Volume 29 Issue 1 | September 2023

Bridges & intersections: Intersections of all kinds in the issue: the once and future Rex; philanthropy and music (Azrieli's AMPs); music and dance (TMChoir & Citadel + Compagnie); Baroque & Romantic (Tafelmusik's Beethoven). also Hugh's Room crosses the Don; DISCoveries looks at the first of fall's arrivals; this single-month September issue (Vol. 29, no.1) bridges summer & fall, and puts us on course for regular bimonthly issues (Oct/Nov; Dec/Jan; Feb/Mar, etc) for the rest of Volume 29. Welcome back.

Bridges & intersections: Intersections of all kinds in the issue: the once and future Rex; philanthropy and music (Azrieli's AMPs); music and dance (TMChoir & Citadel + Compagnie); Baroque & Romantic (Tafelmusik's Beethoven). also Hugh's Room crosses the Don; DISCoveries looks at the first of fall's arrivals; this single-month September issue (Vol. 29, no.1) bridges summer & fall, and puts us on course for regular bimonthly issues (Oct/Nov; Dec/Jan; Feb/Mar, etc) for the rest of Volume 29. Welcome back.


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VOLUME <strong>29</strong> NO 1<br />

SEPTEMBER <strong>2023</strong><br />


live and<br />

livestreamed<br />


profiles, previews<br />

and interviews<br />


and Listening Room

OCTOBER 6<br />


<strong>2023</strong>|24 SEASON<br />

Centre In The Square, Kitchener<br />

Feher<br />

Conducts<br />

Boléro<br />

ANDREI FEHER conductor<br />

JOHANNES MOSER cello<br />

SEPT 30 & OCT 1<br />

Johannes Moser<br />

Vadym Kholodenko<br />

Sibelius Symphony 2<br />

JEAN-MARIE ZEITOUNI conductor<br />

JI SU JUNG marimba<br />

NOV 25 & 26<br />

Prokofiev<br />

& Shostakovich<br />

with Feher<br />

ANDREI FEHER conductor<br />


OCT 28 & <strong>29</strong><br />

Ji Su Jung<br />


kwsymphony.ca | 519-745-4711 | 1-888-745-4717

<strong>29</strong>01_Sept23_cover.indd 1<br />

<strong>2023</strong>-08-23 6:10 PM<br />


<strong>Volume</strong> <strong>29</strong> No 1 | SEPTEMBER <strong>2023</strong><br />


VOLUME <strong>29</strong> NO 1<br />

SEPTEMBER <strong>2023</strong><br />


live and<br />

livestreamed<br />


profiles, previews<br />

and interviews<br />


and Listening Room<br />


The Rex Hotel Jazz and Blues Bar’s walls are a rich visual<br />

treasury - photos and memorabilia reflecting decades of<br />

music and community history. The room has this comfortable<br />

vibe, as if you’re always surrounded by generations of<br />

friends. You can walk in for breakfast, when there’s no music<br />

playing and the walls quietly sing anyway. One day in 2009,<br />

artist David Crighton walked in with a signed and framed<br />

reproduction - his painting of the quirky Queen Street West<br />

Toronto building. It was an unexpected gift from a deeply<br />

creative guy who just “gets” buildings the way some people<br />

just “get” music. A graduate of OCA in the 70’s, his fascination<br />

with architecture and art led to a lifetime of capturing<br />

the diverse architecture of Toronto and Southern Ontario<br />

(and some other places too!), in pen-and-ink and bright<br />

acrylics. You can enjoy other examples of his work, and see<br />

some of your own other favourite places at davidcrighton.ca<br />

ACD2 2871<br />

French repertoire of the<br />

17 th & 18 th centuries, flute<br />

works performed by<br />

flutist Anne Thivierge,<br />

joined by gambist<br />

Mélisande Corriveau and<br />

harpsichordist<br />

Eric Milnes.<br />

8 FOR OPENERS | Intersections<br />


10 JAZZ NOTES | “Beautiful<br />

Gumbo” – Long Live the Rex |<br />


12 IN CONVERSATION | Sharon<br />

Azrieli on the AMPs at Ten |<br />



A True Reunion --Tafelmusik<br />

& Bruno Weil | MJ BUELL<br />

17 Q & A | Art Uplifted as<br />

Dance & Music Intersect |<br />


<br />

“The flute speaks & touches<br />

as if it had been revealed to<br />

mankind on a glorious day<br />

of creation”<br />

– Raymond Meylan, La flûte<br />

23<br />

ACD2 2424<br />

Choral music from<br />

the Romantic era by<br />

Mendelssohn, Bruckner,<br />

Verdi, Brahms, Meyerbeer,<br />

Gounod, Tchaikovsky &<br />

Fauré.<br />

Performed by Ensemble<br />

ArtChoral under the direction<br />

of Matthias Maute.<br />



thewholenote.com <strong>September</strong> <strong>2023</strong> | 5

The WholeNote<br />

VOLUME <strong>29</strong> NO 1<br />

SEPTEMBER <strong>2023</strong><br />


Publisher/Editor in Chief | David Perlman<br />

publisher@thewholenote.com<br />

Managing Editor | Paul Ennis<br />

editorial@thewholenote.com<br />

Recordings Editor | David Olds<br />

discoveries@thewholenote.com<br />


digital@thewholenote.com<br />

Listings Editor | John Sharpe<br />

listings@thewholenote.com<br />


Danial Jazaeri, Colin Story<br />

social@thewholenote.com<br />


Concert & Event Advertising / Membership | Karen Ages<br />

members@thewholenote.com<br />

Production & Operations | Jack Buell<br />

jack@thewholenote.com<br />

Advertising Art<br />

adart@thewholenote.com<br />

Online classified ads<br />

classd@thewholenote.com<br />


Kevin King<br />

systems@thewholenote.com<br />


Sheila McCoy & Chris Malcolm<br />

circulation@thewholenote.com<br />


subscriptions@thewholenote.com<br />

$48 + HST (6 issues)<br />

single copies and back issues $8<br />

*international - additional postage applies<br />

WholeNote Media Inc.<br />

Centre for Social Innovation<br />

503–720 Bathurst Street<br />

Toronto ON M5S 2R4<br />

Phone 416-323-2232 | Fax 416-603-4791<br />

Instagram @the_wholenote<br />

Facebook & Twitter @theWholenote<br />

thewholenote.com<br />

an Ontario government agency<br />

un organisme du gouvernement de l’Ontario<br />


19 MAINLY CLUBS | Hugh’s<br />

NEW Room | COLIN STORY<br />

21 IN WITH THE NEW | Michael<br />

Palumbo’s Exit Points Makes<br />



True to the Human Being –<br />

Mahani Teave | PAUL ENNIS<br />



Live and/or online<br />



in <strong>Volume</strong> <strong>29</strong> No 2,<br />

OCTOBER & NOVEMBER <strong>2023</strong><br />


Our 24th annual directory of<br />

music makers in Southern Ontario.<br />

Old friends and always some<br />

wonderful new ones: meet the<br />

presenters profiled here whose<br />

creative work represents the<br />

bedrock of everything The<br />

WholeNote strives to do, and<br />

whose ongoing financial<br />

support through membership,<br />

and priceless moral support,<br />

is what keeps us going.<br />



36 Editor’s Corner | DAVID OLDS<br />

38 Strings Attached |<br />


40 Vocal<br />

41 Classical and Beyond<br />

44 Modern and Contemporary<br />

47 Jazz and Improvised Music<br />

50 Pot Pourri<br />

52 Something in the Air |<br />


54 Old Wine, New Bottles |<br />


55 New to the Listening Room,<br />

INDEX<br />

24 TH ANNUAL<br />

BLUE<br />

PAGES<br />

The Blue Pages are available<br />

year-round under the Who’s Who<br />

tab at thewholenote.com<br />

For more information, or to<br />

inquire about including your<br />

organisation or ensemble,<br />

contact Karen Ages<br />

members@thewholenote.com<br />

6 | <strong>September</strong> <strong>2023</strong> thewholenote.com


great chamber music downtown<br />

<strong>2023</strong>–24 SEASON<br />

October 12<br />

December 7<br />

January 18<br />

February 22<br />

March 28<br />

Quatuor Danel<br />

Gryphon Trio<br />

Verona Quartet<br />

Ying Quartet<br />

St. Lawrence & Friends<br />

PIANO<br />

Gryphon Trio<br />

Verona Quartet<br />

Duo Turgeon<br />

November 7<br />

February 13<br />

March 5<br />

Duo Turgeon<br />

Maria Thompson Corley<br />

David Fung<br />

Maria Thompson Corley<br />


Subscriptions still available<br />

All concerts start at 8pm<br />


October 26<br />

Geoff Nuttall<br />

Haydn Celebration<br />

Geoff Nuttall<br />

TICKETS: 416.366.7723, choosing option 1-1<br />

www.music-toronto.com<br />

27 Front Street East, Toronto

The WholeNote<br />


VOLUME <strong>29</strong> NO 1 SEPTEMBER <strong>2023</strong><br />



Wendalyn Bartley, MJ Buell, Paul Ennis,<br />

David Perlman, Andrew Scott, Sharna Searle,<br />

Colin Story<br />

CD Reviewers<br />

Stuart Broomer, Max Christie, Stephanie Conn,<br />

Sam Dickinson, Daniel Foley, Raul da Gama, Janos<br />

Gardonyi, Richard Haskell, Tiina Kiik, Kati Kiilaspea,<br />

Lesley Mitchell-Clarke, Cheryl Ockrant, David Olds,<br />

Ivana Popovic, Cathy Riches, Terry Robbins,<br />

Michael Schulman, Andrew Scott, Adam Sherkin,<br />

Bruce Surtees, Andrew Timar, Yoshi Maclear Wall,<br />

Ken Waxman, Matthew Whitfield<br />

Proofreading<br />

Paul Ennis, John Sharpe<br />

Listings Team<br />

John Sharpe, Gary Heard, Colin Story<br />

Design Team<br />

Kevin King, Susan Sinclair<br />

Circulation Team<br />

Jack Buell, Bruno Difilippo, Carl Finkle, Vito Gallucci,<br />

Josh Gershateer, James Harris, Bob Jerome,<br />

Marianela Lopez, Chris Malcolm, Sheila McCoy,<br />

Lorna Nevison, Janet O’Brien, and Tom Sepp<br />


Weekly Online Listings Updates<br />

6pm every Tuesday for weekend posting<br />

<strong>Volume</strong> <strong>29</strong> No. 2,<br />

October & November<br />

Will be published<br />

Friday, <strong>September</strong> 22 (digital)<br />

Tuesday, <strong>September</strong> 26 (print)<br />

Print edition listings deadline<br />

6pm Tuesday, <strong>September</strong> 5<br />

Print advertising, reservation deadline<br />

6pm Tuesday, <strong>September</strong> 12<br />

Web advertising can be booked at any time<br />

VOLUME <strong>29</strong> will include six print editions:<br />

<strong>September</strong> <strong>2023</strong> (Aug <strong>29</strong>);<br />

October & November (Sept 26);<br />

December & January (Nov 28);<br />

February & March (Jan 30);<br />

April & May (Mar 26); Summer (May 28)<br />

Printed in Canada<br />

Couto Printing & Publishing Services<br />

Circulation Statement - May 30, <strong>2023</strong><br />

9000 printed & distributed<br />

Canadian Publication Product<br />

Sales Agreement 1263846<br />

ISSN 14888-8785 WHOLENOTE<br />

Publications Mail Agreement #40026682<br />

WholeNote Media Inc. accepts no responsibility or<br />

liability for claims made for any product or service<br />

reported on or advertised in this issue.<br />


“Intersection” jumped out at me as a singularly good word with which to launch this<br />

first issue of our <strong>29</strong>th season of doing what we do. “Crossroads” came to mind, so did<br />

“Turning Point”, and a few others, across the full spectrum from dire to hopeful.<br />

One thing I like particularly about the word is how normal, mundane even, it often<br />

is. Intersections are, after all, not places where worlds are supposed to collide. To the<br />

contrary, they are places where avoiding collisions is one’s primary social responsibility,<br />

whether one is attempting to proceed straight ahead, or signalling a change of direction.<br />

Don’t misunderstand though. It is not a word condemned to the mundane. In fact, in<br />

some contexts it has a certain delicious terror to it – a frisson – knowing that you have just<br />

doubled your chances of an unforeseen encounter, or have the option of changing direction<br />

yourself.<br />

It’s this latter sense that Intersection Music & Arts Festival (IMAF) taps into for its annual<br />

marathon concert event on the Saturday before Labour Day. The idea is to put a wide range<br />

of non-mainstream music and art in some place where everyone happening to go by will<br />

run into stuff they would never have thought of watching or listening to. Or might even<br />

have crossed the street to avoid, if they’d seen it coming.<br />

Obviously it takes major intersectionality to ensure a gratifying volume of random<br />

encounters of this kind: fortunately there is no place in the city more majorly intersectional<br />

than Yonge-Dundas Square, the festival’s home since Contact Contemporary Music<br />

presented its first all-day “Toronto New Music Marathon” there in 2007. (The “Intersection”<br />

name came along three years later.)<br />

This year the Saturday before Labour Day falls on <strong>September</strong> 2. And, as we have been,<br />

more often than not from the get-go, WholeNote will be there, sharing a booth somewhere<br />

along the margins of the event. The printing gods being kind, we will be waving copies of<br />

this first issue of what is promising to be, for us, a significantly intersectional <strong>29</strong>th year of<br />

doing what we do.<br />

Oops, there’s that frisson again.<br />

At the start of this, I said that “Intersection” had jumped out at me while searching for<br />

some unifying theme to this. Twice, actually. The other instance is a concert I write about<br />

elsewhere in the issue which is described as being “at the intersection of Music & Dance”.<br />

Think of “Music & Dance” as being a physical somewhere – like Yonge & Dundas (or 34th<br />

& Vine, for that matter). Followers of different arts arrive at the same intersection by<br />

different routes; drawn by what they knew they liked, and end up transformed by something<br />

they would never have thought of watching or listening to. Nice thought.<br />

David Perlman can be reached at publisher@thewholenote.com<br />


For thousands of years before European settlement, T’karonto (The Meeting Place)<br />

was part of the traditional territory of many Nations, including the Mississaugas of the<br />

Credit River, the Anishinaabe, the Chippewa, the Haudenosaunee, and the Wendat<br />

peoples, and remains their home to this day, as it now is for many diverse First<br />

Nations, Inuit and Metis peoples.<br />

This Meeting Place lies within the territory governed by the Sewatokwa’tshera’t (Dish<br />

with One Spoon) treaty between the Anishinaabe, Mississaugas and Haudenosaunee<br />

– a Treaty which bound them to share the territory and protect the land. Subsequent<br />

Indigenous Nations and Peoples, and all newcomers are invited into this treaty in the<br />

spirit of peace, friendship, respect and reconciliation. We are grateful to live and work<br />

here, helping spread the word about the healing power of music in this place.<br />

