Volume 25 Issue 1 - September 2019

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Cantabile Chamber Singers is important. Choristers likely need to be able to commit to weekly rehearsals, make personal time to learn music, and set dates aside for performances. And depending on the choir, additional commitments may be expected for various workshops, sectionals, and choir retreats. Behind the Concerts Meanwhile, in these months prior to the start of the new music season, the choral scene is bustling with preparation, a lot of it unobserved by audiences and often even by choristers. Music needs to be selected, artists contacted, auditions arranged, venues booked, funding organized, and year-round administrative duties maintained. As the artistic team of The Annex Singers told me, music selection, for example, must sometimes be done as much as a year in advance. The music community as an art is unlike the music entertainment industry. It is a labour of love, a conscientious drive to keep music as an art form alive. It is not easy. All three choirs mentioned here are led by women, all of them sharing the same determination; a determination to bring diversity to Toronto’s choral scene and to make choral music accessible to a large number of people. I asked how specific works are selected for a music season. Cheryll Chung, artistic director of Cantabile, answered, “I usually have a running list of pieces that I want to perform. I’m always on the lookout for new repertoire – always researching, especially music written by living composers, and female composers who are local.” The music director of Jubilate, Isabel Bernaus, makes all programming decisions for their three-concert season, although she “usually consults with an informal program advisory group of choir members. Concert themes and individual works are outlined the previous January (in preparation for the arts council grant applications.)” Similarly, Maria Case, artistic director of The Annex Singers, creates the program for each concert well in advance, adding that the concerts usually centre on a theme. With respect to collaborations with guest artists and/or ensembles, Jubilate makes their selections “depending on the music and program needs.” One example: inviting “a Spanish dance company to collaborate on a program of classical Spanish and flamenco music. […] The selection of collaborators is often dependent on the professional and personal connections of the music director (or, occasionally, of one of the choir members).” In a like manner, The Annex Singers “match the instrument, style, and area of interest of [their] guest performers to the particular program.” They mentioned a tribute performance to Shakespeare where they welcomed guest harpsichordist, Cynthia Hiebert. They also “see supporting young artists as part of [their] responsibility within the choral community.” As someone who previously worked behind the scenes in a choral organization, I am aware of how essential funding is to the advancement and scope of choirs. I asked if these choirs receive funding from any additional stakeholders outside of their members. As might be expected, their answers differed. Chung shared that Cantabile hasn’t been successful with all of their grant applications, “except for the one [they] applied for with [their] composer-inresidence Laura Sgroi. It was a commissioning grant awarded by the Ontario Arts Council (OAC). [They therefore] rely solely on ticket sales and donations.” The artistic team of The Annex Singers answered, “We receive advertising revenues from local business owners and merchants in the community who promote their services in our concert programs and provide donations to our raffles and silent auction throughout the concert season. We also receive financial support from donors within and outside the choir. Our audiences are aware of the costs of running a choir, and have proved loyal, responsive and generous to our fundraising campaigns. However, most of our revenue comes from membership fees and ticket sales.” The Jubilate Singers have “the support of multi-year grants from the Toronto Arts Council. In some years [they] have been fortunate to receive a grant from the OAC. In addition, individual donors give some funding, and some businesses advertise in [their] programs.” I asked why arts funding is important to Jubilate. They answered, “Arts conducted by Craig Pike That Choir REMEMBERS That Choir SINGS ERIC WHITACRE That Choir CAROLS LISTEN TO US ON YOUTUBE 2019/20 GUESS WHAT? All tickets are Pay What You Can 34 | September 2019 thewholenote.com
