Volume 24 Issue 4 - December 2018 / January 2019

PRICELESS
Vol 24 No 4
COMBINED ISSUE
DECEMBER 2018 / JANUARY 2019
CONCERT LISTINGS
FEATURES | REVIEWS
IN WITH THE NEW
Terry Riley’s
Coming to Town
ANNIVERSARIES
U of T Music
Reaches 100
MUSIC AND HEALTH
Recollectiv’s
Restorative Mission
Terry Riley

Celebrate New Year’s at
December 31 • 7:00 pm
Opera Canada Symphony & Chorus
Michelangelo Mazza, conductor
Ekaterina Kudryavtseva
soprano
Sera Gösch
soprano
Gergely Boncsér
tenor
Johannes Kammler
baritone
Hits from... Turandot • La traviata • Rigoletto • Magic Flute
January 1 • 2:30 pm
Strauss Symphony of Canada
Alastair Willis, conductor (London)
Hege Gustava Tjønn, soprano (Vienna)
Gergely Boncsér, tenor (Budapest)
Waltzes, Polkas & Operetta Hits
European Singers,
Ballroom Dancers & Ballet
Co-presented by Attila Glatz Concert Productions and Roy Thomson Hall
Media Partner:
Tickets: 416.872.4255 • roythomsonhall.com

2018/19 Season
HANDEL
MESSIAH
Directed by Ivars Taurins
Sherezade Panthaki, soprano
Krisztina Szabó, mezzo-soprano
Charles Daniels, tenor
Drew Santini, baritone
Tafelmusik Chamber Choir
Dec 18–21, 2018
KOERNER HALL, TELUS CENTRE
Non-perishable food donations
accepted at all performances.
tafelmusik.org
up next:
Sing-Along
Messiah
Directed by Mr. Handel
PHOTO: JEFF HIGGINS
THE
HARLEQUIN
SALON
You’re invited to this dazzling
Roman soirée, complete with
mischievous servant, famous prima
donna, and a composer or two!
Dec 22, 2018
NEW VENUE!
Roy Thomson Hall
Jan 16–20, 2019
Jeanne Lamon Hall,
Trinity-St. Paul’s Centre
MASK BY PIRATE ATELIER OF MONTREAL

Sunday January 20, 2019
8:00pm Concert | 7:15pm Pre-Concert Chat | Koerner Hall
Constellations
Music by Vivier | Jiang | Goddard | Hosokawa
Featuring Wallace Halladay—saxophone soloist
ESPRIT
ORCHESTRA
Alex Pauk, Founding Music Director & Conductor
Season Sponsor
Part of the Royal Conservatory’s 21C Music Festival, as
well as the University of Toronto New Music Festival
Buy Tickets
espritorchestra.com
Koerner Hall Box Office
416 408 0208
Follow us

2404_DecCover.indd 1
PRICELESS
Vol 24 No 4
2018-11-22 2:11 PM
ON OUR COVER
Volume 24 No 4 | December 2018 / January 2019
INSPIRATIONS
D’Anglebert | Forqueray | Rameau
COMBINED ISSUE
DECEMBER 2018 / JANUARY 2019
CONCERT LISTINGS
FEATURES | REVIEWS
IN WITH THE NEW
Terry Riley’s
Coming to Town
ANNIVERSARIES
U of T Music
Reaches 100
MUSIC AND HEALTH
Recollectiv’s
Restorative Mission
Terry Riley
PHOTO: CHRIS FELVER/
GETTY IMAGES
FEATURES
7 OPENER | This Time I’ve Got
Nothing (So Thank Goodness
for Our Columnists) |
DAVID PERLMAN
8 FEATURE| University of
Toronto Faculty of Music
Reaches 100 |
DAVID PERLMAN
12 MUSIC AND FILM |
The Yellow Ticket |
PAUL ENNIS
14 FEATURE | New Year
New Music | DAVID JAEGER
San Francisco-based Christopher Felver is an awardwinning
photographer and filmmaker, perhaps best-known
for his portraits of American cultural and arts luminaries –
in particular people associated with beat literature.
“Terry Riley has been inspiring and collaborating with many
artists for years. One such artist, the poet Michael McClure,
introduced us around the time the picture was made. It all
happened in his studio in Berkeley one morning very early.
Amy McClure has told me of his passion for practicing many
hours everyday so when I arrived it was no surprise to see
him behind his piano finishing up a new composition before
heading to his ranch in the Sierras with his wife.”
— Chris Felver
18 ON OUR COVER | In With
the New - Timeless Terry
Riley; Sea change at 21C |
WENDE BARTLEY
78 MUSIC AND HEALTH |
Recollectiv’s Restorative
Mission | VIVIEN FELLEGI
80 WE ARE ALL MUSIC’S
CHILDEN | December /
January’s Child | MJ BUELL
99 REARVIEW MIRROR |
TSO: Crises Weathered,
Challenges Ahead |
ROBERT HARRIS
16
ACD2 2780
MÉLISANDE McNABNEY
harpsichord
Cavatine
Debussy | Poulenc | Françaix
Kœchlin | Messiaen
ACD2 2787
CAMERON CROZMAN
cello
PHILIP CHIU
piano
TO BE RELEASED
JANUARY 25, 2019
G R I G O R I A N . C O M

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BEAT BY BEAT
22 Choral Scene | BRIAN CHANG
26 Classical & Beyond |
PAUL ENNIS
30 Art of Song | LYDIA PEROVIC
32 Jazz Notes | STEVE WALLACE
34 Music Theatre |
JENNIFER PARR
37 On Opera | CHRISTOPHER HOILE
39 Early Music |
MATTHEW WHITFIELD
42 World View | ANDREW TIMAR
44 Bandstand | JACK MACQUARRIE
72 Mainly Clubs, Mostly Jazz |
COLIN STORY
LISTINGS
46 A | Concerts in the GTA
66 B | Concerts Beyond the GTA
70 C | Music Theatre
73 D | In the Clubs (Mostly Jazz)
75 E | The ETCeteras
DISCOVERIES:
RECORDINGS REVIEWED
81 Editor’s Corner | DAVID OLDS
83 Strings Attached |
TERRY ROBBINS
85 Keyed In | ALEX BARAN
87 Vocal
88 Classical and Beyond
90 Modern and Contemporary
91 Jazz and Improvised Music
95 Pot Pourri
96 Something in the Air |
KEN WAXMAN
97 Old Wine, New Bottles |
BRUCE SURTEES
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6 | December 2018 - January 2019 thewholenote.com

FOR OPENERS | DAVID PERLMAN
This Time I’ve Got Nothing
(So Thank Goodness for Our Columnists)
When is a trumpet like a motorcycle in a dressage ceremony?
Jack MacQuarrie has the answer in Bandstand.
And whose songs will Danika Lorèn be singing in Toronto’s inaugural
songSLAM January 16 at Walter Hall – an event that threatens
to singe the eyebrows off that often sober-sided venue?
Lydia Perović reveals all in Art of Song.
As of the date of writing this (November 26 2018) how many times
has conductor Johannes Debus conducted Messiah?
Brian Chang has the handle on that in Choral Scene.
Pianists can be a handful. Which one is quoted in this month’s
magazine as saying “If I were only to play Saint-Saëns for the rest of
my life, I think I’ll stop playing the piano”? And how many pianists
in a handful, anyway?
You can find out in Paul Ennis’ Classical and Beyond.
What instrument (or should that be implement?) will Marco Cera
wield in addition to his usual oboe in Tafelmusik’s Harlequin Salon
commencing January 16?
Matthew Whitfield explains in Early Music.
And what is it about the three CD sets from Mosaic Records that
Steve Wallace is thinking of buying for himself for Christmas, if
no-one else does, that makes them a bargain at $354 (U.S.)?
Read Jazz Notes if you dare.
You may well never have wondered what Bernice means
to singer Robin Dann. And how many Danns can safely fit in
one column anyway?
Colin Story answers that one in Mainly Clubs.
Come January, Rose is arose in Rose and Jenny Parr can hardly wait.
There’s pepper for the soul in Music Theatre, guaranteed.
How many Brünnhildes does it take to change an Elektra?
According to Chris Hoile in On Opera we are about to find out.
And what under the sun are a dizi, yangqin, zamba, chacarera
and kamanche?
And which of them does Andrew Timar (World View) try to use
in Scrabble?
From all of us at The WholeNote to all of our readers, our best
wishes for this thing called the holiday season. Don’t look for a new
issue in print at the beginning of January. In case you haven’t noticed,
this is (for the 24 th consecutive time, actually) a combined December/
January issue.
You can however expect to hear from us in all our other media,
digital and social, including HalfTones, our mid-month e-letter. And
you’ll see us in print again at the end of January.
publisher@thewholenote.com
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Thursday January 31 (print edition)
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March 7, 2019
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thewholenote.com December 2018 - January 2019 | 7

ANNIVERSARIES
University
of Toronto
Faculty
of Music
Reaches
100 D AV ID PERLMAN
”
A hundred years from what exactly?
“we ask, searching for clues.
Our host is Robin Elliott, Professor of
Musicology and Jean A. Chalmers Chair of
Canadian Music at the University of Toronto
Faculty of Music. We (WholeNote managing
editor Paul Ennis and I) are sitting in Elliott’s
office on the western flank of the Edward
Johnson Building (the faculty’s home base
since 1962) overlooking Philosopher’s Walk,
a meandering path which, at least in theory,
connects the U of T Faculty of Music to the
Royal Conservatory of Music, a couple of
hundred metres (or yards as the Faculty’s
founders would have called them) to the
north. Reason for our visit is to find out more
about the Faculty’s proclamation of 2018/19
as its 100th anniversary.
“Aha!” says Elliott. “Good question. A hundred years from the date
of the first faculty council meeting. In June 1918, the U of T actually
decided to set up a faculty of music. Prior to that there had been music
degrees awarded at the university, dating back to the middle of the
19th century, but those were offered by examination only, there was
no instruction in music given in the University of Toronto. So I guess
it’s the 100th anniversary of music instruction in the university.”
And the specific impetus for the decision? “Post-World War One?”
Elliott replies, although it sounds more like a question than an answer.
“Restructuring of cultural life in Canada, I suppose, and at the university?
There was a number of mostly British organists around that had
an interest in setting up shop at U of T, so they met together with the
university president, over at University College – June 1918.”
There were no courses offered by the new faculty, at the start and
for a good while after that. “What they offered were set lectures that
may or may not have been helpful in writing the exams for getting
a degree. But gradually in the course of the 1930s and 40s it shifted
towards a more familiar kind of course-based instruction. You could
take a course rather than just attend lectures. Smaller groups. And you
registered at the university rather than just paying a fee.”
Composer and teacher John Beckwith has spent a large part of his
working life associated with the U of T Faculty of Music, including
attending as a student in the years between the two World Wars, a
subject he addressed in a series of two lectures at Walter Hall, bracketing
the Faculty’s 75th anniversary in 1993, and subsequently gathered
into a small book called Music at Toronto: A Personal Account.
“Taking a bachelor’s degree in music at Toronto in the 30s and
40s was as thoroughly English an experience as could be found
anywhere in Canadian university life of the period,” Beckwith writes.
“Thursdays you went in threes and fours to Healey Willan, who blew
pipe smoke at you, told witty anecdotes about English notables of the
turn of the century and called you ‘old man.’ Mondays you went in
similar small convoys to Leo Smith, who stroked his white pencil-line
moustache, caressed the piano keys, and called you ‘dear boy’.”
8 | December 2018 - January 2019 thewholenote.com

Thursday, December 6 at 8pm
GRYPHON TRIO
Chamber music at its best
Robin Elliott with, left Barker Fairley (1887-1986), Clarinet [Ezra
Schabas], 1959, oil on masonite, 101 x 76 cm, University of Toronto
Art Collection 1986-052, Purchase 1963-64; and, right Barker Fairley
(1887-1986), Flute [Robert Aitken], 1958, oil on masonite, 76 x 101 cm,
University of Toronto Art Collection 1986-013, Purchase 1963-64.
KEVIN KING
Elliott laughs, appreciatively. “There were only three people in the
faculty for decades” he says. “Ernest MacMillan, who was the dean
from 1926 to 1952, and those two: Healey Willan and Leo Smith. Smith
was actually a cellist and composer, Willan an organist and composer,
teaching these small classes and that was it; just the three of them
running shop for no more than 40 or 50 students till after the [Second
World] War.”
Just as the end of WWI provided some kind of spark for the
founding of the Faculty; WWII changed it forever. “From 1945 all the
way to 1962 there were a lot of returning soldiers, a huge influx of
military getting their education, in music as in other things. Along
with growth of music in schools this sparked an expansion over
the course of 15 to 20 years up to 500 students,” Elliott says, along
with a corresponding growth in the number of faculty staff, and, as
important, in the variety of their musical backgrounds.
“Starting in 1946: Arnold Walter, who was a Czech musician after
whom Walter Hall was named came on board, initially to set up opera,
and eventually became director of the Faculty. Director, not Dean.”
A slight pause, as though he is wondering how far to allow the
conversation to stray up Philosopher’s Walk towards the Royal
Conservatory. Then: “Between the Conservatory and the Faculty,”
Elliott says, “there’s a whole very complicated administrative history.
For a while the Royal Conservatory was the umbrella organization at
U of T and underneath that was the Faculty of Music here and the
School of Music there. Boyd Neel was Dean of the Conservatory, a kind
of referee between the two. Finally, in the 80s they went their own
way, as a self-standing institution.”
“With no referee?” we ask. He laughs. “With no referee. Peter Simon
running shop over there and Don McLean running shop over here …
although we share a lot of faculty members, especially among people
teaching instrumental lessons.”
Thursday, January 31, 2019 at 8pm
VAN KUIJK QUARTET
Taking Europe by storm
27 Front Street East, Toronto
Tickets: 416-366-7723 | www.stlc.com
Another pause.
thewholenote.com December 2018 - January 2019 | 9

NOTT AND MELL (CITY OF TORONTO ARCHIVES)
“One of the things we were joking about on the way over,” we tell
Elliott, “is that it should be possible to map the history of a venerable
institution like this one, by looking at the roles played in that
history by the individuals the institution chooses to name its buildings
and rooms after. Edward Johnson, Ernest MacMillan, Arnold Walter,
Herman Geiger-Torel, Barker Fairley …”
“Ah yes, we shouldn’t forget Barker Fairley! He was, of course, a
professor of German and a keen amateur painter. In the Barker Fairley
Room there are all these portraits, or ‘faces’ as he liked to call them, of
musicians in Toronto, in the 50s and early 60s. I think they are really
lovely. Yes, he’s the outlier … the only one who was not a musician.”
We go back to the top of the list: “So, first, why is it the Edward
Johnson Building? Obviously he was a famous tenor, director of
the Met Opera during the Second World War. Came back to the
Toronto area after retiring from the Met. He was on the U of T
board of governors as well as on the board of directors of the Royal
Conservatory. And his daughter was married to a former premier of
Ontario, George Drew. So he was politically well-connected, powerful
in the administration. One can draw conclusions. Certainly there
are those who think that they should have named the building after
Ernest MacMillan and the opera theatre after Johnson, not the other
way round. Johnson obviously deserved some recognition for what he
helped to set up, in terms of plans for the new building and he died in
1959 while the building didn’t open till 1962, so he didn’t live to see
it. He laid the groundwork and clearly deserved some recognition, but
maybe not that much.”
MacMillan’s contribution, on the other hand, was fundamental.
“Beyond dispute, really. Dean from 1926 all the way to 1952; we have
the MacMillan Theatre, the MacMillan Singers, so that’s something,”
In October 2000, the Faculty of
Music celebrated the permanent
installation of a collection of
musical portraits by Canadian
artist and distinguished German
scholar Professor Barker Fairley
(1887-1986), thanks to a donation
from the Fairley family. The
fourteen paintings date from 1957
to 1964 and belong to the U of T
Art Collection. Ezra Schabas,
Fairley’s son-in-law, is pictured
here at the opening with Ruth
Budd whose portrait hangs
beside her.
Elliott says. Several of
MacMillan’s works are being, or
have already been, featured in
this centennial concert season:
“In the first orchestra concert
they played his Fanfare for a
Centennial, and the overture
to England: An Ode which
was a big choral and orchestral
piece written in prison camp in
Berlin in 1918 and earned him
a doctorate from Oxford. And
we’ll have more of his music
in a choral concert later in
the season.”
Next on the list, Arnold
Walter, whose arrival in 1946
signalled a big change. “He
was neither British nor Canadian, the first central European to arrive
on faculty, although along with him came Herman Geiger-Torel (the
next room on your list!). Geiger-Torel was an opera director, also
from Central Europe. Being Jewish he fled from Nazi German occupation,
to South America first, then came north in 1948, courtesy Niki
Goldschmidt.”
Between the three of them, Elliott explains, they were instrumental
in setting up opera here between 1946 and 1948. “The direct result
was our Opera Division which initially gave performances at the Hart
House Theatre, officially opened the MacMillan Theatre in 1964 with a
production of Benjamin Britten’s Albert Herring, and faithfully stages
two productions a season, year in, year out.”
As the shadows lengthen across Philosopher’s Walk outside Elliott’s
office window, we examine lists of eminent alumni and prominent
faculty, and look at the concerts in the season brochure specially
marked with a 100th anniversary symbol. The picture that emerges,
paradoxically, is of a season that looks very much like last year’s or the
year before that.
“Is it fair to say if you’d reached this milestone last year, we could
have used last season’s listings to tell the same story?” “Exactly,” he
replies. “That is exactly what the Dean had in mind. It’s a year that
says here are the things we’re doing, but as a portrait of what we
always do. Not a ‘drop everything to celebrate’ thing – more like ‘It’s a
hundred years, that’s nice but we have students to teach.”
Business as usual: students to teach (900 of them, now, by 240 fulltime
and part-time staff); two opera productions a year to stage; music
created by U of T-affiliated composers to nurture and perform (“All the
way from Healey Willan to our current students”); concerts to present,
by faculty performers and students, ranging from 18 and 19 years
old in large ensembles to Phil
Nimmons, 95 years old and still
teaching; a tradition of chamber
ensembles in residence to maintain,
going back to the Orford
String Quartet, here from 1968
to 1991; a pioneering electronic
music studio, launched in 1959,
to relaunch, completely refurbished,
in time for its own 60th
anniversary this coming spring;
groundbreaking work in musicology
and ethnomusicology,
and now music and health,
to build on.
“And for you particularly?”
we ask Elliott. “As Director
Ernest MacMillan at the piano
with (left to right) Godfrey
Ridout, Leo Smith, John
Weinzweig and Healey Willan
surrounding him, circa 1948.
of the Institute for Music in
Canada, our work as a custodian
of things Canadian,” he replies.
“Our rare book room, papers
of important musical figures –
Kasemets, Beckwith, Nimmons
10 | December 2018 - January 2019 thewholenote.com

UNIVERSITY OF TORONTO
Members of the cast of the 1964 production of Britten’s Albert Herring,
performed March 4 and 6 as part of the opening ceremonies
of the Edward Johnson Building.
… For a long time, this was the main university for musical education
in Canada, our graduates from the forties, fifties and sixties spread
out across the map from Memorial University to Victoria. It’s an
evolving legacy.”
The hand-written sign on the door of the Barker Fairley Room, just a
few steps away from the MacMillan Theatre, says that the room will be
the location for the pre-concert chat for that evening’s Opera Division
performance of Street Scene, Kurt Weill’s self-described “American
Opera.” We wait outside for conductor Uri Mayer to finish a class with
five or six of his students.
Except for the 14 paintings clustered on its north and east walls,
it could be just another classroom (it even served as a faculty lunch
room in the 80s). But the faces in those 14 paintings leap out from the
walls, most of the people they portray rendered in the act of making
music. It would have been a fine point of departure for this story; but
it works just as well as a point of departure from it.
All the paintings in the collection were done between 1957 and
1964, the years when plans were firming up for the Faculty to vacate
its premises at University and College, the site today of the Ontario
Power Building. At the very moment Fairley was laying down pencil
lines that still show through these oil-on-masonite works, some
draftsman was laying down the lines in the blueprint that would
become this room. Many of the people portrayed are still with us.
Some of their names are well-known. Some, like flutist Robert Aitken,
will even appear in concerts in this very building before the next issue
of this magazine comes out.
Next to Aitken on the wall, clarinetist Ezra Schabas has walked
many miles, in many roles, up and down the meandering path
between the Faculty and the Royal Conservatory, since this painting
was done. And fittingly it was Ezra Schabas and his wife Ann who
in 1990 made the donation that ensured the existence of the Barker
Fairley Room as a repository for her father’s paintings, which for close
to 30 years prior to that had been scattered here and there throughout
the Edward Johnson Building.
This particular 100-year history delights in the details.
David Perlman can be reached at
publisher@thewholenote.com.
Toronto’s
Christmas Tradition
featuring
St. Michael’s Choir School
continues at
Roy Thomson Hall
Repertoire to include Benjamin Britten’s
‘A Ceremony of Carols’
and an array of seasonal favourites
Special Guests True North Brass, Lori Gemmell, harp
Conductors Vincent Cheng ( SMCS 1999 ), Maria Conkey, Teri Dunn,
S. Bryan Priddy / Accompanists William O’Meara,
Joshua Tamayo ( SMCS 2003 )
DEC 9 AT 3PM
DEC 10 AT 7PM
Tickets $25 to $60
ROY THOMSON HALL 416-872-4255
www.roythomsonhall.com
thewholenote.com December 2018 - January 2019 | 11

MUSIC AND FILM
ALICIA
SVIGALS
Breathing
Life Into
The Yellow
Ticket
PAUL ENNIS
The Yellow Ticket in Vancouver with
Alicia Svigals performing
CHRIS-RANDLE
TINA CHADEN BESKUREN
Alicia Svigals
“
When I see the interiors of the
film, I smell the apartment of my
great-grandmother [who emigrated
from Odessa]... It’s a magic, rare,
strange, mysterious, fascinating
little item. It’s like photos of my
great-grandparents come to life.
”
— Alicia Svigals
Svigals, the renowned klezmer violinist/vocalist/composer is referring
to The Yellow Ticket, a silent film made 100 years ago which will
be screened at FirstOntario Performing Arts Centre in St. Catharines
on February 7. But this is no mere revival of a rare artifact. “The Yellow
Ticket” is a multimedia event featuring a fascinating 1918 silent film,
The Yellow Ticket (aka The Devil’s Pawn). Svigals’ original score
breathes new life into the film as it is performed live by the violinist
along with virtuoso Toronto pianist, Marilyn Lerner.
Considered by many to be the world’s foremost klezmer fiddler,
Svigals is a founder of the Klezmatics and a driving force behind
the klezmer music revival. The film, directed by Victor Janson and
Eugen Illès, was a very early production of the legendary German film
company UFA-Pagu, and made near the end of WWI on the eve of
the Russian Revolution. Starring a young Pola Negri (later to become
a femme fatale of the silent era in Hollywood), The Yellow Ticket
tells the story of a young Jewish woman from a Polish shtetl who is
constrained by antisemitic restrictions to lead a double life in a brothel
while attempting to study medicine in Tsarist Russia. The first film
to explore antisemitism in Tsarist Russia, The Yellow Ticket (which
was restored in 2013), includes precious footage of the former Jewish
quarter of Warsaw and the people who once lived there.
Remarkable for its time, The Yellow Ticket addresses ethnic and
religious discrimination, human trafficking and poverty in startlingly
progressive terms. Its clear-eyed denunciation of antisemitism caused
the Nazis to condemn Negri in the years to come.
According to Michal Oleszczyk of rogerebert.com, Pola Negri (née
Apolonia Chałupiec), the only Polish actress ever to become a major
Hollywood star, lived a life as exciting as the movies she graced with
her presence. Born in the small Polish town of Lipno in 1894 (while
the country was still under a triple occupation by its neighbours), she
climbed her way up: first to the theatre stages of Warsaw and then to
the budding movie business. After a successful crossover to the much
more sophisticated German film industry – and a happy pairing with
its finest director, Ernst Lubitsch – she starred in the international
smash-hit, Madame Dubarry (1919). It was Lubitsch’s ticket to
Hollywood – as well as Negri’s.
“I believe this accompaniment to The Yellow Ticket is one of the
most powerful I have heard. It evokes not only a sense of the contemporary
context of the culture in which the film took place, but our
awareness of what was done to it afterwards. The sound of piano,
violin and the human voice evoke passion, energy and a profound
sense of mourning, bridging the historical distance between us and
this film as eloquently as does Pola Negri’s extraordinary face.”
- University of Chicago film scholar Tom Gunning
FirstOntario Performing Arts Centre is only one stop along a whirlwind
tour of Southern Ontario. Svigals and Lerner will also be
accompanying the film in Burlington on February 8 and in Oakville,
February 16. In between, on February 9, the “queen of klezmer”
gives a recital at the Isabel Bader Centre for the Performing Arts
in Kingston.
Paul Ennis is the managing editor of The WholeNote.
12 | December 2018 - January 2019 thewholenote.com

NOW ON SALE!
GLENN GOULD PRIZE
GALA CONCERT
HONOURING
JESSYE NORMAN
a “once-in-a-generation singer . . . staking out
her own niche in the history of singing.”
– New York Times
“[a] generous heart, dignified manner
and noble voice.” – Gramophone
“To have been chosen to receive this
auspicious recognition is quite simply
breath-taking!” – Jessye Norman,
Twelfth Glenn Gould Prize Laureate
Wednesday, February 20, 2019, 7:30 p.m.
Four Seasons Centre for the Performing Arts
145 Queen St. W.
Purchase Tickets From the Canadian Opera
Company Box Office 416-363-8231
or visit: www.glenngould.ca
The Glenn Gould Foundation in partnership with
the Canadian Opera Company presents the Twelfth
Glenn Gould Prize Gala Concert celebrating
Jessye Norman for her unparalleled artistry and
life of inspiring humanitarian achievement.
Don’t miss the this once-in-a-lifetime event
honouring one of the greatest singers of our time,
Jessye Norman, as a stellar array of today’s top
artists lift their voices in tribute.
FEATURING UNFORGETTABLE
PERFORMANCES BY:
NINA STEMME
Soprano
SONDRA
RADVANOVSKY
Soprano
PUMEZA MATSHIKIZA
Soprano
WALLIS GIUNTA
Mezzo-soprano
RODRICK DIXON
Tenor
RYAN SPEEDO GREEN
Bass Baritone
CONDUCTORS:
Donald Runnicles,
Johannes Debus and
Bernard Labadie
SPECIAL GUEST APPEARANCE BY
the Nathaniel Dett Chorale, Brainerd Blyden-Taylor,
and the Orchestra of The Canadian Opera Company
GUEST APPEARANCE BY
Glenn Gould Prize jury chair Viggo Mortensen
Photo Credits: Jessye Norman - Carol Friedman, Glenn Gould Prize Statue - Ruth Abernethy
Additional special events in honour of Jessye Norman and the Glenn Gould Prize will take place
February 11-20, 2019 at the TIFF Bell Lightbox, the Toronto Reference Library and the
University of Toronto Faculty of Music.
Remember this amazing event when holiday
shopping for the music lover in your life!
Visit www.glenngould.ca for details.

FEATURE
NEW
YEAR,
NEW
MUSIC
DAVID JAEGER
Toshio Hosokawa
KAZISHIKAWA
January has earned a reputation as new music festival
month, and members of the new music community
have much to anticipate in this particular new
year. Since the Winnipeg Symphony Orchestra (WSO)
launched its annual, and still ongoing, New Music
Festival in 1992, the festival format has been embraced
enthusiastically around Canada as an effective way to
present contemporary music of all types to a wide range
of listeners.
For those eager to join me and book flights to Winnipeg for a
late January new music getaway, the 2019 WSO New Music Festival
(WNMF) runs from January 25 to February 1, 2019 and features
Latvian composer Pēteris Vasks as the Distinguished Guest Composer.
The late Larry Lake, host of the CBC Radio 2 network new music
series, Two New Hours (1978–2007) called the WSO’s festival, “The
greatest new music party in the Universe!” It has become the WSO’s
signature event, and a fixture on the annual new music calendar. I will
have more on the WSO’s 2019 festival a bit later in this article.
For Toronto audiences, a great deal has changed in the shape of the
contemporary music calendar in recent years. We’re now fortunate
to have two overlapping January festivals, both in the Bloor and
University neighbourhood. One of them is the Royal Conservatory
of Music’s (RCM) 21C Music Festival, which has been moved to
January, from later in the spring, to promote greater student involvement.
But the most steadfast of these annual festivals in Toronto has
been the New Music Festival presented by the University of Toronto
Faculty of Music, now in its 20th year. The 2019 edition runs from
January 16 to 27.
Thanks to a generous endowment from Roger D. Moore, the U of T
Faculty of Music invites an internationally celebrated composer to its
annual festival. This coming year, the Roger D. Moore Distinguished
Visitor in Composition is the Japanese composer Toshio Hosokawa (b.
1955), the latest in a long list of internationally recognized composers
to be invited as visitors to the U of T festival.
I asked Moore for a comment on the cumulative effect of his
enabling the festival to bring so many famous composers from
around the world, year after year. True to form, he thought it might
be more meaningful to ask a composer from the Faculty of Music to
share their observations., and recently retired professor of composition,
Chan Ka Nin was willing to oblige: “The list of Roger D. Moore
Distinguished Visitors in Composition reflects a who’s who in the
current field of new music” he said. “It brings prestige to the university
and at the same time inspires the composition students, as well
as other students and the general public. Being on the list of the Roger
D. Moore Distinguished Visitors in Composition is also an honour for
the guest composers. Roger will be forever remembered as a generous
and compassionate man who helps and inspires others with his keen
interests in the music of his time. He is a Canadian treasure, a saviour
in the Canadian music scene.”
Toshio Hosokawa: Hosokawa has become one of Japan’s most
important composers, following Toru Takemitsu (1930–1996) and
Maki Ishii (1936–2003). Like the works of Takemitsu and Ishii,
Hosokawa’s music blends traditional Japanese and European classical
approaches. In fact, Hosokawa divides his time between these
two worlds, keeping residences in both Nagano, Japan and in Mainz,
Germany. During the 11 days of the U of T New Music Festival, dozens
of Hosokawa’s works will be performed, including an operatic double
bill on January 17. That evening, in Walter Hall at 7:30, Hosokawa’s
psychodramatic setting of Poe’s The Raven will be sung by noted
mezzo soprano Krisztina Szabó. This will be followed by its companion
piece, The Maiden from the Sea (Futari Shizuka) a one-act opera
based on a Nôh play depicting the tale of a young woman lost at sea
who becomes embodied by a 12th-century courtesan, Lady Shizuka.
Toronto soprano Xin Wang will be heard in the lead, together with the
remarkable female Noh singer/dancer, Ryoko Aoki, from Japan. The
opera is sung in both Japanese and English.
14 | December 2018 - January 2019 thewholenote.com

Then, on January 25 at 8pm in Walter Hall, Toronto’s New Music
Concerts, directed by Robert Aitken, will present a concert of
Hosokawa’s music, together with works by his teacher, the late Klaus
Huber (1924–2017) and his protégé, Misato Mochizuki (b. 1969), who
will also attend the festival. Aitken’s New Music Concerts Ensemble is
one of a long roster of Toronto’s finest musicians engaged to perform
Hosokawa’s music during this visit, including the Gryphon Trio, pianists
Stephanie Chua and Stephen Clarke, flutist Camille Watts, violinist
Véronique Matthieu. guitarist Rob MacDonald and a new wind quintet
made up of TSO wind players. Sax soloist Wallace Halladay and Esprit
Orchestra under Alex Pauk will give the North American premiere of
Hosokawa’s Concerto for Saxophone and Orchestra on January 20 in
Koerner Hall in a display of cooperation between U of T’s festival and
the RCM’s 21C Music Festival.
Karen Kieser Prize: Another important feature of the U of T festival
is the annual presentation of the only prizes available exclusively to U
of T graduate composers: The Karen Kieser Prize in Canadian Music
and the Ann H. Atkinson Prize in Electroacoustic Composition. The
current winning works will be performed on January 22 at 7:30 in
Walter Hall.
Karen Kieser was deputy head of CBC Radio Music from 1982 to
1986, and then head of music from 1986 to 1992. She held three
degrees from the Faculty of Music of the University of Toronto: a
Bachelor of Music and a Master of Music, both in piano performance,
and a Master of Music in Musicology. She could have had a career as a
concert pianist, but she chose broadcasting as her life’s work, serving
as a gifted CBC host, producer, executive producer, and eventually as a
leader in CBC’s senior management. Friends and colleagues endowed
the Karen Kieser Prize in Canadian Music upon her death in 2002,
too soon a loss at age 53. It is a tribute to her life, her work and her
passionate devotion to the cause of Canadian music and musicians.
For the first time in its 16-year history, this year the Kieser Prize
will be shared by two composers, both women: Rebekah Cummings
and Bekah Simms. Simms’ microlattice is a quartet for bass clarinet,
double bass, piano and percussion. In her note on the work, Simms
says, “With a density as low as 0.9 kg/m3 (0.00561 lb/ft3), metallic
microlattice is currently one of the lightest structures known to
science. It is made from an alloy of nickel and phosphorus. This piece
attempts to create a sort of musical alloy from two opposing but influential
forces: rhythmic, repetitive music with pointillist, random
recurrence. Inspired by the unique structure, this piece also attempts
to create an alloy of the strong, metallic and loud, and the crystalline
and light. Like its titular influence, the piece is also small in scope,
making use of a limited amount of musical material both melodically
and rhythmically. After its initial performance, it’s only been
performed once more (in July 2018 in Banff, AB) so I very much look
forward to presenting it to a wider audience at the Karen Kieser
concert this coming January.”
Cummings’ Fearless is a trio for flute, percussion and electronics. In
her note, Cummings says: “I’ve always had vivid dreams, and recently
I’ve been using them as springboards for composition. Fearless was
inspired by a profoundly impactful dream I had many years ago
while struggling with anxiety, in which I rediscovered my true name:
Fearless. Rather than following the details of the dream’s storyline,
this piece broadly portrays its theme – a transformation from fearful to
fearless through reconnection with an inherent, original identity. For
me, fearlessness is more about childlike confidence than defiant boldness.
I remember being small, believing I could do anything (even fly
Karen Kieser Prize recipients:
Rebekah Cummings, above, and Bekah Simms, below
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thewholenote.com December 2018 - January 2019 | 15

and walk on water!), never assuming the worst about myself, others,
or life circumstances. I tried to musically depict this return to childlikeness
through a melodic/rhythmic playfulness emerging, not
without struggle, from a more mournful setting.”
The winner of the 2019 Ann H. Atkinson Prize in Electroacoustic
Composition will be determined in early December, and the winning
composition will be performed on the Karen Kieser Prize concert, along
with chamber works by Hosokawa. (The 2018 Atkinson Prize winner
was August Murphy-King for his work, Simul for viola, bassoon, piano
and electronics, a work I found to be elegant and finely balanced.)
Meanwhile … the previous week, American composer Terry Riley
will be celebrated in three concerts at the RCM’s 21C Music Festival,
including a concert on January 18, “Terry Riley: Live at 85!” Riley’s
visit is dealt with at more length in “In with the New” elsewhere in the
current edition of The WholeNote. But I do have a personal Terry Riley
story to share, from 1993, when my CBC Radio Two network series, Two
New Hours co-produced the Encounters series in Glenn Gould Studio
(GGS), together with Soundstreams Canada. Kieser, the director of GGS
at the time, had challenged Soundstreams artistic director Lawrence
Cherney and me to come up with a marketable contemporary music
series that would attract audiences to GGS. We quickly responded with
Encounters, initially, a series of minimalist music. Terry Riley was one
of the invited minimalist composers. Riley improvised on a nine-foot
Steinway modified with his so-called Rosary tuning. It was a 19-toneto-the-octave
tuning, and it took three tunings to get the Steinway to
hold its pitch; and three tunings to get it back to tempered pitch afterwards.
(The piano tuner’s bill was $1,200 for those services.) The
Arraymusic Ensemble participated too, in Riley’s Cactus Rosary, which
they had commissioned. The late Michael J Baker conducted.
Back to Winnipeg: And finally, as I promised at the outset of this
story, there’s the impending trip to Winnipeg for the 2019 edition of
the WSO’s New Music Festival. The 27th WNMF will embrace a variety
of themes, including ice, metal, the new intersecting the old, and
a spirit of collaboration. The opening event, on January 25, “Glacial
Time,” takes place in a custom-designed ice amphitheatre situated in
The Forks on the frozen Assiniboine River. A collaboration with architect
Peter Hargraves (Warming Huts), this newly created space will
capture the essence of WNMF as a cultural oasis within the heart of
the extreme Manitoba winter. Norwegian artist and multi-instrumentalist
Terje Isungset comes to Winnipeg to present a suite of his
original music, featuring himself, vocalist Maria Skranes, and WSO
musicians performing on Isungset’s ice instruments, freshly carved
for the occasion of this performance. WSO resident conductor Julian
Pellicano and percussionist Victoria Sparks will lead the University of
Manitoba Percussion Ensemble in the Canadian premiere of Inuksuit,
an expansive work by Pulitzer Prize-winning Alaskan composer John
Luther Adams that continues his explorations in merging music,
nature, and landscape.
Norwegian composer Terje Isungset and ice instruments
The January 26 concert welcomes back Bramwell Tovey, the WNMF
founding music director who started it all. Tovey will conduct a
program featuring San Francisco composer John Adams’ monumental
work, Harmonielehre, together with music by three prominent
Canadian composers: Jocelyn Morlock, Kelly-Marie Murphy and
Harry Stafylakis.
On January 30, the WSO’s newest music director, Daniel Raiskin
takes the podium in his first full WNMF program. A noted advocate
of contemporary music, Maestro Raiskin is joined by his longtime
collaborator, Latvian composer Pēteris Vasks, who serves as this year’s
WNMF Distinguished Guest Composer. WSO concertmaster Gwen
Hoebig will perform Vasks’ meditative Lonely Angel and the Winnipeg
Singers join the orchestra for his Dona Nobis Pacem, offering two
pathos-laden aspects of Vasks’ musical vision. The WSO will also
give the world premiere of a new work, A Child’s Dream of Toys, by
Canadian composer Vivian Fung, as well as Michael Daugherty’s fierce
Raise the Roof. Finally, WNMF doubles down on its collaboration with
contemporary progressive metal pioneers Animals As Leaders, who
join the WSO for the band’s orchestral debut, featuring a symphonic
suite of some of their best known works arranged by WSO Composerin-Residence
(and relentless metalhead) Harry Stafylakis.
Consider an alternative winter destination, and join me in Winnipeg
for my annual January pilgrimage of musical discovery at the WNMF!
David Jaeger is a composer, producer and broadcaster
based in Toronto.
BJORN FURUSETH
Animals as Leaders
16 | December 2018 - January 2019 thewholenote.com

2018-2019: The Colours of Early Music
LOVE,
REMIXED
FEBRUARY 15 & 16 at 8pm
Artistic Direction by David Fallis & Katherine Hill
Join us as we reinterpret, remix, and rediscover our love of
Early Music, featuring James Rolfe’s Juno-nominated Breathe.
FOUR QUARTERS
OF JERUSALEM
MARCH 8 & 9 at 8pm
Guest Artistic Director Nina Stern,
with Rose of the Compass
Celebrating the musical diversity of the City of Jerusalem.
416-964-6337 | TorontoConsort.org
An agency of the Government of Ontario
Un organisme du gouvernement de l’Ontario

IN WITH THE NEW
Gyan and Terry Riley
SCOTT CROWLEY
Timeless
TERRY
RILEY
Sea Change
at 21C
WENDALYN BARTLEY
Change is not the only measure of a new music
festival’s success, as witnessed by the eagerly
anticipated visit to this year’s 21C of Terry Riley
(now 85 years of age), an individual who for more than
60 years has helped define the course of new music.
The 21C Festival, produced by the Royal Conservatory of Music, is
now in its sixth year and is, by definition, committed to presenting
new sounds and ideas. That being said, opening up the flyer for this
year’s 21C Music Festival was like a breath of fresh air. I couldn’t help
but compare it to last year’s experience – a gasp of disbelief, even
despair, when I realized that there was barely a female face to be
seen or name to be read. Not so this year. The gasp this time round
was more of delight, surprise and yes, relief. Finally! There is definitely
a huge sea change occurring this year and for that reason alone,
all the more incentive to attend and listen to what is percolating with
creative innovators in music. Not only are there a significant number
of works and premieres by women, but also by culturally diverse
composers as well.
Another key change is the move to a January timeslot from the
previous one in May, with this year’s festival happening January 16 to
20, dovetailing with the U of T New Music Festival, a short stroll away,
which runs from January 16 to 27.
Change is, however, not the only measure of a new music festival’s
success, as witnessed by the eagerly anticipated visit to this year’s
festival of Terry Riley (now 85 years of age), an individual who for
more than 60 years has helped define the course of new music.
Riley’s music has had a significant influence not only on contemporary
classical composers but also on rock composers such as Lou
Reed and Peter Townsend. His attitudes and approaches to music
making have contributed to the radical sea change in compositional
ideas and practices that began in the 1960s. He was a key player in
18 | December 2018 - January 2019 thewholenote.com

the experimental traditions that originated in the USA which filtered
across the border.
In Toronto, it was the Arraymusic Ensemble that picked up on
these currents, making it a priority in their programming to feature
composers who were part of that scene, including people like
Morton Feldman, Christian Wolff, Steve Reich, Jim Tenney and of
course, Riley himself. I had a chance to talk with Robert Stevenson,
former Arraymusic Ensemble member and artistic director about his
memories and experiences working with Riley and his music.
One of the big festivals that occurred throughout the 1980s in the
USA, he told me, was called New Music America and in 1990 it had
travelled to Montreal as New Music Across America. That year the
festival organizers partnered with Arraymusic to commission a work
from Riley titled Cactus Rosary. (The piece appears on Array’s New
World CD released in 1993.)
Stevenson remembers well the collaborative process involved in the
creation of Cactus Rosary. “Most composers in the Western art music
tradition aren’t strong in collaborating. It’s not part of the tradition
and you’re not trained in that when you study composition. Rather,
you’re learning how to tell people what to do. When we got the score
for Cactus Rosary there was hardly anything on the page. ‘Where is
the music?’ we wondered. There were a few notes, some pitches, no
metre. Some of the notes were whole notes, others filled in but no
stems. There were no rhythmic details, no dynamics, and no explanation
of the tuning system, which was in just intonation (rather than
the standard equal temperament). All we had that indicated the
tuning was a DX7 synthesizer patch. Once Riley began to work with
us, though, you began to realize that what was on the page was there
to be fleshed out. A lot of what we did is not in the score.”
Stevenson gave the example of the vocal part he performed that was
more like speak-singing a text. “I started reading and he said: ‘Can you
change the harmonic content by changing your throat shape? Can you
move the pitch around? There’s a delay line on the voice so we should
set that up.’ Everything happened collaboratively in a very subtle yet
determined kind of way. It was never, ‘This is what I want.’ He was
clear about what he didn’t want and gave us instructions that would
lead us in a direction to what he would like without having to say
anything. It’s a different approach to composition. There’s not a blueprint
but an invitation to a process.”
Using just intonation tuning is an important aspect of Riley’s work.
Stevenson described the difference that it made for Cactus Rosary. “At
the first rehearsals the acoustic piano had yet to be tuned to just intonation,
so all we had was the DX7 patch. The ensemble was tuning itself
to the DX sound but with the acoustic piano in equal temperament,
everything was quite chaotic. When the piano was finally tuned it was
extraordinary what happened to the music. Suddenly there was this
resonating thing happening – the tuning was in the air.”
The staging of the piece was also a change from the usual. “There
was an old-style wingback chair that conductor Michael Baker sat in
facing the audience. He played two peyote rattles which Riley acquired
specifically for the piece from a Wichita tribe member who made
them himself. Baker made occasional hand gestures to signal when to
move to a new section, but otherwise he played these rattles, coming
in and out of the piece, often when the texture was less dense. From
an audience point of view, you got the sense that you were watching
someone’s aural meditation being made manifest, an internal experience
being made external.”
Array took the piece on tour when they visited Europe spanning the
years 1993 to 95. “That’s when the piece really started to take shape,”
Stevenson said, “and the duration shifted from 33 minutes to close to
50. It became more expansive and we developed the trance meditative
aspect. Tour organizers in Europe didn’t want Array to come and play
European music, they wanted music they didn’t have a chance to hear.
They went nuts over things like the Claude Vivier music we played
and with the Riley piece, we were a big hit. People went crazy and
were trancing out. They didn’t have many people in Europe who were
authentically connected to the music who could play it.”
At the time in Toronto, there weren’t other groups performing
his music, except his classic hit In C, which was much more of a
communal experience for open instrumentation. Stevenson himself
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SIMON
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conductor
thewholenote.com December 2018 - January 2019 | 19

again featuring an abundance of works by women. Check the listings
for a full rundown of all the composers you can hear.
Esprit bridge to U of T
As mentioned previously, the U of T’s Contemporary Music Festival
picks up where 21C leaves off. On January 20 there will be an Esprit
Orchestra concert which, fittingly, closes one festival and opens the
other with works by Claude Vivier, Toshio Hosokawa, Alison Yun-Fei
and Christopher Goddard. The two festivals are partnering to present
the North American premiere of Hosokawa’s Concerto for Saxophone
and Orchestra, performed by Wallace Halladay. Hosokawa is Japan’s
pre-eminent living composer, creating his musical language from the
relationship between Western avant-garde art and traditional Japanese
culture. His music is strongly connected to the aesthetic and spiritual
roots of the Japanese arts and he values the expression of beauty that
originates from transience.
Hosokawa, who is this year’s Roger D. Moore Distinguished Visitor
in Composition at the U of T Festival, will also be offering composition
masterclasses on January 21 and 22, and his music will be presented
in a concert by faculty artists on January 21, in a concert of Percussion
and Electronics on January 23 and as featured composer for the New
Music Concerts performance on January 25.
Wendalyn Bartley is a Toronto-based composer and
electro-vocal sound artist. sounddreaming@gmail.com.
ORI DAGAN
Bob Stevenson with Red Rhythm at Communist’s Daughter, 2014
played that piece several times, often with people from Array, and
once at a concert by New Music Concerts at The Copa, a massive
dance club in Yorkville whose heyday was in the 1980s. In C appealed
to some performers because of its collaborative nature, and it was
devoid of the extreme demands made by composers like Boulez and
Stockhausen, for example. With any number of ways to play it and the
outcome undetermined, players could relax and enjoy the moment.
“This type of process was very new to people at the time.”
Stevenson concluded our conversation by saying that “Riley had a
light touch. Nothing was too serious or worth breaking a sweat about.
That’s why it was easy to collaborate with him. He wasn’t stuck on
an idea but rather always asked, ‘What do you want to do?’ He was
always confident that things would be accomplished and I never got
the idea that he was dissatisfied with how the process was going.”
The January 18 21C concert celebrates Riley: On the first half of the
evening, Tracy Silverman on electric violin will perform excerpts
from Riley’s Palmian Chord Ryddle and Sri Camel, both arranged by
Silverman. On the second half of the evening, Terry and his son Gyan
will perform five of his works including Mongolian Winds and Ebony
Horn, along with selections from Salome Dances for Peace.
This year’s 21C
Surrounding that January 18 Riley celebration concert, there is
much else to enjoy in this edition of 21C.
The opening concert on January 16 features the Toronto Symphony
Orchestra conducted by Tania Miller and Simon Rivard. Since there
will be no New Creations Festival at the TSO this year, this is one way
for them to continue to support the work of contemporary composers.
Their 21C concert features two world premieres – one by Emilie
Lebel (who has been appointed the TSO’s new affiliate composer) and
the other by Stewart Goodyear. (Goodyear will also be performing in
a full concert of his own works on January 17, including Variations
on Hallelujah and other takes on various pop and rock songs.) Other
composers featured in the TSO concert are Dorothy Chang, Dinuk
Wijeratne, Jocelyn Morlock and Terry Riley.
Other Toronto-based presenters offering programs at this year’s
21C festival include Continuum with an all-female program featuring
compositions by Cassandra Miller, Monica Pearce, Linda Smith,
Carolyn Chen, Unsuk Chin and Kati Agócs. On the weekend, the
performing ensembles of Cinq à Sept and Sō Percussion (both on
January 19) as well as the Glenn Gould School New Music Ensemble
(January 20) will be performing entire programs of new compositions,
IN WITH THE NEW
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music that combines a unique blend of improvisation, traditional
Western form and harmony, jazz harmony and minimalism. She
teams up with clarinetist Brad Cherwin for this free concert.
DEC 14, 8PM: Music Gallery, Rejuvenated Frequencies. A
showcase of music curated by Obuxum featuring groundbreaking
music by women of colour, music that is “progressive and healing all
at once.” Performers include VHVL from Harlem with her thumping
beats and bright melodies, Toronto-based YourHomieNaomi with
roots in spoken word, and Korean-born, Toronto-based classically
trained pianist Korea Town Acid whose DJ sets create an avantgarde
journey.
JAN 17, 7:30PM: Canadian Music Centre. A mixed-genre evening
of jazz-inflected works by Alex Samaras, one of Canada’s leading
jazz vocalists, and Norman Symonds, a leading figure in the thirdstream
movement in Canada that combines jazz and classical forms.
The concert will include works by the CMC’s 2018 Toronto Emerging
Composer Award-winner Cecilia Livingston, who specializes in
music for voice and opera.
JAN 29, 7:30PM: Tapestry Opera presents Hook Up at Theatre
Passe Muraille. This opera by composer Chris Thornborrow,
libretto by Julie Tepperman, raises questions of consent, shame
and power in the lives of young adults navigating uncharted waters
on their own. Content warning: Contains explicit language and
discussion of sexual violence. Runs to February 9.
20 | December 2018 - January 2019 thewholenote.com

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THU DEC 20 ◆ 8 PM
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ORPHEUS CHOIR
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WED DEC 19 ◆ 12 PM
JOSHUA BELL, Violin
Sam Haywood, Piano
SUN FEB 10 ◆ 3 PM
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Beat by Beat | Choral Scene
Coming Together
Through Toronto’s
Beloved Messiah
BRIAN CHANG
Toronto Symphony Orchestra CEO Matthew Loden and I are
chatting about the beloved cultural phenomenon that is Messiah
in Toronto. Sitting in his office overlooking Roy Thomson Hall, I
can see the iconic webbing of the edifice, a physical nest that cradles
the music hall. In a few weeks, the Toronto Symphony Orchestra
and guests, under the baton of Johannes Debus, will present a
major six-performance run of Handel and Jennens’ masterpiece..
(Full disclosure: as regular readers of this column know, I sing
in the Toronto Mendelssohn Choir and will be on stage for these
performances.)
“We live in a very disjointed and fractured time right now. I think
that the human condition is to long for a kind of togetherness, to find
your place with people,” says Loden, speaking about the need for a
space for an event like Messiah. “Increasingly, we keep finding ways
to disintegrate relationships. When you have a moment where you
can come together collectively and still have an individual experience
while feeling the music coming off the stage with a couple thousand
other people – that is really powerful.” With these TSO performances
alone, 15,000 people will experience the majesty of the most iconic of
Toronto classical-music traditions.
“People are moved to tears not just because of the artistic nature
of what they’re listening to,” Loden continues, “but because they are
doing it with other people, live. It’s raw talent from 150-plus people
on stage. There’s a kind of magic that happens when you get everybody
together to be a part of that.”
Johannes Debus leads the Toronto Symphony Orchestra and the
Toronto Mendelssohn Choir with soloists Claire de Sévigné (soprano),
Allyson McHardy (mezzo-soprano), Andrew Haji (tenor), and Tyler
Duncan (baritone). Surprisingly, over his significant career, Debus has
never conducted the entire work. “This is my first time conducting it,”
he tells me in a phone call from his home in Berlin. “But when I was
Johannes Debus
in my early teens, I sang it. This was one of the strong, long-lasting
musical impressions I have from my childhood. Afterwards, I made
my mother buy the John Eliot Gardiner, Monteverdi Choir recording.
It’s a dream come true for myself to be able to conduct this piece.”
Debus is a fixture in the classical world in Toronto, serving as the
music director for the Canadian Opera Company (COC), a post he has
held for almost a decade. In that capacity he isn’t often on the stage,
though, in Toronto, and this marks only his second time with the
TSO. He is mindful that the music lovers of Toronto are very particular
about their Messiahs. “[Conducting] might come with certain expectations,”
he says. “On the other hand, you can rely on the experience
of the musicians and hopefully bring something new. Not to reinvent
the wheel but to inspire us all and bring all forces together. Make it an
event that nourishes us and prepares us for the Christmas Day. In the
case of Messiah, like every other masterpiece, you discover something
new every time. Like a statue, you turn it around and look at it from the
back or the side. You discover new angles. That’s what makes music so
brave – you perform it in the moment and it can be new every time.”
Audience members can safely expect a charismatic, flowing storyteller,
and for once will be able to see his whole body in action from the stage,
not just the top of his head and hands from the orchestra pit.
Debus is aware of other interpretations of Messiah. He mentions Sir
Andrew Davis’ 2016 recording, for one, but promises something a little
more literal. “In the beginning we’re dealing with prophecy, birth, and
then redemption, like chapters. It’s like a novel, three big parts,” says
Debus. “If we manage to bring out a distinctiveness in character and
expression of all those aspects, I will be very pleased and happy.”
The dramatic edge of Messiah can easily be lost faced with the technicality
of the music. For a master musical storyteller like Debus, it is at
the core. Handel’s music uses the assembled text in an emotive fashion
that creates a thread of luscious descriptiveness in his music. There is
the venomous roar of choir in “He Trusted in God,” remarking in great
TONY HAUSER
P A X
•
C H R
I S T
•
C H O R A L E
I
David Bowser
Artistic Director
England’s
Golden Age
A cappella masterpieces from the
reign of Henry VIII and Elizabeth I
FOR TICKETS,
VISIT PAXCHRISTICHORALE.ORG
Sunday, December 16 2018, 3:00 p.m.
Grace Church on-the-Hill
22 | December 2018 / January 2019 thewholenote.com

anger and frustration. “And with his stripes” plainly
invokes the whip marks covering Jesus’ body. The playfulness
and athleticism of “All we like sheep” finishes
with the introspective acknowledgement of the faithful’s
iniquity. The solos carry this emotional energy as
well. The emotional tenor sings “Thy rebuke has broken
his heart,” a call from the deepest depths of despair, for
help. The mezzo-soprano maintains a humble supplication
with “He was despised.” All of this is underpinned
by the orchestra. Handel’s music carries many
emotional messages over a short period of time.
“It’s part of Handel’s success in general, that he
can unfold and have this incredible impact on your
emotional soul, your emotional centre,” says Debus. “It
can really shake you and elevate you, make you weak
and so on. Among the great dramatists and operatists,
Handel knew how to establish this and make it work.
He knows very well how to set the mood and his talent
for writing ear-worm-like melodies.”
“As a composer of Italian opera, Handel was always
drawn to the ideal of theatrical, operatic writing. In terms of drama,
we will work to apply that here.” Bringing to life the dramatic solos is a
quartet of Canadian talent who have all worked with Debus before: in fact
De Sévigné, McHardy and Haji have all been members of the Ensemble
Studio, a key part of Debus’ programming direction at the COC.
Matthew Loden is particularly keen on this set of soloists as well,
knowing that three of them have been members of the COC Ensemble
Studio. “[This performance] represents a very strong partnership with
the COC,” he says, “with Johannes on the podium and three of four
of soloists connected to the Ensemble Studio. The fact that there are
these remarkable development opportunities for these professional
singers on their way into the world, and that the TSO can be one of
the stops on their trajectory, is really fulfilling. And Canadians really
appreciate when they can celebrate their homegrown talent.”
The Ensemble Studio is part of a musical ecosystem encompassing
the University of Toronto, Royal Conservatory of Music, and the COC,
incubating, supporting and celebrating new generations of talent.
Through performances such as these on the biggest symphonic stage
in Canada, the TSO becomes part of that ecosystem.
Messiah is a core programmatic element of the first half of every TSO
season. “We do Messiah every year is because one of the roles we play in
Toronto is to gather people together into a space that allows them to feel
like they are part of something that is bigger than themselves. Bigger than
they are individually,” shares Loden. “There’s a ceremony around getting
together with friends and family and other musicians on an annual basis
that allows people to both reflect and look forward. Messiah is a perfect
opportunity for that kind of gathering.”
Messiah isn’t part of any regular subscription
package on offer from the TSO. Annually,
ever seat sold is an add-on to a subscription, a
create-your-own subscription package, or individual
concert sale. Sure-fire Messiah sales are
important to the TSO when balanced against new
works or unfamiliar ones to audiences. Loden
acknowledges that these are concerts that sell and
sell out. “Whenever we open the phone lines and
the next season goes on sale, Messiah is often at
the top of people’s list. It tells us that this is something
that is working,” says Loden. “Messiah is a
highlight and focal point from a financial standpoint,
but also within the rhythm of the season.
I think if people want to come and be proud
of being in this great city, being Canadians and
experience this monumental piece of music that
Matthew Loden
has withstood the test of time; to do it in this
concert hall, it’s a very special thing; and I think
that’s why people keep coming back.”
“The images we get through Handel’s music – with all its weaknesses,
the compassion, empathy, glory, exuberance – with all
these aspects, you can find them concentrated in this theatre called
Messiah. I hope that many people will come to these concerts,” Debus
says, adding “and that there won’t be any snowstorms.”
CHORAL SCENE QUICK PICKS
MESSSIAH IS EVERYWHERE
From the November edition of HalfTones, The WholeNote’s mid-month digital
newsletter (subscribe online!): Messiah is near-synonymous with choral communitybuilding:
with festivity, with meaningful memories of classical music, with standing and
singing along. Something about Messiah, and the way it unites community initiatives
with musical professionals, gives it a special place in the city and scene’s musical fabric.
Just an example - this year’s “Messiah for the City” (Dec 22) presented by
Toronto Beach Chorale in partnership with St. Andrew’s Presbyterian Church,
features singers from the Toronto Beach Chorale, MCS Chorus Mississauga and
the Georgetown Bach Chorale, and players from the Toronto Symphony Orchestra.
Founded by the late Jack Layton, “Messiah for the City” is a project dedicated to
providing seasonal concert opportunities to people who otherwise might not have
access to such events. Tickets are distributed by United Way and its partner agencies.
And then all over the map, and in order of appearance (details in our listings):
!!
DEC 1, 4PM: Pax Christi Chorale’s special Children’s Messiah performance for children
and families; Church of St Mary Magdalene, Toronto.
!!
DEC 4-6, 8PM: Soundstreams’ Electric Messiah IV at the Drake Underground, Toronto.
thewholenote.com December 2018 / January 2019 | 23

!!
DEC 11, 8PM: “An Evening of Choruses and Arias from Handel’s Messiah.” The debut
performance of B-Xalted! a new choir founded by Barbara Gowdy and Whitney Smith,
at the Church of St. Peter & St. Simon-the-Apostle, Toronto.
!!
DEC 8, 7:30PM: Cellar Singers. Handel’s Messiah. Orillia Opera House, Orillia.
!!
DEC 8, 7:30PM: Grand Philharmonic Choir. Handel’s Messiah. Centre in the Square,
Kitchener.
!!
DEC 8, 7:30PM: MCS Chorus Mississauga. G. F. Handel: Messiah. First United
Church, Mississauga.
!!
DEC 8, 7:30PM: Orchestra Kingston. Handel’s Messiah. Kingston Choral Society.
The Spire/Sydenham Street United Church, 82 Sydenham St., Kingston.
!!
DEC 9, 3PM: Dufferin Concert Singers/New Tecumseth Singers. Handel’s Messiah.
St. John’s United Church, Creemore.
!!
DEC 15, 7:30PM: Chorus Niagara. Handel’s Messiah. FirstOntario Performing Arts
Centre, St. Catharines.
!!
DEC 15, 8PM: Mississauga Symphony Orchestra. Highlights from The Messiah.
Living Arts Centre, Hammerson Hall, Mississauga.
!!
DEC 15, 8PM: Orchestra Grey Bruce/Saugeen County Chorus. Messiah. Knox
Presbyterian Church, Kincardine.
!!
DEC 16, 3PM: Menno Singers. Sing-along Messiah. St. Jacob’s Mennonite Church,
St. Jacobs.
!!
DEC 17-22, 8PM AND 23, 3PM: The Toronto Symphony Orchestra and Toronto
Mendelssohn Choir, Roy Thomson Hall, Toronto.
!!
DEC 17, 7:30PM: Peterborough Singers. Handel’s Messiah. Emannuel United
Church, Peterborough.
!!
DEC 18-21, 7:30PM: Tafelmusik’s Messiah at Koerner Hall, with their famous Sing-
Along Messiah on DEC 22, 2PM, at Roy Thomson Hall (while Massey Hall is being renovated).
Toronto
!!
DEC 22, 7:30: Guelph Chamber Choir. Messiah. River Run Centre, Guelph.
Follow Brian on Twitter @bfchang Send info/media/
tips to choralscene@thewholenote.com.
NOT THE MESSIAH
Just a sampling …
!!
DEC 5, 7:30PM: Nathaniel Dett Chorale. “An Indigo Christmas: Black Virgin…
Great Joy.”
!!
DEC 7, 7:30PM: Surinder Mundra. “A Choral Christmas from Across Europe.”
!!
DEC 7, 8PM: Exultate Chamber Singers. “Winter’s Night with You.”
!!
DEC 8, 2PM: “Annual City Carol Sing.” Alex Pangman & Her Alleycats; Hogtown
Brass Quintet; Yorkminster Park Baptist Church Choir; VIVA! Youth Singers of
Toronto; That Choir; Hedgerow Singers; Kevin Frankish, host; and others.
!!
DEC 8, 7:30PM: Forte – Toronto Gay Men’s Chorus. “All Is Calm, All Is Bright.”
!!
DEC 9, 2PM: Duly Noted. “Toronto vs. Everybody.” All a cappella music celebrating Toronto.
!!
DEC 11, 7:30PM: City Choir. “Cakes & Ale.”
!!
DEC 16, 3PM: Pax Christi Chorale. “England’s Golden Age.” A cappella masterpieces
from the reign of Henry VIII and Elizabeth I.
!!
DEC 18, 7:30PM: Orpheus Choir of Toronto. “A Child’s Christmas in Wales.” With
Geraint Wyn Davies.
!!
DEC 22, 7:30PM: Quintessence Ensemble. “Buon Natale: A Multilingual Christmas.”
!!
JAN 13, 3PM: Vesnivka Choir. Ukrainian Christmas Concert. With Toronto Ukrainian
Male Chamber Choir and a folk instrumental ensemble.
!!
JAN 13, 7:30PM: The Royal Conservatory of Music presents “We shall overcome: a
celebration of Dr Martin Luther King Jr.” Damien Sneed and the Toronto Mass Choir:
jazz, gospel, classical, blues, music theatre and spirituals – Sneed and guests will mark
the 90th anniversary of MLK’s birth.
!!
JAN 22 & 23, 7:30PM: Kitchener-Waterloo Symphony. “KW Glee.”
!!
JAN 26, 3PM: Toronto Mendelssohn Choir. “Spotlight on North America.” A free
community concert celebrating great composers from Canada and the United States:
interim artistic director David Fallis’ first fully programmed concert
!!
JAN 26, 7PM: Newchoir. “The High Society Soir-eh.”
!!
JAN 26, 8PM: Confluence. “Centuries of Souls.”
!!
FEB 2, 2PM & 7PM: Amadeus Choir of Greater Toronto. “Songs from a Celtic Heart.”
with Toshio Hosokawa, Roger D. Moore
Distinguished Visitor in Composition
January 16 to 27, 2019 | 80 Queen’s Park, Toronto
Festival Highlights:
• Canadian premiere of Toshio Hosokawa’s operas
The Raven and The Maiden from the Sea (Futari Shizuka)
• Sparks & Wiry Cries songSLAM – a Canadian first!
• New production from the Opera Student Composer
Collective
• Concert collaborations with Esprit Orchestra and
New Music Concerts
MUSIC.UTORONTO.CA | @UOFTMUSIC
24 | December 2018 / January 2019 thewholenote.com

KOERNER HALL
10 th ANNIVERSARY 2018.19 Concert Season
Joaquin
Valdepeñas
Conducts
MON., DEC. 10, 2018 7:30PM
MAZZOLENI CONCERT HALL
Tickets: $20
Toronto Symphony Orchestra
Principal Clarinet and Royal
Conservatory Orchestra Resident
Conductor Joaquin Valdepeñas
conducts Glenn Gould School
students in a program of
chamber works.
Academy Chamber
Orchestra
SAT., DEC. 15, 2018 7:30PM
KOERNER HALL
Free tickets for this concert will be
available starting Fri. Dec. 7, 2018
String students from The Phil and Eli Taylor
Performance Academy for Young Artists
come together as the Academy Chamber
Orchestra to perform Samuel Barber’s
Adagio for Strings, Franz Schubert’s
Allegro from String Quartet No. 14
Death and the Maiden, and songs
arranged by Serouj Kradjian.
The King’s Singers: Gold 50
SUN., DEC. 16, 2018 3PM KOERNER HALL
Tickets start at only $45
This holiday season performance will feature seasonal songs
alongside some of the ensemble’s favourite repertoire.
Nicola Benedetti
with Alexei Grynyuk
FRI., JAN. 25, 2019 8PM KOERNER HALL
Tickets start at only $40
Benedetti and her longtime collaborator, Alexei Grynyuk, will perform
works by Bach, Prokofiev, and Strauss, and the Canadian premiere of
a new solo violin piece by Wynton Marsalis, written specially for her.
Winter Words
SUN., JAN. 27, 2019 2PM
MAZZOLENI CONCERT HALL
Tickets: $30
Mezzo-soprano Lucia Cervoni, whose
“impressive palette of mezzo colours”
(whatsonstage) joins Canadian tenor
Michael Colvin, whom Opera News calls
“one of the most beautiful lyric tenors,”
for work by Britten, Mahler, and others.
Generously supported by J. Hans Kluge
The Glenn Gould School Concerto
Competition Finals
WED., JAN. 30, 2019 10AM KOERNER HALL
Free tickets for this concert will be available starting Wed. Jan. 23, 2019
Hear the talented solo performers of The Glenn Gould School compete
for the opportunity to perform a concerto with the Royal Conservatory
Orchestra during the 2019-20 concert season.
TICKETS & GIFT CERTIFICATES ARE GREAT GIFTS!
TICKETS & SUBSCRIPTIONS ON SALE NOW! 416.408.0208 RCMUSIC.COM/PERFORMANCE
273 BLOOR STREET WEST
237 (BLOOR ST. STREET & AVENUE WEST RD.)
thewholenote.com (BLOOR TORONTO ST. & AVENUE RD.) TORONTO
´ ´ December 2018 / January 2019 | 25
´ ´

Beat by Beat | Classical & Beyond
Handful of
Pianists,
Slew of Strings
Justyna Gabzdyl
PAUL ENNIS
Justyna Gabzdyl: After graduating from the Fryderyk Chopin
Academy (now University) of Music in Warsaw in 2005, Polishborn
pianist, Justyna Gabzdyl, continued her studies at the
École Normale de Musique Alfred Cortot in Paris before earning a
doctorate at Université de Montréal in 2012. Now 36 and based in
Canada, Gabzdyl will be performing in Walter Hall in a U of T Faculty
of Music recital on January 24; works by Syzmanowski and Gershwin
will be featured. She spoke to La Scena Musicale for their February/
March 2018 issue and detailed her fondness for Syzmanowski.
“I find his music incredibly stimulating to the imagination,”
she said. “His style is unique, characterized by a beautiful, sensual
tone. His huge sensibility to colour and sound is impressionistic.
At the same time, the ecstatic climaxes make his style closer to
expressionism.”
Szymanowski often travelled to Italy, Sicily, North Africa and France
– destinations with which Gabzdyl is familiar, having lived in France,
and visited the Maghreb numerous times.
“Countries that are culturally different from our own arouse our
curiosity,” she said. “They open us to new smells, tastes, landscapes,
lifestyles…I think all these factors affect our emotions and inspire
us. In this case, travelling in the composer’s footsteps helped me to
understand his intentions and galvanized my enthusiasm.”
Studying in Canada influenced her in several ways. She was introduced
to a musical perspective that stressed the architecture of a
piece. “In Poland, there is generally more interest in the progress of
the music’s ‘character.’ This focus is quite typical of Slavic schools,”
she said. Gabzdyl was also influenced by the French technique of jeu
perlé (passages played quickly, lightly and clearly) which she uses
in Chopin and Szymanowski. And she thinks that music interpretation
is somehow influenced by the spirit of the nation. “Moving
to Canada improved my positive thinking. I became more relaxed.
I find Canadians more jovial. Polish people have a tendency to be
melancholic.”
Hugo Kitano, 22, is a double major at Stanford (music and computer
science) and an international prizewinner. His COC free noon-hour
recital January 31 is comprised of Beethoven’s penultimate piano
Sonata No.30, Op.110 and Chopin’s resplendent Polonaise-Fantaisie
Op.61. Kitano has worked extensively with John Perry who also
finds time to visit the Glenn Gould School on a regular basis as a
faculty member.
Charles Richard-Hamelin’s star is still rising; the honeymoon from
his Warsaw Chopin Competition honours in 2015 has evolved into a
major concert schedule that brings him to Koerner Hall on February 3.
Two C-Major works by Schumann, the Arabesque Op.17 and the
Fantasy Op.16 precede a performance of Chopin’s Four Ballades.
The 29-year-old pianist gave an insightful interview to Bachtrack on
September 30, 2016 that showed the same maturity beyond his years
that his piano playing already reflected.
In answer to a question about his relationship to the score: “The
more we play a work, the less we leave the score. But it is not because
we play by heart that we must not have it in mind anymore. For
Chopin, it’s complicated because the editions are very contradictory,
there is not really a reference edition. Finally, the most important
thing is to read between the lines: if we just scrupulously execute
what is written on the score, we fall into academism. There is a lot of
BEATA NAWROCKI
NEW MUSIC CONCERTS | ROBERT AITKEN ARTISTIC DIRECTOR| WWW.NEWMUSICCONCERTS.COM | RESERVATIONS 416.961.9594
SUNDAY DECEMBER 2, 2018
Oliphant Theatre | 404 Jarvis
Koerner’s Choice
Masterpieces by
Stravinsky, Ives,
Schafer and Milhaud
with Ben Heppner
NMC Ensemble
Robert Aitken
Intro @ 7:15 | Concert @ 8
FRIDAY JANUARY 25, 2019
Walter Hall | 80 Queen’s Park
Toshio Hosokawa
A Portrait
with music by
Misato Mochizuki
and Klaus Huber
NMC Ensemble
Robert Aitken
Intro @ 7:15 | Concert @ 8
SUNDAY FEBRUARY 17, 2019
Gallery 345 | 345 Sorauren
Moritz Ernst
Benefit Piano Recital
SPECIAL EVENT
Tickets $100 (2 for $150)
includes door prizes,
gourmet delights and drinks.
RSVP 416.961.9594
Doors Open @ 7
26 | December 2018 / January 2019 thewholenote.com