COPYRIGHT © <strong>2023</strong> WHOLENOTE MEDIA INC<br />

8 | <strong>September</strong> <strong>2023</strong> thewholenote.com


<strong>2023</strong>.24 CONCERT SEASON<br />

Commemorate Truth & Reconciliation:<br />

Julian Taylor, Andrew McAnsh,<br />

Zoey Roy, and more<br />

FRI., SEPT. <strong>29</strong>, 8PM KOERNER HALL TICKETS START AT ONLY $40<br />

Indigenous artists gather to honour those affected by residential schools<br />

and offer hope for the future. Curated by Denise Bolduc and Mervon Mehta,<br />

the night is hosted by spoken word artist Zoey Roy and includes testimony,<br />

traditional drum and dance, a world premiere by Juno Award nominated<br />

composer Andrew Balfour, and special guests Julian Taylor, Andrew McAnsh,<br />

and more.<br />

Mahani Teave,<br />

piano<br />



The only professional classical<br />

musician on her native Easter Island,<br />

award-winning pianist and pioneering<br />

artist Mahani Teave will perform<br />

works by Bach, Liszt, Chopin, and<br />

more at her Koerner Hall debut.<br />

Series generously supported by<br />

Michael Foulkes & Linda Brennan<br />

and an anonymous donor<br />

Concert generously supported by<br />

Eileen Mercier & Chuck Hantho<br />

Generous support provided from<br />

The Michael and Sonja Koerner Fund<br />

for Classical Programming<br />

Augustin Hadelich,<br />

violin, with<br />

Orion Weiss, piano<br />



Grammy Award-winning violinist Augustin Hadelich<br />

and “brilliant pianist” (The New York Times) Orion Weiss<br />

will perform two traditional sonatas, a minimalist<br />

piece written in the 80s, and other exciting works.<br />

Generous support provided from The Michael and Sonja Koerner<br />

Fund for Classical Programmin<br />

Steven Page<br />

with Craig Northey,<br />

Kevin Fox, and special<br />

guest Tom Wilson<br />



The former Barenaked Ladies frontman<br />

turned solo performer brings some<br />

friends to perform literate, catchy<br />

songs about love and life.<br />

Earl Lee conducts the Royal<br />

Conservatory Orchestra<br />

Kyung Ah Oh, violin<br />



Renowned Korean-Canadian cellist,<br />

conductor, and RCM alumnus Earl Lee<br />

will lead the Royal Conservatory<br />

Orchestra and violinist Kyung Ah Oh<br />

(winner of The Robert W. and<br />

G Ann Corcoran Concerto Competition)<br />

in a program of works by Ravel,<br />

Prokofiev, and Strauss.<br />

Part of the Temerty Orchestral Program<br />

Omar Kamal<br />

FRI., OCT. 20, 7:30PM KOERNER HALL<br />


Performing with a Toronto all-star<br />

big band and strings, Palestinian<br />

singer, composer, and producer<br />

Omar Kamal brings together a<br />

stunning repertoire of emotional<br />

hits for one enchanting<br />

evening of standards.<br />

The evening is dedicated to<br />

the memory of Tony Bennett.<br />





“Beautiful<br />

Gumbo”<br />



Although not yet as canonically sacrosanct to the<br />

history of jazz as NYC’s Minton’s Playhouse was,<br />

Toronto’s Rex Hotel is equally important to this<br />

city’s jazz community as both a performance venue and<br />

a musical testing ground where creative ideas and group<br />

concepts germinate and take root.<br />

Guitarist Lorne Lofsky began playing there with such musicians<br />

as saxophonists Bob Mover and Kirk MacDonald and drummer Jerry<br />

Fuller in the late 1980s. “It’s really interesting,” he recalls, “to witness<br />

the evolution of people’s playing at The Rex. The club is not a laboratory<br />

exactly, but rather a magical place where musicians are free to try<br />

things out. From that initial experimentation, groups have formed,<br />

concepts evolved, and people have grown as players because of the<br />

playing that we did there.”<br />

The famed Harlem NYC nightclub, Minton’s Playhouse, existed from<br />

1938 until a fire ripped through the Hotel Cecil that housed it in 1974.<br />

It remains an important site to this day, discussed in reverential tones<br />

by jazz enthusiasts coming to pay homage at the locale where modern<br />

jazz’s equivalents of Zeus, Poseidon and Hades held court. On Monday<br />

evenings in the early 1940s, at crowded jam sessions following<br />

earlier Apollo Theatre performances, the Olympian“Big Three” were<br />

Thelonious Monk, Dizzy Gillespie and Charlie Christian.<br />

As much as Minton’s was a place and physical site, it is remembered<br />

primarily as a spot of musical experimentation, ultimately<br />

becoming the metaphorical petri dish of modern jazz. As the writer<br />

Ralph Ellison explained in a 1959 Esquire article, the club’s Monday<br />

Celebrity Nights incubated ever-new musical ideas, “allowing the<br />

musicians free rein to play whatever they liked.” Yes, there were<br />

other spots where this music was developing, but it is safe to say: no<br />

Minton’s, no bebop.<br />

Stumbling serendipitously: Like many “Temples of Sound,” to<br />

borrow a phrase from William Clark and Jim Cogan’s great book, The<br />

Rex stumbled into its place as a preeminent site of musical excellence<br />

not by design necessarily, but rather serendipity – benefitting from the<br />

happenstance of proximity, Situated at 194 Queen St W, it was located<br />

just down the street from Doug Cole’s Bourbon Street, which in the<br />

1970s and 1980s was bringing marquee name American jazz greats<br />

to the city to perform with local rhythm sections. “A lot of musicians<br />

who were on break at Bourbon Street would come to The Rex for the<br />

The United Clothing<br />

Store, with a side<br />

entrance for the Rex<br />

Hotel (1950s) (above),<br />

The Rex by<br />

David Crighton<br />

cheaper booze and to have a<br />

taste between sets” remembers<br />

pianist Mark Eisenman, who<br />

considers his performances<br />

at The Rex as part of trumpeter<br />

Sam Noto’s band (with<br />

Kirk MacDonald, drummer<br />

Bob McLaren and either Neil<br />

Swainson or Kieran Overs on<br />

bass) as “among his most treasured<br />

musical memories.“<br />

Conversely, Rex owner Bob<br />

Ross – whose father Jack and<br />

business partner Morris Myers<br />

had purchased the former<br />

Williams Hotel in 1950 as a<br />

Avi Ross (left) and Bob Ross<br />

“beer hotel” investment opportunity<br />

– would cap off his<br />

working evenings by going to Bourbon Street to unwind and hear<br />

some music. “If it swung, I was into it,” says Ross, who cites performances<br />

of Zoot Sims and Jackie Cain and Roy Krall as particularly<br />

memorable.<br />

And so, by the early 1980s, a reciprocal ecosystem of musicians<br />

moving between Bourbon Street to The Rex Hotel was established.<br />

The Ross family business soon went from hosting musicians looking<br />

for an inexpensive drink at its bar, to hosting them on the stage that<br />

had been built on the hotel’s Queen Street side (previously the United<br />

Clothing Store that occupied the southerly portion of the building’s<br />

ground floor).<br />

Early and exciting musical sets by saxophonist Jim Heineman<br />

and organist John T. Davis, with Mark Hundevad on drums, forged<br />

performance ground at the club.<br />

Soon a roster of local players was rotating appearances at the club,<br />

including the brothers Lloyd (bassist) and Don “D.T” Thompson<br />

10 | <strong>September</strong> <strong>2023</strong> thewholenote.com

(saxophone), pianist Norm Amadio, teenagers Jake Wilkinson (then<br />

on valve trombone) and saxophonist Grant Stewart, trombonist Terry<br />

Lukiwski and drummer Norman Marshall Villeneuve. The roster also<br />

included saxophonist Bob Mover, who, at the behest of long-time Rex<br />

server Rob Collins, began living upstairs in the club’s second floor<br />

hotel rooms. The running joke was that a fireman’s pole should be<br />

installed from Mover’s room directly to the club’s stage.<br />

Both living and playing regularly at The Rex, saxophonist Mover<br />

gained insight into not only the musicians who worked the weekend<br />

performance slots, but the Damon Runyan-esque characters who<br />

fraternized the establishment. Be it the erudite “Stoney” (who would<br />

apparently quote Bukowski between sips of a drink), the drummer<br />

Norman “Spike” McKendry (who recorded in Montreal with Sadik<br />

Hakim), or pianist Jim McBirnie (who was there so often that he had<br />

an unofficial bar seat. The Rex was as rich in character as it was in the<br />

musical talent it hosted.<br />

“It was a fascinating atmosphere with a lot of soul,” says Mover,<br />

“which, for a New Yorker like me was very refreshing in ‘Toronto<br />

the good!’”<br />

Looking to expand the club’s weekend performances to include a<br />

Tuesday evening set, Ross tapped Villeneuve and Mover to co-lead the<br />

club’s now famous and longstanding jam session, currently hosted<br />

by bassist Chris Banks. These formative sessions soon afforded young<br />

musicians the opportunity to perform regularly, learning from the<br />

established masters of this music such as Mover and Villeneuve: the<br />

latter consciously modelled his bands’ commitment to “passing it<br />

down” after Art Blakey’s Messengers, in a rite of passage as old as the<br />

idiom itself.<br />

“It was an amazing time,” remembers trumpeter Jake Wilkinson,<br />

who by the early 1990s went from sitting in at the jam sessions to<br />

co-leading a group at the club on Wednesday evenings. “I learned a lot<br />

during those days,” remembers Wilkinson, who would rehearse after<br />

hours in the club’s basement with Mover when the older saxophonist<br />

was living upstairs.<br />

23|24 SEASON ON SALE NOW<br />

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Incredible Savings!<br />

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“It was a fascinating atmosphere with a lot of<br />

soul, which, for a New Yorker like me was very<br />

refreshing in ‘Toronto the good!’” — Bob Mover<br />

Photo of Hailey Gillis by Colton Curtis<br />


Pianist and Rex fixture Jim McBirnie took this photo in the<br />

mid-nineties: (l-r) Charlie Mountford, piano; Archie Alleyne, drums;<br />

Don Thompson, bass; Bob Mover, sax; and Pat LaBarbera, sax.<br />

647.341.7390 | crowstheatre.com/subscribe<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 11

Handling success: As the roster of<br />

musicians performing at the club and<br />

vying for gigs expanded, so did the<br />

responsibility of booking shows. By 1989,<br />

Ross brought in Tom Tytel, who had<br />

recently earned his bartending licence<br />

and whose mother was long-time friends<br />

with the Ross family, to assist with<br />

bartending, evening managerial duties,<br />

and, eventually, booking the music.<br />

Commenting on his, and The Rex’s,<br />

track record for not only consistently<br />

showcasing top-shelf music but staying<br />

Tom Tytel<br />

in business for some three decades,<br />

including COVID shutdowns,Tytel disavows any personal agency. “I<br />

don’t claim to know music, good from bad, but I do know what works<br />

for The Rex. I trust the people to whom Bob introduced me, and I<br />

know enough to get out of the way and stay out of all things creative<br />

that happen on the stage.”<br />

As the decades passed and the former upstairs residence rooms<br />

flourished as renovated and revamped boutique downtown hotel<br />

suites under the watchful eye of Ross’ son Avi, the club’s booking<br />

policy expanded from those initial Heineman/Davis weekend slots,<br />

to hosting music seven nights a week, often with two or three bands<br />

performing multiple sets a night. The Rex is today valued as much for<br />

the social cohesion it facilitates within Toronto’s intergenerational and<br />

intersectional jazz community as for the destination performance spot<br />

it provides for local and out-of-town musicians, as well as fledgling<br />

student ensembles from the city’s neighbouring schools.<br />

“It’s a mainstay, for sure,” states saxophonist Mike Murley. “It’s hung<br />

in there to not only grow over the years but evolve. I love what’s going<br />

on there now as the multi-night performances are somewhat like the<br />

old days.”<br />

Murley’s “the old days” hearkens back to an earlier time in Toronto<br />

jazz when George’s, Meyer’s Deli, Montreal Bistro, Top o’ the Senator,<br />

Bourbon Street and the Bermuda Onion reigned supreme. The Rex’s<br />

new booking policy has become a creative catalyst for a new crop of<br />

younger players who can now bring visiting players to the city for<br />

extended engagements. “Having a four-night run at The Rex to workshop<br />

the material before recording with Terri Parker’s Free Spirits was<br />

really beneficial in terms of preparing the music and getting a sound<br />

together,” suggests bassist Lauren Falls.<br />

Tom Tytel’s booking credo is that “if you leave the cooks alone,<br />

they will make you a beautiful gumbo.” The Rex, whether hosting the<br />

annual Coltrane Tribute (nearing its 40th anniversary) or showcasing<br />

an ever-new crop of diverse and talented young jazz voices, has no<br />

plans to stop cooking up enriching and soulful sounds anytime soon.<br />


Andrew Scott is a Toronto-based jazz guitarist (occasional<br />

pianist/singer) and professor at Humber College, who contributes<br />

regularly to The WholeNote Discoveries record reviews.<br />

Teri Parker's Free Spirits at the Rex in 2019.<br />


Sharon Azrieli on<br />

The AMPs at Ten<br />


Canada’s largest non-corporate funding body, the<br />

Azrieli Foundation was established in 1989 by<br />

Sharon Azrieli’s late father, philanthropist and<br />

developer, David Azrieli, with a mission, according to<br />

the Foundation’s website, “to improve the lives of present<br />

and future generations through education, research,<br />

healthcare and the arts, mainly in Canada and Israel.”<br />

Sharon Azrieli<br />


While Music, Arts & Culture is<br />

but one of the Foundation’s eight<br />

priority funding areas, I counted<br />

a mind-boggling 40-plus<br />

Canadian cultural organizations<br />

and institutions that have<br />

benefitted from the Foundation’s<br />

support over the years. Many of<br />

these have been covered in the<br />

pages of The WholeNote – from<br />

the Canadian Opera Company,<br />

Sistema Toronto and Jeunesses<br />

Musicales Canada, to Concerts in<br />

Care Ontario, Toronto Symphony<br />

Orchestra and the Ashkenaz<br />

Foundation. (And I have a feeling<br />

there are probably another 40 I<br />

haven’t heard about.)<br />

In 2013, Montreal-born Sharon<br />

Azrieli had an idea for a new Azrieli Foundation program – a competition<br />

that reflected her love of music and art, and which she knew<br />

would become her “bailiwick” at the Foundation. “My first thought<br />

was ‘What doesn’t exist?’ she explained in a recent phone conversation.<br />

Not wanting to reinvent any wheels, she looked around and<br />

determined that in Canada there were already competitions for<br />

voice, for violin, for string quartet, and for piano, but that there were<br />

none for composition.<br />

Thus, playing to her strengths – “What do I know about? I happen<br />

to know about Jewish music” – and to her deep ties to both Canada<br />

and Israel, in 2014 the Azrieli Music Prizes (AMP) were born.<br />

The first two inaugural prizes were The Azrieli Prize for Jewish<br />

Music and The Azrieli Commission for Jewish Music, followed by<br />

The Azrieli Commission for Canadian Music a few years later. And<br />

to mark the upcoming tenth anniversary of the AMP, a fourth prize<br />

has been added for the 2024 competition: The Azrieli Commission<br />

for International Music.<br />

12 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Sharon Azrieli, performing at the October 2022 AMP Gala with Orchestre Métropolitain<br />

