadian congregational

songs of our time. Islington United Church,

25 Burnhamthorpe Rd. 416-694-6436. Free

admission.

Perform at

world-renowned

venues

Make life-long

friends

Children between the ages of 6 and 16 are invited to

audition for placement into the appropriate choir based on

age and skill level.

Auditions dates:

SATURDAY, MAY 13 SATURDAY, MAY 27

Register: torontochildrenschorus.com/join-us/

thewholenote.com April 1, 2017 - May 7, 2017 | 57


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

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issue. INQUIRE BY April 22 for the MAY

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AUDITIONS & OPPORTUNITIES

BAND TEACHER POSITION WITH NEW

HORIZONS BAND OF TORONTO FOR 2017-18

SEASON. Experience teaching high school

or adult concert band program a must.

Openings for day or evening band classes

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See www.NewHorizonsBandToronto.ca for

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Send CV and cover letter to

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COUNTERPOINT COMMUNITY ORCHESTRA

– now in our 33rd season. We invite volunteer

1st & 2nd violinists and other musicians in all

sections including percussionists to play with

us. Monday evening rehearsals. Next concert

upcoming: June 10th. Contact

info@ccorchestra.org. www.ccorchestra.org

NEW MUSIC DIRECTOR NEEDED: THE

CELTIC FIDDLE ORCHESTRA OF SOUTHERN

ONTARIO performs Celtic music - airs,

marches, strathspeys, reels and jigs -

arranged for strings and flute. Rehearsals

2x/mo, Sept–May (Oakville). Performances

2-4x/yr. If you have conducting skills and

interest in music of this style please contact

Duncan Fraser at cfoso.exec@gmail.com or

226-929-5759

PLAYERS NEEDED for children’s concert

band program children at St. Albans Boys

and Girls Club. Please contact Michelle Clarke

416-534-8461.

stalbansclub.ca/st-albans-band

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PLAYERS NEEDED FOR THE SCARBOROUGH

CONCERT BAND! Special need for clarinet,

bari sax, trumpet, and percussion.

Rehearsals Wednesdays at Winston Churchill

Collegiate (Lawrence and Kennedy) 7:15-9:30.

Email christopherzamrykutscb@gmail.com

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

WELL ESTABLISHED MISSISSAUGA BASED

CONCERT BAND looking for volunteer

musicians. Varied repertoire, friendly people,

great practice facility. If interested, call

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INSTRUCTION & COURSES

CLARINET, SAXOPHONE, FLUTE,

RECORDER, TRUMPET, TROMBONE, PIANO

LESSONS. PhD in music from UofT, 28 years

of experience. Leo 416-879-9679;

yanalo1@yahoo.com

DOUBLE BASS INSTRUCTION, beginner and

intermediate. I will help you establish a good

technical foundation and take your playing to

a higher level. Also ear training, theory and

harmony.

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.

I TEACH TO PLAY BY EAR anything you like!

Children play piano after very first lesson!

416-831-8131. www.music4youand4me.ca

doremilounge@gmail.com

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LESSONS FOR ALL! Friendly and firm -

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PIANO LESSONS IN YOUR HOME from

award-winning European pianist. Beginners

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PIANO, VOCAL and THEORY LESSONS,

MUSIC THERAPY SERVICES and ADAPTED

LESSONS at Larissa’s Music & Music Therapy

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416-574-0018

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FOR SALE / WANTED

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CLASSICAL RECORD AND CD COLLECTIONS

WANTED. Minimum 350 units. Call, text or

e-mail Aaron 416-471-8169 or A@A31.CA.

TRUMPET Bach Stradivarius model 37 (never

used); SAXOPHONE Bundy Selmer alto;

BASSOON Linton; TUBA Besson ¾ size, in

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We buy basses and take trade-ins

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SERVICES

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for small business and individuals, to save

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your needs. Norm Pulker, B. Math. CMA.

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CD LINER NOTES, PROMO MATERIAL,

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CONTENT AND MEMOIRS need proofreading

and editing for correct spelling and grammar,

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58 | April 1, 2017 - May 7, 2017 thewholenote.com


MUSIC AND HEALTH

How Music Matters

VIVIEN FELLEGI

It’s Glee Club choir day at

Toronto’s Baycrest Hospital.

The grey-haired seniors, all

diagnosed with dementia, are

seated in a semi-circle in a room

with colourful paintings and a big

welcome sign. Most of them sit

sedately. Some stare into space.

Dr. Amy Clements-Cortes,

music therapist and assistant

professor, University of Toronto,

strides into the room and begins

singing to the accompaniment of

the keyboard.

Several clients join in and the

group begins to awaken. Some

tap their toes. Others clap their

hands. A few bob their heads.

Their eyes brighten as they focus

on their conductor. Some don’t

sing, but smile quietly. One man sits open-mouthed and lethargic for

a while, but eventually grabs the hand of the staff person sitting next

to him and pumps it up and down to the beat.

Clements-Cortes beams at the group. “You’re sounding

nice,” she says.

Though she’s impressed with the quality of the singing, she’s also

pleased by the ability of the music to temporarily revive her clients,

many of whom suffer from Alzheimer’s.

Baycrest clients share the condition with about 376,000 Canadians,

according to the Alzheimer Society of Canada. The disorder is

projected to afflict 625,000 lives by 2032.

The disease is caused by abnormal protein clusters that build up in

the brain and clog the connections between individual nerve cells,

says Lee Bartel, professor of music at the University of Toronto. Over

time the presence of these gummy blobs disrupt the circuits in the

brain, barring structures from communicating.

Loss of memory is the hallmark of Alzheimer’s disease.

Autobiographical memory, the recall of life events, is one type of recollection

degraded by the disorder, says Ashley Vanstone, PhD candidate

in clinical psychology at Queen’s. When patients forget pivotal

moments in their lives, they lose pieces of themselves and their very

sense of identity is shattered. “You see people slipping away from who

they are.”

In a Toronto nursing home, the Villa Colombo, resident Maria

Mirabelli sits motionless in her wheelchair. Her eyes are glassy, and

she’s chewing on air.

The sentimental Italian song, Mama, comes over the speakers, and

Mirabelli focuses, smiling softly and clapping. She starts mouthing the

words to the song.

Her son John Mirabelli has seen this transformation before, but

never fails to be astonished. “It’s incredible – she doesn’t even know

my name,” he says.

The music is also inspiring flashbacks from her past, says activity

aide Teresa Cribari. It returns her to the days when she cooked in her

kitchen on Sundays while listening to the radio. “I think the music

soothes her,” says her son. “It’s great to see her like that.”

Music has the uncanny ability to momentarily reanimate clients by

activating their fraying memories, says Vanstone. One famous case

involved EN, an Alzheimer patient who spoke in garbled sentences but

still recognized familiar songs. Researchers concluded that memory

for speech and for music resided in different locations in the brain,

and the latter was relatively spared even in advanced dementia.

Scientists have since pointed out several mechanisms accounting

for the doggedness of musical

memory. To pull a tune out of

storage you first need to make

sense of it, says Vanstone.

Compared to speech, music

lends itself well to this task, as

the grammar of music is internalized

early in life. And, unlike

in speech, the components of

music are replicated – the melody

is reinforced by accompanying

chords, which are connected to

regular rhythms. That means

we’re not dependent on any one

conveyor of musical meaning. “If

your ability to perceive one mode

is shaky, you’ve got lots of others.”

Not only can Alzheimer’s

patients often recall melodies,

they can also remember their

lyrics long after they’ve forgotten where they live. The close association

between the brain pathways for melody and lyrics accounts for

this surprising feat, says Vanstone. “Melody and lyrics are like two

parallel tracks joined by rungs – like a ladder. So the memory for

melody can support the memory for lyrics.”

But music’s best stunt is its capacity to rekindle the milestones of

our lives. These autobiographical memories include landmarks such

as graduations and weddings, and are rich in sentiment. Music relies

on these emotions to resurrect the recollections, says Vanstone. “Music

is very good at conveying feelings – it builds up and lets go, giving

a sense of tension and release,” he says. This ability to tap into our

deepest passions helps us to draw out the experience that was laid

down with the same fervent backdrop.

Music can also aid in recovering memories through its impact

on our body’s physiology, says Ryerson PhD candidate Katlyn Peck.

Music can stimulate areas of the brain responsible for releasing the

chemical dopamine, which helps reconstruct memories. Retrieving

a remembrance requires the brain to function at an optimal level of

arousal – neither over-stimulated nor under-activated. Music can

soothe anxious patients or activate depressed ones, creating the ideal

environment for reminiscence.

While memory loss is hard enough for sufferers of Alzheimer’s, this

problem can be compounded by depression. In the initial stages of the

disease, clients are aware of their declining function. “They become

frustrated with themselves when they recognize their problems,” says

Clements-Cortes.

Fortunately, attending live concerts can partially reverse this

complication, says Michael Thaut, professor of music at the University

of Toronto. He led a study in which patients with Alzheimer’s attended

nine monthly concerts along with their significant others. He noted

striking changes in their moods over the course of the study. “They

went from being frozen and inaccessible to smiling and singing along

with the music.”

Back at Baycrest, one man with piercing emerald eyes and matching

green pants becomes increasingly animated as the hour progresses.

He acts out the songs with dramatic facial expressions and theatrical

gestures. His baritone voice belts out Love Me Tender, as he gazes

wistfully at Clements-Cortes and points his index finger right at her.

“I enjoy expressing myself,” he says. “Today I was expressing love – I

can feel what the songs were saying.”

Music bolsters the mood many different ways, says Clements-

Cortes. For starters, it provides an alternative method of communication

when words have become compromised. As well, music stirs

JUSTINE DUDZIAK

thewholenote.com April 1, 2017 - May 7, 2017 | 59


Amy

Clements-Cortes

the production

of endorphins.

“These are

the chemicals

causing the pleasurable

runner’s

high,” she says.

Rapid music

also ratchets up

arousal, ramping

up breathing and

heart rate.

Music also gives

us a high akin

to the glow of

good sex or the lure of gambling. MRI scans have shown that listening

to music engages the reward centre of the brain and triggers the

discharge of the feel-good chemical, dopamine, says Thaut.