Juho Pohjonen
HENRY FAIR
unspoken music, such as rubato. In Chopin, for example, we sometimes
find ornaments formed by several quick notes: obviously, he did
not expect that we play them identically. You have to know how to
distance yourself from the score; for it to be alive.”
On how his repertoire has changed since the Warsaw win: “Before
the contest, I could choose to play what I wanted. But the audience did
not want to hear me: I had a few concerts in Canada and Quebec but I
never played abroad. Now, this is largely the case because the Chopin
Competition is a showcase for the international scene. Playing what
you want is good, yet you have to be engaged to play on a stage. That
said, I was already very happy: I made a humble living, but I made
a living.”
And on Chopin becoming a label that’s hard to get rid of: “Indeed,
I have many commitments in Japan, but for Chopin! There are worse
labels to have. If I were only to play Saint-Saëns for the rest of my life,
I think I’ll stop playing the piano. Fortunately, we do not get tired of
Chopin so quickly. I had to play three or four hours of music, while
he wrote 12 or 13. And then, some programmers show more openness
and let me build recital programs around Chopin, with other
composers who accompany him well, by contrast or similarity.”
Juho Pohjonen: The celebrated Finnish pianist, 37-year-old Juho
Pohjonen, is another “fast-rising star” (The Guardian). His impressive
NYC recital debut in 2004, while he was still a student at the Sibelius
Academy, was praised by The New York Times as “formidable” and
thewholenote.com December 2018 / January 2019 | 27

SIMON WAY
“breathtaking.” Lately his association with the Chamber Music Society
of Lincoln Center has brought him more attention for “his effortless
brilliance.” All of which only adds to my anticipation for his Music
Toronto recital on February 5. His program pairs two suites by Rameau
from his Nouvelles suites de pièces de clavecin with late works by
Mozart (Rondo in A Minor K511) and Beethoven (Sonata No.28 in A
Major, Op.101).
Younggun Kim: Fifth in this handful of talented young pianists,
South Korean-born, Toronto-based, U of T Faculty member Younggun
Kim will show off his dazzling technical prowess in a recital in Walter
Hall on February 7. The demanding program moves from the Bach-
Busoni Chaconne to Godowsky’s fiendishly difficult Studies on
Chopin’s Etudes and Ravel’s jaw-dropping La Valse.
Two String Quartets
Heath: When the Heath Quartet made their memorable Toronto
debut in January 2017, their second violinist had just left the ensemble
to spend more time with her family. Nonetheless, their dynamism and
exuberance were evident even with a last-minute replacement. Now,
with a new violinist in place, they make a welcome return to Walter
Hall early next February.
When I spoke to first violinist Ollie Heath two years ago I asked
how he constructs a program. “Nearly always we begin a concert
with a piece from
earlier in the repertoire,”
Heath said.
“The simpler, cleaner
textures and conversational
aspects of these
pieces is a good way
of bringing everyone
‘into the room,’ and
introducing the possibilities
of what a
string quartet can do.
The second work is
often more complex
– more demanding
on both listener and
player. We then fill
the second half with a
more generously sized work – from one of the Romantic, nationalist
composers or one of the big Beethoven quartets.”
Sure enough, the paradigm still stands. For their Mooredale
Concerts recital on February 3, they begin with Mozart’s Quartet
K465 “Dissonance,” its nickname owing to the harmonic boldness
of the slow introduction to its first movement. The most famous
and last of the six quartets Mozart dedicated to “my dear friend
Haydn,” will undoubtedly introduce the possibilities of what a string
quartet can do.
The quartet is devoting this concert season to all three of Benjamin
Britten’s quartets. We get to hear his first, commissioned in 1941
by the famous American patroness, Elizabeth Sprague Coolidge,
who had previously commissioned Bartók’s Fifth Quartet (1934)
and Schoenberg’s Fourth (1936). The emotional centre of the work,
the long Andante Calmo third movement, is filled with melancholy
beauty. The afternoon concert concludes with Beethoven’s
iconic String Quartet No.9, Op.59 No.3, one of the biggest of
Beethoven’s quartets.
Van Kuick: Despite its Dutch-sounding name, the Van Kuijk
Quartet, founded by Nicolas Van Kuijk in 2012, is French. Its growing
international reputation was kindled by winning First Prize in the
2015 Wigmore Hall Competition and First Prize and Audience Award
at the Trondheim International Chamber Competition; and its
members have been named BBC New Generation Artists until 2017.
Their Music Toronto concert on January 31, curiously enough, follows
a similar programming concept as that of the Heath, beginning with
Haydn’s celebrated late Quartet in D Major, Op.76, No.5, written
at the height of his fame. Ligeti’s Quartet No.1 “Metamorphoses
nocturnes” with its beguiling angularity, chromaticism and dissonance,
is followed by Schubert’s monumental Quartet No.14 in D Minor
“Death and the Maiden.”
Two violinists
Benedetti: The enthralling Scottish violinist, Nicola Benedetti,
makes her second visit to Toronto this season with her Koerner Hall
recital on January 25. Her TSO engagement last September, playing
Prokofiev’s Violin Concerto No.2, broadened into a visit to Sistema
Toronto that was chronicled by David Perlman on thewholenote.
com in October. In Koerner Hall, she’ll be performing with Kievborn
pianist Alexei Grynyuk, a regular chamber music partner with
Benedetti in the Benedetti, Elschenbroich, Grynyuk Trio. In 1942,
Prokofiev found himself in far-off Central Asia working on the score
for Eisenstein’s classic film Ivan the Terrible. For a change of pace he
began to compose a sonata for flute and piano which was premiered
in Moscow the following year to a lukewarm response. David Oistrakh
suggested that Prokofiev turn it into a violin sonata, which he did,
saying that he wanted to write it in a “gentle, flowing classical style.”
That Violin Sonata No.2, with all its wit, lyricism, expressiveness and
mood changes, is a centrepiece of a recital that begins with Bach’s
unalloyed solo masterwork, the Chaconne from Partita No.2, and
includes a Wynton Marsalis premiere and Richard Strauss’ surprisingly
seductive Violin Sonata Op.18.
Pouliot: Twentysomething Canadian
Heath Quartet violinist Blake Pouliot won the 2018 Women’s
Musical Club of Toronto Career Development
Award, an honour that followed his Grand
Prize win at the 2016 Orchestre Symphonique
de Montréal (OSM) Manulife Competition.
His recent Debussy-Ravel Analekta CD was
praised by WholeNote Strings Attached
columnist Terry Robbins as “an outstanding
recording debut.” Robbins noted that “Pouliot
plays with strength, clarity, warmth, faultless
intonation and a fine sense of phrase…
[drawing] a gorgeous tone from the 1729
Guarneri del Gesù violin on loan from the
Blake Pouliot
JEFF FASANO PHOTOGRAPHY
28 | December 2018 / January 2019 thewholenote.com

Canada Council for the Arts.” With Hsin-I Huang at the piano, Pouliot
gives a free (ticket required) concert in RCM’s Mazzoleni Hall Sunday
afternoon, February 3. Don’t miss the opportunity to experience this
star on the rise in an appealing program of Mozart (K379), Janáček,
Sarasate and Chausson (the divine Poème).
CLASSICAL & BEYOND QUICK PICKS
!!
DEC 8, 8PM: Violinist Alexandre Da Costa, who divides his time between Montreal
and Australia, brings his Stradivarius 1701 to the Glenn Gould Studio stage when he
joins Nurhan Arman and Sinfonia Toronto in “The Eight Seasons,” featuring Vivaldi’s
The Four Seasons and Piazzolla’s The Four Seasons of Buenos Aires.
!!
DEC 16, 8PM: The Kitchener-Waterloo Chamber Music Society celebrates
Beethoven’s 248th birthday with a compelling program that includes the Kreutzer
Sonata, Eyeglass Duo and Archduke Trio. Angela Park, piano, Yehonatan Berick, violin,
and Rachel Mercer, cello, make it happen as the AYR Trio.
!!
JAN 10 AND 12, 8PM; JAN 13, 3PM: Intrepid Mississauga-born violinist, Leila
Josefowicz, joins the TSO for a performance of Stravinsky’s Violin Concerto, the
composer’s particular take on the Baroque era. David Robertson, American-born
conductor of the Sydney Symphony Orchestra, leads the orchestra in Sibelius’
grandly romantic Symphony No.2 and Kurt Weill’s evergreen Suite from the
Threepenny Opera.
!!
JAN 13, 3PM: Musical inheritance is the theme of the Windermere String Quartet’s
upcoming concert, “Keeping It in the Family.” The period-instrument ensemble’s
program opens with a J.S. Bach fugue arranged by W.A. Mozart, followed by a divertimento
by Leopold Mozart, Wolfgang’s father. Guest artist, traverso player Alison
Melville, is featured in J.S. Bach’s son, Johann Christian’s Quartet No.1 for flute and
strings; W.A. Mozart’s final string quartet, the masterful String Quartet No.23 in F
Major, K590, concludes the Sunday afternoon recital.
!!
JAN 15, 12PM: Osvaldo Golijov’s haunting Dreams and Prayers of Isaac the
Blind heads a program of chamber music (that also includes works by Villa-Lobos
and Piazzolla) performed by artists of the COC and National Ballet Orchestras, in
this free noon-hour concert in the Richard Bradshaw Amphitheatre of the Four
Seasons Centre.
Leila Josefowicz plays Stravinsky with the TSO January 10, 12 and 13.
!!
JAN 27, 3PM: Pittsburgh-based guest violist, David Harding, and talented pianist,
Todd Yaniw, join Trio Arkel members, Marie Bérard and Winona Zelenka for “the
melodies just surged upon me.” The Trio chose this quote by Dvořák because it directly
refers to his Piano Quartet No.2 in E-flat Major Op.87, the centrepiece of their Sunday
afternoon concert, which also features music by Schubert and Röntgen.
!!
JAN 28, 7:30PM: TSO principal cellist, Joseph Johnson, and chamber musician
supreme, Philip Chiu, join forces for a U of T Faculty of Music recital featuring music by
Beethoven, Britten and Chopin.
!!
JAN 31 AND FEB 2, 8PM: After hors d’oeuvres of Wagner’s The Ride of the Valkyries
and Berg’s Three Pieces for Orchestra, Sir Andrew Davis and the TSO settle in for the
main course: Act I of Wagner’s Die Walküre, with Lise Davidsen, soprano; Simon O’
Neill, tenor; and Brindley Sherratt, bass.
Paul Ennis is the managing editor of The WholeNote
CHRIS LEE
thewholenote.com December 2018 / January 2019 | 29

COLIN MILLS
Beat by Beat | Art of Song
songSLAM Celebrates
Singer and Song
LYDIA PEROVIĆ
Competitions are not unusual in classical music. Every few
months, young voices and pianists are competing somewhere in
the world – in standard repertoire by composers from the past.
No new songs get commissioned especially for the Queen Elisabeth
Competition in Belgium, or the BBC Cardiff Singer of the World, or
the Operalia. For new works by living artists one goes to poetry slams
and literary death matches, where poets and novelists turn their
writing into a performance and the audience, to a greater or lesser
degree inebriated, decides the winner. We can go to competitions in
old music – and watch them civilly and in silence – or competitions
in new writing, spoken without music, where a certain degree of
audience responsiveness and noise is in fact encouraged.
Those were the choices, that
is, until spring 2017 and the
inaugural songSLAM concert
before a standing-room-only
crowd in New York City. It’s
when soprano Martha Guth and
pianist Erika Switzer decided
to give a spin to this new and
(fair to say) populist format
for presenting new art song
creations. The two musicians,
while pursuing independent
careers, have, in their spare
time, also been running Sparks
& Wiry Cries, an organization
and online magazine dedicated
to the “preservation and the
advancement of art song.” The
new-song-competition format
became popular almost overnight:
after the NYC songSLAM,
two new cities, Minneapolis and
Ann Arbor, immediately wanted
their own. There will be seven songSLAMs in three countries this
season, says Guth via email from NYC when I get in touch with her to
ask about the upcoming Toronto slam.
Scheduled for January 16 at the more formal Walter Hall at the
University of Toronto, the Toronto songSLAM will otherwise remain
true to the established slam practices: drinks (cocktails will be served
30 minutes before the 7pm start time, says Guth), all songs by living
composers, and performers from all career levels – students, young
professionals and established musicians from Toronto and Montreal.
She could not confirm the final list of participants, as the 12 accepted
composer-performer teams and five alternates were still being notified
at the time of the interview, but at least two young singers have
already shared on Twitter their excitement ahead of the concert –
sopranos Sara Schabas and Danika Lorèn (who will be singing her
own songs accompanied by Darren Creech on the piano).
“We created the songSLAM in order to get audiences excited and
invested in the creation of new music,” says Guth, “and to build
a sense of collaboration and interaction between composers and
performers in each city where events are held. This social event has so
far exceeded all of our expectations everywhere it has happened. The
audiences have been incredibly enthusiastic, and the musicians taking
part have told us that even if they didn’t place in the competition, they
loved taking part because of the community-building aspects. For us
too, it is an amazing way to hear up-and-coming talent.” Ever on the
lookout for new and exciting art songs, the pair have commissioned
new music from some of their favourites from the slams, some of
which will be performed in the 2019 songSLAM festival in NYC.
To put together song slams in different cities, partnership with a
local organization is key. For the Toronto event, Sparks & Wiry Cries
partnered with Women on the Verge, aka the sopranos Elizabeth
McDonald, Emily Martin and Kathryn Tremills, the performing trio
on a mission to tell the stories of women’s lives through song. The
University of Toronto’s Voice Studies Program is the second Toronto
partner that made the slam possible. After the Canadian edition,
slams in Chicago, Denver and Ljubljana (Slovenia) are in the works,
the latter scheduled to be televised on Slovenian TV.
Toronto-based tenor Jonathan Russell MacArthur and pianist
Darren Creech took part in the first slam in NYC last year. The two
musicians met while working on a production workshop with FAWN
Chamber Creative, and “definitely clicked, being two queer boys who
live in Toronto,” says MacArthur in an email when I ask about the
experience. “There was always something to talk about.” When he
heard of the competition and proposed a collaboration to Creech,
the young pianist didn’t need much persuading. They agreed to do
a piece by Wally Gunn, MacArthur’s Aussie friend who lived in the
NYC borough of Queens.
“Wally wanted to tell a story
of Captain Moonlite – a gay
Australian bushranger and
outlaw – so he wrote that
piece for us.” Once in NYC,
they stayed with Gunn and
rehearsed in Brooklyn.
Their performance now
lives on YouTube. “We had a
great time.”
But first, December. The
year is not over yet.
Just the other day I
received an email from
Happenstance’s clarinetist
Brad Cherwin describing
their next concert … or
shall I call it experiment.
As soprano Adanya Dunn is
out and about travelling and
Erika Switzer (left) and Martha Guth
auditioning, Happenstance
will this time present themselves
as a duo, “Alice” Nahre Sol (piano and composition) and
Cherwin himself. On December 11 at Gallery 345, free admission,
they will present PAPER, an exploration of that mundane yet essential
material through music and visual art.
How is that going to work? “Expect a 30-minute performance
piece, incorporating all new music by Alice and improvisations by
both of us, alongside projections and painting. It’s going to be our first
attempt at wrestling with the concert form. We’re pushing ourselves
out of the standard recital paradigm.” The visuals will not be narrative
but abstract, to match the music, he says. They won’t be incidental
but fundamentally connected to the sound. In other words,
we have to come and see what they have concocted. (To check out
some of Cherwin’s art – he does all the visuals for the Happenstance
programs – head over to Instagram, his account is public.) Meanwhile
this fall, Nahre Sol has started a fellowship at the RCM in partnership
with the 21C Music Festival, and Happenstance has received
some TAC funding for the new season. The 2019 concerts will be
announced on December 11, and the odd detail remains to be worked
out, but Cherwin can confirm North American premieres of works by
Wolfgang Rihm and Pascal Dusapin for soprano, clarinet and piano, as
well as a world premiere of a new trio by Nahre Sol.
Meanwhile, across town, in the Amsterdam Bicycle Club on the
Esplanade, Against the Grain Theatre, known for messing with traditional
operatic repertoire to great effect, will launch its record label
30 | December 2018 / January 2019 thewholenote.com

MARTHA GUTH
NYC songSLAM
and its first release on December 7. Ayre, Osvaldo Golijov’s 2004 song
cycle for soprano and chamber ensemble that uses Sephardic, Arabic,
Hebrew and Sardinian folk material, has been recorded in a live
concert by the AtG’s founding member, Lebanese-Canadian soprano
Miriam Khalil. Songs from the disc will be performed at the launch,
which will be an art song recital that keeps all the informality of an
AtG Opera Pub. And did I mention cocktails, which seem to be the
recurring theme of this end-of-year column?
A few song-themed tips for the gifting season
For the new music eccentric in your life, consider the recently
released CD of songs by Andrew Staniland to the poetry of Robin
Richardson, Go By Contraries. SongSLAM’s Martha Guth and baritone
Tyler Duncan lend their voices, with Erika Switzer at the piano.
For the early music jester, get Sallazzo Ensemble’s debut album Parle
qui veut: Moralizing Songs of the Middle Ages (Linn Records). And for
those few people in your life who still read books (not a huge number
of us are still kicking about), look for Robert Harris’ Song of a Nation,
on the eventful life of the composer of Canada’s national anthem,
Calixa Lavallée.
ART OF SONG QUICK PICKS
!!
DEC 22 AND 23, 8PM: Heliconian Hall. The Istituto Italiano di Cultura di Toronto
presents the Vesuvius Ensemble’s “Christmas in Southern Italy.” Francesco Pellegrino
and the lads of Vesuvius see the year off with their traditional December concert of
secular Southern Italian songs around Christmas themes. Pellegrino, Marco Cera
and Lucas Harris are joined by Romina di Gasbarro at the guest vocals and Tommaso
Sollazzo on the bagpipes. Knowing Vesuvius, I expect some high quality arrangements
of Italian pop songs as well – at least in the encores.
!!
JAN 26 AND 27, 7:30PM: Trinity College Chapel, U of T. Cor Unum Ensemble and Sub
Rosa Ensemble bring to the fore the little-known works by women composers from
the 16th and 17th centuries.
!!
JAN 27, 2PM: The Royal Conservatory of Music. Mazzoleni Songmasters Series:
“Winter Words.” Mezzo Lucia Cervoni and tenor Michael Colvin sing Britten, Mahler
and assorted other music around the broad theme of winter.
!!
FEB 3, 7:30PM: Vocalis: The Song Narrative Project, curated by Stephen Philcox and
Laura Tucker. The Extension Room, 30 Eastern Ave. Meet University of Toronto Faculty
of Music’s outstanding master’s and doctoral students in concert. Free admission.
What stood out for you this year? Send me your highlights to
artofsong@thewholenote.com. Wishing you a merry and song-filled end of the year.
Lydia Perović is an arts journalist in Toronto. Send her your
art-of-song news to artofsong@thewholenote.com.
thewholenote.com December 2018 / January 2019 | 31

Beat by Beat | Jazz Notes
Give Yourself
A Jazzy Little
Christmas
STEVE WALLACE
With Christmas fast approaching – where did the year go? –
an overview of gifts any jazz lover would love to receive. And
remember, sometimes to get what you really want, you have
to buy it yourself.
Books – First, two with a Canadian perspective:
Claude Ranger: Canadian Jazz Legend – Mark Miller, 2017.
Available from indigo.ca in e-book, paperback, and hardcover formats.
Not exactly hot off the press, Miller’s latest release was reviewed by
Stuart Broomer in the September 2017 issue of The WholeNote. But
like all good jazz books it has a lasting relevancy. It tells the story
of one of Canada’s greatest and most enigmatic jazz artists while
attempting to explore the mystery of his eventual unravelling –
Ranger, presumed dead, has been officially listed as a missing person
for 14 years. Mark Miller is a first-rate writer,
but an even better researcher, and the tale
he weaves here makes for a compelling read.
Readers should look forward to Miller’s
forthcoming work in progress, a book on
another of our great originals, guitarist Sonny
Greenwich.
Live at the Cellar – Marian Jago, UBC
Press. A very recent and welcome addition
to books on Canadian jazz, this was released
in October. Jago, a Halifax-born saxophonist
who now teaches at the University
of Edinburgh, examines the development of
Canadian jazz through the lens of an iconic
club on Canada’s opposite coast: The Cellar
in Vancouver, during the hot-house period
of the late 1950s and early 1960s. It abounds
with rare photographs, musical analysis and
anecdotes about, and from, many notables
who were there, including Jerry Fuller, Fraser
MacPherson, Terry Clarke, P.J. Perry and Don Thompson,
who wrote the foreword. It’s a handsome and interesting
book; I’m about halfway through and thoroughly
enjoying it.
Playing Changes: Jazz for the New Century – Nate
Chinen, Paragon. Hardcover, 288 pages, August 14, 2018.
Chinen has covered jazz for 20 years in The New York
Times, Jazz Times and elsewhere. His wittily titled, doubleentendre-titled
book – warm, richly detailed and incisive –
offers a look at the state of jazz right now and highlights the
important changes – technological, practical, ideological –
that contemporary musicians have negotiated in the new
century. It’s a kind of jazz version of Alvin Toffler’s Future
Shock and is informative reading for those who are attempting to
understand the torturous and ever-shifting changes of the current jazz
landscape. I’m not sure yet that I agree with everything Chinen has to
say, but he offers a convincing and refreshing rebuttal to any notions
that jazz is irrelevant, or even close to being dead.
50 Years at the Village Vanguard: Thad Jones, Mel Lewis and the
Vanguard Jazz Orchestra – Dave Lisk and Eric Allen. Hardcover, 328
pages. A sumptuous, coffee table-style book which celebrates and
documents the history of one of the greatest large ensembles in jazz
history, covering the noted founders but also the band’s survival and
development well past their deaths. It contains scores of rare photographs,
musical commentary, interviews with key members past and
present, and a complete discography of the band’s massive output.
People wax about the “jazz tradition” all the time, but the story of this
great band in its natural habitat is the jazz tradition, continuing before
our very eyes.
Sophisticated Giant: The Life and Legacy of Dexter Gordon –
Maxine Gordon. October 30, 2018. University of California Press.
Hardcover, 296 pages. Available in stores and online. I haven’t read this
book yet but judging from reviews, it looks promising. A close-up look
at the life and music of one of the great individualists and innovators
in jazz history, written by the woman who is not only his widow, but
an accomplished jazz writer in her own right.
CDs – Too many to list, but here are a few I’ve enjoyed of late:
An Evening of Indigos
– Bill Kirchner. Jazzheads,
2015. This beautiful 2-CD
set is the entirety of a 2014
concert soprano saxophonist
Kirchner gave in the Jazz
Performance Space of The
New School in New York
City, where he has taught for
over 25 years. He is joined
by Carlton Holmes on piano,
Holli Ross on vocals and
bassist/singer Jim Ferguson
in varying combinations. As
the title suggests, the
program is reflective
in nature, though
not monochromatically
so – a mixture of
some fine originals and
choice standards, all
performed with a startling,
almost vulnerable
intimacy. This is
something of a musical
banquet which repays repeated listening.
Those who wish to know more about Bill
Kirchner may read a piece I wrote about him
at wallacebass.com.
Both Directions at Once: The Lost Album – John Coltrane.
Recorded March 6, 1963. Released June 29, 2018 by Impulse! Records.
Not much needs to be said here, this is a fascinating discovery of an
entire session by Coltrane’s classic quartet at their peak and as such
belongs in any jazz fan’s collection.
Three from Mosaic Records – The superb mail-order CD-reissue
company has three recent, essential historic releases, available at
mosaicrecords.com. They may seem pricey at first glance, but given
32 | December 2018 / January 2019 thewholenote.com

the rarity of the music and the as-always-superb production values,
these are actually a bargain:
The Savory Collection: 1935-40 - 6 CDs, $99 US. Bill Savory was
a recording engineer in NYC whose day job was editing transcription
recordings for overseas consumption. By night he took to
recording the blazing jazz being played in various clubs such as The
Famous Door, the Onyx and others. His collection of tapes languished
unknown for years until recently when they were discovered, curated
and partially issued as downloadable files by jazz scholar and saxophonist
Loren Schoenberg. Mosaic has gathered more of them and
issued them on CD for the first time. The quality of both the music and
sound is staggering; featuring the Count Basie Orchestra, Fats Waller,
Coleman Hawkins, the John Kirby Sextet and many others.
Classic Brunswick & Columbia Teddy Wilson Sessions: 1934-42
– 7 CDs, $119 US. A cornucopia of great music from the most artistic
swing pianist of them all, leading a stunning array of star-studded
groups. Much of it is seeing the light of day for the first time in
decades. So this is not to be missed.
Classic 1936-47 Count Basie & Lester Young Studio Sessions – 8
CDs, $136 US. This set features Basie and Young, both together and
separately, during their respective primes. Many fans will already have
some of this music in their collections, but probably not all of it; and
thanks to Mosaic’s superb mastering, it’s never sounded this good.
Desert island music.
DVDs – Neither of these are particularly new, but are of such high
quality that even fans who have already seen them would like to have
them to watch over and over again.
I Called Him Morgan – Directed, produced and written by Kasper
Collins. Released 2016, available at amazon.ca and other sites. This
documentary tells the complex and cautionary tale of the relationship
between star trumpeter Lee Morgan and his common-law wife Helen,
who rescued him from severe heroin addiction, nurtured him back
to health and oversaw the most successful years of his career, only
to shoot him dead on the bandstand at Slug’s in February, 1972. The
story is told so well that even those who could never otherwise forgive
Helen Morgan for the murder are forced to view her with compassion
and to admit that she paid sorely for the crime; and that if left
to his own devices, Lee Morgan would have died long before he did
at her hand.
The Jazz Loft According to Eugene W. Smith – Directed by Sara
Fishko. Released September, 2016; available at amazon.com. For my
money, this is the best jazz documentary ever made. Fishko and her
team did a phenomenal job of editing a mountain of raw material
into a linear and cohesive story, which tells two tales. Firstly, that of
Eugene W. Smith, the Pulitzer Prize-winning photographer who virtually
created the photo-essay genre while at Life magazine, and who
took some of the most famous black-and white photographs of the
20th century. In the mid-50s he began to unravel under the pressure
of his own obsessiveness with his work, leaving his wife and children
and taking a loft in an abandoned, rat-infested building located
in New York’s flower district, where he lived between 1957 and 1965.
While there he took over 40,000 photographs and secretly recorded
4,000 hours of the jazz played in the all-night jam sessions that
were held in the building for years. These form the soundtrack for
the movie, a kind of rare insider’s view into an underground scene
only a city like New York could produce. Zoot Sims, Pepper Adams
and Bob Brookmeyer were among the “frequent fliers” and Sims in
particular receives a lot of attention. There are jazz tales from other
denizens of the building such as drummer Ronnie Free, who arrived
from the South an innocent with much promise but got hooked on
heroin and barely survived. And there’s a stunning sequence between
composer/arranger Hall Overton, who had a studio in the building,
and Thelonious Monk, preparing the music for Monk’s Town Hall
concert featuring a ten-piece band which rehearsed in the building.
This doc makes a fascinating peak period in jazz history come alive. I
could watch it every day, but I’d never get anything done.
I’d like to add to this jazz Christmas list my best wishes to
WholeNote readers everywhere for a safe and joyous holiday and a
Happy New Year.
JAZZ NOTES QUICK PICKS
!!
DEC 7, 8PM: Koerner Hall. Royal Conservatory of Music presents Paquito D’Rivera
with the Harlem Quartet. The great alto saxophonist/clarinetist in an interesting
program featuring some rags, Debussy, Bolcom, Webern and music reflecting his
Cuban roots.
!!
DEC 8, 8PM: Gallery 345; 345 Sorauren Ave. The Art of the Piano: Hilario Durán. If
you like Cuban-inflected jazz piano – and who doesn’t these days? – this is the concert
for you; in an intimate setting with an excellent piano.
U of T 12tet
!!
FEB 6, 7:30PM: Walter Hall, Edward Johnson Building. 80 Queen’s Park. U of T 12tet,
directed by Terry Promane. I love small big bands ranging from 9 to 14 members and
this, comprising some of the best jazz students U of T has to offer, is an excellent one,
expertly directed and arranged for by Promane.
Toronto bassist Steve Wallace writes a blog called “Steve
Wallace jazz, baseball, life and other ephemera” which
can be accessed at wallacebass.com. Aside from the topics
mentioned, he sometimes writes about movies and food.
A gift that’s ALWAYS
in season.
Long & McQuade Gift Cards!
In any denomination. For any product or service.
Purchase in-store or online today!
www.long-mcquade.com
thewholenote.com December 2018 / January 2019 | 33

Beat by Beat | Music Theatre
Looking Forward
To a New Year's Rose
JENNIFER PARR
In the new year, one of the most exciting shows coming up is the
world premiere by Soulpepper Theatre Company of Rose, a new
musical inspired by Gertrude Stein’s first children’s book, The
World Is Round. Yes, that Gertrude Stein, who wrote “A Rose is a
Rose is a Rose.” A real Rose, a little girl neighbour of Stein’s, had
inspired her to write the story, and when author Margaret Wise Brown
(Goodnight Moon) approached Stein on behalf of new publisher
Young Scott Books in 1938 to see if she might be interested in writing a
children’s book for them, she sent this manuscript. With clean-cut yet
whimsical illustrations by Clement Hurd (also of Goodnight Moon) to
give a tangible reality to the whimsical yet deeply philosophical story
of a young girl trying to make sense of her world, the book became
a classic that was reprinted several times, although it isn’t as well
known today.
As soon as I heard about the project to turn this unique children’s
story into a musical I wanted to know more and reached out to
Soulpepper to get in touch with the creators, well-known composer
and music director Mike Ross (music and book) and writer/actor
Sarah Wilson (lyrics and book).
What follows is an absorbing conversation I had with Wilson,
leaving me even more intrigued than before about the show itself.
WN: How or why did Gertrude Stein’s rare children’s book The
World is Round become the inspiration or starting point for your
new musical?
SW: Mike and I had talked about making something together,
specifically adapting something for all ages, but we hadn’t found
the right thing yet. We had a couple of false starts on other projects
before I came across an excerpt from The World is Round online and
was drawn enough to it that I ordered it. I thought it was weird and
wonderful and musical and so I showed it to Mike, who agreed.
You have worked together before at Soulpepper, but what brought
you together to create this piece?
Yes, we were part of the first Academy, so we’ve known each other a
long time now. A really great thing about Soulpepper is that you kind
of swim around one another for years and get to know each other and
find creative partnerships in a really organic way. So we’d acted in
shows together and we’re good friends, but it wasn’t until years later
that we started batting ideas around to create something.
Rose is listed on the Soulpepper website as a “project ImagiNation
commission.” Can you tell me about this program and how Rose will
fit with its mandate?
It’s a commissioning project for new Canadian work. Practically,
it means that we get resources (time, space, people, money) to create
and workshop, and potentially a full production. The support let us
do the concert two years ago, which was invaluable, and has let us
be ambitious. We’re free to write a bigger show for more performers,
hire a choreographer so we can have full production numbers, test
material out both in-house and publicly…it gives you practical support
to dream.
Have you stuck closely to the story of Rose in the book, and her
journey to understand and feel comfortable in the world, or have you
made changes/additions to make it more contemporary or Canadian?
Anybody familiar with the book will certainly recognize it as the
source, but we’ve created a more active, accessible narrative. It’s based
on the book, but expanded. Rose is set in a little mountain town that’s
familiar but not naturalistic, so it’s got that kind of fairy-tale quality.
We don’t specifically reference Canada, but there’s a lot of maple
flavour. Some loggers. Some plaid. A certain kind of small-town snowglobe
feel that I associate with home.
The style of Gertrude Stein’s writing in the book can seem too
adult as it is so abstract and without much punctuation, and yet it
also sounds – when read aloud – very like the way a child tells stories
to other children. Have you kept this style of the text in your book
and lyrics?
We’ve used Stein’s text in many ways in Rose. Some of the more
typical Stein poetry – the stream of consciousness, fantastic rhythmic
stuff is how Rose thinks to herself, her brain chatter when she’s all
alone. She’s isn’t outgoing, she knows she’s different somehow from
other kids, but she’s got an incredibly rich inner life and that kind of
runaway-train kid-think is best expressed by Stein. Other characters
express themselves differently. There’s a town full of people who love
Rose, but don’t think like her or talk like her. Some are more straightforward,
like Rose’s best friend Willie, so while his text and lyrics
aren’t direct pulls from the book, they use bits of Stein, an idea or a
phrase as a jumping-off point. Other characters have their own eccentricities
and rhythms.
Lyrically, I’ve also used a pretty simple vocabulary. Stein has a
famous quote where she says “I like words of one syllable” and
although this wasn’t a conscious choice initially, I’ve found that what
we’re trying to do is best served by simple language. Big ideas in little
words, and sometimes arranged in unusual ways.
Can you tell me about the process of tackling this material and
adapting it into a musical that could appeal to all ages and yet still
have the flavour and philosophy of Gertrude Stein’s original story?
Flavour is a good word to describe it. I love the energy and strange
sense of Stein’s work, but we didn’t want to make an avant-garde
musical. Rose is different than anything I’ve seen, but it’s not abstract,
it’s not remote. You don’t require knowledge of Stein or a degree in
literature or anything like that to enjoy it.
We both really responded to this story of a nine-year-old girl trying
to figure out who she is, asking big questions that sometimes she’s
not even sure she understands. Nine is such an important age. It’s so
young, but it’s also a time that your mind starts to really zoom in and
out on the world. You’re grappling with everyday things, but underneath
that there are much larger questions lurking. And they’re questions
that can last a lifetime.
Our Rose is warm and big-hearted and really funny. I guess in
writing it I check in a lot with my own taste and sensibilities. I love
challenging, off-centre work, but not in a cerebral way. I respond
to it viscerally – I find it exciting, and so it’s a process of trying to
St. Anne’s Music & Drama Society
presents
The Pirates of Penzance
Artistic Director - Laura Schatz
Musical Director - Kate Carver
Choreographer - Jennie Garde
Jan 25, 26, 31 & Feb 1, 7:30pm
Jan 26, 27 & Feb 2 & 3, 2pm
St. Anne’s Parish Hall
651 Dufferin Street, Toronto
For tickets: 416-922-4415
www.stannesmads.com
34 | December 2018 / January 2019 thewholenote.com

Rose - A Name Means a Lot: (from left) Michelle Bouey, Raha Javanfar, Scott Hunter, Hailey Gillis,
Nicole Bellamy, John Millard, Mike Ross and Frank Cox-O’Connell. Photo credit: Daniel Malavasi.
wrangle that energy and marry that to our own ideas and desires to
create something new. When I see a show, I want heart and brains
and humour. And I want to feel welcome. I want to feel people trying
to express something that’s difficult to talk about. And I think that’s
what we’ve done.
What sort of balance is there between spoken dialogue and song?
Is there a special way words and music work together on this show
that is different from or similar to other shows you have created or
worked on?
It’s not a sung-through show – there are spoken scenes as well as
songs. There’s a ton of variety in Rose. In some ways it’s a very traditional
story, beginning with “Once upon a time,” but then from there,
we go everywhere.
Has the three-year development process, including the concert
presentation in 2016 given you any surprises in rehearsal or in front
of its first audiences? Has the show changed during the process from
what you thought it would be?
We started this process very open-minded. We didn’t have an end
goal of what we thought it would or should be, but it’s been amazing
to see it grow. Sometimes we find files of writing or MP3s from years
ago and it’s so neat to see how it’s evolved.
The concert was especially useful. Since then, the major part of our
process has been book work, which then necessitates a lot of song
rewriting, so there’s a ton of new material since then. But it was very
encouraging in that I could see that even though there was a lot of
work to do, there was a strong heartbeat.
thewholenote.com December 2018 / January 2019 | 35

Will the designs by Lorenzo
Savoini for the show be inspired or
influenced by the book’s famous
Clement Hurd illustrations?
Yes! They’re such beautiful illustrations,
so that influence is absolutely
there. Lorenzo’s created a
gorgeous container for our story to
unfold, and that container is that
terrific pink of the pages of The
World Is Round. Both the illustrations
and Lorenzo’s design live in
that sweet spot between childlike
and sophisticated. The first time I
saw Hurd’s drawings they struck
me as both unlike anything I’d ever
seen and at the same time totally
familiar. The design lives in that
space, too.
Mike and I have handed Lorenzo,
our costume designer Alexandra
Lord and our director Gregory
Prest a ton of challenges, and
what I’ve seen so far has been so
inventive and enchanting. I think
it’ll be a real pleasure to spend time in
the world they’re creating.
Vanessa Sears is YPT’s Mary Poppins
If you had to sum up the show in one sentence for prospective
audience members what would you say?
This is a grown-up show for kids and a kids show for grow-ups – it’s
beautiful, funny and unusual and you’ll leave humming.
That’s kind of a cheat sentence, but there it is.
(For a first taste and glimpse of the musical go to the Soulpepper
YouTube channel to hear the song A Name Means a Lot performed
by Hailey Gillis. Rose opens at Soulpepper on January 17 and has
already been extended to February 24.)
Looking Back (And Immediately Ahead)
Fantasticks: For one night only, on October 30, Tom Jones and
Harvey Schmidt’s sweet-yet-tart chamber musical The Fantasticks
came back to life in a delightful semi-staged concert at the Stratford
Festival as part of the Forum series. I know the music well, but
had never seen the show live – although it is famous as being the
longest-ever running musical off-Broadway. It was fascinating to
see this version which was true to the original but subtly revised for
21st-century sensibilities, including changing the two fathers of the
original to two mothers. In the role of El Gallo, the mysterious character
who acts as narrator and mastermind of the plot, TV star and
former Stratford company member Eric McCormack led the cast with
great warmth and style.
Red Sky: Another highlight of the season so far for me was Red
Sky Performance’s most recent dance theatre creation, Trace, which
premiered at Canadian Stage in early November sweeping audiences
to their feet. A powerful and inspiring envisioning of Anishinaabe
sky stories, this production is, in my opinion, the best yet from Red
Sky. All the elements: Jera Wolfe’s athletic sculptural choreography,
the atmospheric music of Eliot Britton and projections by Marcella
Grimaux, are reaching for new heights and attaining new levels of
artistry through their combination in the service of specific, yet
universal, storytelling.
Coming up in December: All the usual seasonal favourites including
Ross Petty’s annual panto (this year The Wizard of Oz), the National
Ballet’s Nutcracker, and many versions of A Christmas Carol are on
tap. On December 8, there is also a first public workshop of a new
family-oriented musical version of Jack & the Beanstalk by classically
trained Canadian composer William Lavigne. Inspired by the traditional
musicals of Gershwin, Bernstein and Rogers and Hammerstein,
Lavigne says that he really wants to “present a new theatre piece that
Jak Barradell is Neleus/Northbrook/
Von Hussler in YPT’s Mary Poppins
is musically accessible and suitable for all ages to enjoy, based on a
story that is relatable to everyone.” Benoit Boutet, Gabrielle Prata, and
Adi Braun lead the cast in this first public outing of the in-development
Jack & the Beanstalk at the Royal Conservatory’s Temerty
Theatre.
MUSIC THEATRE QUICK PICKS
!!
DEC 1 TO JAN 6: Young People’s Theatre. Mary Poppins.
!!
DEC 7, 7PM: Brampton Music Theatre. Mary Poppins (full-length version). As the
sequel to the original movie takes over cinemas, two productions of the recent stage
version of Mary Poppins (book revised by Julian Fellows) are playing in time for the
holidays. YPT’s shortened version, ideal for young children, this year directed by wellknown
performer Thom Allison, has excellent word of mouth
!!
DEC 1, ONWARDS: Mirvish Productions. Come from Away. If you haven’t seen it
yet, treat yourself and loved ones to this ridiculously good and truly heartwarming
Canadian musical soon transferring from the Royal Alex to the Elgin Theatre and with
a run extended to at least June 2019
!!
DEC 5 TO 16: Civic Light Opera Company. Scrooge, the Musical. Music, lyrics and
book by Leslie Bricusse. As a longtime fan of Leslie Bricusse’s lyrics for Victor/Victoria
I am very intrigued by this version of A Christmas Carol.
!!
DEC 8 TO 30: National Ballet of Canada. The Nutcracker. One of the best introductions
to the ballet for children, and for many families an annual outing; possibly more
popular than ever now that a new film version has just appeared.
!!
JAN 4 TO 27: Tarragon Theatre. Kiviuq Returns: An Inuit Epic. Music, drumming,
dance and storytelling combine in a new modern evocation of the legendary figure of
Kiviuq: hero, seeker, wanderer by the Qaggiq Collective; all in Inuktitut.
!!
JAN 17 TO 27: Mirvish. The Simon and Garfunkel Story. This immersive concertstyle
presentation of a biographical walk-through of the musical partnership, with
large-scale screen projections and a full band, is said to be a must-see for fans and
should be a good fit for the intimate CAA Theatre.
!!
JAN 29 TO FEB 9: Tapestry Opera. Hook Up. Another exciting world premiere
from Tapestry, this time dealing with the very current issue of consent in a university
setting. With a young cast of classically trained singer/actors, a contemporary book by
Julie Tepperman and score by Chris Thornborrow, word is that Hook Up is part opera/
part musical.
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.
36 | December 2018 / January 2019 thewholenote.com

Beat by Beat | On Opera
Some Old, Some New
Some Tried & True
CHRISTOPHER HOILE
The end of the old year and beginning of the new features a mix of
old and new operas and old operas rejigged to be like new. There
never used to be so much variety at this time of year, but it’s a
challenge operagoers will gladly have to get used to.
Elektra: The production on the largest scale in these two months is
the Canadian Opera Company’s remount of Richard Strauss’ Elektra
running for seven performances from January 26 to February 22. This
will be the second revival of the imaginative production directed by
James Robinson since its debut in 1996. It is especially noteworthy
that this productions stars two former COC Brünnhildes. Christine
Goerke, the COC’s most recent Brünnhilde, sings the title role and
Susan Bullock, the Brünnhilde for the COC’s first ever Ring Cycle
in 2006, sings Elektra’s hated mother Klytämnestra. Bullock previously
sang the role of Elektra when the COC last presented the opera
in 2007. Soprano Erin Wall sings Elektra’s sister Chrysothemis, baritone
William Schwinghammer sings Elektra’s avenging brother Orest
and COC favourite, tenor Michael Schade, sings Klytämnestra’s lover
Aegisth. Johannes Debus conducts the score of this opera that inhabits
the same rich, violent sound world as its immediate predecessor by
Strauss, Salome, and is a real showpiece for the orchestra.
WOW Factor: Though they are largely unseen by the general public,
the COC has steadily been developing a repertory of operas for children
that it tours to schools all around the province. Lately, the COC
has taken to giving the public a look at these charming works. Its
newest is WOW Factor - A Cinderella Story with music by Gioacchino
Rossini from his Cinderella opera La Cenerentola (1817) adapted by
Stéphane Mayer with a new English libretto by Joel Ivany, artistic
director of Against the Grain Theatre. Ivany is well-known for his
ability to write new libretti to existing music as he has done for AtG’s
Mozart series of Figaro’s Wedding (2013), Uncle John (2014) and A
Little Too Cosy (2015). One can tell that La Cenerentola has undergone
quite a lot of musical adaptation since the original runs about 148
minutes whereas WOW Factor runs only 50 minutes.
Rossini’s opera has no Fairy Godmother and neither does Ivany’s
adaptation. In his updated version the hit singing show WOW Factor
arrives at Cindy’s school. Students jump at the chance to compete for
the top prize – especially with pop sensation Lil’ Charm rumoured
to be there. Shy Cindy dreams of sharing her talents with the world
but friends become mean girls when she steps into the spotlight. The
question is can Cindy, driven by her desire to sing, and with a bit of
help from a reluctant pop star and his sidekick, overcome her fears
to find her own unique voice? The roles are sung by members of the
Canadian Opera Company Ensemble Studio and before each performance,
young audience members can take part in interactive activities
related to the opera. The recommended age is from 5 to 12 years old.
Performances at 11am and 2pm take place on both December 1 and
2 in the Imperial Oil Opera Theatre and tickets are free for children
under 12. The 11am performance on December 2 is designated as a
relaxed performance and people of all abilities are welcome.
TOT’s Fledermaus: Meanwhile, as it has done for more than 30
years, Toronto Operetta Theatre continues its service of helping
Torontonians bridge the old and new years with operetta as it has
done for more than 30 years. This year it revives its production of
Johann Strauss, Jr.’s Die Fledermaus for five performances from
December 28, 2018, to January 2, 2019. Die Fledermaus, the peak
of the Golden Age operetta, which has become over time intimately
associated with New Year’s Eve in Europe and abroad, stars Lara
(from left) Betty Allison as the Trainbearer, Susan Bullock
as Elektra and Ewa Podleś as Klytämnestra in the Canadian
Opera Company’s production of Elektra, 2007
Ciekiewicz, who previous was a stunning Sylva Varescu in Kálmán’s
The Gypsy Princess in 2011. Also in the cast are tenor Adam Fisher,
who sang Paris in TOT’s La Belle Hélène earlier this year, Caitlin Wood
as Adele and TOT favourite Elizabeth Beeler as Prince Orlovsky. Derek
Bate conducts and Guillermo Silva-Marin not only directs but plays
the role of Frosch, the jailer.
MICHAEL COOPER
thewholenote.com December 2018 / January 2019 | 37

TOM WOLF
Silva-Marin’s re-imagination of the role of Frosch is one his best
ideas in this Die Fledermaus, last seen in 2010. Typically, the role is
played by a comedian who does a long spoken routine in Act 3 before
the singing recommences. Silva-Marin avoids this general slump in
the action by making Frosch a would-be opera singer who gets into a
competition with the tenor he has locked up in the cells. This not only
keeps the music going but is
far funnier than any spokenword
routine I’ve seen.
Lucia Cervoni
Hamilton and Kitchener:
Since the demise of Opera
Ontario in 2014, symphonies
in the two cities served,
Hamilton and Kitchener,
have begun including opera
in their programming. In
Hamilton the Brott Festival
Orchestra has mounted a
fully staged opera for several
years during the Festival’s
summer run. The Kitchener-
Waterloo Symphony has
also begun adding opera to
its schedule due to popular
demand. On January 11 and
12 it will perform Bizet’s
Carmen in concert with mezzo soprano Lucia Cervoni in the title role
and tenor Ernesto Ramirez as Don José. The cast will also feature baritone
Alexander Dobson; sopranos Midori Marsh, Claire de Sévigné and
Autumn Wascher; baritone Chad Louwerse; the Opera Laurier Chorus,
Laurier Singers and Alumni Choir; and the Grand Philharmonic
Children’s Choir. Daniel Isengart is the director and Andrei Feher is
the conductor.
Champagne’s Delicious Bubbles set the
stage for the Waltz King’s greatest hit.
Johann Strauss
DIE FLEDERMAUS
Derek Bate, Conductor
Guillermo Silva-Marin, Stage Director
Elizabeth Beeler
Caitlin Wood
Adam Fisher
Dec. 28, 29, 31, 2018 at 8 pm
Dec. 30 at 3 pm
Jan. 2, 2019 at 8 pm
Canadian Premiere
PERCHANCE TO DREAM
by Ivor Novello
March 3, 2019 at 3 pm
Lara Ciekiewicz
Guillermo Silva-Marin
Founder & General Director
416-366-7723 I 1-800-708-6754
www.stlc.com
THE MERRY WIDOW
by Franz Lehár
April 23, 24, 26, 27, 2019 at 8 pm
April 28, 2019 at 3 pm
Hosokawa’s Raven and Maiden from the Sea: Those interested in
contemporary opera should know that renowned Japanese composer
Toshio Hosokawa is in residence at the University of Toronto Faculty
of Music this season. The faculty is staging several concerts to celebrate
Hosokawa’s work, one of which is devoted to two of the seven operas
he has written. The program is made up of Hosokawa’s setting of The
Raven as a monodrama from
2012 and Futari Shizuka
(The Maiden from the Sea)
from 2017.
Hosokawa wrote The
Raven, based on Edgar Allen
Poe’s 1845 poem, for Swedish
mezzo-soprano Charlotte
Hellekant after he had
heard her sing in his opera
Matsukaze (2011). Hosokawa
has noted the similarities
in theme between The
Raven and Japanese Noh
drama in which creatures
of nature play an important
part. While all the roles in
Noh are traditionally played
by men, Hosokawa has said
that having a mezzo-soprano
interpret the part of the
Narrator who mourns her lost love purposely reverses the tradition in
order to broaden the theme to feelings of loss in general.
Futari Shizuka (which literally means “The Two Shizukas”) was
conceived as a companion to The Raven. It is based on a Noh drama
attributed to Zeami Motokiyo (1363-1443) about the departed spirit of
Shizuka Gozen, or Lady Shizuka, who possesses the body and soul of
a young beautiful girl. Hosokawa’s librettist Oriza Hirata has updated
the action to the present by making the girl a refugee who has made it
to the Mediterranean Sea, and sings of her sorrow for wars and hateful
disputes. Soprano Xin Wang will sing the role of the young girl. Ryoko
Aoki, a Noh singer and dancer, will be the spirit of Lady Shizuka,
the role she created in 2017. The double bill takes place in Walter
Hall of the Edward Johnson Building at the University of Toronto on
January 17 only.
Christopher Hoile is a Toronto-based writer on opera and
theatre. He can be contacted at opera@thewholenote.com.
DAM CONCERT OPERA PRESENTS ROSSINI’S
LE COMTE ORY
Something Funny is Happening at the Castle!
MARCH 2 2019 | 7:30pm
Trinity St Paul’s
STARRING
Asitha Tennekoon, Caitlin Wood & Marjorie Maltais
with Dion Mazerolle, Clarence Frazer & Maria Soulis
Francois Racine | Host & Narrator
TICKETS $30 Adults | $25 Senior & Student
1-800-838-3006 | www.domoneyartists.com
38 | December 2018 / January 2019 thewholenote.com

Beat by Beat | Early Music
Christmas Music
Across Europe
MATTHEW WHITFIELD
National identity and culture play a profound and vital role
in the artistic self-perception of a country’s performers and
composers. Looking back on the Renaissance and Baroque
eras, it is clear that unique combinations of pedagogy, performance
practice, politics and technique led to the development of identifiable
national schools, particularly in France, Germany, Italy and England.
These schools are where we see the development of such localized
phenomena as the polyphony of Tudor England, the chorale-based
compositions of Lutheran Germany, and the development of Italian
operatic and dramatic forms.
The annual arrival of Christmas brings with it a host of music from
across Europe, connected through various forms of Christianity, but
unique in individual flavours and styles. Last month we were introduced
to the villancicos navideños, an ebullient form of protopopular
Christmas music native to Spain; this December and January
we are fortunate to hear a wide range of music from other cultural
hotspots, performed by some of our city’s finest ensembles.
Jubilance and Joy
No name is more synonymous with the German Baroque than
Johann Sebastian Bach, whose choral compositions combined
Lutheran theology with divinely inspired music. Bach’s Christmas
Oratorio is a classic Christmas composition from the Baroque era,
compiled and composed between 1733 and 1734 to celebrate the
Christmas season in Leipzig. Although considered a single, freestanding
work (catalogued as BWV 248) this “oratorio” is a series of
six individual cantatas that were performed during the time between
Christmas and Epiphany and divided between the Thomaskirche
and Nikolaikirche. Monumental in scope and brilliant in its musical
expression of Bach’s beliefs and theology, the Christmas Oratorio is,
along with the Passions, the closest Bach came to writing a dramatic
work. The Toronto Classical Singers tackle this incredible work on
December 9, bringing a touch of variety to an oratorio scene saturated
with performances of Handel’s Messiah!
About 100 years before Bach was born, Michael Praetorius was
pioneering new musical forms in the Lutheran tradition, developing
and incorporating Protestant hymnody into freely composed pieces,
such as the chorale fantasias for organ. Praetorius was prolific, his
voluminous output showing the influence of Italian composers and
his younger contemporary Heinrich Schütz. His works include the
nine volume Musae Sioniae (composed between 1605 and 1610), a
collection comprised of more than 1200 chorale and song arrangements,
and Terpsichore, a compendium of more than 300 instrumental
dances, which is both his most widely known work and his
sole surviving secular work. Now known almost exclusively for his
harmonization of Es ist ein Ros entsprungen, made famous in the
Carols for Choirs collection, a broader overview of Praetorius’s music
will be on display December 14 to 16 with The Toronto Consort’s
Praetorious Christmas Vespers, a reproduction of a Christmas Vespers
as it might have sounded in the early 17th century. It is worth remembering
that there were many generations of composers who paved the
path for the great composers of the late baroque, and the chance to
hear the unique sounds of these earlier soundsmiths is certainly valuable
and rewarding.
350 Years of François Couperin
François Couperin (1668 - 1733), known by his contemporaries
as Couperin le Grand (Couperin the Great), was born into
one of the most renowned musical families in Europe, the French
Ensemble Masques
equivalent of the German Bachs. Couperin was a prolific and influential
composer, receiving a 20-year royal publishing privilege in
1713 and subsequently issuing numerous volumes of keyboard and
chamber music including his most famous book, L’Art de toucher le
clavecin. Unlike other Baroque composers whose works were lost and
later revived, Couperin’s have remained in the repertory; Johannes
Brahms performed Couperin’s music in public and contributed to the
first complete edition of Couperin’s Pièces de clavecin by Friedrich
Chrysander in the 1880s; Richard Strauss orchestrated a number of
Couperin’s harpsichord pieces; and Maurice Ravel memorialized his
fellow French composer in his Le Tombeau de Couperin.
On December 15, Ensemble Masques visits the University Club of
Toronto Library to celebrate the 350th anniversary of Couperin’s birth
with a commemorative concert featuring the music of Couperin, Lully
and Corelli. While the inclusion of an Italian in this French-themed
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Un organisme du gouvernement de l’Ontario
concert might seem strange, Corelli was tremendously influential to
Couperin. Couperin himself acknowledged
this debt to Corelli, introducing
Corelli’s trio sonata form to
France through his grand trio sonata
Le Parnasse, ou L’Apothéose de
Corelli (Parnassus, or the Apotheosis
of Corelli), in which he blended the
Italian and French styles of music in a
set of pieces which he called Les Goûts
réunis (styles reunited).
With selections from Couperin’s
Concerts Royaux, Pièces de Clavecin,
and Nouveaux Concerts et Pièces
de Violes, this concert will provide
an overview of the great composer’s
works, expertly interpreted by harpsichordist
Olivier Fortin, violinist
Kathleen Kajioka and gambist
Mélisande Corriveau.
England’s Golden Age
Despite the challenging and potentially
lethal political situations that
occurred during the reigns of Henry
VIII and Elizabeth I, the composers
of Tudor England created some of the
most sublime choral music ever written.
Whether Catholic or Protestant, in
English or in Latin, the music of William Byrd, Thomas Tallis, Orlando
Gibbons and their contemporaries underwent a well-deserved revival
in the 20th century and continues to be popular in churches and
concert halls across the globe.
Vivaldi caricature by Pier Leone Ghezzi
Pax Christi Chorale, an ensemble known for their performances
of large-scale dramatic oratorios, lend
their voices to some smaller-scale,
a cappella masterpieces from the
English Renaissance on December 16.
With Byrd’s Mass for Five Voices and
anthems by Tallis, Weekes and Gibbons,
this exploration of Tudor polyphony
will undoubtedly be beautiful and,
depending on the size and finesse of the
ensemble, likely more aligned with the
massed-choir sound of King’s College,
Cambridge than the streamlined
timbres of the Tallis Scholars.
A Little Italy
Tafelmusik’s exploration of multimedia
concert experiences has led
to some magnificent performances,
including Safe Haven and J.S. Bach:
The Circle of Creation. The latest in this
series of innovative programming is The
Harlequin Salon – created, scripted and
illustrated by oboist Marco Cera – which
explores music of the Italian Baroque
through the character of Pier Leone
Ghezzi: caricaturist, painter, and host
of some of 18th-century Rome’s most
popular salon parties. What makes the
character of Ghezzi particularly fascinating is that he was a real person
(he lived from 1674 to 1755, primarily in Rome), an Italian painter who
was probably the world’s first professional caricaturist. Ghezzi was
an enthusiastic music lover, holding exclusive musical salons at his
2018-2019: The Colours of Early Music
PRAETORIUS
CHRISTMAS VESPERS
DEC 14 & 15 AT 8PM | DEC 16 AT 3:30PM
Artistic Direction by David Fallis
One of Toronto’s beloved Christmas traditions returns! Singers,
violins, cornetti, sackbuts, theorbos and keyboards grace the
balconies and stage, as we recreate the joy of Christmas Vespers
as it might have been heard under the direction of Michael
Praetorius in 17th-century Germany. In the spirit of the season,
the audience and Consort join musical forces in singing favourite
early Christmas carols. A sell-out in previous seasons, this is a
yuletide celebration not to be missed!
Great seats starting at $ 29! | Call 416-964-6337 or visit TorontoConsort.org
40 | December 2018 / January 2019 thewholenote.com

palazzo for the Roman intellectual and artistic elite. (His most wellknown
portrait is the famous caricature of Antonio Vivaldi, with long,
curly hair and a protruding, crooked nose.)
Cera, who plays the role of Ghezzi in The Harlequin Salon, is an
artist as well; he studied figurative art at Liceo Artistico Citta’ di
Valdagno in Italy before joining Tafelmusik in 2000. The Harlequin
Salon’s recreation of one of Ghezzi’s famous salon evenings will
undoubtedly be entertaining, giving audiences a chance to travel back
in time and imagine what happens (and what music results) when
these famous characters from the past cross paths. Famous guests at
this salon include composer Antonio Vivaldi, 24-year-old opera diva
Faustina Bordoni, and cello virtuoso Giovanni Bononcini. These guests
and their music will be performed by Tafelmusik’s music director
Elisa Citterio, guest soprano Roberta Invernizzi and Tafelmusik
cellist Christina Mahler, making this new concert a don’t-miss event,
January 16 to 20.
Two Melting Pots
Now in their third full season, Cor Unum Ensemble is one of
Toronto’s newest early music ensembles, an orchestra and chorus
comprised of emerging professionals interested in vocal and
instrumental collaboration within the early music repertoire. On
December 8 and 9, Cor Unum presents “Merry & Bright,” a collection
of seasonal music from across Europe, followed by “Sub Rosa”
on January 26 and 27. Sub Rosa, a collaboration between Cor Unum
and the Sub Rosa Ensemble, explores 16th- and 17th-century repertoire
written for and by cloistered nuns who, although often highly
trained, are rarely considered in the context of music history. These
nuns used singing and composition to communicate their identity and
their devotion beyond the convent walls, developing their social and
financial independence, and their music will be used to explore the
important role played by women in the early Baroque musical scene.
“Centuries of Souls,” presented by Confluence on January 26, promises
to be one of January’s most interesting concerts. Featuring Opus8
singing Ockeghem’s famous Requiem mass, Matthew Larkin playing
Messiaen organ works, and Schola Magdalena singing Hildegard,
this performance stretches across five centuries of musical history.
Messiaen and Hildegard are, although separated by a great temporal
distance, closely connected through their mysticism. Hildegard
experienced visions and expressed them through tune and text, while
Messiaen expressed the mysteries of his devoutly held Catholic beliefs
through strikingly original works for the organ. With this eclectic
mixture of medieval and modern, Centuries of Souls will undoubtedly
be an extraordinary experience for all in attendance.
Amidst all the the seasonal hustle and bustle, I encourage you to
explore the vibrant musical offerings that are on display this December
and January. Whether you prefer Handel’s Messiah, Tafelmusik’s The
Harlequin Salon, a traditional Festival of Lessons and Carols, or any of
the other listings in this double issue of The WholeNote, the richness
and depth of Toronto’s classical music scene ensures that everyone has
something to look forward to this holiday season. Happy Christmas,
Hanukkah, Kwanzaa, Festivus and New Year – see you in 2019. Until
then, keep in touch at earlymusic@thewholenote.com.
EARLY MUSIC QUICK PICKS
THE MESSIAH EDITION
!!
DEC 8, 7:30PM: Grand Philharmonic Choir. “Handel Messiah.” Centre in the
Square, 101 Queen St. N., Kitchener. A large-scale, symphonic Messiah with choir and
symphony orchestra for maximum impact!
!!
DEC 15, 7:30PM: Chorus Niagara. Handel Messiah. FirstOntario Performing Arts
Centre, 250 St. Paul St., St. Catharines. For those further down the QEW, this Messiah
features an excellent choir and the superb Talisker Players.
!!
DEC 18 to 21, 7:30PM: Tafelmusik. Handel Messiah. Koerner Hall, Telus Centre, 273
Bloor St. W. The quintessential Messiah experience for early music aficionados – sit
and enjoy the show or participate in the Sing-Along Messiah at 2pm in Roy Thomson
Hall on December 22!
Matthew Whitfield is a Toronto-based harpsichordist and organist.
CAROLS BY
CANDLELIGHT
SUNDAY, DECEMBER 16, 4:30PM
A traditional candlelight choral
presentation featuring choirs and
musicians of Yorkminster Park.
NINE LESSONS
& CAROLS
SUNDAY, DECEMBER 23, 4:30PM
Following the historic tradition
of King’s College in Cambridge.
Admission is FREE
for both events.
Doors open
at 3:30pm.
Yorkminster Park Baptist Church
1585 Yonge Street | (416) 922-1167
YorkminsterPark.com
thewholenote.com December 2018 / January 2019 | 41

JAKE JACOBSON
Beat by Beat | World View
Tip of the
Seasonal Iceberg
ANDREW TIMAR
At times in this column I have gone deep into a particular world
music theme, presenter, musician, ensemble, audience or
school. For example, last month in this column I explored in
some detail, the 150-year lineage of Chinese music performance
in Canada, then pulled a tighter focus on the world of Chinese
Orchestras active in the GTA today. Concerts by two of those
ensembles bookend the two-month-plus period I’m covering here.
At other times I’ve painted our region’s worldly music pulse with a
broad brush. For this December-January-early February column I’ve
chosen the latter approach, surveying the seasonal tapestry of our
region’s astonishingly diverse music scenes. So, consider this column
the tip of the GTA winter season’s live music iceberg.
Toronto Chinese Orchestra “Scenic Sojourn: A Night of
Chinese Music”
December 1: The Toronto Chinese Orchestra is the oldest such
continually operating regional orchestra. It’s presenting a concert on
December 1 at North York’s Yorkminster Citadel titled “Scenic Sojourn:
A Night of Chinese Music” with Matthew Poon conducting. Angela Xu
is the yangqin (Chinese hammered dulcimer) soloist, while Charlotte
Liu is featured on the dizi (Chinese transverse flute).
On the program is music by both Chinese and Canadian composers
chosen to underscore the concert’s geographic and seasonal themes.
They paint portraits of village life in Jiangsu, scenic views of mountain
ranges in Taiwan and Kyrgyzstan, as well as evoking the prototypical
Canadian winter chill.
Works include Whiteout by Matthew van Driel and Reincarnation
Suite by Marko Koumoulas, both early-career Toronto
composers. IMHO the performance of these works signals
a healthy active engagement with the broader non-Chinese
Canadian music community. Composers Hua Wu (Taiwan
Folk Song Rhapsody), Xianyu Jiang, arr. Chunmin Zhang
(Touring Gusu), and He Huang (Tian Shan Poetry) present
Chinese approaches to orchestral writing. Rounding out the
evening, a performance by the TCO’s Toronto Youth Chinese
Orchestra ensures essential interpretive orchestral skills are
passed on to the younger generation.
Payadora: “Tango and Argentine Folk Music”
December 2: The warm and intimate Gallery 345 hosts the
tango-centric Toronto quartet Payadora in concert. “Tango and
Argentine Folk Music” is the aptly concise title of its committed
tribute to the tango repertoire and ethos. Payadora regulars,
violinist Rebekah Wolkstein, Drew Jurecka, bandoneon, pianist
Robert Horvath and bassist Joseph Phillips are joined by guest
vocalist Elbio Fernandez in a program drawn partly from the
roots of the Buenos Aires’ early 20th-century tango heyday.
The group typically plays scores which favour instrumental
tangos designed for listening in a concert setting rather than
those intended for couple dancing. The evening continues with
Astor Piazzolla’s well-known, trend-setting nuevo tango compositions
of the second half of the 20th century.
In my May 1, 2017 review of a Payadora concert in The WholeNote, I
wrote that in addition to tango they “also performed two Argentinian
vernacular dance music genres. The zamba is set in a slow 3/4 meter –
or is it in 6/8? – while yet another couples’ dance, the chacarera, also
plays on similar hemiola syncopation.”
Audiences at the December 2 concert can certainly expect similar
rhythmically compelling folkloric renditions. Founded in 2013, with
its playful and virtuoso approach to the musically accessible tango
repertoire, we can see why Payadora has, in a few years, garnered a
healthy regional fan base.
Christmas musical themes
Every year at this time I look at music traditions of those who celebrate
Christmas in its many guises. For those who don’t, it may be
time for Hanukkah, Kwanzaa, Solstice or just simply “The Holidays.”
This year is no exception.
I’ve assembled a few picks from the many seasonal musical offerings
that highlight diversities in our region.
December 5: The Toronto Choral Society, Geoffrey Butler conductor,
presents “Navidad Nuestra (Our Christmas)” at Koerner Hall. The
concert features two of the best-known works of popular Argentine
composer Ariel Ramírez (b. 1921). The 150-voice TCS choir is joined
by the Latin ensemble (and past collaborator) Cassava, led by Rodrigo
Chavez, with tenor soloist Ernesto Cárdenas.
Ramírez’s Navidad Nuestra for choir and Andean instruments
is a “folk drama of the Nativity” based on Hispanic-American traditions.
His earlier Misa Criolla (1964), a Creole Catholic mass in a
South American hybrid mixture of Iberian and Indigenous musical
genres, swiftly became a big hit among international choirs and on
LP. A pioneering mass written in a regional Indigenous dialect, Misa
Criolla’s bright, optimistic sound exuded an unpretentious spirituality,
in tune with the changing times in which it was produced.
Founded in 1845, the TCS is the city’s oldest and largest community
choir and it is impressive to see them tackle these Ramírez scores
again. Feliz navidad!
December 8: Celtic-themed music appears alive and well, particularly
during the holiday season. Here’s just one concert example at
the eastern end of our own “fertile crescent.”, the Isabel Bader Centre
for the Performing Arts presents “The Kingston Connection: A Celtic
Christmas with Kelli Trottier” at its beautiful Kingston Ontario hall.
A member of the North America Fiddlers’ Hall of Fame, Kingston
fiddler, step dancer and vocalist Trottier’s musical vocabulary is
steeped in her deep Scottish and French roots, reflected in her ten
albums. Trottier and her backup musicians present an album of
Canadian and Celtic Christmas songs and fiddle music.
Chris McKhool brings his Holidays of the Global Village with Chris McKhool
and Friends to the Kingston Road United Church, December 9. Then he puts
on his Sultans of String hat for a whirlwind six-city Beyond the GTA tour from
December 12 to 18 with a stop in Markham on December 13 in between.
December 9 at 2pm: “Holidays of the Global Village with Chris
McKhool and Friends” plays at the Kingston Road United Church.
Kid-friendly Canadian violinist, guitarist and singer-songwriter
McKhool is bringing two armloads of world music friends to help him
fete the “multicultural mosaic of our country.” Inclusive songs about
“Bodhi Day (Buddhist), Carnival (Quebec), Chanukah, Chinese New
Year, Christmas, Diwali, Halloween, Kwanzaa (Pan-African), Native
Traditions, Ramadan and Winter Solstice” will ring out in the church.
Assisting McKhool with his ecumenical vision are Toronto-based
musicians Aviva Chernick, Shannon Thunderbird, Maryem and Ernie
42 | December 2018 / January 2019 thewholenote.com

Tollar, Kevin Laliberté and Drew Birston.
December 20: in keeping with the Celtic theme – and at the
southern end of our fertile crescent – The Gallery Players of Niagara
present “Glissandi & Guy Bannerman: A Celtic Solstice” at Silver
Spire United Church, St. Catharines. Guy Bannerman provides the
Celtic-themed narration with the Glissandi trio playing the soulful
music of Ireland, Wales and the Scottish
Highlands. The program is repeated
December 21 even further south at Grace
United Church, Niagara-on-the-Lake.
Congratulations! We’ve made it to
the New Year
January 8, 12pm: Kamancello plays on
the Canadian Opera Company’s World
Music Series at the Richard Bradshaw
Amphitheatre. Kamancello is an innovative
bowed string duo with Shahriyar
Jamshidi on kamanche (Persian spikefiddle)
and Raphael Weinroth-Browne
on cello. Theirs is an East-meets-West
artistic partnership that “blurs musical
genre conventions and cultural boundaries
with their highly evocative improvised
performances,” ranging in tone
from soulful to incendiary.
January 20, 4pm: Folk Under the Clock
presents Harry Manx at the Market Hall
Performing Arts Centre, Peterborough.
Manx is a veteran of the Canadian music
fusion scene who has released 11 albums
and garnered multiple industry awards by
successfully merging Hindustani classical
music with acoustic blues. It’s all propelled
by the hybrid sitar-guitar he plays: the
mohan veena. His ability to gracefully wed
the blues with the classical Indian ragas is unparalleled. It’s an unusual
musical mix that has led him to be labelled the “Mysticssippi Blues
Man.” Manx and Steve Marriner (vocals, harmonica, guitar) will play
tracks from their new album Hell Bound for Heaven.
January 24, 12pm: The Canadian Opera Company presents
“Volando: Tango Takes Flight” as part of its World Music Series.
The Payadora Tango Ensemble takes over the Richard Bradshaw
Amphitheatre space in a noon-hour master class on contemporary
tango listening music, performing from their latest album Volando,
inspired by a “beautiful sunset in the clouds as seen from a flight
home by violinist Rebekah Wolkstein.”
February 2: Lemon Bucket Orkestra and Aline Morales perform at
the Royal Conservatory of Music’s Koerner Hall. I’ve written appreciatively
about both the Orkestra and Morales numerous times in this
column. The quotes, “Adventurous, multicultural and amazing!” (The
Wall Street Journal), and “Toronto’s guerilla-punk-Balkan-folk-brass
band that started on the streets of Toronto” (their website) about sum
Kamancello
Payadora Tango Ensemble
up the Orkestra. And we know Morales as the Toronto-based Brazilian
singer, percussionist, bandleader and member of KUNÉ: Canada’s
Global Orchestra. It’s bound to be a good time.
Also on February 2: Alliance Française Toronto and Batuki Music
Society present Les Frères Cissoko Bannaya Family from Senegal, part of
their Musique du monde series at 9pm. Les Frères Cissoko’s illustrious
Malinke (aka Mandika) musical lineage
stretches back several centuries in West
Africa, along with their primary instrument,
the kora. The kora (21-string longnecked
harp lute) was traditionally played
by a griot (a.k.a. jali, or jeli) who combines
the bardic roles of a historian, storyteller,
praise singer, poet and musician. As a main
repository of regional oral tradition the
griot therefore has often been an influential
advisor to the West African ruling classes.
Malinke oral tradition recounts that
Jali Mady Fouling Cissoko, one of the
three Cissoko brothers’ ancestors, a griot
in the Kaabu Empire (1537–1867), was
responsible for the development of the
kora, launching a family tradition still in
force today.
Senior brother Noumoucounda has
taken his family’s practice considerably
further afield however, embracing
international vernacular music genres.
Formerly with Positive Black Soul, among
the first hip-hop groups based in Dakar,
Senegal (founded in 1989), he has played
with Youssou N’Dour, Ki-Mani Marley
(son of Bob Marley) and others, earning
him the colourful sobriquets “the hip-hop
griot,” and “the Jimi Hendrix of the kora.”
Finally, welcome the Year of the Pig (Boar)!
February 5, 12pm: The Canadian Opera Company celebrates the
Chinese New Year featuring the Toronto Chinese Orchestra Chamber
Players (TCO-CP) at the Richard Bradshaw Amphitheatre.
Led by erhu virtuosa Patty Chan, TCO-CP forms the professional
core of the Toronto Chinese Orchestra. Marking the Chinese New Year
they perform a mix of Chinese music plus contemporary works by
Canadian and international composers.
TCO-CP members are established Toronto musicians and music
teachers. Their repertoire embraces not only demanding Chinese
works, but also contemporary scores by Canadian and international
composers. This demonstration of transcultural musical solidarity is a
marvellous way to bring in the year of the – carefree, honest, trusting,
sincere, brave and wealthy – boar (aka pig).
Andrew Timar is a Toronto musician and music writer. He
can be contacted at worldmusic@thewholenote.com
thewholenote.com December 2018 / January 2019 | 43