and Alexandre Bloch, conductor, in the Maison symphonique de Montréal.<br />

Azrieli, herself, is no musical slouch. In addition to her philanthropic<br />

work, the AMP’s visionary is an operatic soprano, a cantor<br />

and a jazz, cabaret and Broadway singer. She also holds degrees from<br />

Vassar College (B.A., art history), Parsons School of Design (Associate<br />

Degree, illustration), Université de Montréal (M.Mus, vocal performance;<br />

Ph.D, music) and a Diploma in Vocal Performance from<br />

Juilliard. Clearly, she knows a thing or two about more than Jewish<br />

music, … and knows what high standards look like.<br />

As a result, the Azrieli Music Prizes are widely recognized as<br />

Canada’s biggest (and among the world’s most important) competitions<br />

devoted to music composition – synonymous with excellence,<br />

prestige and originality. Each round of the prizes has its<br />

own specific and unique focus and artistic challenges – this year’s<br />

instrumental cycle, for example, is devoted to choral music; all<br />

works, in all competition categories, must be for a cappella choir<br />

plus up to four additional instruments and/or vocal soloists.<br />

Winning commissions, we are told, will display “the utmost creativity,<br />

artistry, technical mastery and professional expertise.”<br />

On top of that, there’s the tricky business<br />

for would-be applicants to the AMP of<br />

trying to figure out what exactly is meant by<br />

“Jewish,” “Canadian,” and “International”<br />

music. The following description, drawn<br />

from an article in a recent issue of<br />

International Arts Manager, is helpful:<br />

“For the purpose of the Prizes, the Azrieli<br />

Foundation defines ‘Jewish,’ ‘Canadian’ and<br />

‘International’ music as broadly as possible,<br />

taking into account the rich multicultural<br />

associations with such terms. These musical<br />

categories are deeply interwoven with a<br />

diversity of languages, religious practices,<br />

social traditions, histories, geographies<br />

and related cultural expressions. They<br />

embrace genres that are sacred, secular,<br />

popular, folk and Indigenous in nature. The<br />

Foundation understands Jewish, Canadian<br />

and International music to be rooted in<br />

diverse customs and traditions, yet also as<br />

forward-moving, progressive and dynamic.<br />

Thus, it invites composers to explore themes<br />

and content drawn from contemporary<br />

life and experiences that express not only<br />

historic concerns and current conditions<br />

but also future aspirations as a means of<br />

advancing the art form.”<br />

That being said, the Foundation goes to great lengths to clarify that<br />

the competition in general, and the Jewish music prizes specifically,<br />

are open to people of all ages, genders, faiths, backgrounds and traditions.<br />

As Sharon Azrieli has stated in many interviews and articles<br />

over the years, “This is one of the most important aspects of both the<br />

Azrieli Prize for Jewish Music and the Azrieli Commission for Jewish<br />

Music: you don’t have to be Jewish to write Jewish music.”<br />

In a 2015 press release from the Foundation, she had some fun with<br />

the subject. After saying that “the whole point of the competition is<br />

that you don’t have to be Jewish,” she added, “And also, everyone is<br />

Jewish. Find your Jewish soul – anybody can be a kvetch!”<br />

The converse is also true, she told me. “Just because you say, ‘Hey,<br />

I’m Jewish and therefore anything I write is Jewish music,’ … No.<br />

Sorry … it does not work that way.” Apparently, they get a number<br />

of those applications.<br />

Azrieli “loves the question” of What is Jewish music? because<br />

she “can actually answer it,” given her background as a cantor, and<br />

her doctoral work – finding cantorial modes in the works of Verdi<br />



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thewholenote.com <strong>September</strong> <strong>2023</strong> | 13


Brian Current<br />

(2016 AMP Laureate)<br />

– among other things. “Jewish<br />

music is a known entity. It has<br />

absolutely known modes. Then<br />

there are Yiddish songs, there<br />

are Sephardic songs. There is<br />

klezmer … biblical themes or<br />

stories about the Jewish people.<br />

There are so many things that<br />

are legitimately Jewish music.”<br />

Ultimately, it all comes<br />

down to “fostering greater<br />

intercultural understanding<br />

through music.” And each prize<br />

package, valued at an exceedingly<br />

generous $200,000 CAD,<br />

is a great motivator en route to<br />

achieving that goal. Included is<br />

a cash prize of $50,000 CAD, a<br />

premiere of the prize-winning<br />

work at the AMP Gala Concert,<br />

at least two subsequent international<br />

performances, a professional recording of the work for<br />

future commercial release, and publicity support. Further, the<br />

AMP Performance Fund supports ensembles in presenting public<br />

performances of winning works.<br />

Becoming an Azrieli Music Prize winner, a laureate, is a careerboosting,<br />

if not outright life-changing, experience. Some of the extraordinary<br />

prize-winning works over the years end up in the orchestral<br />

repertoire, like the oratorio The Seven Heavenly Halls, by Brian<br />

Current, first winner of the Azrieli Commission for Jewish Music.<br />

Some even win a Juno, like Arras (for fourteen musicians), by Keiko<br />

Devaux, first winner of the Azrieli Commission for Canadian Music.<br />

According to Jason van Eyk, the Foundation’s Manager, Music, Arts<br />

and Culture, there has been a marked evolution and growth since the<br />

AMP’s inception, including “a 150% increase in the number of applicants<br />

and 145% growth in the number of countries represented.” (If<br />

you want to do the math, the first competition drew almost 100 applications<br />

from over ten countries.) There have also been improvements<br />

in gender diversity. This all bodes well for the future of the AMPs, as<br />

does the fact that the last few Galas were livestreamed by medici.tv<br />

and viewed by close to 60,000 people in 65 countries!<br />

As a philanthropist, Sharon Azrieli’s good work at the<br />

Foundation earns plaudits. As a soprano and a cantor, she also<br />

continues to enjoy the applause of appreciative concert audiences<br />

and synagogue congregations; sometimes both at the same time.<br />

This was the case during her most recent concert in Cluj, Romania,<br />

where she sang a cantorial concert in the city’s only working<br />

synagogue. “l needed to say kaddish for my father, and there was<br />

nobody to lead the service. So I ended up leading the service for<br />

them, and it ended up being just a lovely experience.”<br />

Winding up our conversation, I asked her one of those “Who’s<br />

your favourite child?” kind of questions: of all the musical genres,<br />

Kelly-Marie Murphy<br />

(2018 AMP Laureate)<br />

Today, Current serves on the Jewish Music Jury and is a liaison for that jury<br />

to the AMP Advisory Council; Murphy is on the newly formed International<br />

Music Jury. “Both are excellent jurors and bring not just their plentiful talent,<br />

experience and expertise to their roles, but also their unique perspective as<br />

past Laureates”. (Jason van Eyk, Azrieli Foundation)<br />

which one speaks most deeply<br />

to her heart? Her answer<br />

surprised me. With a sigh<br />

followed by a hearty laugh, she<br />

replied, “Israeli folk song. Don’t<br />

forget I was raised on Israeli folk<br />

songs. I love [them]. I bet you<br />

can imagine me singing some of<br />

them.” And I could.<br />

So, is there a genre she has<br />

yet, and would like, to tackle,<br />

say for example, country<br />

music? I asked, and that answer<br />

surprised me even more. “I can’t<br />

believe you asked that … It’s so<br />

funny because I was just about<br />

to record a country song.” It<br />

was for a movie she was about<br />

to appear in, she explained, but<br />

which got kiboshed due to the<br />

actors’ strike in Hollywood.<br />

She wouldn’t name the song because she still plans to record it and<br />

wants it to be a surprise. “But I’ll tell you something. It is a country<br />

song that is in the Lydian mode. If you can figure out which one it<br />

is, then call me.” Any guesses?<br />

And what about opera? Azrieli was very candid. “It’s a young<br />

person’s ‘sport,’” she said. “It’s like being a figure skater … so physically<br />

hard on the body … there is an age limit for opera and I<br />

think I’m nearing the end.” And then she quoted Kenny Rogers’<br />

The Gambler. “It’s an issue of ‘you got to know when to fold ‘em.’”<br />

Hmmm. Maybe the next Azrieli prize will be a “Jewish” country<br />

music commission. With her joie de vivre, I wouldn’t put it past her.<br />

Some dates to watch<br />

Sharon Azrieli<br />

<strong>September</strong> <strong>2023</strong>: Screening of Irena’s Vow at the Toronto<br />

International Film Festival (Sharon Azriel plays the role of “Helen”)<br />

October <strong>2023</strong>: Quebec Philharmonic Orchestra, Beethoven<br />

Symphony No. 9<br />

Azrieli Music Prizes<br />

October 6, <strong>2023</strong>: Album release, New Jewish Music Vol. 4<br />

October 15, <strong>2023</strong>: Sharon Azrieli performs the European premiere<br />

of 2022 AMP Jewish Music laureate, Aharon Harlap’s, Out of the<br />

depths have I cried unto Thee (Philharmonia Orchestra, Cadogan<br />

Hall). The prize-winning works by both other 2022 Laureates,<br />

Rita Ueda and Imam Habibi, will also be performed.<br />

November 2, <strong>2023</strong>: 2024 AMP Laureate Announcement Event:<br />

details to be announced.<br />


Sharna Searle, a former WholeNote listings editor, trained as a<br />

musician and lawyer, and currently works as a freelance writer,<br />

editor and proofreader.<br />

14 | <strong>September</strong> <strong>2023</strong> thewholenote.com



Tafelmusik welcomes back Bruno Weil<br />

Compiled and edited by MJ BUELL<br />

Tafelmusik at the Klang und Raum Festival, in Irsee, Germany (2006)<br />


“When I heard that Tafelmusik was opening its<br />

<strong>2023</strong>/24 season with Beethoven symphonies<br />

conducted by Bruno Weil and in celebration of its<br />

45th anniversary season, it sounded like a reunion<br />

that I could not miss,” writes Christina Mahler,<br />

Tafelmusik principal cellist from 1981 to 2019.<br />

Christina<br />

Mahler<br />

“Tafelmusik’s collaboration<br />

with Bruno Weil<br />

started in the early 1990s<br />

with an annual invitation to<br />

play at his music festival in<br />

Bavaria: Klang und Raum<br />

(Sound and Space). As the<br />

festival’s orchestra-in-residence<br />

for 19 years, we ended<br />

our summers in southern<br />

Germany with Bruno and his<br />

family. This relationship has<br />

greatly shaped our orchestra<br />

and helped extend our repertoire<br />

into the 19th century,<br />

because Bruno wanted to<br />

explore the classical and<br />

Romantic music periods with<br />

Tafelmusik on period instruments.<br />

Playing Romantic<br />

music on period instruments<br />

was a fairly new concept at the time, and we were able to learn and<br />

explore alongside each other.<br />

“Bruno has said that he especially loves to play Beethoven with<br />

Tafelmusik, which makes a lot of sense to me. Beethoven is a<br />

composer who makes you work. His life was hard, with many<br />

dramatic challenges. He had a fiery, earthy and willful temperament,<br />

which comes through in his music. Playing his works on period<br />

instruments gives a clearer understanding and experience of what<br />

Beethoven wanted to say. Once we learn about the composer, use the<br />

instruments of the time, and learn about the specific styles of the<br />

period, the music becomes much more powerful. Winds and strings<br />

find their original balance.<br />

“Bruno has offered us many beautiful insights. As he has said,<br />

working with Tafelmusik means exploring Beethoven as if it was<br />

newly composed music. Approaching the music as Baroque musicians,<br />

we had to expand our palette, flexing and toning our muscles<br />

to re-learn this new style. It was an exciting process for everyone<br />

including the festival’s audience. Our annual stay in Germany often<br />

ended with the making of one or more recordings. Then, returning to<br />

Toronto, we were ready for our opening concerts, sharing our repertoire<br />

discoveries with our home audience.<br />

“It is such a thrill that Bruno is coming back to collaborate<br />

with Tafelmusik after these awful years of COVID drought. He will<br />

bring his family and some friends from our Klang & Raum years to<br />

Toronto, and it will feel like a true reunion.<br />

“When I joined Tafelmusik in 2004, it was my incredible good<br />

fortune to be welcomed into the musical relationship between<br />

Tafelmusik and Bruno Weil, and into the middle of the Beethoven<br />

symphony recordings” says Cristina Zacharias, Tafelmusik violinist<br />

and Artistic Co-Director.<br />

“I knew I was lucky, but I didn’t understand at that time just how<br />

rare such relationships are in the orchestral world. The atmosphere<br />

in our work together was characterized by trust, exploration and a<br />

relentless commitment to the music in front of us. The performances<br />

that resulted from this collaboration are among the most special in<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 15

An agency of the Government of Ontario<br />

Un organisme du gouvernement de l’Ontario<br />


Cristina Zacharias<br />

Created for Marie Antoinette<br />

and the most discriminating<br />

audience in Europe.<br />

GLUCK’S<br />



Oct 26 to Nov 1<br />


my career – thrilling moments in concert<br />

halls all over the world where the magic of<br />

live performance blended with a sense of<br />

discovery and a particularly unified performance<br />

energy.<br />

“Those ground-breaking recordings of the<br />

Beethoven symphonies set an artistic standard<br />

that we continue to measure ourselves<br />

against. The mix of musical passion and<br />

dedication between Bruno and Tafelmusik,<br />

characterized especially in our Beethoven<br />

cycle, has become a benchmark for all of<br />

Tafelmusik’s artistic endeavours. Almost 20<br />

years later, in planning for Tafelmusik’s<br />

45th anniversary season as an Artistic<br />

Co-Director, an invitation to Bruno felt like<br />

a natural choice – the best way to remind us<br />

where Tafelmusik came from, and to propel<br />

us toward our future. None of our passion<br />

for this music has faded, and I am so eager<br />

to bring it to our home audience for this<br />

celebration.”<br />

Dominic Teresi, Tafelmusik Principal Bassoon and Artistic<br />

Co-Director, offered this:<br />

“One of my earliest performances with Tafelmusik was<br />

Beethoven’s 5th at Klang und Raum with Bruno conducting. It<br />

was an incredibly profound and joyous experience with my new<br />

Tafelmusik family that I will never forget. Bruno brings an uncommon<br />

breadth of knowledge and emotional depth to Beethoven and I can<br />

say that performing and recording all nine of Beethoven’s symphonies<br />

with him has been one of the most formative experiences of my<br />

musical career. I am overjoyed to be opening our 45th season with<br />

Bruno and these two monumental works.”<br />

Bruno Weil<br />


Dominic Teresi<br />

Colin Ainsworth / Orpheus<br />

Mireille Asselin / Eurydice<br />

Artists of Atelier Ballet<br />

Tafelmusik Baroque Orchestra<br />

SEASON<br />



Photo: Colin Ainsworth and Jennifer Such by Bruce Zinger<br />


And a postscript:<br />

“It is an honour to return to the stage with Tafelmusik almost 20<br />

years since our first recordings of Beethoven symphonies,” says<br />

Bruno Weil. “The musicians of Tafelmusik continue to bring such<br />

intensity, honesty and absolute delight to the music. There are few joys<br />

greater than bringing the idealism and passion of Beethoven’s music<br />

to life with my dear friends.”<br />

The details: Tafelmusik’s 45th anniversary season kicks off with<br />

an all-Beethoven blockbuster on Sept 22 at 8pm, Sept 23 at 8pm<br />

& Sept 24 at 3pm at Koerner Hall, TELUS Centre for Performance<br />

and Learning.<br />

MJ Buell is a long time member of The WholeNote<br />

team, and an occasional writer.<br />

16 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Q & A<br />

Toronto Symphony Orchestra’s Jan 11-15 concert,<br />

conducted by Michael Francis. The first half<br />

closed with the Toronto Mendelssohn Singers<br />

in Gregorio Allegri’s Miserere Mei, Deus.<br />

Art uplifted when<br />

dance & music<br />

intersect<br />


Let’s start by looking back — to a Toronto Symphony<br />

concert in January this year. Second half of the<br />

concert was the Mozart Requiem, with the full<br />

Mendelssohn Choir (TMChoir) doing the vocal honours.<br />

But what made the evening special was how the first half<br />

set the scene.<br />

The concert opened with the sopranos and altos of the Toronto<br />

Mendelssohn Singers (TMSingers) entering in darkness, singing, a<br />

cappella, Hildegard’s haunting O Virtus Sapientiae. Two orchestral<br />

pieces followed (Mozart’s Masonic Overture and an arrangement of<br />

Beethoven’s Grosse Fugue.) And the half closed with the TMSingers’<br />

full chamber contingentturn again, divided up, antiphonally, into two<br />

choirs, in Gregorio Allegri’s Miserere mei, Deus.<br />

The evening felt like an artistic whole. As such, it spoke to the<br />

wisdom of the TMChoir’s decision to formalize the choir’s professional<br />

core as a chamber ensemble. The chamber choir offers an<br />

intimacy that is the emotional flip-side of the main choir’s power. As<br />

such it offers the potential for exploring edgier repertoire, new venues,<br />

and inspiring creative partnerships.<br />

<strong>September</strong> 22 & 23 is a case in point. Titled “In Time: at the<br />