Tunes also counteract the immobility of depression. When people

listen to music, the part of the brain responsible for movement

becomes activated. Even if they continue sitting, their minds are in

flight, says Thaut.

Anxiety is another common consequence of Alzheimer’s, says

Thaut. As the disease progresses, patients no longer recognize their

surroundings, their loved ones, or even their own memories. These

deficits leave them feeling disoriented and can lead to agitation –

yelling, resisting a bath, or even hitting loved ones.

Gina Scenna wanders up and down the hallways of Villa Colombo.

She appears angry and confused. “She’s trying to look for something

but she can’t find it,” says behaviour specialist Anna Abrantes.

Abrantes puts on her iPod filled with her favourite Italian songs.

Scenna’s expression softens. She grabs Abrantes’ hands and starts

dancing, bopping up and down in time to the music. When she tires,

she sits down calmly, eyes closed, rapt in reverie.

Inspired by the movie Alive Inside, about the benefits of music on

dementia, the Alzheimer Society of Toronto supplies free iPods, loaded

with individualized music, to clients with dementia.

Our bodies are soothed by music, says Clements-Cortes. We

produce oxytocin when we hear pleasant songs. This substance,

known as the “the cuddle hormone,” is normally released in the presence

of our lovers. “It gives us a feeling of contentment.” Listening

to familiar tunes is also comforting and dials down our stress

hormone, cortisol.

Music can be particularly reassuring to agitated Alzheimer’s

patients, says Thaut. Its ability to stir memories back to life reduces

clients’ disorientation. “If a person feels more anchored to themselves

and to their environments, that makes them more secure.”

Music benefits the caregivers too, says Vanstone. “It’s tremendously

rewarding to see their loved ones spark up a little bit.” As well, significant

others don’t need to fear the side effects, including falls, which

are an inevitable consequence of antipsychotics used to treat agitation.

The choir sings its final song, Shalom Aleichem (Hebrew for “Peace

be upon you”). As the last harmonies soar to the ceiling, Clements-

Cortes claps her hands. “Great job, excellent,” she says.

She is thrilled with the way music has temporarily turned back the

clock on the singers’ lives. “Using music someone enjoys and has a

connection to helps to revive their personality,” she says. “It’s like their

old self is back for a little bit.”

The man in the green pants walks up to her at the end of the practice.

He probably can’t articulate why he feels so stoked after an hour

of singing. But he knows one thing. “I love you a bushel and a peck,”

he tells his choir leader, referring to the lyrics of one of the golden

oldies. Clements-Cortes is moved. “I’m honoured to work as a music

therapist. I love seeing the benefits of music in their lives,” she says.

To obtain an iPod for your loved one, see alz.to/get-help/

music-project.

Vivien Fellegi is a former family physician now

working as a freelance medical journalist.

WE ARE ALL MUSIC’S CHILDREN

April’s Child

John Beckwith

MJ BUELL

For about 40 years John Beckwith has lived with his life-partner, Kathleen

McMorrow – more than 30 of those years in an Annex semi they love. Beyond

his musical career his strong interests include cycle-touring and Scottish

country dancing. As a contribution to environmental preservation he collects

elastic bands which he donates to a local supermarket.

April’s child was in fact born in March, in 1927. There is

something nearly poetic that his 90th birthday is the same year

as Canada’s 150th.

“What I would love to see in Canadian music and probably never

will, but still hope, is that there would be pieces from the Canadian

repertoire that Canadians would feel they possessed, the way

they possess the novels of Margaret Laurence or the paintings of

AY Jackson.”

– John Beckwith, the self-described “optimistic pessimist” in

conversation with Eitan Cornfield – Canadian Composers Portrait:

John Beckwith.

Composer, writer, pianist, teacher, administrator, cyclist and

consummate Canadian, John Beckwith was born and grew up in

Victoria, BC. His father, whose family settled in Nova Scotia in the

1760s, was a lawyer and his mother was a teacher and a school trustee.

Beckwith first came to Toronto at the age of 17 on a piano scholarship,

60 | April 1, 2017 - May 7, 2017 thewholenote.com


to study with Alberto Guerrero.

An alumnus of the University of Toronto Faculty

of Music and an instructor there, he was dean

from 1970 to 1977, and founder of the U of T

Institute for Canadian Music. At a time when the

“serious” music in our relatively young country

was largely Eurocentric and classical, Beckwith’s

composition students were encouraged to additionally

explore all the music of North America –

aboriginal music and folksongs, hymns and jazz.

Beckwith’s own oeuvre includes opera and lyric

theatre, orchestral and chamber music, choral

works and many songs for solo voice. These reflect

collaborations too numerous to list – but particularly

notable among these is his longtime association

with the poet and playwright James Reaney.

A former reviewer for the Toronto Star and a CBC

scriptwriter and programmer in the 1950s and

1960s, Beckwith has written many articles and

books on musical topics. In 1987 he was made a

Member of the Order of Canada.

Unheard Of: Memoirs of a Canadian Composer

(Wilfrid Laurier University Press, 2012) is

Beckwith in his own candid, lively and humourful

words: detail-rich reading for anyone interested

not only in its writer but also in the Canadian

music scene of his lifetime. Eitan Cornfield’s documentary Canadian

Composer Portraits: John Beckwith (Centrediscs) features Beckwith

himself, but also reflects the colourful fabric of his world, including

contributions from family, friends and associates.

Suppose a friendly fellow traveller asks what you do for a living?

When people asked Violet Archer what she did, she would say she

wrote music, and the next question always was, “Yes, but I mean what

is your occupation?” When Harry Somers told friendly fellow travellers

he wrote music, they always asked “What kind?” to which

his reply was “Unpopular music.” Would I reply with one of those

composer sarcasms? Yes, probably.

Tell us about that childhood photo. I think it depicts my first bike,

but that seems unlikely: the first real bike, maybe. The background is a

new home my family moved into in the spring of 1936, which means I

had just turned nine.

Your absolute earliest memory of music? Absolute? I wish I could

make an interesting answer, but I can’t. I’ve read about “earliest

specific memories of music” and once composed a work for children’s

CONGRATULATIONS TO OUR WINNERS!

“At the Toronto performance of

Wendake/Huronia in early February I

was presented with this bolo by our two

First Nations drummers, Shirley Hay and

Marilyn George. It was a pleasure

working with them and I was very

touched to receive this gift.”

voices trying to depict the evolution of musical

awareness – it’s called Basic Music. My very

early memories (from age five or so): playing in

a rhythm band in our living room, organized as

a neighbourhood project by my mother; singing

and dancing with my young sister to the accompaniment

of a wind-up Edison phonograph. The

half-inch-thick discs included things like the

Coronation March from Le prophète (Meyerbeer)

and The Whistler and His Dog.

Musicians in your family? Both my parents

sang, played the piano and were active in musical

organizations; all my children are musical, two

of them professionally. Two of my granddaughters

are outstandingly musical but it’s early to say

whether they will pursue musical careers.

Where did hearing music fit into your life as a

child? I listened to radio constantly and uncritically

but came to enjoy specially the orchestral

concerts of Toscanini and others, and the

Saturday broadcasts from the Met Opera. Thanks

to my parents, I attended many live concerts and

as a child heard many renowned performers –

Rubinstein, Elman, Marian Anderson; astonishing

to think that Victoria hosted so many in those rich

touring years. I took piano lessons from age six,

and sang in a church choir from ages 8 to 13; there was not much of a

regular music program at school.

What experiences helped to form your appetite for staged works? I

was active in theatre and as a teenager won a scholarship to a summer

acting course at the Banff School of Fine Arts. One of the teachers said

I was talented and could have a career in professional theatre. I also

acted in Toronto during student years and came to know a number

of theatre personalities of my generation. This background, yes, was

influential for the various stage projects I later worked on.

When and how did composing become part of the picture? It just

seemed more and more important starting when I was about eight

and increasing gradually through my teens.

Did you ever think you would do something else? You must

be kidding.…

Please read John Beckwith’s entire interview at thewholenote.com

A new Music’s Children contest will appear

next month in our May edition.

UPCOMING

“On April 28 New Music Concerts is presenting a concert at Trinity-St Paul’s, for which I was invited to curate the program, including some of my

own music. The list includes works by Stravinsky and Weinzweig (two strong influences on me in early composing days), and three works by me,

two of which are quite recent (2015, 2016) and have not been played before.” JB

In conjunction with this sesquicentennial year New Music Concerts honours the extraordinary life and work of one of Canada’s

most distinguished living composers, a man who has lived through the triumphs and tribulations of fully three-fifths of this nation’s

history. On April 28 “Celebrating John Beckwith” will feature tenor Benjamin Butterfield, pianist William Aide, the Accordes Quartet,

and the NMC Ensemble, directed by Robert Aitken.

A pair of tickets each is waiting for MICHAEL HINGERT and CHRISTINA NGUYEN.

Avowals [CMCCD 12907] This recording for solo voices and piano includes Beckwith songs drawing on the poetry of e.e.

cummings and Canadian writers Margaret Laurence, bpNichol and Miriam Waddington, also some wonderful arrangements

of traditional Canadian songs, performed by sopranos Teri Dunn and Kathryn Domoney, baritone Doug MacNaughton, tenor

Benjamin Butterfield, with William Aide (piano, celeste and harpsichord). Butterfield and Aide will reprise Avowals at NMC’s April

28 concert.

This recording is awarded to SUSAN BARAK, and to FRANCES GILES.

Canadian Composer Portraits: John Beckwith [CMCCD 9103] This recording is

part of Centrediscs’ series Canadian Composers Portraits which features full-length

documentaries about composers’ lives and music, and a selection of their most important

works. CD 1 is a Beckwith documentary by Eitan Cornfield. CD 2 includes Beckwith’s

The Trumpets of Summer (text by Margaret Atwood), Taking a Stand, Synthetic Trios

and Stacey (text by Margaret Laurence) all performed by an illustrious list of individual

Canadian performers and ensembles.

This recording is awarded to DEBORAH DAVIS and to JOAN McGORMAN.

thewholenote.com April 1, 2017 - May 7, 2017 | 61


DISCOVERIES | RECORDINGS REVIEWED

DAVID OLDS

Composers In My Lens/

Compositeurs dans mon

objectif (Canadian Music

Centre ISBN 978-1-77136-056-2)

presents a photographic journey

through the world of Canadian

music as documented by André

Leduc over the past three decades.