JACK MACQUARRIE
Beat by Beat | Bandstand
Marches and
Bugles on My Mind
JACK MACQUARRIE
Throughout the year 2017 the programming focus for community
musical groups was Canada’s sesquicentennial year, with concert
repertoire focused on almost any music which might have some
connection to the development of Canada during the previous 150
years. By the end of that year, most bands had pretty well exhausted
their library assets for music sesquicentennial connections. Then
came 2018 with no similar focus in the first part of the year, except the
perennial question about repertoire for concert bands: “Who are we
trying to please, the audiences, band members, the conductor etc.?”
There were the usual budding composers waiting to be heard and,
always, old-time favourites which might attract the largest audiences
to help swell the band’s precarious coffers.
The 11th day
Towards the end of
2018, though, many
groups turned their
attention to another
significant anniversary
in the year: November 11
of this year, commemorating
the 100th anniversary
of the signing of
the Armistice to end the
First World War.
Having spent some
time in the Navy, it was
only natural for me
to gravitate towards a
November 10 Navy band
concert commemorating
that occasion: the
combined bands of the
naval reserve divisions
of HMCS York from
Toronto and HMCS
Star from Hamilton performing “A Festival of Remembrance” in the
Cathedral Church of St. James in Toronto.
The program for this concert was one of the most appropriate that
I have ever experienced. Every number was either music that might
have been performed during that wartime period or was written to
commemorate a significant event of the war. Since the WWI battle
most commemorated by Canadians is the Battle of Vimy Ridge, it was
fitting that the opening number was Thomas Bidgood’s march Vimy
Ridge. Much of the program was divided between such works as Songs
From the Great War, Boys of the Old Brigade and Abide With Me and
major orchestral pieces by composers who were at their prime during
the period of WWI. These included three composers who were Britishborn:
Ralph Vaughan Williams, Edward Elgar and Gustav Holst.
There were also some other top-quality marches, which rarely get
their due these days. Although community bands, in general, had
their origins in town bands – which traditionally played in parades –
many community bands nowadays have never played in a parade. In
fact, with some bands, marches are considered somewhat beneath
their dignity, and are never included in programs. Fortunately, in this
concert, such was not the case. The marches included here, other than
Vimy Ridge, were all composed by Kenneth Alford (1881-1945), often
referred to as “Britain’s March King.” Each was chosen because it was
written to commemorate a particular event in WWI. The Middy and
On the Quarterdeck were both written to commemorate the Battle
of Jutland in 1916. The Vanished Army was dedicated to the first
100,000 British soldiers lost in WWI, and Voice of the Guns was to
honour the regiments of the Royal Artillery in the British army.
The combined bands of the naval reserve divisions of HMCS York (Toronto) and
HMCS Star (Hamilton) in the Cathedral Church of St. James, Toronto
Alford and Dunn
The name Kenneth Alford was actually a pseudonym for Major
Fredrick Joseph Ricketts, bandmaster of a Royal Marine Band. This
was common practice because, in those days, members of the British
Armed Forces were not permitted to earn any income other that their
regular military pay. Some years after Ricketts left the Royal Marines
his position was filled by Major F. Vivian Dunn, bandmaster of the
Royal Marines Portsmouth Division.
When the Canadian National Exhibition first opened after WWII,
the featured band on the main bandshell was that Royal Marine Band
from Portsmouth with Major Dunn conducting. As a student with a
very rewarding summer job, I was in charge of operating the sound
system on the Main Bandshell. When I first introduced myself to Major
Dunn, his first question was “Can you read music?” When I answered
in the affirmative, before each of the two daily concerts Dunn would
spend a few minutes with me, going over the scores to ensure that
there would be proper microphone pickup. Shortly after, Dunn
became Lt. Col. Sir Vivian Dunn KCVO OBE FRSA, principal director
of music Royal Marines.
After he left the Royal
Marines, Dunn became
conductor of a number of
top orchestras in Britain.
A few days after that
November 10 Navy Festival
of Remembrance concert,
I still had an ear-worm: I
couldn’t get the melodies
of Vimy Ridge out of
my head. The cure was
to play a recording of it.
Having written a review
for The WholeNote a
couple of years ago of a CD
containing Vimy Ridge,
the remedy was at hand
so I played it, only to find
that the very next number
on that CD just happened
to have been written by
none other than Major F.
Vivian Dunn: The Captain General, written in 1949 shortly after his
stint at the CNE.
(The honorific “Captain General,” by the way, is the title bestowed
on the ceremonial head of the British Royal Marines. This particular
march was written to mark the occasion in 1949 when then Captain
General, none other than His Majesty King George VI dined with
Royal Marine officers at the Savoy Hotel in London. Since then the
appointment has been held by HRH The Duke of Edinburgh and, since
May 14, 2018, Prince Harry.
Bugler’s Holidays
The evening before writing this column I attended a concert in London
by the Plumbing Factory Brass Band under Henry Meredith, very curious
to hear the three tubas performing Leroy Anderson’s famous Bugler’s
Holiday. My reactions were mixed. As for technique, the performance by
the three tubists of the band was excellent. As for personal enjoyment, I
would still prefer to hear the staccato components of this music with the
crisp attack of a trumpet rather than the broad tonal base of a tuba. It was
also, as usual, a great example of the theatrical imagination that “Doctor
Hank” Meredith brings to his programming.
One selection on the program tied in well with my comments
earlier about marches: Le pére la victoire (Father of Victory), written
by French composer Louis-Gaston Ganne (1862-1923) during the
Napoleonic Wars. Ganne was a leading composer and conductor at
44 | December 2018 / January 2019 thewholenote.com

that time. His Marche Lorraine written in 1892 for national gymnastic
games became a battle song for the Free French during WWII.
Still on the topic of bugles, though, the recent Armistice ceremonies
have triggered one of my occasional grumbles, namely the butchering
of bugle calls. In the week prior to, and on Armistice Day itself, I heard
many “bugle calls,” but none played on a bugle. They were all played
on trumpets. A trumpet has the same pitch as a bugle, but certainly
does not sound like a bugle. A proper bugle has a unique mellow tone
which cannot be simulated by a trumpet. This may sound a bit strange
to some people, but to me it does not work. To me, using a trumpet
to substitute for a bugle is akin to using a motorcycle to substitute for
a horse in a dressage ceremony. Proper bugles are not that expensive.
Why can’t each military unit (and similar organization) obtain just
one bugle to be used on such occasions?
Shifting into Christmas mode
Now that Armistice ceremonies are over for another 11 months,
most bands are shifting into Christmas mode, a shift that brings them
into close alignment (and in many cases joint concerts) with some
of our top community choirs. There is a natural continuum between
bands and choirs: from the pure pleasure of the process to the thrill of
performing to high levels of professionalism.
There will be several such joint concerts in the coming weeks. Look
for them in the listings and in the Band Quick Picks below.
BANDSTAND QUICK PICKS
!!
DEC 2, 3PM: The York University Wind Symphony directed by Bill Thomas
present a concert of various classical works at Tribute Communities Recital Hall,
York University.
!!
DEC 3, 7:30PM: Resa’s Pieces, all three ensembles in “Holiday Concert” at York Mills
Collegiate.
!!
DEC 7, 8PM: Etobicoke Community Concert Band “Classic Christmas” with Jean
Augustine, reader; Andrew Scott, guest MC. Etobicoke Collegiate Auditorium.
!!
DEC 8, 7:30PM: University of Toronto Wind Symphony in concert. Fucik’s
Florentiner March; Weinzweig’s Deep Blues from Out of the Blues, Glazunov’s
Concerto for Alto Saxophone in E-flat Op.109, Tull’s Sketches on a Tudor Psalm,
Ticheli’s Postcard, and other works. MacMillan Theatre.
!!
DEC 8, 4PM: Weston Silver Band’s annual “Yule Sing!” Sing along with Timothy
Eaton Memorial Church’s Choir School and Sanctuary Choir. Timothy Eaton
Memorial Church.
!!
DEC 8, 7:30PM: The Barrie Concert Band “A Christmas Fantasy”. Do They Know It’s
Christmas?, Huron Carol and film music from How the Grinch Stole Christmas, Polar
Express, and Nightmare Before Christmas; Collier Street United Church (Barrie).
!!
DEC 11, 7:30PM: Silverthorn Symphonic Winds “Christmas Soiree”. A one-hour
program of favourite Christmas delights. Free refreshments and conversation with
the musicians after the concert. Wilmar Heights Event Centre Concert Hall.
!!
DEC 11, 7:30PM: Hannaford Street Silver Band’s “Christmas Cheer” with host and
tenor soloist Ben Heppner and the Elmer Iseler Singers. Metropolitan United Church.
!!
DEC 15, 7PM: The Salvation Army North York Temple Band, joined by the Amadeus
Choir, present their “Christmas Spectacular”. Works by Willcocks, Rutter, Venables,
Graham, Balantine. Tyndale Chapel.
!!
DEC 16, at 2PM: The Borealis Big Band will stage “A Big Band Family Christmas
Concert”. Seasonal favorites along with jazz charts by Brubeck, Lopez, Toombs,
Stevie Wonder and others. Gord Shephard, conductor. Newmarket Old Town Hall
(Newmarket).
!!
DEC 16, 2PM: The Festival Wind Orchestra. “A Fireside Christmas”. Big Band
Showcase, Mary Poppins Medley, Argentum, Gypsy Dance from Carmen. Also
seasonal favourites and a Christmas carol sing-a-long. Isabel Bader Theatre.
!!
DEC 22, 4:30PM: Christ Church Deer Park & North York Temple Salvation Army
Band present “Joy to the World: A Community Carol-Sing”. Christ Church Deer Park.
Jack MacQuarrie plays several brass instruments and
has performed in many community ensembles. He can
be contacted at bandstand@thewholenote.com.
July 29-August 3
Attention adult amateur musicians! Join the
artists of the Toronto Summer Music Festival
for a week of music making and fun.
Choose from four programs:
Chamber Music
Piano Masterclass
Chamber Choir
Bass Workshop with Joel Quarrington
For application information, visit
torontosummermusic.com
thewholenote.com December 2018 / January 2019 | 45

The WholeNote listings are arranged in five 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 66.
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 70.
D.
IN THE CLUBS (MOSTLY JAZZ)
is organized alphabetically by club.
Starts on page 73.
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 75.
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
February 1 to March 7, 2018. All listings must be received by
11:59pm, Tuesday January 8.
LISTINGS can be sent by email to listings@thewholenote.com
or by using the online form on our website. 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 search for concerts
by the zones on this map: thewholenote.com.
Lake
Huron
6
Georgian
Bay
7
2 1
5
Lake Erie
3 4
8
City of Toronto
LISTINGS
Lake Ontario
Saturday December 1
●●11:00am: Canadian Opera Company. Opera
for Young Audiences: WOW Factor - A Cinderella
Story. Music by Gioachino Rossini,
libretto by Joel Ivany, musical adaptation by
Stéphane Mayer. Members of the Canadian
Opera Company Ensemble Studio. Imperial
Oil Opera Theatre, 227 Front St. E. 416-363-
8231. $40; free(under 12). Also Dec 1(2pm),
2(11am & 2pm).
●●2:00: Canadian Opera Company. Opera
for Young Audiences: WOW Factor - A Cinderella
Story. Music by Gioachino Rossini,
libretto by Joel Ivany, musical adaptation by
Stéphane Mayer. Members of the Canadian
Opera Company Ensemble Studio. Imperial
Oil Opera Theatre, 227 Front St. E. 416-363-
8231. $40; free(under 12). Also Dec 1(11am),
2(11am & 2pm).
●●2:30: Bel Canto Singers. Christmas Traditions.
Leanne Piller, conductor; Jacqueline
Mokrzewski, piano. Scarborough Bluffs
United Church, 3739 Kingston Rd., Scarborough.
905-837-7584. $20. Also 7:30. belcantosingers.ca.
●●3:00: Singing Out. Re-Gifted: Out Holiday
Favourites. Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E.
singingout.com. $25/$30 at the door; $15(st).
Also 7:30pm.
●●4:00: Pax Christi Chorale. Children’s Messiah.
Handel’s work adapted for children
and families. Favourite choruses and arias
in a casual setting. Orchestra of professionals
and students; David Bowser, conductor.
Church of the Redeemer, 162 Bloor St. W. 647-
345-7743. PWYC(minimum $10 encouraged);
free(under 12).
●●6:30: VIVA! Youth Singers of Toronto. Britten’s
A Ceremony of Carols. Myriam Blardone,
harp; L’Arche Sol Express, dancers.
Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-
788-8482. $25; $20(sr/st).
●●7:00: Music at St. Andrew’s. Charles Dickens’
A Christmas Carol. Dramatic readings
with musical interludes. Michael Enright,
Rick Phillips and Neema Bickersteth, readers;
Daniel Bickle, organ; Wallace Halliday,
saxophone. St. Andrew’s Church (Toronto),
73 Simcoe St. 416-593-5600 x231. Freewill
offering. Donations support St. Andrew’s Out
of the Cold program. Gingerbread and hot
apple cider reception to follow.
●●7:00: Scarborough Philharmonic Orchestra.
The Nutcracker and More: A Family Holiday
Concert! Rowson: Fanfare: A Sesquie for
Canada’s 150th; Royer: Fantasia on Canadian
Carols; Miller & Jackson (arr. Mark Hayes):
Let There Be Peace on Earth; Cable: Christmas
Songbook; Traditional Music and Carols
Sing-Along; Tchaikovsky: The Nutcracker, Act
I. SPO Women’s Choir; St. Paul’s L’Amoreaux
Youth and Adult Choirs; Sistema Toronto
Youth Choir. Special guest: Jaclyn Holmes.
Ronald Royer, conductor. Salvation Army
Scarborough Citadel, 2021 Lawrence Ave. E.,
Scarborough. spo.ca. $35; $30(sr); $15(st);
$10(child). Pre-concert singalong (6:15pm).
Free underground parking available at the
Citadel. Free outdoor parking also available
on the northeast and southeast corners of
Lawrence and Warden.
●●7:30: Bel Canto Singers. Christmas Traditions.
Leanne Piller, conductor; Jacqueline
Mokrzewski, piano. Scarborough Bluffs
A. Concerts in the GTA
United Church, 3739 Kingston Rd., Scarborough.
905-837-7584. $20. Also 2:30. belcantosingers.ca.
●●7:30: Canadian Men’s Chorus. Not Another
Christmas Concert. Nickel: In Bleak Midwinter;
MacDonald: Winter Sun; Murray: The
Christmas Night; Martin: Atheists Don’t Have
No Songs. Church of the Redeemer, 162 Bloor
St. W. 416-922-4948. $21-$32.
●●7:30: Cantores Celestes Women’s Choir.
Divine Light. Sato: Magnificat; Rutter: Visions;
Vivaldi: Gloria (excerpts); Gjeilo: Gloria.
Jacqueline Gording, harp; Clare Pellerin, violin,
Emperor String Quartet, Matthew Coons,
organ; Kelly Galbraith, conductor and others.
Runnymede United Church, 432 Runnymede
Rd. 416-655-7335. $25.
●●7:30: Echo Chamber Toronto. Transfigured
Night; An Evening of Chamber Music
and Contemporary Ballet. Beethoven: String
Quartet Op.18 No.1; Schoenberg: Second
String Quartet “Entrückung”; Verklärte Nacht
(Transfigured Night); Hindemith: Gottes Tod.
Lauren Eberwein, soprano; Aaron Schwebel
and Sheila Jaffe: violin; Theresa Rudolph and
Keith Hamm, viola; and others. Artscape
Sandbox, 301 Adelaide St. W. 647-780-9040.
$25-$40. Also Dec 2.
●●7:30: Georgetown Choral Society. Christmas
through the Ages. An evening of regal
music to celebrate 65 years since the crowning
of HM Queen Elizabeth II. Georgetown
Christian Reformed Church, 11611 Trafalgar
Rd., Georgetown. 905-877-7795. $60(family);
$25; $12(st/child).
●●7:30: Incontra Vocal Ensemble. Welcome
Nowell! Works by Britten, Miathias, Chilcott,
Sirret, Brubacher and others. Matthew Otto,
artistic director; Sarah Maria Leung, assistant
conductor; Stephen Boda, organ. Knox
College Chapel, 59 St. George St. 416-979-
2331 x260. $50 (tax receipts available for a
portion of ticket price). Fundraiser for the
Institute for Christian Studies.
●●7:30: Jubilate Singers. Golden Jubilee Concert.
Works by Victoria, Bruckner, Casals,
Lauridsen, Rutter and others. Sherry Squires,
accompanist; Isabel Bernaus, conductor.
Eastminster United Church, 310 Danforth
Ave. info@jubilatesingers.ca. $25; $20(sr);
$15(st); free(under 13).
●●7:30: Mississauga Festival Choir. Gloria.
Vivaldi: Gloria; and other works. Hammerson
Hall, Living Arts Centre, 4141 Living Arts
Dr., Mississauga. 905-306-6000. $35;
$30(sr/st).
●●7:30: Singing Out. Re-Gifted: Out Holiday
Favourites. Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E.
singingout.com. $25/$30 at the door; $15(st).
Also 3pm.
●●7:30: Tallis Choir. A Gabrielli Christmas.
Poly-choral works by Gabrielli and his contemporaries,
with period brass, strings and
organ. Gabrieli: Hodie Christus natus est; O
Jesu mi dulcissime; O magnum mysterium;
Salvator noster a 15. Peter Mahon, conductor.
St. Patrick’s Church, 131 McCaul St. 416-598-
3269 / 416-286-9798 / 416-978-8849. $30;
$25(sr); $10(st).
●●7:30: Toronto Chinese Orchestra. Scenic
Sojourn: A Night of Chinese Music. Lu: Yu
Mode; Wu: Taiwan Folksong Rhapsody; van
Driel: White Out; Koumoulas: Reincarnation
Suite. Angela Xu, yangqin; Charlotte Liu, dizi.
Yorkminster Citadel, 1 Lord Seaton Rd., North
46 | December 1, 2018 – February 7, 2019 thewholenote.com

York. 647-546-9201. $25; $20(st/child).
●●7:30: University of Toronto Faculty of
Music. U of T Wind Ensemble: Floating and
Flying. Hammell: Skyline; McCune: High Water
Rising; Bedford: The Sun Paints Rainbows on
the Vast Waves; McAllister: Freebirds. Guests:
Queen’s University Wind Ensemble; Jonathan
Wong and Jason Han, clarinets; Dan Tremblay,
conductor. MacMillan Theatre, Edward
Johnson Building, 80 Queen’s Park. 416-408-
0208. $30; $20(sr); $10(st); free(UofT st).
●●7:30: York Chamber Ensemble. Christmas
in the Age of Elegance. Handel: Harp
Concerto; Corelli: Christmas Concerto; Handel:
Messiah (excerpts); Rutter: A Candlelight
Carol and Christmas Lullaby; sing-along. Ying
Ying He, harp; Sasha Weinstangel, conductor.
Trinity Anglican Church (Aurora), 79 Victoria
St., Aurora. yorkchamberensemble.ca. $25;
$20(sr/st); $10(child under 10).
●●7:30: York University Department of
Music. York University Gospel Choir. Karen
Burke, conductor. Sandra Faire and Ivan
Fecan Theatre, Accolade East Building,
4700 Keele St. 416-736-5888. $15; $10(sr/st).
Also Nov 30.
●●8:00: Gallery 345. Bow to String: Winona
Zelenka, cello & Jamie Parker, piano. Works
by Bach, Pärt, Jaeger, Taverner, Demenga,
Ligeti and others. 345 Sorauren Ave. 416-822-
9781. $25; $15(st); Cash only.
●●8:00: Healy Willan Singers. Carols and
Lullabies. Annual Christmas concert. Ron
Cheung, conductor; John Stephenson,
accompanist. St. Martin-in-the-Fields Anglican
Church, 151 Glenlake Ave. 416-519-0528.
$20; $15(sr/st).
●●8:00: Kindred Spirits Orchestra. Alegria:
Symphonic Anniversary Concert. Bartók:
Romanian Folk Dances; Enescu: Romanian
Rhapsody Nos.1 & 2 Op.11; Vivaldi: Winter from
The Four Seasons; Grieg: Piano Concerto in a
Op.16; Kirculescu: Musical Moment for Piano
and Orchestra. Alexander Gangurean, violin;
Alexandru Burca, piano; Kristian Alexander,
conductor. Isabel Bader Theatre, 93 Charles
St. W. 416-606-9402 or alegriasymphonicconcert.eventbrite.ca.
$39-$89.
●●8:00: Music Gallery. Speculation with special
guest Laurie Brown & Pondercast. Leslie
Ting; Ben Smith, piano; Laurie Brown. The
Music Gallery, 918 Bathurst St. 416-204-1080.
$15-$25. Accessible to all levels of vision. Also
Nov 30.
●●8:00: Ontario Pops Orchestra. It’s Christmas!
Mozart: Ave Verum Corpus; Adam: O
Holy Night; Tchaikovsky: Nutcracker Suite; A
Charlie Brown Christmas; sing-along. Carlos
Bastidas, conductor. Humber Valley United
Church, 76 Anglesey Blvd., Etobicoke. 647-
939-7129. $22.
●●8:00: Royal Conservatory of Music.
Marcus Roberts. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $45-$100.
●●8:00: Royal Conservatory of Music. TD
Jazz Concerts Series: Marcus Roberts.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $45-$100.
●●8:00: Toronto Concert Orchestra. Holiday
Celebration: Harps on the Hill. Andrew Chan,
harp; Anastasia Pogorelova, harp; Kerry
Stratton, conductor. Richmond Hill Centre for
the Performing Arts, 10268 Yonge St., Richmond
Hill. rhcentre.ca. $40.
●●8:00: Tradicious. Allegria. Bartók: Romanian
Folk Dances; Enescu: Romanian Rhapsody
No. 1, 2, Op.11; Vivaldi: Winter (from The
Four Seasons); Grieg: Piano Concerto in a,
Op.16; Kirculescu: Musical moment for piano
and orchestra. Alexandru Burca, piano; Alexander
Gangurean, violin; Kristian Alexander,
conductor. Isabel Bader Theatre, 93 Charles
St. W. 416-606-9402. $39-$89.
Sunday December 2
●●11:00am: Canadian Opera Company. Opera
for Young Audiences: WOW Factor - A Cinderella
Story. Music by Gioachino Rossini,
libretto by Joel Ivany, musical adaptation by
Stéphane Mayer. Members of the Canadian
Opera Company Ensemble Studio. Imperial
Oil Opera Theatre, 227 Front St. E. 416-363-
8231. $40; free(under 12). Also Dec 1(11am &
2pm), 2(2pm).
●●12:00 noon: Toronto Children’s Chorus.
Sing Loo! Seasonal carols. Sheraton Centre
Toronto Hotel lobby, 123 Queen St. W. 416-932-
8666 x231. Free. Donations welcome. Concert
runs to 4 pm, come and go as you please.
●●1:00: Royal Conservatory of Music. Tom
Allen’s The Judgment of Paris. Works by
Debussy and Ravel. Mazzoleni Concert Hall,
Royal Conservatory, 273 Bloor St. W. 416-408-
0208. Free (ticket required).
●●1:00: The Sound Post. Fall Salon Concert:
Mark Fewer, Joseph Johnson and Friends.
Kodály: Duo for violin and cello Op.7; Jazz set.
Mark Fewer, violin; Joseph Johnson, cello.
93 Grenville St. events@thesoundpost.com.
$20; free(under 16). Admission includes cd.
Reception follows concert.
●●1:15: Mooredale Concerts. Music and Truffles
Kids Concert Series: Artistic Directors’
Trio. Works by Schumann, Handel, and
others. Tien-Hsin Cindy Wu, violin; Wei-Yang
Andy Lin, viola; Wonny Song, piano. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-922-3714
x103. $20.
●●2:00: Canadian Opera Company. Opera
for Young Audiences: WOW Factor - A Cinderella
Story. Music by Gioachino Rossini,
libretto by Joel Ivany, musical adaptation by
Stéphane Mayer. Members of the Canadian
CHRISTMAS AT ST PETER AND ST SIMON’S
Advent Lessons and Carols • SUNDAY DECEMBER 2, 4pm
Charles Dickens’ A Christmas Carol • SUNDAY DECEMBER 9, 4pm
Not-So-Silent Night Children’s Musical • SUNDAY DECEMBER 16, 3pm
Nine Lessons and Carols • SUNDAY DECEMBER 23, 4pm
Christmas Eve Candlelight Service • MONDAY DECEMBER 24, 10pm
Christmas Day Joyful Celebration • SUNDAY DECEMBER 25, 10:30am
DO JOIN US!
Opera Company Ensemble Studio. Imperial
Oil Opera Theatre, 227 Front St. E. 416-363-
8231. $40; free(under 12). Also Dec 1(11am &
2pm), 2(11am).
●●2:00: Martin Luther Evangelical Lutheran
Church. Refugee Support Concert. Toronto
Welsh Male Voice Choir; Guest: Kelly Sloan,
vocalist. 2379 Lakeshore Blvd. W. 416-251-
8293. $25; $15(st); $50(sponsor-includes $25
charitable donation).
●●2:30: University of Toronto Faculty of
Music. For the Joy of Singing. A tribute to
Dr. Hilary Apfelstadt. Works by Orbán, Balfour
and Pinkham. Choirs of Faculty of
Music; Elaine Choi, Trevor Dearham, Lori-
Anne Dolloff and Mark Ramsay, conductors.
MacMillan Theatre, Edward Johnson Building,
80 Queen’s Park. 416-408-0208. $30;
$20(sr); $10(st); free(UofT st).
●●3:00: Peter Margolian and Friends. Chamber
Music Concert. Music for voice, strings,
winds, piano and percussion. Works by Scarlatti,
Goosens, Skalkottas, Xenakis, and
others. Canadian Music Centre, 20 St. Joseph
St. 647-980-5475 or 416-250-5475. Free.
●●3:00: Toronto Symphony Orchestra. Tchaikovsky’s
The Nutcracker and More. Tchaikovsky:
Polonaise from Eugene Onegin; Suite No.1
from The Nutcracker; Symphony No.4. Earl
Lee, conductor. Roy Thomson Hall, 60 Simcoe
St. 416-598-3375. $40.75-$154. Also Nov. 28,
29, 30.
●●3:00: York University Department of
Music. York University Wind Symphony.
Bill Thomas, director. Tribute Communities
Recital Hall, Accolade East Building, YU,
4700 Keele St. 416-736-5888. $15; $10(sr/st).
●●3:15: Mooredale Concerts. Artistic Directors’
Trio. Works by Schumann, Handel
and others. Tien-Hsin Cindy Wu, violin; Wei-
Yang Lin, viola; Wonny Song, piano. Walter
Hall, Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-922-3714 x103.
$30; $20(under 30).
●●4:00: Cathedral Church of St. James. Twilight
Recital. Ian Sadler, organ. 65 Church St.
416-365-7865. Free. Donations welcome.
●●4:00: Church of St. Mary Magdalene.
Seven Allegorical Pictures by Sverre Eftestøl.
Andrew Adair, organ. Church of St. Mary
Magdalene (Toronto), 477 Manning Ave.
416-531-7955. Free.
●●4:00: Church of St. Peter and St. Simonthe-Apostle.
Advent Lessons and Carols.
Choral music of Holman, Cashmore, Mans
and Palestrina. 525 Bloor St. E. 416-923-
8714. Free. Fruit Cake and Sherry Reception
follows.
●●4:00: Oakham House Choir Society. The
Glow of Christmas. Gjeilo: Sunrise Mass; Chilcott:
Little Jazz Mass; Lauridsen: Sure on
This Shining Night; Christmas carol singalong.
Christina Haldane, soprano; Oakham
House Choir; Toronto Sinfonietta; Concert
Band of Ryerson; Matthew Jaskiewicz, conductor.
Calvin Presbyterian Church, 26 Delisle
Ave. 416-960-5551. $30/$25(adv); $15(st);
free(under 13).
●●4:00: Penthelia Singers. Penthelia A
Capella. Des Prez: El Grillo; Passereau: Il et
Bel et Bon; Nicks: Landslide; Harrison: Here
Comes the Sun and others. Rosedale Presbyterian
Church, 129 Mt. Pleasant Rd. 416-
587-8394. $20. Children 12 and under pay
their age.
●●4:00: St. Olave’s Church. Christmas Lights.
Choral Evensong for Advent Sunday. St.
Olave’s Anglican Church, 360 Windermere
Ave. 416-769-5686. Contributions appreciated.
Religious service followed at 5pm by
light music and entertainment by St. Olave’s
Arts Guild.
●●4:00: Toronto Mandolin Orchestra. Carnaval
de Mandolin. Latin flavored pieces for
orchestra; Slavic repertoire; Brazilian Choro
Music; Amarado for domra and accordion.
Ira Erokhina, domra; John Lettieri, accordion;
Tio Chorinh; Toronto Mandolin Orchestra;
Alexander Veprinskiy, conductor. Trinity-St.
Paul’s Centre, 427 Bloor St. W. 416-533-2725.
$35; $20(st).
●●4:30: Joel Sheridan. Joel Sings Cole & Cole!
Musical tribute to Nat King Cole and Cole Porter.
Joel Sheridan, vocals; Richard Whiteman,
piano; Jordan O’Connor, bass. Tilted Dog,
424 Parliament St. 416-961-9425. PWYC($10-
$20 suggested).
●●5:00: St. Olave’s Church. Christmas Lights.
Light music and entertainment. Wenceslas by
Britain’s Poet Laureate Carol Ann Duffy; dramatic
readings from The Screwtape Letters
by C.S. Lewis. Performers include St. Olave’s
Violins, violas, cellos & bows
Complete line of strings & accessories
Expert repairs & rehairs
Canada’s largest stock of string music
A treasure trove of gifts for string players
thesoundpost.com
info@the soundpost.com
SUNDAY DECEMBER 2ND, 1 PM
FALL SALON CONCERT
Mark Fewer, Joseph Johnson and Friends.
Kodaly Duo, Jazz set. Reception to follow.
$20 admission includes CD | Under 16 free.
Limited seating. 93 Grenville Street.
Reservations: events@thesoundpost.com
thewholenote.com December 1, 2018 – February 7, 2019 | 47

Arts Guild and Pan4Christ Steel-Pan Band.
St. Olave’s Anglican Church, 360 Windermere
Ave. 416-769-5686. Contributions appreciated.
Also 4pm Choral Evensong.
●●7:00: Burlington Performing Arts Centre.
John McDermott Christmas. Guests:
Dala. Burlington Performing Arts Centre,
Community Studio Theatre, 440 Locust
St., Burlington. 905-681-6000. $69.50;
$64.50(members).
●●7:00: Echo Chamber Toronto. Transfigured
Night; An Evening of Chamber Music
and Contemporary Ballet. Beethoven: String
Quartet Op.18 No.1; Schoenberg: Second
String Quartet “Entrückung”; Verklärte Nacht
(Transfigured Night); Hindemith: Gottes Tod.
Lauren Eberwein, soprano; Aaron Schwebel
and Sheila Jaffe: violin; Theresa Rudolph and
Keith Hamm, viola; and others. Artscape
Sandbox, 301 Adelaide St. W. 647-780-9040.
$25-$40. Also Dec 1.
●●7:00: Runnymede United Church. A Reading
of Charles Dickens’ A Christmas Carol.
Choirs of Royal York Road and Runnymede
United; Jeff Douglas, Robin Duke, Mary
Lou Fallis, Barbara Gordon, Anwar Knight,
Nancy Palk and William Webster, readers.
432 Runnymede Rd. 416-767-6729. $30. All
proceeds in support of The Stop Community
Food Centre. Refreshments for everyone in
Memorial Hall will follow.
●●7:00: St. Thomas’s Anglican Church.
Advent Carols. Matthew Larkin, music director.
St. Thomas’s Anglican Church (Toronto),
383 Huron St. 416-979-2323. Free.
●●7:30: Gallery 345. Payadora. Tango and
Argentine folk music. Rebekah Wolkstein, violin;
Drew Jurecka, bandoneon; Robert Horvath,
piano; Joe Philips, bass; Elbio Fernandez,
vocals. 345 Sorauren Ave. 416-822-9781 or
info@gallery345.com. $25; $15(st). Cash only.
Tickets available online at Eventbrite.ca.
●●7:30: Toronto Beach Chorale. Great Joy.
J.S.Bach Cantata 147, Herz und Mund und
Tat und Leben; Buxtehude Magnificat, music
by Hassler, Bruckner, Reger and Rachmaninov,
and carols. Virginia Hatfield, soprano;
Lillian Brooks, mezzo-soprano; Charles
Davidson, tenor; Ryan Moilliet, bass; Mervin
Fick conductor. Kingston Road United
Church, 975 Kingston Rd. 416-699-6634.
$12.50-$25.00.
●●8:00: Music Gallery. Emergents I: Grace
Scheele + Xuan Ye. The Music Gallery,
918 Bathurst St. 416-204-1080. $8-$12.
●●8:00: New Music Concerts. Celebrating
Michael Koerner: Michael Koerner’s Choice.
A. Concerts in the GTA
Celebrating Michael Koerner @ 90
KOERNER’S CHOICE
Sunday December 2
BETTY OLIPHANT THEATRE
www.NewMusicConcerts.com
Carter: Rigmarole; Stravinsky: Octet; Ives:
selection of songs; Schafer: String Quartet
No.6 “Parting Wild Horse’s Mane”; Milhaud:
La création du monde. Ben Heppner, tenor;
John Hess, piano; David Hetherington, cello;
Max Christie, bass clarinet; Accordes String
Quartet; Jonathan Krehm and Evonne Tan, tai
chi chuan performers; New Music Concerts
Ensemble; Robert Aitken, director. Betty Oliphant
Theatre, 404 Jarvis St. 416-961-9594.
$35; $25(sr/arts workers); $10(st). 7:15pm:
pre-concert talk.
Monday December 3
●●12:30: York University Department of
Music. Music@Midday: Instrumental Masterclass
in Concert. Tribute Communities Recital
Hall, Accolade East Building, YU, 4700 Keele
St. 416-736-5888. Free.
●●7:30: Chorisma. Joy of Christmas. Susan
Ryman, soprano; Alexa Ball, flute; Damon
Richard, percussion; Robert Richardson, conductor;
Lona Richardson, accompaniment.
Thornhill United Church, 25 Elgin St., Thornhill.
905-731-8318. Food donation and freewill
offering. In aid of Thornhill Christmas Assistance
Program.
●●7:30: University of Toronto Faculty of
Music. Guitar Orchestra. Jeffrey McFadden,
director. Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park.
416-408-0208. Free.
Tuesday December 4
●●12:00 noon: Canadian Opera Company.
Vocal Series: Wirth Vocal Prize In Recital.
Anna-Sophie Neher, soprano; Magdalena von
Eccher, piano. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231. Free.
First come, first served. No late seating.
●●12:10: Nine Sparrows Arts Foundation/
Yorkminster Park Baptist Church. Lunchtime
Chamber Music. Gillian Chreptyk, trumpet.
Yorkminster Park Baptist Church,
1585 Yonge St. 416-241-1298. Free. Donations
welcome.
●●1:00: Cathedral Church of St. James.
Music at Midday. Nick Veltmeyer, organ.
65 Church St. 416-365-7865. Free. Donations
welcome.
Toronto
Mendelssohn Choir
FESTIVAL OF CAROLS
Guest Conductor
Howard Dyck
December 4 & 5
tmchoir.org
●●7:30: Toronto Mendelssohn Choir. Festival
of Carols. Stephanie Martin: An Earthly Tree;
Alban Berg: Es ist ein Reis enstsprungen;
Mendelssohn: Ave Maria; Maria durch ein
Dornwald ging (arr. Stefan Claas); and audience
sing-along of popular Christmas carols.
Toronto Mendelssohn Choir; Canadian Staff
Band of the Salvation Army; Toronto Youth
Choir; Howard Dyck, guest conductor. Yorkminster
Park Baptist Church, 1585 Yonge
St. 416-408-0208. $35-$78; $20(Voxtix for
patrons 30 and under). Also Dec 5.
●●7:30: University of Toronto Faculty of
Music. Contemporary Music Ensembles.
Wallace Hallady, director. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free.
●●8:00: Civic Theatres Toronto. Jazz at the
George: Dianne Reeves - Christmas Time Is
Here. Holiday music. Toronto Centre for the
Arts, 5040 Yonge St., North York. 1-855-985-
2787. $47-$90.
●●8:00: Corporation of Massey Hall and
Roy Thomson Hall. Chris Botti, Trumpet. Roy
Thomson Hall, 60 Simcoe St. 416-872-4255.
$69.75-$139.75.
EL EC T R IC
MESSI A H IV
DECEMBER 4–6
THE DRAKE HOTEL
UNDERGROUND
WWW.SOUNDSTREAMS.CA
●●8:00: Soundstreams. Electric Messiah
IV. Handel’s great masterpiece with inspir-
EM Wholenote ad.indd 1
2018-11-19 5:10 PM
ations from jazz, gospel, blues, hip hop and
of course, classical. Jonathan MacArthur,
tenor; Aviva Chernick, vocals; Alex Samaras,
baritone, jazz-singer; Adam Scime,
music director; Christopher Bagan, analog
and electric harpsichord; Jeff McLeod,
electric organ; Joel Schwartz, electric guitar;
SlowPitchSound, turntablist and resident
DJ; Lybido, dancer. The Drake Underground,
1150 Queen’s St. W. 416-504-1282.
$25/$20(adv). Also Dec 5, 6.
Wednesday December 5
● ● 12:30: Organix Concerts/All Saints Kingsway.
Kingsway Organ Concert Series. Aaron
James, organ. All Saints Kingsway Anglican
Church, 2850 Bloor St. W. 416-571-3680.
Freewill offering. 45-minute concert.
48 | December 1, 2018 – February 7, 2019 thewholenote.com

●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. Imre Olah, organ.
1585 Yonge St. 416-922-1167. Free.
●●5:30: Canadian Opera Company. Jazz Series:
Music from the Claudia Quintet Playbook.
McGill Jazz Sextet; John Hollenbeck, director.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●7:00: Toronto Mendelssohn Choir. Festival
of Carols. Stephanie Martin: An Earthly Tree;
Alban Berg: Es ist ein Reis enstsprungen;
Mendelssohn: Ave Maria; Maria durch ein
Dornwald ging (arr. Stefan Claas); and audience
sing-along of popular Christmas carols.
Toronto Mendelssohn Choir; Canadian Staff
Band of the Salvation Army; Toronto Youth
Choir; Howard Dyck, guest conductor. Yorkminster
Park Baptist Church, 1585 Yonge
St. 416-408-0208. $35-$78; $20(Voxtix for
patrons 30 and under). Also Dec 4.
●●7:30: Nathaniel Dett Chorale. An Indigo
Christmas: Black Virgin…Great Joy. Sandra
Faire and Ivan Fecan Theatre, Accolade East
Building, 4700 Keele St. nathanieldett.org.
$25; $20(sr); $10(st).
●●7:30: Royal Conservatory of Music.
Rebanks Family Fellowship Concert. Mazzoleni
Concert Hall, Royal Conservatory,
273 Bloor St. W. 416-408-0208. Free (ticket
required).
●●7:30: Toronto Choral Society. Navidad
Nuestra (Our Christmas). Ramirez: Misa
Criolla. Geoffrey Butler, conductor; Cassava
(Latin ensemble); Ernesto Cárdenas, tenor.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $45-$65.
●●8:00: Harbourfront Centre. Asheq: Ritual
Music to Cure a Lover. Music by Sina
Bathaie. Habib Meftahboushehri and Mohsen
Sharifian, musicians; Shahin Sayadi, artistic
director. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $18.85-
$24.50. Also Dec 6, 7, 8(4pm & 7pm).
●●8:00: Soundstreams. Electric Messiah
IV. Handel’s great masterpiece with inspirations
from jazz, gospel, blues, hip hop and
of course, classical. Jonathan MacArthur,
tenor; Aviva Chernick, vocals; Alex Samaras,
baritone, jazz-singer; Adam Scime,
music director; Christopher Bagan, analog
and electric harpsichord; Jeff McLeod,
electric organ; Joel Schwartz, electric guitar;
SlowPitchSound, turntablist and resident
DJ; Lybido, dancer. The Drake Underground,
1150 Queen’s St. W. 416-504-1282.
$25/$20(adv). Also Dec 4, 6.
Thursday December 6
●●2:00: Northern District Public Library.
YC Lee in Solo Recital @ OrchardViewers Fall
2018. Art Song & Opera. YC Lee, tenor; Ann
Sublett, piano. Room 224, 40 Orchard View
Blvd. 416-393-7610. Free. Seating is limited,
arrive early.
●●7:00: University of Toronto Faculty of
Music. PianoFest. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free. Also
Dec 8(7pm) & 9(2:30pm).
●●7:30: Canadian Music Centre. CMC Presents:
Germaine Liu and Sarah Hennies, Percussion.
Works by Liu and Hennies. 20 St.
Joseph St. 416-961-6601 x201. General:
$20/$15(adv); CMC Members/arts workers:
$15/$12(adv); Students: $15/$10(adv).
●●7:30: Gallery 345. Chelsea McBride’s
Socialist Night School’s Annual Holiday Spectacular!
345 Sorauren Ave. 416-822-9781. $25;
$15(st). Cash only.
●●7:30: Toronto Symphony Orchestra. Home
Alone in Concert. Resonance Youth Choir;
Constantine Kitsopoulos, conductor. Roy
Thomson Hall, 60 Simcoe St. 416-598-3375.
$57-$126. Also Dec 7, Dec 8(mat), Dec 8(eve).
●●8:00: Harbourfront Centre. Asheq: Ritual
Music to Cure a Lover. See Dec 5. Also
Dec 7(8pm); 8(4pm & 7pm).
December 6 at 8pm
GRYPHON
TRIO
●●8:00: Music Toronto. Gryphon Trio. Frehner:
Bytown Waters (Toronto premiere);
Brahms: Piano Trio in C Op.87; and works
by Mozart, Silvestrov and Pärt. Jane Mallett
Theatre, St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. $47.50-
$52; $10(st).
●●8:00: Soundstreams. Electric Messiah
IV. Handel’s great masterpiece with inspirations
from jazz, gospel, blues, hip hop and
of course, classical. Jonathan MacArthur,
tenor; Aviva Chernick, vocals; Alex Samaras,
baritone, jazz-singer; Adam Scime,
music director; Christopher Bagan, analog
and electric harpsichord; Jeff McLeod,
electric organ; Joel Schwartz, electric guitar;
SlowPitchSound, turntablist and resident
DJ; Lybido, dancer. The Drake Underground,
1150 Queen’s St. W. 416-504-1282.
$25/$20(adv). Also Dec 4, 5.
Friday December 7
●●12:00 noon: University Settlement Music
& Arts School. End of Term Student Concert.
St. George the Martyr Church, 30 Stephanie
St. 416-598-3444 x243. Free; donations welcome.
Charitable Tax receipts available for
all donations over $25.00. Also Dec 8(11am;
1:30pm).
●●7:30: Brampton Folk Club. Friday Folk
Night: A Very Foggy Christmas. Coffee-housestyle
folk music concert. The Foggy Hogtown
Boys. St. Paul’s United Church (Brampton),
30 Main St. S., Brampton. 647-233-3655. $18;
$15(sr/st).
●●7:30: Burlington Performing Arts Centre.
The Nutcracker. Music by Tchaikovsky.
National Ballet Theatre of Odessa. Burlington
Performing Arts Centre, Community
Studio Theatre, 440 Locust St., Burlington.
905-681-6000. $69.50; $64.50(members);
$35(18 and under). Also Dec 8(2:30 & 7:30).
●●7:30: Church of the Holy Trinity. The
Lage Lund, guitar. 345 Sorauren Ave. 416-822-
9781. $25; $15(st); Cash only.
●●8:00: Harbourfront Centre. Asheq: Ritual
Music to Cure a Lover. See Dec 5. Also
Dec 8(4:00 & 7:00).
●●8:00: Oakville Centre for the Performing
Arts. Tartan Terrors Christmas. 130 Navy St.,
Oakville. 905-815-2021 or 1-888-489-7784.
$44-$55.
●●8:00: Royal Conservatory of Music. Classical
Concerts Series: Paquito D’Rivera with
the Harlem Quartet. Bolcom: Three Rags for
String Quartet; Debussy: String Quartet in g
Op.10 Mvt 2 - Assez vif et bien rythmé; Weber:
Clarinet Quintet in B-flat Op.34; D’Rivera:
Suite aires tropicales, A Farewell Mambo and
others. Koerner Hall, Telus Centre, 273 Bloor
St. W. 416-408-0208. $45-$95.
●●8:00: Upper Canada Choristers/Cantemos
Latin Ensemble. Christmas Cheer. Works by
Britten, Rutter, Courtney, Zéspedes, Velasco
and others. Valerie Abels, narrator; Christian
Sharpe, bassoon; Hye Won Ceilia Lee, piano,
Laurie Evan Fraser, conductor. Grace Church
on-the-Hill, 300 Lonsdale Rd. 416-256-0510.
$25; Free(teen/child acc. by adult).
Saturday December 8
●●
Christmas Story. Hour-long Christmas
1:30: Oakville Choir for Children and
HTCS_WholeNote_2018_FNL_01.indd 2018-11-23 1 1:48 PM
pageant. 19 Trinity Sq. 416-598-4521 x301.
Suggested donation: $25; $5(child). Also
Dec 8(4:30), 9(4:30), 14(7:30), 15(4:30),
16(4:30), 21(7:30), 22(4:30 & 7:30), 23(4:30
& 7:30 pm).
●●7:30: County Town Singers. Jingle Alleluia.
Sacred and secular Christmas music. Trinity
Pentacostal, 900 King St. E., Oshawa. 647-
981-2205. $25; $20; $15. Also Dec 8(mat).
●●7:30: Surinder Mundra. A Choral Christmas
from Across Europe. St. George’s Anglican
Church (Pickering Village), 77 Randall
Dr., Ajax. 905-683-7981. $30. Reception post
concert, cash bar.
●●7:30: Toronto Symphony Orchestra. Home
Alone in Concert. See Dec 6. Also Dec 8(2:00
& 7:30).
●●7:30: University of Toronto Faculty of
Music. University of Toronto Symphony
Orchestra. Ridout: Jubilee; De Falla: Siete
canciones populares españolas; Glazunov:
Violin Concerto No.1 in a Op.82; Tchaikovsky:
Symphony No.1 in g Op.13 “Winter Dreams”.
Gena van Oosten, mezzo; Julia Mirzoev, violin;
Uri Meyer, conductor. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s Park.
416-408-0208. $30; $20(sr); $10(st).
●●8:00: Alliance Française de Toronto. The
Soul of the Cello: Tribute to Pablo Casals.
Works by Bach, Casals and Cassado. Christian-Pierre
La Marca, cello. Spadina Theatre,
24 Spadina Rd. 416-922-2014 x37. $25; $20(sr/
st); $12(members).
●●8:00: Etobicoke Community Concert Band.
A Classic Christmas. Jean Augustine, reader;
Andrew Scott, guest MC. Etobicoke Collegiate
Auditorium, 86 Montgomery Rd., Etobicoke.
416-410-1570. $15; Free(child under 12).
●●8:00: Exultate Chamber Singers. Winter’s
Night with You. Quartel: A Winter Day;
Raminsh: In the Night We Shall Go In; Webb:
The Winter Lakes; Lightfoot: Song for a Winter’s
Night. Mark Ramsay, artistic director.
St. Thomas’s Anglican Church (Toronto),
383 Huron St. 416-971-9229. $25; $20(sr);
$10(st).
●●8:00: Gallery 345. Hide the Moon and Stars
Album Release Concert. Bryn Roberts, piano;
Youth. Community Carol Concert. Guest:
Lianne Tan, organ. St. John’s United Church
(Oakville), 262 Randall St., Oakville. 905-337-
7104. $25; $20(sr); $15(under 13). Also 4pm.
●●2:00: County Town Singers. Jingle Alleluia.
Sacred and secular Christmas music. Trinity
Pentacostal, 900 King St. E., Oshawa. 647-
981-2205. $25; $20; $15. Also Dec 7(eve).
●●2:00: National Ballet of Canada. The Nutcracker.
Music by Pyotr Ilyich Tchaikovsky,
with libretto by James Kudelka. James
Kudelka, choreographer/librettist. Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-345-9595. $45 and up.
Opens Dec 8, 2pm. Runs to Dec 30. Days and
times vary. Visit national.ballet.ca for details.
●●2:00: Toronto Symphony Orchestra. Home
Alone in Concert. See Dec 6. Also Dec 8(7:30).
●●2:00: Yorkminster Park Baptist Church.
Annual City Carol Sing. Alex Pangman & Her
Alleycats; Hogtown Brass Quintet; Yorkminster
Park Baptist Church Choir; VIVA! Youth
Singers of Toronto; That Choir; Hedgerow
Singers; Kevin Frankish, host; and others.
1585 Yonge St. 416-922-1167. Free. A collection
• THE ANNUAL CITY •
CAROL
SING
In collaboration
with City
SATURDAY, DEC. 8 - 2:00 PM
YORKMINSTER PARK BAPTIST CHURCH
WITH SPECIAL GUESTS
ALEX PANGMAN
& HER ALLEYCATS
KEVIN FRANKISH
FREE ADMISSION
thewholenote.com December 1, 2018 – February 7, 2019 | 49

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A. Concerts in the GTA
WINTerSONGS
Seasonal songs, including Celtic choral & instrumental
BACH CHILDREN’S CHORUS &
BACH CHAMBER YOUTH CHOIR
Sharing our love of making music.
Charissa Bagan
Artistic Director
Jenny Crober, Artistic Director
Elizabeth Acker, Accompanist
Saskia Tomkins, violin, nyckelharpa
James Pinhorn
BCYC Conductor
Sybil Shanahan, cello
SATURDAY, DECEMBER 8, 2018 7:30 PM
Eastminster United Church,
310 Danforth Ave. (Chester subway), Toronto, Ontario
$30 Gen. Adm. $25 Seniors $15 Students; Under 30
416-947-8487; www.vocachorus.ca
Eleanor Daley
Pianist
M Y S T I C A L
L I G H T
Featuring “Chasing the Northern Lights”,
“I Want To Stare At My Phone With You”,
plus music from Raffi and Gordon Lightfoot.
will be taken for the Churches on-the-Hill
Food Bank.
●●2:30: Burlington Performing Arts Centre.
The Nutcracker. Music by Tchaikovsky.
National Ballet Theatre of Odessa. Burlington
Performing Arts Centre, Community Studio
Theatre, 440 Locust St., Burlington. 905-681-
6000. $69.50; $64.50(members); $35(18 and
under). Also Dec 7(7:30); 8(7:30).
●●2:30: Village Voices. Rejoice! Ave Maria;
Helvey: O Lux Beatissima; Thompson: Alleluia;
plus old and new holiday favourites. Village
Voices Community Choir; Village Voices
Chamber Choir; Oksana Vignan, conductor;
Joan Andrews, guest conductor; Robert Graham,
piano. Markham Missionary Church,
5438 Major Mackenzie Dr. E., Markham. 905-
471-4464. $25; $20(sr); $10(st); free(under
12). Also 7:30pm.
●●4:00: Harbourfront Centre. Asheq: Ritual
Music to Cure a Lover. See Dec 5. Also
Dec 8(7:00).
●●4:00: Oakville Choir for Children and
Youth. Community Carol Concert. Guest:
Lianne Tan, organ. St. John’s United Church
(Oakville), 262 Randall St., Oakville. 905-
337-7104. $25; $20(sr); $15(under 13). Also
1:30pm.
●●4:00: Weston Silver Band. Yule Sing! Singalong.
Timothy Eaton Memorial Church’s
Choir School and Sanctuary Choir. Timothy
Eaton Memorial Church, 230 St. Clair Ave. W.
905-691–2744. $15; $45(family: 2 adults plus
children).
●●4:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7. Also Dec 9(4:30);
14(7:30); 15(4:30); 16(4:30); 21(7:30); 22(4:30);
23(4:30 & 7:30).
●●7:00: Harbourfront Centre. Asheq: Ritual
Music to Cure a Lover. See Dec 5.
●●7:00: National Ballet of Canada. The Nutcracker.
See 2pm. Also Dec 9, 12, 13, 14, 15, 16,
18, 19, 20, 21, 22, 23, 27, 28, 29, 30. Times vary.
●●7:00: University of Toronto Faculty of
Music. PianoFest. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free. Also
Dec 6(7pm) & 9(2:30pm).
●●7:30: Bach Children’s Chorus and Bach
Chamber Youth Choir. Mystical Light. 180
voices perform seasonal music. Chasing
the Northern Lights; I Want to Stare at My
Phone with You; Petit Papa Noel; Gordon
Lightfoot: Song for a Winter’s Night. Eleanor
Dailey, piano; Charissa Bagan, artistic director;
James Pinhorn, conductor (Bach Chamber
Youth Choir). Toronto Centre for the Arts,
5040 Yonge St., North York. 1-855-985-2787.
$35 and $40.
●●7:30: Burlington Performing Arts Centre.
The Nutcracker. Music by Tchaikovsky.
National Ballet Theatre of Odessa. Burlington
Performing Arts Centre, Community Studio
Theatre, 440 Locust St., Burlington. 905-681-
6000. $69.50; $64.50(members); $35(18 and
under). Also Dec 7(7:30); 8(2:30).
●●7:30: Cor Unum Ensemble. Merry & Bright.
Works by Bach, Telemann, Corrette and
others. Elisa Jane Cassey & Ruth Denton,
conductors. Trinity College Chapel, U of T,
6 Hoskin Ave. 416-371-6999. $20; $10(st/arts
workers). Also Dec 9.
●●7:30: Etobicoke Centennial Choir. Welcoming
the Light. Bach: Cantata 40 “Sleepers
Wake!”; selection of seasonal carols;
John Williams: Holiday Music from “Home
Alone”. Gabrielle Turgeon, soprano; Caroline
Corkum, soprano; Erin Ronningen, alto;
Lawrence Shirkie, baritone; guests: Islington
United Church Junior and Youth Choir; Carl
Steinhauser, piano and organ. Humber Valley
United Church, 76 Anglesey Blvd., Etobicoke.
416-779-2258. $30. Venue is accessible. Holiday
Marketplace at 6:30pm.
●●7:30: Fonitika Vocal Ensemble. In Concert.
Music by Tallis, Saint-Saëns, Gershwin, Elvis
Presley, and your favourite Christmas music.
Sarah Maria Leung, soprano; Lydia Harper,
alto; Arieh Sacke, tenor; Joshua McFaul, bass.
St. Andrew’s United Church, 117 Bloor St. E.
647-631-2047. $25/$20(adv); $15/$12(adv/st/
arts worker).
●●7:30: Forte - Toronto Gay Men’s Chorus. All
Is Calm, All Is Bright. Trinity-St. Paul’s Centre,
427 Bloor St. W. forte.eventbrite.ca with
promo code FORTE or fortechorus.com. $30;
$25(online).
●●7:30: MCS Chorus Mississauga. G. F. Handel:
Messiah. MCS Chorus Chamber Choir;
Jennifer Krabbe, soprano; Jillian Yemen,
mezzo; Charles Davidson, tenor; Matthew
Cassils, bass; MCS Chamber Orchestra. First
United Church (Mississauga), 151 Lakeshore
Rd. W., Mississauga. 905-278-7059. $25;
$12(st under 18).
●●7:30: Northern Lights Chorus. A Northern
Lights Christmas. St. John the Evangelist
Church (Whitby), 903 Giffard St., Whitby.
905-668-3676. $25; $15(st). Also Dec 1 (2 pm,
St. Catharines).
●●7:30: Toronto Symphony Orchestra. Home
Alone in Concert. See Dec 6.
●●7:30: University of Toronto Faculty of
Music. U of T Wind Symphony. Fucik: Florentiner
March; Weinzweig: “Deep Blues” from
Out of the Blues; Glazunov: Concerto for Alto
Saxophone in E-flat Op.109; Tull: Sketches on
a Tudor Psalm; Ticheli: Postcard; and other
works. MacMillan Theatre, Edward Johnson
Building, 80 Queen’s Park. 416-408-0208.
$30; $20(sr); $10(st); free(UofT st).
●●7:30: Village Voices. Rejoice! Ave Maria;
SATURDAY DEC 8, 2018 AT 7:30PM
Toronto Centre for the Arts, 5040 Yonge St (north of Sheppard)
$35 and $40 at the box office or Ticketmaster at 1.855.985.2787
bachchildrenschorus.ca
Merry & Bright
Dec 8 & 9, 7:30pm
Trinity College Chapel
corunumensemble.com
50 | December 1, 2018 – February 7, 2019 thewholenote.com

Helvey: O Lux Beatissima; Thompson: Alleluia;
plus old and new holiday favourites. Village
Voices Community Choir; Village Voices
Chamber Choir; Oksana Vignan, conductor;
Joan Andrews, guest conductor; Robert Graham,
piano. Markham Missionary Church,
5438 Major Mackenzie Dr. E., Markham. 905-
471-4464. $25; $20(sr); $10(st); free(under
12). Also 2:30pm.
●●7:30: VOCA Chorus of Toronto. Wintersongs.
Works by Quartel, Emery, Esenvalds,
Crober (premiere), Sirett and others. Saskia
Tomkins, violin, nyckelharpa; Steáfán Hannigan,
bodhrán, Irish flute, Uilleann pipes; Sybil
Shanahan, cello; Jenny Crober, conductor;
Elizabeth Acker, accompaniment. Eastminster
United Church, 310 Danforth Ave. 416-
931-8224. $30; $25(sr); $15(st/under 30).
●●7:30: Vox Choirs. Jubilate Deo. Forrest:
Jubilate Deo; Finzi: In Terra Pax; Hailstork:
I Will Lift Up Mine Eyes. Vox Choirs; Sneak
Peek Orchestra. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-568-3802. $40.
A portion of ticket sales will go to our charity
partner for the year, ArtsCan Circle.
●●8:00: Acoustic Harvest/Live Music East. A
Christmas Carol. John Huston (Charles Dickens)
with The MadriGALS. St. Paul’s United
Church (Scarborough), 200 McIntosh St.,
Scarborough. lillian.wauthier@gmail.com.
$25/$22(adv).
●●8:00: Gallery 345. The Art of the Piano: Hilario
Durán. 345 Sorauren Ave. 416-822-9781.
$35; $15(st); Cash only.
●●8:00: Music Gallery. Elizabeth Shepherd:
MONtréal. The Music Gallery, 918 Bathurst St.
416-204-1080. $20-$30.
●●8:00: Richmond Hill Philharmonic Orchestra.
Holiday Caravan. Rimsky-Korsakov:
Christmas Eve Suite; Silvestri: Polar Express;
Thornett: A Children’s Christmas Suite; Holcombe:
Festive Sounds of Hanukkah; Krogstad:
Bells of Christmas. Guests: Hawkapella;
Jessica Kun, conductor. Richmond Hill Centre
for the Performing Arts, 10268 Yonge St.,
Richmond Hill. 905-787-8811. $29; $24(sr/st).
●●8:00: Royal Conservatory of Music. Quiet
Please, There’s a Lady on Stage: Storm Large.
Koerner Hall, Telus Centre, 273 Bloor St. W.
416-408-0208. $35-$85.
●●8:00: Sinfonia Toronto. Vivaldi and Piazzolla:
The Eight Seasons. Vivaldi: The Four
Seasons; Piazzolla: The Four Seasons of Buenos
Aires. Alexandre Da Costa, violin; Nurhan
Arman, conductor. Glenn Gould Studio,
250 Front St. W. 416-499-0403 or online at
sinfoniatoronto.ca. $42; $35(sr); $15(st).
●●8:00: University of St. Michael’s College.
Waiting in Joyful Hope: A Concert for Advent.
Works by Hildegard, Taverner, Brahms,
Rheinberger, Weir and others. St. Michael’s
Schola Cantorum; Michael O’Connor and
Christina Labriola, conductors. St. Basil’s
Church, University of St. Michael’s College,
50 St. Joseph St. 416-926-7148. Free. Donations
welcomed.
Sunday December 9
●●10:15am: Royal York Road United Church.
Bach Advent Cantatas. Bach: Cantata 35 and
140 (selections). 851 Royal York Rd. 416-231-
9401. Religious service, freewill offering. With
orchestra.
●●1:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 12, 13, 14, 15, 16,
18, 19, 20, 21, 22, 23, 27, 28, 29, 30. Times vary.
●●1:30: Music at Metropolitan. Deck the
Deck the Halls:
Downtown
Carol Sing
with the
Metropolitan
Silver Band
SUN, DECEMBER 9
1:30pm
Halls: Downtown Carol Sing. Metropolitan
Silver Band. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-363-0331 x26.
Free; donations welcome.
●●1:30: Oakville Symphony. A Family Christmas.
Oakville Centre for the Performing Arts,
130 Navy St., Oakville. 905-815-2021. $27;
$23(sr); $14(child/st). Also 4:30.
●●1:30: Porgiamor Chamber Concerts. YC
Lee in Solo Recital @ College St. United. Art
Song & Opera favourites in English, French,
Italian, German, Russian. YC Lee, tenor; Ann
Sublett, piano. College Street United Church,
452 College St. 416-929-3019. PWYC ($20
suggested). Fundraising concert to help
church outreach activities including feeding
the homeless and sending music instruments
to Cuba.
●●2:00: Duly Noted. Toronto vs. Everybody.
All a cappella music celebrating Toronto. St.
Augustine of Canterbury, 1847 Bayview Ave.
416-485-2656. $15; $10(sr/st).
●●2:00: Kingston Road Village Concert
Series. Celebrate: Holidays of the
Global Village with Chris McKhool and
Friends. Guests: Aviva Chernick, Shannon
Thunderbird, Maryem and Ernie Tollar,
Kevin Laliberté, Drew Birston; and
Donne Roberts. Kingston Road United
Church, 975 Kingston Rd. 416-699-6091.
$25/$20(adv); free(under 19).
●●2:30: University of Toronto Faculty of
Music. PianoFest. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free. Also
Dec 6(7pm) & 8(7pm).
●●3:00: Durham Chamber Orchestra. The
Sounds of Christmas. Humperdinck: Hansel
and Gretel’s Evening Prayer from Hansel
and Gretel; Vivaldi: Gloria; Tchaikovsky: The
Nutcracker (selections); Haydn: Final Movement
from Trumpet Concerto. Durham Girls’
Choir; Dancers from the Taylor Dance Centre;
Andrea George, trumpet; Carlos Bastidas,
conductor. Forest Brook Community Church,
60 Kearney Dr., Ajax. 905-493-4277. $20;
free(under 12).
●●3:00: Harmony Singers. The Secret of
Christmas. Mother Mary; Homeward Bound;
Gesu, Bambino; Santa Baby; It’s the Holiday
Season. Asia Rosa, soloist; Bruce Harvey,
accompanist; Harvey Patterson, conductor.
Humber Valley United Church, 76 Anglesey
Blvd., Etobicoke. 416-239-5821. $20;
free(child under 10).
●●3:00: Orchestra Toronto. The Snowman
and Friends. Screening of the animated film
The Snowman with live orchestral music.
Royer: A Canadian Christmas Fantasia; Blake:
The Snowman; Glazunov: Violin Concerto in a
Op.82; Brahms: Hungarian Dances Nos.5 and
6. Julia Mirzoev, violin; Michael Newnham,
conductor; and special guests. George Weston
Recital Hall, 5040 Yonge St. 1-855-985-
2787. $45; $39(sr); $19(under 30).
Toronto’s
Christmas Tradition
featuring
St. Michael’s Choir School
continues at
Roy Thomson Hall
DEC 9 AT 3PM DEC 10 AT 7PM
●●3:00: St. Michael’s Choir School. Annual
Christmas Concert. Britten: A Ceremony of
Carols. True North; Lori Gemmell, harp; Maria
Conkey, Teri Dunn, S. Bryan Priddy, conductors;
Joshua Tamyo, accompanist; Vincent
Cheng, conductor. Roy Thomson Hall,
60 Simcoe St. 416-872-4255. $25-$60. Also
Dec 10(7pm).
●●3:00: St. Paul’s Bloor Street Anglican
Church. La Nativité. Messiaen: La Nativité du
Seigneur accompanied by readings. Michael
Bloss, organ. 227 Bloor St. E. 416-921-8116.
Free.
●●3:00: Symphony on the Bay. Christmas
Delights. Jennifer Higdon: Blue Cathedral;
Cécile Chaminade: Concertino for Flute and
Orchestra Op.107; Rimsky-Korsakov: Christmas
Eve Suite; Vaughan Williams: Fantasia on
Greensleeves; Anderson: A Christmas Festival.
Sara Traficante, flute; Shelley Hanson,
guest conductor. Burlington Performing Arts
Centre, 440 Locust St., Burlington. 905-681-
6000 or 905-320-5773 or burlingtonpac.
ca/tickets. $43; $36.50(sr); $24.50(16-24);
$12(under 16).
●●3:30: St. Anne’s Anglican Church. St.
Anne’s Community Cantate. Choir of St.
Anne’s; Toronto Beach Chorale. 270 Gladstone
Ave. 416-536-3160. $15; Free(child under 12).
Proceeds to Oasis Food Bank and the Four
Winds.
REJOICE
AND SING
DECEMBER 9, 2018
amadeuschoir.com
●●4:00: Amadeus Choir of Greater Toronto.
Rejoice and Sing. Holiday concert featuring
seasonal music. Music by Henderson, Daley,
Cable, Willcocks and Rutter. Mary Lou Fallis,
soprano; Trillium Brass Quintet; Lydia Adams,
conductor; Joan Andrews, conductor; Shawn
Grenke, conductor and piano. Eglinton St.
George’s United Church, 35 Lytton Blvd. 416-
446-0188. $45; $35(sr); $25(under 30).
●●4:00: Cathedral Church of St. James.
thewholenote.com December 1, 2018 – February 7, 2019 | 51

Twilight Recital. Ian Sadler, organ. 65 Church
St. 416-365-7865. Free. Donations welcome.
●●4:00: Church of St. Peter and St. Simonthe-Apostle.
Charles Dickens, A Christmas
Carol. Dramatic reading with carols led by
the choir. 525 Bloor St. E. 416-923-8714. $15;
$10(sr/st).
●●4:00: Toronto Classical Singers. Jubilation
and Joy. Bach: Christmas Oratorio. Talisker
Players; Sheila Dietrich, soprano; Christina
Campsell; Asitha Tennekoon, tenor; Michael
Nyby, baritone; Jurgen Petrenko, conductor.
Christ Church Deer Park, 1570 Yonge St. 416-
444-7863. $30.
●●4:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7. Also Dec 14(7:30);
15(4:30); 16(4:30); 21(7:30); 22(4:30); 23(4:30
& 7:30).
●●4:30: Oakville Symphony. A Family Christmas.
Oakville Centre for the Performing Arts,
130 Navy St., Oakville. 905-815-2021. $27;
$23(sr); $14(child/st). Also 1:30.
●●5:30: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 12, 13, 14, 15, 16,
18, 19, 20, 21, 22, 23, 27, 28, 29, 30. Times vary.
●●6:30: Soundstreams. Holiday Encounters:
Yuletide Remix. Bring your treasured yuletide
vinyl and hear it spun into exciting new
sounds right before your ears. SlowPitch-
Sound, turntablist and resident DJ. Gladstone
Hotel, 1214 Queen St. W. 416-504-1282. Free.
●●7:00: Durham Girls’ Choir. Winter Wonderland.
St. George’s Anglican Church (Oshawa),
51 Centre St. S., Oshawa. 905-723-7875.
$15; $10(sr/st).
●●7:30: Cor Unum Ensemble. Merry & Bright.
A. Concerts in the GTA
Works by Bach, Telemann, Corrette and
others. Elisa Jane Cassey & Ruth Denton,
conductors. Trinity College Chapel, U of T,
6 Hoskin Ave. 416-371-6999. $20; $10(st/arts
workers). Also Dec 8.
●●7:30: Echo Women’s Choir. Hope Lingers
On. Malvina Reynolds: No Closing Chord; God
Bless the Grass; Mrs. Clara Sullivan’s Letter;
Buffy Sainte-Marie: Up Where We Belong; and
other songs of hope and love. Maryem Tollar,
Arabic singer; Alan Gasser, conductor;
Becca Whitla, piano/conductor. Church of the
Holy Trinity, 19 Trinity Sq. 416-779-5554. $25;
$15(sr/child/underwaged).
Monday December 10
●●3:00: Durham Girls’ Choir / Durham
Chamber Orchestra. The Sounds of Christmas.
Forest Brook Community Church,
60 Kearney Dr., Ajax. 905-427-3442. $20.
●●7:00: St. Michael’s Choir School. Annual
Christmas Concert. Britten: A Ceremony of
Carols. True North; Lori Gemmell, harp; Maria
Conkey, Teri Dunn, S. Bryan Priddy, conductors;
Joshua Tamyo, accompanist; Vincent
Cheng, conductor. Roy Thomson Hall,
60 Simcoe St. 416-872-4255. $25-$60. Also
Dec 9(3pm).
●●7:30: Royal Conservatory of Music. Joaquin
Valdepeñas Conducts. Mazzoleni Concert
Hall, Royal Conservatory, 273 Bloor St. W.
416-408-0208. $20.
●●8:00: Oakville Centre for the Performing
Arts. The Celtic Tenors. 130 Navy St., Oakville.
905-815-2021 or 1-888-489-7784.
$49-$60.
Tuesday December 11
●●12:00 noon: Canadian Opera Company.
Vocal Series: AtG Retro. Against the Grain
Theatre. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●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 welcome.
●●1:00: Cathedral Church of St. James.
Music at Midday. Gerald Loo, organ.
65 Church St. 416-365-7865. Free. Donations
welcome.
●●7:30: City Choir. Cakes & Ale. Swing Down,
Sweet Chariot; I Gave Her Cakes and I Gave
Her Ale; Darfur Traditional Song; Domini Fili
Unigenite. Greg Oh, John Millard, Patricia
O’Callaghan, directors. Dixon Hall, 188 Carlton
St. 416-963-9374. By donation.
●●7:30: Gallery 345. PAPER: New Compositions
and Improvisations by Nahre Sol.
Nahre Sol, piano; Brad Cherwin, clarinet.
345 Sorauren Ave. 416-822-9781. Free.
●●7:30: Hannaford Street Silver Band.
Christmas Cheer. Ben Heppner, host and
tenor soloist; Elmer Iseler Singers; Lydia
Adams, conductor (Elmer Iseler Singers).
Metropolitan United Church (Toronto),
56 Queen St. E. 416-366-7723 or 1-800-708-
6754 or hssb.ca. $45.
●●7:30: Silverthorn Symphonic Winds.
Christmas Soirée. Wilmar Heights Centre,
963 Pharmacy Ave., Scarborough. 416-
742-4237. PWYC. Free parking, wheelchair
accessible, free refreshments post concert.
●●7:30: Toronto Community Orchestra. Celebrate
the Music That Moves You! Strauss:
Blue Danube Waltz; Dvořák: Slavonic Dances
Op. 42, No. 4, 6, 7; Handel: The Trumpet
Shall Sound; Tchaikovsky: Nutcracker Suite;
Bernstein: Danzon. Oliver Laquerre, baritone;
Darrin Hicks, trumpet; Leonidis Varahidis,
conductor. Eastminster United Church,
310 Danforth Ave. 416-358-0783. Free. Wheelchair
accessible.
B-Xalted!
DEC. 11, 8 PM
Handel’s
Messiah
TORONTO CLASSICAL SINGERS
H A N N A F O R D S T R E E T S I LV E R B A N D P R E S E N T S
Christmas Cheer
JUBILATION AND JOY
BACH CHRISTMAS ORATORIO
THE MOST INTELLECTUAL COMPOSER TELLS THE MOST JOYFUL STORY
JURGEN PETRENKO, CONDUCTOR
THE TALISKER PLAYERS
SHEILA DIETRICH, SOPRANO
CHRISTINA CAMPSALL, MEZZO-SOPRANO
ASITHA TENNEKOON, TENOR
MICHAEL NYBY , BARITONE
SUNDAY DECEMBER 9, 2018 4PM
CHRIST CHURCH DEER PARK 1570 YONGE STREET AT HEATH
TICKETS $30.00 CALL 416 444 7863 torontoclassicalsingers.ca
Tickets available online at www.hssb.ca
By Phone: 416.366.7723 or 1.800.708.6754
transcending tradition
52 | December 1, 2018 – February 7, 2019 thewholenote.com