Intersection of Music & Dance”, the concert renews a creative partnership<br />

formed during the darkest days of the pandemic, with<br />

choreographer/dancer Laurence Lemieux’s Citadel + Compagnie.<br />

Performances take place in Jeanne Lamon Hall, at Trinity-St. Paul’s<br />

Centre, – unfamiliar territory for both ensembles. The repertoire,<br />

on the other hand (Handel’s Dixit Dominus and Bach’s Christ lag in<br />

Todesbanden), is part of the musical DNA of a venue that, as home to<br />

the Tafelmusik Baroque Ensemble for decades, wears Period music<br />

like a coat of paint!<br />

and for me the experience of singing in a large choir satisfies so many<br />

musical needs.<br />

I love the camaraderie, and I love the feeling of letting my voice<br />

soar within this group. I I love feeling how my voice blends into the<br />

group around me and how we all complement and amplify each<br />

other’s voices. The physical sensation of this type of singing is incredibly<br />

cathartic and I’ve often found myself swept up emotionally.<br />

I reached out to Lesley Emma Bouza, a long-standing member<br />

of the TMChoir’s professional core, for her thoughts on the<br />

TMSingers revival.<br />

WN: Let’s start with what makes singing in the big choir special.<br />

LESLEY BOUZA: I love singing in big choirs. My first choir experience<br />

was in a big symphonic choir, at the University of Guelph under<br />

conductor Dr. Marta McCarthy. I fell in love with the feeling of having<br />

my voice be a part of a massive sound machine that can achieve<br />

anything from pianissimo to triple forte and beyond. I’ve been an<br />

instrumentalist and a singer in every size, shape and type of ensemble<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 17

Lesley Bouza<br />

Is there anything it’s not good<br />

for? The only thing that comes<br />

to mind for me is that you need<br />

to be very aware of your technique<br />

and how your sound fits<br />

into an ensemble that large. You<br />

don’t have the same feedback of<br />

hearing yourself as in a smaller<br />

ensemble, so the temptation to<br />

push your sound out to be able to<br />

hear yourself better is very strong<br />

and can lead to vocal fatigue quite<br />

quickly; especially with some of<br />

the repertoire that you encounter in this type of choir … Beethoven’s<br />

9th, Carmina Burana … other large scale works with a lot of sustained<br />

fortissimo singing.<br />


What does chamber singing offer that a big choir cannot? The<br />

opportunity to prepare music in very detailed ways. Often you’re<br />

singing only a few voices to a part, or, as in the case with TMSingers’<br />

2022 performance of Path of Miracles, even one to a part. You need<br />

to come prepared and have the confidence to hold down your part,<br />

despite everything else that might be going on – multiple tonalities<br />

and rhythms at the same time; singing in various languages,<br />

portraying different characters; sensitivity to the style of the music.<br />

Professional choristers in chamber choirs get to sing so many different<br />

genres of music within our art form, and it’s so satisfying to switch<br />

from music that was written 200 years ago in German to music that<br />

was written last month in Arabic.<br />

Is the camaraderie different? In these choirs you can really feel how<br />

each member contributes to the team. This leads to discussions of how<br />

to interpret the music. Of course the conductor has the final say, but<br />

the singers can make choices that contribute to the interpretation in<br />

Elmer<br />

Iseler<br />

Singers<br />

Lydia Adams, C.M.<br />

Conductor and Artistic Director<br />

45th Concert Season <strong>2023</strong>-2024<br />

A Constellation of<br />

Radiant Choral Light<br />

Subscriptions available for three Toronto Concerts:<br />

October 28, <strong>2023</strong>: Celestial Light<br />

premiere by Sid Robinovich<br />

December 8, <strong>2023</strong>: Messiah by G.F. Handel<br />

special guests the VIVA Chamber Singers and<br />

the Amadeus Choir, orchestra and soloists<br />

April 20, 2024: Triple Choir<br />

Splendour: Sonic Light with the<br />

VIVA Chamber Singers and the<br />

new Chroma Vocal Ensemble<br />


416-217-0537 elmeriselersingers.com<br />

a real way as well. JS [Jean-Sébastien Vallée] is a particularly collaborative<br />

conductor to sing for; he works with us as a member of the<br />

ensemble, not just its leader.<br />

What are you most looking forward to in this TMSingers revival<br />

(apart from being paid)?<br />

I have been a member of the paid, professional core of the TMChoir<br />

for a long time, but that group has existed almost entirely to support<br />

the larger choir: a piece or two in a TMChoir concert; rare performances<br />

at weddings or other events. The professional choristers within<br />

The TMChoir have long been some of the most skilled musicians<br />

that I’ve had the pleasure to work with, and it’s wonderful to get our<br />

own concerts, singing challenging music, showcasing our solo abilities<br />

and contributing to the vibrant chamber music scene in Toronto.<br />

It’s not just a “revival” in the sense of planning concerts and hiring<br />

singers. The leadership of the TMChoir has listened to us describe the<br />

challenges that professional choristers working in and around this city<br />

have had for a long time. Being a professional chorister feels a bit like the<br />

Wild West; we are not eligible to be a part of any kind of union or musicians<br />

association, and so we rely on negotiations with the organizations<br />

who contract us to create positive and respectful working environments.<br />

The creative concerts that we’ve gotten to perform so far – The Little<br />

Match Girl Passion and The Pilgrim’s Way – are the icing on the cake. In<br />

particular Little Match Girl really stayed with the audience and felt like<br />

a concert which was contributing to an important conversation in our<br />

city. I like to think our taking a risk in weighing in on the mental health<br />

and housing crises in this city may have made a difference in some way.<br />

And this upcoming collaboration with Citadel? I am thrilled. Art is<br />

uplifted when different mediums, genres and cultures come together.<br />

If this art form is to survive I think we need to present it in ways that<br />

resonate with audiences that may not be drawn to the more traditional<br />

choral aesthetic. Dance is a no-brainer to pair with early music;<br />

so much of this music is built upon a foundation of dance forms. I<br />

can’t wait to see what C+C brings to incredible works that are always<br />

challenging and fun to sing: but they’ve been performed many. many<br />

times in this city in a conventional way. Adding dance sheds a new<br />

light on timeless work and adds relevance for a modern audience.<br />

For Laurence Lemieux,<br />

Citadel Dance’s artistic<br />

director, the hard work for<br />

Handel’s Dixit Dominus<br />

still lies ahead. “We started<br />

on the Handel in studio in<br />

June,” she says, “but it’s a<br />

big work, so a complex<br />

challenge. I’ve given myself<br />

till <strong>September</strong> 1 on the<br />

choreography, then we have<br />

<strong>September</strong> to rehearse,<br />

separate from the choir,<br />

Toronto Mendelssohn Choir:<br />

Sacred Music for a Sacred Space,<br />

April 2021<br />

until the week of the show. We get three rehearsals together in the<br />

hall to work on timing – crucial for dancers. We take our overall<br />

tempos from the musicians, but after that certain things become<br />

non-negotiable. Tiny changes in tempo interfere with the musclememory<br />

practice dancers depend on to fulfill our intentions.”<br />

For Bach’s Christ lag in Todesbanden, which she will dance solo,<br />

as she does in the 2021 filmed collaboration, the hardest work, the<br />

emotional heavy lifting, has already been done. “People were dying<br />

all around and I was working in isolation. Overwhelming as it was,<br />

it became an important journey to express. The sorrow of the Virgin<br />

Mary with a dying son became an even deeper sorrow, for all those<br />

lives being lost. If I had been an angel, I’d have been very busy, with<br />

the passing of all those souls.”<br />

David Perlman can be reached at publisher@thewholenote.com<br />


18 | <strong>September</strong> <strong>2023</strong> thewholenote.com


Hugh’s<br />

NEW Room<br />


In March of 2020 – while COVID anxiety was swirling<br />

through Toronto, but just before lockdown protocols<br />

were announced and enacted – news broke that<br />

Hugh’s Room Live would be leaving their Dundas West<br />

location, having failed to come to terms with their<br />

landlord in lease negotiations. It was a major blow for<br />

the city’s club scene.<br />

On the move from Dundas W. to east of the Don; Broadview<br />

Place, a heritage building, was designed by E.J. Lennox, the same<br />

Toronto architect who designed Old City Hall and Casa Loma.<br />

In 2001, Richard Carson opened Hugh’s Room on Dundas West,<br />

naming it in memory of his brother Hugh, a former folk musician<br />

who had dreamed of opening his own performance venue before<br />

his death from cancer in 1999. It had been an important venue,<br />

with programming that emphasized folk, blues and roots music,<br />

including performances from Buffy Sainte-Marie, Joni Mitchell and<br />

Gordon Lightfoot.<br />

Grim though the news seemed, especially in the context of other<br />

pandemic-venue closures, the Hugh’s Room Live organization<br />

continued to present live music starting in 2021, albeit on other stages;<br />

3030 Dundas, the Tranzac, Paradise Theatre and Revival have all functioned<br />

as partner venues to the organization, playing host to Hugh’s<br />

Room Live shows.<br />


thewholenote.com <strong>September</strong> <strong>2023</strong> | 19

Lina Allemano Four<br />



Gordon Lightfoot introducing singer Tom Rush on the stage<br />

at the original Hugh’s Room, Toronto, October 17, 2019.<br />

In July of this year, however, something very exciting happened:<br />

Hugh’s Room Live’s board of directors confirmed the acquisition of a<br />

building they had had an eye on, at <strong>29</strong>6 Broadview Avenue. Located<br />

right between Gerrard St E and Dundas St E, close to Riverdale Park,<br />

the building had originally opened in 1894 as the Broadview Avenue<br />

Congregational Church. The venue will take shape gradually; though<br />

shows are already booked for the fall, building a commercial kitchen<br />

and making the former church fully accessible will take some time<br />

and additional fundraising.<br />

Celebrating the launch: A few existing bookings will still be<br />

happening at the aforementioned partner venues, such as Michael<br />

Jerome Brown at the Tranzac on <strong>September</strong> 15, and Jesse Ryan’s<br />

Bridges project at Revival on October 15. Meanwhile, a number of<br />

excellent shows have already been booked into the new space, with<br />

some top-notch Canadian talent.<br />

On Sunday, <strong>September</strong> 24, the Lina Allemano Four takes the <strong>29</strong>6<br />

Broadview stage. Allemano has long been considered one of North<br />

America’s most talented and adventurous trumpet players; her<br />

long-running quartet’s most recent album, Vegetables, was nominated<br />

for a 2022 Juno Award, and the group was included in DownBeat magazine’s<br />

annual Critics’ Poll list for Rising Star Jazz Group in the same year.<br />

On October 11, singer-songwriter David Francey will perform an<br />

already-sold-out show. Francey is something of a mythological figure<br />

in the Canadian folk music scene; the Scotland-born, Canada-raised<br />

troubadour didn’t start releasing music until he was in his 40s, after<br />

an adult life working on rail yards, construction sites and in the Yukon<br />

backcountry. Now, firmly established, he has received numerous<br />

accolades, including a SOCAN folk music award, an International<br />

Acoustic Music Award and the John Lennon Songwriting Award.<br />


TUJF: Just before school gets back in session, the Toronto<br />

Undergraduate Jazz Festival (TUJF) returns to Mel Lastman Square<br />

over the Labour Day long weekend. Though the festival is no longer<br />

the new kid on the block – the inaugural edition was presented in<br />

2015 – TUJF is still a celebration of young jazz groups, with a strong<br />

connection to post-secondary jazz programs. This year will also see<br />

artists such as Ranee Lee, Thomas Steele, Ale Nuñez and Laila Biali<br />

performing on the main stage between <strong>September</strong> 1 and 4.<br />



Classes mid <strong>September</strong> to mid May for ACTIVE ADULTS 50+<br />

No previous musical experience required!<br />

Learn Music, Make New Friends,<br />

Improve Your Memory & Hearing, Have Fun<br />

INFO: Doug Robertson nhbyrdirector@gmail.com<br />

416-457-6316 | newhorizonsbandyorkregion.com<br />

Madeleine Ertel will be at Sudbury Jazz, <strong>September</strong> 9, 6pm.<br />

FESTIVALS: Outside of Toronto, there are other exciting festivals<br />

to check out. On <strong>September</strong> 8 and 9, the Sudbury Jazz Festival<br />

takes place at a handful of venues across that city. With an emphasis<br />

both on exciting shows and educational workshops, the festival will<br />

feature established artists such as Denzal Sinclaire, OKAN and Crystal<br />

Shawanda, as well as new artists like Alex Bird and the Jazz Mavericks,<br />

as well as Madeleine Ertel, winner of the <strong>2023</strong> Jazz Sudbury Emerging<br />