I might be considered too close

to the subject to write about this

book, but on the other hand that is

exactly why I need to tell the story.

I first met my good friend André in

1986 at an Esprit Orchestra concert

at Jane Mallett Theatre. One of the

most outgoing people I have ever

encountered, he just wandered

up and started talking about the

concert, the music, life and himself.

At that point I had been producing

and hosting Transfigured Night at

CKLN-FM, a program focusing on contemporary music, for a couple of

years and it was a treat to meet someone who shared my love of that

esoteric medium. We became fast friends and for the next five years

while the show ran its course, he was my number one fan. So there is

my full disclosure/due diligence done.

A commercial photographer by trade, André is also a hobbyist with

a passion for taking portraits and, more to the point, action shots of

the composers whose music, he says, changed his life. With no formal

training in music he simply follows his ears. For years he has told me

that I was his inspiration but, as we have delved back into the depths

of memory, it seems his road to Damascus moment actually predated

our meeting by quite some time. While listening to Radio Canada

one day he heard a piece by François Dompierre that struck him like

a bolt of lightning and he was amazed to learn that it was written

by a Canadian composer and, not only that, by someone who was

still alive! Thus began his love of contemporary music and lifelong

quest of “stalking the wild composer” in his lair, which proves what

I’ve told him time and time again: “It’s not MY fault!” Although I do

admit to being his fellow traveller over the past three decades, introducing

him to composers featured on my radio program and later

bringing him on as the photographer for New Music Concerts when I

started there in 1999. But even there André had made his own inroads

and had taken photographs for NMC for several years until a change

of administration had brought that to an end long before my tenure.

We also took road trips together, to Montreal, on one occasion for the

founding of the Canadian Electroacoustic Community where we met

a number of composers that are featured in the book – notably Francis

Dhomont and Robert Normandeau – and another time to meet with

Jean Papineau-Couture, and to Ottawa where we spent an enchanting

afternoon with Violet Archer, but most of our adventures took place

right here in Toronto.

André built a bond with many of the new music societies in town

and the fruits of these relationships are on display in his marvellous

book. The scope of the project spans generations – from composers

born before the First World War: Murray Adaskin, Otto Joachim, John

Weinzweig and Violet Archer; through the 1920s and 1930s: Harry

Freedman, Harry Somers, John Beckwith, Gilles Tremblay, R. Murray

Schafer, Norma Beecroft and Ann Southam; the 1940s and 1950s: John

Rea, Alex Pauk, Alexina Louie, Gary Kulesha and Linda Bouchard; to

those born in the 1960s and 1970s: Omar Daniel, James Rolfe, Allison

Cameron, Chris Paul Harman, Brian

Current and André Ristic – to name

literally just a few. Each composer

is presented in two frames, on

facing pages, some candid and some

obviously posed. Highlights for

me include the iconic shot of Jean

Papineau-Couture seated in front of

an open orchestral score wearing a

cravat and dress jacket adorned with

his Order of Canada pin; Robert

Aitken looking ferocious with his

white mane, flute to his mouth and

wearing the small, thick-framed

glasses that were his trademark for

so many years; Larry Lake lounging,

drink in hand, with a big smile

on his face wearing an embroidered

shirt and swanky cowboy boots; and

Lori Freedman caught in action with

bass clarinet in hand (and mouth)

and contrabass clarinet draped over her shoulder. As the saying goes,

“every picture tells a story” and here we are presented with some

intriguing tales of our musical heritage. The book is available from the

CMC website at musiccentre.ca.

Other than two years of piano lessons begun when I was five which

I was allowed to abandon after kicking and screaming during daily

practise sessions throughout that period, my classical music studies

did not begin until after high school. I mentioned in the last issue that

I attended the somewhat experimental Thornlea Secondary School in

its initial years and the music teacher there, Charles Lapointe, has had

a lasting influence on me. Although we didn’t have any formal classical

music in the curriculum – the school bands were a folk club,

a mariachi band, a rock group and an electronic music studio – we

were exposed to a broad spectrum of music, from Isaac Hayes’ Hot

Buttered Soul to Honegger’s Pacific 231. “Charlie” was a cellist and

in my effort to emulate him in the sabbatical year following graduation

(at least that’s what my mom called it, I thought I was finished

with schooling at that point) I decided to take up that lowest member

of the violin family myself. I did this with cello lessons from Wolfgang

Grunsky and music theory studies through the Royal Conservatory. I

rapidly found that to even partially grasp the basic tenets of composition

I would need to add keyboard to my skill set. I was fortunate that

Thistletown where I grew up was home to a very accomplished piano

teacher, Elska Albarda, who was sympathetic to my desire to ignore

the syllabus and concentrate on Bach and Bartók, whose music had

become central to my development. Incidentally, her husband, retired

architect Jan Albarda, was an amateur harpsichord maker and when

for a term-end recital one of my pieces was a Bach two-part invention

I had the privilege of performing on an “original” instrument. While

I pursued these formal studies for only a couple of years after high

school, I did find myself going back to Mrs. Albarda some years later

for a bit of remedial study. By this time she had relocated to idyllic

Elora for her final decades – her legacy of a 1913 Rosler grand piano

adorns the Elora Centre for the Arts – and I was living for the summer

in a coach house in Guelph from which I commuted by bicycle for

lessons. To my shame I never returned her copy of Arthur Alexander’s

edition of those two-part inventions published by the Associated

Board of the Royal Schools of Music, but every time I see her handwriting

on the cover I have fond memories of our times together.

62 | April 1, 2017 - May 7, 2017 thewholenote.com


L/R

All this is by way of a long-winded introduction

to my first CD selection for the month. At

the time I was working on my RCM Grade 7

piano, my slightly younger brother Kevin,

who was still in high school and had taken

up the French horn, was working on one of

the Mozart concertos and asked me to accompany

him. Although I was simply not up to the

challenge, it was an enlightening introduction

to these great pieces. I remember my brother going to see Barry

Tuckwell performing with the Toronto Symphony and explaining that,

with an instrument comprised of 12 feet of coiled tubing, even the

best horn players never really know for sure what note will come out.

I don’t know if this was a commentary on Tuckwell’s performance or

just a general statement. Be that as it may, if the new recording of the

Mozart Horn Concertos with Les Violons du Roy (ATMA ADC2 2743)

is any indication, Louis-Philippe Marsolais can be fairly confident of

his ability to produce the right notes. Touted as Canada’s most active

horn soloist, Marsolais is a multiple award-winner with an international

solo and chamber career. Since 2009 he has also been principal

horn in Yannick Nézet-Séguin’s Orchestre Metropolitain and is

a frequent collaborator with Les Violons du Roy. As alluded to above,

his intonation is impeccable and his tone is exemplary. This recording

includes the three familiar concertos that Mozart completed, all in

E-flat (Nos.2-4), plus the two-movement D-Major concerto known

as No.1, here in Mozart’s original version completed by modern-day

musicologist Robert D. Levin (as opposed to the version by Mozart’s

coeval Franz Xaver Süssmayr). Also included is Levin’s edition of the

lesser known Rondo K371 in E-flat Major. Marsolais provides his

own convincing cadenzas in all five works. The disc is completed by

the Concerto for Bassoon in B-flat Major K191 featuring the dulcet

tone and impressive agility of Mathieu Lussier, who also serves as

conductor for the entire project.

I had initially offered this disc to Alison Melville but found myself

reneging when I gave it a listen. In the words of my apology to her: It’s

a dandy! (She graciously responded that it was all right because the

recording I had given her to review of these concertos several years

ago with Pip Eastop and the Hanover Band was also a dandy.)

Another piece that harkens back to

my formative years is Tchaikovsky’s The

Nutcracker although my exposure, like that of

so many others I’m sure, was just to the eightmovement

Suite Op.71a. My introduction

was on a 3-LP Seraphim set of suites from the

ballets Swan Lake, Sleeping Beauty and The

Nutcracker performed by the Philharmonia

Orchestra under Efrem Kurtz. No wonder then that so many of the

24 tracks on Stewart Goodyear’s transcription for solo piano of the

entire ballet (Steinway & Sons 30040) seem unfamiliar. Somehow we

missed this disc, recorded in February 2015, when it came out. Since

then two Christmases, the traditional Nutcracker time, have come and

gone. Rather than wait another year I want to tell you about this new

approach to what is indeed a timeless classic.

In the words of the performer/arranger “You can look at The

Nutcracker as the Walt Disney of music. It enchants on the same levels

as Disney does: there’s the humour; for some, there’s the love story;

for some, adventure. All those aspects are there: it’s like listening

to Technicolor, listening to animation.” You would be forgiven for

thinking that Tchaikovsky’s gorgeous orchestration which incorporates

so many colours into its palette might suffer in translation to a

single instrument, and for that matter a single performer. But I’m

here to tell you that Goodyear’s thoughtful treatment and virtuosic

flamboyance give the lie to this. “I’m just trying to create as faithful

an arrangement as possible” says Goodyear, “with all of the orchestral

elements there – the woodwinds, the brass, so it doesn’t feel like

the audience is missing anything – it’s all there.” I would have to say

that he succeeds. And when I said just a single instrument, I will note

that there is one exception to this: At the outset of the pitched battle

between the Nutcracker and the Mouse King we are momentarily startled

by the sharp crack of a slapstick which announces the Keystone

Kops-like action sequence. All in all, this is an outstanding and exhilarating

achievement and I’m sorry it took so long to come to my attention.

Insider’s note: Goodyear’s next recording features works by

Maurice Ravel (Jeux d’eau; Sonatine; Miroirs, Gaspard de la nuit

and Pavane pour une enfant defunte) and will be released by Orchid

Classics in May.