●●8:00: B-Xalted! An Evening of Choruses
and Arias from Handel's Messiah. Dallas
Chorley, soprano; Rebecca Gray, alto; Charles
Davidson, David Walsh, tenor; Nicholas Borg,
baritone; Andrew Adair, organ; Simon Walker,
conductor. Church of St. Peter and St. Simonthe-Apostle,
525 Bloor St. E. 647-823-1233.
$25; $15(sr/st); $10(underemployed).
●●8:00: Toronto Symphony Orchestra. TSO
Holiday Pops. A dazzling Christmas extravaganza
overflowing with yuletide favourites.
Etobicoke School of the Arts Holiday Chorus;
Steven Reineke, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $55-$135.
Also Dec 12(mat), Dec 12(eve), Dec 13, 15.
Wednesday December 12
●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. Stefani Bedin,
organ. 1585 Yonge St. 416-922-1167. Free.
●●2:00: Toronto Symphony Orchestra. TSO
Holiday Pops. See Dec 11. Also Dec 12, 13, 15.
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 13, 14, 15, 16, 18,
19, 20, 21, 22, 23, 27, 28, 29, 30. Times vary.
●●7:00: St. Elizabeth Scola Cantorum Choir.
Christmas Concert. Featuring Hungarian
St. Elizabeth Scola Cantorum adult and children
choirs. Rutter: Magnificat (excerpts);
Christmas Songs. Brigitte Emery soprano;
Renee Anton, violin; Ian Sandler, organ; Imre
Olah and Christa Lazar, conductors. St. Elizabeth
of Hungary Roman Catholic Church,
432 Sheppard Ave. E. 416-300-9305. $20;
$10(st). Post-concert reception.
●●7:30: Camerata Canadiana. Vaughan Williams’
Piano Quintet. Vaughan Williams:
Piano Quintet in c; Martinů: String Trio No.2;
Bottesini: Elegy No.1 for Bass and Piano. Mary
Kenedi, piano; Aysel Taghi-Zada, violin; Laurence
Scheufele, viola; Beth Silver, cello;
Jesse Dietschi, double bass. Gallery 345,
345 Sorauren Ave. 416-822-9781 or info@gallery345.com.
$30; $15(st/arts worker). Cash
at door only.
●●7:30: Toronto Welsh Male Voice Choir.
Annual Christmas Show. Calvin Presbyterian
Church, 26 Delisle Ave. 647-389-8084. $30;
free(child 12 and under).
●●7:30: Toronto Youth Choir. Comfort and
Joy. Seasonal music and well-loved carols.
Christ Church Deer Park, 1570 Yonge St. 416-
932-8666 x231. $25; $20(sr/st); $10(child).
Proceeds to support Youth Choir Tour Fund.
Toronto Youth Choir
presents
Comfort
and Joy
WED. DEC. 12 | 7:30PM
Christ Church Deer Park
torontochildrenschorus.com
●●8:00: Toronto Symphony Orchestra. TSO
Holiday Pops. See Dec 11. Also Dec 13, 15.
Thursday December 13
●●12:00 noon: Canadian Opera Company.
Jazz Series: ‘Tis the Season to Swing. Steven
Taetz Quartet. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231. Free.
First come, first served. No late seating.
●●1:00: Miles Nadal Jewish Community
Centre. All You Need Is Love: A Beatles
Tribute Concert in Celebration of Chanukah.
The British Invasion Band. Miles Nadal
JCC, 750 Spadina Ave. 416-924-6211 x0. $20.
Includes post-show reception.
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 14, 15, 16, 18, 19,
20, 21, 22, 23, 27, 28, 29, 30. Times vary.
●●7:30: Burlington Performing Arts Centre.
A Next Generation Leahy Christmas. Burlington
Performing Arts Centre, Community
Studio Theatre, 440 Locust St., Burlington.
905-681-6000. $69.50; $64.50(members);
$35(18 and under).
●●7:30: Collective Order. Collective
Order: Vol. 3 CD Release Show. Collective
Order: Theme For Lake Ontario, Mis Dos
Países, Meadow Lane, I hear You, Mileage.
Gallery 345, 345 Sorauren Ave. 416-822-
9781. $15.
●●8:00: Art of Time Ensemble. To All a Good
Night 4. Works by Harry Connick, Jr.; Tom
Waits; Tom Lehrer; John Lennon & Yoko Ono;
and others. Jackie Richardson, vocalist; Tom
Wilson, musician; Liam Russell, vocalist; Jessica
Mitchell, vocalist; David Wall, vocalist;
and others. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $25-$64;
$15(st/under 30). Also Dec 14, 15.
Georgian Bay
Songs for
a Winter’s
Night
Thurs, Dec. 13, 8pm
$45 (HST included)
auroraculturalcentre.ca
905 713-1818
●●8:00: Aurora Cultural Centre. Georgian
Bay Band: Songs for a Winter’s Night.
22 Church St., Aurora. 905-713-1818. $45.
●●8:00: Caliban Arts Theatre and Theatre
Passe Muraille. Jazz, Soul and Aretha - Featuring
The Sacha Williamson Quintet. Theatre
Passe Muraille, 16 Ryerson Ave. 416-504-
7529. $40; $25(early bird until Nov 27, 5pm);
$30(advance until Dec 12, 11pm).
●●8:00: Flato Markham Theatre. Sultans of
String. Guests: Rebecca Campbell, Amanda
Martinez, Donné Roberts, Ken Whiteley.
171 Town Centre Blvd., Markham. 905-305-
7469 or tinyurl.com/y9alew8l. $15-$65.
●●8:00: Romulo Delgado. Opera Serenade.
Romulo Delgado, tenor; and guests. Old Mill
Toronto, 21 Old Mill Rd. 416-207-2020. $25.
Also Nov 15.
●●8:00: Ron Davis and SymphRONica. SymphRONica
& the Tap Dancers Reunite! Davis:
Applausable Excuse; Bach/Homzy: Violin
Concerto; Davis: D’Hora; Berlin: Cheek to
Cheek; Davis: Pentuptimism. Ron Davis, keyboards;
Kevin Barrett, guitar; Mike Downes,
bass; Aline Homzy, violin; Kim Chalovich, choreographer.
918 Bathurst Centre for Culture,
Arts, Media and Education, 918 Bathurst
St. 416-347-6765 or bemusednetwork.com.
$30/$25(adv); $20(sr/st). 7pm Pre-concert
meal & drinks.
●●8:00: Toronto Symphony Orchestra. TSO
Holiday Pops. See Dec 11. Also Dec 15.
Friday December 14
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 15, 16, 18, 19, 20,
21, 22, 23, 27, 28, 29, 30. Times vary.
●●7:00: Raffi Altounian. Imagine: Christmas.
The Nutcracker (adapted by Ellington);
Guaraldi: A Charlie Brown Christmas (arr.
for violin, clarinet, guitar, pedal steel, bass,
percussion). St. Barnabas Anglican Church,
361 Danforth Ave. 416-528-5349. $30.
●●7:30: Canzona Chamber Players. City Concert:
Brahms Messiaen. St. George the Martyr
Church, 30 Stephanie St. 416-822-0613.
$30. Also Dec 16(2pm, St. Andrew by-the-
Lake Anglican Church).
●●7:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7. Also Dec 15(4:30);
16(4:30); 21(7:30); 22(4:30); 23(4:30 & 7:30).
●●8:00: Art of Time Ensemble. To All a Good
Night 4. Works by Harry Connick, Jr.; Tom
Waits; Tom Lehrer; John Lennon & Yoko Ono;
and others. Jackie Richardson, vocalist; Tom
Wilson, musician; Liam Russell, vocalist; Jessica
Mitchell, vocalist; David Wall, vocalist;
and others. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $25-$64;
$15(st/under 30). Also Dec 13, 15.
●●8:00: Etobicoke Philharmonic Orchestra.
Christmas in the City. Christmas favourites
including various Sleigh Rides; Handel:
selections from Messiah; Anderson: Bugler’s
Holiday; and more. Charlene Pauls, soprano;
Matthew Jones, conductor. Humber Valley
United Church, 76 Anglesey Blvd., Etobicoke.
416-239-5665. $30; $25(sr)/$22(adv);
$15(st).
●●8:00: Georgetown Bach Chorale. Christmas
from Ol’ Blighty. Traditional English
Christmas music. Vaughan Williams: Fantasy
on Christmas Themes. The Piano Hall,
157 Main St., Georgetown. 905-873-9909.
$50. Also Dec 15, 16. Culinary treats follow
the concert.
●●8:00: Music Gallery. Rejuvenated Frequencies:
VHVL + Korea Town Acid + YourHomieNaomi
curated by Obuxum. The Music Gallery,
918 Bathurst St. 416-204-1080. $10-$15.
●●8:00: Royal Conservatory of Music.
Michael Kaeshammer. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208.
$35-$90.
●●8:00: Toronto Consort. Praetorius Christmas
Vespers. A Christmas Vespers as it
might have sounded in the early 17th century.
2018-2019: The Colours of Early Music
PRAETORIUS
CHRISTMAS
VESPERS
DEC. 14 & 15 at 8pm | DEC. 16 at 3:30pm
Tickets starting at $ 29!
TorontoConsort.org
SymphRONica & Tap Dance Return!
7:30pm Thurs. December 13
918 Bathurst Centre for Culture
$25 (advance) / $30 (door)
Tickets & info @ bemusednetwork.com
jazz + tap dance = a kinetic night out
rondavismusic.com
thewholenote.com December 1, 2018 – February 7, 2019 | 53

Toronto Chamber Choir. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-964-6337. From $29.
Also Dec. 15-16 (3:30 pm).
●●8:00: York Symphony Orchestra. YSO Holiday
Spectacular. St. Mary’s Anglican Church,
10030 Yonge St., Richmond Hill. 416-410-
0860. $28; $23(sr); $15(st). Also Dec 22, 3:30
pm and 8 pm, Aurora.
Saturday December 15
●●2:00: Ensemble Masques & University
Club of Toronto. The Crown’s Jewel:
350 Years of François Couperin. Selections
from Concerts Royaux, Pièces de Clavecin,
Nouveaux Concerts et Pièces de Violes;
works by Lully and Corelli. Olivier Fortin,
harpsichord; Kathleen Kajioka, baroque violin
& narration; Mélisande Corriveau, viola da
gamba. University Club of Toronto Library,
380 University Ave. 416-597-1336. $42.
Includes wine and coffee.
●●2:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 16, 18, 19, 20, 21,
22, 23, 27, 28, 29, 30. Times vary.
●●2:00: Toronto Children’s Chorus, Alumni
Choir and Youth Choir. A Chorus Christmas:
A. Concerts in the GTA
Children of the World. Britten: A Ceremony
of Carols and other works. Heidi Van Hoesen
Gorton, harp; Jean Ashworth Bartle, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
932-8666 x231. $35.50-$45.50.
●●4:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7. Also Dec 16(4:30);
21(7:30); 22(4:30); 23(4:30 & 7:30).
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 16, 18, 19, 20, 21,
22, 23, 27, 28, 29, 30. Times vary.
●●7:00: The Salvation Army North York Temple.
Christmas Spectacular. Works by Willcocks,
Rutter, Venables, Graham, Balantine.
Amadeus Choir; North York Temple Band; Lydia
Adams, Glenn Barlow, conductors. Tyndale
Chapel, 3377 Bayview Ave. 647-869-6035. $20.
●●7:30: Annex Singers. Gloria! Poulenc:
Gloria; and works by Lauridsen, Willan, Victoria,
Hassler and others. Nicole Hulme, soprano;
Stephen Boda, organ; Maria Case,
artistic director. Grace Church on-the-Hill,
300 Lonsdale Rd. 416-968-7747. $25; $20(sr/
st); free(12 and under).
●●7:30: Bonar-Parkdale Presbyterian
Church. Have Yourself an After Hours
Have yourself an
Christmas
Christmas. After Hours (Aaron Milic, Glenn
Sevillo, Jon Pong and Yee Kuang Wong).
250 Dunn Ave. 416-532-3729. $10; $5(child).
Religious service. CDs, treats and hot cider
on sale.
●●7:30: Counterpoint Community Orchestra.
Holiday Extravaganza. Ravel: Mother Goose
Suite; Sound of Music; and seasonal favourites.
Andrew Chung, conductor. Church of St.
Peter and St. Simon-the-Apostle, 525 Bloor
St. E. 647-970-8057. $25; $15(st).
●●7:30: Espressivo Singers. Christmas Gifts.
Pinkham: Christmas Cantata; Chaminade:
Noël des marins and other works. Westminster
United Church (Whitby), 1850 Rossland
Rd. E., Whitby. 289-312-0488. $25; $15(child
12 and under). Wheelchair accessible.
●●7:30: Royal Conservatory of Music. Academy
Chamber Orchestra. Barber: Adagio
for Strings; Schubert: Allegro from String
Quartet No.14 “Death and the Maiden”; Serouj
Kradjian: Songs. String students from The
Phil and Eli Taylor Performance Academy for
Young Artists come together as the Academy
Chamber Orchestra. Koerner Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208. Free
(tickets required).
●●7:30: Scarborough Bluffs United Church.
Jazzy and Bright. Bach Children’s Chorus;
Bach Chamber Youth Choir; Octava Vocal
Ensemble; Charissa Bagan and James Pinhorn,
conductors. 3739 Kingston Rd., Scarborough.
416-267-8265. $20.
●●8:00: Art of Time Ensemble. To All a Good
Night 4. Works by Harry Connick, Jr.; Tom
Waits; Tom Lehrer; John Lennon & Yoko Ono;
and others. Jackie Richardson, vocalist; Tom
Wilson, musician; Liam Russell, vocalist; Jessica
Mitchell, vocalist; David Wall, vocalist;
and others. Harbourfront Centre Theatre,
235 Queens Quay W. 416-973-4000. $25-$64;
$15(st/under 30). Also Dec 13, 14.
●●8:00: Cathedral Bluffs Symphony
Orchestra. Night at the Opera. Selections
from Strauss II: Die Fledermaus; Lehár:
Merry Widow; Puccini: La bohème. Cristina
Pisani, soprano; David Diston, baritone;
Toronto Beaches Children’s Chorus; Norman
Reintamm, conductor. P.C. Ho Theatre,
Chinese Cultural Centre of Greater Toronto,
5183 Sheppard Ave. E., Scarborough.
416-879-5566. $35-$55; $30-$45(sr/st);
free(under 12). 7:15: Pre-concert talk.
cathedralbluffs.com.
●●8:00: Georgetown Bach Chorale. Christmas
from Ol’ Blighty. Traditional English
Christmas music. Vaughan Williams: Fantasy
on Christmas Themes. The Piano Hall,
157 Main St., Georgetown. 905-873-9909.
$50. Also Dec 14, 16. Culinary treats follow
the concert.
●●8:00: Kindred Spirits Orchestra. Bruckner’s
Fourth. Schumann: Manfred Overture
Op.115; Rachmaninoff: Rhapsody on a Theme
of Paganini Op.43; Bruckner: Symphony No.4.
Michael Berkovsky, piano; Kristian Alexander,
conductor. Flato Markham Theatre, 171 Town
Centre Blvd., Markham. 905-305-7469 or
905-604-8339. $30-$40; $25(sr); $15(under
30). 7:15pm pre-concert recital; 7:30pm
TORONTO
CHILDREN’S
CHORUS
A Chorus Christmas:
Children of the World
SAT DEC 15 ◆ 2 PM
ROYTHOMSONHALL.COM
Cathedral Bluffs
SYMPHONY ORCHESTRA
Norman Reintamm
Artistic Director/Principal Conductor
Saturday December 15, 2018 8 pm
Night at the Opera
favourites by Johann Strauss, Jr. & more…
Toronto Beaches Children’s Chorus
with Cristina Pisani & David Diston
winners of the 2018 CBSO Clifford Poole Vocal Competition
TICKETS: from $35 ($30 student/senior; children under 12 are free)
ORDER ONLINE cathedralbluffs.com BY PHONE 416.879.5566
P.C. Ho Theatre 5183 Sheppard Ave E (1 block east of Markham Rd), Scarborough
KINDRED SPIRITS ORCHESTRA
10 th anniversary concert season
BRUCKNER’S FOURTH
cathedralbluffs.com | 416.879.5566
54 | December 1, 2018 – February 7, 2019 thewholenote.com

pre-concert talk; intermission discussion
with Michael Berkovsky.
●●8:00: Mississauga Symphony Orchestra.
Highlights from The Messiah. Angela
Yoo, soprano; Lillian Brooks, mezzo; Zachary
Rioux, tenor; Christopher Dunham, baritone;
Mississauga Festival Chamber Choir; Denis
Mastromonaco, music director and conductor.
Living Arts Centre, Hammerson Hall,
4141 Living Arts Dr., Mississauga. 905-306-
6000. $40-$65.
●●8:00: Toronto Consort. Praetorius Christmas
Vespers. A Christmas Vespers as it
might have sounded in the early 17th century.
Toronto Chamber Choir. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-964-6337. From $29.
Also Dec 14-16 (3:30 pm).
●●8:00: Toronto Symphony Orchestra. TSO
Holiday Pops. See Dec 11.
●●8:00: Voices Chamber Choir. The Mystery
of Christmas. Willan: The Mystery of Bethlehem.
Ron Cheung, conductor; John Stephenson,
accompanist. St. Martin-in-the-Fields
Anglican Church, 151 Glenlake Ave. 416-519-
0528. $20; $15(sr/st).
Sunday December 16
●●1:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 18, 19, 20, 21, 22,
23, 27, 28, 29, 30. Times vary.
●●2:00: Borealis Big Band. A Big Band Family
Christmas Concert. Some seasonal favourites
along with jazz charts by Brubeck, Lopez,
Toombs, Stevie Wonder and others. Gord
Shephard, conductor. Newmarket Old Town
Hall, 460 Botsford St., Newmarket. 905-717-
3319 or borealisbigband@gmail.com. $20;
$10(child).
●●2:00: Canzona Chamber Players. Island
Concert: Brahms Messiaen. St. Andrew
by-the-Lake Anglican Church, Cibola Ave.,
Toronto Island. 416-822-0613. $30. Brunch at
12:30pm $20. Also Dec 14(7:30pm, St. George
the Martyr Church).
●●2:00: Festival Wind Orchestra. A Fireside
Counterpoint
Community Orchestra
Andrew Chung
Music Director and Conductor
3 concerts for $55
2018/19 SUBSCRIPTION
35 th ANNIVERSARY
DEC 15, 2018
Holiday Extravaganza
Mother Goose Suite, The Sound
of Music and seasonal favourites
by Leroy Anderson
MAR 2, 2019
Folk Melodies
Smetana’s Moldau and Brahms’
Hungarian Dances
JUNE 8, 2019
Happy 35 th Anniversary!
Mozart’s Symphony No. 35, and
Tchaikovsky’s Rococo Variations
Andrew Ascenso, cello
ccorchestra.org
Christmas. Big Band Showcase; Mary Poppins
Medley; Argentum; Gypsy Dance from
Carmen; Seasonal favourites and a Christmas
carol sing-a-long. Leah Erlich, alto saxophone.
Isabel Bader Theatre, 93 Charles St.
W. festivalwindorchestra.com/tickets $20;
$15(sr/st); free(under 13).
●●3:00: Church of St. Peter and St. Simonthe-Apostle.
The Not-So-Silent Night. Children’s
Musical. Children of the community
perform. 525 Bloor St. E. 416-923-8714. Free.
●●3:00: Greater Toronto Philharmonic
Orchestra. Christmas @ Columbus Centre.
Korsavok: Christmas Eve Suite; Reed: Greensleeves;
Bellini: Overture from Norma; Trad:
Carol of the Bells, O Holy Night and others.
Holly Chaplin, soprano; Michael Ciufo, tenor;
Paolo Busato, conductor. Columbus Centre,
901 Lawrence Ave. W. 647-238-0015. $30;
$25(sr); $16(st/child).
●●3:00: Islington United Church. Christmas
at Islington. Seasonal hymns and
songs. Jason Locke; Islington staff singers,
choirs, instrumentalists and handbells.
25 Burnhamthorpe Rd. 416-239-1131. Goodwill
offering. Religious service.
●●3:00: Mississauga Symphony Orchestra &
Youth Orchestra. A Merry Little Christmas.
Christmas favourites with over 200 musicians.
Guest: Resonance. Living Arts Centre,
Hammerson Hall, 4141 Living Arts Dr., Mississauga.
905-306-6000. $40-$50.
●●3:00: Pax Christi Chorale. England’s
Golden Age. A cappella masterpieces from
the reign of Henry VIII and Elizabeth I. Byrd:
Mass for Five Voices; Tudor anthems by Tallis,
Weekes and Gibbons. Grace Church onthe-Hill,
300 Lonsdale Rd. 647-345-7743 or
paxchristichorale.org. $45; $40(sr); $25(st).
●●3:00: Royal Conservatory of Music. Classical
Concerts Series: The King’s Singers:
Gold 50. John David: Born on a New Day (arr.
Peter Knight, adapted Philip Lawson); Traditional:
Veni, veni Emmanuel (arr. Philip Lawson);
Gaudete (arr. Brian Kay); Willaert: Ave
virgo sponsa Dei - Inviolata est; Chilcott: The
Shepherd’s Carol; and other works. Koerner
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $45-$95.
●●3:00: Syrinx Concerts Toronto. Afternoon
Sonatas. Beethoven: Sonata in c-sharp,
Op.27 No. 2; Liszt: Piano Sonata in b; Grieg:
Sonata for Violin and Piano in G, Op.13 No. 2;
Murphy: Dance Me to Your Beauty. Shoshana
Telner, piano; Jeremy Bell, violin. Helconian
Hall, 35 Hazelton Ave. 416-654-0877. $30;
$20(st).
●●3:00: St. Luke’s Anglican Church. St.
Luke’s Christmas Show. Harbourtown Sound
Chorus and Barbershop Quartet. St. Luke’s
Anglican Church (Burlington), 1382 Ontario
St., Burlington. 905-634-1826. $20.
●●3:30: Toronto Consort. Praetorius Christmas
Vespers. A Christmas Vespers as it
might have sounded in the early 17th century.
Toronto Chamber Choir. Trinity-St. Paul’s Centre,
427 Bloor St. W. 416-964-6337. From $29.
Also Dec 14-15 (8pm).
●●4:00: Cathedral Church of St. James. Twilight
Recital. Imre Oláh, organ. 65 Church St.
416-365-7865. Free. Donations welcome.
●●4:00: Eglinton St. George’s United Church.
Christmas Day Concert. Holst: Christmas Day;
Henderson: Peaceful, the Wondrous Night;
and other works. Eglinton St. George’s United
Church Choir; Audience Carols and Chamber
2018–2019
CONCERT SERIES
Christmas
Day
SUNDAY,
DECEMBER 16 TH
AT 4 P.M.
ESG CHOIR,
AUDIENCE CAROLS
AND CHAMBER
ORCHESTRA
Featuring Holst's
Christmas Day,
Ruth Watson Henderson’s
Peaceful The
Wondrous Night
and other seasonal
favourites
SHAWN GRENKE, CONDUCTOR
KRISTA RHODES, PIANO
ANDREW ADAIR, ORGAN
JOHN BROWNELL, PERCUSSION
35 LYTTON BLVD.
TORONTO
416.481.1141
www.esgunited.org
thewholenote.com December 1, 2018 – February 7, 2019 | 55

Orchestra; Krista Rhodes, piano; Andrew
Adair, organ; John Brownell, percussion;
Shawn Grenke, conductor; Emily Taub, VOX
Choir Conductor. 35 Lytton Blvd. 416-481-1141
esgunited.org. $35; $25(st).
●●4:30: Christ Church Deer Park. Jazz Vespers:
Ellington’s Nutcracker. Brian Barlow Big
Band. 1570 Yonge St. 416-920-5211. Freewill
offering. Religious service.
●●4:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7. Also Dec 21(7:30);
22(4:30); 23(4:30 & 7:30).
CAROLS BY
CANDLELIGHT
SUN., DEC. 16, 4:30pm
NINE LESSONS
& CAROLS
SUN., DEC. 23, 4:30pm
Yorkminster Park
Baptist Church
yorkminsterpark.com
●●4:30: Yorkminster Park Baptist Church.
Carols by Candlelight. A traditional candlelight
choral presentation featuring choirs and
musicians. 1585 Yonge St. 416-922-1167. Goodwill
offering. Religious service.
●●5:30: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 18, 19, 20, 21, 22,
23, 27, 28, 29, 30. Times vary.
●●7:00: Civic Theatres Toronto. To All A Good
Night – With Art of Time Ensemble. Alternative
holiday concert with the best wintery tunes,
holiday songs and readings. Art of Time Ensemble.
Toronto Centre for the Arts, 5040 Yonge
St., North York. 1-855-985-2787. $73.50.
●●7:00: Metropolitan United Church. Annual
Candlelight Service of Lessons and Carols.
Metropolitan United Church (Toronto),
56 Queen St. E. 416-363-0331 x26. Free; donations
welcome. Religious service.
A. Concerts in the GTA
Annual
Candlelight
Service of Lessons
and Carols
SUN, DECEMBER 16,
7pm
●●7:30: Victoria Scholars. Welcome
Christmas. Our Lady of Sorrows Church,
3055 Bloor St. W., Etobicoke. 416-761-7776.
$30/$25(adv); $25(sr/st)/$20(adv).
●●8:00: Georgetown Bach Chorale. Christmas
That Choir
CAROLS
conducted by Craig Pike
DECEMBER 16 | 8PM
St. Andrew’s Church
73 Simcoe St., Toronto ON
Tickets: Pay What You Can
thatchoir.com
from Ol’ Blighty. Traditional English Christmas
music. Vaughan Williams: Fantasy on
Christmas Themes. The Piano Hall, 157 Main
St., Georgetown. 905-873-9909. $50. Also
Dec 14,15. Culinary treats follow the concert.
●●8:00: That Choir. That Choir Carols. St.
Andrew’s Church (Toronto), 73 Simcoe
St. 416-706-5221. PWYC. Suggested: $30;
$20(sr); $10(st).
Monday December 17
●●12:15: Sacred Music in a Sacred Space. A
Continental Christmas. Music by Phillips. Peter
Drobac and friends. Trinity College Chapel,
U of T, 6 Hoskin Ave. 647-378-6607. Free.
●●8:00: Toronto Symphony Orchestra. Messiah.
Handel: Messiah. Claire de Sévigné,
soprano; Alyson McHardy, mezzo; Andrew
Haji, tenor; Tyler Duncan, baritone; Toronto
Mendelssohn Choir; Johannes Debus, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-
598-3375. $40-$125. Also Dec 18, 19, 21, 22,
23(mat).
Tuesday December 18
●●1:00: Cathedral Church of St. James.
Music at Midday. Imre Oláh, organ. 65 Church
St. 416-365-7865. Free. Donations welcome.
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 19, 20, 21, 22, 23,
27, 28, 29, 30. Times vary.
●●7:00: The Heart’s Obsession. Christmas
Concert. Tonia Cianciulli, soprano; Eugenia
Dermentzis, mezzo; Trevor Chartrand, piano;
Andrea Rebello, choral conductor; Erika
Nielson, cello; and others. Islington United
Church, 25 Burnhamthorpe Rd. wisharts.
ca. $25; free(child). Proceeds to Eric’s Rise.
Reception to follow.
●●7:30: Orpheus Choir of Toronto. A Child’s
Christmas in Wales. Geraint Wyn Davies,
narrator; Robert Cooper, artistic director;
Edward Moroney, accompanist. Eglinton
St. George’s United Church, 35 Lytton Blvd.
416-530-4428. $45; $35(sr); $20(under
30).
HANDEL
MESSIAH
Dec 18-21, 2018
Koerner Hall,
TELUS Centre
tafelmusik.org
●●7:30: Tafelmusik. Handel Messiah. Sherezade
Panthaki, soprano; Krisztina Szabó,
mezzo; Charles Daniels, tenor; Drew Santini,
baritone; Tafelmusik Chamber Choir; Ivars
Taurins, conductor. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $36 and
up. Also Dec 19, 20, 21. Non-perishable food
donations accepted at all performances.
●●8:00: Toronto Symphony Orchestra. Messiah.
See Dec 17. Also Dec 19, 21(7:30), 22, 23.
Wednesday December 19
● ● 12:00 noon: Roy Thomson Hall. Noon-Hour
Concert Series: Orpheus Choir of Toronto.
Sounds of the Season. 60 Simcoe St. 416-872-
4255. Free.
Welcome
Save $5
with advance ticket purchase
Christmas
Sunday, 16 december 2018 | 7:30pm
Our Lady Of SOrrOwS church
3055 Bloor St W (1/2 block west of Royal York subway)
$30 General Admission $25 Seniors & Students
www.victoriascholars.ca
56 | December 1, 2018 – February 7, 2019 thewholenote.com

22 nd Annual Noon Hour
Choir & Organ Concerts
ORPHEUS CHOIR
OF TORONTO
Sounds of the Season
WED DEC 19 ◆ 12 PM
FREE
ROYTHOMSONHALL.COM
147 Danforth Ave. 416-872-4255. $29.50.
●●8:00: Toronto Symphony Orchestra. Messiah.
See Dec 17. Also Dec 21(7:30), 22, 23.
Thursday December 20
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 21, 22, 23, 27, 28,
29, 30. Times vary.
●●7:30: Tafelmusik. Handel Messiah. See
Dec 18. Also Dec 21.
●●8:00: Burlington Performing Arts Centre.
The Andy Kim Christmas. Guests: Ron Sexsmith,
Sarah Slean and others. Burlington
Performing Arts Centre, Community Studio
Theatre, 440 Locust St., Burlington. 905-681-
6000. $64.50-$69.50. Proceeds to BPAC’s
Golden Ticket program which provides complimentary
access to underserved schools
and students.
SING-ALONG
MESSIAH
Dec 22, 2018
NEW VENUE
Roy Thomson Hall
tafelmusik.org
●●12:30: Organix Concerts/All Saints
Kingsway. Kingsway Organ Concert Series.
Christmas performance. Gordon Mansell,
organ; Emily Canning, soprano; Michael
Barth, trumpet. All Saints Kingsway Anglican
Church, 2850 Bloor St. W. 416-571-3680.
Freewill offering. 45-minute concert.
●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. Rashaan Allwood,
organ. 1585 Yonge St. 416-922-1167. Free.
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 20, 21, 22, 23, 27,
28, 29, 30. Times vary.
●●7:30: Cardinal Carter Academy for the
Arts. A Festival of Nine Lessons and Carols.
150 voices from the vocal program. St. Francis
of Assisi Church, 72 Mansfield Ave. 416-
393-5556. $20.
●●7:30: Tafelmusik. Handel Messiah. See
Dec 18. Also Dec 20, 21.
●●8:00: Massey Hall. Good Lovelies:
Christmas Concert. Danforth Music Hall,
TONIA CIANCIULLI
presents
The Heart’s Obsession
Christmas Concert
TUESDAY DECEMBER 18, 7PM
Uplifting and family-friendly
holiday music with
guest soloists and a
childrens’ chorus.
Islington United Church
Proceeds to ERIC’S RISE
Eugenia
Dermentzis
Trevor
Chartrand
NATALIE MACMASTER
AND
DONNELL LEAHY
A Celtic Family
Christmas
THU DEC 20 ◆ 8 PM
Performance
Sponsor
ROYTHOMSONHALL.COM
●●8:00: Roy Thomson Hall. Natalie Mac-
Master and Donnell Leahy: A Celtic Family
Christmas. 60 Simcoe St. 416-872-4255.
$49.50-$69.50.
Friday December 21
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 22, 23, 27, 28, 29,
30. Times vary.
●●7:30: Church of the Holy Trinity.
The Christmas Story. See Dec 7. Also
Dec 22(4:30); 23(4:30 & 7:30).
●●7:30: Tafelmusik. Handel Messiah. See
Dec 18.
●●7:30: Toronto Symphony Orchestra. Messiah.
See Dec 17. Also Dec 22, 23.
Saturday December 22
●●2:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 23, 27, 28, 29, 30.
Times vary.
●●2:00: Toronto International Ballet Theatre
& Bolshoi Ballet. The Nutcracker. Featuring
Anastasia Stashkevich and Vyacheslav
Lopatin of the Bolshoi Ballet. Sony Centre for
the Performing Arts, 1 Front St. E. 1-855-872-
7669. $67-$142. Also 7pm.
●●2:00: Tafelmusik. Sing-Along Messiah.
Handel: Messiah. Sherezade Panthaki, soprano;
Krisztina Szabó, mezzo; Charles Daniels,
tenor; Drew Santini, baritone; Tafelmusik
Chamber Choir; Mr. Handel, conductor. Roy
Thomson Hall, 60 Simcoe St. 416-872-4255.
$49 and up.
●●3:30: York Symphony Orchestra. YSO Holiday
Spectacular. Trinity Anglican Church
(Aurora), 79 Victoria St., Aurora. 416-410-
0860. $28; $23(sr); $15(st). Also 8pm and
Dec 14, 8pm, Richmond Hill.
●●4:30: Church of the Holy Trinity.
The Christmas Story. See Dec 7. Also
Dec 23(4:30pm & 7:30pm).
●●4:30: Christ Church Deer Park & North
York Temple Salvation Army Band. Joy to
the World: A Community Carol-Sing. Christ
Church Deer Park, 1570 Yonge St. 416-920-
5211. Freewill donation of $10.
The Vocal Program of
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 23, 27, 28, 29, 30.
Times vary.
●●7:30: Quintessence Ensemble. Buon Natale:
A Multilingual Christmas. Corelli: Christmas
Concerto; Handel: Messiah (excerpts); and
favourite Christmas carols. Cossette Gritter,
soprano; Abigail Cacciacarro, violin; Miriam
Cacciacarro, violin; Hannah Cacciacarro,
cello. Mimico Baptist Church, 80 Hillside Ave.
647-459-2882 or eventbrite.com/e/buonnatale-a-multi-lingual-christmas-with-soprano-cossette-gritter-tickets-51690070392.
$15; $8(child); $45(family).
presents
A Festival of Nine Lessons
& Carols
Wednesday December 19 th 2018 @ 7:30pm
St. Francis of Assisi Church
72 Mansfield Avenue, Toronto
(South of College St., off Grace St.)
GENERAL ADMISSION $20
thewholenote.com December 1, 2018 – February 7, 2019 | 57

●●8:00: Istituto Italiano di Cultura di
Toronto. Vesuvius Ensemble: Christmas in
Southern Italy. Guest: Tommaso Sollazzo.
Heliconian Hall, 35 Hazelton Ave. 416-356-
5016. $30; free(child). Also Dec 23.
●●8:00: Toronto Symphony Orchestra. Messiah.
See Dec 17. Also Dec 23.
●●8:00: York Symphony Orchestra. YSO Holiday
Spectacular. Trinity Anglican Church
(Aurora), 79 Victoria St., Aurora. 416-410-
0860. $28; $23(sr); $15(st). Also 3:30pm and
Dec 14, 8pm, Richmond Hill.
Sunday December 23
●●10:30am: St. Paul’s Anglican Church
(Uxbridge). Jazzed Christmas Celebration.
Add Water and Stir Jazz Quintet; St. Paul’s
Choir. 59 Toronto St. S., Uxbridge. 905-852-
7016. Free. Religious service.
●●11:00am: Metropolitan United Church.
Worship Service. Britten: A Ceremony of Carols.
Metropolitan Choir; Janice Lindskoog,
harp. Metropolitan United Church (Toronto),
Sunday, December 23
11 am Worship Service with
Benjamin Britten’s
A Ceremony of Carols
Janice Lindskoog, harp
& the Metropolitan
Choir
Monday, December 24
5 pm Christmas at Queen
nativity pageant on
our front steps
11pm Candlelight Christmas
Eve Service with the
Metropolitan Choir
For more information, contact
Dr. Patricia Wright at
patriciaw@metunited.org or
416-363-0331 ext. 26.
56 Queen Street East, Toronto
www.metunited.org
MetUnited Music
A. Concerts in the GTA
MetUnitedMusic
56 Queen St. E. 416-363-0331 x26. Free; donations
welcome. Religious service.
●●1:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also 5:30pm. Also
Dec 27(1pm & 5:30pm); 28(7pm); 29(2pm &
7pm); 30(1pm & 5:30pm).
●●3:00: Toronto Symphony Orchestra. Messiah.
See Dec 17.
●●4:00: Cathedral Church of St. James.
Twilight Recital. Nick Veltmeyer, organ.
65 Church St. 416-365-7865. Free. Donations
welcome.
●●4:00: Church of St. Peter and St. Simonthe-Apostle.
Nine Lessons and Carols. A
candlelight, traditional selection of Carols
and Readings. Works by Willan, Holman,
Praetorius and Rutter. 525 Bloor St. E. 416-
923-8714. Free. Mince tart and mulled wine
reception follows.
●●4:30: Church of the Holy Trinity.
The Christmas Story. See Dec 7. Also
Dec 23(7:30pm).
●●4:30: Yorkminster Park Baptist Church.
Nine Lessons and Carols. A traditional
candlelight choral presentation featuring
choirs and musicians. 1585 Yonge St. 416-922-
1167. Goodwill offering. Religious service.
●●5:30: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 27(1pm &
5:30pm); 28(7pm); 29(2pm & 7pm); 30(1pm
& 5:30pm).
●●7:30: Church of the Holy Trinity. The
Christmas Story. See Dec 7.
●●8:00: Istituto Italiano di Cultura di
Toronto. Vesuvius Ensemble: Christmas in
Southern Italy. Guest: Tommaso Sollazzo.
Heliconian Hall, 35 Hazelton Ave. 416-356-
5016. $30; free(child). Also Dec 22.
Monday December 24
●●5:00: Metropolitan United Church. Christmas
at Queen. Nativity pageant on the front
steps. Metropolitan United Church (Toronto),
56 Queen St. E. 416-363-0331 x26. Free; donations
welcome.
●●7:00: St. Andrew’s Church (Toronto).
Candlelight Service of Lessons and Carols.
St. Andrew’s Choir; Aldbury Garden Brass
Quintet; Dan Bickle, organ. 73 Simcoe St. 416-
593-5600 x220. Freewill offering. Religious
service.
●●10:00: Church of St. Peter and St. Simonthe-Apostle.
Christmas Eve Candlelight Service.
A candlelight, traditional selection of
Carols and Readings. 525 Bloor St. E. 416-923-
8714. Goodwill offering. Religious service.
●●11:00: Metropolitan United Church.
Candlelight Christmas Eve Service. Metropolitan
Choir. Metropolitan United Church
(Toronto), 56 Queen St. E. 416-363-0331 x26.
Free; donations welcome. Religious service.
●●11:00: St. Andrew’s Church (Toronto).
Traditional Christmas Eve Candlelight Service.
St. Andrew’s Choir; Dan Bickle, organ.
73 Simcoe St. 416-593-5600 x220. Freewill
offering. Religious service.
Tuesday December 25
●●10:30am: Church of St. Peter and St.
Simon-the-Apostle. Christmas Day Joyful
Celebration. 525 Bloor St. E. 416-923-8714.
Goodwill offering. Religious service.
Thursday December 27
●●1:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also 5:30pm. Also
Dec 28(7pm); 29(2pm & 7pm); 30(1pm &
5:30pm).
●●2:00: Canzona Chamber Players. Island
Concert: Clarinet Quintets. Csaba Koczó, violin;
Catherine Cosbey, violin; Rory McLeod, viola;
Robin Howe, cello; Jonathan Krehm, clarinet.
St. Andrew by-the-Lake Anglican Church,
Cibola Ave., Toronto Island. 416-822-0613. $30.
Brunch at 12:30pm $20. Also Jan 28(7:30pm, St.
George the Martyr Church).
●●5:30: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 28(7pm);
29(2pm & 7pm); 30(1pm & 5:30pm).
Friday December 28
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 29(2pm & 7pm);
30(1pm & 5:30pm).
●●8:00: Toronto Operetta Theatre. Die
Fledermaus. Music by Johann Strauss. Lara
Ciekiewicz, soprano; Caitlin Wood, soprano;
Adam Fisher, tenor; Elizabeth Beeler, soprano;
Derek Bate, conductor; Guillermo Silva-
Marin, stage director. St. Lawrence Centre for
the Arts, 27 Front St. E. 416-366-7723 or 1-800-
708-6754. $45. Also Dec 29, 30(3pm), 31, Jan 2.
Saturday December 29
●●2:00: National Ballet of Canada. The
Nutcracker. See Dec 8. Also 7pm. Also
Dec 30(1pm & 5:30pm).
●●7:00: Danie Friesen. Blitzkrieg Cabaret.
Weill: Lost in the Stars; Youkali Tango; Speak
Low; Mack the Knife; Surabaya Johnny; and
other works. Performers: Danie Friesen; Hilary
June Hart; Jackson Welchner; Michael
Louis Johnson. Dakota Tavern, 249 Ossington
Ave. 647-637-7491. $12.
●●7:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also Dec 30(1pm &
5:30pm).
●●8:00: Toronto Operetta Theatre. Die
Fledermaus. See Dec 28. Also Dec 30(3:00);
31; Jan 2.
Sunday December 30
●●1:00: National Ballet of Canada. The Nutcracker.
See Dec 8. Also 5:30pm.
●●3:00: Toronto Operetta Theatre. Die
Fledermaus. See Dec 28. Also Dec 31; Jan 2.
●●5:30: National Ballet of Canada. The Nutcracker.
See Dec 8.
Monday December 31
New Year’s Eve • 7:00 pm
416.872.4255
roythomsonhall.com
Four Opera Stars,
Chorus & Full Orchestra
Roy Thomson Hall
●●7:00: Attila Glatz Concert Productions.
Bravissimo! Opera’s Greatest Hits. Selections
from Turandot, La traviata, Rigoletto,
Magic Flute and other operas. Sera Gösch,
soprano; Ekaterina Kudryavtseva, soprano;
Gergely Boncsér, tenor; Johannes Kammler,
baritone; Opera Canada Symphony and
Chorus; Michelangelo Mazza, conductor. Roy
Thomson Hall, 60 Simcoe St. 416- 872-4255.
Starting at $55.
●●7:30: Free Times Cafe. 60’s Folk Revival -
Where Have All The Folk Songs Gone? Dinner
and Show. 320 College St. 416-967-1078. $110.
Live music audience singalong tribute to the
songs of the 1960’s Folk Revival.
●●8:00: Toronto Operetta Theatre. Die
Fledermaus. See Dec 28. Also Jan 2.
Tuesday January 1
416.872.4255
roythomsonhall.com
January 1 • 2:30 pm
Roy Thomson Hall
●●2:30: Attila Glatz Concert Productions.
Salute to Vienna New Year’s Concert.
Waltzes, polkas and operetta excerpts. Hege
Gustava Tjønn, soprano; Gergely Boncsér,
tenor; Europaballett St. Pölten; Strauss Symphony
of Canada; Alastair Willis, conductor.
Roy Thomson Hall, 60 Simcoe St. 416-872-
4255. Starting at $65. Also Dec 30 (Hamilton).
Wednesday January 2
●●8:00: Toronto Operetta Theatre. Die
Fledermaus. See Dec 28.
Saturday January 5
●●2:00 and 7:00: Oakville Centre for the Performing
Arts. Sing-along Sound of Music.
130 Navy St., Oakville. 905-815-2021 or
1-888-489-7784. $25.
●●7:30: Li Delun Music Foundation. New
Year’s Concert 2019. Suppé: Light Cavalry
Overture; Tchaikovsky: Violin Concerto
(mvt.1); Shostakovich: Piano Concerto No.2;
Strauss: Gypsy Baron Overture; Liszt: Hungarian
Rhapsody No.2; Yanqiao Wang; and
other works. Boson Mo, violin; Sijing Bella Ye,
piano; Toronto Festival Orchestra; Toronto
Festival Chinese Ensemble; Xincao Li, conductor;
Kemin Zhang, host. George Weston
Recital Hall, 5040 Yonge St. 416-250-3708 or
1-855-955-2087. $30-$88.
●●8:00: I Furiosi Baroque Ensemble. All by
Myself. There is a difference between being
58 | December 1, 2018 – February 7, 2019 thewholenote.com

I FURIOSI
BAROQUE ENSEMBLE
20th ANNIVERSARY SEASON
ALL BY MYSELF
Saturday, January 5, 8pm
CHURCH OF THE REDEEMER
alone and being lonely. After the holiday
season, many of us long to be alone. Come
experience solitude with I Furiosi. Works by
Bach and others. Church of the Redeemer,
162 Bloor St. W. ifuriosi.com. $25; $15(sr/st/
underemployed).
Sunday January 6
●●4:00: Cathedral Church of St. James. Twilight
Recital. Ian Sadler, organ. 65 Church St.
416-364-7865. Free. Donations welcome.
●●4:00: Church of St. Mary Magdalene.
Organ Music for Epiphany. Andrew Adair,
organ. Church of St. Mary Magdalene
(Toronto), 477 Manning Ave. 416-531-7955.
Free.
●●4:00: Novi Singers Toronto. Christ is Born.
Toronto Sinfonietta; Hadala Jazz Quartet;
Radość - Joy Polish Song and Dance Ensemble.
Our Lady of Sorrows Church, 3055 Bloor
St. W., Etobicoke. 647-447-6581. $25;
free(child under 12).
●●4:00: St. Olave’s Church. Choral Evensong
for Epiphany. St. Olave’s Anglican Church,
360 Windermere Ave. 416-769-5686 or stolaves.ca.
Contributions appreciated. Followed
by Epiphany Tea and an illustrated talk by
Giles Bryant on Victorian and modern influences
on cathedrals and churches.
Tuesday January 8
●●12:00 noon: Canadian Opera Company.
World Music Series: Kamancello. Raphael
Weinroth-Browne, cello; Shahriyar Jamshidi,
kamanche. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●1:00: Cathedral Church of St. James.
Music at Midday. Nick Veltmeyer, organ.
65 Church St. 416-364-7865. Free. Donations
welcome.
Wednesday January 9
●●5:30: Canadian Opera Company. Jazz Series:
A World of Voice and Rhythm. Mark Kelso
Trio. Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
Thursday January 10
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Appassionata. Chopin:
Piano Sonata No.2 in b-flat Op.35; Beethoven:
Piano Sonata No.23 in f Op.57 “Appassionata”.
Godwin Friesen, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First come, first served. No
late seating.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon. Ryan: Bellatrix;
Bithell: Windward; Puts: Legions Will Rise.
Aiyun Huang, percussion; Mark Fewer, violin.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. Free.
●●12:30: York University Music Students
Association. Music Media Showcase Small
Ensembles. Martin Family Lounge, Accolade
East Building, YU, 4700 Keele St. 416-736-
2100 x20054. Free.
TS
Toronto
Symphony
Orchestra
Friday January 11 Saturday January 12
TORONTO DEBUT
Theo Lebow
tenor, Frankfurt Opera
“ … a triumphant
tour de force!”
— Boston Globe, 2018
FRIDAY, JAN 11, 8PM
●●8:00: Theo Lebow. In Concert. Haydn:
Trio in G HobXV:15 for piano, violin, cello;
Beethoven: 12 Variations on Theme from
Handel’s Judas Maccabeus for cello & piano
WoO45; An die ferne Geliebte Op.98, song
cycle for tenor and piano. Theo Lebow, tenor;
Stephen Cera, piano; Clara Lee, violin; Roger
Lebow, cello. Heliconian Hall, 35 Hazelton Ave.
416-428-2302. Suggested contribution $30
(cash only).
Sunday April 24, 7:30 pm
MICHAEL
PEPA’S
80th BIRTHDAY CONCERT
SATURDAY JANUARY 12, 7:30pm
Markham
canadiansinfonietta.com
●●7:30: Canadian Sinfonietta. Celebrating
Michael Pepa’s 80th Birthday. Markham Free
Methodist Church, 22 Esna Park Dr., Markham.
905-940-5234. $TBA.
●●7:30: Opera by Request. Verdi’s Nabucco.
Gene Wu, baritone (Nabucco); Antonina
Ermolenko, soprano (Abigaille); Cian Horrobin,
tenor (Ismaele); Dylan Wright, bass
(Zaccaria); Meghan Symon, mezzo (Fenena);
William Shookhoff, music director and pianist.
New Year’s Concert 2019
An East-Meets-West Concert of Favourite Classics
SUN 6 JAN AT 4
Choral Evensong
plus Epiphany Tea and at 5
Toronto Festival Orchestra
GILES BRYANT:
VICTORIAN AND
MODERN MUSIC
In his illustrated talk at
the piano, Giles explores
Stanford, Howells, Rutter,
Britten, John Ireland
and Vaughan Williams
●●8:00: Toronto Symphony Orchestra. Sibelius
Symphony 2. Weill: Suite from The Threepenny
Opera; Stravinsky: Violin Concerto;
Sibelius: Symphony No.2. Leila Josefowicz,
violin; David Robertson, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $34.75-
$148. Also Jan. 12, Jan. 13(mat, at George
Weston Recital Hall).
thewholenote.com December 1, 2018 – February 7, 2019 | 59

College St. United Church, 452 College St.
416-455-2365. $20. In concert with piano
accompaniment.
●●8:00: Scaramella. The Singing Cello. Virtuoso
cello music by Italian Baroque composers
Giuseppe Maria Dall’Abaco and Antonio Vandini.
Elinor Frey, Baroque cello; Joëlle Morton,
G violone; Lucas Harris, archlute. Victoria College
Chapel, 91 Charles St. W. 416-760-8610.
$30; $25(sr); $20(st); free(14 and under).
●●8:00: Toronto Symphony Orchestra. Sibelius
Symphony 2. Weill: Suite from The Threepenny
Opera; Stravinsky: Violin Concerto;
Sibelius: Symphony No.2. Leila Josefowicz,
violin; David Robertson, conductor. Roy Thomson
Hall, 60 Simcoe St. 416-598-3375. $34.75-
$148. Also Jan 10, Jan 13(mat, at George
Weston Recital Hall).
Sunday January 13
●●3:00: Toronto Symphony Orchestra. Sibelius
Symphony 2. Weill: Suite from The Threepenny
Opera; Stravinsky: Violin Concerto;
Sibelius: Symphony No.2. Leila Josefowicz,
violin; David Robertson, conductor. George
Weston Recital Hall, 5040 Yonge St. 416-598-
3375. $87.25-$100.50. Also at Roy Thomson
Hall on Jan 10, 12.
●●3:00: Vesnivka Choir. Ukrainian Christmas
Concert. Guests: Toronto Ukrainian
Male Chamber Choir and a folk instrumental
ensemble. Islington United Church,
25 Burnhamthorpe Rd. 416-246-9880 or 416-
763-2197. $30; $25(sr/st).
Keeping it in
the Family
guest artist:
Alison Melville, traverso
Leopold & W.A. Mozart
J.S. & J.C. Bach
Sunday January 13, 3pm
●●3:00: Windermere String Quartet. Keeping
It in the Family. Works by Leopold Mozart,
Wolfgang Mozart, J.S. Bach and J.C.
Bach. Guest: Alison Melville, flauto traverso.
St. Olave’s Anglican Church, 360 Windermere
Ave. 416-769-0952. $25; $20(sr); $10(st). On
period instruments.
●●4:30: Christ Church Deer Park. Jazz Vespers.
Tara Davidson Trio. 1570 Yonge St. 416-
920-5211. Freewill offering. Religious service.
●●7:00: Royal Conservatory of Music. Trailblazers
Series: We Shall Overcome - A Celebration
of Dr. Martin Luther King Jr. Damien
Sneed; Toronto Mass Choir. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
$40-$95.
●●7:30: University of Toronto Faculty of
A. Concerts in the GTA
Music. Ontario Percussive Arts Society’s
2019 Day of Percussion Concert. U of T Percussion
Ensemble; Ensemble BPM. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Tuesday January 15
●●12:00 noon: Canadian Opera Company.
Chamber Music Series: Dreams and Prayers
of Isaac the Blind. Golijov: Dreams and
Prayers of Isaac the Blind; and works by
Villa-Lobos and Piazzolla. Artists of the
COC and National Ballet of Canada Orchestras.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●1:00: Cathedral Church of St. James.
Music at Midday. Aaron James, organ.
65 Church St. 416-364-7865. Free. Donations
welcome.
●●7:00: University of Toronto Faculty of
Music. Student Composers Concert. Walter
Hall, Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-408-0208. Free.
Wednesday January 16
●●12:00 noon: York University Department
of Music. Music @ Midday: New Music
Ensemble. Matt Brubeck, director. Martin
Family Lounge, Accolade East Building, YU,
4700 Keele St. 416-736-2100 x20054. Free.
●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. Nicholas Schmelter,
organ. 1585 Yonge St. 416-922-1167. Free.
THE
HARLEQUIN
SALON
Jan 16–20, 2019
Jeanne Lamon Hall,
Trinity-St. Paul’s Centre
tafelmusik.org
●●7:00: Tafelmusik. The Harlequin Salon.
Vinci: Sinfonia from Partenope; Pergolesi:
“Lieto così talvolta” from Adriano in Siria; Porpora:
“Son prigioniera d’amore” from Poro;
and more. Roberta Invernizzi, soprano; Elisa
Citterio, violin and conductor. Trinity-St. Paul’s
Centre, Jeanne Lamon Hall, 427 Bloor St. W.
416-964-6337. $39 and up. Also Jan 17, 18, 19,
20(mat).
●●7:00: University of Toronto Faculty of
Music. New Music Festival: Sparks & Wiry
Cries songSLAM. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free.
Cocktails(6:30pm).
●●8:00: Royal Conservatory of Music. 21C
Music Festival Series: Toronto Symphony
Orchestra. Riley: Half-Wolf Dances Mad in
Moonlight; Chang: Northern Star; Wijeratne:
First Winter; LeBel: They do not shimmer like
the dry grasses on the hills, or the leaves on
the trees; Goodyear: Ur-. Stewart Goodyear,
piano; Tania Miller, conductor. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
$21-$90. Pre concert talk at 7:30pm.
TS
Toronto
Symphony
Orchestra
●●8:00: Toronto Symphony Orchestra. Mozart
with Zukerman. Mozart: Overture to
The Marriage of Figaro K492; Violin Concerto
No.5 K219 “Turkish”; Violin Concerto
No.3 K216; Symphony No.35 K385 “Haffner”.
Pinchas Zukerman, conductor & violin. Roy
Thomson Hall, 60 Simcoe St. 416-598-3375.
$34.75-$148. Also Jan 17, 18(7:30), 19.
Thursday January 17
●●12:00 noon: Canadian Opera Company.
Chamber Music Series: Sensational Strings.
Senior string students of The Phil and Eli Taylor
Performance Academy for Young Artists.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●12:30: York University Department of
Music. World @ Midday: Gareth Burgess,
steel pan. Martin Family Lounge, Accolade
East Building, YU, 4700 Keele St. 416-736-
2100 x20054. Free.
●●7:30: Canadian Music Centre. CMC Presents:
Alex Samaras. Works by Alex Samaras,
Norman Symonds, Cecilia Livingston
and others. 20 St. Joseph St. 416-961-6601
x201. General: $20/$15(adv); CMC Members/arts
workers: $15/$12(adv); Students:
$15/$10(adv).
●●7:30: University of Toronto Faculty of
Music. New Music Festival: Opera Double Bill
- The Raven / The Maiden from the Sea (Futari
Shizuka). Music by Toshio Hosokawa. Krisztina
Szabó, mezzo; Xin Wang, soprano; Ryoko
Aoki, Noh singer/dancer; Gregory Oh, conductor
(The Raven); Uri Meyer, conductor
(The Maiden from the Sea); Paramita Nath,
stage director and video projection. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
$30; $20(sr); $10(st); free(UofT st).
●●7:30: York Region Chamber Music. Café
Music. Works by Schoenfield, Debussy, Ravel
and others. Bedford Trio. Richmond Hill Centre
for the Performing Arts, 10268 Yonge St.,
Richmond Hill. 905-787-8811. $25; $20(sr/st).
●●7:30: York University Music Students
Association. Music Media Music Concert.
Tribute Communities Recital Hall, Accolade
East Building, YU, 4700 Keele St. 416-736-
5888. $15; $10(sr/st).
●●8:00: Royal Conservatory of Music. 21C
Music Festival Series: Stewart Goodyear.
Works by Stewart Goodyear including Variations
on Hallelujah; Piano Sonata; and
Acabris! Acabras! Acabram! Temerty Theatre,
Telus Centre, 273 Bloor St. W. 416-408-
0208. $21.
●●8:00: Tafelmusik. The Harlequin Salon.
See Jan 16. Also Jan 18(8pm); 19(8pm)
20(3:30pm).
●●8:00: Toronto Symphony Orchestra.
Mozart with Zukerman. See Jan 16. Also
Jan 18(7:30pm), 19.
THE BEDFORD TRIO
Café in
Paris
Debussy, Ravel
and more
JAN 17 at 7:30 PM
Richmond Hill Centre for the
Performing Arts
rhcentre.ca
60 | December 1, 2018 – February 7, 2019 thewholenote.com

Friday January 18
●●7:30: Opera by Request. Humperdinck’s
Hansel and Gretel. Alessia D’ambrogio, mezzo
(Hansel); Sharon Tikiryan, soprano (Gretel);
Andrew Tees, baritone (Father); Emily
Ding, mezzo (Mother); Vaughan City Voices;
Claire Harris, music director and pianist;
and others. College St. United Church,
452 College St. 416-455-2365. $20. Semistaged
with piano accompaniment. Also
Jan 20, 7 pm, Woodbridge.
●●7:30: Toronto Symphony Orchestra. Mozart
with Zukerman. See Jan 16. Also Jan 19.
Great Artist Music
Series presents
Charles-
Richard
Hamelin
Friday, Jan. 18, 8pm
$45 (HST included)
auroraculturalcentre.ca
905 713-1818
●●8:00: Aurora Cultural Centre. Charles-
Richard Hamelin, Piano. 22 Church St.,
Aurora. 905-713-1818. $45.
●●8:00: Royal Conservatory of Music. 21C
Music Festival Series: Terry Riley: Live at 85!
Excerpts from The Palmian Chord (arr. Tracy
Silverman); Sri Camel (arr. Tracy Silverman);
Mongolian Winds; Selections from Salome
Dances for Peace; Ebony Horns; and other
works. Terry Riley, piano/synthesizer and
voice; Gyan Riley, electric guitar; Tracy Silverman,
electric violin. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $21-$90.
Pre-concert talk at 7:30pm.
●●8:00: Tafelmusik. The Harlequin Salon. See
Jan 16. Also Jan 19(8:00) 20(3:30).
●●10:30: Royal Conservatory of Music. 21C
Music Festival Series: 21C AfterHours with
Continuum. Cassandra Miller: Overture;
Monica Pearce: toile de jouy; Linda Smith:
Sarabande; Carolyn Chen: Ache Bind Blind
Break; and other works. Mazzoleni Concert
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $21.
Saturday January 19
●●5:00: Royal Conservatory of Music.
21C Music Festival Series: 21C Cinq à Sept.
Vinko Globokar: ?Corporel; Arvo Pärt: Tabula
Rasa: double concerto for two violins,
prepared piano, and string orchestra; Lou
Harrison: Varied Trio; Terry Riley: G Song.
2018-2019 Rebanks Fellows of The Glenn
Gould School: Nicole Joshi, percussion; Katya
Poplyansky, violin; Daniel Koo, violin. Temerty
Theatre, 273 Bloor St. W. 416-408-0208. $21.
●●7:30: Flute Street. The Archers. Works
by Vivaldi, Sorrentino, Price, Mozart, Nazareth
and Bassano. Mary Ann Archer, piccolo;
Frank Archer, piano. Heliconian Hall,
35 Hazelton Ave. 416-462-9498. $25; $20(sr);
$10(st). Cash only.
●●7:30: Opera by Request. Menotti’s The Telephone
and Donizetti’s Rita. Mark Towstego,
baritone (Ben); Tsu-Ching Yu, soprano (Lucy
and Rita); Avery Krisman, tenor (Beppe); Larry
Tozer, baritone (Gasparo); William Shookhoff,
music director and pianist. College St. United
Church, 452 College St. 416-455-2365. $20.
Semi-staged with piano accompaniment.
●●7:30: SoundCrowd. On Broadway. A capella
Broadway hits. Bloor Street United Church,
300 Bloor St. W. 416-924-7439. $25.
●●8:00: Acoustic Harvest. Pre-Winterfolk
Showcase. St. Paul’s United Church (Scarborough),
200 McIntosh St., Scarborough. lillian.
wauthier@gmail.com. $25/$22(adv).
●●8:00: Royal Conservatory of Music. 21C
Music Festival Series: Sō Percussion: Amid
the Noise. Vijay Iyer: Torque; Caroline Shaw:
Taxidermy; Donnacha Dennehy: Broken Unison;
Jason Treuting: amid the noise. Koerner
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $21-$90.
●●8:00: Tafelmusik. The Harlequin Salon. See
Jan 16. Also Jan 20(3:30).
●●8:00: Toronto Guitar Society. Thierry
Begin-Lamontagne. Church of St. Peter and
St. Simon-the-Apostle, 525 Bloor St. E. 416-
964-8298. $35/$30(adv); $30/$25(sr/st adv).
●●8:00: Toronto Symphony Orchestra. Mozart
with Zukerman. See Jan 16.
Sunday January 20
●●1:00: Royal Conservatory of Music. 21C
Music Festival / Sunday Interludes Series:
The Glenn Gould School New Music Ensemble:
4D. Misato Mochizuki: Halai; Anna Höstman:
Icefolding for large ensemble; Toshio
Hosokawa: Garten Lieder for large ensemble;
Zosha Di Castri: Phonotopographie for 15
instruments. Mazzoleni Concert Hall, Telus
Centre, 273 Bloor St. W. 416-408-0208. Free
(ticket required).
●●2:30: University of Toronto Faculty of
Music. U of T Opera: Opera Student Composer
Collective - Who Killed Adriana? Sandra
Horst, conductor; Michael Patrick Albano,
director. MacMillan Theatre, Edward Johnson
Building, 80 Queen’s Park. 416-408-
0208. Free.
●●3:00: Zephyr Piano Trio. Russian Scenes.
Tchaikovsky: Trio in a; Glinka: Trio Pathétique;
Arensky: Trio in d. Helconian Hall, 35 Hazelton
Russian
Scenes
Zephyr
Piano Trio
Terry
Holowach
Ilona
Beres
Flute Street
Edward
Hayes
January 20, 3pm
presents
Ave. 416-766-9959. $20; $10(sr/st).
●●3:00: Intrada Brass of Oakville. Mountains
and Valleys. David Gillingham: Percussion
Concerto; and other works. Guests: Duo Percussion.
St. Paul’s United Church (Oakville),
454 Rebecca St., Oakville. 905-827-0561. $15;
$10(sr/st); free(under 10).
●●3:30: Tafelmusik. The Harlequin Salon. See
Jan 16.
●●4:00: Cathedral Church of St. James.
Twilight Recital. Nick Veltmeyer, organ.
65 Church St. 416-364-7865. Free. Donations
welcome.
●●5:00: Nocturnes in the City. George Grosman
Jazz Band. Prague Restaurant at Masaryktown,
450 Scarborough Golf Club Rd.
416-481-7294. $25.
●●7:00: Opera by Request. Humperdinck’s
Hansel and Gretel. Alessia D’ambrogio, mezzo
(Hansel); Sharon Tikiryan, soprano (Gretel);
Andrew Tees, baritone (Father); Emily
Ding, mezzo (Mother); Vaughan City Voices;
Claire Harris, music director and pianist; and
others. St. Peter’s Roman Catholic Church,
100 Bainbridge Ave., Woodbridge. 416-455-
2365. $20. Semi-staged with piano accompaniment.
Also Jan 18, 7:30 pm, Toronto.
Constellations
Sunday
January 20
2019
8pm Concert
Koerner Hall
ESPRIT ORCHESTRA
espritorchestra.com
The Archers
Music by Vivaldi, Mozart,
Florence Price, Ernesto
Nazareth, Vincenzo Sorrentino.
Sat, Jan 19, 7:30pm
with guests Mary Ann Archer and Frank Archer
21C MusiC Festival
terry riley: live at 85!
Friday, January 18, 8pm
KOErnEr HaLL
TICKETS ON SALE NOW! 416.408.0208
rcmusic.com/performance
21C MusiC Festival
sŌ PerCussion:
aMid the noise
Saturday, January 19, 8pm
KOErnEr HaLL
TICKETS ON SALE NOW! 416.408.0208
rcmusic.com/performance
Heliconian Hall, 35 Hazelton Ave. 416-462-9498 $25 | $20(sr) | $10(st) CASH ONLY
thewholenote.com December 1, 2018 – February 7, 2019 | 61

●●8:00: Esprit Orchestra. New Music
Festival/21C Music Festival: Constellations.
Hosokawa: Concerto for Saxophone and
Orchestra; Jiang: River Memory; Vivier:
Orion; Goddard: Les tringles des sistres tintaient.
Wallace Halladay, saxophone; Alex
Pauk, conductor. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. Starting at
$20. 7:15 pm pre-concert chat.
Monday January 21
FACULTY ARTISTS
perform the music of
Toshio Hosokawa
MON JAN 21 at 7:30 pm
Tickets: music.utoronto.ca
●●7:30: University of Toronto Faculty of
Music. New Music Festival: Faculty Artists
Present Music by Toshio Hosokawa. Roger D.
Moore Distinguished Visitor in Composition.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. $30; $20(sr); $10(st); free(UofT st).
Pre-concert talk(6:30pm).
Tuesday January 22
●●12:00 noon: Canadian Opera Company.
Vocal/Chamber Music Series: Meet the Academy:
Opera through the Ages. Artists of the
COC Orchestra Academy and Ensemble Studio.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●1:00: Cathedral Church of St. James.
Music at Midday. Thomas Gonder, organ.
65 Church St. 416-364-7865. Free. Donations
welcome.
●●7:30: University of Toronto Faculty of
Music. New Music Festival: Karen Kieser
Prize Concert. Rebekah Cummings: Fearless;
Bekah Simms: Microlattice; works by
Toshio Hosokawa; and other works. Stephen
Clarke, piano; Rob McDonald, guitar.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. Free.
Wednesday January 23
●●12:00 noon: University of Toronto Faculty
of Music. New Music Festival: Percussion
and Electronics Concert. Works by
Toshio Hosokawa; Örjan Sandred and Eliot
Britton. Jonny Axelsson, percussion; Fredrik
Söhngen, oboe. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
A. Concerts in the GTA
Park. 416-408-0208. Free.
●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. Angus Sinclair,
organ. 1585 Yonge St. 416-922-1167. Free.
●●7:30: Toronto Symphony Orchestra. Star
Wars: A New Hope—In Concert. Sarah Hicks,
conductor. Roy Thomson Hall, 60 Simcoe St.
416-598-3375. $57-$126. Also Jan 24, 25, 26.
●●7:30: University of Toronto Faculty
of Music. New Music Festival: Composing
Chamber Music Class Concert. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Thursday January 24
●●12:00 noon: Canadian Opera Company.
World Music Series: Volando: Tango Takes
Flight. Payadora Tango Ensemble. Richard
Bradshaw Amphitheatre, Four Seasons Centre
for the Performing Arts, 145 Queen St. W.
416-363-8231. Free. First come, first served.
No late seating.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: New Music Festival
- Gen-dai-ongaku. Contemporary Music
Ensemble; Wallace Halladay, director. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
●●12:30: York University Department of
Music. Faculty Spotlight Series: The Accolade
Trio. Patricia Wait, clarinet; Mark Chambers,
cello; Elizabeth Acker, piano. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 416-736-2100
x20054. Free.
●●7:30: Toronto Symphony Orchestra. Star
Wars: A New Hope—In Concert. See Jan 23.
Also Jan 25, 26.
●●7:30: University of Toronto Faculty of
Music. New Music Festival: Justyna Gabzdyl
Piano Recital. Works by Szymanowski, Gershwin
and others. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
Friday January 25
●●1:30: York University Department of
Music. Music @ Midday: Aria with Me. Young
singers from the studios of Stephanie Bogle,
Norma Burrowes and Karen Rymal. Tribute
Communities Recital Hall, Accolade East
Building, YU, 4700 Keele St. 416-736-2100
x20054. Free.
●●7:30: Brampton Folk Club. Friday Folk
Night: Robbie Burns Night. Coffee-housestyle
folk music concert. Allison Lupton and
Friends. St. Paul’s United Church (Brampton),
30 Main St. S., Brampton. 647-233-3655. $18;
$15(sr/st).
●●7:30: St. Anne’s Music & Drama Society.
The Pirates of Penzance. Music by Arthur Sullivan,
libretto by W. S. Gilbert. St. Anne’s Parish
Hall, 651 Dufferin St. 416-922-4415. $30;
$25(sr/st). Opens Jan 25, 7:30pm. Runs to
Feb 3. Thurs/Fri(7:30pm), Sat/Sun(2pm). Also
Jan 26(7:30pm).
●●7:30: Toronto Symphony Orchestra. Star
Wars: A New Hope—In Concert. See Jan 23.
Also Jan 26.
●●8:00: Aurora Cultural Centre. John
Sheard Presents Ella & Louis: Cheek-to-
Cheek. Music of Ella Fitzgerald and Louis
Armstrong. 22 Church St., Aurora. 905-713-
1818. TBA.
TOSHIO HOSOKAWA
FRI. JAN. 25•WALTER HALL
Faculty of Music, University of Toronto
www.NewMusicConcerts.com
●●8:00: New Music Concerts/University
of Toronto New Music Festival. Toshio
Hosokawa: A Portrait. Toshio Hosokawa: Im
Frühlingsgarten; Für Walter - Arc Song II;
Hika Elegy; Misato Mochizuki: Chimera; Klaus
Huber: Alveare vernat. Stephen Sitarski, violin;
New Music Concerts Ensemble; Robert
Aitken, director. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-961-9594. $35; $25(sr/arts workers);
$10(st). 7:15pm: pre-concert talk.
Nicola Benedetti with
Alexei Grynyuk
FrIday, January 25, 8pm
KOErnEr HaLL
tICKEtS On SaLE nOW! 416.408.0208
www.rcmusic.com/performance
●●8:00: Royal Conservatory of Music. Nicola
Benedetti with Alexei Grynyuk. Bach: Chaconne
from Partita No.2 for Solo Violin in d
BWV1004; Prokofiev: Violin Sonata No.2 in
D Op.94bis; Wynton Marsalis: new work for
solo violin (Canadian premiere); R. Strauss:
Violin Sonata in E-flat Op.18. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
$40-90.
●●8:00: Sinfonia Toronto. Mozart and Mendelssohn.
Mozart: Quartet No.7 in E-flat K160;
Mendelssohn: Piano Concerto No.2; Mendelssohn:
Chamber Symphony in f Op.80. Sofya
Melikyan, piano; Nurhan Arman, conductor.
Glenn Gould Studio, 250 Front St. W. 416-499-
0403 or online at sinfoniatoronto.ca. $42;
$35(sr); $15(st).
SINFONIA TORONTO
SOFYA MELIKYAN
Pianist
Jan 25 - 8 pm
Mendelssohn Concerto N o 2,
Mozart & more Mendelssohn
sinfoniatoronto.com
Saturday January 26
●●2:00: St. Anne’s Music & Drama Society.
The Pirates of Penzance. Music by Arthur Sullivan,
libretto by W. S. Gilbert. St. Anne’s Parish
Hall, 651 Dufferin St. 416-922-4415. $30;
$25(sr/st). Opens Jan 25, 7:30pm. Runs to
Feb 3. Thurs/Fri(7:30pm), Sat/Sun(2pm). Also
Jan 26(7:30pm).
FREE CONCERT
David Fallis, conductor
January 26
tmchoir.org
●●3:00: Toronto Mendelssohn Choir. Spotlight
on North America. Great choral music
by Canadian and American composers.
Andrew Balfour: Ambe; Trapped in Stone; Willan:
Gloria Deo; MacMillan: Blanche comme la
neige; Somers: Feller from Fortune; and other
works. Toronto Mendelssohn Choir; Gergely
Szokolay, piano; David Fallis, conductor. Yorkminster
Park Baptist Church, 1585 Yonge St.
416-408-0208. Free. Seating first come, first
seated.
●●4:00: Celebration Choir. Songs for a Winter
Afternoon. Mozart: Piano Trio KV502 and
light classical choral music. Guest: Tre Sorelle;
Linda Eyman, conductor. Bloor Street
United Church, 300 Bloor St. W. 416-455-
9238. $20; $15(sr/st). Cash only.
●●7:00: A. Matosyan/Meronq. Mystical
Duduk in Toronto. Armenian, classical and
world music. Georgy Minasyan, duduk; Artak
62 | December 1, 2018 – February 7, 2019 thewholenote.com