Artist program.<br />

Colin Story is a jazz guitarist, writer and teacher based in<br />

Toronto. He can be reached at www.colinstory.com, on Instagram<br />

and on Twitter.<br />

20 | <strong>September</strong> <strong>2023</strong> thewholenote.com



<strong>2023</strong><br />

2024<br />

“Switchemups”, in Exit Points #36 (March 31, <strong>2023</strong>)<br />

L-R: Adrian Russouw, Rudy Ray, Owen Kurtz, Nilan Perera,<br />

%%30%30, Xina Gilani, Victor O, Michael Palumbo<br />





Makes Its Mark<br />


It was participating in the Toronto Improvisor’s<br />

Orchestra that offered a lifeline for electroacoustic<br />

music improviser, teacher, researcher and producer<br />

Michael Palumbo. During 2019, Palumbo was<br />

experiencing multiple crises in his life which eventually<br />

led him into performing improvised music on his<br />

modular synthesizer. “It was a form of music making<br />

where empathy is very important,” he told me during<br />

our phone interview. “I could go and play my heart out. It<br />

saved my life that year.”<br />

A short time later, Palumbo was walking past the Hirut Cafe and<br />

Restaurant (an Ethiopian eatery on Danforth Avenue), and saw the<br />

legendary jazz saxophonist Kirk MacDonald through the window. He<br />

couldn’t resist entering and discovered some of the city’s jazz greats<br />

playing together in various combinations to packed audiences. He<br />

was determined to start up something similar for free improv musicians.<br />

Eventually, a monthly series of improvisation concerts he called<br />

Exit Points was born – held on the last Friday of every month at Array<br />

Music, 155 Walnut Avenue (in the Adelaide/Strachan area).<br />

Each evening follows a similar format. Nine guests plus Palumbo<br />

are put together into two quintets, each performing a set. Often<br />

the performers don’t know each other beforehand and are either<br />

invited by Palumbo or request to be included. The upcoming concert<br />

on <strong>September</strong> <strong>29</strong> is a good example of the eclectic mix of musicians<br />

brought together. People from new music, ambient and jazz<br />

OCTOBER 5, <strong>2023</strong> | 1.30 PM<br />


Dirk Mommertz, piano; Erika Geldsetzer,<br />

violin; Sascha Frömbling, viola<br />

Konstantin Heidrich, cello<br />

NOVEMBER 16, <strong>2023</strong> | 1.30 PM<br />


Ross Snyder, violin; Michelle Lie, violin<br />

Edwin Kaplan, viola; Austin Fisher, cello<br />

MARCH 7, 2024 | 1.30 PM<br />


AND<br />



Dominic Desautels, clarinet<br />

Jean-Philippe Sylvestre, piano<br />

with Zsófia Stefán, bassoon<br />

APRIL 4, 2024 | 1.30 PM<br />


Francine Kay, piano<br />



MAY 2, 2024 | 1.30 PM<br />


AND<br />


Joyce El-Khoury, soprano<br />

Serouj Kradjian, piano<br />

Ticket Orders<br />

By phone: 416-923-7052 x.1<br />

Online: www.wmct.on.ca/tickets<br />

Subscriptions: $200 | Single tickets: $50<br />

Students Free with ID<br />

Walter Hall, University of Toronto, Faculty of Music<br />

80 Queen's Park (Museum Subway)<br />

Dominic Desautels<br />

Joyce El-Khoury<br />

wmct@wmct.on.ca<br />

www.wmct.on.ca<br />

416-923-7052<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 21

Michael Palumbo<br />


7:30 pm @ St. Paul L’Amoreaux<br />


7:30 pm @ The Salvation Army<br />

Scarborough Citadel<br />

SAT<br />

SEPT<br />

30<br />

FRI<br />

NOV<br />

3<br />



7:30 pm @ The Salvation Army<br />

Scarborough Citadel<br />


7:30 pm @ St. Paul L’Amoreaux<br />


BRAHMS<br />

7:30 pm @ The Salvation Army<br />

Scarborough Citadel<br />


7:30 pm @ St. Paul L’Amoreaux<br />


7:30 pm @ The Salvation Army<br />

Scarborough Citadel<br />

SPO.CA<br />

SAT<br />

DEC<br />

2<br />

SAT<br />

FEB<br />

10<br />

SAT<br />

APR<br />

6<br />

SAT<br />

APR<br />

27<br />

SAT<br />

MAY<br />

11<br />

SEASON<br />

<strong>2023</strong><br />

2024<br />

Scarborough<br />

Philharmonic<br />

Orchestra<br />

Ronald Royer,<br />

Music Director<br />

and Conductor<br />

backgrounds, a TTC busking musician, a performer who has never<br />

played with electronics before, and an inventor/music technologist.<br />

Switchemups: One unique feature of the evening is the third set<br />

called Switchemups. This consists of four five-minute improv pieces<br />

where audience members can sign up to sit in with performers from<br />

the main show. This helps build community and encourages people to<br />

experiment with improvisation. It is one of the reasons why the series<br />

has been so successful.<br />

Just as Palumbo himself felt cared for by members of the Toronto<br />

Improvisor’s Orchestra, he makes it a priority to care for his audiences,<br />

so education is integral to the evening. He gives listening strategies<br />

to help those who may feel lost amidst what might sound like<br />

chaos, or for those who may feel they don’t belong at such an event.<br />

One of his goals with this series is to be thoughtful about how free<br />

improvised music is presented, which means being respectful and<br />

responsible to both the audience and the musicians to create a healthy<br />

and supportive environment.<br />

He has also brought onboard an excellent sound engineer to record<br />

the concerts onto multiple tracks which are later mixed down into a<br />

spatialized format and released on the Exit Points recording label available<br />

on Bandcamp. (www.exitpoints.bandcamp.com). The series is<br />

quickly generating interest and enthusiasm from a broad spectrum of<br />

musicians and audiences from diverse backgrounds, with the lineups<br />

already booked until the spring of 2024. For the latest news, check out<br />

@michaelpalumbo_ on Instagram or visit linktr.ee/exitpoints.<br />


The phenomenon known as synesthesia<br />

is the focus for the Toronto<br />

Symphony Orchestra’s concerts second<br />

concert of the new season, running<br />

from <strong>September</strong> 28 to 30. Peruvian<br />

composer Jimmy López Bellido’s 2012<br />

composition titled Synesthésie will<br />

receive its North American premiere<br />

alongside Scriabin’s The Poem of<br />

Ecstasy. Scriabin is known for his<br />

synaesthetic perception, the ability to<br />

see colours when listening to music.<br />

The ideas for Bellido’s composition<br />

can be traced to the original commission<br />

requirements set by Radio France.<br />

Jimmy López Bellido<br />

The ten-minute composition was to be<br />

written in five two-minute movements, each one to be aired on the<br />

radio daily throughout one week. The following Monday, the entire<br />

piece was played. To meet the strict requirements, Bellido chose to have<br />

each movement express one of the five human senses. He writes that<br />

the overall work invites the listener to enter the world of interconnectedness,<br />

something that those who experience synesthesia do daily.<br />

Wendalyn Bartley is a Toronto-based composer and<br />

electro-vocal sound artist. sounddreaming@gmail.com<br />

ASHKAN<br />

22 | <strong>September</strong> <strong>2023</strong> thewholenote.com


Mahani Teave, NPR Tiny Desk Concert, 2021.<br />

beethoven<br />


SEPT <strong>29</strong>—OCT 20<br />




Here on the island, there’s artistic blood in everybody. I mean,<br />

everybody somehow sings and dances and carves and – or plays an<br />

instrument. And there’s nothing more natural and more true to the<br />

human being than art and music. – Mahani Teave<br />

Mahani Teave [Tay-AH-vay] – who makes her<br />

Koerner Hall debut at 3pm on October 1 as part<br />

of her first North American tour – is the sole<br />

professional pianist on one of the most remote, inhabited<br />

islands on Earth, Rapa Nui (Easter Island). There she<br />

heads the island’s only music school. She’s living a<br />

remarkable story.<br />

Born 40 years ago to an American woman and a Rapa Nui<br />

musician,Teave spent her formative years on the far-flung island,<br />

3600 km from Chile. At six, Teave took ballet lessons and studied<br />

the piano; the music that accompanied the ballets became her introduction<br />

to classical music. (Among her piano heroes are Emil Gilels,<br />

Sergei Rachmaninoff, Ignaz Friedmann and Dinu Lipatti.) When the<br />

teacher left the island, Teave was nine and her considerable talent<br />

was noticeable. The family moved to Valdivia in southern Chile where<br />

she studied for six years. On her way to audition for a music school in<br />

Cologne, she attended a masterclass by Cleveland Institute of Music<br />

(CIM) faculty member Sergei Babayan (Daniil Trifonov’s mentor),<br />

whose mastery so impressed her that she chose Cleveland instead.<br />

After studying at CIM and Berlin’s Hans Eisler Music Academy and<br />

winning the Claudio Arrau International Piano Competition in 1999<br />

and later being selected as a Steinway & Sons artist, Teave seemed set<br />

for a sparkling international career. Instead, concerned with the lack of<br />

music training in her homeland, she returned to Easter Island, establishing<br />

in 2012 a tuition-free school for classical and traditional music.<br />

Her story continued in 2018, when a Seattle-based software magnate<br />

and collector of rare violins visited the school where he was astonished<br />

by the enthusiastic students and Teave’s skill at the piano. Discovering<br />

that she had never made a recording, he arranged for her to make an<br />

album in Seattle, the proceeds of which go directly to her school. The<br />

result was Rapa Nui Odyssey, a recital of Bach, Handel, Chopin, Liszt,<br />

Rachmaninoff and Scriabin, as well as a traditional Rapa Nui song. It<br />

puccini<br />


OCT 6—28<br />


coc.ca<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 23<br />

Date: Aug 17, <strong>2023</strong> Approvals: Date: Signature:<br />

Filename_ Version#<br />

Studio:<br />


eached No.1 on the Billboard Traditional Classical Chart.<br />

In 2021, she appeared in an NPR Tiny Desk Concert from the school.<br />

Sitting with a flower in her hair in front of an upright piano with the<br />

hammers exposed, she played Handel and Chopin with an unadorned<br />

naturalism and clarity that touched the music’s core – no schmaltz,<br />

Conducting a tour of the school, she explained that the structural<br />

walls were constructed from tires and earth. The building used six<br />

years of garbage left by tourists, tin cans and empty bottles. It took<br />

one and a half years to construct and is environmentally friendly – its<br />

sustainability aims to set an example for the world.<br />

TSO YEAR 101<br />

After the successful celebration of its 100th anniversary, the Toronto<br />

Symphony Orchestra looks forward to reaching new heights as its<br />

second century takes hold. The <strong>2023</strong>/24 season opens <strong>September</strong> 20<br />

and 21 with Stravinsky’s The Rite of Spring, one of the most significant<br />

works ever written, a revolutionary piece of music that showcases<br />

rhythm to the level of a Beethoven symphony while marking the<br />

renewal and power of spring, casting its long, influential shadow over<br />

much of the 20th century.<br />

Gustavo Gimeno, his contract extended to the 20<strong>29</strong>/30 season, is back<br />

with his own sense of rhythm, with particular emphasis on the clarity<br />

of his musical vision. Pianist Jean-Yves Thibaudet is guest soloist in<br />

Gershwin’s Concerto in F, the composer’s marriage of jazz and classical<br />

music that was controversial in its own right in the 1920s.<br />

Gimeno returns <strong>September</strong> 28 to 30, this time with Seong-Jin Cho<br />

(who won the memorable Chopin Competition in 2015) performing<br />

Ravel’s wondrous Piano Concerto for the Left Hand.<br />

The program closes with Scriabin’s mystical The Poem of Ecstasy.<br />

Ravel and Gershwin admired each other. When Gershwin met<br />

Ravel in New York in 1928, he asked about studying with the French<br />

composer. Ravel reportedly replied, “Why would you want to be a<br />

second-rate Ravel when you can be a first-rate Gershwin?”<br />


Celebrating its 75th year, the Niagara<br />

Symphony Orchestra (NSO) has been<br />

an arts beacon and cultural treasure in<br />

the Niagara Region since its beginnings<br />

as the St. Catharines Civic Orchestra.<br />

It has grown from a small community<br />

ensemble into a fully professional<br />

orchestra of over 50 musicians. The<br />

NSO Is dedicated to enriching the<br />

quality of life in the Niagara Region<br />

through diverse programming and<br />

a broad range of educational initiatives.<br />

Canadian conductor Bradley<br />

Thachuk, entering his 14th season as<br />

the NSO’s music director, is known for<br />

Sheng Cai<br />

being able to work in classical and rock<br />

realms of music.<br />

Their Diamond Anniversary Season begins at 2:30 on <strong>September</strong> 17<br />

with Dinuk Wijeratne’s fanfare, Yatra. Canadian pianist Sheng Cai<br />

brings his growing reputation to Rachmaninoff’s ever popular Piano<br />

Concerto No.2, a piece that defines romanticism. Dvořák’s Symphony<br />

No. 9, “From the New World,” one of the Czech composer’s most<br />

melodic large-scale works, completes the season opener.<br />

“Walking through the Fire” is an intriguing multimedia event unlike<br />

any other. From Métis fiddling to an East Coast kitchen party, to the<br />

drumming of the Pacific Northwest, this is a chance to experience<br />

the beauty and diversity of music from Turtle Island/Canada. Awardwinning<br />

First Nations and Inuit artists perform with Juno Award<br />

nominees Sultans of String and a host of others on <strong>September</strong> 30 and<br />