Elsewhere in these pages you will find

Bruce Surtees’ appreciation of the Berlin

Philharmonic’s production of the St. Matthew

Passion directed by Peter Sellars. I kept the

companion set, Johann Sebastian Bach:

Johannes-Passion (Berliner Philharmoniker

Recordings BPHR 140031, 2 DVDs and 1 Blu-ray disc) for myself

and I will echo Bruce’s opinion that one should start with the bonus

features. In Andy King-Dabbs’ interview with conductor Sir Simon

Rattle and stage director Peter Sellars, he asks each about their first

encounters with the work. My own was a sort of epiphany. As an

aspiring cellist, in my middle years I joined CAMMAC (Canadian

Amateur Musicians) one summer and headed off to music camp in

Quebec for an intensive week of music making with about 100 other

amateurs under the supervision of some very accomplished professionals.

(As a matter of fact, one of my chamber music coaches was

Some reviews in this section have a little arrow like this above the cover:

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Mozart: Concertos for horn

| Concerto for bassoon

Louis-Philippe Marsolais performs

the horn concertos, edited by

musicologist Robert D. Levin and

Mathieu Lussier plays and conducts

the B Flat bassoon concerto.

Johann Sebastian Bach / Rafał

Blechacz

Available at L’Atelier Grigorian

70 Yorkville Ave., Toronto &

Grigorian.com

Encores After Beethoven / András

Schiff

Available at L’Atelier Grigorian

70 Yorkville Ave., Toronto &

Grigorian.com

Philip Glass: Piano Works /

Víkingur Ólafsson

Available at L’Atelier Grigorian

70 Yorkville Ave., Toronto &

Grigorian.com

thewholenote.com April 1, 2017 - May 7, 2017 | 63


violinist Michelle Seto who, I see from the personnel list on the Mozart

disc mentioned above, is still a core member of Les Violons du Roy.)

Check-in at the camp – a rustic lodge on the edge of Lake MacDonald

– was on a Sunday afternoon and our first musical gathering took

place that evening. It was my first experience of playing in a large

ensemble and I approached it with equal amounts of excitement and

trepidation. The music set before us was the opening chorale from the

St. John Passion. Although the repeated note that constitutes most of

the cello line is quite straightforward, I was concentrating on it with

all my energy to the exclusion of my surroundings. When from behind

the orchestra the choir suddenly burst forth with Herr, Herr, Herr,

Herr unser Herrscher it was a truly glorious moment and I found

myself thinking “Wow, this is amazing!” I’ve been hooked on making

music with others ever since.

The Berlin production is semi-staged, but as Rattle explains it is

more of an elaboration of the text, a ritualization rather than a theatrical

presentation of the story. Although written by Bach for church

performance on Good Friday, the St. John Passion goes far beyond

the bounds of the usual church service and caused, if not scandal, at

least disgruntlement among the conservative congregations of Bach’s

time, so it is a work which has no natural forum in church due to

its theatrical aspects nor the opera house where its liturgical nature

is forbidden. This is well explained in the interview and also in the

enlightening introduction provided by Simon Halsey, director of

the Berlin Radio Choir, who puts not only the original but also this

somewhat contemporary interpretation of the work into context.

Frequently judged for its anti-Semitic sentiments placing all the blame

for Christ’s death on the Jews, this presentation of the Passion takes a

more universal approach in which the blame is shared with everyone.

Halsey points out that the onus is on each of us to take a stand and

speak out against injustice when we see it and likens the situation to

the events that led to the First and Second World Wars. (Sellars goes

farther, comparing it to the current affairs of his American homeland.)

The Berlin Philharmonie where the performance takes place provides

a theatre-in-the-round and Sellars has used this to good advantage.

The orchestra – playing on modern instruments, but well informed by

historical practices – is divided in two and the instrumentalists move

to prominent spots when used as soloists. The continuo consists of

cello, organ, lute, contrabass, bassoon and contrabassoon, and this is

supplemented with viola da gamba and two violas d’amore as the score

requires. The choir, 90 voices strong, is dressed in black and called

upon to make some dramatic movements, including writhing on the

floor and a making hand gestures. Although off-putting at first, the

effects gradually draw us in and become an inherent part of the drama

as it unfolds. All of the vocal soloists are outstanding, but particular

mention must be made of Mark Padmore (Evangelist), Christian

Gerhaher (Pilate) and Roderick Williams (Jesus) who is blindfolded

and in uncomfortable positions through much of the action. It is

worthy of note that all the vocalists, soloists and choristers (!) alike sing

for the entire two hours from memory, and Rattle conducts without a

score. This is a stunning production and I highly recommend it.

Concert note: On April 1 the Guelph Chamber Choir presents the St.

John Passion with James McLean (Evangelist), Daniel Lichti (Jesus),

Gordon Burnett (Pilate) and Orchestra Viva under Gerald Neufeld’s

direction at the River Run Centre in Guelph. On April 2 it will be

presented in Toronto by the Choir of St. Peter and St. Simon-the-

Apostle Anglican Church with Lenard Whiting (Evangelist) and

members of the Canadian Sinfonietta, Robin Davis conducting.

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 enhanced reviews in the Listening Room

with audio samples and direct links to performers, composers and

record labels.

David Olds, DISCoveries Editor

discoveries@thewholenote.com

It’s been quite a while since the terrific

2012 debut CD of Toronto’s Windermere

String Quartet, but their second CD release

turns out to have been well worth the wait.

The ensemble’s name is usually followed by

“on period instruments,” but their repertoire

has never been restricted to works from

the Classical period and their regular concert

series frequently features world premieres of new works by Canadian

composers.

Their sophmore CD, Inner Landscapes (Pipistrelle PIP 1216) follows

this same pattern, with Beethoven’s Quartet in F Minor Op.95 and

Mendelssohn’s Quartet in A Minor Op.13 acting as bookends to Traces

of a Silent Landscape, a 2011 work by Canadian composer Robert

Rival that was commissioned by the quartet.

The Beethoven and Mendelssohn works both receive exemplary

performances, with intimate and sensitive playing that never lacks

strength and power when needed. The Mendelssohn in particular has

an achingly beautiful slow movement and a simply dazzling Presto.

All the hallmarks of this ensemble’s playing are here: a judicial use of

vibrato; delicate nuances; excellent dynamics; finely judged tempos;

and an overall balance that always allows the identity of the individual

instruments to be clearly felt.

The Rival quartet, which was inspired by a snowshoe trek in

Algonquin Park in the dead of winter, is a striking and very effective

work, quite modern in style but with clear traditional roots. One

gets the immediate impression that the quiet, wispy nature of the

music is not only perfectly suited to the particular sounds that these

TERRY ROBBINS

period instruments produce but was also inspired by them, a feeling

confirmed by the composer, who says that while composing the work

he had in mind “…the subdued, airy quality of gut strings and the

sparing use of vibrato, in particular.” The delicate ending of the final

Forest’s lullaby is quite stunning.

Rival also paid tribute to the two works with which his new work

would be premiered – and which accompany it on this CD in a

re-creation of that recital – by starting with a slow fugue; both the

Beethoven and Mendelssohn quartets incorporate fugues in their slow

movements.

What continually impresses me about this ensemble is the way

they can convey depth, conviction and an emotional range and intensity

without ever overwhelming you with either volume or gesture.

It’s very easy to imagine that the Beethoven and Mendelssohn works

sounded like this at their premieres, but very difficult to imagine that

they sounded better.

Recorded at the wonderful St. Anne’s Anglican Church in Toronto’s

west end with the always-reliable Norbert Kraft as engineer, the sound

is exemplary, catching every delicate nuance in another outstanding

CD from the Windermere players. Hopefully we won’t have to wait

another five years for their next one.

Concert note: The Windermere Quartet presents “Mozart by Any

Other Name” including works by Joseph Boulogne, Chevalier de

Saint-Georges, Rossini, Joseph Kraus and Mozart at St. Olave’s

Anglican Church on April 2.

64 | April 1, 2017 - May 7, 2017 thewholenote.com


Given his wonderful playing on the Mozart

concerto DVD reviewed here last month,

I was delighted to see that this month’s

offerings included a new CD of Henning

Kraggerud playing Nordic Violin Concertos

with Bjarte Engeset conducting the Malmö

Symphony Orchestra (Naxos 8.573738). The

Violin Concerto Op.28 by Johan Halvorsen

is paired with the Violin Concerto Op.33 of

Carl Nielsen, with the well-known Romance of Johan Svendsen

completing the disc.

The concerto by the Norwegian Halvorsen (1864-1935) has an

interesting story. He was an outstanding violinist and a self-taught

composer, and his violin concerto was introduced by the 18-yearold

Canadian violinist Kathleen Parlow in the Netherlands in 1909.

After only a handful of performances by Parlow the work was not

played again during Halvorsen’s lifetime. When he retired in 1929 he

destroyed several of his manuscripts, his wife stating after his death

that she believed the concerto to be among them. But in 2015 the

score and parts were discovered in Parlow’s papers in the University

of Toronto’s Faculty of Music Library, where they had resided since

1963. Kraggerud gave the first modern performances in Norway last

July, making this world premiere commercial recording in Sweden a

short while later. It’s a lovely work, full of lyrical themes and redolent

of Norwegian folk music, with more than a hint of Hardanger fiddle

music. The solo part is technically demanding, but Kraggerud is

clearly in his element with a work which will hopefully find a place in

the regular repertoire.

The Nielsen concerto, written just a few years after the Halvorsen

in 1911, continues to be a work which should be much better known,

but hopefully this is changing, Haggerud’s terrific performance here

coming not long after Baiba Skride’s equally excellent 2015 recording.

A lovely performance of the Svendsen Romance rounds out an

outstanding CD.

If you love the Elgar Cello Concerto then you

should really try to hear the new Super Audio

CD Elgar & Tchaikovsky from the outstanding

cellist Johannes Moser with the Orchestre

de la Suisse Romande under Andrew Manze

(PentaTone PTC 5186 570). Moser is simply

superb in the emotional work that essentially

marked the end of the 62-year-old Elgar’s

compositional activity. Written in 1919, it is

essentially a lament for the composer’s Edwardian world that was

destroyed by the First World War, and Moser beautifully captures the

very soul of the music.

Moser notes that both Elgar and Tchaikovsky were looking back

to a brighter past – Elgar to the pre-1914 world and Tchaikovsky to

the music of Mozart, using an original theme written in Mozartian

style as the basis for his Variations on a Rococo Theme Op.33. It’s

the original version that is performed here, and not the modified and

altered version by the cellist Wilhelm Fitzenhagen that constituted the

original 1877 publication and is still frequently heard in the concert

hall. Moser’s performance makes you wonder why anyone would ever

want to hear the Fitzenhagen version again.