Asatryan, duduk; Georgy Minasyan, Jr.,
duduk. Yorkminster Citadel, 1 Lord Seaton
Rd., North York. 416-871-0180. $32-$70.
●●7:00: Newchoir. The High Society Soireh.
DJ Molting, DJ Superfly. Concert Hall,
Masonic Temple, 888. newchoirofficial@
gmail.com. $75(early bird event ticket);
$50(concert only); $30(part only).
●●7:00: University of Toronto Faculty of
Music. New Music Festival: University of
Toronto Symphony Orchestra. Kulesha: New
Work; Bartók: Piano Concerto No.3; Paley:
We’ve Got It; Bernstein: Fancy Free Ballet
Suite. U of T Jazz Orchestra; Saehae Bae,
piano; Gordon Foote, director. MacMillan Theatre,
Edward Johnson Building, 80 Queen’s
Park. 416-408-0208. $30; $20(sr); $10(st).
ELEKTRA
R. Strauss
JAN 26 – FEB 22, 2018
coc.ca
●●7:30: Canadian Opera Company. Elektra.
Music by R, Strauss. Christine Goerke,
soprano (Elektra); Erin Wall, soprano
(Chrysothemis); Susan Bullock, soprano
(Klytämnestra); William Schwinghammer,
baritone (Orest); Michael Schade,
tenor (Aegisth); Johannes Debus, conductor;
James Robinson, stage director. Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. $35-$250.
Opera runs Jan 26-Feb 22. Start times vary.
●●7:30: Cor Unum Ensemble. Sub Rosa.
Neglected works by 16th- and 17th-century
female composers. Sub Rosa Ensemble;
Elisa Jane Cassey & Ruth Denton, conductors.
Trinity College Chapel, U of T, 6 Hoskin
Ave. 416-371-6999. $20; $10(st/arts workers).
Also Jan 27.
●●7:30: North Wind Concerts. Caledonian
Connections. A belated birthday tribute to
Robbie Burns. Music by Oswald, Baillie, Gunn,
Macklean and Munro; Irish greetings from
O’Carolan. Alison Melville, recorders, traverso;
Julia Seager-Scott, clarsach, Baroque
triple harp; Laura Jones, bass viol, Baroque
cello. Heliconian Hall, 35 Hazelton Ave. 416-
588-4301. $25; $20(sr); $15(st).
●●7:30: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26.
Also Jan 27(2pm; 31(7:30pm); Feb 1(7:30pm);
2(2pm); 3(2pm).
●●7:30: Toronto Symphony Orchestra. Star
Wars: A New Hope—In Concert. See Jan 23.
Confluence
presents
Centuries
of Souls
Jan 26, 8:00pm
●●8:00: Confluence. Centuries of Souls.
Works by Messiaen, Ockeghem and Hildegard
von Bingen. Opus8 Vocal Ensemble; Schola
Magdalena Ensemble; Matthew Larkin, organ.
St. Thomas’s Anglican Church (Toronto),
383 Huron St. 416-410-4561. $30; $25(sr);
$20(st). 7:15 pre-concert chat.
Sunday January 27
●●2:00: Royal Conservatory of Music. Mazzoleni
Masters Songmasters Series: Winter
Words. Works by Britten, Mahler and
others. Lucia Cervoni, mezzo; Michael Colvin,
tenor. Mazzoleni Concert Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $30.
●●2:00: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26. Also
Jan 31(7:30); Feb 1(7:30); 2(2:00); 3(2:00).
●●3:00: Trio Arkel. “the melodies just surged
upon me”. Dvořák: Piano Quartet in E-flat;
and works by Schubert and Röntgen. Guests:
Todd Yaniw, piano; David Harding, viola. Trinity-St.
Paul’s Centre, 427 Bloor St. W. 416-409-
6824. $30; $20(sr); $10(st); free(UofT and
Glenn Gould School students).
●●4:00: All Saints Kingsway Anglican
Church. Jazz Vespers. Jeremy Ledbetter
Trio (Jeremy Ledbetter, piano; Larnell Lewis,
drums, Rich Brown, bass). 2850 Bloor St. W.
416-233-1125. Free. Goodwill offering. Religious
service. Followed by a wine and water
social.
●●4:00: Cathedral Church of St. James. Twilight
Recital. Ian Sadler, organ. 65 Church St.
416-364-7865. Free. Donations welcome.
●●4:30: Christ Church Deer Park. Jazz Vespers:
Tribute to J.J. Johnson. Featuring
Kelsley Grant, trombone. 1570 Yonge St. 416-
920-5211. Freewill offering. Religious service.
●●5:00: Nocturnes in the City. In Concert.
Works by Martinů, Fibich, Dvořák and Mozart.
Peter Stoll, clarinet; Adam Zuckiewicz, piano.
St. Wenceslaus Church, 496 Gladstone Ave.
416-481-7294. $25; $15(st).
●●7:30: Cor Unum Ensemble. Sub Rosa. Neglected
works by 16th and 17th century female
composers. Sub Rosa Ensemble; Elisa Jane
Cassey & Ruth Denton, conductors. Trinity
College Chapel, U of T, 6 Hoskin Ave. 416-371-
6999. $20; $10(st/arts workers). Also Jan 26.
●●7:30: University of Toronto Faculty of
Music. New Music Festival: U of T Jazz Faculty.
Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park. 416-
408-0208. Free.
Monday January 28
●●2:00: Canzona Chamber Players. City
Concert: Clarinet Quintets. Csaba Koczó, violin;
Catherine Cosbey, violin; Rory McLeod,
viola; Robin Howe, cello; Jonathan Krehm,
clarinet. St. Andrew by-the-Lake Anglican
Church, Cibola Ave., Toronto Island. 416-
822-0613. $30. Brunch at 12:30pm $20. Also
Dec 27(2pm, St. Andrew-by-the-lake Church).
●●7:30: University of Toronto Faculty of
Music. Joseph Johnson, cello and Philip Chiu,
piano. Beethoven: Seven Variations on “Bei
Männern welche Liebe fühlen” WoO46; Britten:
Sonata for Cello and Piano in C Op.65;
Chopin: Sonata for Cello and Piano in g Op.65.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. $40; $25(sr); $10(st).
Tuesday January 29
●●12:00 noon: Canadian Opera Company.
Vocal Series: Homage to McCormack and
Kreisler. Michael Schade, tenor; Marie
Bérard, violin; Michael Shannon, piano.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●1:00: Cathedral Church of St. James.
Music at Midday. Andrew Adair, organ.
65 Church St. 416-364-7865. Free. Donations
welcome.
●●7:30: Tapestry Opera. Hook Up. Music by
Chris Thornborrow, libretto by Julie Tepperman.
Emily Lukasic, Alicia Ault, Nathan Caroll,
Alexis Gordon and Jeff Lillico. Theatre Passe
Muraille, 16 Ryerson Ave. 416-504-7529. $25-
$35. Content warning: Contains explicit language
and discussion of sexual violence.
Opens Jan 29, 7:30pm. Runs to Feb 9. Various
times.
Wednesday January 30
●●10:00am: Royal Conservatory of Music.
Discovery Series: The Glenn Gould School
Concerto Competition Finals. Koerner Hall,
Telus Centre, 273 Bloor St. W. 416-408-0208.
Free. Ticket required.
●●12:30: Yorkminster Park Baptist Church.
Noonhour Organ Recital. William Maddox,
organ. 1585 Yonge St. 416-922-1167. Free.
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Jan 31, Feb 1, 2, 3(2:00), 5, 6, 7.
Sub Rosa
Jan 26 & 27 7:30pm
Trinity College Chapel
corunumensemble.com
Winter Words
Featuring Lucia Cervoni
and Michael Colvin
Sunday, January 27, 2pm
maZZOLEnI COnCErt HaLL
tICKEtS On SaLE nOW! 416.408.0208
www.rcmusic.com/performance
“..the melodies just surged
upon me..”
Guest Artists
Todd Yaniw, Piano
David Harding, Viola
PRESENTS
Sunday January 27th , 2019, 3 p.m.
Trinity St.Paul's Centre, 427 Bloor St.W
Schubert - Notturno for piano trio
Röntgen - string trio
Dvořák - piano quartet in e-flat
Season Sponsors
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thewholenote.com December 1, 2018 – February 7, 2019 | 63

Thursday January 31
●●12:00 noon: Canadian Opera Company.
Piano Virtuoso Series: Beethoven and Chopin.
Beethoven: Piano Sonata No.31 Op.110;
Chopin: Polonaise-fantaisie Op.61; and other
works. Hugo Kitano, piano. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First come, first served. No
late seating.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Judy Loman,
Harp and Nora Shulman, Flute. Elgar: Chanson
de Matin Op.15 No.2; Liebermann: Sonata
for Flute and Harp; Shaposhnikov: Sonata for
Flute and Harp; Piazzolla: Histoire du Tango.
Walter Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-
0208. Free.
●●12:30: York University Department of
Music. Jazz @ Midday. Martin Family Lounge,
Accolade East Building, YU, 4700 Keele St.
416-736-2100 x20054. Free.
●●7:30: Canadian Opera Company. Elektra.
See Jan 31. Also Feb 6.
●●7:30: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26. Also
Feb 1(7:30); 2(2:00); 3(2:00).
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 1, 2, 3(2:00), 5, 6, 7.
●●7:30: University of Toronto Faculty of
Music. Jazz Composers Concert. Walter
Hall, Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-978-3750. Free.
●●8:00: Music Toronto. Van Kuijk Quartet.
Haydn: Quartet in D Op.76 No.5; Ligeti: Quartet
A. Concerts in the GTA
January 31 at 8pm
VAN KUIJK
QUARTET
No.1 “Métamorphoses nocturnes”; Schubert:
Quartet No.14 in d “Death and the Maiden”. Van
Kuijk Quartet. Jane Mallett Theatre, St. Lawrence
Centre for the Arts, 27 Front St. E. 416-
366-7723. $47.50-$52; $10(st).
●●8:00: Oakville Centre for the Performing
Arts. Diuki Mala. 130 Navy St., Oakville. 905-
815-2021 or 1-888-489-7784. $33-$44.
●●8:00: Toronto Symphony Orchestra.
Sir Andrew Davis Conducts Wagner. Berg:
Three Pieces for Orchestra; Wagner: Act I of
Die Walküre. Lise Davidsen, soprano; Simon
SONGS FROM A CELTIC HEART
ANNUAL FUNDRAISING EVENT
SATURDAY, FEBRUARY 2, 2019 • 2:00 PM & 7:00 PM
O’ Neill, tenor; Brindley Sherratt, bass; Sir
Andrew Davis, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $34.75-$148.
Also Feb. 2.
Friday February 1
●●12:10: Music at St. Andrew’s. Noontime
Recital. Works by Alkan. Rudin Lengo, piano.
St. Andrew’s Church (Toronto), 73 Simcoe St.
416-593-5600 x231. Free.
●●7:30: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26. Also
Feb 2(2pm); 3(2pm).
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 2, 3(2pm), 5, 6, 7.
●●2:00: Amadeus Choir of Greater Toronto.
Songs from a Celtic Heart. Annual fundraising
event featuring Celtic love songs.
Octava Vocal Ensemble; Tom Leighton, guitar
and vocals; Anne Lederman, fiddler; Shawn
Grenke, piano; Lydia Adams, conductor and
others. Jubilee United Church, 40 Underhill
Dr. 416-446-0188. $50; $40(sr); $25(st). $5
discount on tickets purchased before Jan 15.
Also 7pm. Complimentary snacks, cash bar,
games, and silent auction.
Saturday February 2
●●2:00: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26. Also
Feb 3(2pm).
●●7:00: Amadeus Choir of Greater Toronto.
Songs from a Celtic Heart. Annual fundraising
event featuring Celtic love songs.
Octava Vocal Ensemble; Tom Leighton, guitar
and vocals; Anne Lederman, fiddler; Shawn
Grenke, piano; Lydia Adams, conductor and
others. Jubilee United Church, 40 Underhill
Dr. 416-446-0188. $50; $40(sr); $25(st). $5
discount on tickets purchased before Jan 15.
Also 2pm. Complimentary snacks, cash bar,
games, and silent auction.
●●7:30: Missisauga Festival Choir & Friends.
Festival of Friends. MFC’s annual massed
choir festival. Mississauga Festival Chamber
Choir, Resonance and others. Cawthra Park
Secondary School, 1305 Cawthra Rd., Mississauga.
416-986-5537. $35; $30(sr/st).
●●7:30: Royal Conservatory of Music. Discovery
Series: The Glenn Gould School Vocal
Showcase. Art songs and opera excerpts.
Mazzoleni Concert Hall, Royal Conservatory,
273 Bloor St. W. 416-408-0208. $20.
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 3(2:00), 5, 6, 7.
●●7:30: Toronto Welsh Male Voice Choir.
The Valentine’s Dinner & Show. Venise Kousaie,
soloist. The Grand Luxe, 3125 Bayview
Ave. 647-389-8084. $75(dinner/concert);
$30(concert only).
●●7:30: University of Toronto Faculty of
Music. U of T Wind Ensemble: Light and
Shadow. Mackey: Aurora Awakes; Sekhon:
Double Percussion Concerto; Etezady:
Anahita; Hindemith: Symphonic Metamorphosis
of Themes by Carl Maria von Weber.
Strings of the U of T Symphony Orchestra;
Aiyun Huang and Beverley Johnston, percussion;
Gillian Mackay, conductor. Mac-
Millan Theatre, Edward Johnson Building,
80 Queen’s Park. 416-408-0208. $30;
$20(sr); $10(st); free(UofT st).
●●8:00: Cathedral Bluffs Symphony Orchestra.
Tango! Repertoire from the height of
Buenos Aires’ Tango tradition to Eastern
European folk music and improvisation. Horvath:
Tangos for Orchestra; Piazzolla (arr.
Franzetti): Four Seasons. Payadora Tango
Ensemble; Robert Horvath, piano. P.C. Ho
Theatre, Chinese Cultural Centre of Greater
Toronto, 5183 Sheppard Ave. E., Scarborough.
416-879-5566. $35-$55; $30-$45(sr/
st); free(under 12). 7:15: Pre-concert talk.
cathedralbluffs.com.
●●8:00: Oakville Symphony. Musical Genius.
Kenins: Folk Dance and Fugue; Prokofiev:
Symphony No.7 in c-sharp Op.131; Schumann:
Piano Concerto in a Op.54. Sheng Cai, piano.
Oakville Centre for the Performing Arts,
130 Navy St., Oakville. 905-815-2021. $27-
$56. Also Feb 3(2pm).
●●8:00: Royal Conservatory of Music.
World Music: Lemon Bucket Orkestra and
Aline Morales. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $30-$75.
●●8:00: Soundstreams. Different Trains.
Reich: Different Trains. Rolston String Quartet.
Trinity-St. Paul’s Centre, 427 Bloor St. W.
416-504-1282 or bit.ly/2qwl5Wx. $22-$67.50.
●●8:00: Toronto Symphony Orchestra.
Sir Andrew Davis Conducts Wagner. Berg:
Three Pieces for Orchestra; Wagner: Act I of
FEATURING
Amadeus Choir of Greater Toronto | Lydia Adams, conductor
Joan Andrews, conductor | Shawn Grenke, conductor and piano
Tom Leighton, guitar and vocals | Anne Lederman, fiddler | Octava Vocal Ensemble
Single tickets: $50 | $40 | $25
$5 off tickets purchased before Jan. 15, 2019!
For tickets, call (416) 446-0188
www.amadeuschoir.com
Jubilee United Church
40 Underhill Dr, Toronto
(just NE of DVP and Lawrence Ave E)
Rolston String Quartet does Steve Reich’s
DIFFERENT TRAINS
FEBRUARY 2
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Die Walküre. Lise Davidsen, soprano; Simon
O’ Neill, tenor; Brindley Sherratt, bass; Sir
Andrew Davis, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $34.75-$148.
Also Jan. 31.
●●9:00: Alliance Française de Toronto. Les
Frères Cissoko Bannaya Family. Spadina
Theatre, 24 Spadina Rd. 416-922-2014 x37.
$20/$10(members).
Sunday February 3
●●1:00: Royal Conservatory of Music. Sunday
Interludes Series: Blake Pouliot, Violin.
Mozart: Violin Sonata No. 27 in G K379;
Chausson: Poème Op.25; Janáček: Violin
Sonata; Sarasate: Zapateado. Hsini Huang,
piano. Mazzoleni Concert Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. Free. Ticket
required. Concert is approx. 75 minutes with
no intermission.
●●1:15: Mooredale Concerts. Music and Truffles
Kids Concert Series: Heath Quartet.
Works by Mozart, Britten and Beethoven. Oliver
Heath, violin; Sara Wolstenholme, violin;
Gary Pomeroy, viola; Chris Murray, cello. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-922-3714
x103. $20.
●●2:00: Oakville Symphony. Musical Genius.
Kenins: Folk Dance and Fugue; Prokofiev:
Symphony No.7 in c-sharp Op.131; Schumann:
Piano Concerto in a Op.54. Sheng Cai, piano.
Oakville Centre for the Performing Arts,
130 Navy St., Oakville. 905-815-2021. $27-
$56. Also Feb 2(8pm).
●●2:00: Rezonance Baroque Ensemble. Italian
Celebration. Folk music and compositions
by Neapolitan Baroque composers
and Romina di Gasbarro. Romina di Gasbarro,
voice; Rezan Onen-Lapointe, Baroque
violin; David Podgorski, harpsichord; Benjamin
Stein, theorbo and guitars. St. Barnabas
Anglican Church, 361 Danforth Ave.
647-779-5696 or rezonanceensemble.com.
$25/$20(adv online); $15(st).
●●2:00: St. Anne’s Music & Drama Society.
The Pirates of Penzance. See Jan 26.
●●2:00: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 5, 6, 7.
●●2:30: University of Toronto Faculty of
Music. Music for a Sunday Afternoon. Works
Cathedral Bluffs
SYMPHONY ORCHESTRA
Norman Reintamm
Artistic Director/Principal Conductor
by Schafer, Martin and Thompson. MacMillan
Singers; Women’s Chorus; Women’s Chamber
Choir; Men’s Chorus; David Fallis, Elaine Choir,
Lori-Anne Dolloff and Mark Ramsay, conductors.
MacMillan Theatre, Edward Johnson
Building, 80 Queen’s Park. 416-408-0208.
$30; $20(sr); $10(st); free(UofT st).
●●2:30: VOICEBOX: Opera in Concert.
Fierabras. Music by Franz Schubert. Aradia
Ensemble; Amy Moodie, soprano; Jocelyn
Fralick, soprano; Lawrence Wiliford,
tenor; Evan Korbut, baritone; Opera in Concert
Chorus; Robert Cooper, chorus director;
Kevin Mallon, conductor. St. Lawrence Centre
for the Arts, 27 Front St. E. 416-366-7723 or
1-800-708-6754. $29; $50; $65. Sung in German
with English Surtitles.
●●3:00: Off Centre Music Salon. 24th Annual
Schubertiad. Igor Gefter, cello; Andrew Haji,
tenor; Maeve Palmer, soprano; Inna Perkis,
piano; Mark Skazinetsky, violin; and others.
Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-
466-6323. $50; $40(sr); $15(13-25); $5(child).
●●3:00: Royal Conservatory of Music.
Charles Richard-Hamelin. Schumann: Arabesque
in C; Schumann: Fantasy in C; Chopin:
Saturday February 2, 2018 8 pm
TANGO!
a collaboration featuring guest artists
PAYADORA TANGO ENSEMBLE
One of Toronto’s most vibrant and sought-after acts, Payadora performs an expansive
repertoire that draws from the height of Buenos Aires’ Tango tradition, as well as eclectic
backgrounds in Classical, Jazz, Latin, Eastern European folk music, and improvisation.
ROBERT HORVATH Tangos for Orchestra
PIAZZOLLA The Four Seasons (arr. Carlos Franzetti)
TICKETS: from $35 ($30 student/senior; children under 12 are free)
ORDER ONLINE cathedralbluffs.com BY PHONE 416.879.5566
P.C. Ho Theatre 5183 Sheppard Ave East
subscription
(1 block east of Markham Rd), Scarborough
cathedralbluffs.com | 416.879.5566
concert 3
Four Ballades. Koerner Hall, Telus Centre,
273 Bloor St. W. 416-408-0208. $35-85.
●●3:15: Mooredale Concerts. Heath Quartet.
Mozart: String Quartet No.19 in C K465
“Dissonance”; Britten: String Quartet No.1
in D Op.25; Beethoven: String Quartet No.9
in C Op.59, No.3. Oliver Heath, violin; Sara
Wolstenholme, violin; Gary Pomeroy, viola;
Chris Murray, cello. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-922-3714 x103. $30;
$20(under 30).
●●4:00: Church of St. Mary Magdalene.
Organ Fireworks. Andrew Adair, organ.
Church of St. Mary Magdalene (Toronto),
477 Manning Ave. 416-531-7955. Free.
●●4:00: Georgetown Bach Chorale. The
Beauty of Brahms. Brahms: Piano Quintet in f;
and other works. Ron Greidanus, piano. The
Piano Hall, 157 Main St., Georgetown. 905-
873-9909. $50. Soups, cheese and breads
will be offered.
●●7:30: LARK Ensemble. Going for (Mostly)
Baroque. Bach: Selections from A Musical
Offering; Viola da Gamba Sonata in D
BWV1028; Martinů: Promenades; and other
works. Leslie Allt; flute, Aaron Schwebel; violin,
Keith Hamm; viola, Roberta Janzen; cello.
Guest: Christopher Bagan, harpsichord.
LARK
ENSEMBLE
with CHRISTOPHER
BAGAN, harpsichord
FEB 3, 7:30pm
CORKIN GALLERY,
DISTILLERY DISTRICT
Corkin Gallery, 7 Tank House Ln. 416-979-
1980. $35; $20(st).
●●7:30: University of Toronto Faculty of
Music. Vocalis: The Song Narrative Project.
Curated by Stephen Philcox and Laura Tucker.
Outstanding Master’s and Doctoral level students.
The Extension Room, 30 Eastern Ave.
416-978-3750. Free.
Monday February 4
●●12:30: York University Department of
Music. Music @ Midday: Classical Instrumental
Recital. Featuring student soloists.
Tribute Communities Recital Hall, Accolade
East Building, YU, 4700 Keele St. 647-459-
0701. Free.
●●7:00: Royal Conservatory of Music. Roots
and Folk Series: Maple Blues Awards. Raoul
Bhaneja; Maple Leaf Blues Band. Koerner
Hall, Telus Centre, 273 Bloor St. W. 416-408-
0208. $35-$85.
●●7:30: University of Toronto Faculty of
Music. Surrounded by Xenakis. U of T Percussion
Ensemble; Ensemble BPM. Walter
Hall, Edward Johnson Building, University
of Toronto, 80 Queen’s Park. 416-408-0208.
Free.
Tuesday February 5
●●12:00 noon: Canadian Opera Company.
World Music Series: Celebrating Chinese
New Year. Patty Chan, erhu; Toronto Chinese
Orchestra Chamber Players. Richard Bradshaw
Amphitheatre, Four Seasons Centre for
the Performing Arts, 145 Queen St. W. 416-
363-8231. Free. First come, first served. No
late seating.
COSÌ FAN TUTTE
Mozart
FEB 5 – 23, 2018
coc.ca
●●7:30: Canadian Opera Company. Così
fan tutte. Music by Mozart. Kirsten MacKinnon,
soprano (Fiordiligi); Emily D’Angelo,
mezzo (Dorabella); Johannes Kammler, bass
(Guglielmo); Ben Bliss, tenor (Ferrando); Russell
Braun, baritone (Don Alfonso); Tracy Dahl,
soprano (Despina); Bernard Labadie, conductor;
Atom Agoyan, stage director. Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. $35-$250.
Opera runs Feb 5-21. Start times vary.
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 6, 7.
●●7:30: University of Toronto Faculty of
Music. Vocalini. Walter Hall, Edward Johnson
thewholenote.com December 1, 2018 – February 7, 2019 | 65

A. Concerts in the GTA
B. Concerts Beyond the GTA
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. Free.
February 5 at 8pm
JUHO
POHJONEN
●●8:00: Music Toronto. Juho Pohjonen.
Rameau: Nouvelles suites de pièces de
clavecin; Mozart: Rondo in a K.511; Beethoven:
Sonata in A Op.101. Juho Pohjonen, piano.
Jane Mallett Theatre, St. Lawrence Centre for
the Arts, 27 Front St. E. 416-366-7723. $47.50-
$52; $10(st).
Wednesday February 6
●●12:00 noon: Canadian Opera Company.
Jazz Series: Dream. Joanna Majoko Quartet.
Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●7:30: Canadian Opera Company. Elektra.
See Jan 31.
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
Also Feb 7.
●●7:30: University of Toronto Faculty of
Music. Jazz: U of T 12tet. Terry Promane, director.
Walter Hall, Edward Johnson Building,
University of Toronto, 80 Queen’s Park. 416-
978-3750. Free.
●●8:00: Toronto Symphony Orchestra.
Brahms and Dvořák. Morawetz: Carnival
Overture (side-by-side with the Toronto Symphony
Youth Orchestra); Brahms: Double
Concerto; Dvořák: Symphony No.6. Jonathan
Crow, violin; Joseph Johnson, cello; Sir
Andrew Davis, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $34.75-$148.
Also Feb 7, 9.
Thursday February 7
●●12:00 noon: Canadian Opera Company.
Dance Series: Blood Tides. Kaha:wi Dance
Theatre. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. First
come, first served. No late seating.
●●12:10: University of Toronto Faculty of
Music. Thursdays at Noon: Plagiarism and
Theft. Bach-Busoni: Chaconne; Godowsky:
Studies on Chopin’s Etudes; Ravel: La Valse.
Younggun Kim, piano. Walter Hall, Edward
Johnson Building, University of Toronto,
80 Queen’s Park. 416-408-0208. Free.
●●12:30: York University Department of
Music. Faculty Spotlight Series: Rob Simms:
Tanbur and Setar Solos. Accolade East Building,
YU, Room 235, 4700 Keele St. 647-459-
0701. Free.
●●7:30: Canadian Opera Company. Così fan
tutte. See Feb 5.
●●7:30: Tapestry Opera. Hook Up. See Jan 29.
●●7:30: University of Toronto Faculty of
Music. What Makes It Great?® with Rob
Kapilow: The Music of Duke Ellington. U of T
Jazz Orchestra; Gordon Goote, director; Rob
Kapilow, host. Walter Hall, Edward Johnson
Building, University of Toronto, 80 Queen’s
Park. 416-408-0208. $40; $25(sr); $10(st).
●●8:00: Mississauga Symphony Orchestra.
La Bohème. Music by Puccini. Romulo Delgado,
tenor (Rodolfo); Shantelle Przybylo,
soprano (Mimì); Denis Mastromonaco, music
director; David Ambrose, stage director. Living
Arts Centre, Hammerson Hall, 4141 Living
Arts Dr., Mississauga. 905-306-6000. $50-
$95. Also Feb 9.
THE
TEMPESTUOUS
VIOLIN
Feb 7–10, 2019
Jeanne Lamon Hall,
Trinity-St. Paul’s Centre
tafelmusik.org
●●8:00: Tafelmusik. The Tempestuous Violin.
Scheidt: Battalia; Locke: Music for The
Tempest; Vivaldi: Concerto for 2 violins in
a. Elisa Citterio, violin; Enrico Onofri, violin
and conductor. Trinity-St. Paul’s Centre,
Jeanne Lamon Hall, 427 Bloor St. W. 416-964-
6337. $42 and up. Also Feb 8, 9, 10(mat), 12(at
George Weston Recital Hall).
●●8:00: Toronto Symphony Orchestra.
Brahms and Dvořák. Morawetz: Carnival
Overture (side-by-side with the Toronto Symphony
Youth Orchestra); Brahms: Double
Concerto; Dvořák: Symphony No.6. Jonathan
Crow, violin; Joseph Johnson, cello; Sir
Andrew Davis, conductor. Roy Thomson Hall,
60 Simcoe St. 416-598-3375. $34.75-$148.
Also Feb 6, 9.
IN THIS ISSUE: Alliston, Ancaster, Barrie, Belleville, Cobourg,
Collingwood, Creemore, Dundas, Elora, Fergus, Gravenhurst,
Guelph, Hamilton, Kincardine, Kingston, Kitchener, Lindsay, London,
Niagara-on-the-Lake, Norwood, Orangeville, Orillia, Ottawa,
Owen Sound, Peterborough, Picton, Port Hope, St. Catharines,
St. Jacobs, Sudbury, Waterloo, Welland, Windsor, Wyebridge.
Saturday December 1
●●2:00: ChoralWorks Chamber Choir. Messiah.
Chamber orchestra and soloists; Brian Rae,
conductor. New Life Church, 28 Tracey Ln., Collingwood.
705-888-4454. $35/$30(adv); $15(16
and under). Also Nov 30(7:30pm).
●●2:00: Don Wright Faculty of Music. Western
University Symphony Orchestra. Paul Davenport
Theatre, Talbot College, Western University,
1151 Richmond St. N., London. 519-661-3767. Free.
●●2:00: Kitchener-Waterloo Symphony.
Youth Orchestra - Concert 1. Centre in the
Square, 101 Queen St. N., Kitchener. 519-745-
4711 or 1-888-745-4717. $13; $11(child).
●●2:00: Northern Lights Chorus. A Northern
Lights Christmas. FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
905-688-0722 or 905-688-5601 x3700 or
1-855-515-0722. $45/$25(purchased through
TNL); $15(st-purchased through TNL). Also
Dec 8, 7:30pm, Whitby.
●●3:00: Achill Choral Society. Never a
Brighter Star. Hayes: Gloria; Forrest: Never a
Brighter Star; Daley: All This Night; and other
seasonal favourites. Roger Flock, percussion;
Shawn Grenke, conductor; Krista Rhodes,
piano. Knox Presbyterian Church (Alliston),
160 King St. S., Alliston. 519-942-6110. $25;
$10(st 13-17); $5(child). Also Nov 25(7pm - Bolton),
Dec 2(3pm - Orangeville).
●●3:00: Westben Concerts. The Little Drummer.
Jordan Mowat, drums; Westben Festival
Chorus; Westben Youth & Teen Choruses;
Donna Bennett and Brian Finley, directors.
Northminster United Church, 300 Sunset
Blvd, Peterborough. 705-653-5508 or
1-877-883-5777. $25. Also Nov 24(1:00,
Campbellford), Nov 25(Campbellford),
Dec 2(Norwood).
●●7:00: Guelph Youth Singers. Snow Squall.
Harcourt Memorial United Church, 87 Dean
Ave., Guelph. 519-763-3000. $25; $20(sr/st);
$5(eyeGO).
●●7:30: Choralis Camerata. A Festival of
Christmas Choral Treasures. Bach: Christmas
Oratorio selections. Knox Presbyterian
Church (St. Catharines), 53 Church St.,
St. Catharines. 905-646-9225. $28; $25(sr);
$12(st). Also Dec 2 (2:30pm, Welland).
●●7:30: Don Wright Faculty of Music. Choral
Concert: Lux Aeterna. Western University
Singers; Les Choristes. New St. James Presbyterian
Church, 280 Oxford St. E., London.
519-661-3767. $10(adv).
●●8:00: Elora Singers. Messiah. St. Joseph’s
Catholic Church (Fergus), 760 St. David St. N.,
Fergus. 519-846-0331. $48.
●●8:00: Kitchener-Waterloo Symphony.
Beethoven’s Triple Concerto. Mozart: Overture
to Don Giovanni; Beethoven: Triple Concerto
for Violin, Cello and Piano in C; Clyne:
Within Her Arms; Mozart: Symphony No.36
in C “Linz”. Bénédicte Lauzière, violin; John
Helmers, cello; Stewart Goodyear, piano;
David Danzmayr, conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-745-
4711 or 1-888-745-4717. $19-$85. Also Nov 30.
●●8:00: Wayne Gilpin Singers. O Holy
Night! Gilpin: Jazz Messiah. Andrew Gilpin,
piano; Bob Brough, saxophone; Tom Hazlitt,
bass;Brian Barlow, drums; Wayne Gilpin,
conductor. St. John the Evangelist Church
(Kitchener), 23 Water St. N., Kitchener.
1-800-867-3281. $20; $15(sr/st).
Sunday December 2
●●2:30: Choralis Camerata. A Festival of
Christmas Choral Treasures. Bach: Christmas
Oratorio selections. Central United
Church (Welland), 12 Young St., Welland. 905-
646-9225. $28; $25(sr); $12(st). Also Dec 1
(7:30pm, St. Catharines).
●●2:30: Guelph Chamber Choir. Carols For
Christmas. Music, poems and stories for the
Christmas season; Handel: Hallelujah Chorus
(sing-along). Guests: Gerald Neufeld, conductor;
Winter’s Eve Trio (Sharlene Wallace,
harp; Joe Macerollo, accordian; George Koller,
string bass). St. George’s Anglican Church
(Guelph), 99 Woolwich St., Guelph. 519-763-
3000. $25; $10(under 30); $5(under 14).
●●3:00: Achill Choral Society. Never a
Brighter Star. Hayes: Gloria; Forrest: Never a
Brighter Star; Daley: All This Night; and other
seasonal favourites. Roger Flock, percussion;
Shawn Grenke, conductor; Krista Rhodes,
piano. Westminster United Church (Orangeville),
247 Broadway Ave., Orangeville. 519-
942-6110. $25; $10(st 13-17); $5(child). Also
Nov 25 (7pm - Bolton); Dec 1 (3pm - Alliston).
●●3:00: La Jeunesse Youth Orchestra. Home
for the Holidays! Port Hope United Church,
34 South St., Port Hope. 1-866-460-5596.
$25; $15(st); free(under 12).
●●3:00: Westben Concerts. The Little Drummer.
Jordan Mowat, drums; Westben Festival
Chorus; Westben Youth & Teen Choruses;
Donna Bennett and Brian Finley, directors.
Norwood United Church, 4264 Hwy 7, Norwood.
705-653-5508 or 1-877-883-5777.
$25. Also Nov 24(1pm, Campbellford),
Nov 25(Campbellford), Dec 1(Peterborough).
●●5:00: St. George’s Cathedral. An Advent
Candlelight Procession with Carols. Works by
Bach, Powell, Biery, Hassler, and others. St.
George’s Cathedral (Kingston), 270 King St. E.,
Kingston. 613-548-4617. Freewill offering will
be received. Religious service.
●●7:30: Cuckoo’s Nest Folk Club. Boreal.
Chaucer’s Pub, 122 Carling St., London. 519-
319-5847. $25/$20(adv).
Monday December 3
●●8:00: Attila Glatz Concert Productions. Festival
of Stars: Crystal Gayle. Country and pop
music. Meridian Centre Arena, 1 IceDogs Way,
St. Catharines. 1-855-985-5000. $42 and up.
●●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 December 4
●●12:30: Don Wright Faculty of Music. Electroacoustic
Music Compositions Concert.
66 | December 1, 2018 – February 7, 2019 thewholenote.com

Paul Davenport Theatre, Talbot College, Western
University, 1151 Richmond St. N., London.
519-661-3767. Free.
●●1:30: Attila Glatz Concert Productions.
Festival of Stars: Daniel O’Donnell. Meridian
Centre Arena, 1 IceDogs Way, St. Catharines.
1-855-985-5000. $106 and up.
●●7:30: Isabel Bader Centre for the Performing
Arts/PeaceQuest. Celebration:
Yolanda Bruno, Violin. Szczesniak: Celebration
and works by Poulenc, Schnittke, Enescu
and Ravel. Isabel Bader Centre for the Performing
Arts, 390 King St. W., Kingston. 613-
533-2424. $39; $32(faculty/staff); $16(st).
●●8:00: Attila Glatz Concert Productions.
Festival of Stars: The Irish Jukebox. Nathan
Carter, Chloë Agnew, Ronnie Kennedy, Nigel
Connell, and The Fitzgeralds. Meridian Centre
Arena, 1 IceDogs Way, St. Catharines. 1-855-
985-5000. $42 and up.
Wednesday December 5
●●12:15: St. Andrew’s Presbyterian Church
(Kitchener). Wednesday Noon-Hour Concerts.
Emily Grignon, soprano; Douglas Haas,
accompanist. 54 Queen St. N., Kitchener.
226-647-1290. Free. Low-cost lunches available
in the foyer from 11:30am or bring your
own.
Thursday December 6
●●12:15: St. George’s Cathedral. Advent Concert.
St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-548-4617. Free.
Voluntary offering collected.
Friday December 7
●●8:00: Kitchener-Waterloo Chamber Music
Society. Penderecki String Quartet. Haydn:
String Quartet No.5 in D Op.76D; Ligeti: Quartet
No.1; Mendelssohn: String Quartet in E-flat
Op.12. KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
Saturday December 8
●●2:00: Lyrica Chamber Choir. In Terra
Pax. Finzi: In Terra Pax; works by Gjeilo, Rutter
and Arnesen. Brent Mayhew, piano; Tost
String Quartet; Adam Kuiack, baritione; Steve
Winfield, conductor. Burton Avenue United
Church, 37 Burton Ave., Barrie. 705-722-0271.
$20; $16(sr/st). Also 7:30.
●●2:30: Niagara Symphony Orchestra.
Under the Mistletoe. Christine Cornish Smith,
vocals; Joey DeBenedetto, vocals; Bradley
Thachuk, conductor. Partridge Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 905-688-0722. $69; $64(sr);
$12(st/child); $33(30 and under); $20(arts
worker); $5(EyeGO). Also 7:30; Dec 9(mat).
●●4:00: Hamilton Children’s Choir. Annual
Winter Concert: Though Frost May Bite..
Komenci, Esplori, Esprimas, Lads & Gents,
and Illumini Choirs; Jamie Drake, percussion;
Luke Pomorski, cello. Ryerson United Church
(Hamilton), 842 Main St. E., Hamilton. hamiltonchildrenschoir.com.
$10-$30.
●●7:30: Barrie Concert Band. A Christmas
Fantasy. Do They Know It’s Christmas?;
Huron Carol; and music from How the Grinch
Stole Christmas; Polar Express; Nightmare
Before Christmas; and other works. Collier
Street United Church, 112 Collier St., Barrie.
705-252-3484. $20; $10(st); free(5 and
under).
●●7:30: Cellar Singers. Handel’s Messiah.
With orchestra. Orillia Opera House,
20 Mississaga St. W., Orillia. 705-326-8011.
$30; $10(st).
●●7:30: Chorus Hamilton. Cantata for Christmas.
Bach: Cantata for Christmas; Gloria
in Excelsis Deo; Cantata No.191; and other
works. Kasia Konstanty, soprano; Erika Reiman,
piano; David Holler, conductor. St. Paul’s
United Church (Dundas), 29 Park St. W., Dundas.
905-318-9381. $25. Christmas treats and
holiday cheer to follow.
●●7:30: Georgian Bay Symphony. The Christmas
Concert. Tchaikovsky: Selections from
The Nutcracker; Anderson: Christmas Festival.
François Koh, conductor. OSCVI Regional
Auditorium, 1550 8th St. E., Owen Sound.
519-372-0212. $35; $33(sr); $5(st).
●●7:30: Grand Philharmonic Choir. Handel:
Messiah. Meredith Hall, soprano; Andrea Hill,
mezzo; Charles Sy, tenor; Phillip Addis, bass;
Kitchener-Waterloo Symphony. Centre in
the Square, 101 Queen St. N., Kitchener. 519-
578-5660 x5290. $30-$82; $14(st/under30);
$5(child/high school st).
●●7:30: Isabel Bader Centre for the Performing
Arts. The Kingston Connection: A
Celtic Christmas with Kelli Trottier. 390 King
St. W., Kingston. 613-533-2424. $26-$39;
$22-$35(faculty/staff); $13-$19(st).
●●7:30: Lyrica Chamber Choir. In Terra Pax.
Finzi: In Terra Pax; other works by Gjeilo, Rutter
and Arnesen. Brent Mayhew, piano; Tost
String Quartet; Adam Kuiack, baritione; Steve
Winfield, conductor. Burton Avenue United
Church, 37 Burton Ave., Barrie. 705-722-0271.
$20; $16(sr/st). Also 2pm.
●●7:30: Niagara Symphony Orchestra. Under
the Mistletoe. Christine Cornish Smith, vocals;
Joey DeBenedetto, vocals; Bradley Thachuk,
conductor. Partridge Hall, FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
905-688-0722. $69; $64(sr); $12(st/
child); $33(30 and under); $20(arts worker);
$5(EyeGO). Also 2:30pm; Dec 9(mat).
●●7:30: Orchestra Kingston. Handel’s
Messiah. Kingston Choral Society. The
Spire/Sydenham Street United Church,
82 Sydenham St., Kingston. 613-766-4345.
$25; $20(sr/st); free(under 14).
●●7:30: Peterborough Symphony Orchestra.
Home for the Holidays. Seasonal favourites
with a carol-sing finale. Guest: Kawartha
Youth Orchestra; Michael Newnham, conductor.
Showplace Performance Centre,
290 George St. N., Peterborough. 705-742-
7469. $35; $10(st).
Sunday December 9
●●2:30: Niagara Symphony Orchestra.
Under the Mistletoe. Christine Cornish Smith,
vocals; Joey DeBenedetto, vocals; Bradley
Thachuk, conductor. Partridge Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 905-688-0722. $33; $12(st/
child); $20(arts worker); $5(EyeGO). Also
Dec 8(2:30 and 7:30).
●●3:00: Dufferin Concert Singers/New
Tecumseth Singers. Handel’s Messiah. Chorus
highlights with piano. St. John’s United Church
(Creemore), 192 Mill St., Creemore. 705-435-
5497. $20; Free(child under 16).
●●3:00: Menno Singers. Incarnation. Sacred
music and reading celebrating the birth
of Christ. St. Matthew’s Lutheran Church,
54 Benton St., Kitchener. 226-972-3365. $20.
●●3:00: Rosewood Consort. Christmas
Around the World. Stéphane Potvin, conductor.
Grace Lutheran Church (Hamilton),
1107 Main St. W., Hamilton. 905-648-5607.
$20 - Suggested donation.
●●8:00: Kitchener-Waterloo Chamber Music
Society. Jasmin Lacasse Roy, guitar. Impressionism
for the Guitar. Sainz de la Maza: El
Loco; Schubert: Serenade; Lagoya: Caprice;
Pujol: Guajira; Brouwer: 3 Sketches; and
other works. KWCMS Music Room, 57 Young
St. W., Waterloo. 519-886-1673. $30; $20(st).
Monday December 10
●●2:30: Seniors Serenade. An Eastview
Christmas. Choral students from Eastview
Secondary School; Dave Stewart conductor.
Bethel Community Church, 128 St. Vincent
Street, Barrie. 705-726-1181. Free.
Tuesday December 11
●●12:00 noon: City of St. Catharines. 28th
Annual Civic Christmas Carol Concert. Carols
and sing-along. St. Thomas’ Church,
99 Ontario St., St. Catharines. 905-688-5601
x1542. Freewill offering. Proceeds to Christmas
Community Care.
Wednesday December 12
●●12:15: St. Andrew’s Presbyterian Church
(Kitchener). Wednesday Noon-Hour Concerts.
Cambridge Girls’ Choir; Peter West,
conductor. 54 Queen St. N., Kitchener. 226-
647-1290. Free. Low-cost lunches available in
the foyer from 11:30 am or bring your own.
●●8:00: Regent Theatre. Sultans of String.
Guest: Rebecca Campbell. Regent Theatre
(Picton), 224 Main St., Picton. 613-476-8416
or theregenttheatre.org. $34.
Thursday December 13
●●12:15: St. George’s Cathedral. Advent Concert.
St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-548-4617. Free.
Voluntary offering collected.
Friday December 14
●●7:00: Collège Boréal Concert Hall. Sultans
28 th annUaL
CiviC Christmas
Carol ConCert
Presented by the
City of st. Catharines
Tues Dec.11th
Noon
Doors Open
11:30 a.m.
St. Thomas’ Church
99 Ontario Street
of String. Guests: Rebecca Campbell.
21 Lasalle Blvd, Sudbury. 705-674-5512 or
nlfb.ca/sultans2019. $35/$30(adv).
●●7:30: Melos Early Music. Noels anciens:
French Christmas in the 12th to 18th Centuries.
Works by Boismoriter, Charpentier and
others. St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-767-7245 or
melos-earlymusic.org. $25; $10(st).
●●8:00: Kitchener-Waterloo Symphony.
Yuletide Spectacular. Grand Philharmonic
Choir & Children’s Choir; Carousel Dance
Company; Miles Nadajewski, host, narrator,
vocalist; Glynis Ranney, host, narrator, vocalist;
KWS Assistant Conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $32-$93. Also
Dec 15(2:30 & 8:00); 16(2:30).
Saturday December 15
●●2:00: King Edward Choir. Christmas with
King Edward Choir. Rutter: Mass of the Children;
Lauridsen: O Magnum Mysterium;
Fauré: Cantique de Jean Racine; Thompson:
Alleluia; Rutter: I Wish You Christmas. Dan
McCoy, accompanist; Oliver Balaburski, artistic
director and conductor. Collier Street
United Church, 112 Collier St., Barrie. 705-
733-7955. $25; $15(st). Also 7:30pm.
●●2:30: Kitchener-Waterloo Symphony.
Yuletide Spectacular. Grand Philharmonic
Choir & Children’s Choir; Carousel Dance
Company; Miles Nadajewski, host, narrator,
vocalist; Glynis Ranney, host, narrator, vocalist;
KWS Assistant Conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $32-$93. Also
Dec 14(8:00); 15(8:00); 16(2:30).
●●7:30: Chorus Niagara. Handel’s Messiah.
Jacqueline Woodley, soprano; Stephanie
Tritchew, mezzo; Asitha Tennekoon, tenor;
Clarence Frazer, baritone; Talisker Players.
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 1-855-515-0722 or
905-688-0722. $45; $43(sr); $30(under 30);
$20(st); $15(under 15).
●●7:30: Dufferin Concert Singers/New
Tecumseth Singers. Handel’s Messiah. Waterloo
Chamber Players Orchestra. Broadway
Pentecostal Tabernacle, 556 Broadway Ave.,
Orangeville. 705-435-5497. $20; Free(child
under 16). Also Dec 16 (3 pm, Alliston).
●●7:30: Hamilton Philharmonic Orchestra.
Home for the Holidays: The Hockey Sweater.
Holiday favourites and Abigail Richardson-
Schulte’s The Hockey Sweater. Roch Carrier,
narrator; Hamilton Philharmonic Youth
Orchestra; Gemma New, conductor. FirstOntario
Concert Hall, 1 Summers Ln., Hamilton.
905-526-7756. $10-$71.
●●7:30: King Edward Choir. Christmas with
King Edward Choir. Rutter: Mass of the Children;
Lauridsen: O Magnum Mysterium;
Fauré: Cantique de Jean Racine; Thompson:
Alleluia; Rutter: I Wish You Christmas. Dan
McCoy, accompanist; Oliver Balaburski, artistic
director and conductor. Collier Street
United Church, 112 Collier St., Barrie. 705-
733-7955. $25; $15(st). Also 2pm.
●●7:30: Kokoro Singers. Spirit of Christmas.
New work by Willan, Gjeilo, Hatfield, Priano
and Meader; and other works and text.
Brenda Uchimaru, artistic director. Rockway
Mennonite Church, 47 Onward Ave.,
Kitchener. 289-439-9447. $20; $15(sr/st);
free(under 13). Also Dec 16(mat; Ancaster).
●●7:30: Welland-Port Colborne Concert
thewholenote.com December 1, 2018 – February 7, 2019 | 67

Association. Sultans of String. Guests: Rebecca
Campbell, Amanda Martinez, Donné
Roberts, Ken Whiteley. J. M. Ennis Auditorium,
240 Thorold Rd., Welland. 905-788-1648
or wellandportcolborneconcert.org/performances.
$35; $15(st).
●●8:00: Kitchener-Waterloo Symphony.
Yuletide Spectacular. Grand Philharmonic
Choir & Children’s Choir; Carousel Dance
Company; Miles Nadajewski, host, narrator,
vocalist; Glynis Ranney, host, narrator, vocalist;
KWS Assistant Conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $32-$93. Also
Dec 14(8:00); 15(2:30); 16(2:30).
●●8:00: Orchestra Grey Bruce/Saugeen
County Chorus. Messiah. Nicole Reid, soprano;
Gena van Oosten, alto; Louis de Nil,
tenor; George Hiemstra, bass; Robert tite,
guest conductor. Knox Presbyterian Church
(Kincardine), 345 Durham St., Kincardine.
519-396-9716. $20; free(16 and under). A
fundraising event for the Kincardine Summer
Festival.
Sunday December 16
●●2:30: Kitchener-Waterloo Symphony.
Yuletide Spectacular. Grand Philharmonic
Choir & Children’s Choir; Carousel Dance
Company; Miles Nadajewski, host, narrator,
vocalist; Glynis Ranney, host, narrator, vocalist;
KWS Assistant Conductor. Centre in the
Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $32-$93. Also
Dec 14(8:00); 15(2:30 & 8:00).
●●2:30: Niagara Symphony Orchestra. The
Eyes of a Child. Prokofiev: Peter and the Wolf;
Blake: The Snowman. Bradley Thachuk, conductor.
Cairns Hall, FirstOntario Performing
Arts Centre, 250 St. Paul St., St. Catharines.
905-688-0722. $33; $12(st/child); $20(arts
worker); $5(EyeGO).
●●3:00: Chorus Niagara Children’s Choir.
Snow Angels Holiday Concert. Chorus Niagara
Children’s Choir (Training Choir, Intermediate
Choir, Concert Choir, Chamber
Choir). St. Catharines Mennonite United
Church, 335 Linwell Rd., St. Catharines. 905-
220-9968. $20/$15(adv); $5(12 and under).
●●3:00: Dufferin Concert Singers/New
Tecumseth Singers. Handel’s Messiah. Waterloo
Chamber Players Orchestra. Banting
Memorial High School, 203 Victoria St. E.,
Alliston. 705-435-5497. $20; Free(child under
16). Also Dec 15 (7:30 pm, Orangeville).
●●3:00: Menno Singers. Sing-along Messiah.
Handel. Orchestra, soloists and choristers.
St. Jacob’s Mennonite Church, 1308 King St.
N., St. Jacobs. 226-972-3365. By donation.
●●3:30: Huronia Symphony Orchestra.
B. Concerts Beyond the GTA
Celebrate! Traditional Christmas Favourites
and Carol Sing. Rimsky-Korsakov: Christmas
Eve Suite; Wolf-Ferrari: Intermezzo No.2 from
I gioielli della Madonna; Handel: Hallelujah
Chorus from Messiah; Anderson: Song of the
Bells, Sleigh Ride; Tormé: Chestnuts Roasting
on an Open Fire. Oliver Balaburski, conductor.
Collier Street United Church, 112 Collier St.,
Barrie. 705-721-4752. $25; $10(st); $5(child).
●●3:30: Kokoro Singers. Spirit of Christmas.
New work by Willan, Gjeilo, Hatfield, Priano
and Meader; and other works and text.
Brenda Uchimaru, artistic director. Ryerson
United Church, 265 Wilson St. E., Ancaster.
289-439-9447. $20; $15(sr/st); free(under 13).
Also Dec 15(eve; Kitchener).
●●4:30: Music at St. Thomas’. Carols by
Candlelight: A Festival of Nine Lessons and
Carols. St. Thomas’ Choral Academy; Francine
Nguyen-Savaria, choirmaster, organ;
Matthieu Latreille, choirmaster, organ.
St. Thomas’ Anglican Church (Belleville),
201 Church St., Belleville. 613-962-3636. By
donation.
●●8:00: Aeolian Hall. Sultans of String.
Guests: Rebecca Campbell and Amanda
Martinez. 795 Dundas St. E., London. 519-
672-7950 or aeolianhall.ca/events/sultans-ofstrings-christmas-caravan.
$30/$25(adv).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Beethoven’s Birthday. Ayr Trio
(Angela Park, piano; Yehonetan Berick, violin;
Rachel Mercer, cello). KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$40; $25(st).
Monday December 17
●●7:00: Academy Theatre. Sultans of String.
Guest: Rebecca Campbell. 2 Lindsay St. S.,
Lindsay. 705-324-9111 or academytheatre.
ca. $35.
●●7:30: Peterborough Singers. Handel's
Messiah. Shannon McCracken, soprano; Daniel
Taylor, countertenor; Benjamin Butterfield,
tenor; Geoffrey Sirett, baritone; Ian Sadler,
organ; Paul Otway, trumpet. Emannuel
United Church, 534 George St. N., Peterborough.
705-745-1820. $35; $25(30 and under);
$15(st).
Tuesday December 18
●●5:00: Elora Singers. Festival of Carols.
St. John’s Anglican Church (Elora),
36 Henderson St., Elora. 519-846-0331. $43.
Also Dec 18(7:30pm); 19(5pm & 7:30pm).
●●7:30: Elora Singers. Festival of Carols.
St. John’s Anglican Church (Elora),
36 Henderson St., Elora. 519-846-0331. $43.
Also Dec 18(5pm); 19(5pm & 7:30pm).
●●8:00: National Arts Centre. Sultans of
wholenote_2018_Layout 1 18-11-20 10:05 AM Page 1
Syd Birrell & the 100 Voices of the
Mon., Dec. 17, 2018
7:30 pm
Emmanuel United Church
peterboroughsingers.com
Messiah
Handel’s
Featuring:
Soprano: Shannon McCracken
Countertenor: Daniel Taylor
Tenor: Benjamin Butterfield
Baritone: Geoffrey Sirett
Organist: Ian Sadler
Trumpet: Paul Otway
String. Guests: Rebecca Campbell & Kellylee
Evans. National Arts Centre Studio Theatre,
1 Elgin St., Ottawa. 613-947-7000 or nac-cna./
en/event/19145. $45.75. Azrieli Studio.
Wednesday December 19
●●12:00 noon: Music at St. Andrews. Sarah
Svendsen, Organ and Rita Arendz, Horn.
St. Andrew’s Presbyterian Church (Barrie),
47 Owen St., Barrie. 705-726-1181. $10;
free(st).
●●12:15: St. Andrew’s Presbyterian Church
(Kitchener). Wednesday Noon-Hour Concerts.
Renaissance School of the Arts Flute
Choir; Wendy Wagler, conductor. 54 Queen St.
N., Kitchener. 226-647-1290. Free. Low-cost
lunches available in the foyer from 11:30 am
or bring your own.
●●5:00: Elora Singers. Festival of Carols.
St. John’s Anglican Church (Elora),
36 Henderson St., Elora. 519-846-0331. $43.
Also Dec 18(5 & 7:30pm); 19(7:30pm).
●●7:00: Gravenhurst Opera House. A Next
Generation Leahy Christmas. 295 Muskoka
Rd. S., Gravenhurst. 705-687-5550. $40;
$15(child).
●●7:30: Elora Singers. Festival of Carols.
St. John’s Anglican Church (Elora),
36 Henderson St., Elora. 519-846-0331. $43.
Also Dec 18(5 & 7:30pm); 19(5pm).
Thursday December 20
●●12:15: St. George’s Cathedral. Advent Concert.
St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-548-4617. Free.
Voluntary offering collected.
●●4:00: Gallery Players of Niagara. Glissandi
& Guy Bannerman - A Celtic Solstice.
Guy Bannerman, narrator; Deborah Braun,
harp; David Braun, violin; Douglas Miller, flute;
Nick Braun, percussion. Silver Spire United
Church, 366 St. Paul St., St. Catharines. 905-
468-1525. $39; $36(sr); $14(st/arts worker);
$80(family). Also Dec 21, 7:30 pm.
Friday December 21
●●7:30: Gallery Players of Niagara. Glissandi
& Guy Bannerman - A Celtic Solstice. Guy
Bannerman, narrator; Deborah Braun, harp;
David Braun, violin; Douglas Miller, flute; Nick
Braun, percussion. Grace United Church,
Niagara-on-the-Lake. 905-468-1525. $39;
$36(sr); $14(st/arts worker); $80(family).
Also Dec 20, 4 pm.
Saturday December 22
●●7:30: Guelph Chamber Choir. Messiah.
Handel. Meredith Hall, soprano; Jennifer
Enns-Modolo, alto; Colin Ainsworth, tenor;
Bruce Kelly, bass; Musica Viva Orchestra on
period instruments; Gerald Neufeld, guest
conductor. River Run Centre, 35 Woolwich
St., Guelph. 519-763-3000. $40(4 for $35);
$10(under 30); $5(under 14).
●●7:30: Melissa-Marie Shriner. Songs of
Christmas. Favourite holiday classics from A
Christmas Love Song CD; carol sing-along.
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 905-688-0722. $25.
Also a visit from the Man in Red himself.
●●8:00: Night Kitchen Too. In Concert.
Invited musicians, poets and spoken word
artists. Pinnacle Playhouse, 256 Pinnacle St.,
Belleville. 613-295-9115 or 613-849-1976. $10.
Sunday December 23
●●4:00: St. George’s Cathedral. Christmas
Lessons and Carols. Works by Willcocks,
Rowbotham, Carter, Anderson, Joubert,
and others. St. George’s Cathedral (Kingston),
270 King St. E., Kingston. 613-548-4617.
Freewill offering will be received. Religious
service.
Sunday December 30
1.855.872.5000
salutetovienna.com/hamilton
Sun., Dec. 30 • 2:30 pm
FirstOntario Concert Hall
●●2:30: Attila Glatz Concert Productions.
Salute to Vienna New Year’s Concert. European
Singers, Ballroom Dancers and Ballet.
Waltzes, polkas and operetta excerpts. Hege
Gustava Tjønn, soprano (Vienna); Gergely
Boncsér, tenor (Budapest); Europaballett
St.Pölten (Austria); Strauss Symphony
of Canada; Peter Guth, conductor (Vienna).
FirstOntario Concert Hall, 1 Summers Ln.,
Hamilton. 1-855-872-5000. Starting at $40.
Also Jan 1 (Toronto).
Monday December 31
●●8:30: Sugar Ridge Retreat Centre.
David Hickey with Crystal Journey. Instruments
include crystal bowls, paiste planet
gongs, Persian santoors and harmonica.
5720 Forgets Road, Wyebridge. 1-866-609-
1793. $35; $60(both Dec 31 and Jan 1 concert).
Dec 31 dinner/concert package $70
(dinner 6 pm). Limited availability.
Tuesday January 1
●●1:30: Sugar Ridge Retreat Centre.
David Hickey with Crystal Journey. Instruments
include crystal bowls, paiste planet
gongs, Persian santoors and harmonica.
5720 Forgets Road, Wyebridge. 1-866-609-
1793. $35; $60(both Dec 31 and Jan 1 concert).
Jan 1 lunch/concert package $55 (lunch
12:30 pm). Limited availability.
Wednesday January 2
●●12:00 noon: Midday Music with Shigeru.
Michael Adamson, Violin and Philip Adamson,
Piano. Hi-Way Pentecostal Church, 50 Anne
St. N., Barrie. 705-726-1181. $10; free(st).
Thursday January 10
● ● 2:30: Seniors Serenade. Mike Lewis Plays
His “G” List. Songs beginning with “G”. Bethel
Community Church, 128 St. Vincent Street,
Barrie. 705-726-1181. Free.
68 | December 1, 2018 – February 7, 2019 thewholenote.com

Friday January 11
●●12:30: Don Wright Faculty of Music. Fridays
at 12:30 Concert Series. Frauke Jürgensen,
soprano; Ralph Stelzenmüller, piano. Von
Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-
3767. Free.
●●8:00: Kitchener-Waterloo Symphony. Carmen:
Opera in Concert. Music by Georges
Bizet. Laurier Singers & Alumni Choir; Grand
Philharmonic Children’s Chorus; Lucia Cervoni,
mezzo; Ernesto Ramirez, tenor; Alexander
Dobson, baritone; Daniel Isengart, host
& director; Andrei Feher, conductor; and
others. Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$31-$90. Also Jan 12.
Saturday January 12
●●12:00 noon: Don Wright Faculty of Music.
Maritsa Brookes Concerto Competition -
Final Round. Von Kuster Hall, Music Building,
Western University, 1151 Richmond St. N., London.
519-661-3767. Free.
●●8:00: Kitchener-Waterloo Symphony. Carmen:
Opera in Concert. Music by Georges
Bizet. Laurier Singers & Alumni Choir; Grand
Philharmonic Children’s Chorus; Lucia Cervoni,
mezzo; Ernesto Ramirez, tenor; Alexander
Dobson, baritone; Daniel Isengart, host
& director; Andrei Feher, conductor; and
others. Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$31-$90. Also Jan 11.
Sunday January 13
●●2:30: Georgian Music. Return of Duo Turgeon.
Gershwin: Porgy and Bess Fantasy; and
works by Rachmaninoff, Ravel and Dvořák.
Edward and Anne-Louise Turgeon, piano duo.
Bethel Community Church, 128 St. Vincent
Street, Barrie. 705-726-1181. $65.
Sunday April 24, 7:30 pm
MICHAEL
PEPA’S
80th BIRTHDAY CONCERT
SUNDAY JANUARY 13, 3pm
Cobourg
canadiansinfonietta.com
●●3:00: Canadian Sinfonietta. Celebrating
Michael Pepa’s 80th Birthday. Victoria Hall,
Cobourg, 55 King Street W., Cobourg. 905-
372-2210. $30.
Wednesday January 16
● ● 8:00: Kitchener-Waterloo Chamber
Music Society. Benedicte Lauziere, violin and
Angela Park, piano. Mozart: Violin Sonata
K45; Korngold: Garden Scene from Much
Ado About Nothing Suite; Beethoven: Violin
Sonata No. 7 in c. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$35; $20(st).
Thursday January 17
●●12:00 noon: Music at St. Andrews. Christopher
Dawes, Organ. St. Andrew’s Presbyterian
Church (Barrie), 47 Owen St., Barrie.
705-726-1181. $10; free(st).
●●7:00: Magisterra Soloists. Recovered
Voices. Music of the Holocaust. Works by Ullmann,
Gal, Weinberg, Zemlinsky and Hindemith.
Museum London Theatre, 421 Ridout
St. N., London. 519-661-0333. $30; $25(sr);
$15(st); $10(child).
●●8:00: Don Wright Faculty of Music. Early
Music Studio. Featuring Tafelmusik members
Patricia Ahern, violin and Felix Deak, cello.
Von Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-
661-3767. Free.
Friday January 18
●●12:30: Don Wright Faculty of Music. Fridays
at 12:30 Concert Series. Patricia Ahern,
violin; Felix Deak, cello; Joseph Lanza, violin.
Von Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-
661-3767. Free.
Saturday January 19
●●2:00: Don Wright Faculty of Music. Faculty
Concert. Leslie Kinton, piano. Von Kuster
Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-3767.
Free.
●●7:30: Hamilton Philharmonic Orchestra.
Glorious Bach. Bach: Concerto for Violin;
Orchestral Suite No.3; Selections from
The Well-Tempered Clavier; and more. Stephen
Sitarski, violin; Lance Ouellette, violin;
Ivars Taurins, conductor. FirstOntario Concert
Hall, 1 Summers Ln., Hamilton. 905-526-
7756. $10-$71.
●●7:30: Niagara Symphony Orchestra. Happy
Birthday, Wolfgang! Mozart: Symphony
No.35 in D “Haffner” K385; Mozart: Flute
Concerto No.1 in G K313; Mozart: Symphony
No.39 in E-flat K543. Doug Miller, flute; Bradley
Thachuk, conductor. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 905-688-0722. $69; $64(sr);
$12(st/child); $33(30 and under); $20(arts
worker); $5(EyeGO). Also Jan 20(mat).
●●8:00: Night Kitchen Too. In Concert.
Invited musicians, poets and spoken word
artists. Pinnacle Playhouse, 256 Pinnacle St.,
Belleville. 613-295-9115 or 613-849-1976. $10.
Sunday January 20
●●2:30: Isabel Bader Centre for the Performing
Arts. The Soloists: Seong-Jin Cho,
Piano. Mussorgsky: Pictures at an Exhibition;
and works by Schubert and Debussy.
390 King St. W., Kingston. 613-533-2424. $40-
$58; $37-$55(faculty/staff); $19-$29(st).
●●2:30: Niagara Symphony Orchestra.
Happy Birthday, Wolfgang! Mozart: Symphony
No.35 in D “Haffner” K385; Mozart:
Flute Concerto No.1 in G K313; Mozart: Symphony
No.39 in E-flat K543. Doug Miller, flute;
Bradley Thachuk, conductor. Cairns Hall,
FirstOntario Performing Arts Centre, 250 St.
Paul St., St. Catharines. 905-688-0722. $69;
$64(sr);$12(st/child); $33(30 and under);
$20(arts worker); $5(EyeGO). Also Jan 19.
●●3:00: Don Wright Faculty of Music. Faculty
Concert Series: The Last Parting Kiss. Chamber
music for voice, piano and woodwinds.
Von Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-
661-3767. Free.
●●3:00: Opera by Request. Mozart’s Don Giovanni.
Norman E. Brown, baritone (Don Giovanni);
John Holland, baritone (Leporello);
Alexandra Leblanc, soprano (Donna Anna);
Deena Nicklefork, soprano (Donna Elvia);
George Ossipov, bass-baritone (Masetto/
Commedatore); William Shookhoff, music director
and pianist, and others. St. Matthews
United Church, 25 Holloway St., Belleville.
416-455-2365. $20. In concert with piano
accompaniment.
●●4:00: FirstOntario Performing Arts Centre.
Hear! Here! Niagara Music Series. The
Mark Lalama Trio; Susan Aglukark; Gary Borden.
250 St. Paul St., St. Catharines. 905-
688-0722 or 1-855-515-0722. $35.
●●4:00: Folk Under The Clock. Harry
Manx. Market Hall Performing Arts Centre,
140 Charlotte St., Peterborough. 705-749-
1146. $45.
●●4:30: Music at St. Thomas’. An Organ
Recital: A Musical Journey of Germany.
Works by Mendelssohn, Reger, Merkel and
Bach. Matthieu Latreille, organ. St. Thomas’
Anglican Church (Belleville), 201 Church St.,
Belleville. 613-962-3636. By donation.
●●7:30: Cuckoo’s Nest Folk Club. The Marigolds.
Chaucer’s Pub, 122 Carling St., London.
519-319-5847. $25/$20(adv).
Tuesday January 22
●●7:30: Kitchener-Waterloo Symphony. KW
Glee. Steve Lehmann, KW Glee producer and
music director; Armanda Kind, KW Glee artistic
director; Trevor Wagler, conductor. Centre
in the Square, 101 Queen St. N., Kitchener.
519-745-4711 or 1-888-745-4717. $36.50. Also
Jan 23.
Wednesday January 23
●●7:00: Kitchener-Waterloo Symphony. KW
Glee. Steve Lehmann, KW Glee producer and
music director; Armanda Kind, KW Glee artistic
director; Trevor Wagler, conductor. Centre
in the Square, 101 Queen St. N., Kitchener. 519-
745-4711 or 1-888-745-4717. $36.50. Also Jan 22.
●●7:30: FirstOntario Performing Arts Centre.
Canadian Jazz All-Stars. Guido Basso;
Heather Bambrick, Mike Murley, Robi Botos;
Dave Young; Davide Direnzo. 250 St. Paul
St., St. Catharines. 905-688-0722. $45;
$39(member); $25(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Peter Vinograde, piano. Bach: Toccatas
for Keyboard; Arensky: Trio No.1. Marcus
Scholtes, violin; Miriam Stewart-Kroeker,
cello. KWCMS Music Room, 57 Young St. W.,
Waterloo. 519-886-1673. $35; $20(st).
Thursday January 24
●●8:00: Don Wright Faculty of Music.
Fred Pattison Piano Award Competition
2018 Winner’s Recital. Elizabeth Vogel, piano.
Von Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-
661-3767. Free.
Friday January 25
●●12:30: Don Wright Faculty of Music. Fridays
at 12:30 Concert Series. Chiharu
thewholenote.com December 1, 2018 – February 7, 2019 | 69

