Volume 23 Issue 2 - October 2017

novelist André Alexis), “tries to imagine Aeneas’s interior life.
What drives Aeneas to choose an uncertain quest for a new
homeland over Dido’s offer of love and country?” (from jamesrolfe.ca)
This performance takes place on October 20 and
21 and features soloists Krisztina Szabó, Alexander Dobson,
Andrea Ludwig and Jacqueline Woodley, as well as orchestra
and chorus.
It will be fascinating to see and hear how the Purcell and
Rolfe complement, juxtapose and intertwine with each other,
being separated in time by so many centuries. Choreographer
Marie-Nathalie Lacoursière will add another dimension to the
performance, perhaps paving the way for even more adventurous
interdisciplinary collaborations in the future as the
Toronto Masque Theatre disbands after this season, and its
creative minds seek stimulation elsewhere.
Art of Time Ensemble's
Andrew Burashko
The Holy Gospel According to Gould
Taking a leap well beyond the usual scope of this column, from
November 2 to 4 the Art of Time Ensemble will present “…Hosted by
Glenn Gould: Gould’s Perspectives on Beethoven and Shostakovich,”
via screenings from CBC’s Glenn Gould on Television as introductions
to live performances of music by Beethoven and Shostakovich.
In addition to being an interesting and exciting concert idea, a
voice-from-the-grave presentation similar to holographic posthumous
appearances by Frank Sinatra and Elvis, it will be fascinating
to hear Gould’s perspectives on Beethoven, whose music has been
comfortably and successfully interpreted by a great number of historically
informed performing groups. Gould was equal parts genius and
eccentric, certainly not at all a traditional performer in the historical
sense, and those of us indoctrinated with the idea of fidelity to
the score above all else should look forward to this concert as an
opportunity to broaden our horizons, especially those of us (myself
included) who were not fortunate enough to experience Gould in
person during his lifetime.
Speaking of Beethoven…
This month is a good one for fans of Beethoven and his symphonic
music. In addition to the release of Tafelmusik’s complete Beethoven
symphony cycle featuring Bruno Weil directing the Tafelmusik
orchestra and chorus (look for the CD review in this issue of The
WholeNote), on November 4 and 5 former Tafel violinist Aisslinn
Nosky leads the Niagara Symphony Orchestra in performances of
Beethoven’s Seventh Symphony.
Hearing a modern orchestra tackle historic repertoire while led by
an expert in historically-informed performance practice is a stimulating
and thought-provoking experience. For those who have been
trained to play a certain type of music a certain way, it is often difficult
to reorient yourself around a different style and method of interpretation.
I often spoke with Ivars Taurins on this topic while at the
University of Toronto, and it was enlightening to hear his ideas on
approaching Baroque and Classical symphonic repertoire with a
modern orchestra such as the Calgary Philharmonic, where Taurins is
a frequent guest conductor, versus a more specialized group such as
Tafelmusik.
So take a trip down to wine country, partake in a tasting or two, and
enjoy an evening of one of Beethoven’s greatest symphonies. (And if
someone wants to clap between movements, for chrissakes, let them!)
I said at the beginning of this article that classical music as we
know it is dying – that’s a good thing, for it is also being reborn under
our noses.
Back to CNN’s Charlie Albright for the final word:
“Breaking down ‘classical’ rules will kill ‘classical’ music – and
thus save it. It will make the artform more accessible, more entertaining,
and more disinhibiting, allowing for all of us to share more
emotion and passion through the music. It will welcome those of us
who are interested yet apprehensive about making the leap to buy a
ticket to a concert. It will encourage more young people to have fun
with the performing arts instead of viewing them as a necessary evil
that requires a boring practice each day after school. And it is this
death of “classical” music that will bring true classical music more
life than ever.”
If you want to drop me a line, email me at
earlymusic@thewholenote.com or talk to me in person at one of this
month’s concerts – I’ll be at the bar.
Matthew Whitfield is a Toronto-based harpsichordist and organist.
CLOSE ENCOUNTERS CHAMBER SERIES
Explore new aspects of Tafelmusik repertoire with an up close and personal encounter with the music.
Close Encounters
… in Paris
Nov 15 & 18, 2017
Close Encounters
… in Salzburg
Jan 31 & Feb 1, 2018
Close Encounters
… in Vienna & Madrid
Apr 21 & 25, 2018
SEATING IS LIMITED – ORDER YOUR TICKETS TODAY.
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28 | October 2017 thewholenote.com