Three shorter Tchaikovsky works for cello and orchestra complete

the CD. The Nocturne from Six Pieces for Piano and the famous

Andante cantabile from the String Quartet No.1 were both transcribed

by the composer, and the Pezzo capriccioso Op.62 is a lovely

original work.

Manze and the orchestra supply great support throughout a simply

lovely CD.

There’s more excellent quartet playing on

Landscapes, the latest CD from Germany’s

Schumann Quartett in a program of works

by Haydn, Takemitsu, Bartók and Pärt (Berlin

Classics 0300836BC). It’s clear that these are

works that the quartet – brothers Erik, Ken

and Mark Schumann and Estonian violist

Liisa Randalu – has played and cared about for

some time.

Haydn’s String Quartet in B-flat Major Op.76 No.4, the “Sunrise”

makes for a lovely opening to the CD, the emerging radiance of the

opening particularly well captured. Landscape I by the Japanese

composer Toru Takemitsu acknowledges the Schumanns’ family roots

– their mother is Japanese – and is a somewhat bleak piece with a

decidedly meditative stillness about it.

Bartók’s String Quartet No.2 Op.17 is an expressive post-Romantic

piece written during the First World War when the composer was

forced to take a break from his Hungarian folk-song collecting. The

folk-music element is clearly present in a work dominated by an air of

melancholy.

The final piece, Fratres, by the Estonian composer Arvo Pärt, was

prepared with the composer and recorded in July 2016 in a church

near the Estonian capital of Tallinn. It’s one of several instrumental

versions of this very effective work.

The enigmatic Nigel Kennedy is back with

another non-classical CD in My World, a

program of his own compositions on the

German label Neue Meister (0300878NM).

Launched just over a year ago, the Berlin label

features “…music by artists and composers who

recognize no boundaries between the classical

L/R

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Puccini: Turandot

Available at L’Atelier Grigorian

70 Yorkville Ave., Toronto &

Grigorian.com

Le Mozart Noir

Le Mozart Noir is an award-winning

film that uncovers the mystery

around Joseph Boulogne, Le

Chevalier de Saint-Georges, a Black

eighteenth-century violinist and

composer.

New Era: Music by Mozart, Danzi

and Stamitz / Andreas Ottensamer

Available at L’Atelier Grigorian

70 Yorkville Ave., Toronto &

Grigorian.com

Bruckner: Complete Symphonies /

Danile Barenboim

Available at L’Atelier Grigorian

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Grigorian.com

thewholenote.com April 1, 2017 - May 7, 2017 | 65


orchestra world, experimental art, electronica and pop music,” which

should give you some idea of what this new release sounds like.

There are two distinct sections to the CD: Dedications, five pieces

dedicated to the Polish musician Jarek Śmietana, Isaac Stern, Stéphane

Grappelli, Yehudi Menuhin and Mark O’Connor; and Three Sisters, a

suite of incidental music that Kennedy wrote for a run of the Chekhov

play that his wife was producing. The Oxford Philharmonic Orchestra

is listed on the CD cover, but it’s a bit misleading both from a participation

and expectation viewpoint: the main musicians listed in

the booklet are a six-piece guitar, bass and percussion combo, an

oboist and an accordionist and anonymous Friends from the named

orchestra.

It’s certainly the combo that seems to be front and centre most of

the time, and even when there are strings present the sound seems

to be more synthesized than live. There’s a clear jazz influence in the

Dedications, along with the occasional melismatic Eastern feel, some

pleasant melodic writing, and a rhythmic rock-fiddle drive in the

number dedicated to O’Connor.

There’s a thicker orchestral sound with much the same feel

throughout Three Sisters, but with added electronic effects and more

of an improvisatory feel – one wonders just how much of the music

was actually notated.

All in all, it’s typical Kennedy – spiky performances of varying

effectiveness from a huge talent who simply refuses to follow what

could be called standard career paths. When he gets away from the

normal classical fare it tends to be hit or miss with him a lot of the

time, and which category this particular CD falls under will probably

Keyed In

ALEX BARAN

L/R

ords fail spectacularly in trying to

describe Rafal Blechacz’s performance

on Johann Sebastian Bach

(Deutsche Grammophon 479 5534). Playing

Bach demands rigour, stamina, discipline. It

also requires a profound intellectual grasp of

Bach’s contrapuntal intentions. Critical too, is

an innate ability to draw from Bach’s writing

that unique idea that can be credibly shared

by composer and performer as jointly original. In some speechlessly

wondrous way, that happens on this disc.

The Partitas Nos.1 in B-flat Major and 3 in A Minor are the familiar

collection of Baroque dances. They are, however, raised to a remarkable

standard of exhilarating technical display, framed by tasteful

expression. Blechacz plays them with emotional vulnerability

and unmatched lyricism. Each set concludes with a memorably

blazing Gigue.

Blechacz plays the Italian Concerto in F Major BWV 971 at a

sustained speed that hasn’t been matched since Alexis Weissenberg

broke the sound barrier with his recording in the mid 1960’. Still,

there is striking clarity throughout the first and third movements that

offers every opportunity to discern the inner counter melodies racing

past each other to the final measure.

The Fantasia and Fugue in A Minor BWV 944 offers an unbelievably

long and complex fugal subject that cascades through its development

section with ease under Blechacz’s hands. He ends the disc with

a rapturous performance of Jesu, Joy of Man’s Desiring – Dame Myra

Hess’ arrangement.

Blechacz was the winner of the 15th International Chopin Piano

Competition. This is his sixth recording for Deutsche Grammophon in

addition to a handful of others. You might as well start collecting

them now.

Andras Schiff presented his cycle of the 32 Beethoven sonatas at the

Zürich Tonhalle from 2004 to 2006. His choice of encore after each

depend on your own musical tastes.

Finally, there’s another recording of the

complete Tchaikovsky Works for Violin &

Orchestra, this time by the Korean violinist

Moonkyung Lee on her debut Navona Records

CD (NV6079) with the London Symphony

Orchestra under Miran Vaupotić.

Her performance of the Violin Concerto in D

Major Op.35 is a competent one which never

quite reaches the heights, although the rather lacklustre contribution

of the LSO under Vaupotić may well be a contributory factor; certainly

the tempos tend to drag in places, and the orchestral balance tends to

be a bit muddy and the sound quite dry. It’s a performance that just

doesn’t take flight.

The other two works here – the Méditation in D Minor (the

original slow movement for the Violin Concerto) and the Sérénade

Mélancolique in B-flat Minor Op.26 – fare better, as the soloist’s

rather dark tone is more suited to the slower tempos and the minor

keys. Certainly the performances seem to get closer to the heart of

the music.

The problem, though, is that given the fierce competition in recordings

of these works – especially the concerto – a competent performance,

while nothing to be sneezed at, will inevitably struggle to

compete with the absolutely top-level recordings available.

The soloist’s instrument, incidentally, is the 1845 Vuillaume violin

once owned by Jack Benny.

L/R

concert was quite deliberate and they have now

been compiled into Encores after Beethoven

(ECM New Series 1950 B0025872-02).

Schiff sought to link the encore in some

musical way to the sonatas he’d played on

the program that night. These live recordings

document his choices. Although now separated

from their original context, they still carry a

residual connection to the music that preceded them, and Schiff uses

his notes as a brief outline to explain these relationships.

The opening selections by Schubert, from Three Piano Pieces

D946 and Allegretto in C Minor D915 are linked by a strong conceptual

kinship to Beethoven’s Sonatas Op.2 and Op.7 as well as Op.10

and Op.13. The Mozart encore Eine Kleine Gigue in G Major K574 is a

humourous study in fugal form like the finale of Beethoven’s Sonata

Op.10 No.2 on that evening’s program.

Beethoven had originally intended the Andante Favori in F Major

WoO57 to be the second movement of the Waldstein Sonata Op. 53,

before eventually setting it aside. Schiff used it as the encore for his

performance of the Waldstein.

The final movement of the Hammerklavier is an enormous fugue,

understood to reflect Beethoven’s admiration for Bach and his evolution

of the form. Schiff’s choice of encore for that performance was

Bach’s Prelude and Fugue in B Flat Minor BWV867.

The encores are presented on the disc in the date sequence of their

performance and show the program information that preceded them.

The Zurich audiences listen in rapt silence and reveal themselves only

to applaud enthusiastically.

Organ music fans have another CD to add to

their collections with Christopher Houlihan

Plays Bach (Azica ACD-71314). The instrument

is always a critical ingredient in these projects

and the Austin organ at Trinity College Chapel

in Hartford, Connecticut, provides ample

reason to pay attention.

Organist Christopher Houlihan puts plenty

of familiar Bach toccatas, preludes and fugues

into his program, but what begins to emerge only moments into the

performance is how brilliant a colourist Houlihan is. The instrument

offers an enormous selection of reeds, strings and beautifully mellow

66 | April 1, 2017 - May 7, 2017 thewholenote.com


flues. It’s built and voiced to provide the greatest possible dynamic

range for the building it occupies.

Houlihan’s clever choice of stops is nowhere more impressive than

in his own arrangement of the Italian Concerto BWV971. It’s playful,

celebratory and sparkles with colour. Every track on this CD takes

advantage of this remarkable instrument and its gifted performer.

Beethoven’s exhaustive treatise on the variation

form that we know as the Diabelli

Variations Op.120 is the heart of Ronald

Brautigam’s latest recording Beethoven –

Diabelli Variations Ronald Brautigam (fortepiano)

(BIS-1943). The disc is the final

production in Brautigam’s complete set of

Beethoven’s works for solo piano, performed

on fortepiano.

This alone would suffice to set it apart for special attention. An

added feature, however, is its recording on a modern fortepiano

modelled on an instrument built by Conrad Graf in 1822. We know

that Beethoven admired Graf’s fortepianos and eventually came to

own one himself. One of Graf’s unique features was his quadruple

stringing of notes, giving added volume and power to the sound

– though it must have been a tuning nightmare. The copy used in

this recording demonstrates a wide dynamic range and an impressive

responsiveness to touch, not only for dynamic expression but in

clarity of strike, release and repeat in the very fast passages.