Iinuma, piano; Thomas Wiebe, cello. Von
Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-
3767. Free.
●●8:00: Don Wright Faculty of Music. Opera
at Western: Le nozze di Figaro. Tyrone Paterson,
music director; Theodore Baerg, stage
director. Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond
St. N., London. 519-661-3767 or 519-672-
8800. $35/$30(adv); $25/$20(st/adv). Also
Jan 26(2pm), Feb 1, 2(2pm), 3(2pm).
●●8:00: Don Wright Faculty of Music. Fred
Pattison Piano Award Competition 2019 -
Final Round. Von Kuster Hall, Music Building,
Western University, 1151 Richmond St. N., London.
519-661-3767. Free.
●●8:00: Kitchener-Waterloo Symphony.
The Music of ABBA. Alexander Cannon, conductor.
Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$32-$93. Also Jan 26.
Saturday January 26
●●2:00: Don Wright Faculty of Music. Opera
at Western: Le nozze di Figaro. Tyrone Paterson,
music director; Theodore Baerg, stage
director. Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond St.
N., London. 519-661-3767 or 519-672-8800.
$35/$30(adv); $25/$20(st/adv). Also Jan 25,
Feb 1, 2(2pm), 3(2pm).
●●7:30: Barrie Concerts. Sinfonia Toronto.
Mendelssohn: Piano Concerto No.2; works
by Mozart and others. Sofya Melikyan, piano;
Nurhan Arman, conductor. Hi-Way Pentecostal
Church, 50 Anne St. N., Barrie. 705-
726-1181. $85.
●●7:30: Don Wright Faculty of Music. Guest
Artist Recital. Yael Weiss, piano. Von Kuster
Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-3767.
Free.
●●8:00: Kitchener-Waterloo Symphony.
The Music of ABBA. Alexander Cannon, conductor.
Centre in the Square, 101 Queen St.
N., Kitchener. 519-745-4711 or 1-888-745-4717.
$32-$93. Also Jan 25.
Wednesday January 30
●●8:00: Kitchener-Waterloo Chamber Music
Society. Van Kuijk String Quartet. Haydn:
String Quartet Op.76 No. 5; Edith Canat
de Chizy: En noir et or; Schubert: Death &
the Maiden (No. 14). KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$35; $20(st).
Friday February 1
●●12:30: Don Wright Faculty of Music. Fridays
at 12:30 Concert Series. Jean Marchand,
piano; Brigitte Poulin, piano. Von
Kuster Hall, Music Building, Western University,
1151 Richmond St. N., London. 519-661-
3767. Free.
●●8:00: Don Wright Faculty of Music. Opera
at Western: Le nozze di Figaro. Tyrone Paterson,
music director; Theodore Baerg, stage
director. Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond St.
N., London. 519-661-3767 or 519-672-8800.
$35/$30(adv); $25/$20(st/adv). Also Jan 25,
26(2pm), Feb 2(2pm), 3(2pm).
●●8:00: Kitchener-Waterloo Chamber
Music Society. Annual Program by Composers/Improvisers
of WLU Faculty of Music.
B. Concerts Beyond the GTA
Christopher Austin, flute; Chris Clarke, harp;
Lindsay Walker, euphonium; Hayden Spence,
trombone; Nic Dennison, tuba. KWCMS Music
Room, 57 Young St. W., Waterloo. 519-886-
1673. $15; $10(st).
Saturday February 2
●●10:30am: Kitchener-Waterloo Symphony.
Footprints in the Snow. Doors open 30 minutes
before the concert for children and parents
to participate in music activities provided
by Music for Young Children. Barbara Croall,
storyteller, KWS Musicians. Waterloo Region
Museum, 10 Huron Rd., Kitchener. 519-745-
4711 or 1-888-745-4717. $13; $11(child). Also
Feb 9(Elmira); 16(Conrad Centre).
●●2:00: Don Wright Faculty of Music. Opera
at Western: Le nozze di Figaro. Tyrone Paterson,
music director; Theodore Baerg, stage
director. Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond St.
N., London. 519-661-3767 or 519-672-8800.
$35/$30(adv); $25/$20(st/adv). Also Jan 25,
26(2pm), Feb 1, 3(2pm).
●●3:00: Hamilton Philharmonic Orchestra.
Marz Homes Family Concert Experience:
Compose Yourself. Daniel Bartholomew-
Poyser, conductor. McIntyre Performing Arts
Centre, Mohawk College, 135 Fennell Ave. W.,
Hamilton. 905-526-7756. $10-$85. 11am: Preconcert
activities. Recommended for ages
4 and up.
●●7:30: Isabel Bader Centre for the Performing
Arts. The Kingston Connection:
Miss Emily and Friends. Emily Fennell, vocals.
390 King St. W., Kingston. 613-533-2424. $26-
$39; $22-$35(faculty/staff); $13-$19(st).
Classical
Roots
Guest: Stéphane Tétreault
February 2 at 7:30pm
●●7:30: Peterborough Symphony Orchestra.
Classical Roots. Tchaikovsky: Variations
on a Rococo Theme; Brahms: Symphony
No.2; Mozetich: Steps to Ecstasy. Stéphane
Tétreault, cello; Michael Newnham, conductor.
Showplace Performance Centre,
290 George St. N., Peterborough. 705-742-
7469. $20-$49; $10(st). 6:40: “Meet the Maestro”
pre-concert chat.
●●7:30: Windsor Classic Chorale. With
Hearts Ablaze: Reflections on Love. Louie:
Love Songs for a Small Planet; Britten: Five
Flower Songs; Henderson: Shades of Love;
McDowall: A Fancy of Folksongs. Amy Ley,
harp. All Saints Anglican Church (Windsor),
330 City Hall Square W., Windsor. 519-567-
7407. $25/$20(adv).
Sunday February 3
●●2:00: Chamber Music Hamilton. Parker
Quartet. Shostakovich: Two String Quartet
Pieces; Janáček: String Quartet No.1 “Kreutzer
Sonata”; Brahms: String Sextet No.2 in G
Op.36. Parker Quartet; Michael Schulte, violin;
David Hetherington, cello. Art Gallery of Hamilton,
123 King St. W., Hamilton. 905-719-6457.
$35; $30(sr); $15(st).
●●2:00: Don Wright Faculty of Music. Opera
at Western: Le nozze di Figaro. Tyrone Paterson,
music director; Theodore Baerg, stage
director. Paul Davenport Theatre, Talbot College,
Western University, 1151 Richmond St.
N., London. 519-661-3767 or 519-672-8800.
$35/$30(adv); $25/$20(st/adv). Also Jan 25,
26(2pm), Feb 1, 2(2pm).
●●2:30: Niagara Symphony Orchestra.
Game On! Richardson-Schulte: The Hockey
Sweater; Reineke: Casey at the Bat. Bradley
Thachuk, conductor. Cairns Hall, FirstOntario
Performing Arts Centre, 250 St. Paul St.,
St. Catharines. 905-688-0722. $33; $12(st/
child); $20(arts worker); $5(EyeGO).
Monday February 4
●●8:00: Don Wright Faculty of Music. Early
Music Studio. Von Kuster Hall, Music Building,
Western University, 1151 Richmond St. N., London.
519-661-3767. Free.
Wednesday February 6
●●12:00 noon: Midday Music with Shigeru.
Odin String Quartet. Brahms: Piano Quintet.
Alex Toskov & Tanya Charles, violins;
Laurence Schaufele, viola; Samuel Bisson,
cello; Talisa Black, piano. Hi-Way Pentecostal
C. Music Theatre
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.
●●Attila Glatz Concert Productions. Salute to
Vienna New Year’s Concert. FirstOntario Concert
Hall, 1 Summers Ln., Hamilton. 1-855-
872-5000. Starting at $40. Dec 30, 2:30pm.
Also Jan 1 (Toronto).
●●Attila Glatz Concert Productions. Bravissimo!
Opera’s Greatest Hits. Roy Thomson
Hall, 60 Simcoe St. 416- 872-4255. Starting at
$55. Dec 31, 7pm.
●●Attila Glatz Concert Productions. Salute
to Vienna New Year’s Concert. Roy Thomson
Hall, 60 Simcoe St. 416-872-4255. Starting at
$65. Jan 1, 2:30pm. Also Dec 30 (Hamilton).
●●Brampton Music Theatre. Mary Poppins
Jr. Music and lyrics by Richard M. Sherman
and Robert B. Sherman, with George Stiles
and Anthony Drewe, book by Julian Fellowes.
Lester B. Pearson Theatre, 150 Central Park
Dr, Brampton. 905-874-2800. $15; $13(sr/st).
Opens Dec 7, 7pm. Also Dec 8(4pm,7pm).
●●Canadian Opera Company. Opera for
Young Audiences: WOW Factor - A Cinderella
Story. Music by Gioachino Rossini, libretto by
Joel Ivany, musical adaptation by Stéphane
Mayer. Members of the Canadian Opera Company
Ensemble Studio. Imperial Oil Opera
Theatre, 227 Front St. E. 416-363-8231. $40;
free(under 12). Opens Dec 1, 11am. Also
Dec 1(2pm), 2(11am & 2pm).
Church, 50 Anne St. N., Barrie. 705-726-1181.
$10; free(st).
●●8:00: Kitchener-Waterloo Chamber Music
Society. Liszt: Transcendental Études. Steven
Vanhauwaert, piano. KWCMS Music Room,
57 Young St. W., Waterloo. 519-886-1673.
$35; $20(st).
Thursday February 7
●●7:30: FirstOntario Performing Arts Centre.
Alicia Svigals: The Yellow Ticket. Live
score for a screening of the 1918 silent film
The Yellow Ticket featuring Pola Negri. Alicia
Svigals, composer/violin; Marilyn Lerner,
piano. 250 St. Paul St., St. Catharines. 905-
688-0722. $35; $30(member); $25(st).
●●Canadian Opera Company. Vocal Series:
Wirth Vocal Prize In Recital. Anna-Sophie
Neher, soprano; Magdalena von Eccher,
piano. Richard Bradshaw Amphitheatre, Four
Seasons Centre for the Performing Arts,
145 Queen St. W. 416-363-8231. Free. Dec 4,
12pm.
●●Canadian Opera Company. Vocal Series:
AtG Retro. Against the Grain Theatre. Richard
Bradshaw Amphitheatre, Four Seasons Centre
for the Performing Arts, 145 Queen St. W.
416-363-8231. Free. Dec 11, 12pm.
●●Canadian Opera Company. Vocal/Chamber
Music Series: Meet the Academy: Opera
through the Ages. Artists of the COC Orchestra
Academy and Ensemble Studio. Richard
Bradshaw Amphitheatre, Four Seasons Centre
for the Performing Arts, 145 Queen St. W.
416-363-8231. Free. Jan 22, 12pm.
●●Canadian Opera Company. Elektra. Music
by Richard Strauss, libretto by Hugo von Hofmannsthal.
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
$35-$250. Opens Jan 26, 7:30pm. Runs to
Feb 22. Days and times vary; visit coc.ca for
details.
●●Canadian Opera Company. Vocal Series:
Homage to McCormack and Kreisler. Michael
Schade, tenor; Marie Bérard, violin; Michael
70 | December 1, 2018 – February 7, 2019 thewholenote.com

C. Music Theatre
Shannon, piano. Richard Bradshaw Amphitheatre,
Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-8231.
Free. Jan 29, 12pm.
●●Canadian Opera Company. Così fan tutte.
Music by Wolfgang Amadeus Mozart, libretto
by Lorenzo Da Ponte. Atom Agoyan, stage
director. Four Seasons Centre for the Performing
Arts, 145 Queen St. W. 416-363-
8231. $35-$250. Opens Feb 5, 7:30pm. Runs
to Feb 21. Days and times vary; visit coc.ca
for details.
●●Cathedral Bluffs Symphony Orchestra.
Night at the Opera. P.C. Ho Theatre, Chinese
Cultural Centre of Greater Toronto,
5183 Sheppard Ave. E., Scarborough.
416-879-5566. $35-$55; $30-$45(sr/st);
free(under 12). Dec 15, 8pm.
●●Civic Light Opera Company. Scrooge, the
Musical. Music, lyrics and book by Leslie Bricusse,
based on the film. Zion Cultural Centre,
1650 Finch Ave. E. 416-755-1717. $28.
Opens Dec 5, 7pm. Runs to Dec 16. Wed (7pm),
Thurs-Sat(8pm), Sun(2pm).
●●Danie Friesen. Blitzkrieg Cabaret. Dakota
Tavern, 249 Ossington Ave. 647-637-7491. $12.
Dec 29, 7pm.
●●Don Wright Faculty of Music. Opera at
Western: Le Nozze di Figaro. Music by Wolfgang
Amadeus Mozart, libretto by Lorenzo
Da Ponte. Paul Davenport Theatre, Talbot
College, Western University, 1151 Richmond
St. N., London. 519-661-3767. $35/$30(adv);
$25/$20(st/adv). Opens Jan 25, 8pm. Runs to
Feb 3. Fri(8pm), Sat/Sun(2pm).
●●Drayton Entertainment. Irving Berlin’s
Holiday Inn. Music and lyrics by Irving Berlin,
book by Gordon Greenberg and Chad Hodge,
based on the film. Hamilton Family Theatre
Cambridge, 46 Grand Ave. S., Cambridge.
1-855-372-9866. $27-$46. Opens Nov 22, 2pm.
Runs to Dec 30. Days and times vary. Visit
draytonentertainment.com for details.
●●Drayton Entertainment. Jack and the
Beanstalk: The Panto. Written by Caroline
Smith. St. Jacobs Country Playhouse,
40 Benjamin Rd. E., Waterloo. 1-855-372-
9866. $27-$46. Opens Nov 29, 2pm. Runs to
Dec 30. Days and times vary. Visit draytonentertainment.com
for details.
●●Dreamtheatre Productions. Dirty Rotten
Scoundrels. Music and lyrics by David Yazbek,
book by Jeffrey Lane, based on the film.
Michael Power/St. Joseph Secondary School,
105 Eringate Dr. dreamtheatreproductions.com.
$32; $20(sr/st). Opens Jan 24, 7:30pm. Runs
to Jan 26.
●●Hart House Theatre. Hair. Music by Galt
MacDermot, lyrics and book by Gerome Ragni
and James Rado. Hart House Theatre, 7 Hart
House Circle. 416-978-8849. $28; $17(sr);
$15(st). Opens Jan 18, 8pm. Runs to Feb 2.
Wed-Sat(8pm), Feb 2(2pm/8pm).
●●Kempenfelt Community Players. Shrek
the Musical. Music by Jeanine Tesori, lyrics
and book by David Lindsay-Abaire, based on
the film. Georgian Theatre, 1 Georgian Drive,
Georgian College Campus, Building C, Barrie.
705-739-4228. $22; $19(sr/st). Opens Feb 7,
8pm. Runs to Feb 17. Thurs-Sat(8pm), Sat/
Sun(2pm).
●●Kitchener-Waterloo Symphony. Carmen:
Opera in Concert. Music by Georges Bizet,
libretto by Henri Meilhac and Ludovic Halévy.
Centre in the Square, 101 Queen St. N., Kitchener.
1-888-745-4717. $31-$90. Jan 11, 8pm.
Also Jan 12.
●●Kitchener-Waterloo Symphony. KW Glee.
Centre in the Square, 101 Queen St. N., Kitchener.
519-745-4711 or 1-888-745-4717. $36.50.
Jan 22, 7:30pm. Also Jan 23.
●●Lower Ossington Theatre. Once on This
Island. Music by Stephen Flaherty, lyrics and
book by Lynn Ahrens. Lower Ossington Theatre,
100A Ossington Ave. 1-888-324-6282.
$44.99-$54.99. Opens Dec 6, 7:30pm. Runs
to Mar 3. Thurs-Sat(7:30pm), Sat(3:30pm),
Sun(12pm/4pm).
●●Mainstage Theatre Company. The Secret
Garden. Music by Lucy Simon, lyrics and
book by Marsha Norman, based on the
novel. Papermill Theatre, Todmorden Mills,
67 Pottery Rd. 647-558-1819. $35; $20(st).
Opens Dec 14, 7:30pm. Runs to Dec 16. Fri/
Sat(7:30pm), Sat/Sun(2pm).
●●Mississauga Symphony Orchestra. La
Bohème. Music by Giacomo Puccini, libretto
by Luigi Illica and Giuseppe Giacosa. Living
Arts Centre, Hammerson Hall, 4141 Living
Arts Dr., Mississauga. 905-306-6000. $50-
$95. Feb 7, 8pm. Also Feb 9.
●●Mirvish. Come From Away. Music, lyrics
and book by Irene Sankoff and David Hein.
Royal Alexandra Theatre, 260 King St. W.
416-872-1212. $69 and up. Ongoing. Tues-
Sat(8pm), Wed(1:30pm), Sat/Sun(2pm).
●●Mirvish. Roald Dahl’s Charlie and the Chocolate
Factory. Music by Marc Shaiman, lyrics
by Shaiman and Scott Wittman, book by David
Greig, based on the book. Princess of Wales
Theatre, 300 King St. W. 416-872-1212. $59
and up. Opens Nov 20, 7:30pm. Runs to Jan 6.
Tues-Sat(7:30pm), Wed/Sat/Sun(1:30pm).
●●Mirvish. School of Rock. Music by Andrew
Lloyd Webber, lyrics by Glenn Slater, book
by Julian Fellowes. Ed Mirvish Theatre,
244 Victoria St. 416-872-1212. $25 and up.
Opens Nov 28, 7:30pm. Runs to Jan 6. Tues-
Sat(7:30pm), Wed/Sat/Sun(1:30pm). Note: no
show Dec 25/Jan 1.
●●Mirvish. The Simon and Garfunkel Story.
CAA Theatre, 651 Yonge St. 416-872-1212. $68-
$99. Opens Jan 17, 8pm. Runs to Jan 27. Tues-
Sat(8pm), Wed(1:30pm), Sat/Sun(2pm).
●●Musical Theatre Productions. The Wedding
Singer. Music by Matthew Sklar, lyrics
by Chad Beguelin, book by Beguelin and Tim
Herlihy, based on the film. McManus Stage at
the Grand Theatre, 471 Richmond St, London.
519-672-8800. $30. Opens Feb 1, 7:30pm.
Runs to Feb 9. Wed-Sat(7:30pm), Sat/
Sun(1:30pm).
●●National Ballet of Canada. The Nutcracker.
Music by Pyotr Ilyich Tchaikovsky, with
libretto by James Kudelka. James Kudelka,
choreographer. Four Seasons Centre for the
Performing Arts, 145 Queen St. W. 416-345-
9595. $45 and up. Opens Dec 8, 2pm. Runs to
Dec 30. Days and times vary. Visit national.
ballet.ca for details.
●●Opera by Request. Nabucco. Music by Giuseppe
Verdi, libretto by Temistocle Solera.
William Shookhoff, music director and pianist.
College St. United Church, 452 College
St. 416-455-2365. $20. In concert with piano
accompaniment. Jan 12, 7:30pm.
●●Opera by Request. Hansel and Gretel.
Music by Engelbert Humperdinck, libretto by
Adelheid Wette. College St. United Church,
452 College St. 416-455-2365. $20. Semistaged
with piano accompaniment. Jan 18,
7:30pm. Also Jan 20, 7pm, Woodbridge.
●●Opera by Request. Menotti’s The Telephone
and Donizetti’s Rita. College St. United
Church, 452 College St. 416-455-2365. $20.
Semi-staged with piano accompaniment.
Jan 19, 7:30pm.
●●Opera by Request. Don Giovanni. Music
by Wolfgang Amadeus Mozart, libretto by
Lorenzo Da Ponte. St. Matthews United
Church, 25 Holloway St., Belleville. 416-455-
2365. $20. In concert with piano accompaniment.
Jan 20, 3pm.
●●Opera by Request. Hansel and Gretel.
Music by Engelbert Humperdinck, libretto by
Adelheid Wette. St. Peter’s Roman Catholic
Church, 100 Bainbridge Ave., Woodbridge.
416-455-2365. $20. Semi-staged with piano
accompaniment. Jan 20, 7pm. Also Jan 18,
7:30 pm, Toronto.
●●Orangeville Music Theatre. Beauty and
the Beast. Music by Alan Menken, lyrics
by Howard Ashman and Tim Rice, book by
Linda Woolverton. Town Hall Opera House,
87 Broadway, Orangeville. 519-942-3423. $22;
$17(ch). Opens Jan 11, 8pm. Runs to Jan 20.
Fri(8pm), Sat(7pm), Sun(2pm).
●●Orangeville Music Theatre. Mary Poppins
Jr. Music and lyrics by Richard M. Sherman
and Robert B. Sherman, with George
Stiles and Anthony Drewe, book by Julian Fellowes.
Town Hall Opera House, 87 Broadway,
Orangeville. 519-942-3423. $20; $15(ch).
Opens Jan 25, 8pm. Also Jan 26(2pm, 7pm).
●●Port Hope Festival Theatre. King Arthur:
The Panto. Written, directed and visual effects
by Antonio Sarmiento. Cameco Capitol Arts
Centre, 20 Queen St., Port Hope. 1-800-434-
5092. $24-$39. Opens Nov 15, 7:30pm. Runs
to Dec 23. Days and times vary. Visit
capitoltheatre.com for details.
●●Randolph Academy. 9 to 5, the Musical.
Music and lyrics by Dolly Parton, book by
Patricia Resnick, based on the film. Annex
Theatre, 730 Bathurst St. 416-924-2243.
$22. Opens Nov 27, 8pm. Runs to Dec 1. Tues-
Sat(8pm), Sat(2pm).
●●Romulo Delgado. Opera Serenade. Romulo
Delgado, tenor; and guests. Old Mill
Toronto, 21 Old Mill Rd. 416-207-2020. $25.
Dec 13, 8pm.
●●Ross Petty Productions. The Wizard of Oz.
Tracey Flye, director/choreographer. Elgin
Theatre, 189 Yonge St. 1-855-599-9090.
$34-$107. Opens Nov 30, 7pm. Runs to Jan 5.
Days and times vary. Visit rosspetty.com for
details.
●●Scarborough Music Theatre. Next to Normal.
Music by Tom Kitt, lyrics and book by
Brian Yorkey. Scarborough Village Community
Centre, 3600 Kingston Rd. 416-267-9292.
$30; $27(sr/st). Opens Feb 7, 8pm. Runs to
Feb 23. Thurs-Sat(8pm), Sun(2pm). Note:
Feb 23 show at 2pm.
●●Shaw Festival. A Christmas Carol. Adapted
for the stage by Tim Carroll. Paul Sportelli,
music director. Royal George Theatre,
85 Queen St, Niagara on the Lake. 1-800-511-
7429. $35 and up. Opens Nov 14, 1pm. Runs to
Dec 23. Days and times vary. Visit
shawfest.com for details.
●●Soulpepper. Rose. Music by Mike Ross,
lyrics by Sarah Wilson. Young Centre for the
Performing Arts, 50 Tank House Lane. 416-
866-8666. $36-$97. Opens Jan 17, 7:30pm.
Runs to Feb 16. Days and times vary. Visit
soulpepper.ca for details.
●●St. Anne’s Music and Drama Society. The
JULY 22 - AUGUST 26, 2019 | HALIBURTON, ON, CANADA
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2019 Professional Consultants include Richard Margison (Operatic Tenor
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thewholenote.com December 1, 2018 – February 7, 2019 | 71

Pirates of Penzance. Music by Arthur Sullivan,
libretto by W. S. Gilbert. St. Anne’s Parish
Hall, 651 Dufferin St. 416-922-4415. $30;
$25(sr/st). Opens Jan 25, 7:30pm. Runs to
Feb 3. Thurs/Fri(7:30pm), Sat/Sun(2pm). Also
Jan 26(7:30pm).
●●Talk Is Free Theatre. Hedwig and the Angry
Inch. Music and lyrics by Stephen Trask, book
by John Cameron Mitchell. Five Points Theatre,
1 Dunlop St. W., Barrie. 705-792-1949. $40 and
up. Opens Nov 22, 7:30pm. Runs to Dec 1. Wed/
Thurs(7:30pm), Fri/Sat(8pm), Sat(2pm).
●●Theatre Ancaster. Chicago. Music by John
Kander, lyrics by Fred Ebb, book by Fred Ebb
and Bob Fosse. Ancaster High School, Theatre
Auditorium, 374 Jerseyville Rd., Ancaster.
905-304-7469. $37; $32(sr); $17(st).
Opens Nov 16, 8pm. Runs to Dec 1. Fri/
Sat(8pm), Sun(2pm).
●●Theatre Aurora. The Drowsy Chaperone.
Music and lyrics by Lisa Lambert and Greg Morrison,
book by Bob Martin and Don McKellar.
Theatre Aurora, 150 Henderson Dr, Aurora.
905-727-3669. $25; $23(sr at box office); $10(st
at box office). Opens Nov 29, 8pm. Runs to
Dec 8. Thurs-Sat(8pm), Sun(2pm).
●●Theatre Aquarius. Elf the Musical. Music and
lyrics by Matthew Sklar and Chad Beguelin,
book by Thomas Meehan and Bob Martin. Theatre
Aquarius, 190 King William St, Hamilton.
905-522-7529. $40 and up. Opens Nov 28,
7:30pm. Runs to Dec 24. Tues-Sat(7:30pm),
Sat/Sun(1pm). Note: also Dec 24, 1pm.
●●Theatre Passe Muraille/Tapestry Opera.
Hook Up. Music by Chris Thornborrow,
libretto by Julie Tepperman. Theatre Passe
Muraille Mainspace, 16 Ryerson Ave. 416-504-
7529. $38; $33(sr); $30(st). Opens Jan 29,
7:30pm. Runs to Feb 9. Tues-Sat(7:30pm),
Sun(2pm). Also Feb 9(2pm).
●●Theatre Sheridan. The Phantom of the
Opera. Music by Andrew Lloyd Webber, lyrics by
Charles Hart and Richard Stilgoe, book by Lloyd
Webber and Stilgoe. Macdonald-Heaslip Hall,
1430 Trafalgar Rd, Oakville. 905-815-4049. $35.
Opens Nov 27, 7:30pm. Runs to Dec 13. Days and
times vary. Visit sheridancollege.ca for details.
●●Theatre Sheridan. The Threepenny Opera.
Music by Kurt Weill, lyrics and book by Bertolt
Brecht, English adaptation by Marc Blitzstein.
C. Music Theatre
Studio Theatre, 1430 Trafalgar Rd, Oakville.
905-815-4049. $25. Opens Nov 29, 7:30pm.
Runs to Dec 9. Tues-Sat(7:30pm), Sat/
Sun(2pm). Note: no mat Dec 2.
●●Toronto Operetta Theatre. Die
Fledermaus. Music by Johann Strauss. St.
Lawrence Centre for the Arts, 27 Front St. E.
416-366-7723 or 1-800-708-6754. $45. Opens
Dec 28, 8pm. Runs to Jan 2. Days and times
vary, visit torontooperetta.com.
●●Torrent Productions. Cinderella: A Merry
Magical Pantomime. Royal Canadian Legion
#001, 243 Coxwell Ave. 1-800-838-3006.
$35; $25(ch). Opens Dec 21, 7pm. Runs to
Dec 30. Mon/Wed/Thurs/Sat/Sun(2pm),
Thurs-Sat(7pm).
●●Tweed and Company Theatre. A Tweed
and Company Christmas. St. John’s United
Church, 26 Spring St. E., Tweed.
tweedandcompany.com. $15. Dec 15, 7pm.
●●University of Toronto Faculty of Music.
New Music Festival: Opera Double Bill - The
Raven / The Maiden from the Sea (Futari Shizuka).
Music by Toshio Hosokawa. Walter
Hall, Edward Johnson Building, University of
Toronto, 80 Queen’s Park. 416-408-0208. $30;
$20(sr); $10(st); free(UofT st). Jan 17, 7:30pm.
●●University of Toronto Faculty of Music. U of T
Opera: Opera Student Composer Collective -
Who Killed Adriana? Sandra Horst, conductor;
Michael Patrick Albano, director. MacMillan
Theatre, Edward Johnson Building, 80 Queen’s
Park. 416-408-0208. Free. Jan 20, 2:30pm.
●●VOICEBOX: Opera in Concert. Fierabras.
Music by Franz Schubert, libretto by Joseph
Kupelwieser. St. Lawrence Centre for the
Arts, 27 Front St. E. 416-366-7723. $29; $50;
$65. Feb 3, 2:30pm.
●●William Lavigne. Jack and the Beanstalk.
Music and lyrics by William Lavigne. Telus
Centre, Temerty Theatre, 273 Bloor St. W.
416-408-0208. $20. Dec 8, 3pm.
●●Young People’s Theatre. Mary Poppins.
Music and lyrics by Richard M. Sherman and
Robert B. Sherman, with George Stiles and
Anthony Drewe, book by Julian Fellowes.
Young People’s Theatre, 165 Front St. E. 416-
862-2222. $10-$65. Opens Nov 5, 10:15am.
Runs to Jan 6. Days and times vary. Visit
youngpeoplestheatre.ca for details.
Featuring some of Toronto’s
best jazz musicians with
a brief reflection by
Jazz Vespers Clergy
Sunday, December 16 at 4:30pm
Ellington’s Nutcracker with
The Brian Barlow Big Band
Sunday, January 13 at 4:30pm
Tara Davidson Trio
Sunday, January 27 at 4:30pm
Tribute to J.J. Johnson
Featuring Kelsley Grant on trombone
Christ Church Deer Park, 1570 Yonge St.
(north of St. Clair at Heath St.)
Admission is free; donations are welcome.
416-920-5211
www.thereslifehere.org
Beat by Beat | Mainly Clubs, Mostly Jazz!
December Feast,
January Famine?
COLIN STORY
The holiday season in Toronto – which begins, at least in some
major retail stores, as early as November 1 – carries with it
different meanings for different people. For some, of course, it is
still primarily a religious occasion; for others, it is a chance to spend
at least one morning drinking excessive amounts of rum and eggnog
before having a recuperative nap on a disappointed family member’s
couch. What tends to remain constant in our shared experience of
December and early January is a celebration of community and a
desire to enjoy, at least briefly, a sensation of abundance and plenty.
For live music fans in Southern Ontario, this will not be difficult to
achieve: December is one of the most exciting months of the year to
hit the town and take in a show. This is true whether you enjoy the
great canon of Christmas songs (they’re fun, and they’re basically just
standards) or not (they’re “fun,” and they’re basically just standards);
the true gift that December brings us is the sheer volume of excellent
and unusual programming, much of which is not explicitly holidaythemed.
So, while there will be plenty of opportunities to hear songs
about inclement weather, precocious reindeer, and bearded paternalistic
wizards who watch you while you sleep, there will also be
an ample supply of non-holiday music to check out in a wide variety
of venues.
The Bistro: To begin: there are, of course, some really top-notch
holiday shows taking place in December. On Saturday December 22,
the pianists Robi Botos and Hilario Durán perform holiday classics,
standards and more at Jazz Bistro, in what has become an annual tradition.
It is rare enough to hear two pianists perform together, and rarer
still to hear two pianists of Botos and Duran’s calibre in a club setting.
Other holiday offerings from Jazz Bistro include Sam Broverman’s A
Jewish Boy’s Christmas album release show, on Sunday December 16,
and the Robert Scott Trio playing music from A Charlie Brown
Christmas, on Tuesday December 18. Outside of the GTA, The
Woodhouse performs at The Jazz Room in Waterloo with the help of
singer Barbra Lica, who has joined the band in previous years for their
annual run of holiday shows.
Bernice: Another notable holiday event: Bernice, the dreamy, synthy
indie project led by singer Robin Dann, will play at Lula Lounge
on December 16 as part of Venus Fest’s Winter Market, which celebrates
women and non-binary artists and entrepreneurs. The market
runs throughout the day, with performances from Bernice and the
group Kith & Kin to be followed by winter bingo, hosted by the singer
Alex Samaras.
The Rex: The Rex’s December lineup is perhaps its most exciting
since June, when it hosted the co-curated TD Toronto Jazz Festival
concert series, due in no small part to the fact that some of the same
artists are back, including the pianist Geoffrey Keezer and the duo,
Paris Monster. Keezer – an alumnus of bands led by Benny Golson,
Ray Brown and Art Blakey, in the final iteration of the fabled Jazz
Messengers group – is both virtuosic and communicative, and has
tremendous access to the jazz piano tradition. His performance, which
takes place on Sunday December 16, will feature the singer Gillian
Margot, who sung on Keezer’s recent trio album On My Way To You,
and the drummer Jon Wikan, a longtime Keezer collaborator.
When Paris Monster played at The Rex in June, their performance
became one of the most talked-about breakout shows of the whole
jazz festival, in part because of how surprising it was that such a full
band sound could be produced by just two people. The duo consists
of Josh Dion, who simultaneously plays drums, keyboards, and sings,
72 | December 1, 2018 – February 7, 2019 thewholenote.com

Kirk MacDonald
and the bassist Geoff
Kraly, whose effectsheavy
playing fills
out the middle in a
way that has more in
common with shoegaze-inspired
electric
guitar playing than it
does with traditional
electric bass playing.
(Dion often plays bass
lines on his keyboard.)
Beyond their unique
performance practice,
however, it’s the music
itself – a combination
of rock, synthpop,
and jazz fusion – that
is at the heart of Paris
Monster’s compelling
project. Paris Monster
plays two consecutive
nights at The Rex, on
December 8 and 9.
The Rex will also be hosting a different two-night residency,
on December 19 and 20, as Kirk MacDonald, one of Canada’s
pre-eminent saxophonists, celebrates the release of his album
Generations, his 15th as a bandleader. Generations features
MacDonald’s contemporaries Neil Swainson and André White, as
well as the American pianist Harold Mabern, who, at 82-years-old, is
one of jazz’s prominent elder statesmen, and the clarinetist Virginia
MacDonald, who, at 23, represents the next generation of jazz both
figuratively and literally. (Kirk MacDonald is her father.)
Virginia MacDonald, who is becoming an important presence on
the Toronto jazz scene in her own right, will also be playing at The
Rex on December 18, one evening before joining her father for his
two-night stint. She is joined by the bassist Dan Fortin and, keeping
the family theme intact, by the siblings Lucas Dann and Nico Dann, a
pianist and drummer (respectively) who share a sister in Robin Dann,
the aforementioned singer in the group Bernice.
Burdock: While December is typically one of the best months of
the year in which to see live music, January is one of the worst, for a
variety of reasons. There is usually an expectation that people don’t go
out as much, both for reasons financial (it’s time to start paying down
that credit card) and caloric (those resolutions won’t keep themselves).
The success of Burdock’s annual Piano Fest, however, has
given both artists and audiences a reason to get back into the swing
of things following the holidays. Taking place from January 21 to 28,
this eight-day festival sees the temporary installation of a baby grand
piano in Burdock’s Music Hall and, traditionally, double bills featuring
complementary acts. Past performers include Joanna Majoko, Chelsey
Bennett, Michelle Willis, Jeremy Dutcher and Tim Baker, amongst
many others. While the full schedule has not yet been released, check
out Burdock’s website for full listings when they become available.
MAINLY CLUBS, MOSTLY JAZZ QUICK PICKS
!!
DEC 18, 9:30PM: Virginia MacDonald, The Rex. The night before she joins her father
Kirk MacDonald on the same stage for his album release show, clarinetist Virginia
MacDonald leads her own accomplished quartet at The Rex.
!!
DEC 16, 8PM: Venus Fest presents Bernice with Kith & Kin, Lula Lounge. As part of
Venus Fest’s Winter Market, watch Kith & Kin perform before a very special holiday set
by Bernice; followed by bingo.
!!
DEC 22, 9PM: Robi Botos and Hilario Durán, Jazz Bistro. Leading pianists Robi Botos
and Hilario Duran present a holiday-themed show in a rare configuration.
!!
JAN 21 TO 28: Various performers, Burdock Piano Fest. Burdock Music Hall.
Burdock presents its fourth-annual Piano Fest, featuring a variety of performers in
complementary double bills that make good use of a beautiful (and well-tuned) baby
grand piano.
Colin Story is a jazz guitarist, writer and teacher based in Toronto. He
can be reached at www.colinstory.com, on Instagram and on Twitter.
D. In the Clubs (Mostly Jazz)
120 Diner
120 Church St. 416-792-7725
120diner.com (full schedule)
All shows: PWYC ($10-$20 suggested)
Alleycatz
2409 Yonge St. 416-481-6865
alleycatz.ca
All shows: Call for cover charge info.
Mondays 8:30pm Salsa Night with DJ
Romantico with free lessons No cover before
10:00pm.
Tuesdays 8:30pm Bachata Night with Weekly
Guest DJ with free lessons Ladies free before
10:30pm.
Wednesdays 7pm Midtown Blues Jam hosted
by Andrew “Voodoo” Walters.
Thursdays 8pm Canadian Discovery Series.
Fri & Sat 9:30pm Funk, Soul, R&B Top 40 $10
cover after 9pm.
Sat 3pm-6pm Matinee Jazz.
Dec 1 Gyles Band. Dec 7 Lady Kane.
Dec 8 Soular. Dec 14 Lady Kane.
Dec 15 York Jazz Ensemble (matinee),
Sound Parade (evening). Dec 21 Parkside
Drive. Dec 22 Gyles Band. Dec 28 URequest
Band. Dec 29 Gyles Band. Dec 31 New
Year’s Party w/ Gyles Band. Jan 4 URequest
Band. Jan 5 Lady Kane. Jan 11 Blonde
Ambition. Jan 12 Soular. Jan 18 URequest
Band. Jan 19 Soular. Jan 25 Graffiti Park.
Jan 26 York Jazz Ensemble (matinee), Lady
Kane (evening).
Artword Artbar
15 Colbourne St., Hamilton. 905-543-8512
artword.net (full schedule)
The Blue Goose Tavern
1 Blue Goose St. 416-255-2442
thebluegoosetavern.com (full schedule)
Bloom
2315 Bloor St. W. 416-767-1315
bloomrestaurant.com (full schedule)
All shows 7pm 19+. Call for reservations.
Burdock
1184 Bloor St. W. 416-546-4033
burdockto.com
Ticket prices vary by show, but typically
$10-$20; check website for individual show
prices.
Dec 1 6:30pm Quirks, 9:30pm Big Lonely w/
Huttch, The Bandicoots. Dec 2 6:30pm Jesse
Parent w/ Lucas Stagg, 9pm On Healing – A
With/out Pretend Event. Dec 3 6:30pm Elliot
Maginot w/ LeRiche, 9:30pm The Hope State.
Dec 5 7:30pm Confabulation presents: Family,
9:30pm Eamon McGrath, Will Whitwham
& Joyful Joyful. Dec 6 6:30pm Ben Rosenblum
Trio feat. Sam Kirmayer, 9:30pm Jesse
Matas. Dec 7 6:30pm David Krystal. Dec 8
9pm Gabriel Kahane Dec 9 9:30pm LUKA &
Jenny Berkel. Dec 10 9:30pm MONEYPHONE
& Jonah Yano. Dec 12 9:30pm Vince Maccarone’s
Los Variants. Dec 13 9:30pm The Lesters
Holiday Show. Dec 14 9:30pm Jessica
Moss, Völur & Qarafa. Dec 15 6:30pm Dumb
Angel & Special Guests. Dec 16 6:30pm Stewart
Legere & Kim Harris, 9:30pm Stefan
Hegerat Album Release w/ Laura Swankey
& Karen Ng. Dec 17 9:30pm The Old Salts.
Dec 18 9:30pm Construction & Destruction /
Steven Lambke. Dec 21 6:30pm Clara Engel,
9:30pm Debi Botos Quintet. Dec 22 6:30pm
Braden Lam & Brooklyn Doran, 9:30pm
ELJAY. Jan 11 6:30pm Shanika Maria. Jan 12
9:30pm Akage No Anne & TV SETS. Jan 13
9:30pm Naomi Froese. Jan 15 9:30pm Chelsea
and the Cityscape. Jan 23 6:30pm Alexandra
Stréliski.
Jan 21-28 Burdock Piano Fest 2019 – check
Burdock website for complete listings when
available.
Cameron House
408 Queen St. W. 416-703-0811
thecameron.com
Castro’s Lounge
2116 Queen St. E. 416-699-8272
castroslounge.com (full schedule)
All shows: No cover/PWYC
C’est What
67 Front St. E. (416) 867-9499
cestwhat.com (full schedule)
All concerts are PWYC unless otherwise
noted.
Dec 1 3pm Thelonious Hank, 9pm Jacques
Russell Trio. Dec 2 7pm Chris Bjorkquist,
D.B. Buxton. Dec 7 9pm Big Rude Jake. Dec 8
3pm The Hot Five Jazzmakers, 9pm Julia
Tynes. Dec 9 7pm Kristin Lindell and Friends.
Dec 14 9pm Metronome Chomsky. Dec 15
3pm Victor Monsivais Trio, 9pm Richard Malouin.
Dec 22 3pm The Hot Five Jazzmakers,
9pm Jack Walker’s Festivus Miracle. Dec 29
3pm Thelonious Hank. Jan 5 3pm The Hot
Five Jazzmakers. Jan 12 9pm Julia Tynes.
Jan 13 7pm Bob Wegner. Jan 19 3pm The
Hot Five Jazzmakers. Jan 26 3pm The Boxcar
Boys. Jan 31 9pm Shikha Sehgal, Bernadette
Connors.
Emmet Ray, The
924 College St. 416-792-4497
theemmetray.com (full schedule)
All shows: No cover/PWYC
Grossman’s Tavern
379 Spadina Ave. 416-977-7000
grossmanstavern.com (full schedule)
All shows: No cover (unless otherwise noted).
Every Sat 4:30pm The Happy Pals Dixieland
thewholenote.com December 1, 2018 – February 7, 2019 | 73

Jazz Jam. Every Sun 4:30pm New Orleans
Connection All Star Band; 10pm Sunday Jam
with Bill Hedefine. Every Wed 10pm Action
Sound Band w/ Leo Valvassori.
Hirut Cafe and Restaurant
2050 Danforth Ave. 416-551-7560
hirut.ca
Every Sunday 3pm Hirut Sundays Open Mic.
First and Third Tuesday 8pm Fingerstyle Guitar
Association.
Dec 7 8pm Marty Harris Jazz Quintet.
Dec 13 8pm Uptown Jazz Swing Band.
Dec 14 8:30pm Jazz of the Americas w/ Don
Naduriak and Friends. Dec 15 8pm Andrea
Kuzmich presents: Holiday Spirit Cabaret.
Dec 20 8pm John Findlay Holiday Jazz &
Blues & Originals. Dec 22 8pm Bruce Cassidy
Jazz Trio. Dec 28 9pm Hirut Hoot Pre-New
Year’s Eve Comedy. Jan 10 8pm Bright Lit, Big
City. Jan 11 8:30pm Jazz of the Americas w/
Don Naduriak and friends. Jan 25 9pm Hirut
Hoot Comedy.
Home Smith Bar – See Old Mill, The
Hugh’s Room
2261 Dundas St. W 416 533 5483
hughsroom.com
All shows at 8:30pm unless otherwise noted.
See website for individual show prices.
Dec 1 Carlos del Junco. Dec 3 7:30pm
The Cherry Trees Band + Friends Fundraiser.
Dec 4 China Crisis. Dec 5 Dr. Draw.
Dec 6 The Milestones. Dec 6 The Mistletones.
Dec 7 The Arrogant Worms. Dec 8 Glendale
One. Dec 9 12:30pm Gospel Brunch – A
Whiteley Family Special. Dec 12 Songwriter
Sessions December. Dec 13 A Bluesy Christmas.
Dec 14 John Sheard’s British Invasion.
Dec 15 Ha-Ha Happy Holidays w/
Martha Chaves + Friends. Dec 16 1pm The
Ault Sisters. Dec 18 Quartette. Dec 20,
21 Craig Cardiff. Dec 22 A Very Tiki Christmas.
Dec 28 Don Ross. Dec 29 Suzie Vinnick.
Dec 30 Wintergarten Orchestra.
Dec 31 Diana Braithwaite + Chris Whiteley.
Jan 5 Rob Tardik. Jan 6 Martin Taylor. Jan 10,
11, 12, 13 The 15 th and Final Edition of “The Way
We Feel”: a Celebration of the Music of Gordon
Lightfoot. Jan 18 Dan Hill. Jan 19 Garnet
Rogers. Jan 25 Poor Angus. Jan 26, 27 Rik
Emmett & Dave Dunlop.
Jazz Bistro, The
251 Victoria St. 416-363-5299
jazzbistro.ca (full schedule)
Jazz Room, The
Located in the Huether Hotel, 59 King St. N.,
Waterloo. 226-476-1565
kwjazzroom.com (full schedule)
All shows: 8:30-11:30pm unless otherwise
indicated. Attendees must be 19+. Cover
charge varies (generally $12-$25)
Dec 1 Hilario Durán’s “Contumbao.”
Dec 7 Joni NehRita. Dec 8 John MacMurchy.
Dec 14 Sonja Gustafson. Dec 15 David Restivo
Quintet. Dec 16 Woodhouse + Barbra Lica.
Dec 21 The Tom Nagy Christmas Experience.
Dec 22 Jason White. Dec 28 Steve McDade
Sextet. Dec 29 Juliet Dunn.
Lula Lounge
1585 Dundas St. W. 416-588-0307
lula.ca (full schedule)
D. In the Clubs (Mostly Jazz)
Every Fri 7:30pm Afterwork Global Party
Series free before 8pm; Every Fri 10:30pm
Havana Club Fridays $15; Every Sat 10:30pm
Salsa Saturdays $15.
Dec 2 2:30pm Intensive Carolling – Benefit
for Sunnybrook’s Neonatal ICU, 6:30pm Greg
Stafford – New Orleans Stomp! Dec 9 6pm We
Sing For Their Supper. Dec 11 8pm Red Hot
Samba Night. Dec 12 6:30pm The Double Cuts
Western Swing Band Presents: Let Us Be
Frank. Dec 16 7pm Venus Fest Presents Bernice,
Kith & Kin, and Winter Bingo. Dec 19 7pm
Tongue in Cheek Productions Presents Verbotenlieder.
Dec 20 9pm Christmas Dance
Party – Nyssa w/ John Orpheus, Ice Cream
and Rapport. Dec 30 Gary Morgan and Pan-
Americana. Dec 31 6:30pm New Year’s Eve
Salsa Party w/ Salsa del Norte. Jan 24 7pm At
Last – A Tribute to Etta James.
Manhattans Pizza Bistro & Music Club
951 Gordon St., Guelph 519-767-2440
manhattans.ca (full schedule)
All shows: PWYC.
Every Tue Open Stage hosted by Paul and
Jamie.
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)
Every Wed 9 & 10:15pm Wednesday Concert
Series.
Monarch Tavern
12 Clinton St. 416-531-5833
themonarchtavern.com (full schedule)
Dec 4 8pm Belleville-Ville. Dec 5 8pm David
McFarlane. Dec 6 8pm Ava Luna w/ Carmen
Elle, Prince Ness. Dec 7 9pm Shade /// Brenda
// Vypers. Dec 8 8:30pm Fried Dough w/ Let
There Be Light, Autumn Stones + DJs. Dec 10
7:30pm Martin Loomer & His Orange Devils
Orchestra. Dec 13 Howlin’ Circus w/ Dorjee
Sounds, Mango Reinhardt. Dec 14 9pm Only
Yours & Friends Holiday Fundraiser. Dec 15
7pm Blowup – 24 th Annual Christmas Britpop
Ball. Dec 20 8:30pm After The Mountain,
Prancer, BUCK. Dec 21 9pm All Seeing Eyes
w/ Catl, Pat McCormack. Jan 1 8pm Belleville-
Ville. Jan 5 8pm Class of 2019: Orville Peck,
Gloin, Nikki Fierce, The Effens, Weak Hands.
Jan 14 7:30pm Martin Loomer & His Orange
Devils Orchestra.
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 The Jim Heineman Trio. Every Thur
8pm Nothin’ But the Blues with Joe Bowden.
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)
Live jazz and dinner, $45.00 per person. Dinner
from 6pm and music from 7pm to 9pm.
Dec 5 Farrucas Latino Duo. Jan 23 Zoé Chilco
Duo.
Old Mill, The
21 Old Mill Rd. 416-236-2641
oldmilltoronto.com (full schedule)
The Home Smith Bar: No reservations. No
cover. $20 food/drink minimum. All shows:
7:30-10:30pm unless otherwise listed.
Dec 1 Chris Wallace Quartet.
Dec 4 Gene DiNovi. Dec 5 Chris Gale Quartet.
Dec 6 Sophia Perlman and Adrean Farrugia.
Dec 7 Canadian Jazz Quartet & Chase Sanborn.
Dec 8 Brian Blain. Dec 13 Ben Dwyer
Trio. Dec 14 Jordana Talsky Trio. Dec 15 Dave
Caldwell Quartet. Dec 19 Dan McCarthy Quartet.
Dec 20 Richard Whiteman. Dec 21 Joanne
Morra Trio. Dec 22 Amy McConnell & William
Sperandei. Dec 31 Alex Pangman and her
Alleycats New Year’s Event.
Only Café, The
972 Danforth Ave. 416-463-7843
theonlycafe.com (full schedule)
Pilot Tavern, The
22 Cumberland Ave. 416-923-5716
thepilot.ca
All shows: 3pm. No cover.
Dec 1 Ernie Tollar Quartet. Dec 8 Doug Watson
Quintet. Dec 15 Sugar Daddies Sextet.
Dec 22 Adrean Farrugia Quintet. Dec 29 Nick
Morgan Quintet. Jan 5 John Pittman Quintet.
Jan 12 Frank Botos Quartet. Jan 19 The Hector
Quartet. Jan 26 Allison Au Quartet.
Poetry Jazz Café
224 Augusta Ave. 416-599-5299
poetryjazzcafe.com (full schedule)
Reposado Bar & Lounge
136 Ossington Ave. 416-532-6474
reposadobar.com (full schedule)
Reservoir Lounge, The
52 Wellington St. E. 416-955-0887
reservoirlounge.com (full schedule).
Every Tue & Sat, 8:45pm Tyler Yarema
and his Rhythm. Every Wed 9pm The Digs.
Every Thurs 9:45pm Stacey Kaniuk. Every
Fri 9:45pm Dee Dee and the Dirty Martinis.
Dec 31 New Year’s Eve w/ Tyler Yarema and
Janice Hagan.
Rex Hotel Jazz & Blues Bar, The
194 Queen St. W. 416-598-2475
therex.ca (full schedule)
Call for cover charge info.
Dec 1 12pm The Sinners Choir, 3:30pm Paul Reddick,
7pm Neon Eagle, 9:45pm Steve Koven’s
Project Rex. Dec 2 12pm Excelsior Dixieland
Jazz Band, 3:30pm Club Django, 7pm Whitney
Ross-Barris, 9:30pm Lerner / Filliano / Grassi.
Dec 3 6:30pm U of T Student Jazz Ensembles,
9:30pm Dave Restivo & Friends. Dec 4 6:30pm
John Hollenbeck’s “Claudia” Sextet, 9:30pm
Kandinsky Effect. Dec 5 6:30pm JV’s Bugaloo
Squad, 9:30pm Kandinsky Effect. Dec 6 6:30pm
Artie Roth Quartet, 9:30pm Barry Elmes Quintet.
Dec 7 4pm Hogtown Syncopators, 6:30pm
Laura Hubert Band, 9:30pm Barry Elmes Quintet.
Dec 8 12pm The Sinners Choir, 3:30pm
Swing Shift Big Band, 7pm Neon Eagle, 9:45pm
Paris Monster. Dec 9 12pm Excelsior Dixieland
Jazz Band, 3:30pm Red Hot Ramble, 7pm
Whitney Ross-Barris, 9:45pm Paris Monster.
Dec 10 6:30pm U of T Student Jazz Ensembles,
9:30pm Bob Rice’s Latin Jazz Big Band. Dec 11
6:30pm Chris Banks Trio, 9:30pm Joe Williams
100 th Anniversary: Blue Standard w/ All-Star
Big Band. Dec 12 6:30pm JV’s Bugaloo Squad,
9:30pm Big Smoke Brass. Dec 13 6:30pm Artie
Roth Quartet, 9:30pm Pete McCann Quartet.
Dec 14 4pm Hogtown Syncopators, 6:30pm
Peter Hill Quintet, 9:30pm Pete McCann Quartet.
Dec 15 12pm The Sinners Choir, 3:30pm
Jake Chisholm Group, 7pm Neon Eagle, 9:45pm
Pete Mills Quartet. Dec 16 12pm Excelsior Dixieland
Jazz Band, 3:30pm Buddy Aquilina Quintet,
7pm Groove Connection, 9:30pm Geoffrey
Keezer Trio. Dec 17 6:30pm Annual Be-Bop
Christmas Show, 9:30pm Norbert Botos Quintet.
Dec 18 6:30pm Chris Banks Trio, 9:30pm
Virginia MacDonald. Dec 19 6:30pm JV’s Bugaloo
Squad, 9:30pm Kirk MacDonald Quintet.
Dec 20 6:30pm Artie Roth Quartet, 9:30pm
Kirk MacDonald Quintet. Dec 21 4pm Hogtown
Syncopators, 6:30pm Laura Hubert Band,
9:45pm Bob Brough Quartet. Dec 22 12pm The
Sinners Choir, 3:30pm Jerome Godboo, 7pm
Justin Bacchus, 9:45pm Ferguson/Tremblay.
Dec 23 12pm Excelsior Dixieland Jazz Band,
3:30pm Dr. Nick, 7pm Whitney Ross-Barris,
9:30pm Jonathan Lindhorst. Dec 26 8pm A Very
Teehan & Juhas Holiday Extravaganza. Dec 27
6:30pm Artie Roth Quartet, 9:30pm Florian
Hoefner Trio. Dec 28 4pm Hogtown Syncopators,
6:30pm Laura Hubert Band, 9:45pm Dave
Young Quintet. Dec 29 12pm The Sinners Choir,
3:30pm George Lake Big Band, 7pm Neon Eagle,
9:45pm Alex Dean Quintet. Dec 30 12pm Excelsior
Dixieland Jazz Band, 3:30pm Need To Know,
7pm Whitney Ross-Barris, 9:30pm Three-Fifths
Baked. Dec 31 7pm Annual New Year’s Eve Funk
Bash w/ Grooveyard.
January 1-31: Dave Young w/ Terry Clarke,
Joanna Majoko, Matt Woroshyl, Robert Diack,
Vinnie Sperrazza, Anthony Fung Group, John
Raymond w/ Gilad Hekselman & Colin Stranahan,
and more (check The Rex website for
complete listings when available).
Salty Dog Bar & Grill, The
1980 Queen St. E. 416-849-5064
thesaltydog.ca (full schedule)
Every Tue 7-10pm Jazz Night. Every
Thu 8:30pm Karaoke. Every Fri 9:30pm
Blues Jam - house band with weekly featured
guest. Every Sat 3pm Salty Dog Saturday
Matinée.
Sauce on Danforth
1376 Danforth Ave. 647-748-1376
sauceondanforth.com
All shows: No cover.
Every Mon 9pm Gareth Parry’s Book Club.
Every Tue 6pm Julian Fauth. Every Wed Paul
Reddick & Friends. Every Thu 8pm Steve
Koven and Artie Roth. Sat and Sun Matinees
4pm various performers.
The Senator WineBar
249 Victoria St 416 364-7517
thesenator.com
All shows with $10 cover charge ($5 after
10pm arrival, free after 11pm arrival)
Dec 1 Alex Pangman. Dec 7 Julian Fauth.
Dec 8 Kevin Quain. Dec 14 Julian Fauth & Dr.
Nick. Dec 15 The Lesters.
Tranzac
292 Brunswick Ave. 416-923-8137
tranzac.org (full schedule)
3-4 shows daily, various styles, in four different
performance spaces. Mostly PWYC.
74 | December 1, 2018 – February 7, 2019 thewholenote.com

E. The ETCeteras
Competitions
●●Chinese Cultural Centre of Greater
Toronto. Piano & Violin Competition 2019.
Application deadline: Jan 21, 2019. Further
information and syllabus at
cccmusicfestival.com/Canada
●●Jan 16 7:00: University of Toronto &
Sparks / Wiry Cries / Women on the Verge.
SongSLAM, New Music Festival. SongSLAM is
a unique opportunity for emerging classical
music composer/performer teams to premiere
new art songs and compete for cash
prizes. For the first time in Canada, teams
will present a new song for voice and piano
in any language for the voting audience who
will vote for their favourites. Walter Hall, Faculty
of Music, University of Toronto 80 Queens
Pk. womenontheverge.ca/sparks-and-wirycries-songslam
for more info.
Film Screenings
●●Jan 20 1:00 & 4:30: Miles Nadal JCC. AKA
Doc Pomus. A documentary about Brooklynborn
Jerome Felder who fell victim to polio
as a child and grew up to become songwriter
Doc Pomus. He wrote countless classic hits
including, Save the Last Dance for Me, This
Magic Moment and Viva Las Vegas. A story
of an unforgettable man and his memorable
music. Special guest speaker: Director
William Hechter. Presented by The Toronto
Jewish Film Society. A co-presentation with
ReelAbilities Film Festival Toronto. The Al
Green Theatre, Miles Nadal JCC, 750 Spadina
Ave. Admission: $15 general admission, $10
young adult. 1:30pm tickets available on
Eventbrite. 4:30pm tickets available at the
door only. For more information 416-924-6211
x0 or visit mnjcc.org
●●Jan 29 6:30: Royal Conservatory of Music.
Let Freedom Sing: How Music Inspired the
Civil Rights Movement (2009). A showcase
of the power and influence of music, this
film chronicles a musical and cultural past of
those who cried out in song against inequality,
poverty, war, and in support of workers,
civil and human rights. The film includes
a narrative of voices ranging from those
of former Mississippi Freedom Riders who
sang every day as they risked life and limb,
to Grammy Award-winning artists and musicians
who continue to pen inspired lyrics
and songs capable of moving a nation, if not
the world. Q&A hosted by Mervon Mehta.
Hot Docs Ted Rogers Cinema, 506 Bloor St.
W. Tickets are $17 each (Members: $12/$10/
Free). Tickets at the Hot Docs Ted Rogers Cinema
box office or at hotdocscinema.ca.
●●Feb 07 7:30: FirstOntario Performing Arts
Centre. Alicia Svigals: The Yellow Ticket. Live
score for a screening of the 1918 silent film
The Yellow Ticket featuring Pola Negri. Alicia
Svigals, composer/violin; Marilyn Lerner,
piano. 250 St. Paul St., St. Catharines. 905-
688-0722. $35; $30(member); $25(st).
Galas and Fundraisers
●●Dec 02 12:00 noon: Toronto Children’s
Chorus. Sing Loo! More than 300 choristers
from the Toronto Children’s Chorus will perform
seasonal carols during this free concert
to thank TCC donors. Come and go as
you please. All are welcome. Sheraton Centre
Toronto Hotel, 123 Queen Street West. 416-
932-8666 x231. torontochildrenschorus.com/
specialappearances. Free concert, donations
welcome.
●●Feb 02 2:00: Amadeus Choir. Songs From a
Celtic Heart Annual Fundraising Event. Jubilee
United Church, 40 Underhill Dr. amadeuschoir.com.
For tickets 416-446-0188. $50,
$40, $25, $5 off on tickets purchased before
Jan 15. Also at 7pm.
Lectures, Salons and Symposia
●●Dec 06 1:00: Miles Nadal JCC. Beatles &
The British Invasion. With celebrated rock &
roll photographer John Rowlands. The Beatles’
arrival in New York on February 7, 1964,
opened North America’s doors to a wealth of
British musical talent and officially launched
what became known as The British Invasion.
John Rowlands, who toured with the Beatles,
The Rolling Stones and the Dave Clark
Five, shares his personal stories and private
collection of photographs he captured
of these legendary bands. Miles Nadal JCC,
750 Spadina Ave. Admission: $5. Spaces limited.
To register, call 416-924-6211 x0 or visit
mnjcc.org.
●●Dec 06 3:30: University of Toronto, Faculty
of Music. METH Colloquia. Led by Max Katz,
College of William and Mary. Faculty of Music,
Room 130, 80 Queen’s Park. Free.
●●Dec 07 10:00am: Istituto Italiano di Cultura.
The Life and Adventures of Lorenzo Da
Ponte. Dr. Sebastiano Bazzichetto will explore
the captivating life of this fascinating man
with an even more fascinating and adventurous
life. $20; $15(IIC st). Reservations are
required: iicToronto@esteri.it.
●●Dec 08 2:00: Toronto Public Library.
Going Nuts Over The Nutcracker. In The Nutcracker,
Clara, an army of mice, a brigade
of toy soldiers, a Nutcracker prince and a
Sugar Plum fairy all dance out their story to
the sounds of Tchaikovsky’s famous score.
Immerse yourself in the ballet’s story, dance,
music, costumes and props and top things
off by taking home a craft of your very own
making. Program is intended for children
ages 6-12. Register in person in the branch
or by calling 416-396-8970. Malvern Branch,
30 Sewells Road. Free.
●●Dec 09 2:00 Classical Music Club Toronto.
Beethoven’s Ninth Symphony (Part II).
Alicia Svigals: The Yellow Ticket. Live score for a screening of the 1918
silent film comes to FirstOntario Performing Arts Centre February 7.
Following up on last year’s December program
we will again sample the wide range of
audio and video recordings of this extremely
popular work. For further information, visit
classicalmusicclubtoronto.org or contact
John Sharpe at 416-898-2549 or torontoshi@
sympatico.ca. Annual membership: $25(regular);
$10(sr/st). Free for first-time visitors.
Donations accepted for refreshments.
●●Dec 12 6:00: Toronto Public Library. Russian
Music and Poetry Nights. Join us in
the beautiful Barbara Frum Library for our
monthly Russian Poetry and Music Salons,
hosted by local poets and musicians.
All are welcome for this free event. Barbara
Frum Branch, 20 Covington Rd. Free. Also
on Jan 16.
●●Dec 12 7:00 Toronto Public Library. Music
of the Ancients: Classical Chinese Music.
Master musicians Professor PingXin Xu and
XiaoYun Miao perform selections from the
spare, contemplative music of the 9th century
to the invigorating style of present times.
Several instruments will be introduced. North
York Central Library 5120 Yonge St. Call 416-
395-5639 to register for this free program.
●●Dec 27 7:00: Toronto Public Library. Music
of the Ancients: Renaissance Music. Join students
from the University of Toronto’s Early
Music Studio for an evening of music from
the late 1300s to the beginnings of the Baroque
era. Delight in a fascinating world full of
sacred and secular songs with dance, carols,
madrigals, troubadours and countertenors!
North York Central Library, 5120 Yonge
Street. 416-395-5639.
●●Jan 14 1:30: Miles Nadal JCC. That’s Entertainment!
The Evolution of the Hollywood
Musical. Film critic Adam Nayman will examine
the roots, evolution and present status
of the classic Hollywood musical, considering
questions of aesthetics, social commentary,
race and ethnicity, and changing
musical forms. Films studied will include
The Jazz Singer, Singin’ in the Rain, Cabaret
and La La Land; influential directors such
as Busby Berkeley and Vincente Minnelli; and
major stars including Fred Astaire and Ginger
Rogers, Bill Robinson, Judy Garland and
Gene Kelly. Miles Nadal JCC, 750 Spadina
Ave. Drop-in: $12. For more information, visit
mnjcc.org.
●●Jan 17 7:00: Canadian Opera Company.
Opera Insights: Instrumental to Opera: The
Orchestra Academy. New members of the
COC Orchestra Academy are introduced.
Through engaging discussion and spirited
mini-performances, the Academy shares the
daily challenges and rewards of being in the
industry. Four Seasons Centre for the Performing
Arts, 145 Queen St. W. (at University
Ave.). Admission is free. Tickets must
be reserved in advance by visiting coc.ca/
OperaInsights or by calling the COC Box
Office at 416-363-8231.
●●Jan 24 1:00: Miles Nadal JCC. Bring the
Piano Starring Randy Vancourt. This Junonominated
composer, writer, and performer
presents a strange-but-true one-man
musical comedy that follows a musician on
his piano-lugging journeys. This delightful
musical comedy highlights the adventures
and outrageous experiences of the life of a
travelling musician, appearing everywhere
from the Yukon to the South Pole — well,
almost — and stopping off along the way to
become a dad. Miles Nadal JCC, 750 Spadina
Ave. Admission: $5. To register, please call
416-924-6211 x0 or visit mnjcc.org.
●●Jan 25 3:30: Don Wright Faculty of Music.
Music Graduate Colloquium: Andrew Goldman.
Andrew Goldman, Postdoctoral Scholar,
Western University. “Using Neuroscience
in Music Research: Critical Challenges and
Contributions.” All Colloquium series events
take place on selected Fridays in Talbot College
101. For FAQ, parking and other useful
patron information visit music.uwo.ca/
events/useful-information.html or contact
Audrey Yardley-Jones, Graduate Program
Assistant ayardley@uwo.ca 519-661-2111 ext.
85354. Admission is free, and all are welcome
to attend.
●●Jan 25-26 9:00: University of Toronto.
DM@X. The fifth annual Digital Media at the
Crossroads returns to examine the future
of content in digital media. DM@X keynote
speakers, panels and guests offer digital
media students and professionals two days
of wide-ranging, informative and provocative
programming. Open to students, faculty and
the general public. Faculty of Music, Walter
thewholenote.com December 1, 2018 – February 7, 2019 | 75

Hall, Edward Johnson Building, 80 Queens
Park. Call 416-978-3750 to register.
●●Jan 27 2:00: Classical Music Club Toronto.
Christine Goerke’s Elektra. Dramatic soprano
Christine Goerke returns to Toronto to
perform in Richard Strauss’s Elektra with
the Canadian Opera Company. This soprano’s
repertoire includes many of the major dramatic
soprano roles in the repertoire which
we will include in the program. For further
information, visit classicalmusicclubtoronto.
org or contact John Sharpe at 416-898-2549
or torontoshi@sympatico.ca. Annual membership:
$25(regular); $10(sr/st). Free for
first-time visitors. Donations accepted for
refreshments.
●●Jan 28 7:00: Canadian Opera Company.
Opera Insights: Women in Opera. Some of the
most popular operas were penned at a time
when equality for women was not a front-ofmind
topic of conversation. In this engaging
discussion, some of the industry’s leading
women, from on and off the stage, will discuss
what it’s like to be a woman working
in opera. Four Seasons Centre for the Performing
Arts, 145 Queen St. W. (at University
Ave.). Admission is free. Tickets must
be reserved in advance by visiting coc.ca/
OperaInsights or by calling the COC Box
Office at 416-363-8231.
●●Jan 30 7:00: Canadian Opera Company.
Opera Talks: Yours Faithfully – Così fan tutte.
Presented in partnership with the Toronto
Public Library. Join opera scholar Wayne
Gooding in a multi-media exploration of Mozart’s
wry comedy Così fan tutte. Don Mills
Library, 888 Lawrence Ave. E. Admission
is free but advanced registration is recommended
by calling the Don Mills branch of the
Toronto Public Library at 416-395-5710.
●●Jan 31 1:00: Miles Nadal JCC. What Makes
a Jazz Standard? With musician Jonno Lightstone.
We’re all familiar with jazz standards
like “Ain’t Misbehavin’” and “Star Dust”. But
what makes these song standards? Enjoy this
historical lecture complete with live music.
Miles Nadal JCC, 750 Spadina Ave. Admission
$5. To register, please call 416-924-6211 ext 0
or visit mnjcc.org.
●●Jan 31 12:30: Don Wright Faculty of
Music. Music Education Seminar Series:
Eva Saether. For the complete schedule and
more information on events specific to grad
students, visit the Music Education Seminar
Series webpage.For FAQ, parking and other
useful patron information visit music.uwo.
ca/events/useful-information.html. Western
University, Talbot College, Room: 30, London.
Free.
●●Jan 31 3:30: University of Toronto. METH
Colloquia. Megan Long, Oberlin College and
Conservatory, Musicology, Ethnomusicology
& Music Theory. Presentation will be followed
by a casual reception. Faculty of Music,
Room 130, 80 Queens Park. Free and open to
the public.
●●Feb 01 3:30: Don Wright Faculty of Music.
Music Graduate Colloquium: Eva Saether.
Eva Saether, Lund University, Sweden.
“Habitus Crises, Politics of Diversity, and Sensuous
Scholarship: When Music Asks the
Questions”All Colloquium series events take
place on selected Fridays in Talbot College,
Room 101 at 3:30 pm. For FAQ, parking and
other useful patron information visit music.
uwo.ca/events/useful-information.html.
E. The ETCeteras
Western University, London. Admission is
free, and all are welcome to attend.
●●Feb 01 5:00: Canadian Opera Company.
Youth Opera Lab: Costumes and Wigs. For
teens and young adults ages 16 to 24 offering
an opportunity to dissect and explore an
opera being presented on the COC’s mainstage.
Led by opera educator Bryna Berezowska
and special guests, the participants will
focus on the stunning costumes and wigs that
appear in the COC’s production of Così fan
tutte. No previous experience with opera is
necessary. Participants are selected based
on the interest and relevance demonstrated
in their online applications. Four Seasons
Centre for the Performing Arts, 145 Queen
St. W. (at University Ave.). Participate in the
lab and you will receive two free tickets to
the dress rehearsal of Così fan tutte on Sunday,
February 3, 2019. To apply, complete the
application available at coc.ca/YOL or e-mail
education@coc.ca for more information.
●●Feb 02 9:30: Don Wright Faculty of Music.
Music Education Teacher Workshop: Eva
Saether. Join us for a series of music education
workshops (open to teachers), presented
by the Music Education Department at
the Don Wright Faculty of Music. For the complete
schedule and information about other
music education workshops, visit the Music
Education Workshops webpage. Western
University, Talbot College, Room 307, London.
Masterclasses
●●Dec 07 10:00am: Royal Conservatory.
Voice Masterclass. Led by Brian Zeger. Mazzoleni
Hall, 273 Bloor St. W. Free admission. All
are welcome to attend. For further information
visit rcmusic.ca. Also at 2:00.
●●Dec 07 10:00am: Royal Conservatory. Percussion
Masterclass. Led by Joseph Tompkins.
Temerty Theatre, 273 Bloor St. W. Free
admission. All are welcome to attend. For
further information visit rcmusic.ca. Also
at 2:00.
●●Dec 07 5:00: Royal Conservatory. Piano
Masterclass. Led by Leslie Kinton. Room 410,
273 Bloor St. W. Free admission. All are welcome
to attend. For further information visit
rcmusic.ca. Also at 7:00 (Temerty Theatre).
●●Dec 07 5:00: Royal Conservatory. Violin
Masterclass. Led by Valerie Li. Mazzoleni Hall,
273 Bloor St. W. Free admission. All are welcome
to attend. For further information visit
rcmusic.ca.
●●Dec 07 7:00: Royal Conservatory. Cello
Masterclass. Led by Andrés Diaz. Mazzoleni
Hall, 273 Bloor St. W. Free admission. All are
welcome to attend. For further information
visit rcmusic.ca.
●●Jan 18 11:00am: Royal Conservatory Piano
Masterclass. Led by Ronan O’Hora. Room
TBA, 273 Bloor St. W. Free admission. All are
welcome to attend. For further information
visit rcmusic.ca. Also at 2:30.
●●Jan 21 10:00am: University of Toronto.
Composition Masterclass with Toshio
Hosokawa.Toshio Hosokawa and Roger D.
moore Distinguished Visitor in Composition
conducts a composition masterclass at the
U of T Faculty of Music. Presented by Norbert
Palej. Walter Hall, 80 Queen’s Park. Free.
Also on Jan 22.
●●Jan 25 10:00am: Royal Conservatory Cello
Masterclass. Led by Collin Carr. Mazzoleni
Hall, 273 Bloor St. W. Free admission. All are
welcome to attend. For further information
visit rcmusic.ca. Also at 2:00.
●●Jan 26 10:00am: Don Wright Faculty of
Music. Piano Masterclass. Led by Yael Weiss.
Yael Weiss is at Western as guest judge for
the annual Fred Pattison Piano Competition.
All are welcome to attend. For FAQ, parking
and other useful patron information visit
music.uwo.ca/events/useful-information.
html. Music Building (MB) Room: von Kuster
Hall. Admission to this masterclass is free.
●●Feb 1 10:00am: Royal Conservatory Violin
Masterclass. Led by Jinjoo Cho. Mazzoleni
Hall, 273 Bloor St. W. Free admission. All are
welcome to attend. For further information
visit rcmusic.ca. Also at 2:00.
Sing-alongs, Jams, Circles
●●Dec 01 12:30: Recollectiv. A musical group
for people with memory challenges due to
illness or trauma. Southern Cross Room,
Tranzac Club, 292 Brunswick Ave. Free with
advance registration at recollectiv.ca. Meets
every Sat (Dec 8, 15, 22, 29, Jan 5, 12, 19, 26,
Feb 2).
●●Dec 01 7:15: Toronto Gilbert and Sullivan
Society. Join us for a lovely and lively
evening Christmas-related entertainments.
St. Andrew’s Church, 117 Bloor St. E. Parking
below off Hayden. $5(non-members).
Refreshments included.
●●Dec 18 4:00: Toronto Public Library. Holiday
Sing-Along. Are you excited for the holidays?
Do you like to sing? Join us for a holiday
sing-a-along! Drop in. Preschool children
must be accompanied by an adult. For more
information, please call the branch at 416-
393-7657. Deer Park Branch, 40 St. Clair
Ave. E.
●●Jan 4 7:00: Toronto Public Library. Live in
the Library Music Performance. The Sun Life
Financial Musical Instrument Lending Library
brings you Live in the Library. Come and
enjoy a musical performance. No registration
required. All welcome! Parkdale Branch,
1303 Queen St. W. Also on Feb 1.
●●Jan 12 7:15: Toronto Gilbert and Sullivan
Society. Songfest. Our annual gathering of
great G&S groups around the city to perform
excerpts of G&S operettas – and more. A
great evening! With great refreshments, too!
St. Andrew’s Church, 117 Bloor St. E.
Tours
●●Dec 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 such as the 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
Jan 19, 20, 27, Feb 3. Tours are available in
French on Jan 27.
Workshops
●●Dec 07 7:30: Toronto Recorder Players
Society. Renaissance and Baroque workshop
for recorders and other early instruments.
Coach: Avery MacLean. Mount Pleasant
Road Baptist Church, 527 Mount Pleasant Rd.
(entrance off Belsize). 416-480-1853. Guests:
$20. Refreshments included. rpstoronto.ca/
●●Dec 09 1:30: Toronto Early Music Players
Organization. Workshop coached by
recorder player Alison Melville. Armour
Heights Community Centre, 2140 Avenue Rd.
Bring your early instruments and a music
stand. 416-779-5750. tempotoronto.net. $20.
●●Jan 06 1:30: Toronto Early Music Players
Organization. Workshop coached by
recorder player Anne Massicotte. Armour
Heights Community Centre, 2140 Avenue Rd.
Bring your early instruments and a music
stand. 416-779-5750. Tempotoronto.net. $20.
●●Jan 11 7:30: Toronto Recorder Players
Society. Renaissance and Baroque workshop
for recorders and other early instruments.
Mount Pleasant Road Baptist Church,
527 Mount Pleasant Rd. (entrance off Belsize).
416-480-1853. rpstoronto.ca/. Guests:
$15. Refreshments included.
●●Jan 27 2:00: CAMMAC Toronto Region.
Mozart: Coronation Mass. Reading for singers
and instrumentalists. Shawn Grenke, conductor.
Christ Church Deer Park, 1570 Yonge
St. 416-482-6562. $10; $6(members).
●●Feb 02 10:30am. Toronto Mendelssohn
Choir. Singsation Saturday Choral Workshop.
TMC associate conductor Ezra Burke presents
Songs of Milk and Honey, a sing through
of music drawn from the Hebraic tradition,
including excerpts from Mendelssohn’s Elijah,
Handel’s Israel in Egypt and contemporary
works. Bring your voice, we provide the
music. Cameron Hall, Yorkminster Park Baptist
Church. 1585 Yonge St. $10 fee includes
refreshments. More info at tmchoir.org/
singsation-saturdays
●●Feb 03 1:30: Toronto Early Music Players
Organization. Workshop coached by viol
player Elin Søderstrom. St. Leonard’s Church,
Canon Dykes Memorial Room, 25 Wanless
Ave. Bring your early instruments and a
music stand. 416-779-5750.
tempotoronto.net. $20.
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76 | December 1, 2018 – February 7, 2019 thewholenote.com