funding helps with expenses, especially for paying the honoraria to the music director and accompanist, as well as venue rental for rehearsals and concerts. This kind of funding also shows that the community at large respects our contribution and recognizes the importance of music in the life of the community.” Why should there be an interest in investing in choirs? And why should people in the community care to expand the choral scene? For a community choir like The Jubilate Singers, it’s because they “[occupy] a special niche, performing an eclectic range of world music that reflects the diversity of the greater Toronto region. … A small donation to a choir can make a big impact on the ability of that choir to present interesting and/or unusual music […] More generally, community choirs represent the ideal of amateur musicians who rehearse and perform for the love of singing. Whatever polish a choir may lack is made up for by the energy and dedication that its members bring to the music.” Chung adds a similar sentiment, “I think people want to give back to the arts and support living musicians. Generally they see the value of live music and enjoy the diversity of our concerts.” As for the Toronto Mendelssohn Choir, I spoke briefly with a chorister I know, Chantelle Whiteside, who has been a TMC member, and is lamenting that, as TMC gets ready to celebrate their 125th anniversary, she won’t be able to make the commitment of time she knows she would have to, to be part of what promises to be a special year. Jubilate Singers “Being a part of Mendelssohn has been the most rewarding thing,” she says. “It’s a community, … meeting new friends who become your closest friends.” Many choral groups require a fee from members to survive; however, the experience earned and lasting relationships formed are ultimately priceless. To inquire about any of the specific choirs mentioned above, please contact: 2019/2020 Choral Concert Series To the Hands The Singers’ 40th year starts with a wonderful concert befitting the fall season, featuring Caroline Shaw’s moving work, To the Hands. Nov 17, 3:30 pm | St. John’s Church, Elora Singers Messiah Handel’s moving masterpiece performed in a unique way, with Elora Singers as soloists. Dec 8, 7:30 pm | St. Joseph’s Church, Fergus Festival of Carols A candlelit seasonal favourite, featuring traditional songs and new works. Dec 17 & 18, 5 & 7:30 pm | St. John’s Church, Elora Soup & Song: Early Bach Cantatas Come early for a wonderful lunch! Featuring Bach’s Nach dir Herr verlanget mich and Weinen klagen sorgen zagen. Feb 8, 12:30 pm & 2 pm St. John’s Church, Elora The Elora Singers & Elmer Iseler Singers: Double Choir The beautiful voices of two choirs, each celebrating their 40th year, joined as one. Featuring Ockeghem’s incredible 36-voice motet, Mendelssohn, Brahms and more. April 25, 7:30 pm | Basilica of Our Lady, Guelph Order tickets online or by phone today! www.elorasingers.ca | 519-846-0331 thewholenote.com September 2019 | 35
Page 1 and 2: 25 th SEASON! Vol 25 No 1 SEPTEMBER
Page 3 and 4: 2019/20 Season TAFELMUSIK MEETS TCH
Page 5 and 6: 2501_Sept19_Cover.indd 1 2019-08-21
Page 7 and 8: FOR OPENERS | DAVID PERLMAN “LUDW
Page 9 and 10: GREAT CHAMBER MUSIC DOWNTOWN STRING
Page 11 and 12: Seamless Soundtracks/Notably Musica
Page 13 and 14: TRINA KOSTER. LYNN LANE JEAN MARTIN
Page 15 and 16: you were involved, as an interviewe
Page 17 and 18: KOERNER HALL 2019.20 Concert Season
Page 19 and 20: Application deadline September 30,
Page 21 and 22: the most important thing in terms o
Page 23 and 24: BO HUANG Joachim] ‘tries through
Page 25 and 26: supportive community for contempora
Page 27 and 28: CARLIN MA dedicated to Enescu in 19
Page 29 and 30: CLASSICAL AND BEYOND QUICK PICKS !!
Page 31 and 32: of his Wolastoqiyik community. His
Page 33: A 1 25 T H ANNIVERSARY GALA CONCERT
Page 37 and 38: JACK MACQUARRIE The Encore Symphoni
Page 39 and 40: dynamics and how to develop these o
Page 41 and 42: else. You are coming to a new level
Page 43 and 44: offering appreciated. Thursday Sept
Page 45 and 46: Tania Miller conducts the Royal Con
Page 47 and 48: concert date. ●●2:00: Fall for
Page 49 and 50: Liadov: The Enchanted Lake; Stravin
Page 51 and 52: a year of new artistic leadership f
Page 53 and 54: Room ED2008 (violin), Taylor Centre
Page 55 and 56: Barricades and Barriers continued f
Page 57 and 58: DISCOVERIES | RECORDINGS REVIEWED D
Page 59 and 60: Artists (ICAC 5156 naxos.com). It f
Page 61 and 62: Keyed In Beethoven & Liszt Piano Co
Page 63 and 64: principals, together, then express
Page 65 and 66: Antonin Dvořák - Piano Quartets N
Page 67 and 68: MODERN AND CONTEMPORARY André Math
Page 69 and 70: luesy solo supported by gentle arpe
Page 71 and 72: total delight. McGuiness scats over
Page 73 and 74: player’s body, and a small rattle
Page 75 and 76: conducted by Carlo Maria Giulini wi
Page 78 and 79: Music in Film: 8th Annual TIFF TIPS
Page 80: Season Sponsor Alex Pauk, Founding

Volume 25 Issue 1 - September 2019

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