Brautigam concludes the disc with the Six National Airs with

Variations Op.105. This is just one of several such sets Beethoven

wrote for British publisher George Thomson. The relationship with

Thomson helped spark some interest in folk-songs which Beethoven

pursued in 15 further sets. The tunes in this one are Welsh, Irish,

Scottish and Austrian. Best known among them is The Last Rose

of Summer.

The disc is another of the outstanding recordings by Brautigam,

produced in a career-long devotion to performance on original

instruments that includes the complete keyboard works of Mozart

and Haydn.

L/R

Mid-30s Icelandic pianist Vikingur Olafsson

is a Juilliard graduate and a busy concert

performer with a passion for contemporary

music. His acquaintance with Philip Glass

makes for fascinating reading in the liner notes

of his new recording, Philip Glass – (Deutsche

Grammophon 479 6918).

The recording is largely devoted to 11 of the

20 Études that Glass wrote between 1999 and 2012. Olafsson plays

them from a personal place of detachment but with all the subtlety

and nuance they require. His performance of the final Étude No.20 is

striking for its otherworldly feel. He relates the story of asking Glass

how this one étude came to be so different and how the composer

answered that he didn’t know, he just somehow found himself

out in space.

The disc also includes the now well-known Opening from

Glassworks as its first track. The same piece appears again as the final

track, but reworked for piano and string quartet. It’s a very satisfying

comparison. The reworked version comes across with richer

sonority, and with the piano taking on a much lesser role than might

be expected.

Olafsson has produced a very fine performance in a field growing

ever more populous. The calibre of his playing assures he will always

stand out.

Bruce Levingston is a widely recognized

interpreter of Philip Glass’ music. His new

2CD set Dreaming Awake – Philip Glass –

Bruce Levingston (Sono Luminus DSL-92205)

contains a superbly planned program.

Covering a period from 1966 to 2005 the music

presents, among others things, an overview of

how Glass’ music has evolved.

The earliest work is Wichita Vortex Sutra

played by Levingston and narrated by actor Ethan Hawke. Written by

poet Allen Ginsberg during the years of the Vietnam War protests, it

and the music speak jointly to the injustice of the war and a universal

call for peace. It’s a work that reveals more of itself on repeated

listening.

Much of the two discs is devoted to ten of Glass’ 20 Études. Written

primarily for his personal keyboard practice, they each contain a

handful of specific technical challenges. It’s not surprising though that

Levingston immediately seizes upon the composer’s creative germ

in each of them, and sets them on the creative plane Glass must have

intended from the outset.

Levingston gives a rich and colourful performance of the enigmatic,

Buddhist-inspired Dreaming Awake. It’s an active work of frequent

movement between places of intense feeling and moments of great

repose. His playing reveals a deep understanding of the music and

its composer.

Compositions for film make up a large part of Glass’ oeuvre. While

Metamorphosis No.2 is a frequently recorded work, it is also quoted

in the soundtrack of The Thin Blue Line. The Illusionist Suite offers

another example of his remarkable writing for the screen.

Levingston is a master in this genre, with complete interpretive

access to Glass’ work, whether originating in poetic protest or the

cinema, whether written for study or meditation.

L/R

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below at The WholeNote.com/Listening

L/R

Bach’n’Jazz

For Bach ‘n’ Jazz, their first album

on ATMA Classique, the ensemble

Flûte Alors! performs an eclectic

mix of jazz standards and Bach’s

music.

One Way Up – Dave Young

2017 Juno Nominee: Jazz Album of

the Year / Best Group Performance

thewholenote.com April 1, 2017 - May 7, 2017 | 67


An eclectic combination of piano works

appears on Natalia Andreeva plays Piano

Sonatas – Beethoven, Scriabin, Prokofiev

(Divine Art dda 25140). Andreeva is a gifted

performer, researcher and teacher. Her

program choices are deliberate, balanced

and artful. Her approach is methodical, yet

inspired. For example, Beethoven’s directions

in Sonata No.27 in E Minor Op.90 call for the

pianist to play with “liveliness, sensitivity and expression.” Andreeva

lets these instructions guide her through a beautifully considered

performance of this two-movement work. She takes an especially

Romantic posture in the second movement, arguing in her notes that

Beethoven always wrote with pictures in his mind. Whatever image

emerges from this movement is, according to Andreeva, bound to

be one of love. Andreeva builds her phrases with care and balance.

Their shape and motion in this sonata are elegant and very often quite

exquisite.

Andreeva takes her research seriously, looking for interpretive

clues in diaries, letters and other original sources. In the case of the

Scriabin Sonata No.10 Op.70, her sleuthing has convinced her that

the key to this work’s content is the composer’s notation “radieux” in

the score. For Andreeva this single-movement sonata is about light.

Consequently, the delicate upper filigree and frequent trills become

important textures in the mood Scriabin wants to establish. Andreeva

delivers a masterful performance of this 1913 Russian work.

Prokofiev’s Sonata No.2 in D Minor Op.14 is an early work in his

series of nine sonatas and dates from almost the same time as the

Scriabin. Andreeva’s approach to this underscores the principal traits

of Prokofiev’s creative personality: harmonic adventurism, rhythmic

drive, playful grotesqueness and classicism. Each movement becomes

a stage for these elements as Andreeva constructs a complex picture of

Prokofiev’s musical world.

Andreeva is a deeply thoughtful artist and definitely

worth hearing.

VOCAL

Bach – Matthäus Passion

Berliner Philharmoniker; Sir Simon Rattle;

Peter Sellars

Berliner Philharmoniker Recordings

BPHR140021

!!“Everyone knows

it’s the great piece of

music in the Western

tradition,” affirms

Peter Sellars with

chorus master Simon

Halsey in their 51-minute illuminating discussion

of the St. Matthew Passion incorporating

Sellars’ staging. The two sat on the stage of the

Berlin Philharmonie and talked about aspects

of the music and this performance. Here are

some of Sellars’ thoughtful musings:

“It’s not theatre, it’s a prayer, a meditation,

and I invited them to dedicate the opening

chorus to someone they care about, to one

who is still with them or maybe someone

who is not. Someone who’s leaving the world

now or someone who needs their help or

thoughts or some act of kindness and to make

the performance itself to be the prayer that

reaches that person whether they are here or

gone. Bach wrote the music for us to place

everything we hope and care about into the

vessel of this music… . This music has been

the property of the early music movement for

the last 20 to 25 years and it has been handsoff.

Now the actual sense of discovery of this

group of musicians is quite amazing, it’s the

first time they have held these scores… In this

pentagonal, 360-degree hall we could do the

St. Matthew Passion in Bach’s imaginary

spacialization, two choruses face each other,

two orchestras face each other in a communal

cross where there is no proscenium. We are

not standing back and admiring it but opening

it and going inside, a communal event. People

are not performing out but performing to

each other and what you get is a community

engaging with itself and working through

issues together and talking it out and so equal

time is spent playing and singing and listening

and being receptive.”

The participants in this performance of

April 11, 2010, are Mark Padmore (Evangelist)

and Christian Gerhaher (Jesus), together with

Camilla Tilling (soprano), Magdalena Kožená

(contralto), Topi Lehtipuu (tenor) and Thomas

Quasthoff (bass) in the recitatives and arias.

Peter Sellars is the stage director and the

conductor is Sir Simon Rattle, who has said

that this is the best thing he has done.

In every way, this is music-making at the

very highest level. It is no longer a matter of

listening to and watching a group of singers

before an orchestra but a depiction of the

events behind the words, raising Bach’s

great work to a new level of appreciation

and understanding. We look forward to the

Sellars, Rattle, Padmore, BPO St. John Passion

that follows.

If you acquire a copy of this set, I most

heartily suggest that you first absorb the

complete conversation between chorus master

Halsey and the charismatic Sellars, a bonus

on these discs. Their appreciation of what you

are about to see and hear, how it was achieved

and so much more, sets up the performance.

As I write this I am re-watching this conversation

just for the pleasure of doing so.

Bruce Surtees

Puccini – Turandot

Nina Stemme; Maria Agresta; Aleksandrs

Antonenko; Coro e Orchestra del Teatro

Alla Scala; Riccardo Chailly

Decca 071 3937

!!

Puccini’s regretfully unfinished Turandot

was premiered at La Scala in 1926 under

the baton of Toscanini. It was a likely choice

to celebrate Milano Expo 2015, directed

by Nikolaus Lehnhoff and conducted with

passion and vehemence by La Scala’s new

music director, Riccardo Chailly. It also

features a new ending composed (in 2001) by

modernist Luciano

Berio that unfortunately

does away

with the jubilant and

exuberant finale that

served well for over

80 years and which

one would expect

after the cruel and

terrifying mayhem of

this fairy-tale opera.

The opulent and

impressive monumental,

symmetrical set suggests a timeless,

universal rather than explicitly Chinese

milieu with an ever-present bloodthirsty

crowd of identical gloomy figures in dark

gowns and face masks reminiscent of Stanley

Kubrick’s Eyes Wide Shut. Gorgeous colours

shift according to the mood of each scene

and the central focus is the Emperor or the

Princess elongated into divine proportions.

True to the spirit of La Scala the singers are

top quality. Famous Swedish soprano Nina

Stemme (Turandot) has phenomenal presence

in her black multi-dimensional costume, her

voice impressive as it soars over the theatre in

the showstopper In questa Reggia. The grand

tradition of Pavarotti lives on in Aleksandrs

Antonenko’s splendid Nessun Dorma. The

riddle scene is a spectacular climax with both

tenor and soprano in top form dramatically

and vocally. Maria Agresta (Liu) was touching,

beautifully singing Tanto amore, segreto with

a gossamer-like ethereal vocal line. There is

a commedia dell’arte quality in the comedy

trio of the three Chinese ministers consistent

with the surrealistic feel of this unorthodox

but impressive and thought-provoking

production.

Janos Gardonyi

Alma Mahler – Lieder und Gesange

Catharina Kroeger; Monica Lonero

Brilliant Classics 95469

L/R

!!