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thewholenote.com December 1, 2018 – February 7, 2019 | 77

MUSIC AND HEALTH
Recollectiv’s
RESTORATIVE
MISSION
VIVIEN FELLEGI
Danielle Flax conducting
VIVIEN FELLEGI
On a chilly fall Saturday at Toronto’s Tranzac Club,
Recollectiv’s musicians with brain injuries and
their care partners get ready for their regular hourlong
sanctuary from stress. Caregivers find their charges’
name tags and seat them in a sunlit room decorated
with instruments. As they catch up, their loved ones sit
sedately. One man with a dazzling smile seems to invite
conversation, but only speaks in monosyllables. A woman
with orange hair stares into space.
Today’s conductor, Danielle Flax, welcomes the group and, with a
flourish of her arms, leads off You are my Sunshine. The participants
perk up. They sit straighter. Some sing along to the golden oldies.
Others just bob their heads to the beat. The woman with orange hair
flips through her music book, while the man with the smile croons a
love song to his wife. Music blurs the boundaries amongst the crowd,
and their voices soar in unison.
Recollectiv’s founder, singer and entertainer, Ilana Waldston, is
pleased every time she witnesses the magic of melodies. “When I see
the smiles, I know some kind of therapy is benefitting them,” she says.
These joyous moments don’t come readily to those with meandering
minds. But music retains its charm long after clients have forgotten
how to read. “Maybe the memories aren’t there, but the feelings can
still transport you back to better times,” says Waldston.
The choir welcomes caregivers along with their loved ones.
Waldston recognized the need for this forum when her mother,
Shimona, the woman with orange hair, withdrew into dementia. As
Shimona’s interests narrowed, her daughter took her to the symphony
which Shimona still enjoyed. But when Shimona began to sing along
with the soloists, Waldston realized she had to find a safe place where
they could both indulge their passion for performance.
In the summer of 2017, Waldston heard a radio show about The 5th
Dementia, a California-based band for musicians with cognitive
deficits and their companions, and decided to spearhead a similar
ensemble in Toronto. Her goal was for members to enjoy a meaningful
activity in a barrier-free space. “I wanted both participants and caregivers
to feel whole again,” she says. Recollectiv – which combines
“recollect” and “collective” – debuted in March 2018.
Wound up by music, Danielle Flax is a whirlwind of energy. She
bounces from one foot to another as she conducts, and her frizzy
ponytail swings in tandem. Though this is her first time filling in
for the absent Waldston, the seasoned singer is in her element. But
while the 34-year-old Flax makes it look easy, she’s had to fight for
her accomplishments. Almost a decade ago, surgery for a brain tumor
compromised her memory, making her forget words. Even worse was
the erasure of milestone moments, which made her self-conscious
when her friends reminisced. “I’m the downer because I’ll go ‘I can’t
remember that,’” she says.
Flax turned to songs for solace. Though she struggled to speak, she
could still belt out pieces which predated her malady. “That reduced
my anxiety,” she says. Even better, music revived happier times.
Hearing a lullaby her mother had once hummed would whisk her
back to the security of childhood.
Music’s ability to channel the past can help soothe patients with
dementia, says neurologic music therapist, researcher and University
of Toronto assistant professor, Corene Hurt-Thaut. Because familiar
tunes and musical genres evoke strong emotions, they can transport
us back to events associated with those sentiments. A tune chanted by
their father, for instance, can conjure up the safe haven of their school
days and reduce their anxiety. “They start talking about these positive
memories and their whole mood changes,” says Hurt-Thaut.
Music can rekindle memories not just for events, but also for lyrics,
says Hurt-Thaut. Clients who have forgotten their children’s names
can still spout the words to their favourite songs. That’s because
these are stored in different, more resistant parts of the brain than
spoken language.
This multiplicity of vocalization pathways can be harnessed for
patients with trouble talking (aphasia), says music therapist and
neuroscientist Concetta Tomaino, executive director and co-founder
of New York’s Institute for Music and Neurologic Function. Though
aphasia patients struggle with oral expression, they can still sing lyrics.
While singing and speaking are distinct abilities, their underlying
brain circuits overlap in some of the smaller pathways that are spared
following an injury to the primary speech centre. This means you can
spark the speech circuits by igniting the closely linked musical ones.
Therapy for aphasia gradually grafts speech elements onto the
intact musical ones, says Tomaino. Clients begin by singing songs
with familiar lyrics. They tap their fingers to the beat, drawing out the
words through the insistent rhythm. As they improve with repetition,
the melody is gradually withdrawn and replaced by spoken words.
78 | December 2018 - January 2019 thewholenote.com

Eventually, clients develop robust new speech circuits.
Music not only stirred Flax’s mind, it also helped process her pain.
Flax’s memory troubles thwarted her dream to practise psychology,
and she lost her direction. She became depressed, slept in until 2pm
every day, and stopped socializing. “God had messed up my path to be
a psychologist – I was angry,” she says.
Flax leaned on her old ally for relief. On a bad day she would listen
to sad tunes and cry. “I could feel the feelings through the songs – that
was very therapeutic,” she says. Producing a CD of her own compositions
was cathartic and boosted her self-esteem. By last year, Flax
was ready to rejoin a musical ensemble. She felt immediately at home
at Recollectiv, and quickly began forging new friendships. “Making
connections with others that have similar situations gives you a sense
of community,” she says.
But though the group might vent to each other at break time, it is
their shared communion with music that glues them together. Flax
and volunteer Alan Gotlib often harmonize their voices when they’re
close. “I get goosebumps when we’re riding the same wavelength,” she
says. Besides restoring Flax’s sense of belonging, Recollectiv helped
her recover a broken piece of herself. She has become a mentor for
the group, sharing both her inspiring story and her artistry. “Helping
others in this form of therapy is the missing puzzle piece of my life,”
she says.
Though Flax’s response to the medicine of music isn’t unusual, it’s
only recently that scientists are pinpointing how this works.
Just listening to our favourite songs gives us a natural high, says
neuroscientist Daniel Levitin, professor
emeritus at McGill University, and author of
This Is Your Brain on Music. That’s because
it stimulates the same brain reward pathways
as a chocolate binge, good sex or illicit
drugs. As a familiar piece builds towards its
climax, listeners eagerly anticipate its resolution,
producing the feel-good substance dopamine
as they thrill to the chase. Then, as the
excitement peaks, they release endogenous
opioids (the natural versions of drugs like
heroin). Both brain chemicals flood our bodies
with pleasure.
Music also helps us regulate our internal
balance, says Levitin. We select fast-paced
music to motivate us for a workout. As our
brains absorb the rapid beat, the heart rate,
blood pressure and arousal all increase. When
we are anxious, however, we seek lowpitched,
slower songs which reduce stress
hormones and calm our senses. Music can
alter our moods as well as our physiology, says
Levitin. If we’re feeling rejected, playing a
mournful song can help us feel understood.
Making music together is an even better
way to cheer up, says Levitin. This is a valuable
tool to fight the depression that can complicate the slow slippage
of cerebral function, adds Tomaino.
People suffering from depression tend to focus inwards on their
problems, says Levitin. But when we’re trying to mesh our parts
together in an ensemble, we have to tune in to our fellow musicians.
“That pulls you out of yourself and breaks the cycle of self-consciousness,”
says Levitin. The hormone oxytocin, commonly known as the
“cuddle hormone,” is produced during these moments, cementing our
feelings of trust and bonding.
Back at the Tranzac Club, Flax introduces Moon River, and
Waldston’s mother begins shuffling her feet. Gotlib recognizes the
movement as a signal that she wants to dance. He grabs her hand and
they sway and spin in perfect symmetry. She starts singing “La, la-la.”
Shimona’s lifelong love of dance is one of the few remaining
things that can rouse her from apathy, says Waldston. “She and my
father tore up every dance floor they could find,” she says. Waldston
imagines that a strong beat revives these special moments. “I see her
eyes sparkle and she lights up.”
MIRANDA ROGOVEIN
Shimona’s response isn’t an anomaly. Human beings are wired to
react to rhythm, says University of Toronto alumnus, Dana Swarbrick,
MSc. candidate, Rehabilitation Sciences. “When a groovy song comes
on, you can’t help but tap your toes,” she says. This reflex can serve
Parkinson’s patients, Swarbrick explains. These clients have trouble
walking due to degeneration in the brain region that initiates movement.
But music can provide an alternate route to stimulate motion.
When neurons in the brain’s sound processing centre detect music,
they begin to fire in correspondence to the beat. These nerve cells then
relay the rhythmic message to their counterparts in the motor area,
which resonate in conformity and jumpstart the muscles. Over time
Parkinson’s patients incorporate these new patterns into their gait.
Another element of music, its vibrations, has been used to treat
some brain disorders, says Amy Clements-Cortes, music therapist
and assistant professor, University of Toronto Faculty of Music,
who worked with U of T’s professor emeritus Lee Bartel to pioneer
rhythmic sensory stimulation for Alzheimer’s patients. Neurons have
to pulse in synchrony to transmit messages, says Clements-Cortes.
One of the brain’s crucial frequencies, 40 hz (corresponding to a low E
on the piano), is vital for communication amongst its segments.
In Alzheimer’s, dying nerve cells reduce the strength of the critical
gamma range brain waves, interfering with neuronal messages and
dulling thought. But sound can reboot these deficient brain signals
from without. In a 2016 pilot study, Alzheimer’s patients sat on a
medical-grade chair equipped with speakers emitting a 40 hz sound
which was both heard and felt. After just six sessions, patients with
mild to moderate Alzheimer’s were tempor-
Ilana Waldston dancing arily sharper and more alert and aware of
with her mother Shimona their surroundings.
Music’s healing power extends to the caregivers
as well as to the participants. Tomaino
witnessed these benefits firsthand in The
Unforgettables, a New York choir she helped
create for clients with dementia and their
significant others. The group offered caregivers
the opportunity to socialize and to see
their loved ones revive in the spotlight’s warm
glow. On one occasion, a man with severe
memory loss performed a long solo by rote.
“For partners that’s a gift that’s really hard to
put a value on,” says Tomaino.
Recollectiv is generating similar rewards.
The man with the smile, Bob Adolph, is
gently tapping his wife’s hand in time to the
beat. Rheba Adolph is thrilled at how well
this first outing with the band has turned out.
“It’s wonderful to watch him being so happy,”
she says.
It hasn’t been easy to find activities where
the couple can interact, since Bob Adolph has
trouble talking. Once a professor of English
literature, now words fail him and hamper
his ability to communicate. But today’s songs have loaned him a
new language that transcends the need for speech. “Aphasia is so
isolating,” says his wife. “But music brings out feelings of closeness in
both of us.”
Recollectiv sings its final song for the day. Gotlib thanks Shimona
for the last dance and kisses her goodbye.
Flax beams at the band. “Great job!” she tells them, clapping. Flax
feels buoyed by her first stint as a conductor. “It gave me energy,” she
says. But she’s even more stoked about the gift she’s bestowed on the
group, including the Adolphs. “They looked like they were walking
down the memory lane of love,” she says. “I love helping people
connect.”
Adolph helps her husband out of his chair. The couple leave the
room, still holding hands.
For more information about Recollectiv, visit recollectiv.ca.
“Maybe the memories aren’t there,
but the feelings can still transport
you back to better times.”
— Ilana Waldston
Vivien Fellegi is a former family physician now working as a
freelance medical journalist.
thewholenote.com December 2018 - January 2019 | 79

Age 11, at Watford Boys
Grammar School
December &
January’s Child
Sir Andrew
Davis
MJ BUELL
Sir Andrew Davis is the Toronto Symphony
Orchestra’s conductor laureate and was
the orchestra’s music director from 1975-
1988. He stepped in while the TSO’s music
director search led to Peter Oundjian, and
has been subsequently their regular and
beloved guest. He was then named the TSO’s
interim artistic director for 2018-2020 during
the transition from Oundjian’s leadership to
that of the newly appointed music director
Gustavo Gimeno.
An organ scholar at King’s College,
Cambridge, before taking up conducting,
the young Andrew Davis had in fact been
to Toronto in 1967 for an organ convention,
and taken second prize in an improvisation
competition at Grace Church on-the-
Hill, long before May 1975 when he first
conducted the TSO.
With a face familiar to generations of
Canadians, and a Toronto laneway named
in his honour, Sir Andrew has probably
conducted all of the world’s major orchestras,
opera companies and international festivals
over the past 45 years. Today he is also
music director and principal conductor of the
Lyric Opera of Chicago, and chief conductor
of the Melbourne Symphony Orchestra; also
conductor laureate of the BBC Symphony
Orchestra, conductor emeritus of the Royal
Liverpool Philharmonic; and former music
director of the Glyndebourne Festival Opera.
A substantial award-winning discography
documents his remarkable career.
Where did you live as a child? I was born
SIR ANDREW DAVIS CONDUCTS WAGNER:
Thurs Jan 31, 8pm / Sat Feb 2, 8pm. “I am
particularly excited about the concert that I am
doing on my birthday, February 2. I am conducting
Wagner and my favourite 20th-century composer
Alban Berg.” The Toronto Symphony Orchestra
is joined by Lise Davidsen, soprano; Simon O’Neill,
tenor; Brindley Sherratt, bass. “The Ride of the
Valkyries” from Die Walküre and Berg’s Three
Pieces for Orchestra are followed by Act I of Die
Walküre. A pair of tickets for this very special
concert is awarded to STEPHANIE TANNIS.
WE ARE ALL MUSIC’S CHILDREN
in a temporary wartime hospital in Ashridge,
in the country of Hertfordshire, in 1944. But
until I was seven we lived in Chesham, which
is in Buckinghamshire.
What did your parents do to earn a living?
My father Robert (Bob) worked at a printer’s as
a compositor (i.e. he set type). He also played
in the local football team and was a bell ringer
at St. Mary’s Church. My mother Joyce worked
as a clerk in a grocery store before I came
along, thereafter she was a full-time mother.
Who lived in your childhood home? Any
musicians? My parents, my sister Jill, and
my brothers Martin and Tim. My mother had
studied the piano when she was a girl but
she didn’t play anymore. My father sang in
the church choir. They loved music but they
weren’t professional musicians.
Your absolute earliest memory of hearing
music? My mother singing me lullabies.
And making music yourself? I started
to play the piano when I was five because
my parents figured that I had some musical
talent. Then from the age of 11, I not only did
music at my grammar school, but on Saturday
mornings I would take the Tube to the Royal
Academy of Music for four hours of music
lessons (piano, ear training). I did that for
about six years. And when I was about 12 I
started playing regularly with a cellist classmate.
I was also a boy soprano and sang in the
local church choir. I particularly remember
singing Hear My Prayer by Mendelssohn.
There was one night I sang the solo in church
on Sunday evening. I came out afterwards and
CONGRATULATIONS TO OUR WINNERS!
PINES OF ROME: Fri May 24, 7:30pm /
Sat May 25, 8pm. The TSO, conducted by
Sir Andrew Davis, take us on Respighi’s
tone-poem tour of that famous city;
pianist Louis Lortie is featured in Saint-
Saëns’ virtuosic Piano Concerto No. 4;
the premiere of a new work by Canadian
composer Jordan Pal. A pair of tickets
each is awarded to ALEXANDER MUTH,
KARIN GOEGGINGER, and MICHAEL
KASHUL
TS
Toronto
Symphony
Orchestra
DARIO ACOSTA
“December’s child is Sir Andrew Davis.
And Sir Andrew Davis Lane in Toronto owes its
name to John Sharpe, Archival & Research
Assistant with the Toronto Symphony Orchestra,
who sent an application for changing the lane name.
Best regards, Pablo Fernandez.”
(WholeNote reader)
someone had stolen my bicycle. I remember
saying to my parents, “The godless have come
fast and stolen my bicycle!”
Suppose a friendly child asks what work
you do? As a matter of fact, I have a story
where this happened to me. I was about to
conduct Last Night of the Proms in Royal
Albert Hall and was staying in a flat at an
apartment of a friend of mine. I went to go get
something to eat at a fish and chips restaurant.
They basically had lots of big tables and
benches. This mother and child came up to
sit next to me – the kid must have been 12 or
something – and he said, “What do you do?”
And I said, “I’m a musician.” And he said,
“Well, what do you play?” And I said, “I’m the
guy with the stick that conducts the orchestra
and tonight I’m conducting Last Night of the
Proms in Royal Albert Hall.” And the boy said,
“Well, you must not be very famous…” And I
laughed and said, “What makes you say that?”
And he said, “Well if you were famous you
wouldn’t be eating fish and chips!”
What would you say to young parents
hoping their young children will grow up to
love and make music? I would say to them,
“Give them as much exposure to classical
music as you can, especially by taking them
to live concerts and opera performances. You
can’t start them too young.”
For Sir Andrew Davis’ full interview visit
thewholenote.com/musicschildren
HANDEL – MESSIAH: this Grammy-nominated recording
of Sir Andrew Davis’ concert edition was recorded
live with a spellbound audience at Roy Thomson Hall in
December 2015 and released in November 2016. The TSO
is joined by soprano Erin Wall, mezzo-soprano Elizabeth
DeShong, tenor Andrew Staples, bass John Relyea, and
the Toronto Mendelssohn Choir (CHANDOS 5176). Just
in time for the holiday season, this CD
is sure to delight PABLO FERNANDEZ,
LISA PAPPERMAN, RHODA SION
and LIDA HAVRIANT
80 | December 2018 - January 2019 thewholenote.com
EMMA BADAME

DISCOVERIES | RECORDINGS REVIEWED
DAVID OLDS
I
am always intrigued by the connections I find, especially in the
seemingly separate realms of literature and music, when something
I am reading or listening to relates directly to experiences in my
everyday life. I don’t mean when I’m reading about something
because it relates, but rather when in unrelated materials there turns
up an unmistakably fortuitous reference to something that has just
happened to me. I have been aware of this phenomenon for many
years, but the first instance which made me really pay attention to this
synchronicity was one morning at a friend’s cottage when there was a
thump on the window and we found a northern flicker lying, we
thought lifelessly, on the deck. But moments later the bird shook itself
and flew off. It was as if in a dream that I realized exactly this situation
had been described in the Richard Powers novel I had been reading
the evening before, right down to the breed of bird. Since then I have
been aware, time and again, of how this in itself is, if not an everyday
occurrence, at least something that happens regularly. (My wife
Sharon says it could be because I read so much.)
At any rate, this month’s column is all about
connections which might be construed as
coincidences. The first relates directly to
November’s column when I wrote about
Wlad Marhulets’ Concerto for Klezmer
Clarinet. Until that time I had not heard of
the dedicatee David Krakauer, despite his
prominence in both the worlds of klezmer
and classical music. My ears pricked up
immediately when I received another disc this month which features
him: Mathew Rosenblum – Lament/Witches’ Sabbath (New Focus
Recordings FCR219 newfocusrecordings.com). Rosenblum is an
American composer (b.1954) of Ukrainian heritage, and the title track
is an in-depth exploration of his roots. The composer says the work
“involves the rewriting of my personal and family history through
instrumental sound (klezmer-tinged clarinet with orchestra) and the
sound and texture of the voice (field recordings of Ukrainian laments;
sung and spoken Ukrainian, Russian and Yiddish text by my grandmother).
It is also about reconnecting with my high school friend and
dear colleague, the amazing clarinetist/composer David Krakauer, for
whom the piece was written. […] It is a tribute to my grandmother,
Bella Liss.” He goes on to mention that it is loosely based on the last
movement of Berlioz’s Symphony Fantastique and also references his
grandmother’s superstitious sensibility, which he says is grounded
in Eastern European Jewish culture. It is a particularly moving work,
with the haunting Ukrainian laments as prominent as the solo
clarinet, soaring above the orchestral textures provided by the Boston
Modern Orchestra Project under the direction of Gil Rose.
It seems I can’t write this column without some mention of my
day job at New Music Concerts. It was there that I was first exposed
to the characteristic keening of Ukrainian lamentation when young
Ukrainian-Canadian composer Anna Pidgorna wrote Weeping for
our 2015 Ukrainian-Canadian Connection concert. For this piece the
members of a sextet were provided recordings of traditional laments
in order to better understand how to approach their instrumental
parts, which were based on that tradition. This initial exposure made
the laments included in Rosenblum’s work hauntingly familiar.
I feel obliged to mention another coincidence related to my appreciation
of Rosenblum’s disc. The second work is called Northern
Flicker, which is something I had not remembered when I wrote my
introduction. The world works in mysterious ways indeed. Northern
Flicker is for a solo percussionist who mimics and extrapolates on
the distinctive sounds of this woodpecker in the wild. Lisa Pegher
holds our attention throughout the witty and inventive piece. Soprano
Lindsay Kesselman and the Pittsburgh New Music Ensemble under
Kevin Noe then lead us through Falling, a dramatic work about the
true tale of an Allegheny Airlines stewardess who was sucked out of
a plane’s emergency exit and fell to her death in October, 1962. Based
on a poem by James Dickey, the piece incorporates a recording of the
poet’s recitation of his text which is then further expanded by the
soprano. The composer’s use of microtonality – Falling is dedicated to
the memory of Dean Drummond, composer and co-artistic director
of Newband who championed the microtonal work of Harry Partch
among others – adds to the otherworldly and at times eerie homage.
This composer portrait disc concludes with the at times raucous –
recalling that woodpecker again – Last Round for amplified string
quartet (FLUX) and the six members of Mantra Percussion. Another
welcome and effective offering from New Focus Recordings.
The next connection encompasses both literature and music again.
My wife, a secular and mostly non-observant Jew, does however spend
Yom Kippur, the Day of Atonement, each year contemplating and
reading something that relates to her heritage. Most years it is a book
of history or theory or at any rate non-fiction, but this year, with
nothing more appropriate at hand, she took my suggestion to spend
the day with a novel. The Last of the Just by André Schwarz-Bart, a
French Jew of Polish extraction whose parents were killed by the
Nazis, tells the story of the family of Rabbi Yom Tov Levy, the only
survivor of a pogrom in 12th century England. As legend has it, God
blessed Levy as one of the Lamed-Vov, the 36 Just Men of Jewish tradition,
a blessing which extended to one Levy of each succeeding
generation. The story takes place over the next 800 years, through the
Spanish Inquisition, to expulsions from England, France, Portugal,
Germany and Russia, and to the small Polish village of Zemyock,
where the Levys settle for two centuries in relative peace. It is in the
20th century that Ernie Levy, the title character, emerges in 1920s
Germany, as Hitler’s sinister star is on the rise and the agonies of
Auschwitz loom on the horizon. Gilbert Highet, a Book-of-the-Month
Club judge, called it, “the saddest novel I have ever read, almost as sad
as history.” I don’t think Sharon thanks me for the recommendation.
It’s been 20 years since I last read the
book – that time in the original French –
but it has always stayed with me, and so it
was with curiousity that I recently picked
up a CD by a Black jazz musician with the
same last name as the author. I didn’t really
expect that it was anything other than a
coincidence until I read the note inside and
found that Jacques Schwarz-Bart is indeed
the son of André. A bit of Googling turned up the information that
during WWII Schwarz-Bart fought with the French resistance and
was captured by and escaped the Germans. After the war he went to
Paris to study at the Sorbonne, where he met and eventually married a
woman from Guadeloupe named Simone, (who incidentally also went
on to become a novelist and playwright).
The disc is called Hazzan (enja yellowbird YEB-7789). A hazzan
or chazzan is a Jewish musician or precentor who helps lead the
congregation in songful prayer, in English often referred to as cantor.
thewholenote.com December 2018 / January 2019 | 81

The project, combining jazz with Jewish prayer chants, is meant as
a tribute to Jacques’ father who died in 2006. “As soon as I started
working on the arrangements, it became clear that these powerful
ancient melodies lent themselves to impressionist harmonizations,
and could be enhanced with infectious rhythms from the African
diaspora.” He goes on to say “In The Morning Star my father describes
a character who – just like me – is a jazz musician from Jewish and
black descent. He refuses to be labelled half-Jewish and half-black and
claims to be 200 percent: 100 percent Jewish and 100 percent black.
I hope Hazzan will do justice to this conception of my Jewish identity
as the blossoming fruit of universal cross pollination.” Thanks
to the Toronto Public Library I am now immersed in that posthumous
publication by Schwarz-Bart’s father and will shortly embark
on a novel co-written by his mother and father (Un plat de porc aux
bananes vertes).
My own exposure to Jewish ritual is limited to attendance at
funerals, memorial prayers said and candles lit for my in-laws, and
participation in “second night Seder” dinners at the home of
WholeNote publisher David Perlman. It was therefore a wonderful
surprise to me to recognize one of the melodies from Hazzan as being
Dayenu (“It would have been enough”), a song I myself have participated
in during those Passover meals. The overall feel of the album is
surprisingly upbeat and contagious. Schwarz-Bart has indeed
managed to paint a “mystical and uplifting fresco” and his saxophone
playing is truly cantorial. By the way, it is not only his Jewish heritage
that has inspired him over the years. The product of a double diaspora,
Schwarz-Bart fils is the founder of Gwoka Jazz, based on
Guadeloupian traditions, and has worked extensively in Voodoo jazz
with Haitian colleagues. Where will literary connections take me next
I wonder?
Next is a recording that features a work
that has been a favourite for most of half a
century – Messiaen’s Quatuor pour le fin
du temps – and once again there is a New
Music Concerts connection. Recently, when
we presented the Ensemble contemporain
de Montréal, while the other musicians were
out to dinner, Chloë Dominguez busied
herself rehearsing the incredibly demanding
cello part of the Quatuor which she would be performing with pianist
Louise Bessette and other colleagues in Montreal in late November.
I had a chance to chat with her after the concert and mentioned a
new recording featuring clarinetist Raphaël Sévère and Trio Messiaen
(Mirare MIR 334 mirare.fr) and the fact that the liner notes intrigued
me with the mention of a piece I had never heard of before. I had
always assumed that Messiaen, who had chosen the instruments for
his quartet by what was available in the internment camp in Silesia
where he was imprisoned during the Second World War (piano,
clarinet, violin and a cello with just three strings), had invented that
instrumental combination. But it turns out that Paul Hindemith had
written a quartet for the same forces some three years earlier in 1938.
This was news to me, and to Dominguez, and I have spent some time
since listening to performances on YouTube. It is a very strong work
and I found myself wishing that instead of just mentioning it in the
notes, the recording had included the Hindemith instead of Thomas
Adès’ Court Studies, a chamber arrangement of some of the incidental
music he wrote for The Tempest. I find the Adès, mostly light and
indeed courtly, a strange pairing with the Messiaen quartet with its
powerful, mystical mix of sombreness and ecstasy.
The performance of the Messiaen lives up to expectations heightened
by countless other recordings over the years. From the opening
movement for full quartet, growing out of silence with the awakening
of birds at dawn, through the strident proclamations of the Angel
announcing the end of time, the respite of the solo clarinet movement,
again depicting birds, and the calm of the cello and piano Louange, to
the furious dance of the seven trumpets (quartet) and final movement
of Praise for the Immortality of Jesus, a quiet meditation for violin
and piano, we are led on a wondrous journey, impeccably balanced
and full of nuance. The booklet, in three languages, provides a thorough
history of the genesis of Messiaen’s iconic composition, along
with historical and biographical context and some analysis. There are
notes on the very accomplished young musicians as well, but I wish
they had included some explanation for the name of the trio. With the
addition of the clarinet the connection to Messiaen is clear, but as he
never wrote a piece for piano trio (and almost no other chamber
music), the name Messiaen Trio leaves me scratching my head.
With well over a dozen recordings of Bach’s
Solo Cello Suites in my collection, plus transcriptions
for 11 string “alto” guitar and
for alto recorder (by Göran Söllscher and
Marion Verbruggen respectively, both highly
recommended), I find myself wondering,
what does a new interpretation have to
offer? This must be a daunting question for
any young musician looking to make his
mark in a world replete with existing renditions by virtually all of the
greatest cellists of the past century, including Pablo Casals himself,
who unearthed these masterworks that had languished in obscurity
for nearly 200 years. One young man has answered the question by
not tackling the canon in its entirety, but rather by selecting individual
movements and juxtaposing them with contemporary works.
On Echoes of Bach (Bright Shiny Things BSTC-0124 brightshiny.ninja)
featuring Mike Block, an alumnus of Yo-Yo Ma’s Silk Road Project,
we hear alternately the Prelude from the first suite, the Allemande
from the second and the Courante from the third separated by the
two very different movements of György Ligeti’s Sonata for Solo Cello
in what is a brilliant stroke of programming. Later on we find movements
from the other suites interspersed with music by Ahmed Adnan
Saygun, a composer who pioneered Western classical music in Turkey;
Giovanni Sollima, one of the composers associated with Silk Road (it’s
worth checking out the YouTube video of this piece Citarruni); and,
strangely, Domenico Gabrielli, born a generation before Bach. Gabrielli
was a virtuoso cellist and had the distinction of publishing the first
works for solo cello and so has every right to be included here, but as
the other non-Bach offerings are all contemporary the choice is somewhat
surprising. Another surprise is the final track, the Sarabande
from first suite played entirely without a bow. This seems quite a
liberty to take, but I must say the pizzicato interpretation really works.
Mike Block is not only an accomplished cellist, but also an inventor.
His “Block Strap” allows a cellist to harness the instrument to his
or her body and play while standing, and even walking around. He
has become quite adept at this, to the extent that even in this studio
recording I get the impression from the occasion sound of footsteps
that he is in motion. As one final nod to New Music Concerts
I will mention that the first time I saw such a thing was when NMC
presented Quatuor Molinari performing eight string quartets (at that
time the complete cycle) of R. Murray Schafer at Glenn Gould Studio
in 2003. For String Quartet No.7 Julie Trudeau had to construct a sling
for the instrument to facilitate the movements that Schafer required of
the cellist.
We 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.
David Olds, DISCoveries Editor
discoveries@thewholenote.com
82 | December 2018 / January 2019 thewholenote.com

STRINGS
ATTACHED
TERRY ROBBINS
Violinist Andrew Wan was named concertmaster
of the Orchestre symphonique de
Montréal in 2008. A Juilliard graduate, he
is currently assistant professor of violin
at the Schulich School of Music at McGill
University. He is paired with Quebec pianist
Charles Richard-Hamelin in Beethoven
Violin Sonatas Nos. 6, 7 & 8 (Analekta AN 2
8794 analekta.com)
There’s a lovely warmth and sensitivity to the opening of the Sonata
in A Major Op.30 No.1, with Wan’s beautifully clear tone immediately
making you feel that this is the start of something special – and so it proves
to be. Richard-Hamelin is an outstanding partner, especially in the turbulent
opening of the tempestuous Sonata in C Minor Op.30 No.2, a work in
which Beethoven’s growing use of increasingly intense textures is evident.
A dazzling performance of the Sonata in G Major Op.31 No.3
completes a terrific CD that is the first volume in a projected series
of the complete Beethoven violin sonatas. It promises to be a set to
treasure and one – if this first volume is anything to go by – that will
hold its own against any competition.
Concert note: Charles Richard-Hamelin performs music of Schumann
and Chopin at Koerner Hall on February 3.
The Norwegian violinist Eldbjørg Hemsing is
the soloist in three Czech works on Dvořák:
Violin Concerto; Suk: Fantasy with the
Antwerp Symphony Orchestra under Alan
Buribayev (BIS-2246 bis.se).
Hemsing displays brilliance of tone in a
performance of the Dvořák Violin Concerto
in A Minor Op.53 that is bright, energetic,
rhythmic and full of life. It’s a work that still
doesn’t have quite the prominence it deserves.
The violinist and composer Josef Suk was Dvořák’s son-in-law.
His Fantasy in G Minor Op.24 is the only concert work he wrote for
his own instrument, and while quite different than the Dvořák in
its episodic form is still clearly Czech through and through. Suk’s
Liebeslied Op.7 No.1 is one of his best-known single pieces; the first of
a suite of six piano pieces, it is heard here in a very effective transcription
for violin and orchestra by Stephan Koncz.
Buribayev draws really strong support from the Antwerp Symphony
Orchestra players on a highly enjoyable CD.
The Italian-American violinist Francesca
Dego follows her hugely successful CD of
violin concertos by Paganini and Wolf-Ferrari
with Suite Italienne, a recital with her longtime
collaborator the Italian pianist Francesca
Leonardi of works by Ottorino Respighi, Igor
Stravinsky and Mario Castelnuovo-Tedesco
(Deutsche Grammophon DG481 7297
universalmusic.it).
Respighi was himself a fine violinist, and his Sonata in B Minor
Op.110 from 1917 is a striking work, written when he was struggling
to overcome the depression brought on by the loss of his mother the
previous year. A strong opening movement is followed by a particularly
lovely and melodic Andante espressivo middle movement. And
what a tone Dego possesses! It’s lustrous, warm, rich and strong, and
is more than balanced here by a lovely piano sound.
Stravinsky’s Suite Italienne from his ballet Pulcinella is the central
work on the disc, with the dance elements nicely realized, the
Tarantella Vivace in particular.
Castelnuovo-Tedesco is represented by four works. His Ballade Op.107
was written for Tossy Spivakovsky and premiered by him at Carnegie Hall
in 1940, after which it seems to have been overlooked and forgotten until
Dego recovered it for this recording earlier this year with the help of the
composer’s granddaughter Diana Castelnuovo-Tedesco. It’s a lovely work
that hopefully will stay in the repertoire. Three of Castelnuovo-Tedesco’s
short operatic transcriptions complete the recital: the rather-Paganinilike
Rosina and the playful and virtuosic Figaro from Rossini’s Il barbiere
di Siviglia; and Violetta from Verdi’s La Traviata. All but the latter of the
Castelnuovo-Tedesco works are world premiere recordings.
Georg Philipp Telemann was not only one
of the most prolific composers in musical
history but also one of the most cosmopolitan.
Some idea of the wide range of national
styles and idioms he incorporated in his
music can be discerned from Telemann
Sonatas for Violin and Harpsichord, a
new CD featuring Baroque violinist Dorian
Komanoff Bandy and harpsichordist Paul
Cienniwa (Whaling City Sound WCS 108 whalingcitysound.com).
The six sonatas from 1715 were written specifically for violin and harpsichord
– no cello continuo here, as in some recordings – and although they
all have the same slow/fast/slow/fast four-movement format they are wideranging
in idiom and expression. In addition there is a world premiere
recording of the unpublished Sonata in F-sharp Minor, a fascinating piece
described by Bandy as “a strange convention-defying work” that “seems
more an unfinished experiment than a polished piece of music.” His excellent
and insightful booklet notes refer to these sonatas as truly distinct,
each one unique, daring and extraordinary in its own way.
Bandy plays with a minimum of vibrato, which allows his excellent
definition, clarity and agility to be displayed to best advantage.
Cienniwa’s playing provides a stylish accompaniment, the harpsichord
never too percussive or prominent.
American Souvenirs is the debut recording
by the Chicago-based Blue Violet Duo
of American violinist Kate Carter and
Canadian pianist Louise Chan. Described
as an album of jazz, blues and dance-influenced
classical works from the mid-to-late
20th century, it features works by Norman
Dello Joio, William Bolcom, John Adams and
Paul Schoenfeld (bluevioletduo.com).
Dello Joio’s Variations and Capriccio from 1948 and Bolcom’s
four-movement 1978 Second Sonata for Violin and Piano are really
attractive works, the Bolcom offering a dreamy and surprisingly
atonal violin line over a slow blues piano in the opening movement, a
“Brutal, Fast” second movement and a finale In Memory of Joe Venuti.
Adams’ three-movement Road Movies from 1995 is in his minimalist
style but highly entertaining, with a Relaxed Groove opening movement
and a terrific third movement. Schoenfeld’s 1990 Four Souvenirs
for Violin and Piano are titled Samba, Tango, Tin Pan Alley and Square
Dance, with Carter supplying some simply gorgeous violin playing in
the Tango. Some virtuosic playing from both performers in the final
Square Dance makes for a great ending to an immensely enjoyable CD.
The duo says that they love performing lesser-known works that
are fun and playful yet virtuosic, and that those here are among their
favourites by American composers. It’s abundantly clear that they are
in their element here, fully at ease and seamlessly blending classical
performing standards with the freer popular styles.
There are two excellent cello and piano recital CDs this month:
Beethoven Sonatas Op.102 with cellist Natasha Brofsky and pianist
Seth Knopp (independent store.cdbaby.com/cd/natashabrofskyandsethknopp);
and Brahms Cello Sonatas with the husband-and-wife
Fischer Duo of cellist Norman Fischer and pianist Jeanne Kierman
(Centaur CRC 3648 arkivmusic.com).
thewholenote.com December 2018 / January 2019 | 83

Brofsky and Knopp were both members of
the Peabody Trio for nearly two decades and
clearly have an innate understanding of these
sonatas, having played and taught them for
many years. Brofsky, currently on the cello
faculty at Juilliard, plays with assured technique
and a warm, even tone in the two
works, the Sonatas Op.102 No.1 in C Major
and Op.102 No.2 in D Major. These sonatas,
the duo says, have challenged them to use their utmost imagination in
colour and expression. At 36 minutes it’s a fairly brief CD, but none the
less satisfying for that.
The Fischer Duo CD features the two cello
sonatas by Brahms – the E-Minor Sonata Op.38
and the F-Major Sonata Op.99, works the
performers have been playing for nearly five
decades. Again, the understanding and familiarity
with both the works and each other make
for truly satisfying performances. Fischer says
that the exemplary recorded sound made the
performances sound “exactly the way I imagine
the music.” Two Songs for Alto, Cello and
Piano Op.91 complete the disc, the duo being joined by their daughter, the
mezzo-soprano Abigail Fischer in sensitive performances.
The Polish composer and violin virtuoso
Karol Józef Lipiński was a direct contemporary
of Paganini, and good enough to not
only play with the great Italian but also to
be bequeathed one of his eight violins – an
Amati – when Paganini died. In his compositions,
however, while incorporating the
technical innovations of Paganini and the
other 19th-century virtuosi, his musical
philosophy showed a preference for the less purely virtuosic approach
of Spohr and the French school exemplified by Viotti.
Lipiński String Trios Op.8 and Op.12 (Naxos 8.573776 naxos.com)
features Voytek Proniewicz (primo violin), Adam Roszkowski (violin)
and Jan Roszkowski (cello) in first-class performances of two works
that, according to Lipiński’s biographer, were possibly written for
home performance and consequently lack the virtuosic element. Not
that you would know it. The G-Minor Trio Op.8 features fast runs,
octaves and chromatic runs, including one in octaves. Don’t try this at
home. The A-Major Trio Op.12 doesn’t sound that much easier, either.
There’s great playing here – lively, passionate, skillful, committed
and always entertaining in charming works that are light but never
facile or frivolous.
Mendelssohn String Quartets Vol.1, presumably the start of a projected
complete series, features Britain’s Doric String
Quartet in superb performances of the quartets
No.1 in E-flat Major Op.12, No.5 in E-flat
Major Op.44 No.3 and No.6 in F Minor Op.80
(Chandos CHAN 20122(2) chandos.net). The
playing is always clear and balanced, with
dazzling agility in the numerous typically
Mendelssohnian scherzo-like passages, and with
terrific dynamics. The bustling dramatic start to
the grief- and despair-ridden Op.80 quartet sets the tone for the whole work.
It’s an outstanding start to the series, and the remaining quartets
should be well worth waiting for.
The Op.12 quartet is also included on Felix
Mendelssohn Bartholdy String Quartets
Vol.2, the latest release in the ongoing
complete series by Germany’s Minguet
Quartett (cpo 777 931-2 arkivmusic.com).
Also included are the early String Quartet
in E-flat Major, the 14-year-old composer’s
first attempt in the genre, and the Four
Pieces for String Quartet Op.81, published
posthumously as String Quartet No.7 but actually four movements
ranging from 1827 to 1847 that are not connected, although two of
them may possibly have been intended for an eighth quartet.
There’s fine playing here too, with tempos in the String Quartet No.1,
Op.12 very close to those on the Doric CD, but the recording seems to
have been made in a livelier acoustic space. Some listeners may well
prefer this, but I found the Doric discs to have a cleaner and clearer
sound, with the dynamic range more clearly nuanced and effective.
On From the River Flow the Stars the Daedalus
Quartet plays string quartets by the American
composer Brian Buch (MSR Classics MS 1681
msrcd.com). Buch says that he often composes
music in collections or books comprised of
individual pieces, and extracts from five such
books are included here. From the River Flow
the Stars No.6, Acanthus Leaves No.6 and
Landscapes No.1 are all three-movement works;
Maze of Infinite Forms No.1 is in two movements,
and Life and Opinions No.7, the central work on the CD, in five.
They are all interesting and inventive pieces that create contrasting
atmospheres, although their relative brevity – 12 of the 16 movements
are under four minutes in length – may perhaps contribute to their
not always leaving a strong impression.
The Daedalus Quartet is known for its work with and support of
contemporary American composers, and it’s difficult to imagine these
works receiving more sympathetic performances.
What we're listening to this month:
thewholenote.com/listening
Lament/Witches' Sabbath
Mathew Rosenblum
Featuring David Krakauer, BMOP,
FLUX Quartet, Mantra Percussion,
Pittsburgh New Music Ensemble,
and Lisa Pegher in four intense
and emotionally riveting premiere
recordings
Brahms Cello Sonatas and Songs
Fischer Duo with mezzo-soprano
Abigail Fischer
Fischer Duo’s new album features
both Brahms Cello Sonatas and
Songs Op.91 with their daughter,
mezzo-soprano Abigail Fischer,
making it a special family affair.
From the River Flow the Stars -
String Quartets by Brian Buch
Daedalus Quartet
"...spellbinding string quartets...
make a case for Buch to be a new
master of the genre"
-Robert LaPorta, MSR Classics
Lisztomania Vol.1
Hando Nahkur
This is Nahkur's 5th but 1st full
Liszt CD. On this album his focus
is on Liszt’s major works as well
as his transcriptions of Schubert
songs (Dante Sonata, Ballade No.2,
Erlkönig etc.).
84 | December 2018 / January 2019 thewholenote.com

Keyed In
ALEX BARAN
Louis Lortie brings another stellar recording
to his lengthy discography with this new CD
Saint-Saëns – Piano Concertos 1, 2 & 4; BBC
Philharmonic; Edward Gardner (Chandos
CHAN 20031 chandos.net). The three
concertos are separated by roughly a decade
each. Despite the accumulation of experience
and artistic growth, the inherent
genius in Saint-Saëns’ writing is undeniable
in all of them. But in the Concerto No.4, premiered in 1875 with the
composer at the keyboard, the music is replete with richly complex
ideas spread over an orchestral canvas barely capable of containing
them. Lortie revels in conquering every technical challenge the
composer sets, and soars with the orchestra in each moment of
climax. This recording is powerfully inspired and Lortie’s performance
is the kind that makes you run out into the street, grab the first person
you see and drag them back in to experience it.
To his current handful of recordings
Evgeni Bozhanov adds his latest CD,
Shostakovich; Mozart – Piano Concertos,
Kammerorchester des Bayerischen RSO;
Radoslaw Szulc (Profil Edition Hänssler
haensslerprofil.de). The two concertos are
completely unlike each other, and hearing
the young Bulgarian pianist confirms the
impression that he has a remarkable gift
for complete and authentic engagement in his repertoire. Bozhanov’s
performance of Mozart’s Concerto No.17 in G Major KV453 is in every
way a perfection of achievement. His sense of balance, clarity and
partnership with the orchestral ensemble are all flawless. He never
claims more than the moderate role that Mozart gave the piano part in
the work.
The Shostakovich Concerto No.1 in C Minor Op.35 is, by contrast, a
riot of brilliant ideas from the fertile mind of a 26-year-old composer.
The 1933 composition has humour, pathos, melancholy, satire and all
the energetic hope of youth. Bozhanov performs it as if it were written
specifically for him, and every member of the audience at the live
performance seems to believe that as well. Noteworthy is the depth of
his playing in the second movement (Lento). There is no doubt about
the depth of the sadness that underlies the simple ideas in this movement.
It provides a stunning contrast to the outer ones that open and
close the work.
Wolfgang Rübsam has made his reputation
chiefly as an organist but is also widely
recognized as a fine pianist and harpsichordist.
In his new recording Bach –
Goldberg Variations (Naxos 8.573921 naxos.
com) he plays a lute-harpsichord. It’s a
Baroque keyboard instrument built like a
harpsichord, using its mechanical action
principles, but strung with gut rather than
metal strings. This modern copy, however, uses a set of unplucked
brass strings to sound sympathetic vibrations somewhat like a viola
d’amore. The resonating body of the instrument looks like a giant lute
or lady bug on its back. The overall effect of all this is a soft and very
mellow sound.
Rübsam excels at ornamentation in this work and takes every
tasteful opportunity to inject turns and grace notes. But the most
distinguishing feature of this performance is its extraordinarily slow
speed. Hearing the variations at a fraction of the tempo most other
interpreters take is an exercise in patience that is rewarded with new
insights into this very familiar material. The nature of the instrument
may have a great deal to do with Rübsam’s tempo choice but whatever
the reason, this unique Goldberg deserves attention.
Stefan Chaplikov’s new CD Clementi –
Keyboard Sonatas (Naxos 8.573712
naxos.com) samples the work of this
18th/19th-century composer with five
sonatas from Op.25 to Op.46 that span a
period of 30 years. Clementi’s writing is a
good example of a composer reluctant to
emerge from the structured discipline of the
late Baroque and early Classical into a style
where the invitation for emotional display
was open to all but held suspect by some. Ever careful, Clementi used
his left-hand keyboard-writing to provide both harmonic foundation
and rhythmic drive to his works. It’s a part of his vocabulary that
changed very little over his lifetime. In the right hand, however, there
is a subtle evolution that’s heard in the length and shape of melodic
phrases. Chaplikov exploits these and guides the ear to suggestions of
bolder passing notes and freer rubato.
Despite his conservatism, Clementi’s writing is masterful for its
precision and technical requirements. Chaplikov’s keyboard technique
is utter perfection and delivers clear articulation of Clementi’s
rapid-fire melodies as they tear across the keyboard.
Jean-Philippe Sylvestre appears as soloist
on a new recording with Orchestre
Métropolitain under Alain Trudel: André
Mathieu – Piano Concerto 4; Rachmaninov
Rhapsody on a Theme of Paganini
(ATMA ADC2 2768 atmaclassique.com). The
Mathieu concerto has a fascinating history
that rivals the story behind his Concerto
No.3 (Concerto de Québec) also recently
recorded by Sylvestre. The Concerto No.4 was virtually unknown
and deemed lost owing to the composer’s rather relaxed approach
to keeping his own scores. While the original score used in a 1950
Montreal performance has never been found, a recording of that
concert made on 78 rpm discs found its way into Sylvestre’s hands
in 2005. He and composer/conductor Gilles Bellemare have reconstructed
it based on the 1950 recorded performance. In its reconstructed
form it stands as a large-scale work built along formal lines
and expresses Mathieu’s strong modern Romantic language. The
purely aural process of transcription from the old recording is hard to
imagine but the result has been breathtaking.
Sylvestre also performs the Rachmaninov Rhapsody on a Theme of
Paganini Op.43, delivering a performance with the orchestra that is as
highly charged as the maniacal violinist himself.
Minju Choi, born in South Korea and raised
in America, has lived for many years in
Europe and admits to a strong cosmopolitan
outlook that shapes her life and music.
Her new CD Boundless – American Works
for Solo Piano (Navona Records NV6192
navonarecords.com) features the work of
three American composers. Among them,
Gabriela Lena Frank most closely reflects
this cosmopolitan view with her piece
Sonata Andina No.1. It incorporates Andean folk music and is dedicated
to the idea that different cultures can coexist without one subjugating
the other.
Philip Lasser’s sonata for piano Les hiboux blancs (The White Owls) is
only as programmatic as its title. Lasser has strong convictions about
the absolutism of music and allowing it to speak for itself. While he
writes about his structure and technical approach, he remains silent
on meaning.
thewholenote.com December 2018 / January 2019 | 85

Ching-Chu Hu presents a vivid contrast with his piece Pulse that
deals with issues of the heart and a range of human emotions.
The three composers share a language that is largely tonal and
combines a wonderfully creative inclination for rhythmic interest with
clever tune-smithing.
Hando Nahkur’s fifth solo album is his
first completely devoted to the piano
music of Franz Liszt Lisztomania Vol.1 (HN
Productions handonahkur.com/discography/).
This recording promises further
volumes of Liszt but begins by offering a
couple of transcriptions of Schubert lieder,
Erlkönig and Auf dem Waser zu singen, in
addition to larger works. Nahkur is consistently
amazing in his ability to blend both the technical and interpretive
demands of this repertoire. Après une lecture du Dante is
perhaps the most difficult piece in the program but it comes across
with an unencumbered directness and a conceptual maturity required
by the subject matter. The contrasting thematic ideas of heaven/hell
are as demanding as the work’s closing passages of rapid chromatic
octaves. The way he embraces all this shows how secure Nahkur is
with Liszt – one of his favourite composers – and it bodes well for
future volumes.
It’s unusual to find a brilliantly gifted performer of Nahkur’s calibre
still producing on his own independent label. How long before a
major label signs him?
Jonas Vitaud’s third major recording is an
impressive double disc set Debussy – Jeunes
années (Mirare MIR 392 mirare.fr). It’s
mostly piano solo but includes some songs
for soprano and tenor, as well as a gorgeous
performance of Debussy’s Fantaisie pour
piano et orchestra.
Vitaud, in his late 30s, has impressive
credentials and artistic pedigree. His playing
is flawless and obviously informed by a deep intellectual inquiry that
searches for meaningful content in every note he plays. He’s a thinker
and a very effective communicator. He lifts Debussy out of the purely
impressionist mould and interprets him in broader terms. While
there’s lots of requisite legato playing of beautiful long lines, there’s
also an unmistakable new sharpness to staccatos, lifts and phrase
separations. Vitaud somehow manages to harness a rhythmic energy
in Debusy’s music that is often missed in other performances. Listen
for this throughout the Suite Bergamasque, Mazurka and Images
oubliées. The 2-CD set is an impressive early addition to a very promising
discography.
Michael Adcock has released a new disc
Keyboard Transcriptions (Centaur CRC3534
arkivmusic.com) presenting works by
Prokofiev, Gershwin/Wild, Bizet/Horowitz,
Schumann/Liszt and Saint-Saëns/Godowsky.
It’s a rich program with plenty of drama and
brilliance.
Prokofiev’s own piano version of his
Romeo and Juliet Op.75 ballet is one of the
two major pieces on the recording. It’s big, bold and unapologetic.
The piano Adcock uses for the performance is a Steingraeber concert
grand with a powerful bright sound ideally suited for Prokofiev’s
angular music. Adcock performs the suite splendidly with all the
energy you’d expect from a full orchestra. The beautifully sinister
Montagues and Capulets is especially effective with its evil bass line
and foreboding melody.
The other major work on the CD is Earl Wild’s Seven Virtuoso
Etudes on tunes by George Gershwin. These are the real highlight of
this recording. Wild was an extraordinary performer and gifted
composer/arranger, and the Etudes demonstrate his genius for invention
and virtuosity. Adcock plays these with an easy conviction that
makes them seem like a natural fit for his impressive ability and fluid
style. While each one is memorable, I Got Rhythm stands out for its
intelligence and complexity.
Hubert Rutkowski is a Chopin specialist and
his latest disc Chopin on Pleyel 1847 (Piano
Classics PCL 10129 piano-classics.com) adds
to the growing number of performances
using period instruments to capture the
sound and feel that composers associated
with their work. Chopin owned a Pleyel and
regularly performed on one in public. The
Pleyel that Rutkowski uses in this recording
dates from 1847 and while it was built just a couple of years before
Chopin died, there’s no suggestion that he ever played this particular
instrument.
Modern pianos have evolved dramatically from their early forms,
based on the development of technology and materials, as well as
an artistic imperative for richness of sound and simple raw power.
Rutkowksi’s playing is wonderfully light and song-like. He takes
advantage of the Pleyel’s slightly delayed dampening system and the
more direct feel of keyboard contact with the strings. The piano’s
voice is a softer one owing to the lower tension of the strings that are
supported by a composite frame using iron cross bars.
Rutkowski quickly captures the sound of Chopin’s era but more
importantly, revives the music with an authentic voice that is intriguingly
fresh.
What we're listening to this month:
thewholenote.com/listening
Lorenzani – Nicandro e Fileno
Le Nouvel Opéra ; Les Boréades ;
Francis Colpron
ATMA Classique presents the
first-ever recording of Nicandro
e Fileno, a pastoral opera by
Paolo Lorenzani (1640-1713) first
performed in 1681.
Global Sirens
Christina Petrowska Quilico
Internationally acclaimed pianist
Christina Petrowska Quilico takes
listeners on a musical excursion
into the works of some neglected
women composers from around
the world.
Frank Horvat – For Those Who
Died Trying
Milos Quartet
The world premiere recording
of The Thailand HRDs, an epic
35-movement string quartet by
critically-acclaimed Canadian
composer Frank Horvat performed
by the Mivos Quartet.
The Window
Cécile McLorin Salvant
An album of duets with the
pianist Sullivan Fortner, explores
and extends the tradition of the
piano-vocal duo and its expressive
possibilities.
86 | December 2018 / January 2019 thewholenote.com

VOCAL
Impermanence
Lorelei Ensemble
Sono Luminus DSL-92226
(sonoluminus.nativedsd.com)
!!
Impermanence
is an album on
a mission. The
liner notes offer a
lengthy essay by
Beth Willer, artistic
director of the
nine-voice Bostonbased
women’s
vocal group, Lorelei
Ensemble. She mentions the migration of
peoples, pilgrimage, the essential impermanence
of existence, and the function of
music “as a container of meaning,” among
other topics.
Examining the old-juxtaposed-with-thenew-repertoire
approach of this album, it can
be grouped into four categories, beginning
with the 12th-century song Portum in ultimo.
Among the earliest of works in polyphonic
notation, it’s preserved in a book meant
for pilgrims travelling along the Camino de
Santiago de Compostela.
The much larger second group consists of
15th-century motets by Guillaume Du Fay,
the renowned Franco-Flemish composer,
plus motets from the contested “anonymous”
Turin Codex J.II.9 of Cypriot-French origin.
The J.II.9 songs with their polyphonic
freedom and piquant resultant harmonies
reflect the remarkable fluidity of the people
and cultures between the European mainland
and the 15th-century French court in Cyprus.
In a third group falls the choral work
Tsukimi (Moon Viewing 2013) by American
composer Peter Gilbert, eliciting the Japanese
celebration of the full moon in ancient Heian
era poems. Eight individual songs, evocatively
rendered by Gilbert, are interspersed
among the motets and two Toru Takemitsu
(1930-1996) Vocalises. Constituting the fourth
group, these songs are from Takemitsu’s
larger composition Windhorse, depicting
Tibetan nomads.
The album closes with Takemitsu’s Vocalise
II. It offers a satisfying tonal closing, the core
of which is a quote from a Bantu lullaby,
resolving the bracing modernist harmonies
heard just beforehand. To my ear Lorelei
Ensemble’s ambitious concept album
works superbly.
Andrew Timar
Renaissance
Quartom
ATMA ACD2 2769 (atmaclassique.com)
!!
Recorded at
St. Esprit Church
in Montreal, this
CD celebrates
Quartom’s tenth
anniversary, bittersweet
perhaps,
with the replacement
of founding
tenor Gaétan Sauvageau by the accomplished
Antonio Figueroa. I was interested to see that
the three other members, baritones Benoit
Le Blanc, Julien Patenaude, and bass-baritone
Philippe Martel, were all members of
children’s choirs in their earlier years, two
with Les Petits Chanteurs du Mont-Royal
and the other, an alumnus of La Maitrise des
petits chanteurs de Québec. It is clear that
something in the musical education of these
singers taught them exceptional phrasing
technique in performance. For this is exactly
what makes this recording of pure Gregorian
chant alternating with Palestrina’s polyphonic
settings remarkable.
Palestrina composed in what Monteverdi
referred to as “prima prattica,” a “stile antico”
of pure counterpoint in deference to an earlier
era. Palestrina’s elegant curves of sound and
long-breathed melody never detract from
the original character of Gregorian chant
on which his compositions are based. He
imbued the melodies with vitality by incorporating
rhythmic irregularities and clean
sonorities with a few well-prepared dissonances
to reflect textual nuance. He was the
master of creating polyphonic textures that
have distinct clarity. Therefore, his a cappella
motets have a similar requirement of singers
performing Gregorian chant: precision intonation
and sensitivity to textual phrasing
throughout – both of which are evident in
Quartom’s performance, in addition to their
exquisitely beautiful tone.
Dianne Wells
Paolo Lorenzani – Nicandro e Fileno
Le Nouvel Opéra; Les Boreades; Francis
Colpron
ATMA ACD2 2770 (atmaclassique.com)
!!
Le Nouvel Opéra
and Les Boréades
de Montréal are
Montreal-based
companies dedicated
to musicologically
and
performatively
reviving,
remounting and
reimagining music of the Baroque era (1600
to 1750). Clearly committed to the authenticity,
accuracy and specificity of this intricate
music (along with its detailed performance
practices), historical musicology and creative
performance coalesce here on this 2018
recording to shine a light on music that otherwise
would run the risk of being relegated to
the footnotes of music history.
Here, the first ever recording of Nicandro
e Fileno, Paolo Lorenzani’s (1640-1713)
pastoral opera for six singers that was initially
performed, in Italian, in 1681 before Louis XIV
at the palace of Fontainebleau, is brought to
life by an aggregation of thoughtful scholars,
practitioners and performers. And while there
is no doubt that the ensemble, under the
skillful direction of conductor and Boréades
founder Francis Colpron, is dedicated to
the period piece accuracy of this music,
these sides are not fusty and this music
is not ossified. Rather, new life has been
imbued across all three acts, and the onceforgotten
Italian-style opera comes alive on
this beautifully captured and rendered ATMA
Classique recording. The music, along with its
unpacking of the still-relevant and universal
themes of love, along with its trials and tribulations,
brings escapist joy to general music
fans and early music enthusiasts alike in these
troubled times. A detailed accompanying
booklet capturing extensive historical notes
and the opera’s libretto is a welcome addition.
Andrew Scott
Mahler – Das Lied von der Erde
Magdalena Kožená; Stuart Skelton;
Bayerischen RSO; Sir Simon Rattle
BR Klassik 900172 (br-klassik.de)
! ! Gustav Mahler
began work on
his “Symphony
for Tenor, Alto
(or Baritone) and
Orchestra” in 1907,
a year marked by a
series of personal
and professional
tragedies.
Around that time he was given an anthology
of Chinese Tang dynasty poetry transliterated
from French to German by Hans Bethge.
Captivated by the melancholy tone of these
poems that so well captured his sense of
resignation, he sought out early recordings
on wax cylinders of authentic Chinese
music and, philosophical by nature, also
immersed himself in Buddhist literature.
Choosing several poems from this volume he
created what he covertly regarded as his ninth
symphony the following summer.
The present recording is assembled from
live performances conducted by Sir Simon
Rattle in January of 2018, his second and
unquestionably his finest recording of this
work. I normally prefer a darker-voiced
contralto (or baritone) in this song cycle,
however Magdalena Kožená’s beautiful
mezzo-soprano upper register and sensitive
tonal inflections eventually won me over.
Even more impressive to my mind is the
heroic tenor of the Australian Stuart Skelton,
whose powerful voice rides effortlessly over
thewholenote.com December 2018 / January 2019 | 87

the massive orchestration of the opening
movement, yet is capable of an agile suppleness
in the lighter movements that follow.
The excellent Bavarian Radio orchestra once
again demonstrate their stellar reputation as
a Mahler orchestra dating back to the days
of Rafael Kubelík’s superb box set of the
symphonies from the 1960s.
The recording is clear and close-miked
with negligible extraneous noises, and text
and translations are included. Of the 60 or
so recordings of this work that have seen the
light of day this one surely belongs among
the top ten.
Daniel Foley
Fauré; Duruflé – Requiem
Julie Bouliane; Philippe Sly; Choeur de
l’Eglise St. Andrew and St. Paul; Jean-
Sebastien Vallée
ATMA ACD2 2779 (atmaclassique.com)
!!
The Requiem
Masses by Fauré
and Duruflé prove
a nice pairing
on this CD. Each
composed three
different versions of
the choral Requiem,
scored for chamber
or full orchestra, or with organ accompaniment
as chosen and lovingly performed
by Jean-Sébastian Vallée on this recording.
Both composers, eschewing the operatic
19th-century Requiem settings of Berlioz
and Verdi, chose instead to focus on images
of rest and peace. In both masses, the highly
dramatic sections of Dies irae are omitted
while the uplifting Pie Jesu is retained. Both
composed Libera me for baritone soloist, and
in this performance, Philippe Sly so beautifully
intones the humble plea, never once
diminishing the powerful timbre of his voice.
Fauré composed his melodies using the
Hellenic principles of clarity, balance and
serenity and Duruflé, writing 60 years later,
based his on the Gregorian melodies for
the Mass of the Dead, imbuing them with
rhythmic variation and harmonic enhancement.
The pace with which the Choir of the
Church of St. Andrew and St. Paul is directed
on this album allows for a deeply reverent
quality throughout. In the Duruflé Pie Jesu,
the interweaving of mezzo-soprano Julie
Boulianne with Elinor Frey’s ad libitum cello
results in a beautifully warm and inviting
entreaty, while it is interesting to hear Les
Petits Chanteurs du Mont-Royal sing Fauré’s
Pie Jesu in perfect unison, rather than
performed by the traditional solo treble.
Dianne Wells
Frank Martin – Mass for Double Choir
Westminster Choir; Joe Miller
Independent wcc1809 (naxosdirect.com)
!!
Why isn’t the
music of Frank
Martin better
known? Born in
1890 into a fervently
Christian family
– his father was a
Calvinist minister
– this Swiss-born
composer reached
maturity at a time when many composers
were experimenting with new means of
expression such as serialism and atonality.
Nevertheless, while Martin did adopt
certain contemporary styles, most of his
music remained firmly rooted in the past.
This was particularly evident in his works for
chorus and never more so than in his great
Mass for Double Choir performed here by
the Westminster Choir under the direction of
Joe Miller.
Written in 1922, the Mass was Martin’s only
unaccompanied choral work and today it is
regarded as among the greatest a cappella
works of the 20th century. An intimately
personal creation, Martin kept it under cover
for nearly 40 years and it wasn’t until 1963
that it was first published and performed.
Not surprisingly, the Westminster Choir
does it full justice. The work opens with
simple flowing lines not dissimilar to those
of Gregorian chant. Yet very soon, the score
leaves medieval Europe and joins the 20th
century with lush impressionistic harmonies.
Indeed, the five-movement mass is a study in
contrasts from the introspective Kryie to the
solid Gloria and the mysterious Agnus Dei.
Throughout, the choir provides a sensitive
and profound performance – music written
as a true testament to a composer’s deep
Christian faith.
An added bonus on this disc is the inclusion
of four short choral pieces by Edward
Bairstow, Joel Phillips, Anders Öhrwall and
Bernat Vivancos, all of which round out a
most satisfying recording. For lovers of choral
music this CD is a must – beautiful music
exquisitely sung – we can’t ask for more.
Richard Haskell
CLASSICAL AND BEYOND
Czerny – Piano Trios
Sun-Young Shin; Benjamin Hayek; Samuel
Gingher
Naxos 8.573848 (naxos.com)
!!
This disc
provides additional
recognition for the
chamber music of
Carl Czerny (1791-
1857). The Deux
Trios brillants,
Op.211 (1830) illustrate
my sense that
the Beethoven-taught Czerny has a more
Romantic side that I prefer, and a more classical
side that I do not. My first exposure to
the Czerny chamber revival was an energetic,
What we're listening to this month:
thewholenote.com/listening
The Joni Book
Mandy Lagan - Origins
“...a sparkling tribute to her muse,
titled Origin, featuring a roster of
Canada’s finest jazz artists.”
- The WholeNote
SymphRONica UpfRONt
Ron Davis
Dazzling, unique, original jazz/
world/ groove/ classical sounds
from Ron Davis' world renowned
SymphRONica. “Jazz music could
hardly be better served.”
- The WholeNote
felix anima
jeff bird
“800-year-old music played on
harmonica”
felix anima, interpretations of
the music of Hildegard of Bingen
(1098-1179).
Essays - Esszék
István Grencsó & Barnabás
Dukay, Stevan Kovács Tickmayer,
Aurél Holló
88 | December 2018 / January 2019 thewholenote.com