October 1. A concert that fits the times.<br />

Paul Ennis is the managing editor of The WholeNote.<br />

VOICEBOX: Opera in Concert and its Board of<br />

Directors proudly announce the<br />

<strong>2023</strong>-2024 Season<br />

Daring, Diverse, and Innovative operas<br />

from the Italian Master Giuseppe Verdi<br />

Set your calendar, dates and<br />

curtain calls for<br />


King for a Day<br />

Sunday, November 5, <strong>2023</strong><br />

ERNANI<br />

Sunday, February 25, 2024<br />


The Battle at Legnano<br />

Sunday, April 7, 2024<br />

Nurtured by one of the most prominent<br />

operatic periods worldwide, Romanticism<br />

and its Bel Canto created the grounds<br />

for the emergence of AIDA, FALSTAFF,<br />


wealth of sustaining Lyric Theatre of<br />

historic proportions!<br />


SUBSCRIPTION BROCHURE: 416-922-2147<br />

24 | <strong>September</strong> <strong>2023</strong> thewholenote.com

LIVE OR ONLINE | Sep 1 to Oct 10, <strong>2023</strong><br />

Friday <strong>September</strong> 1<br />

● 7:00: Brampton On Stage/Gord Downie<br />

& Chanie Wenjack Fund. Friday Night Live:<br />

Adrian Sutherland. With Mimi O’Bonsawin.<br />

Garden Square, 12 Main St. N., Brampton.<br />

www.tickets.brampton.ca/online or 905-874-<br />

2800. Free.<br />

● 8:00: Intersection Music & Arts Festival.<br />

William Basinski with special guest Kuuma.<br />

St. Anne’s Anglican Church, 270 Gladstone<br />

Ave. Tickets and more info TBA. .<br />

Saturday <strong>September</strong> 2<br />

● 2:00: Intersection Music & Arts Festival.<br />

All-day Music Marathon. Featuring local<br />

and visiting contemporary and experimental<br />

music performers, installation artists and<br />

vendors. Yonge-Dundas Square, 1 Dundas St.<br />

E. Tickets and more info TBA. Free.<br />

● 7:30: Tranzac Club. Lewis / Furlong<br />

/ Perera / Swankey. Tilman Lewis, cello;<br />

Andrew Furlong, double-bass; Nilan Perera,<br />

guitar; Laura Swankey, voice. Tranzac Club,<br />

Southern Cross Lounge, <strong>29</strong>2 Brunswick Ave.<br />

● 8:00: Fallsview Casino Resort. Rod Stewart.<br />

6380 Fallsview Blvd., Niagara Falls. 1-877-<br />

833-3110 or www.ticketmaster.ca. From $125.<br />

Sunday <strong>September</strong> 3<br />

● 8:00: Fallsview Casino Resort. Machine<br />

Gun Kelly. Fallsview Casino Resort, OLG Stage,<br />

6380 Fallsview Blvd., Niagara Falls. 1-877-<br />

833-3110 or www.ticketmaster.ca. From $115.<br />

Monday <strong>September</strong> 4<br />

● 12:15: Music Mondays. Intercâmbio: Brazilian<br />

and Canadian Works for Trumpets.<br />

Schafer: Aubade and Nocturne from Wolf<br />

Music; Lavallé: Méditation; Cait Nishimura:<br />

Golden Hour; José Ursicino da Silva: Duda<br />

from Suite Recife; Santana Gomes: Andante<br />

e Bolero. Aaron Hodgson, trumpet; Nikola<br />

Locatelli, trumpet. Church of the Holy Trinity,<br />

19 Trinity Sq. 416-598-4521 X223 or www.<br />

musicmondays.ca or musicmondayscs@<br />

gmail.com. PWYC ($10 suggested).<br />

● 2:00: University of Toronto. Labour Day<br />

Carillon Recital. Dr. Minako Uchino, carillon.<br />

Soldiers’ Tower, University of Toronto, 7 Hart<br />

House Circle. 416-978-3845 or www.alumni.<br />

utoronto.ca/soldierstower. Free. Outdoor<br />

event, rain or shine. Seating available.<br />

Wednesday <strong>September</strong> 6<br />

● 12:00 noon: Play the Parks Concert<br />

Series. 14 Hours. College Park Courtyard,<br />

420 Yonge St. www.downtownyonge.com/<br />

playtheparks. Free.<br />

Thursday <strong>September</strong> 7<br />

● 11:00am: Encore Symphonic Concert<br />

Band. Monthly Concert. 35-piece concert<br />

band performing band concert music,<br />

pop tunes, jazz standards (2 singers) and<br />

the occasional march. Trinity Presbyterian<br />

Church York Mills, 2737 Bayview Ave. www.<br />

encoreband.ca. $10.<br />

● 12:00 noon: Play the Parks Concert Series.<br />

Black Suit Devil. Trinity Square, 19 Trinity<br />

Sq. www.downtownyonge.com/playtheparks.<br />

Free.<br />

● 7:30: Canadian Opera Company. Opera’s<br />

Greatest Hits. COC artists share popular<br />

selections from the company’s upcoming<br />

season in this one-hour concert, featuring<br />

classic favourites and rare gems including<br />

Beethoven’s Fidelio, Puccini’s La Bohème,<br />

Mozart’s Don Giovanni, and Janáček’s The<br />

Cunning Little Vixen. Canadian Opera Company<br />

Orchestra and Canadian soloists.<br />

George Weston Recital Hall, Meridian Arts<br />

Centre, 5040 Yonge St. www.ticketmaster.<br />

ca. From $28.<br />

● 7:30: Fallsview Casino Resort. Gin Blossoms<br />

and Sugar Ray with Special Guests<br />

Tonic & Fastball. Fallsview Casino Resort,<br />

OLG Stage, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $58.<br />

● 8:00: TD Music Hall. The Binder Brothers:<br />

The Rusty Wheels 50th Anniversary Tour.<br />

178 Victoria St. www.tickets.mhrth.com. General<br />

Admission $30.<br />

Friday <strong>September</strong> 8<br />

● 12:00 noon: Play the Parks Concert Series.<br />

Sky and Rose. Mackenzie House, 82 Bond<br />

St. www.downtownyonge.com/playtheparks.<br />

Free.<br />

● 6:00: North York Central Library. Open<br />

Mic at the Library: North York Edition. Music,<br />

poetry & storytelling. Are you a musician,<br />

poet, or storyteller? If so, then you are invited<br />

to share your talents at the North York Central<br />

Library Open Mic. Guitar, piano & djembe<br />

provided. 7 minutes for each performance.<br />

For adults, teens, and seniors. North York<br />

Central Library Auditorium, 5120 Yonge St.<br />

Sign-up is at 5:30pm. For more information,<br />

contact the Language, Literature & Fine<br />

Arts Department at 416-395-5639. Free. Also<br />

Aug 11, Oct 13, Nov 10, Dec 8.<br />

● 7:00: Brampton On Stage. Monsoon<br />

Sound. Curated by NOYZ. South Asian Hip<br />

Hop. Shan Vincent de Paul, Lady Pista, Feni-<br />

Fina, and Jarin Alab. Rose Theatre Lobby,<br />

1 Theatre Ln., Brampton. www.tickets.<br />

brampton.ca/online or 905-874-2800. $10.<br />

● 7:30: Celebration of Nations. Homelands.<br />

Kaha:wi Dance Theatre. FirstOntario<br />

Performing Arts Centre Partridge Hall,<br />

250 St. Paul St., St. Catharines. 905-688-<br />

0722; boxoffice@firstontariopac.ca. $35;<br />

$30(members).<br />

● 8:00: Richmond Hill Centre for the Performing<br />

Arts. Teresa Carpio In Concert.<br />

10268 Yonge St., Richmond Hill. www.tickets.<br />

rhcentre.ca/Online/default.asp or 647-965-<br />

7330. From $120.<br />

● 8:00: TD Music Hall. Made in Nepal Fair<br />

Canada. With Bipul Chettri and the Travelling<br />

Band. 178 Victoria St. www.tickets.mhrth.<br />

com. General Admission $45.<br />

● 9:00: Fallsview Casino Resort. Kenny Loggins:<br />

This Is It! His Final Tour <strong>2023</strong>. Fallsview<br />

Casino Resort, OLG Stage, 6380 Fallsview<br />

Blvd., Niagara Falls. 1-877-833-3110 or www.<br />

ticketmaster.ca. $55.<br />

Saturday <strong>September</strong> 9<br />

● 2:00: Leaf Music. Chinatown. Music by<br />

Alice Ping Yee Ho. Libretto by Madeleine<br />

Thien. Translation by Paul Yee. William Liu,<br />

bass-baritone; Kristan Lo, baritone; Tan Vu,<br />

tenor; Dai Lin Hsieh, guzheng; Johnathan Lo,<br />

percussion. 902-809-2662 or www.youtube.<br />

com/@LeafMusicIncHalifax. Free. ONLINE<br />

● 5:00: Hamilton Symphony Orchestra/<br />

Hamilton Music Collective. Eclectic Local -<br />

Hamilton Philharmonic Orchestra Ensemble.<br />

Gasworks Outdoor Stage, 141 Park St., Hamilton.<br />

info@hamiltonmusiccollective.ca. Free<br />

(Donations accepted).<br />

● 7:30: FirstOntario Performing Arts Centre/Celebration<br />

of Nations. Border Crossing<br />

/ Blues. Digging Roots; The Ripcords.<br />

Partridge Hall, FirstOntario Performing Arts<br />

Centre, 250 St. Paul St., St. Catharines. 905-<br />

688-0722; boxoffice@firstontariopac.ca. $35;<br />

$30(members).<br />

● 8:00: junctQín keyboard collective.<br />

Autolysis Video Release & Concert. Lieke van<br />

der Voort: Autolysis; Nicole Lizée: Vertigo<br />

Beach Etudes; Linda Catlin Smith: Thought<br />

and Desire. Stephanie Chua, piano; Joseph<br />

Ferretti, piano. Annette Studios, 566 Annette<br />

St. 416-871-8078. PWYC or $25 for entry + CD.<br />

Sunday <strong>September</strong> 10<br />

● 12:00 noon: Kerr Village BIA. 4th Annual<br />

Kerrfest Kids. Activities and events include<br />

live musical performers, food vendors, and<br />

sponsor booths. Westwood Park, 170 Wilson<br />

St., Oakville. www.kerrfest.ca or 905-849-<br />

8865. Free.<br />

● 2:00: Arraymusic. Public Workshop:<br />

Improvisation with Allison Cameron. Open to<br />

musicians of any level! Beginners welcome<br />

(and encouraged!). Use your instrument as a<br />

tool for sound exploration. Work with a professional<br />

composer/musician to play and<br />

listings@theWholeNote.com<br />

Event listings are free of charge to<br />

artists, venues and presenters.<br />

This issue contains event listings from <strong>September</strong> 1 to October 10, <strong>2023</strong>.<br />


● Live and/or livestream (date-specific daily listings for<br />

performances, workshops, etcetera<br />

● Directory of alternative venues (mainly clubs mostly<br />

jazz)<br />

● Ongoing, On Demand and Other (not tied to a specific<br />

date)<br />


1. Use the convenient online form at<br />

thewholenote.com/applylistings<br />

2. Email listings to listings@thewholenote.com.<br />

Please note, we do not take listings over the phone.<br />


Listings are received every day and published in all media for<br />

which they are received in time.<br />

• WEEKLY LISTINGS UPDATE (e-letter & online)<br />

• JUST ASK (searchable online listings database)<br />

• PRINT (see list of <strong>2023</strong>/24 publication dates on page 9).<br />


Weekly Listings Update and Just Ask: Eligible listings received<br />

by 6pm Tuesday, each week, will be included in the following<br />

Sunday’s e-letter, and simultaneously posted to our searchable<br />

online listings database.<br />

Print: Our next print issue, <strong>Volume</strong> <strong>29</strong> no.2 covers October and<br />

November <strong>2023</strong>. The print submission deadline for that issue will<br />

be Tuesday <strong>September</strong> 5. Please note: the Weekly listing e-letter<br />

typically looks 2-3 weeks ahead; the Just Ask database is searchable<br />

as far into the future as we have listings. Listings received for the<br />

Weekly Update prior to an upcoming print deadline do not need to be<br />

resubmitted unless there are changes.<br />


at thewholenote.com/newsletter<br />

All other inquiries about WholeNote listings should be addressed to<br />

John Sharpe, Listings Editor at listings@thewholenote.com.<br />

26 | <strong>September</strong> <strong>2023</strong> thewholenote.com

create graphic scores. Have fun in a chill<br />

and welcoming environment. Array Space,<br />

155 Walnut Ave. www.arraymusic.ca. Free.<br />

Donations accepted. Also Aug 6 & Oct 1.<br />

● 2:00: CAMMAC Ottawa Region. Choral<br />

Concert. John Rutter: Requiem; Harry Somers:<br />

Gloria; Ambrož Čopi: O salutaris hostia.<br />

CAMMAC Summer Choir; Jessica Belanger,<br />

soprano; with professional orchestra; Lisa<br />

Webber, artistic director; Ian Guenette,<br />

keyboards. St. John Chrysostom Church,<br />

<strong>29</strong>5 Albert St., Arnprior. 613-623-8800. $25;<br />

$10(st); Free(12 and under).<br />

Monday <strong>September</strong> 11<br />

● 3:00: Fallsview Casino Resort. Ricky Nelson<br />

Remembered Starring Matthew and<br />

Gunnar Nelson. Fallsview Casino Resort, Avalon<br />

Theatre, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $45. Also Sep 12(3pm), 13(3pm &<br />

8:30pm).<br />

Tuesday <strong>September</strong> 12<br />

● 12:10: University of Toronto Faculty of<br />

Music. Tuesday Noon Series: Voice Studies<br />

Welcome, Announcements and Musical Offering.<br />

Walter Hall, Edward Johnson Building,<br />

University of Toronto, 80 Queen’s Park. 416-<br />

978-3750 or www.music.utoronto.ca. Free.<br />

● 1:00: St. James Cathedral. Tuesday Organ<br />

Recital. Works by Bach, Saint-Saëns, and Langlais.<br />

Thomas Bell, organ. Cathedral Church<br />

of St. James, 106 King St. E. 416-364-7865<br />

or www.stjamescathedral.ca/recitals. Free.<br />

Donations welcome.<br />

● 3:00: Fallsview Casino Resort. Ricky Nelson<br />

Remembered Starring Matthew and<br />

Gunnar Nelson. Fallsview Casino Resort, Avalon<br />

Theatre, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $45. Also Sep 11(3pm), 13(3pm &<br />

8:30pm).<br />

● 6:30: Wide Arches. Wide Arches Album<br />

Release Show with Prince Enoki and mystery<br />

tea. Small World Music Centre, Artscape<br />

Youngplace, 180 Shaw St. . .<br />

● 7:30: Toronto Consort. Canoe: A Two-Act<br />

Opera. Preview. See Sep 15.<br />

Wednesday <strong>September</strong> 13<br />

● 12:30: ORGANIX Concerts. Organ Concert.<br />

Ian Grundy, organ. Our Lady of Sorrows<br />

Catholic Church, 3055 Bloor St. W. 416-571-<br />

3680 or organixconcerts.ca. Suggested freewill<br />

offering of $20.<br />

● 12:30: Yorkminster Park Baptist Church.<br />

Noonday Organ Recital. William Maddox,<br />

organ. 1585 Yonge St. www.yorkminsterpark.<br />

com. Free. Donations welcome.<br />

● 3:00: Fallsview Casino Resort. Ricky Nelson<br />

Remembered Starring Matthew and<br />

Gunnar Nelson. Fallsview Casino Resort, Avalon<br />

Theatre, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $45. Also Sep 11(3pm), 12(3pm) &<br />

13(8:30pm).<br />

● 5:15: Trinity College, University of<br />

Toronto. Evensong. Traditional Anglican<br />

choral music. Trinity College Chapel Choir;<br />

Thomas Bell, director of music; Peter Bayer,<br />

organ scholar. Trinity College Chapel, University<br />

of Toronto, 6 Hoskin Ave. 416-978-2522<br />

or www.trinity.utoronto.ca/discover/about/<br />

chapel/music. Free. Evensong is sung in the<br />

beautiful Trinity College chapel each week<br />

during term time.<br />

● 7:30: Burton Avenue United Church.<br />

Quartet Malamatina. Tim Beattie, Finlay Hay,<br />

Ross Morris, and Lenny Ranallo, guitar quartet.<br />

37 Burton Ave., Barrie. www.eventbrite.<br />

com/e/quartet-malamatina-canada-england-scotland-usa-guitar-concert-tickets-696175<strong>29</strong>8057.<br />

Admission by donation.<br />

● 7:30: Toronto Consort. Canoe: A Two-Act<br />

Opera. Preview. See Sep 15. Performances:<br />

Sep 15(7:30pm), 16(2pm & 7:30pm).<br />

● 8:00: Massey Hall. Gov’t Mule: Peace<br />

Like a River World Tour. With Big Sugar.<br />

178 Victoria St. www.ticketmaster.ca. From<br />

$53.<br />

● 8:30: Fallsview Casino Resort. Ricky Nelson<br />

Remembered Starring Matthew and<br />

Gunnar Nelson. Fallsview Casino Resort, Avalon<br />

Theatre, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $45. Also Sep 11(3pm), 12(3pm) &<br />