Alma Schindler was an aspiring composer

68 | April 1, 2017 - May 7, 2017 thewholenote.com


who, in 1900, became

a student of Alexander

von Zemlinsky (who

also became her lover).

In December 1901

she became engaged

to Gustav Mahler,

who did not allow

her to compose. He

was the composer of the family; she was to

be the loving companion and understanding

partner of her husband. Such an attitude

seems insensitive and draconian but it would

not have been uncommon at the beginning

of the 20th century. In 1910, at a time of great

personal stress, Mahler relented and helped

his wife revise five of her songs for publication.

After his death two further publications

followed: four songs in 1915, five in 1924.

The performance of the Alma Mahler songs

is complemented with Patrizia Montanaro’s

Canto di Penelope, in which the protagonist

“rejects the role that has been assigned

to her by the myth and lays claim to her own

autonomy as a woman, a mother and a head

of household.” The oblique relevance to the

story of Alma is clear.

It is time to move past the notion of Alma

Mahler as Gustav’s wife and to listen to the

songs in their own right. Several of them

are certainly arresting, with surprising

harmonies. They are beautifully sung by

the soprano Catharina Kroeger. The pianist

Monica Lonero is especially fine. I note that

in November soprano Barbara Hannigan

and pianist Reinbert de Leeuw will perform

in Koerner Hall works by members of the

Second Viennese School and that the concert

will include not only works by Alban Berg

and Anton Webern but also songs by Hugo

Wolf (a forerunner?) and Alma Mahler. It will

be interesting to see how her work will stand

up in that context.

Hans de Groot

Sibelius – Kullervo; Kortekangas –

Migrations

Lilli Paasikivi; Tommi Hakala; YL Male Voice

Choir; Minnesota Orchestra; Osmo Vanska

BIS BIS-9048 SACD

!!

The early 1890s

found Sibelius

engrossed in the

Kalevala and other

verses of Finnish

poetry that were to

become the subject

matter of so many

of his most celebrated

and memorable works. Kullervo,

published in 1892, was Sibelius’ first grand

symphonic opus. It was his first setting of

stories from the Kalevala and is packed with

new ideas, revealing first glimpses of many

of the composer’s trademark orchestrations,

his poetic spirit and his depiction of northern

vistas. The work is a symphonic poem in five

parts scored for symphony orchestra, male

voice choir, mezzo-soprano and baritone.

The story tells of a clan massacre, seduction,

incest, revenge and suicide. This performance

is instantly pleasing, particularly the

male choir. Interestingly, between 1892 and

the composition of the First Symphony in

1898-99 Sibelius wrote just about all of his

mighty tone poems, Op.8 to 27. The first

performance of Kullervo in Canada using

Sibelius’ final revisions was in Roy Thomson

Hall on May 3, 1986. The soloists were Ritva

Auvinen, soprano, and Esa Ruuttunen,

bass, with the Laulun Ystävät (from Turku,

Finland), the Toronto Finnish Male Choir, the

Toronto Estonian Male Choir and the CJRT

Orchestra conducted by Paul Robinson. It was

truly a gala event for the city and the who’s

who, too.

Olli Kortekangas, born in 1955, studied

music theory and composition at the Sibelius

Academy in Helsinki under the direction of

Einojuhani Rautavaara and continued his

studies in Berlin with Dieter Schnebel. His

music has been featured in concerts and at

festivals around the world and he is currently

working on several domestic and international

commissions. Migrations, scored

for orchestra, male choir and mezzo was

commissioned by the Minnesota Orchestra.

The English-language text was written by

Sheila Packa, a Minnesotan poet of Finnish

roots. “I believe that immigration affects

families deeply, particularly in relation to

borders, language and landscape…many

believe that speaking a new language brings

out different parts of the self.” Migrations is

a narrative poem in seven parts: four sung

movements, Two Worlds, Resurrection,

The Man Who Lived in a Tree and Music

That We Breathe, separated by three instrumental

interludes. A suitable disc mate for

the Sibelius. The brilliant YL Male Voice Choir

was founded in Helsinki in 1883 is deservedly

one of the most prominent male choirs in the

world. The recorded sound is superb.

Bruce Surtees

In the Stream of Life – Songs by Sibelius

Gerald Finley; Bergen Philharmonic

Orchestra, Edward Gardner

Chandos SA-CD CHSA 5178

!!

Jean Sibelius, the

long-lived national

Finnish composer, was

in fact brought up in

a Swedish-speaking

home, studied in

Berlin and Vienna

and the bulk of his

song output was set

to Swedish and German poems. Despite that,

he came to symbolize Finnish music the

same way Edvard Grieg did the Norwegian

national school. Incidentally, Grieg was for

many years the artistic director of the Bergen

Philharmonic heard here, one of the oldest

orchestras in the world, ringing in 250 years

of continuous existence.

Which brings us to Gerald Finley, everybody’s

favourite baritone. This Montrealborn,

Ottawa-raised artist, currently living

in the UK, received particular attention from

the sadly departed (in 2016) Einojuhani

Rautavaara, another great Finnish composer.

It was Finley for whom Rautavaara composed

his brilliant Rubaiyat and orchestrated seven

of Sibelius’ songs – In the Stream of Life –

originally composed for voice and piano.

In fact, these orchestrations turned out to

be Rautavaara’s swan song and this world

premiere recording was only concluded in

the week of his funeral. Finley navigates

the complex harmonies of Sibelius’ (and

Rautavaara’s) music and the treacherous

linguistic ground with mastery and elegance

that we have come to expect from him.

The Bergen Philharmonic Orchestra’s

playing deserves kudos as well, especially

in the tone poem Pohjola’s Daughter. It

may be of interest that the current principal

conductor in Bergen, Edward Gardner, led the

English National Opera in the artistically rich,

financially disastrous period from 2007 to

2015. Five stars.

Robert Tomas

Patrick Hawes – Revelation; Beatitudes;

Qaunta Qualia

Elora Singers; Noel Edison

Naxos 8.573720

!!

Patrick Hawes

is a modern British

composer and organist

living on the Norfolk

coast, whose compositions

are inspired by

nature, literature and

his deep Christian

faith. His approach

to choral music, at least in this recording,

is sublimely gentle and tonal. Even with a

subject matter such as the Book of Revelation,

he eschews such fiery terrors as the “four

horseman of the apocalypse” and the

“gnashing of teeth,” instead selecting verses

that convey anticipation, awe and reverence.

Although there are flashes of drama in the

antiphonal section Coming with the Clouds

and flashes of lightning and thunder appear

in From the Throne, the overall impression

conveyed in the scoring of this lovely a

cappella setting inspires rather than terrorizes.

The voicings in Epilogue: The Alpha and

the Omega are both mystical and jubilant.

Following this work is Hawes’ setting of

The Beatitudes, transcendently peaceful

with music that provides a soothing balm

equal to the text. The piano accompaniment

performed by Leslie De’Ath is beautifully

subtle in its support of the voices. Another

notable accompaniment is John Johnson’s

alto sax on one of the five stand-alone choral

works, Quanta Qualia. This time, the instrumental

part is written as a blissful voice to

enhance and highlight some ecstatic soprano

passages. The Elora Singers deliver a pure

thewholenote.com April 1, 2017 - May 7, 2017 | 69


and flawless performance in this collection of

heavenly works.

Dianne Wells

CLASSICAL AND BEYOND

Le Mozart Noir

Tafelmusik Baroque Orchestra; Jeanne

Lamon

Tafelmusik Media TMK 1031 DVDCD

(tafelmusik.org)

L/R

!!

This is a welcome

re-release from 2002,

featuring an hourlong

DVD docudrama

on the life

of the significant

18th-century Parisian

composer Joseph

Boulogne, Chevalier

de Saint-Georges,

who was the son of a

slave. There is also a

full-length CD recording of several of Saint-

Georges’ compositions, as well as a movement

of a Leclair violin concerto and a symphony

by Gossec.

The docudrama is well-researched and

engaging, despite rather stilted dramatic

performances in period costume. What is

most interesting is R.H. Thomson’s narrated

story of Boulogne’s life, the lively Tafelmusik

performances, the interviews with his biographer

and with Tafelmusik director Jeanne

Lamon and soloist Linda Melsted. Together

they make a good case for the complexity,

grace and beauty of Saint-Georges’ music.

One clip of Lamon explaining in detail the

beauty of a particular theme and accompaniment

is wonderfully articulate and a

powerful insider’s explanation of how music

is put together.

The DVD is entertaining, educational and

quite moving in its presentation of the life of

this remarkable and unique musician, athlete

and military leader. The accompanying

booklet includes a beautifully written essay

on Saint-Georges by Charlotte Nediger.

As Tafelmusik heads into a new era with

the recent appointment of Elisa Citterio

as their music director, this recording is a

poignant reminder of what a powerhouse

the orchestra has been over the years under

Lamon’s direction. The recorded sound is

excellent and the performances are first-rate,

most notably the solo playing of Melsted and

Geneviève Gilardeau.

Larry Beckwith

Concert notes: Tafelmusik presents “Bach:

Keeping It in the Family” featuring Alfredo

Bernardini, oboe, and Cecilia Bernardini,

violin, April 5 through 8 plus a matinee on

April 9 at Trinity-St. Paul’s Centre. A chamber

offering, “Close Encounters…of the German

Kind” will be presented on April 22 at the

Temerty Theatre (sold out) and at Heliconian

Hall on April 28 (11am). On April 2 the

Windermere String Quartet presents “Mozart

by Any Other Name” including Chevalier

de Saint-Georges’ Quartet in C Minor at St.

Olave’s Anglican Church.

New Era – Stamitz; Danzi; Mozart

Andreas Ottensamer; Kammerakademie

Potsdam; Emmanuel Pahud; Albrecht

Mayer

Decca 481 4711

L/R

!!

Andreas

Ottensamer, principal

clarinet of the Berlin

Philharmonic, has

released a delightful

assortment of tracks

on a disc designed to

educate and entertain.

New Era refers to the

period in Mannheim from the mid- to late-

18th century, an epoch in which composers

and performers consorted, collaborated

and so consolidated what we now call the

Classical Style.

