Volume 24 Issue 6 - March 2019

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Hut exterior I felt like I could request and use whatever gear I wanted, and was never made to feel like I was overstepping my bounds.” Aside from overeating, staring at the romantic splendour of the mountains, and promising yourself that you’ll definitely, definitely go to the gym tomorrow morning, the point of attending the BMiR program is to work on a specific musical project. These projects can differ widely from participant to participant; a classical pianist might be preparing for a concerto that she’ll be performing with an orchestra in eight months’ time, while a singer-songwriter might be writing new material for an album that addresses itself to the themes of climate change and the Canadian landscape. The first BMiR session that I attended was in late 2016; I came to the Banff Centre with a band, to rehearse and develop material written in advance by the group’s leader, in order to prepare for a recording session in early 2017. I spent two weeks during that stay at the Centre, and my artistic goals were fairly straightforward: my job was to play the given material as well as I could, to experiment and develop strategies to expand upon the songs the group was working on, and to advance my own instrumental skills through individual practice. By contrast, I attended this year’s residency by myself, to compose and develop material for a forthcoming recording project. As I was preparing for my time in a bit sick at the end of my first week, and spent a day away from my studio, recuperating in my room. The key to overcoming this anxiety, I was to find, was not round-the-clock access to excellent facilities, or picturesque views, or all-you-candrink cafeteria coffee: it was the mutual support and encouragement of the musicians with whom I shared my residency. It is surprisingly difficult to be open and vulnerable, particularly with people you’ve only just met, but actively connecting to the BMiR community became the key to doing better, more fulfilling work. As Gulkin wrote to me after the residency, this peer support “was one of the most important parts of the residency. While everyone was working on a different project, we all realized we were experiencing similar ups and downs,” in going through the sometimes “extreme emotional process” of creating art. The Banff Centre is a special place, and, as I walked home from the grocery store on that frigid morning, having just warmly greeted a man I did not know, I thought about the things I hadn’t been able to take back to Toronto with me: the world-class facilities, the crisp mountain air, the clamour of Australian accents at every coffee shop and bar in town. But I was reassured that work, even in the most ideal of settings, doesn’t suddenly become easier, and that what turned out to be the most important part of the experience – participating in the cultivation of a supportive community of artistic peers – was, in fact, something that I could bring home. 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. Lake Field Music Camp Being provided with the space, time and resources to do my unique artistic work – free of the stress and responsibility of my ordinary routine – produced, in me, an unexpected feeling: an anxious dread … August 11 - 18 2019 Banff, I imagined that it would feel more or less the same as my first time, and that my artistic trajectory would look fairly similar by the end of my stay. This assumption, as it turned out, was wrong. Being provided with the space, time and resources to do my unique artistic work – free of the stress and responsibility of my ordinary routine – produced, in me, an unexpected feeling: an anxious dread that if I wasn’t operating at peak efficiency, I would be squandering this precious opportunity. For as idyllic as a Banff Centre residency may be, it also represents a considerable personal investment of time: time away from family, away from work, away from the real world. The idea that I was not making the absolute most of my experience became increasingly debilitating; perhaps unsurprisingly, I became adult amateur singers + instrumentalists choirs ~ ensembles ~ workshops ~ concerts classical ~ jazz ~ world www.lakefieldmusic.ca 66 | March 2019 thewholenote.com
2019 SPECIAL FOCUS SUMMER MUSIC EDUCATION
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PRICELESS Vol 24 No 6 MARCH 2019 CO
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2018/19 Season Masaaki Suzuki, gues
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2406_MarchCover.indd 1 PRICELESS Vo
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FOR OPENERS | DAVID PERLMAN Somethi
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and dried in terms of repertoire. T
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KOERNER HALL 10 th ANNIVERSARY 2018
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Canadian composer Norma Beecroft (b
Page 15 and 16: FEATURE ALEX PAUK’S ESPRIT WAVE A
Page 17 and 18: KEVIN LLOYD Esprit’s Ontario Reso
Page 19 and 20: ´ Kopernikus, Banff Centre for the
Page 21 and 22: Melody McKiver improvising in Jumbl
Page 23 and 24: Beat by Beat | Classical & Beyond C
Page 25 and 26: !! MAR 10, 2:30PM: Bradley Thachuk
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Page 43 and 44: Richardson-Schulte: GO! for Orchest
Page 45 and 46: Letter”; Mendelssohn: Octet in E-
Page 47 and 48: ●●8:00: Etobicoke Philharmonic
Page 49 and 50: Good Friday. Dubois: The Seven Last
Page 51 and 52: $73.25-$83.25(dinner/brunch & show
Page 53 and 54: Church, 49 Queen St. N., Kitchener.
Page 55 and 56: Society. In Concert. Dmitri Kotrana
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Page 59 and 60: newer musicians to showcase their c
Page 61 and 62: ●●Mar 18 1:30: Miles Nadal JCC.
Page 63 and 64: When you look at your childhood pho
Page 65: Colin Story inside his hut a number
Page 69 and 70: ●●Canadian Opera Company Summer
Page 71 and 72: Deadline: Registration open; early-
Page 73 and 74: 12 through adult who have had a yea
Page 75 and 76: albeit not in the Schoenbergian man
Page 77 and 78: The American composer Paul Lombardi
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Volume 24 Issue 6 - March 2019

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