13(3pm).<br />

Thursday <strong>September</strong> 14<br />

● 7:00: Kitchener-Waterloo Chamber<br />

Music Society. Malamatina Guitar Quartet.<br />

Malamatina Guitar Quartet: Tim Beattie,<br />

Finlay Hay, Ross Morris, and Lenny Ranallo.<br />

KWCMS Music Room, 57 Young St. W., Waterloo.<br />

519-569-1809 or www.ticketscene.ca/<br />

kwcms. $30; $20(st).<br />

● 7:00: SweetWater Music Festival. Starry<br />

Night. Deva Munay & Edwin Huizinga take<br />

us on a sound journey meditation/improvisation<br />

featuring new music composed for<br />

SHHH!! by Monica Pearce, Jocelyn Morlock,<br />

Paolo Griffin, Mari Alice Conrad, and more.<br />

SHHH!! Ensemble: Edana Higham, piano, and<br />

Zac Pulak, percussion. Harmony Centre, 890<br />

4th Ave. E., Owen Sound. www.sweetwatermusicfestival.ca.<br />

$20.<br />

● 8:00: Brampton On Stage. This Is Brampton<br />

Showcase. New Music, Country Music,<br />

R&B, Hip Hop, Jazz. B-Jazzed, Bluebird<br />

Brampton, Crate Clash, Drivewire, Flower City<br />

Slam, and others. Rose Theatre, 1 Theatre Ln.,<br />

Brampton. www.tickets.brampton.ca/online<br />

or 905-874-2800. $10.<br />

Friday <strong>September</strong> 15<br />

● 9:00am: SweetWater Music Festival.<br />

Sound Journey. Sound healing is one of the<br />

oldest and most natural forms of healing on<br />

our planet. The power of sound can restore<br />

one’s mind, body, and spirit back to a state of<br />

balance. Join us for a healing meditation featuring<br />

Deva Munay, a frequent collaborator<br />

of Edwin Huizinga’s. Georgian Shores United<br />

Church, 997 4th Ave. E., Owen Sound. www.<br />

sweetwatermusicfestival.ca. Free.<br />

● 7:00: SweetWater Music Festival. A Baroque<br />

Party. Biber: Representiva; Dall’Abaco:<br />

Capricci; Handel: Trio Sonata No.6 in g Op.2<br />

HWV 391; Bach: Brandenburg Concerto<br />

No.5. Mark Fewer and others. Historic Leith<br />

Church, 419134 Tom Thomson Lane, Leith.<br />

www.sweetwatermusicfestival.ca. . Includes<br />

a post-concert reception.<br />

● 7:30: Toronto Consort. Canoe: A Two-Act<br />

Opera. Libretto & Story by Spy Dénommé-<br />

Welch. Music by Spy Dénommé-Welch &<br />

Catherine Magowan. Unsettled Scores.<br />

Trinity-St. Paul’s Centre, Jeanne Lamon<br />

Hall, 427 Bloor St. W. www.torontoconsort.org<br />

or 416-964-6337. Pay what you like:<br />

$65 / $45 / $20, Previews: $10. Previews:<br />

Sep 12(7:30pm) & 13(7:30pm). Performances:<br />

Also Sep 15(7:30pm), 16(2pm & 7:30pm).<br />

● 8:00: Hugh’s Room Live. Michael Jerome<br />

Brown @ Tranzac. Tranzac Club,<br />

<strong>29</strong>2 Brunswick Ave. www.showpass.com/<br />

michael-jerome-brown-tranzac. $25.<br />

● 8:00: TD Music Hall. Kingdom. 178 Victoria<br />

St. www.tickets.mhrth.com. TBA.<br />

Saturday <strong>September</strong> 16<br />

● 9:00am: SweetWater Music Festival.<br />

Sound Journey. Sound healing is one of the<br />

oldest and most natural forms of healing on<br />

our planet. The power of sound can restore<br />

one’s mind, body, and spirit back to a state of<br />

balance. Join us for a healing meditation featuring<br />

Deva Munay, a frequent collaborator<br />

of Edwin Huizinga’s. Historic Leith Church,<br />

419134 Tom Thomson Lane, Leith. www.<br />

sweetwatermusicfestival.ca. Free.<br />

● 10:30am: SweetWater Music Festival.<br />

Mozart for Munchkins. Geared towards<br />

kids aged 1-5! Step into a world of enchantment<br />

and musical wonder for a captivating<br />

classical music experience designed especially<br />

for kids and families. Our talented musicians<br />

will weave musical tales for the violin<br />

and cello transporting young and old alike<br />

to lands filled with imagination and emotio.<br />

Keith Hamm, violin; Julie Hereish, cello. Harmony<br />

Centre, 890 4th Ave. E., Owen Sound.<br />

www.sweetwatermusicfestival.ca. Free.<br />

● 12:00 noon: SweetWater Music Festival.<br />

J. S. Bach’s Long Walk in the Snow: Tom<br />

Allen & Friends. Bach (paraphrased by Sergei<br />

Rachmaninoff / arr. Lori Gemmell): Gavotte<br />

from Partita No.3 in E for solo violin BWV<br />

1006; Bach (arr. Lori Gemmell): Chorale Prelude<br />

- Wachet auf; Bach: Allegro from Sonata<br />

No.3 for Violin and Harpsichord in E; Bach<br />


(arr. Lori Gemmell): 1st Variation from Goldberg<br />

Variations BWV 988. Tom Allen, host<br />

& author; Lori Gemmell, violin; Mark Fewer,<br />

double-bass; Joe Phillips, gamba; and Suba<br />

Sankaran, vocalist. Harmony Centre, 890<br />

4th Ave. E., Owen Sound. www.sweetwatermusicfestival.ca.<br />

Free.<br />

● 12:00 noon: TYT Theatre. Pinkalicious the<br />

Musical. Recommended for ages 4+. Wychwood<br />

Barns Park, 76 Wychwood Ave. www.<br />

tyttheatre.com/onstage. From $25. Also<br />

shows at 12_noon & 3:30pm: Sep 16, 17, 23, 24,<br />

30, Oct 1, 7, 8, 14, 15, 21, 22.<br />

● 1:00: Terry Storr and Daniel Kushner.<br />

Two-Thirds of a Trio, Again. Music for clarinet<br />

and viola by Rebecca Clarke; L. Distel, Gordon<br />

Jacob, Patricia Morehead, and Mozart. Terry<br />

Storr, clarinet; Daniel Kushner, viola. St. Barnabas<br />

Anglican Church, 361 Danforth Ave.<br />

416-465-7443. Free.<br />

● 1:30: SweetWater Music Festival. Bach<br />

Bash. Our annual exhibit of luthiers returns<br />

featuring some of Canada’s top string instrument<br />

makers. Meet the makers and hear<br />

their new instruments performed by Sweet-<br />

Water artists – including solo suites and partitas<br />

and sonatas. Harmony Centre, 890 4th<br />

Ave. E., Owen Sound. www.sweetwatermusicfestival.ca.<br />

Free.<br />

● 2:00: Toronto Consort. Canoe: A Two-<br />

Act Opera. See Sep 12. Performances:<br />

Sep 16(7:30pm).<br />

● 2:30: SweetWater Music Festival. Classical<br />

Jam Sesh. Bring your instruments and<br />

join us for a classical jam session of Bach’s<br />

Brandenburg Concerto No.3. Local musicians<br />

are invited to play along with featured Sweet-<br />

Water musicians led by Artistic Director<br />


$15 per day<br />

$40 for 3 days<br />

$100 VIP Pass for 3 days<br />


Durham County Poets<br />

KC Robers &<br />

the Live Revolution<br />

Ben Racine Band<br />

Angelique Francis<br />

Soulstack with Roly Platt<br />

Loco Zydeco<br />

Lazo<br />

David Gogo<br />

and much, much more!<br />

wasagabeachblues.com<br />

*Children under 12 free Performances subject to change without notice. E.&O.E.<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 27