Most wind players encounter Johann (père)

and Carl (fils) Stamitz, as well as Franz Danzi,

en route through undergraduate performance

courses. Seldom are these composers

heard outside of the academic recital hall,

perhaps owing to the tendency in our own

era to reduce and highlight, so that we use

Mozart as a stand-in for an entire range of

musical peaks, as we might with Everest for

the Himalayas. These four composers are

represented here. For once Mozart’s sublime

Concerto K622 is left off the menu in favour

of two transcribed arias (from Mitridate and

Don Giovanni), and a fantasy on the beloved

La ci darem la mano, written by Danzi. For

substance, there is a concerto from each

Stamitz, and a delightful Concertino by Danzi

for clarinet and bassoon (transcribed to great

effect for cor anglais). Danzi’s Fantasy is an

early iteration of the virtuosic form where

a technical tour de force is derived from the

music of a popular opera.

Ottensamer plays with fluid precision

and a surprisingly bright tone that suits

the material; perhaps long gone are the

days when to be a member of the Berlin

Philharmonic meant using the darkest

possible set-up. His articulation is crisp, his

intonation trustworthy, and his improvisational

cadenzas in the concerti are like rifts in

the time-space continuum, somehow joining

that New Era with our own. Collaborators

include flutist Emmanuel Pahud (on both of

Stephan Koncz’ transcriptions of the arias)

and Albrecht Mayer on cor anglais, both

colleagues of Ottensamer in Berlin, and like

him brilliant instrumental musicians. The

back-up band, Kammerakademie Potsdam,

is equally brilliant under the clarinetist’s

direction.

Max Christie

Haydn – Symphonies 8 & 84; Violin

Concerto in A Major

Aisslinn Nosky; Handel and Haydn Society;

Harry Christophers

Coro COR16148

!!

This is the latest in

a series of recordings

of the symphonies and

concertos of Haydn

by the Boston-based

Handel and Haydn

Society, under the

dynamic direction of

Harry Christophers.

The Toronto connection is the orchestra’s

concertmaster – and violin soloist on this

disc - Aisslinn Nosky, a former member of

Tafelmusik and one of the driving forces

behind I Furiosi.

Haydn’s eighth symphony – nicknamed

“Le soir” – is a sinfonia concertante, meaning

it features solo passages from several of the

orchestra’s principals, including Nosky. It’s a

great pleasure to hear the freedom, humour

and tenderness each soloist brings to their

playing and the whole performance has a

tremendous buoyancy and elegance to it.

The A-Major concerto is difficult to bring

off the page because of its rather pedestrian

themes and somewhat predictable turns, but

Nosky and Christophers give it a convincing

and lively reading. It’s exciting to hear Nosky

let loose in the cadenzas, unencumbered by

the regular phrasing and symmetry of the

main body of each of the movements.

The disc finishes with a glorious performance

of Symphony No.84, one of Haydn’s

Paris symphonies. Christophers coaxes clean,

balanced performances from his charges

without sacrificing drama and expressiveness.

The second movement goes to some

dark places, which are enhanced and deepened

by a wonderful attention to dynamics

and accents.

It’s clear that Christophers and Nosky are a

powerful team. We will await the next Haydn

disc with great anticipation.

Larry Beckwith

Strauss – Ariadne auf Naxos; Bourgeois

Gentilhomme (Suites)

Buffalo Philharmonic Orchestra; JoAnn

Falletta

Naxos 8.57346

!!

Now here is a real

gem I wouldn’t mind

listening to over and

over again. This brand

new release from

Naxos comes from

Buffalo, NY, by an

orchestra, one of the

best in North America,

whose skills were honed by such names as

Josef Krips, Lucas Foss, Semyon Bychkov and

now led most ably by JoAnn Falletta. If you’ve

never heard of or cared for her, you certainly

70 | April 1, 2017 - May 7, 2017 thewholenote.com


will after listening to this rock-bottom,

bargain-priced disc, a deal not to be missed.

Strauss’ love of the music of Lully inspired

this absolute jewel of incidental music for

Molière’s comedy Le Bourgeois Gentilhomme,

first performed at Chateau Chambord for

Louis XIV in 1670. Strauss’ Suite (1912/1920)

is written for a small but virtuoso orchestra,

difficult and intricate but played here with

flair, charm, delicacy and humour one

rarely encounters even from the very best

conductors. The violin solo by concertmaster

William Preucil is an unforgettable delight.

The Suite from Ariadne auf Naxos is quite

new (and a world premiere) by a young

American, D. Wilson Ochoa, who put it

together from the highlights of the opera of

the same name. He certainly knew what he

was doing and the suite now enriches the

concert repertoire like a new symphonic

poem by Strauss and surely will be so

welcomed. Strauss said once that “melody

strikes him like a bolt of lightning from the

clear blue sky” and that’s well proven by

the exquisite finale when the god Bacchus

appears in his radiance curing Ariadne’s

sorrows by falling in love with her and

we hear wave upon wave of radiant music

pouring forth from Falletta’s magic baton.

Janos Gardonyi

Anton Bruckner – The Complete

Symphonies

Staatskapelle Berlin; Daniel Barenboim

Deutsche Grammophon 479 6985

L/R

!!

There is a story

about Karajan that

once when he got

sick and had to cancel

a few concerts, the

Philharmoniker

decided on Daniel

Barenboim to substitute.

As soon as he

heard this, Karajan exclaimed “OMG not

HIM!!” and sick no longer, he jumped out of

bed and ran back to conduct.

Barenboim’s approach to Bruckner is

different from the holier-than-thou centuryold

Germanic tradition, trademark of many

venerable conductors, mostly dead by now. I

remember the great Celibidache stopping the

orchestra (the BPO) 15 times before reaching

the end of the first bar of the Seventh

Symphony to get the opening tremolando

just right, his tempo so slow, the symphony

ended up a half-hour longer than anybody

else’s. Now Barenboim, a consummate musician,

does not revere anything but the music,

making it as enjoyable, interesting, even

exciting as possible and his tempi in Bruckner

have always been faster, but never rushed.

This is true for this new, beautifully recorded

set of the nine numbered symphonies,

already the third such cycle in his career,

but now on his own label Peral Music, under

the aegis of Deutsche Grammophon. The

orchestra this time is the Berlin Staatskapelle,

one of the oldest in the world, once upon

a time the Prussian Court orchestra which

the maestro, being its director for the last 20

years, had moulded it into perfection. It even

gives the famous Berlin Philharmoniker a run

for its money.

There is a unified approach, a remarkable

consistency, and the orchestral playing

is incredibly precise. Most of the players

are young, highly skilled, enthusiastic, very

devoted to each other and simply revere

their conductor. I have watched some of the

performances (televised by medici.tv and

Mezzo) and his conducting style avoids all

histrionics and, being past 70, he budgets

his strength and gets maximum effect with

very little effort. All performances are solid,

high-quality and the symphonies throb with

life, infused with rhythmic vitality. One

will discover previously unheard details in

the tremendously rich orchestral palette

and the conductor’s stamp is always felt.

The fff outburst in the Largo of the Seventh

Symphony has never been more impressive

on record and made even me jump out of my

seat practically hyperventilating. Incidentally

this had been the moment of my own conversion

to Bruckner some 40 years ago.

If you want to enjoy Bruckner rather than

worship it, this is the set for you.

Janos Gardonyi

MODERN AND CONTEMPORARY

Adam Schoenberg – American Symphony;

Finding Rothko; Picture Studies

Kansas City Symphony; Michael Stern

Reference Recordings RR-139 SACD

(referencerecordings.com)

!!

Another

Schoenberg? Anyone

who thinks even one

is too many can relax,

as Adam Schoenberg

(b.1980) bears no relation

to Arnold, genealogically

or musically.

Currently teaching

at Occidental College in Los Angeles, he’s

a rising star, his tonal, tuneful, colourfully

scored music performed by orchestras

across the US.

Schoenberg composed Finding Rothko

(2006), depictions of four Rothko paintings,

while a doctoral student at Juilliard, mentored

by John Corigliano. The music successfully

mirrors Rothko’s art – atmospheric, meditative

and imposing, with shimmering colours

that effectively play against each other in

unexpected ways.

Schoenberg’s five-movement American

Symphony (2011) begins and ends with

buoyant optimism, powered by quasiminimalist

ostinatos. Two solemn, slow

movements, built on sustained Coplandesque

pastoral harmonies, frame the jazzy,

syncopated middle movement. Schoenberg

says, “I set out to write a modern American

symphony that paid homage to our past and

looked forward to a brighter future.” Indeed,

it all sounds very “American.”

In 2011, the Kansas City Symphony and the

city’s Nelson-Atkins Museum commissioned

Schoenberg to compose “a 21st-century

Pictures at an Exhibition,” based on pieces

in the museum’s collection. Picture Studies

(2012) depicts paintings by van Gogh,

Kandinsky, Miró and Albert Bloch, a Calder

sculpture and three photographs. The brilliantly

orchestrated music is variously perky,

sentimental, vehement and exultant.

Conductor Michael Stern elicits playing

with rhythmic brio, precision and wide

dynamics in these audience-pleasing works.

Whether Schoenberg can create music that

digs deeper than “audience-pleasing” still

remains to be heard.

Michael Schulman

Scavenger

Amy Brandon

Independent (amybrandon.ca)

!!

The first sounds to

greet the listener on

Amy Brandon’s debut

CD are electronic

swirls and squiggles,

likely guitar-based

and clearly running

backwards. Within

seconds, however, one

is in for a surprise, as the very pure sound

of her acoustic, nylon-string guitar emerges.

Brandon is a Nova Scotia-based musician

whose work here regularly combines

contrasting elements: her musical identity

is a composite, arising in the gap between

the electroacoustic elements and acoustic

melodies and improvisations.

On Scavenger, most tracks include these

pre-recorded sounds, some of them clearly

reworked from her own guitar tapes, others

likely using other elements, whether the

sound source of the War Games backing tape

is thunder, actual combat, a reverb unit or the

resonant bass strings of a piano. The results

are fascinating, in part because of Brandon’s

instrumental approach: it’s a model of

classical guitar clarity in the tradition of

Segovia, Yepes and Bream, with lyricism and

triadic harmony that can suggest idiomatic