Beethoven-ish recording by Anton Kuerti and
St. Lawrence String Quartet members of the
composer’s Piano Quartet. In that spirit, on
this disc I love the second trio of Op. 211 in
A Major, where virtuosity serves expressive
ends, harmony demonstrates the advances of
the early-Romantic era, and there is the sense
of power and growth. The third movement
surprises in its Bolero rhythm, adding vitality
and contrast. The first trio in C major shows
Czerny’s classically precise writing for piano
in a high register. But the material I find prim,
exhibiting a music-box effect sometimes.
The Trois Sonatines faciles et brillantes,
Op.104 (1827) for advanced students, illustrate
the older tradition of piano as leader, violin
and cello as accompanists, with opportunities
for improvisation. Again, my inner Romantic
leads me to prefer the final A-Minor Sonatina
to those in G and C Major. I respect the articulate
pianism throughout of Samuel Gingher,
supported by colleagues Sun-Young Shin,
violin, and Benjamin Hayek, cello. Playing on
modern instruments their style leans Classical
or Romantic as appropriate, but is never
mechanical.
Roger Knox
Schubert – Octet in F Major, D.803
OSM Chamber Soloists
Analekta AN 2 8799 (analekta.com)
!!
Schubert’s
largest chamber
work, the Octet,
was composed
in 1824, during
a deeply creative
period in his life
that also gave birth
to two other major
chamber works –
the string quartets Death and the Maiden
and Rosamunde. Although they share similar
combinations of splendour and elegance, the
Octet seems to be both more ceremonious
in form and more optimistic in nature and,
as such, a relevant choice for OSM Chamber
Soloists’ second album. Having released their
recording of Beethoven’s Septet in E-flat
major in January 2018, the OSM Chamber
Soloists chose the work that was inspired
by Beethoven’s Septet as their next project.
These two classic gems have many parallels,
including instrumentation, the number
of movements, key relationships and general
character. Structured in six strong movements,
the Octet features many of Schubert’s
signature marks such as prominent dotted
rhythms, dramatic momentum and sumptuous
melodies. The fourth movement,
Andante – variations, is especially captivating
with its sublime transitions between the
variations.
The OSM Chamber Soloists (comprising
members of the Orchestre symphonique
de Montréal) is a splendid ensemble. Each
instrumentalist has a distinct character of
their own but the synergy of the ensemble,
the osmosis of the musical ideas, is extraordinary.
I have been a fan of the violinist
Andrew Wan for quite some time and his
playing and leadership on this album is
exceptionally strong. The rest of the ensemble
is just as impressive. Olivier Thouin (violin),
Victor Fournelle-Blain (viola), Brian Manker
(cello), Ali Kian Yazdanfar (double bass),
Todd Cope (clarinet), Stéphane Lévesque
(bassoon) and John Zirbel (horn) have collectively
created a colourful aural portrait of a
unique work.
Ivana Popovic
Clarinet Quintets
Mark Lieb; Phoenix Ensemble
Navona Records nv6193
(navonarecords.com)
!!
Lyricism may not
be the first quality
one associates with
the music of Elliott
Carter, yet always
amidst his confusion
of conflicting
rhythms there
are long melodically
pure lines to be
sung. Carter’s Clarinet Quintet (2007), offers
plenty of the former, but an especially good
amount of the latter as well. The performance
on this recent release by members of
the Phoenix Ensemble (including founder
and clarinetist Mark Lieb) rises to the task of
finding the way to sing the lines within the
exacting demands of Carter’s rhythms. The
more contrapuntal playing is virtuosic and
seemingly effortless. Lieb has a ready access
to the entire range of his instrument, and his
rapid articulation is crisp and sure. The quartet
playing is even better, or perhaps it’s safer to
say theirs is the more friendly material. Oddly,
in this late work, the composer assigned great
swatches of sustained notes to the wind player,
setting off the more interesting material played
by the strings.
The same could not be said of Johannes
Brahms’ towering late chamber work, the
Quintet Op.115 for Clarinet and Strings.
All players share in the glory of this final
outpouring of the old man’s soul. This disc’s
pairing with the Carter quintet is an odd one,
so little do the two works have in common
beyond instrumentation. The quartet here is
still excellent, all in all; the ensemble is good.
Their decision to examine the work with
slower than conventional tempi in the outer
movements is not a success, but I do love the
style of the string playing, which is reminiscent
of mid-century movie score melodrama.
An excellent rendering of Carter’s Esprit
Rude/Esprit Doux, for flute and clarinet, is
included between the larger works.
Max Christie
Mahler – Symphony No.5
Swedish Radio Symphony Orchestra;
Daniel Harding
Harmonia Mundi HMM902366
(smarturl.it/n1e7kz)
! ! Mahler’s Fifth
Symphony has
proved itself to be
one of his most
often performed
works, musically
challenging yet
accessible enough
for even student
orchestras to perform with aplomb. Scored for
a relatively normal-sized orchestra and relatively
Apollonian in comparison to his more
Dionysian and ofttimes programmatic earlier
symphonies, it marks a progression towards
an exclusively instrumental and often elaborately
contrapuntal approach characteristic of
his middle period symphonies.
Daniel Harding, a protégé of eminent
Mahlerians Simon Rattle and Claudio Abbado,
leads a revelatory performance of this work
with the superb Swedish Radio Orchestra,
an ensemble he has directed since 2007 and
to whom he is contracted through 2023. The
esprit-de-corps he has established with the
ensemble is palpable in this sumptuous and
expertly edited recording, captured in all
its glory by a crack audio team from Teldex
Studio Berlin. It is sadly rare these days to
come across a proper studio recording of this
quality. No nuance goes unnoticed in this
finely wrought and vigorous production.
Harding’s interpretation is eminently idiomatic
and the orchestra is quick to respond
to his beck and call. As an example among
many wonderful moments I was struck by his
handling of the exuberant Rondo-Finale, in
which the many tempo changes are elegantly
transitioned by establishing a long line that
drives towards the conclusion, surmounting
the sectional stopping and starting that often
mars lesser performances. The celebrated
Adagietto movement for strings and harp is
equally effective; it is languorously timed at
10 minutes and 30 seconds yet never feels
overwrought, as the string section’s vibrato
is carefully restrained to something resembling
a period performance. A truly admirable
achievement for all concerned!
Daniel Foley
thewholenote.com December 2018 / January 2019 | 89

MODERN AND CONTEMPORARY
Toshio Hosokawa – Orchestral Works 3
Basque National Orchestra; Jun Markl
Naxos 8.573733 (naxos.com)
!!
Multiple awardwinning
Japanese
contemporary classical
composer Toshio
Hosokawa (b.1955)
has built an illustrious
career rooted
in both his Japanese
birthplace and in
European, particularly
German, musical culture. Those bicultural
influences, drawing on Schubertian lyricism and
Webernian tone colouring, are seamlessly integrated
with intrinsically Japanese musical, theatrical,
aesthetic and spiritual elements.
Hosokawa has stated his philosophical goal
was to give “musical expression to the notion
of a beauty that has grown from transience. …
We hear the individual notes and appreciate at
the same time the process of how the notes are
born and die: a sound landscape of continual
‘becoming’ that is animated in itself.”
His orchestral triptych Meditation, Nach
dem Sturm, and Klage forms the heart of
this album. It is Hosokawa’s personal and
theatrical – in some places near cinematic –
response to the 2011 Tōhoku earthquake and
tsunami. While Meditation mourns the many
victims of that tragedy, Nach dem Sturm
invokes oceanic turbulent darkness.
I find Klage the most moving and musically
convincing. Based on a poem and fragments
of letters by Austrian poet Georg Trakl (1887-
1914), Klage rages against human life taken by
the ocean. Haunting images in the lyrics – a
shattered body, lamenting dark voices, a lonely
boat sinking in stormy seas under “unblinking
stars” – are reflected in the music.
Hosokawa masterfully unleashes the
full power of the contemporary symphony
orchestra in Klage. It’s underscored by the
emotional power of the female voice, here
eloquently rendered by mezzo-soprano
Mihoko Fujimura, which serves as the work’s
consoling mother figure.
Andrew Timar
Concert Notes: Toshio Hosokawa is the Roger
D. Moore Distinguished Visiting Composer
during the University of Toronto Faculty of
Music’s New Music Festival this January. His
works are featured throughout the festival,
culminating with New Music Concerts’
Portrait of Toshio Hosokawa on January 25
at Walter Hall. Hosokawa is also featured in
the RCM’s 21C Festival with U of T Opera
presenting a double bill of his The Raven
featuring Krisztina Szabó, mezzo-soprano,
and The Maiden from the Sea (Futari
Shizuka) featuring Xin Wang, soprano and
Ryoko Aoki, Noh singer/dancer, also in Walter
Hall on January 17. On January 20 Esprit
Orchestra presents the Canadian premiere of
Hosokawa’s Concerto for Saxophone (with
Wallace Halladay as soloist) at Koerner Hall.
Global Sirens
Christina Petrowska Quilico
Fleur de Son FDS58046 (naxosdirect.com)
!!
The last Classical
& Beyond beat
column I wrote
for The WholeNote
(October 2013
issue) was titled
“Let’s Hear It for
the Women!” Now,
five years later, I
am pleased to be reviewing Global Sirens,
released last month by the exceptional (and
exceptionally busy) Canadian pianist and
educator, Christina Petrowska Quilico, and
featuring works by 15 women composers,
some known, most essentially neglected.
Several were born around the turn of the last
century; a few are still composing today.
As the title suggests, the 15 composers
– I’m about to give them their due and
name them all – hail from all over the
globe: Germany (Ilse Fromm-Michaels, Else
Schmitz-Gohr, Lotte Backes, Barbara Heller,
Susanne Erding); France (Lili Boulanger,
Cécile Chaminade, Germaine Tailleferre); Italy
(Ada Gentile); Canada (Larysa Kuzmenko);
USA (Meredith Monk, Adaline Shepherd);
Australia (Peggy Glanville-Hicks); South
Africa (Priaulx Rainer); and Russia (Sophie-
Carmen Eckhardt-Gramatté, who lived in
Winnipeg the last 20 years of her life). Some
had fathers who forbade or discouraged their
musical pursuits; others were expected to give
up composing once married. And because
her husband was Jewish, the Nazis banned
performances of works by Fromm-Michaels.
Petrowska Quilico covers a lot of ground
over the CD’s 19 tracks, from Chaminade’s
rich and romantic Méditation and Schmitz-
Gohr’s lovely Elegie for the Left Hand to
Backes’ jazzy, Debussyesque Slow and
Kuzmenko’s haunting and evocative
Mysterious Summer Night. And then there’s
Shepherd’s delightful Wireless Rag, yup, an
honest-to-goodness rag.
Let’s hear it for Christina Petrowska
Quilico, champion of women composers!
Sharna Searle
Frank Horvat – For Those Who Died Trying
Mivos Quartet
ATMA ACD2 2788 (atmaclassique.com)
!!
It is impossible
to escape Frank
Horvat’s mystical
hypothesis that
music is somehow
part of all human
DNA. It is also a
testament to the
genius of Horvat
that he is able to craft this into each segment
of this unique 35-movement string quartet so
that each so comes poignantly alive with the
personality of 35 Thai environmentalists and
human rights warriors who died in the act
of defending the truth. The magical experience
magnifies exponentially as one is struck
by the fact that the inspiration for all of this is,
further, inspired by a visual essay created by
photographer Luke Duggleby titled For Those
Who Died Trying.
Both Horvat and Duggleby have been transformed
by the senseless murders of the
35 Human Rights Defenders (HRDs). The
portraits of the HRDs made by the photographer
are starkly unglamorous images of
each defender. The musical resurrections are
Horvat’s as he melds the story of each life and
death, using a unique melodic language in
which the poignant sense of humanity and
tragic loss is never far from the surface of
each piece.
The Mivos Quartet, a unique string
ensemble, responds brilliantly to this music.
There’s a strong sense, in each of the 35
sections, of the quartet functioning like actors
in some powerful tragedy. Each musician, solo
and in ensemble, controls his forces with an
unfailing sense of the right emphasis and the
right moment together to deliver performances
of affecting power.
Raul da Gama
Weinberg – Symphony No.13; Serenade for
Orchestra
Siberian State Symphony Orchestra;
Vladimir Lande
Naxos 8.573879 (naxos.com)
! ! Starkly
contrasting works
by Mieczyslaw
Weinberg fill this
disc of worldpremiere
recordings,
part of Naxos’
projected 17-CD
compilation of
Weinberg’s orchestral music conducted by
Vladimir Lande.
The 13th of Weinberg’s 22 symphonies,
dating from 1976, is dedicated to the memory
of his mother, killed in the Holocaust along
with his father and sister. (In 1939, after
Germany invaded, the 19-year-old Weinberg
fled from Poland to live in the USSR.)
Weinberg’s sombre Symphony No.13
begins with a downcast melody for strings
that seems to wander, as if lost in a fog, for
more than three minutes. Scored for a large
orchestra (triple woodwinds, six horns),
the one-movement, 38-minute Symphony
contains other such long, gloomy, sparsely
textured passages, separated by agitated,
anguished tutti climaxes. It closes as bleakly
as it begins, with a few plucked harp notes
quietly fading away. Significantly, Weinberg
quotes from the opera he considered his
finest creation, The Passenger, set mostly
90 | December 2018 / January 2019 thewholenote.com

in wartime Auschwitz. This symphony, so
similar in mood and intensity to a grief-laden
adagio by Shostakovich (Weinberg’s friend
and stylistic inspiration), is a truly haunting,
powerful statement of personal pain and
heartbreaking loss.
Nothing could be more different than the
four-movement, 18-minute Serenade (1952)
– bright, cheerful, playful, with charming
dance-like melodies. The finale is even titled
Allegro giocoso – nothing giocoso, of course,
in the Symphony.
Conductor Lande is clearly committed to
Weinberg’s music, these vibrant performances
helping to make this CD utterly
unforgettable.
Michael Schulman
Morton Feldman – For John Cage
Aisha Orazbayeva; Mark Knoop
all that dust ATD 1
Matthew Shlomowitz – Avant Muzak
Asamisimasa; Håkon Stene
all that dust ATD 2
Séverine Ballon – Inconnaissance
Séverine Ballon
all that dust ADT 3
!!
The new label all
that dust (allthatdust.com)
has been
established by the
outstanding pedigree
of its founders
– composers,
performers, instrument-builders
and forthright musical creators and innovators
– who have cut their teeth on the most
demanding concert halls across the world of
contemporary music. Now from founders,
soprano Juliet Fraser, Newton Armstrong and
Mark Knoop come these three of the first
five releases on their exciting imprint. The
tongue-in-cheek title of this label, All That
Dust, and the bold statements of the music
under review, will probably not be lost on the
listener.
Morton Feldman’s For John Cage – literally
the premiere release, which also features label
co-founder and pianist Mark Knoop, together
with brilliant violinist Aisha Orazbayeva –
heralds something of a reborn American
avant-garde, primarily concerned with the
sensual qualities of sounds themselves,
rather than the shaping and ordering of
those sounds. Always typical of this tendency,
Feldman’s sound-world here consists of
small, soft and unhurried musical gestures
which emphasise the physical detail of instrumental
timbre. The work in question seems a
conscious attempt at formalizing a disorientation
of memory. The effect is of a hallucinatory
stasis, not dissimilar to the canvases of
Mark Rothko, where little happens – very
beautifully.
Matthew Shlomowitz’s music is
characterized by its
bizarre theatricality
and biting irony
couched in subversive
and surreal
quantum miniatures.
The disc
begins with four
segments titled
Popular Contexts 7: Public Domain Music, all
of which are almost immediately recognizable
since the segments are reminiscent of elevator
and mall music upon which they are based.
The next five segments feature variations with
similar public-music settings, this time
featuring the percussionist Håkon Stene who
augments Asamisimasa, a kind of Lewis
Caroll-like equivalent of a jazz quintet. Avant
Muzak – five sketches regarding tempi and
locale – brings this entertainingly satirical
disc to a close.
The effect of
Séverine Ballon’s
musical odyssey
Inconnaissance is
best elaborated as
a masterpiece of
music whose microscopic
elements
of tone, pitch
and tempi are conflations of musical ideas
miraculously welded together: new, alert and
alive. Ballon’s transparent, lyrical cello resides
in an opulent sound world.
Raul da Gama
Hands and Lips of Wind
Diagenesis Duo
Independent (diagenesisduo.com)
!!
You know that
you’re already in for
something special
when you read that
the Diagenesis Duo
comprises a soprano
– Heather Barnes
– and a cellist –
Jennifer Bewerse.
That Barnes turns out to be decidedly bel
canto with an ability for breathtaking coloratura
and that Bewerse draws from her instrument
every possible sound short of a human
voice is the seductively beckoning cherry on
the proverbial cake.
The two settings of Mischa Salkind-Pearl’s
profoundly ethereal Hands and Lips of Wind
are intensely dramatic. This work, together
with con mortuis in lingua mortua, Stephen
Lewis’ powerfully elegiac piece, and a fresh
arrangement of the constantly shifting
Travels by Adam Scott Neal were commissioned
by the duo. The album also includes
the viscerally sprung Nine Settings of Lorine
Niedecker, a series of miniatures by Harrison
Birtwistle; all of which is music made in the
realm of heaven.
Bewerse is not the only one who pushes the
envelope, vaulting and diving up and down
the registers of the cello – no easy task given
its tuning in perfect fifths an octave beneath
the viola and an octave above the contrabass
– but swathed in the leaping melisma and
daring coloratura of Barnes, the duo sculpts
this diabolically complex music with impossible
precision. It is music seemingly in the
twilight of tonality but it is utterly seductive,
with the cerebral clarity and the stunning
instinctiveness with which both musicians
approach the five gems in this repertoire.
Raul da Gama
JAZZ AND IMPROVISED
Meaning To Tell Ya
Molly Johnson
Universal Music Canada/Belle Productions
BMM101 (mollyjohnson.com)
! ! Every now and
then, a recording
comes along that
makes you sit up
and take notice,
literally stop what
you are doing, and
just listen. This is
one such album, a
personal, soulful set of originals and covers
sung by one of Canada’s finest ladies of song,
Molly Johnson.
Johnson sings her life experience into these
songs, and the results are riveting, moving
and celebratory. Of course it helps to be in
great company, and she has handpicked the
best to join her on this musical journey:
drummer Davide DiRenzo, guitarist Justin
Abedin, keyboardist Robi Botos, bassist Mike
Downes, organist Pete Kuzma and guest saxophonist
Bob Sheppard. The band provides
beautiful, funky and understated accompaniment
throughout. It also doesn’t hurt to have
renowned producer Larry Klein sitting in the
recording booth.
As a master storyteller, Johnson mixes
in playfulness, memorable melodic hooks
and great grooves, along with many things
to ponder. The aptly named Stop, a lifeaffirming
antidote to despair, is simply stunning.
Co-writers Johnson, Klein and David
Baerwald deserve a place in the Songwriters’
Hall of Fame for this one.
The Gil Scott-Heron tune, Lady Day and
John Coltrane, will get you up dancing and
singing, and will “wash your troubles away.”
Toronto composer Steve MacKinnon also
deserves special mention for his collaborative
efforts on the title tune and Better Than This.
Meaning To Tell Ya has many important
things to say. And we’re listenin’.
Barry Livingston
thewholenote.com December 2018 / January 2019 | 91

The Window
Cécile McLorin Salvant
Justin Time JTR 8614-2 (justin-time.com)
!!
Cécile McLorin
Salvant frames
her vision of
love through The
Window, but this
ubiquitous architectural
element
has been thrown so
wide open that it
is now a glorious metaphor, its theme spread
out as vast as a lifetime of beauty against a
blushing sky. And McLorin Salvant’s reputation
as the premier jazz vocalist in any era
has been fortified as she picks up effortlessly
from where the legends such as Billie Holiday
left off.
McLorin Salvant is magical as she strips
lyrics and narrative bare in this duo format
with the incomparable pianist Sullivan
Fortner, achieving – if such as thing is
possible – the closest equivalent of Jazz
Lieder. Songs speak to McLorin Salvant as a
lover’s whispers might. When she blushes so
does her lyric, when she is in pain, her heartache
puts a twist in the listener’s gut and her
joyous enunciations create shivers down the
spine. The Peacocks featuring saxophonist
Melissa Aldana is a haunting example.
On Tracy Mann’s lyrics to Brazilian songsters
Dori Caymmi and Gilson Peranzzetta’s
Obsession, McLorin Salvant literally detonates
the lines, “You’re like the wind that blows
in front of a storm/The electricity explodes in
the night.” Her instrument is lustrous, precise
and feather-light; her musicianship fierce as
she digs into the expression of each word;
brings ceaseless variety to soft dynamics
and gives every phrase grace. Fortner is
here, an equal partner in the creation of
the song’s character; his pianism rising to a
rarefied realm.
Raul da Gama
The Joni Book
Mandy Lagan – Origins
Independent (mandylagan.com)
!!
I first met
Mandy Lagan when
she was a music
student at Mohawk
College. She already
displayed considerable
musical talent
at that time, while
possessing a keen
interest in the music
of legendary singer/songwriter Joni Mitchell.
After hearing Mitchell’s recording Court and
Spark when she was a teenager, Lagan was
“forever changed.”
Flash forward several decades, and Mandy
Lagan has released a sparkling tribute to her
muse, titled The Joni Book, featuring a roster
of Canada’s finest jazz artists. She couldn’t ask
for a better or more simpatico group of musicians
than Kevin Turcotte, Jim Vivian, Ted
Quinlan, Dave Restivo, Andrew Downing and
Blair Mackay.
Lagan rises to the challenge of honouring
Mitchell’s legacy, while making these tunes
her own. She has lived with this material a
long time, and accordingly, wraps her voice
around the layers of lyrical meaning and
shading embedded in these great songs.
It is truly a group effort, though, and
all the musicians delve into both familiar
(My Old Man, All I Want) and less familiar
material (Conversation) with dedication and
zeal. Everyone contributes to the inventive
arrangements, ranging from the playful interplay
on Help Me (featuring an outstanding
trumpet solo by Turcotte), to the masterful
textural arc they craft on Song for Sharon.
Somewhere, at her home in Los Angeles,
Joni Mitchell is smiling.
Barry Livingston
Starting Here, Starting Now
Cornelia Luna
Independent (cornelialuna.com)
!!
With the release
of her debut CD,
gifted vocalist and
actress Cornelia
Luna has joined
forces with
multiple-awardwinning
pianist/
producer/arranger,
Bill King, and created a fresh, contemporary
re-imagining of nine tunes which have been
key in defining Barbra Streisand’s style and
taste. King refers to the recording as “The
Streisand Project,” which emanated from a
memorable, creative encounter that King had
in 1976 with iconic arranger Peter Matz (who
was well-known as the favoured Streisand
arranger throughout her early career). Upon
re-connecting with the perfect artist for this
project, uber-talented Broadway performer
Luna (whom King initially met when she was
19), the recording was propelled into being.
King serves as producer/arranger/pianist
here and bassist Dave Young and drummer
Mark Kelso complete the Bill King Trio.
Noted guest artists include vocalist Gavin
Hope (duetting with Luna in Any Moment
Now by Marvin Hamlisch), saxophonist Mike
Murley and trumpeter William Sperandei.
The strong opener is Harold Arlen’s When the
Sun Comes Out. Luna’s sumptuous contralto
and her emotional vocabulary create a web
of intimacy and warmth on this lovely and
swinging take.
Another highlight is Stephen Sondheim’s
Loving You from his hit show Passion. This
is a triumph for both Luna and King. Her
vocal instrument is sheer perfection, and
King’s piano work is masterful. Gotta Move
– Matz’s 1963 “Eleven O’Clock Number” –
is also magic. This Barbra-defining classic
has been perfectly contemporized as well as
expertly and dynamically performed. Murley
and Sperendei soar, swing, bob and weave
through King’s fine arrangement, and the
versatile Luna is as skilled in rendering a
ballad, as she is in presenting a thrilling, fullthrottle
performance.
Lesley Mitchell-Clarke
Fearless and Kind
Way North
Independent WN002 (waynorthband.com)
!!
Fearless and
Kind, the second
album from rootsjazz
quartet Way
North, is a project
that showcases
the collaborative
spirit of a group
that functions as
a collective, in terms of leadership, compositional
contributions and improvisational
style. Way North features trumpeter Rebecca
Hennessy and bassist Michael Herring (both
based in Toronto), saxophonist Petr Cancura
(based in Ottawa), and New York drummer
Richie Barshay. Recorded following a tour,
Fearless and Kind is an intelligent, feel-good
release in all of the right ways. By placing the
emphasis on interactivity and humour, Way
North has managed to produce an album that
deftly combines the energy of a live show
with the focus and specificity of the studio
environment.
Fearless and Kind kicks off with the
Cancura-penned Boll Weevil, a bouncy New
Orleans-inspired song that sees the band
playing around with brass band tradition
without succumbing to the imitative clichés
that often accompany modern performances
of this music. Hennessy’s Lagoon is a loping,
dreamy affair, featuring a mature, lyrical
performance from the trumpeter herself,
and a strong solo from Herring (Lagoon also
appears on the album Two Calls, released
by Hennessy’s FOG Brass Band). Later on,
Cancura’s solo on King Porter Stomp marks
one of the album’s energetic high points. It is
notable that Way North is a chordless quartet,
with no piano, guitar or other traditional
comping instrument; but such is the strength
of the individual players and the group
dynamic that no harmonic absence is registered
in the first place.
Colin Story
The Island of Form
Ethan Ardelli
Independent (ethanardelli.com)
! ! The Island of
Form, a new album
from Toronto-based
drummer Ethan
Ardelli, is remarkable
for a number
of reasons. The first:
despite the fact
92 | December 2018 / January 2019 thewholenote.com

that Ardelli has been a prominent member
of the Canadian jazz community for the past
ten years, this is his debut bandleader album.
The second: The Island of Form was recorded
in New York by engineer James Farber, who
has worked on albums by such jazz luminaries
as Michael Brecker, Joe Lovano and
Brad Mehldau; and was mastered by Greg
Calbi, whose clients have included Bill Frisell,
Aretha Franklin and the Ramones. The third:
it’s really good.
In addition to Ardelli, who composed
all eight of its songs, The Island of Form
features Luis Deniz on alto saxophone, Chris
Donnelly on piano and Devon Henderson
on bass. The album begins with the Afro-
Cuban-tinged Agua, which builds intently
before dissolving into a drum breakdown that
precedes Deniz’s confident solo. Thanks for
Something, which starts with a duet between
Ardelli and Deniz, contains a driving, percussive
contribution from Donnelly over the
song’s vamp; Henderson takes a beautiful solo
on Shangri-La Pearl. 5:55 AM, the album’s
shortest track, is mostly drum solo, and serves
as a fun, fiery feature for the bandleader.
All four band members are technically
gifted players, and Ardelli’s album has many
feats of compelling musical athleticism, but
The Island of Form privileges tone, texture
and melodicism, even during its wilder
moments. Overall: an excellent debut.
Colin Story
SymphRONica UpfRONt
Ron Davis
Really Records RR 18001
(rondavismusic.com)
!!
A unique fusion
of a jazz quartet
and a string
quartet, Ron Davis’
SymphRONica is
truly an ensemble
like no other.
Energetic, virtuosic,
charming,
worldly – the music on this album has flare
and style. Although most compositions have
a predominantly jazz feel, it is the crossover
of styles that makes this music excitingly
unpredictable and fresh. The elements
of classical, jazz, Brazilian, Hungarian, Italian,
klezmer, Latin and Québecois, meet and
part throughout the album in an easygoing
fashion, but it is the strong ensemble that
makes it all come together.
Composer and pianist Ron Davis is the
brain and the driving force behind this
project and one can feel his carefully crafted
influence in each tune. UpfRONt is a collection
of six original compositions of Ron Davis
alongside tunes by Mike Downes (a double
bass player and a producer of this album),
Louis Simão, Paolo Conte, Jack Pepper,
Samuel Lerner and Miles Davis. A lovely Drew
Bourée opens the album in a simple, understated
way, not giving away the virtuosity and
drive of WhirlyCurl that comes soon after
or surprise vocals by Daniela Nardi in the
arrangement of Conte’s Nina. My favourite
numbers on this album, Sashagraha and
Chance, both have cool, catchy tunes and are
fine examples of the fusion of styles.
SymphRONica is made up of stellar players
but violinist Aline Homzy is especially
impressive in her inventive solo improvisations.
Kudos to Ron Davis for continuing to
surprise us and to SymphRONica for a great
performance.
Ivana Popovic
Concert Note: SymphRONica + the Tap
Dancers Reunite! Thursday December 13 at
918 Bathurst Centre for Culture – 918 Bathurst
St.
Volume 3
Collective Order
Independent (collectiveorderjazz.com)
!!
Collective Order
is a prime example
of how art always
triumphs, even
when politicians of
every partisan hue
try and exploit the
term “diversity”
to suit whatever
agenda they seek to advance. For Toronto’s
ever-evolving, improvising large ensemble,
diversity is best expressed not in platitudes,
but in the expression of being a joyful cultural
voice: from Native-Canadian to every other
immigrant artist who makes up Canada’s
multicultural musical topography.
As with earlier recordings, the band’s
2018 release Vol.3 features music written by
various members of its ensemble. Each time
the composer decides who, or what permutation
of the Collective Order, will perform
the repertoire. Size composition of the group
varies, and with it the feeling and musical
expression of each piece is singular in nature.
Quite remarkably, there is a feeling that all
of this repertory belongs to one contiguous
unit. This speaks to how successfully the
group is able to fashion the individuality and
musicianship of its members into a characterful
unit.
The unifying theme on Vol.3 appears
to be a reverential homage (broadly
speaking) to the earth, and more specifically
to Toronto, Ontario and most of all to
Canada. We hear this right out of the gates
in Melanie Montour’s spoken word Land
Acknowledgement, continuing through
Theme for Lake Ontario. The proverbial
strength of the Universal Mother on I Hear
You, combining language, multilingual
spoken and sung lyrics is by far the disc’s
crowning moment.
Raul da Gama
Elements
François Carrier; Michel Lambert; John
Edward
FMR Records FMRCD501
(francoiscarrier.com)
!!
François Carrier
is a Quebecborn
alto saxophone
player with
a decades-long
history playing
free improvisation
with musicians
around the
world (including Paul Bley, Gary Peacock and
Dewey Redman). He has released over 30
albums recorded for many European labels
that specialize in avant-garde music. In 2001
Carrier won a JUNO for his third album
Compassion and has stated it is “important to
record as much music as possible. You learn
a lot just by listening to what you have done
together and since everything is improvised,
you will never do the same thing twice.”
Carrier and drummer Michel Lambert have
played and recorded together for years and
they have toured Europe, Asia and Canada.
Elements, released by UK label FMR records,
also includes British bassist John Edwards
and has three live performances by the trio:
Wilderness, recorded at the 20th Jazz Cerkno
festival (Slovenia 2015), and Elements and Roar
of Joy from Iklectick (London, UK, 2016).
Carrier and Lambert’s long history together
ensures their musical intuition is highly
attuned and their playing can change quickly
from staccato and aggressive to lyrical and
introspective. Edwards is an integral part of
these performances and it feels as if he has
played in this group for years. The first piece,
Elements, begins sporadically, with Edwards
playing notes off-rhythm and switching to his
bow (which he uses frequently and effectively
throughout the album). Carrier plays short,
aggressive bursts and then Lambert enters
with off-rhythm backing percussion. The
piece moves through several phases trading
solo parts, and around the four-minute mark
Carrier introduces more lyrical lines with a
sound reminiscent of Ornette Coleman. The
album captures the spirit and energy of their
live performances and repeated listening
reveals the complexity of their shifting
musical textures.
Ted Parkinson
Flow Vertical
Jasna Jovićević Sextet
FMR CD 475-0318 (jasnajovicevic.com)
! ! An indication
of the high
quality of music
in Toronto is this
CD of multifaceted
compositions by
Belgrade-native
Jasna Jovićević.
thewholenote.com December 2018 / January 2019 | 93

Jovićević lived in Toronto from 2006 to 2009,
while receiving her MA in composition at
York University, recording with local players
and sampling different musical currents
to use in her own work. However this CD,
while proficient musically doesn’t settle on a
consistent genre.
With an unusual lineup (violin, viola,
cello, bassoon, percussion and her own saxophones,
bass clarinet, spacedrum and vocals),
the seven tracks bounce among animated
string-oriented tremolo showcases, Balkantinged
vocal laments, spacey voice, string and
reed elaboration, plus instrumental virtuosity
that zips, from near-atonal to nearsmooth
jazz.
Ram Run through the Veins, the CD’s
lengthiest track, defines the conundrum in
miniature. Beginning as an exercise in freeform
saxophone squeals and whistles, backed
by a sardonic march conveyed by splash
cymbals, it settles down to become a quasiballad
with triple-stropping strings and
breathy English vocalizing accompanied by a
bassoon obbligato. Other tracks such as Speak
Loud My Inner Child show off Jovićević’s
unaccompanied saxophone prowess. Still
others like Rising Barefoot Ballad and Silver
Winds of a Thousand Petals create closeknit
harmonies which express such intense
emotionalism that either could be part of the
formal Romantic canon.
Flow Vertical is a top-flight demonstration
of what Jovićević can do as a composer
and performer. But settling on one consistent
narrative would better define her ideas.
Ken Waxman
You Have Options
François Houle; Alexander Hawkins; Harris
Eisenstadt
Songlines SGL1628-2 (songlines.com)
!!
Ken Pickering,
who recently passed
away from cancer,
was co-founder
and artistic director
of the Vancouver
International Jazz
Festival. For over
three decades he
created a singular and still-growing contribution
to Canadian improvised music by regularly
assembling ad hoc groups matching
Vancouver musicians with their international
counterparts. Among his achievements was
this stellar assembly of Vancouver clarinetist
François Houle, English pianist Alexander
Hawkins and Toronto-born, US-resident,
drummer Harris Eisenstadt. First matched
in 2014, the three reunited during the 2016
festival and went into the recording studio.
This resulting CD, an essay in chamber jazz
that explores the trio’s own fresh compositions
and a few from some stellar composers,
is dedicated to Pickering’s memory.
The group’s lyric potential is apparent
first on Hawkins’ opening Clue and Steve
Lacy’s Art. There’s a rich, warm woodiness
to Houle’s clarinet and it’s admirably
matched with Hawkins’ liquid keyboard and
Eisenstadt’s subtly propulsive drumming.
Houle’s edgy Run Riot and Eisenstadt’s You
Have Options. I Have a Lawyer will momentarily
break the spell, but it’s the group’s
reflective depths that define the CD: Houle’s
gently spiralling, impassioned lines on The
Pitts; the group’s insistently coiling phrases
on the modal Prayer and the very light, traditional
blues of Advice.
The group’s breadth is evidenced by a free
interpretation of Charles Ives’ Largo, while
Andrew Hill’s Dusk, sometimes serene, sometimes
gently animated, provides a fitting
conclusion, from Houle’s a cappella introduction
to its shimmering conclusion.
Stuart Broomer
tse
Cyril Bondi; Pierre-Yves Martel; Christoph
Schiller
Another Timbre at123 (anothertimbre.com)
!!
Redefining
period instruments,
Montreal viola da
gamba, harmonica
and pitch pipes
player Pierre-Yves
Martel joins two
musicians from
Geneva, Cyril Bondi
on Indian harmonium, objects and pitch
pipes plus spinet specialist Christoph Schiller,
to create five microtonal improvisations that
amplify the in-the-moment concept that tse
(which means “here” in a mountain dialect
spoken near Geneva) only suggests.
Based around cycles of tremolo drones from
the harmonium, the moody performances
are narrow but nuanced, since the repetitive
outpouring is periodically disrupted
by concentrated string plinks or stabs. The
extended rustles that make up a track like
III have their delicacy challenged when
swelling harmonica puffs and concentrated
wave-form-like buzzes clamorously
dominate the sound field, until that moment
when the organ-like extensions give way to
string twangs until both expositions dissolve
into silence. On other tracks, the group’s
minimalist sways and squirms demonstrate
similar contradictions and resolutions, as
when shrill whistles, peeps, tinkling bells and
unexpected reed-like tones create parallel
motifs to the underlying ostinato, and then
combine for a satisfying flat-line conclusion.
More than background sounds, but never
powerful enough to be obnoxiously upfront,
the fascination in tse’s presence is how these
sounds, designed with understated, overlapping
restrictions, continue to hold aural
interest during the evolution of each track.
Ken Waxman
Contemporary Chaos Practices
Ingrid Laubrock
Intakt 314 (intaktrec.ch)
!!
While third
stream (the merger
of jazz and classical
music) is rarely
heard of these
days, it’s far more
developed than in
its 1950s heyday.
Saxophonist/
composer Ingrid Laubrock here presents two
pieces integrating written and improvised
passages for a 34-piece orchestra and four
featured soloists: Laubrock herself, guitarist
Mary Halvorson, trumpeter Nate Wooley and
pianist Kris Davis, among the most distinguished
international improvisers of a generation
now in its late-30s and 40s. The orchestra
of New York freelancers negotiates the
complex scores – Eric Wubbels conducts the
written passages, Taylor Ho Bynum (like most
of the soloists a close associate of Anthony
Braxton) conducts the improvised – with a
necessary combination of precision, energy
and vision.
Inspired by the models and methods
of Ligeti, Xenakis and Braxton, Laubrock
develops new synergies with her mixed
palette. The first two movements of the
title work erupt with the overlapping energies
of soloists (most notably Halvorson’s
very electronic guitar) and ensemble, while
the third and fourth expand the breadth of
the orchestral dimension. The single-movement
Vogelfrei (Outlaw) adds eight voices
and mixes light and sombre elements as it
develops a dialogue between notated and
improvised orchestral passages, at times
creating an almost concerto-like setting for
Davis’ prominent piano.
Along with other recent works like
Christopher Fox’s Topophony (with John
Butcher and Axel Dörner) and Roscoe
Mitchell’s Ride the Wind (with the Montreal-
Toronto Art Orchestra), this represents a
significant new development in the integration
of scored and improvised music.
Stuart Broomer
Miki
Miki Yamanaka; Bill Stewart; Steve Nelson;
Orlando le Fleming
Cellar Live CL020718 (cellarlive.com)
! ! Miki is the debut
recording from the
Kobe-born, New
York-based pianist
Miki Yamanaka.
Recorded in New
York and released
on Vancouver’s
Cellar Live Records,
Miki features eight originals – all written by
Yamanaka, most with food-related titles –
and two covers, For All We Know and Monk’s
94 | December 2018 / January 2019 thewholenote.com

Dream. Joining Yamanaka are drummer
Bill Stewart, vibraphonist Steve Nelson, and
bassist Orlando le Fleming, all three of whom
are veterans of the New York jazz scene, both
as bandleaders and sidepeople.
Miki begins with Mr. Pancake, a swinging,
medium-up song, with a concise, intelligent
bass solo, playful trading between Yamanaka
and Nelson, and a strong drum solo over a
vamp that follows the final statement of the
melody. Monk’s Dream starts with an evocative,
tastefully Monk-ish solo piano section
before the band enters with an arrangement
that juxtaposes sections of 3/4 with the song’s
typical 4/4 feel. Stuffed Cabbage, performed
in trio format with Stewart and le Fleming,
is a groovy, straight-eighths composition that
gives plenty of room to all involved to stretch
out, and A Fake Hero is anchored by tight
melodic playing from Yamanaka and Nelson
over propulsive rhythm section shots. For All
We Know, played as a ballad and arranged as
a duet with Nelson, is treated with sensitive,
communicative maturity, and stands out as
one of the album’s highlights. Overall, Miki is
a success, both on the merits of Yamanaka’s
playing and on the compelling group dynamic
that she has cultivated.
Colin Story
Vol. II
Onze Heures Onze Orchestra
Onze Heures Onze ONZ 027
(onzeheuresonze.com)
!!
Skilled in
notated as well as
improvised music,
the 14-piece Parisbased
Onze Heures
Onze Orchestra
(OHOO) takes
themes from 20thand
21st-century compositions and bends
them into stimulatingly expressive tracks.
Since two percussionists are part of the
collective, a forceful rock-like beat adds to the
thematic dislocations.
No component overpowers the others,
however, which is why for instance From
Crippled Symmetry uses Morton Feldman’s
creation as basis for a lusty big-band swing
piece driven by Magic Malik’s muscular
flute, Alexandre Herer’s piano clipping and
dramatic eloquence from one of the alto saxophonists.
Just as dynamic, but spared from
novelty, Conlon Nancarrow’s Study for Player
Piano No. 20 throbs as patterns bounce
between piano and Stéphan Caracci’s ringing
vibes, as graceful brass and burly percussion
give it more orchestral shape than the
original.
Europeans aren’t neglected either. Two
tracks inspired by Olivier Messiaen boomerang
among marching band riffs, electric
rock and mellow horn motifs, with one
featuring a dissected piano solo and the
other now titled Kung Fu 37. Not surprisingly
though, the most expressive arrangement
is Densite 11.11 inspired by Edgar Varèse.
Expanding the original’s lofty intent, the
OHOO harmonizes whinnying trombone,
growling trumpet, rolls from both drummers
and paced kinetics from vibes and piano into
a unique recasting.
Unlike efforts to jazz up the classics or
elevate improvisation, Vol. II creates a durable
synthesis of contemporary sounds that
should attract those from every part of the
musical spectrum.
Ken Waxman
POT POURRI
Felix Anima
Jeff Bird
Independent (jeffbird.com)
!!
Canadian multiinstrumentalist
Jeff Bird, familiar
to many as the
harmonica player
for the Cowboy
Junkies, describes
his interpretations
of the music
of Hildegard von Bingen (1098-1179) as “Man
plays 800-year-old music on the harmonica.”
And so he does, with passion, clear musical
understanding and respect on eight of
her sacred chants. Bird also supports his
harmonica playing with many other instruments
like shruti box and lap steel, with
special guest pianist Witold Grabowiecki on
two tracks.
This is such a rewarding magical listening
experience. Bird’s perfect breath control on
harmonica emulates the original vocal lines
throughout all his contemplative arrangements.
The opening solo Lovingly Inclined
Towards All is amazing from the start, with
nice use of drone and musical touches maintaining
von Bingen’s original stylistic aspects.
Noble Rupert is given a reflective performance
on harmonica and shruti box, as a low
drone note supports the lead harmonica lines
featuring dynamic held note swells. The Third
Flies Everywhere is an intense harmonica/
piano duet tour de force as the resonating
very low piano notes contrast a detached
piano melody, with the harmonica introduction
adding new colour. A mid-piece solo
piano leads to duet melodic conversations and
an inspiring reflective harmonica line against
more florid piano movement.
Bird’s decades-long passion for von
Bingen’s music has enabled him to create
a new brilliant sound mix of medieval and
modern arrangements for instrumentations
that all just work perfectly to the final
harmonica closing fade.
Tiina Kiik
Songs without Words – Torchsongs
Transformed
Les Délices
Navona Records NV6195
(navonarecords.com)
!!
A unique
programming scenario
highlights
this second release
by Les Délices, a
Baroque instrumental
trio founded
in 2009 by Baroque
oboist Debra Nagy,
with members Mélisande Corriveau on viola
da gamba and pardessus de viole, and Eric
Milnes on harpsichord. Here the trio performs
17th- and 18th-century vocal airs and
20th-century jazz standards and torch songs,
creating mindset-altering music.
As no published solo music existed for
Baroque woodwinds prior to 1700, vocal
songs were adapted for instruments. Les
Délices chose French love songs from some
of the greatest 17th-century songwriters.
Highlights include Marin Marais’ Prelude
in A Minor featuring intricate ornamentations
and trills, clear phrasing and clear
harpsichord accompanying cadences. Nice
melodic and ornamental interplay between
harpsichord and oboe makes for a straightforward
Baroque rendition of Jean-Baptiste
de Bousett’s Pourquoy, doux rossignol.
Strong ensemble playing keeps the listener’s
attention throughout a slow and heartbreaking
rendition of Jean-Philippe Rameau’s
Tristes apprets.
The big surprises here are the contemporary
songs. For example, the Patsy Cline/
Willie Nelson classic Crazy is true to the
original, with the almost-country-band
rhythmic harpsichord and viola da gamba
supporting the wailing oboe melody. John
Lennon and Paul McCartney’s Michelle highlights
an upbeat pop harpsichord with a
sing-along oboe melody. The closing Joseph
Kosma/Johnny Mercer Autumn Leaves
features almost percussive harpsichord chords
with an almost walking bass viola da gamba
background, highlighted by an oboe lead
complete with solo improvisation.
This is successful risk-taking music!
Tiina Kiik
Dreamers
Magos Herrera; Brooklyn Rider
Sony Masterworks 190758907123
(brooklynrider.com)
! ! In a context
where the term
“dreamers” is being
misused to characterize
immigrants
as being motivated
by some kind
of imaginary land
grab or cultural
thewholenote.com December 2018 / January 2019 | 95

invasion, celebrating beauty and one-ness
becomes a political act. New York Citybased
Mexican vocalist and composer
Magos Herrera and the noted string quartet
Brooklyn Rider’s debut collaboration is, in
their own words, “Celebrating the power of
beauty as a political act.” This breathtaking
Hispano-centric recording includes not only
poetry and compositions from Violeta Parra,
Gaetano Veloso, Federico García Lorca, João
Gilberto, Gilberto Gil and Octavio Paz, but
also contains gems from the Ibero-American
songbook, arranged with a fresh, new
perspective. All of the poets and composers
featured on the CD have come from places
that have endured brutal national violence
and oppression.
Produced by Brooklyn Rider’s violinist
Johnny Gandelsman, the CD opens with Nina
– with lyrics drawn from a poem by Paz and
music by Herrera and Felipe Pérez Santiago.
Herrera’s sonorous and evocative vocal sound
is magic itself, and the string arrangement is
percussive and urgent. Brooklyn Rider also
includes Colin Jacobsen on violin, Nicholas
Cords on viola and Michael Nicolas on cello.
On the exquisite Dreams, written by Paz
(with English lyrics by Herrera), she clearly
sings “We have to sleep with open eyes – and
we must dream with our hands.” Every song
on this CD is a work of art, guaranteed to
open every heart. A total delight is Brazilian
political activist Veloso’s De Manhã (It’s
Morning), as is the swinging bossa by Gil, Eu
vim da Bahía (I come from Bahía).
Lesley Mitchell-Clarke
Something in the Air
Multiple Sonic Pleasures
Available from Multi-Disc Sets
KEN WAXMAN
When inspiration refuses to be limited by the single disc
format, enterprising musicians record multi-CDs in order to
showcase more aspects of their work. Such collections are
released throughout the year, but it’s usually the holiday season when
music fans have the time and inclination for extended listening. Here’s
a sampling of some of this year’s most accomplished multiple-CD sets
from the exploratory side of creative music.
A thriving but little-celebrated slice of
the international jazz scene is in Hungary,
and the appropriately titled Essays-Esszék
(Adyton/Hunnia Records HRCD 1726
hunniarecords.com) offers improvisational
dissertations in three configurations by two
major Magyar improvisers, multi-reedist
István Grencsó and keyboardist Barnabás
Dukay. CD1, Waiting has Grencsó moving
among saxophones, clarinets and flute, while Dukay sticks to piano,
with both joined by associate Steven Kovács Tickmayer playing piano,
samplers and electronics. CD2, Ritual Music, matches Grencsó’s
soprano and tenor saxophones with Dukay playing church pipe organ.
CD3, Two Visions Heard, is a live session from a Budapest club where
Grencsó’s soprano and alto saxophones and bass clarinet and Dukay’s
piano are joined by percussionist Aurél Holló. Ignoring the ecclesiastical
canon on CD2, Dukay uses the dual keyboard vibrations as
tersely as he plays piano. Here he downplays glissandi and cascades
for minimal layering and slow-moving tone affiliations, allowing
Grencsó to change interpretations from emotional tenor-saxophone
storytelling to buzzing soprano sax lines that hiss as if propelled from
a bagpipe blowstick and chanter. Tickmayer’s electronics create the
continuum on Waiting, allowing more flow between the piano of
Dukay, who is an academic, and the reed collection of Grencsó, who
has been a major Hungarian jazzer since the late 1970s.
Tracks such as Bud and Blossom point out subtle differences in
approaches. On the first, while the pianist plinks and stops highpitched
notes in a serious manner, as if Arthur Rubinstein were
playing a toy piano, the tenor saxophonist’s basso blowing mixed
with circular breathing suggest a marriage between Archie Shepp and
Evan Parker. Both players bond quickly though, which sets up the
following Blossom as a restrained intermezzo. As echoing tones hang
in the air, Grencsó’s moderato bass clarinet flurries extend the exposition
leisurely, as Dukay’s piano responses are speedier and expressive
– with electronic samples providing the perfect ostinato.
In the freer club setting, prodded by Holló’s minimalist percussion,
the pianist and reedist play at greater lengths, especially during the
nearly 44-minute Part 1. As Grencsó restrains his output to minimalist
shading, Dukay’s hesitant soundboard stops amplify powerfully to
meet the saxophonist’s relaxed asides. Cold, isolated keyboard notes
magnify to sweeps, allowing the narrative to quickly turn percussive
as reed split tones are introduced. Still it’s the saxophonist’s mellow
sluices that propel the narrative. Finally an unexpected change of pace
in the penultimate minutes has Holló’s vibe-like clatters torquing the
sequence as the piano explodes with contrasting dynamics and the
saxophonist projects unbroken cadences with innumerable theme
variations. Wrapping up the track with cultured tones, a final unsettling
reed quack posits the concept that high-quality improvising
doesn’t have to be solemn.
Another first-rate improviser who is the
opposite of solemn is French bassist Joëlle
Léandre. Strings Garden (Fundacja Sluchaj
FSR 103/2018 sluchaj.org) consists of three
CDs featuring her duos with violinist/violist
Théo Ceccaldi, cellist Gaspar Claus or fellow
bassist Bernard Santacruz. Playing it
straight, Léandre only lets loose with
gurgles, whimpers and mumbles on Leaves,
the CD with Claus, alongside instrumentally pressurized spiccato lines
in contrast to the cellist’s pointed timbres. Throbbing and stopping,
his pizzicato twangs and her popping shudders unite to work up to a
crescendo of rugged tones which overlap into double counterpoint.
Leaf No.5 is the most invigorating duet with staccato sweeps from
both evolving to storytelling along with the set’s most jazz-like groove.
An instance of differing double bass POV, Trees, with Santacruz, finds
both players dragging extended techniques from their respective
string sets. Back and forth with jumps, buzzes and pulls, they manage
to agree on a similar tone maturity by the climax, showcasing velocity
and angularity without losing the underlying rhythm. Expressing
herself with shrill multiphonics to counter Ceccaldi’s tendency
towards impressionist sweeps on Flowers, the bassist’s low-toned
scrubs add requisite fissure so the fiddler’s recital-like formula starts
to splinter responsively. By the climactic Flower No.8, Ceccaldi’s paced
twangs join the bassist in breaking the interface, first into sul tasto
scrubs and latterly into wood-slamming pops and tremolo strands.
The finale on Flower No.9 of stinging bow strokes echoing off tightly
wound strings allows this suite to refer to the violinist’s Romantic-era
roots without compromising the adventurous modernism implicit in
both partners’ playing.
Advanced modernism could also be used
describe to Pillars (Firehouse 12 Records
FH12--01-02-028 firehouse12records.com),
a three-CD exploration by New York
drummer/composer Tyshawn Sorey.
Conceived of as a triptych, each of the
75-minute-plus discs deals with a
96 | December 2018 / January 2019 thewholenote.com

multiplicity of moods ranging from the melodic to the abstract and
from nearly static drones to emphatically flowing free jazz. No cynosure
composer, Sorey’s elaboration of the material is established by its
interpretation by the ensemble of bassists Mark Helias, Carl Testa and
Zach Rowden; guitarists Todd Neufeld and Joe Morris; trumpeter
Stephen Haynes and trombonist Ben Gerstein plus Sorey. Inchoate or
intense inventions are expanded throughout, as the band divides into
smaller groups, and as multi-instrumentation adds textures from
more brass, percussion, melodica, Tibetan horn and electronics.
Divided into several sequences, Pillars I, for instance, evolves into
ritual-like percussion pumping, encompassing a three-and-a-halfminute
drum roll and overlapping patterns that are intermezzos rather
than solos. Mostly concerned with the timbres available from massed
strings, brass grace notes and flutter tonguing are secondary to the
piece’s flow, with the theme splintering into micro-motions as sledgehammer-like
percussion thumps and bizarrely oscillating electronics
underline it. In sharp contrast, the concluding Pillars III fluctuates
between a minimalist composition and full-out jazz improv, as
assertive brass extensions gradually replace the microtonal string
drone. As timbres vacillate among sonorous brass, low-pitched
percussion power and distant signal-processing, guitar licks come to
the front. Concussive idiophone rolls are unexpectedly succeeded by
guitar strategies that could be straight out of a swing session only to
vanish when trumpet and trombone snarls and shakes suggest hard
bop, with blasting brass and guitarists’ slurred fingering alternating
alongside drum rolls for a free jazz-like position. Eventually the jagged
brass spits and guitar flanges are subsumed by rugged, reductionist
electronics. Finally, a drum roll completes the section, while subtly
linking it to Pillars I’s introduction.
Sorey’s multi-disc sessions demonstrate
another facet of his talent; so does Voices
Fall from the Sky (Centering 1015/1016/1017
aumfidelity.com) for William Parker. Known
as an exceptional bassist and bandleader,
Parker is also a poet and songwriter and
these three CDs, which feature 17 (!) singers
plus ensembles ranging from big bands to
solo, interpret Parker’s writing for vocalists. Putting a lie to those who
say free improvisation is divorced from lyricism and the song form,
the 34 selections are performed in rhymed or free verse and deal in the
main with themes of anti-materialism, universal love and the uplifting
achievements of jazz heroes. The five-part The Blinking of the Ear, for
instance, features mezzo-soprano AnnMarie Sandy interpreting the
Dadaist lyrics a little differently than she would formal recital material.
City of Flowers is an anti-war lament sung by Andrea Wolper with
only bassoon backing, while We Often Danced, Fay Victor’s extended
song-recitation about slavery and the African-American diaspora,
is performed with additional theatrically due to a complementary
trumpet obbligato and spackling string pulses throughout. The most
affecting creations, though, are voiced by free-form specialist-singers
Ellen Christi, Lisa Sokolov and Leena Conquest. Sokolov’s take on
Band in the Sky for example, with its celebration of departed jazz
figures, and backed by sprightly piano lines, manages to be profoundly
dramatic whether she’s declaiming lyrics or speaking in tongues.
Christi’s version of Falling Shadows, backed only by Parker’s sprawling
double bass tones, includes wordless ululations and supple bel canto
warbles. And Conquest’s extended delineation of the life of a civil
rights activist, For Fannie Lou Hamer, is a moving portrait that slips
back and forth from reined-in operatic theatricism to down-to-earth
folksiness, with Parker using string and reed instruments for unique
backing. Besides these serious themes, Conquest also provides some
Nancy Wilson-like posturing on another tune and Ernie Odoom swings
creatively on more rhythmic numbers like The Essence of Ellington.
Mixing serious sentiments and exceptional sounds, Voices Fall
from the Sky emphasizes more aspects of Parker’s considerable
talents, with enough audio space in which to display them. That is the
collective achievement of these multi-disc sets: rather than collecting
a lot of similar music, the expanse demonstrates the pliability of each
leader’s vision.
Old Wine,
New Bottles
Fine Old Recordings Re-Released
BRUCE SURTEES
One of the truly great violinists of the last
century was Henryk Szeryng, an artist who
is usually overlooked in discussions when
today’s pundits gather. Decca has issued
Henryk Szeryng Complete Philips, Mercury
and Deutsche Grammophon Recordings
(DG4834194, 44 CDs, deccaclassics.com).
Szeryng’s life story is fascinating and
unique. He was born on September 22, 1918
in Źelazowa Wola, the birthplace of Chopin
near Warsaw. Through his parents he knew Ignacy Jan Paderewski and
Bronislaw Huberman. When he was five, his mother began teaching
him piano and harmony but at seven he was drawn to the violin,
taking lessons from a former assistant of the great Leopold Auer.
When Huberman heard the nine-year-old play he wanted him to
advance his studies with Willy Hess, Carl Flesch or Jacques Thibaud.
He studied with Hess in Berlin for a time but found him to be oldfashioned
and switched to Thibaud. A significant move, for as Szeryng
stated, “Everything I know violinistically speaking I learned from
him.” Continuing with Thibaud at the Paris Conservatory, he graduated
with a first prize in 1937. He also studied composition with
Nadia Boulanger from 1933 to 1937. He had already made his solo
debut in 1933 playing the Brahms Violin Concerto with the Warsaw
Philharmonic under George Georgescu. Following the outbreak of
WWII, Szeryng, fluent in seven languages, accepted the post of liaison
and interpreter of the Polish Government in Exile. On a mission to
Mexico in 1941 seeking a home for 4,000 Polish refugees, he was
so moved by the positive reception that he decided to become a
“ This music speaks elegantly of and to the
human spirit, addressing our hopes
and fears, reflecting our joys,
motivating empathy and civility”
– Leonard Enns
Now available to
purchase online at
dacapochamberchoir.ca
or through your favourite
streaming service.
directed by Leonard Enns
From the award-winning
DaCapo Chamber Choir
An
all-Canadian
recording!
thewholenote.com December 2018 / January 2019 | 97

naturalized Mexican citizen, which he did in 1946. In 1943 he was
asked to head the string department of the National University of
Mexico, and he assumed that post in 1945.
Artur Rubinstein, a fellow Jewish refugee from Poland, gave a recital
in Mexico City in 1954, after which Szeryng visited him back-stage
where Rubinstein invited him to his room to play for him. Szeryng
played some unaccompanied J. S. Bach and deeply moved Rubinstein
who recalled that the playing “reduced me to tears… Real music
lovers want emotion… great moments… which Szeryng’s playing gives
them.” Rubinstein and Szeryng played music together for the rest of
their careers. Szeryng began concertizing around the world and his
recordings were honoured with many coveted awards. In addition to
many other honours he was made an Officer of the Ordre des Arts et
des Lettres in Paris in 1963. In 1960 he was named Mexican Cultural
Ambassador, an honour that he took very seriously. During a trip to
Toronto some years later, he came to the Classical Record Shop accompanied
by the PR person from Polygram, Lori Bruner, who made it
clear that he should be addressed as Ambassador. We did, of course.
Henryk Szeryng died on March 3, 1988 in Kassel, Germany.
The performances in this new collection include the Bach unaccompanied
Sonatas and Partitas BWV1001 to 1006, the six sonatas
with harpsichord, BWV1012 to 1019 with Helmut Walcha, three
Brandenburgs 2,4 and 5 with Rampal (Flute), George Malcolm (harpsichord)
and the Academy of St. Martin-in-the-Fields and Neville Marriner.
All sublime. He is soloist and conductor of Bach’s three violin concertos
with the Collegium Musicum Winterthur. There are Beethoven’s Violin
Concerto, Triple Concerto (Arrau and Starker) and the two Romances;
Brahms’ Violin Concerto, Double Concerto (Starker, Haitink); 13 pieces
by Fritz Kreisler and Vivaldi’s L’estro armonico and The Four Seasons in
which he is both soloist and conductor. Other concertos include those
of Mozart, Schumann, Mendelssohn, Sibelius, Prokofiev, Khachaturian,
Tchaikovsky, Wieniawski, Szymanowski, Paganini, Lalo, Bartók and
Saint-Saëns. There are four essential sets of four CDs: The complete
Beethoven trios with Wilhelm Kempff and Pierre Fournier; the complete
Beethoven sonatas for violin and piano with the impeccable Ingrid
Haebler; the Mozart 16 great sonatas and Variations K359 & K560 for
piano and violin, also with Haebler, and finally Mozart’s complete works
for violin and orchestra with the New Philharmonia Orchestra conducted
by Sir Alexander Gibson. Add works by Handel, Schubert, de Falla and a
host of encore-type pieces by a miscellany of composers including those
from Central and South America, some familiar, some not. We have here
a collection that, beyond the obligatory warhorses, reflects his eclectic
repertoire. Well done, Ambassador.
The WholeNote
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Rudolf Nureyev’s choreography of three
favourite ballets, Tchaikovsky’s Swan Lake
and The Nutcracker plus Minkus’ Don
Quixote, have been released in a boxed set
of Blu-ray video discs by Cmajor: Nureyev
(707104, 3 Blu-ray video discs cmajorentertainment.com).
The Vienna State
Opera Orchestra and the Vienna State Ballet
are common threads and each ballet has its
individual music director. The dancers for
Swan Lake (recorded in 2012) are headed by
Vladimir Shishov as Prince Siegfried, Olga
Esina as Odette and Eno Peci as Rothbart, the Magician, with Dagmar
Kronberger as the Queen, the Prince’s mother. The set – there’s only
one – and costumes are by Luisa Spinatelli; the conductor, Alexander
Ingram. Frankly, if I weren’t aware of the plot I would be lost.
Using Nureyev’s stage directions, the 2012 performance of The
Nutcracker is another story. It is a delight from curtain-up and danced
most exquisitely by Liudmila Konovalova as Clara and Vladimir Shishov
as Drosselmeyer and the whole corps with specialty dances for the
Arabian, Chinese, the Flutes, etc. Entirely satisfying, the performances
are quite delightful, the costumes from whimsical to luxurious.
The third ballet in this box is Don Quixote (2016), set to the music of
Ludwig Minkus orchestrated and adapted by John Lanchbery. The
ballet by Marius Petipa has a prologue and three acts. Petipa was the
co-deviser of the above Swan Lake. Once again drawing on Nureyev’s
stage directions, the Spanish milieu was all he needed to create
gorgeous solos, pas de deux and ensemble scenes. The sets, devised by
the set and costume designer Nicholas Georgiadis, are minimal and
clearly place the events. The conductor is Kevin Rhodes; Kamil Pavelka
is Don Quixote, Christoph Wenzel is Sancho Panza, Maria Yakovleva is
Kitri/Dulcinea. The sound and the Blu-ray video is state of the art.
The Verbier Festival, held in the Swiss Alps
each year, is celebrating its 25th anniversary
and earlier this year Deutsche Grammophon
issued a smart little set of four CDs
containing eight memorable live performances:
Verbier Festival 25 Years of Excellence
(DG4835143, 4CDs bound together, deutschegrammophon.com).
From a performance
on July 23, 2015 Valery Gergiev conducts
the Verbier Festival Orchestra in Tchaikovsky’s Sixth Symphony. From
July 30, 2005 mezzo-soprano Malena Ernman sings 11 Folk Songs set by
Luciano Berio supported by the Festival orchestra conducted by Gustavo
Dudamel, and from July 31, 2009 Yuja Wang plays the Mendelssohn
First Piano Concerto under Kurt Masur. July 22, 2009 found Martha
Argerich playing the Beethoven Second Piano Concerto with conductor
Gábor Takács-Nagy. July 31, 2015 featured Daniil Trifonov, piano; Ilya
Gringolts, violin; and Truls Mørk, cello, playing Brahms Trio No.1 in
B Major, Op.8. On July 30, 2004 Evgeny Kissin, piano; Vadim Repin,
violin 1; Laurent Korcia, violin 2; Yuri Bashmet, viola; and Alexander
Kniazev, cello, got together for Dvořák’s Quintet No.2 in A Major, Op.81.
The fourth CD contains the complete third act of Die Walküre from
July 25, 2013, conducted by Gergiev with a complete complement of
Walküren and Bryn Terfel as Wotan, Eva-Maria Westbroek as Sieglinde
and Iréne Theorin as Brunnhilde. The whole act comes through splendidly,
culminating with an unexpectedly heartfelt Leb wohl from Terfel.
This is a set of great music-making, all truly inspired performances as
live festival performances always are. There is, in addition, music by a
composer that is new to me: Alexander Tsfasman (1906-1971), a Soviet
jazz pianist, composer, arranger and publisher. He flourished from the
mid-1920s until the late 1960s, during which time he was an important
figure in Soviet jazz. Around 1945 he wrote a Suite for Piano and
Orchestra. We hear it from August 4, 2013 with pianist Mikhail Pletnev
and Kent Nagano conducting a reduced festival orchestra. It is a short
work, 16 minutes, but it’s immediately captivating, polite and whimsical.
In four movements: Snowflakes; Lyrical Waltz; Polka; Presto.
98 | December 2018 / January 2019 thewholenote.com

REAR VIEW
MIRROR
TSO:
Crises Weathered,
Challenges Ahead
ROBERT HARRIS
It’s been less than two years since the then-chair
of the board of the Toronto Symphony Orchestra,
Richard Phillips, and eight of his senior colleagues,
including Sonia Baxendale, stunningly and abruptly
resigned from the organization one December afternoon.
It remains a mystery to this day why they left.
Had this kind of thing happened at other similar organizations –
the New York Philharmonic, or the Metropolitan Opera, let’s say – it
would have been front-page news. Here, it barely caused a stir, and
since then, Richard Phillips and Sonia Baxendale seem to have been
more or less expunged from the history of the TSO. Which is a pity.
Because what’s interesting about Phillips and Baxendale is that
without them, the Toronto Symphony Orchestra may well have gone
bankrupt in the spring and summer of 2016. Today, as the TSO is
finally achieving some desperately needed organizational stability,
it’s hard to imagine how different things were not that long ago. But
in March of 2016, after the now-you-see-him-now-you-don’t departure
of short-lived TSO president and CEO Jeff Melanson, the TSO was
within a few thousand dollars of insolvency. Senior financial officers
were approaching department heads to inquire whether there was
anything that could be sold to keep the organization afloat. In a situation
streaked red with emergency, Phillips and especially Baxendale
(who became the organization’s acting CEO, for an agreed six-month
term, after Melanson’s departure) steered the TSO ship rockily but
successfully to a small surplus in fiscal 2015/16. They accomplished
this by applying the appraised value of a valuable TSO viola against
the organization’s accumulated deficit (reducing that deficit by four
million dollars), convincing the Toronto Symphony Foundation to
double its annual contribution to the TSO, and one assumes, by
writing some generous cheques of their own. For thanks, within eight
months they had disappeared from the organization.
Perhaps Phillips’ and Baxendale’s departure was karma for the
sin they had committed of hiring Jeff Melanson to be the orchestra’s
president and chief executive officer in the first place. We shall never
know the full extent of Melanson’s toxic influence on the TSO, but it
can be effectively argued that the organization is just now recovering
from it. Before Melanson, the Toronto Symphony had had one CEO
for 12 years, Andrew Shaw. In contrast, there have been four changes
of leadership since – four administrative regimes in four years. A
year and a half of Melanson, six months of Phillips and Baxendale,
two years of Gary Hanson as interim CEO, and now a few months of
Matthew Loden, the TSO’s just recently appointed CEO.
It is a tribute to the TSO that it has not only survived these ongoing
challenges, but has seemed to emerge from them with momentum. The
latest annual report showed an operating surplus for fiscal 2017-18 of
over two million dollars (although that surplus was buoyed by a $3.2
million grant from Canadian Heritage that will not be repeated next
year). Matthew Loden, the new CEO, comes with a fine track record
with the Philadelphia Orchestra. The appointment of a new Music
Director, Gustavo Gimeno, was announced this fall, to replace the
recently retired Peter Oundjian, although Gimeno won’t actually take
over until the fall of 2020. Throughout all the organization’s troubles
and travails, the staying power and continuity of the true heroes of the
Toronto Symphony, Loie Fallis, vice-president of artistic planning and
Roberta Smith, vice-president and chief of staff, can’t be over-estimated.
I’m guessing that the organization’s outgoing and highly popular
former music director should also be included on that list.
The TSO seems to have weathered the existential crises of the past
five years, bending without breaking. All arts organizations these
days, worldwide, are perched on very delicate financial precipices,
the distance between success and catastrophe very short indeed. The
real challenge for the Symphony is that the organizational turmoil
of the past few years has prevented the orchestra from effectively
redefining its artistic mandate and raison d’être in the post-Oundjian
era. Andrew Davis has stepped in as the organization’s titular
head as the TSO awaits Gimeno, but all of Oundjian’s signature
programming initiatives of the past few years have been erased.
There will be no Mozart Festival this year, no Decades projects, most
distressingly, no New Creations Festival. A city’s symphony orchestra
should be the primary musical institution in any metropolis, if
only by dint of its size and budget and prestige. But programming
counts for something too, and here the TSO is losing that primacy.
Tafelmusik is playing these days with greater assurance and selfknowledge,
under the inspired new leadership of Elisa Citterio. The
Royal Conservatory is outflanking the TSO in terms of New Music,
having just moved its successful 21C Festival to January, to fill the
gap in the winter calendar where the TSO’s New Creations Festival
used to be. The Canadian Opera Company, although not really a TSO
competitor, has come to dominate the musical public relations scene
in the past few years.
thewholenote.com December 2018 - January 2019 | 99

Hopefully, the groundwork has been laid for that to change in the
Gustavo Gimeno era. People clearly wish the symphony well and are
excited and curious about the new music director. The TSO has already
had to add an extra concert for Gimeno’s season-ending appearance
with the orchestra this coming June, which is a good sign. Single ticket
sales, which have eclipsed subscriptions as a source of TSO box office
revenue, are also on the upswing. Another positive indicator. A financial
plan for stability seems to be within the TSO’s reach, finally. And
the current TSO board, led by chair Cathy Beck, extending her family’s
long-standing dedication to the Toronto Symphony, looks set to provide
a level of continuity to the organization as well.
But the biggest challenge to the Toronto Symphony remains to
be addressed. When I spoke to Gary Hanson at the beginning of his
tenure as interim president and CEO of the TSO, we talked about
the upcoming challenge of replacing Oundjian as music director of
the organization. Hanson reminded me that the question that the
symphony needed to answer was not who the new conductor would
be, but what. In other words, what kind of an organization did the
TSO want to become? That used to be a relatively simple question for
symphony orchestras in a secure, musical world. It isn’t anymore.
Playing the classics beautifully isn’t enough. Or maybe it is. But what
about attracting new audiences, reflecting the cultural diversity of
the city in which the orchestra is housed, educating people about
music, reaching out to other musical communities? It’s not at all
obvious where an orchestra should be directing its attention these
days. Gimeno is young, which is good, and consequently brings few
musical expectations with him, which is also good. But it was clear
when his appointment was announced in September that he has no
idea yet what kind of a place Toronto is, having spent literally no more
than a few days in the city up to that point as a guest conductor. But
he’ll have two full years to figure that out, along with Matthew Loden,
himself just a few months into his tenure.
And more power to them all! We need the TSO to be strong, and it
hasn’t been able to be especially so in the last few years. Musicians,
and orchestral musicians especially, are notoriously grumpy and dark
about life, but music is not. Music is optimistic, bright, life-fulfilling. It
is the path that its music creates for it that can give the TSO the hints
it needs to secure its future. And we’ll all be the better for it.
Robert Harris is a writer and broadcaster on music in all its
forms. He is the former classical music critic of the Globe and
Mail and the author of the Stratford Lectures and Song of a Nation:
The Untold Story of O Canada.
ONE READER’S RESPONSE
A Jewish Defence
of Wagner’s Ring
Charles Heller
The November 2018 issue of The WholeNote ran an article by
Robert Harris (“Wagner in the Age of #MeToo”), claiming that the
#MeToo movement should stir us to consider Wagner’s Ring as
being unacceptable to modern audiences because of its antisemitic
message. As a Jewish Wagnerian, here is my response.
A few years ago I had the pleasure of meeting Gottfried Wagner,
who, with his penetrating gaze and aquiline nose, conjured up
the aura of his great-great-grandfather. He said emphatically:
Wagner’s music is great art, the composer and his family were
monsters, and we must respect the wishes of those who do not
want to hear it publically performed in Israel, a country he loved.
He was also of the opinion that future generations of Israelis, no
longer traumatized by first-hand experience of the Shoah, will be
able to accept Wagner performances. These views are supported
by Israeli music-lovers today.
Richard Wagner said a lot of contradictory and inflammatory
things, but when it came to composing music he knew what
he was doing. The idea that antisemitism is at the heart of the
Ring is preposterous. Mime and Alberich are not Jews, they are
dwarves, and they were dwarves when the story was composed
in medieval Iceland, where no Jew was ever seen. But people
certainly imagined they saw Jewish gestures in Wagner’s dwarves
- Mahler complained of one particular performance that it was a
”caricature of a caricature”. But that didn’t stop the Jew Mahler,
or his colleague the Jew Schoenberg, from regarding Wagner’s
scores as central to Western music. The Ring is not about an evil
Jew, it is about what it takes to be oneself and overcome obstacles
– overbearing parents (the gods), irrational fears (the giants),
brash egotism (the runes on Wotan’s spear) and whatever else is
clogging your subconscious mind.
If it were really true that the Ring is an antisemitic diatribe,
and that art is to be judged on the morality of the artist, then
why stop with Wagner? We still are left with the music of Chopin
(who accused Jews of destroying Polish music) and the poetry
of T. S. Eliot (who accused Jews of destroying Western culture).
Dickens hated Jews too, and don’t get me started on The Merchant
of Venice or Caryl Churchill’s play Seven Jewish Children, which
despite being intended as an attack on Jews was performed in
Toronto with the financial support of the City a few years ago.
Jews have lived with antisemitic garbage for 2000 years, much
of it encouraged by the Church and the State. To claim that the
Ring is antisemitic is a perversion of what the Ring and what
antisemitism are all about. Antisemitism is alive and well today,
both in the twisted minds of far-right thugs in the USA and in farleft
politics in the UK and Canada. In the age of #MeToo we must
certainly refuse to work with peddlers of hatred and harassment.
But Richard Wagner is long dead and his work endures.
Charles Heller is an Associate Composer of the Canadian Music
Centre. He is on the editorial board of the Journal of Synagogue
Music, published by the Cantors Assembly, New York and is the
author of What to Listen For in Jewish Music. His new book
Shul-Going will be published in 2019
100 | December 2018 - January 2019 thewholenote.com

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