LIVE OR ONLINE | Sep 1 to Oct 10, <strong>2023</strong><br />

Edwin Huizinga. Anyone who plays a string<br />

instrument, no matter your level of expertise,<br />

is welcome to be a part of this fun, community-building<br />

experience in a comfortable,<br />

welcoming environment! Print your own part<br />

and bring your own stand. Harmony Centre,<br />

890 4th Ave. E., Owen Sound. www.sweetwatermusicfestival.ca.<br />

Free.<br />

● 7:00: SweetWater Music Festival. Concertos<br />

& Songs for the Ages. C. P. E. Bach:<br />

Cello Concerto in B-flat; Vivaldi “Il Gran<br />

Mogul” RV 431a; Bach: Brandenburg Concerto<br />

No.6; Bach: Stabat Mater. Elinor<br />

Frey, cello; Isaac Chalk, viola; Keith Hamm,<br />

viola; Daniel Taylor, countertenor; Ellen<br />

McAteer, soprano. Georgian Shores United<br />

Church, 997 4th Ave. E., Owen Sound. www.<br />

sweetwatermusicfestival.ca or www.tickets.roxytheatre.ca/TheatreManager/1/<br />

online?performance=3615. Choose your own<br />

ticket prices: $20/$35/$50/$75.<br />

● 7:30: Guitar Society of Toronto. Quartet<br />

Malamatina. Tim Beattie, Finlay Hay, Ross<br />

Morris, and Lenny Ranallo, guitar quartet. St.<br />

Andrew’s Presbyterian Church, 73 Simcoe St.<br />

www.guitarsocietyoftoronto.com/concertseason.<br />

From $15.<br />

● 7:30: Harbourfront Centre. Canadian<br />

Opera Company at Harbourfront Centre. Presenting<br />

highlights from the COC’s upcoming<br />

season—featuring classic favourites and rare<br />

gems including Beethoven’s Fidelio, Puccini’s<br />

La Bohème, Donizetti’s Don Pasquale, and<br />

Cherubini’s Medea. Canadian Opera Company<br />

Orchestra and Canadian soloists. Harbourfront<br />

Centre, Concert Stage, 235 Queens<br />

Quay W. www.my.harbourfrontcentre.com/<br />

overview/39768. Free admission with registration.<br />

Also Sep 17(1pm & 3pm).<br />

● 7:30: Music at Metropolitan. Art Song:<br />

The Norquay Scholarship Concert. Works by<br />

Ravel, Clara Schumann, Bridge, Laitman, Tiefenbach,<br />

and others. Chelsea Van Pelt, soprano;<br />

Nicholas Higgs, baritone; Helen Becqué.<br />

Metropolitan United Church, 56 Queen St. E.<br />

www.metunited.ca. $20.<br />

● 7:30: Toronto Consort. Canoe: A Two-<br />

Act Opera. Libretto & Story by Spy<br />

Dénommé-Welch. Music by Spy Dénommé-<br />

Welch & Catherine Magowan. Unsettled<br />

Scores. Trinity-St. Paul’s Centre, Jeanne<br />

Lamon Hall, 427 Bloor St. W. www.torontoconsort.org<br />

or 416-964-6337. Pay what you<br />

like: $65 / $45 / $20, Previews: $10. Previews:<br />

Sep 12(7:30pm) & 13(7:30pm). Performances:<br />

Also Sep 15(7:30pm), 16(2pm & 7:30pm).<br />

● 9:30: SweetWater Music Festival.<br />

Late Night with Roberto Occhipinti<br />

Jazz Trio. Heartwood Concert Hall, 939<br />

2nd Ave. E., Owen Sound. www.sweetwatermusicfestival.ca<br />

or www.tickets.roxytheatre.ca/TheatreManager/1/<br />

online?performance=3661. Choose your own<br />

ticket prices: $20/$35/$50.<br />

Sunday <strong>September</strong> 17<br />

● 12:00 noon: SweetWater Music Festival.<br />

Next Wave Musicians. Mentored by Bridget<br />

Walsh. Simon Hauber, violin; Olivier Lafleur,<br />

violin; Jessa Rutter, piano. Harmony Centre,<br />

890 4th Ave. E., Owen Sound. www.sweetwatermusicfestival.ca.<br />

Free.<br />

● 1:00: Harbourfront Centre. Canadian<br />

Opera Company at Harbourfront Centre. Presenting<br />

highlights from the COC’s upcoming<br />

season—featuring classic favourites and rare<br />

gems including Beethoven’s Fidelio, Puccini’s<br />

La Bohème, Donizetti’s Don Pasquale, and<br />

Cherubini’s Medea. Canadian Opera Company<br />

Orchestra and Canadian soloists. Harbourfront<br />

Centre, Concert Stage, 235 Queens<br />

Quay W. www.my.harbourfrontcentre.com/<br />

overview/39768. Free admission with registration.<br />

Also Sep 16(7:30pm) & 17(3pm).<br />

● 2:30: Georgian Music. Piano Trio. Clara<br />

Schumann: Piano Trio in g Op.17; and music by<br />

Shostakovich. Andrew Sords, violin; Joseph<br />

Johnson, cello; Cheryl Duvall, piano. Bethel<br />

Community Church, 128 St. Vincent Street,<br />

Barrie. www.barrieconcerts.org. $35;<br />

$10(st). Livestream: $20; $10(st).<br />

● 2:30: Niagara Symphony Orchestra. NSO<br />

Classics 1: Sheng Cai, Piano. Wijeratne: Yatra;<br />

Rachmaninov: Piano Concerto No.2; Dvořák:<br />

Symphony No.9. FirstOntario Performing<br />

Arts Centre Partridge Hall, 250 St. Paul St.,<br />

Falling for Music: Art Song Favourites<br />

Chelsea Van Pelt, soprano<br />

Nicholas Higgs, baritone<br />

Helen Becque, pianist<br />

Faure - Ravel -Tiefenbach - V. Williams & more<br />

Saturday, <strong>September</strong> 16, 7:30PM<br />

Tickets: $20<br />

metunited.ca<br />

St. Catharines. 905-688-0722; boxoffice@<br />

firstontariopac.ca. $15.64-$82.90.<br />

● 2:30: OperOttawa. Puccini’s Suor Angelica.<br />

Also featuring a selection of opera arias. Kathleen<br />

Radke, soprano (Suor Angelica); Carole<br />

Portelance, mezzo (La Principessa); Pauline<br />

van der Roest, soprano (The Abbess); Ania<br />

Hejnar, Stephanie Brassard, Beverly McArthur<br />

and Mary Zborowski; OperOttawa Orchestra<br />

and Chorus. First Baptist Church Ottawa,<br />

140 Laurier Ave. W., Ottawa. www.eventbrite.<br />

ca/e/486818696827?aff=oddtdtcreator or<br />

norman_e_brown@rogers.com or at the door.<br />

$50; $25(st under 18); Free(under 10).<br />

● 3:00: Harbourfront Centre. Canadian<br />

Opera Company at Harbourfront Centre. Presenting<br />

highlights from the COC’s upcoming<br />

season—featuring classic favourites and rare<br />

gems including Beethoven’s Fidelio, Puccini’s<br />

La Bohème, Donizetti’s Don Pasquale, and<br />

Cherubini’s Medea. Canadian Opera Company<br />

Orchestra and Canadian soloists. Harbourfront<br />

Centre, Concert Stage, 235 Queens<br />

Quay W. www.my.harbourfrontcentre.com/<br />

overview/39768. Free admission with registration.<br />

Also Sep 16(7:30pm) & 17(1pm).<br />

● 3:00: SweetWater Music Festival. Finale:<br />

Baroque & Roll. Handel: Concerto Grosso<br />

in B-flat HWV 325; Corelli: Concerto Grosso<br />

Op.6 No.4; Vivaldi: Violin Concerto in D RV 208<br />

“Grosse Mogul”; Bach: Brandenburg Concerto<br />

No.3. Mark Fewer, violin; Edwin Huizinga, violin.<br />

Meaford Hall, 12 Nelson St. E., Meaford.<br />

www.sweetwatermusicfestival.ca or www.tickets.meafordhall.ca.<br />

Choose your own ticket<br />

price: $20/$35/$50/$75. Followed by a lobby<br />

reception for the entire audience and all our<br />

musicians. Join us for a glass of bubbly and a<br />

cupcake in celebration of our 20th Anniversary.<br />

● 7:00: Fallsview Casino Resort. KC & The<br />

Sunshine Band. Fallsview Casino Resort, OLG<br />

Stage, 6380 Fallsview Blvd., Niagara Falls.<br />

1-877-833-3110 or www.ticketmaster.ca.<br />

From $58.<br />

● 7:30: Cuckoo’s Nest Folk Club. Winter Wilson.<br />

Chaucer’s Pub, 122 Carling St., London.<br />

www.ticketscene.ca/events. $25.<br />

Monday <strong>September</strong> 18<br />

● 7:30: University of Toronto Faculty of<br />

Music. NEXUS Celebration. Walter Hall,<br />

Edward Johnson Building, University of<br />

Toronto, 80 Queen’s Park. 416-978-3750 or<br />

www.music.utoronto.ca. Free.<br />

Tuesday <strong>September</strong> 19<br />

● 1:00: St. James Cathedral. Tuesday Organ<br />

Recital. Nathan Jeffery, organ. Cathedral<br />

Church of St. James, 106 King St. E. 416-364-<br />

7865 or www.stjamescathedral.ca/recitals.<br />

Free. Donations welcome.<br />

● 7:30: Kitchener-Waterloo Chamber Music<br />

Society. Andromeda Trio. Haydn: Piano<br />

Trio in C Hob.XV:27; Volkmann: Piano Trio<br />

No.1 Op.3; Shostakovich: Piano Trio No.2 in e<br />

Op.67. Andromeda Trio: Marcus Scholtes. violin;<br />

Miriam Stewart-Kroeker, cello; Ben Smith,<br />

piano. KWCMS Music Room, 57 Young St. W.,<br />

Waterloo. 519-569-1809 or www.ticketscene.ca/kwcms.<br />

$30; $20(st).<br />

Wednesday <strong>September</strong> 20<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: Meet the Ensemble Studio.<br />

Each artist will introduce themselves by<br />

singing one of their favourite arias. Don’t miss<br />

this opportunity to hear some of Canada’s<br />

most exciting rising stars in a program of<br />

operatic gems. Artists of the COC Ensemble<br />

Studio. Richard Bradshaw Amphitheatre,<br />

Four Seasons Centre for the Performing Arts,<br />

145 Queen St. W. www.coc.ca/free-concertseries.<br />

Free.<br />

● 12:30: Yorkminster Park Baptist Church.<br />

Noonday Organ Recital. Hanné Becker, organ.<br />

1585 Yonge St. www.yorkminsterpark.com.<br />

Free. Donations welcome.<br />

● 7:30: Kitchener-Waterloo Symphony.<br />

Uncomposed. Join us for a night of musical<br />

excellence removing the barriers of traditional<br />

concert etiquette. Whether it’s your first<br />

orchestral experience or one of many, join us<br />

for an evening of music, good vibes, and artistic<br />

expression. Clap at any time, express yourself<br />

vocally (or even through dance!), come<br />

and go as you please, enjoy a snack or drink<br />

from your seat, and wear whatever you want.<br />

Program includes an Abba Medley, Coldplay’s<br />

Viva la Vida, Swan Lake, Vivaldi’s Winter, and<br />

more! Daniel Bartholomew-Poyser, conductor.<br />

Centre in the Square, 101 Queen St. N., Kitchener.<br />

519-745-4711 or 1-888-745-4717. $37.50.<br />

● 8:00: Hugh’s Room Live. Grace Petrie.<br />

Hugh’s Room Live (New Location),<br />

<strong>29</strong>6 Broadview Ave. www.hughsroomlive.<br />

com. $35/$30(adv).<br />

● 8:00: Royal Conservatory of Music. Quiet<br />

Please, There’s a Lady on Stage Series: Rhiannon<br />

Giddens & Adia Victoria. Koerner Hall,<br />

TELUS Centre, 273 Bloor St. W. 416-408-<br />

0208; rcmusic.com/performance. From $65.<br />

● 8:00: Toronto Symphony Orchestra. Stravinsky’s<br />

Rite of Spring. L. Boulanger: D’un matin<br />

du printemps; Gershwin: Piano Concerto in F;<br />

Stravinsky: The Rite of Spring (original version).<br />

Jean-Yves Thibaudet, piano; Gustavo Gimeno,<br />

conductor. Roy Thomson Hall, 60 Simcoe St.<br />

416-598-3375. From $35. Also Sep 21.<br />

Thursday <strong>September</strong> 21<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: Effort and Ease with<br />

Mozart and Strauss. Mozart: Divertimento<br />

in D; R. Strauss: Metamorphosen. Artists<br />

from the COC Orchestra. Richard Bradshaw<br />

Amphitheatre, Four Seasons Centre for the<br />

Performing Arts, 145 Queen St. W. www.coc.<br />

ca/free-concert-series. Free.<br />

● 12:00 noon: Music at Metropolitan.<br />

Thursday Noon at Met:. Jamal Al Titi, baritone.<br />

Metropolitan United Church, 56 Queen<br />

St. E. www.metunited.ca/live. Free. LIVE &<br />

STREAMED. With carillon recital at 11:30am.<br />

● 12:10: University of Toronto Faculty of<br />

Music. Thursdays at Noon. Nimrod Ron, tuba.<br />

Walter Hall, Edward Johnson Building, University<br />

of Toronto, 80 Queen’s Park. 416-978-<br />

3750 or www.music.utoronto.ca. Free.<br />

● 7:00: Flato Markham Theatre. Snowbird<br />

Lifestyle Presentations. 171 Town Centre<br />

Blvd., Markham. 905-305-7469; flatomarkhamtheatre.ca.<br />

Free.<br />

● 7:15: Fallsview Casino Resort. The String<br />

Cheese Incident. Fallsview Casino Resort,<br />

OLG Stage, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $64.<br />

● 8:00: Hugh’s Room Live. Aleksi Campagne.<br />

Hugh’s Room Live (New Location),<br />

<strong>29</strong>6 Broadview Ave. www.hughsroomlive.<br />

com or www.showpass.com/aleksi-campagne/.<br />

$25.<br />

● 8:00: Massey Hall. Janelle Monae: Age<br />

of Pleasure Tour. 178 Victoria St. www.<br />

28 | <strong>September</strong> <strong>2023</strong> thewholenote.com

ticketmaster.ca. From $80. Also Sep 22.<br />

● 8:00: Toronto Symphony Orchestra.<br />

Stravinsky’s Rite of Spring. L. Boulanger: D’un<br />

matin du printemps; Gershwin: Piano Concerto<br />

in F; Stravinsky: The Rite of Spring (original<br />

version). Jean-Yves Thibaudet, piano;<br />

Gustavo Gimeno, conductor. Roy Thomson<br />

Hall, 60 Simcoe St. 416-598-3375. From $35.<br />

Also Sep 20.<br />

Friday <strong>September</strong> 22<br />

● 11:00am: University of Toronto Faculty of<br />

Music. Master Class. Jordan de Souza, conductor.<br />

Walter Hall, Edward Johnson Building,<br />

University of Toronto, 80 Queen’s Park. 416-<br />

978-3750 or www.music.utoronto.ca. Free.<br />

● 7:00: FirstOntario Performing Arts Centre.<br />

Snowbird Lifestyle Presentations. Concert<br />

and information session for snowbirds.<br />

FirstOntario Performing Arts Centre Partridge<br />

Hall, 250 St. Paul St., St. Catharines.<br />

905-688-0722; boxoffice@firstontariopac.ca.<br />

Free. Limit of 6 free tickets.<br />

● 7:30: Fellowship Christian Reformed<br />

Church. Classical Piano Concert. Mozart:<br />

Piano Sonata No.15 in F K.533/494; Schubert:<br />

Impromptu in B-flat D.935 No.3; Tchaikovsky:<br />

Capriccio in G-flat Op.8; Bach: Prelude and<br />

Fugue in e from The Well-Tempered Clavier<br />

(Book I) BWV 855; Debussy: L’Isle joyeuse. Oliver<br />

Peart, piano. 800 Burnhamthorpe Rd.<br />

416-622-9647. Voluntary contribution. Proceeds<br />

to the food bank at St. James Food Basket,<br />

Toronto.<br />

● 7:30: St. James Cathedral. Inaugural<br />

Recital on the New Organ Console. Celebrating<br />

the inaugural recital of the new Letourneau<br />

organ console. David Briggs, organ.<br />

Cathedral Church of St. James, 106 King St. E.<br />

416-364-7865 or www.stjamescathedral.ca/<br />

recitals. $25.<br />

● 7:30: Toronto Mendelssohn Choir/Compagnie<br />

de la Citadelle. In Time: At the Intersection<br />

of Music and Dance. Handel: Dixit<br />

Dominus HWV 232; Bach: Christ lag in Todesbanden<br />

BWV 4. Toronto Mendelssohn Singers;<br />

Compagnie de la Citadelle; Laurence Lemieux,<br />

artistic director & choreographer; Jean-<br />

Sébastien Vallée, conductor. Jeanne Lamon<br />

Hall, Trinity-St. Paul’s Centre, 427 Bloor St. W.<br />

www.tmchoir.org. From $25. Also Sep 23.<br />

● 8:00: Flato Markham Theatre. The Last<br />

Waltz - A Musical Celebration of The Band.<br />

171 Town Centre Blvd., Markham. 905-305-<br />

7469; www.flatomarkhamtheatre.ca. $60.<br />

● 8:00: Kitchener-Waterloo Symphony.<br />

A Night at the Movies. Rota: The Godfather;<br />

John Williams: Music from Star Wars; and<br />

other works. Evan Mitchell, conductor. Centre<br />

in the Square, 101 Queen St. N., Kitchener.<br />

519-745-4711 or 1-888-745-4717. $<strong>29</strong>-$87. Also<br />

Sep 23.<br />

● 8:00: Massey Hall. Janelle Monae: Age of<br />

Pleasure Tour. 178 Victoria St. www.ticketmaster.ca.<br />

From $80. Also Sep 21.<br />


4 & 5<br />

Directed by Bruno Weil<br />

Sept 22–24<br />

Koerner Hall, TELUS Centre<br />

tafelmusik.org<br />

● 8:00: Tafelmusik. Beethoven 4 & 5.<br />

Beethoven: Symphony No. 4 in B-flat Op.60;<br />

Beethoven: Symphony No.5 in c Op.67. Tafelmusik<br />

Baroque Orchestra; Bruno Weil, conductor.<br />

Koerner Hall, TELUS Centre, 273 Bloor<br />

St. W. www.tafelmusik.org/concerts-events/<br />

concerts/beethoven-4-5 or 416-408-0208.<br />

From $48. Also Sept 23 & 24.<br />

Saturday <strong>September</strong> 23<br />

● 2:00: Barrie County Chordsmen. It’s<br />

the Music That Brings Us Together. Featured<br />

guests: Toronto Northern Lights, Barrie<br />

Soundwaves, and others. Hi-Way Church,<br />

50 Anne St. N., Barrie. 705-791-1367 or www.<br />

barriecountychordsmen.com. $25; $10(st).<br />

● 2:30: Kitchener-Waterloo Symphony.<br />

Building the Score. Have you ever wondered<br />

how a film soundtrack comes to life? Step<br />

bymusical step, our family-friendly concert<br />

(complete with projected film clips) takes us<br />

through the process, from initial concept to<br />

full orchestral score. Conductor Evan Mitchell<br />

and the orchestra show us how music<br />

heightens the action while enhancing every<br />

aspect of our favourite movies. Evan Mitchell,<br />

conductor. Centre in the Square, 101 Queen<br />

St. N., Kitchener. 519-745-4711 or 1-888-745-<br />

4717. $<strong>29</strong>-$87.<br />

● 7:30: Brampton On Stage. Flow Fest International<br />

Drumming Festival. Joy Lapps, Larnell<br />

Lewis, Ryan Chung, Flow Fest Percussion<br />

Ensemble, Ngoma, and others. Rose Theatre,<br />

1 Theatre Ln., Brampton. www.tickets.brampton.ca/online<br />

or 905-874-2800.<br />

$15-$<strong>29</strong>.<br />

● 7:30: Hamilton Philharmonic Orchestra.<br />

Gemma Conducts Schumann & Mendelssohn.<br />

Ritz: Scherzo (world premiere); Schumann:<br />

Piano Concerto; Mendelssohn: Symphony<br />

No.3 “Scottish”. Tony Siqi Yun, piano. FirstOntario<br />

Concert Hall, 1 Summers Ln., Hamilton.<br />

905-526-7756; boxoffice@hpo.org. $20-$80.<br />

6:30 pm-pre-concert talk.<br />

● 7:30: Toronto Mendelssohn Choir/Compagnie<br />

de la Citadelle. In Time: At the Intersection<br />

of Music and Dance. Handel: Dixit<br />

Dominus HWV 232; Bach: Christ lag in Todesbanden<br />

BWV 4. Jean-Sébastien Vallée, conductor.<br />

Jeanne Lamon Hall, Trinity-St. Paul’s<br />

Centre, 427 Bloor St. W. www.tmchoir.org.<br />

From $25. Also Sep 22.<br />

● 8:00: Acoustic Harvest. The Friends of<br />

Fiddler’s Green. St. Paul’s United Church<br />

(Scarborough), 200 McIntosh St., Scarborough.<br />

www.acousticharvest.ca or 416-7<strong>29</strong>-<br />

7564 or www.ticketscene.ca/events/44950/.<br />

$30.<br />

● 8:00: Flato Markham Theatre. The Music<br />

of Pink Floyd by Critical View. 171 Town Centre<br />

Blvd., Markham. 905-305-7469; flatomarkhamtheatre.ca.<br />

$34.52-$54.52.<br />

● 8:00: Kitchener-Waterloo Symphony.<br />

A Night at the Movies. Rota: The Godfather;<br />

John Williams: Music from Star Wars; and<br />

other works. Evan Mitchell, conductor. Centre<br />

in the Square, 101 Queen St. N., Kitchener.<br />

519-745-4711 or 1-888-745-4717. $<strong>29</strong>-$87. Also<br />

Sep 22.<br />

● 8:00: Tafelmusik. Beethoven 4 & 5.<br />

Beethoven: Symphony No. 4 in B-flat Op.60;<br />

Beethoven: Symphony No.5 in c Op.67. Tafelmusik<br />

Baroque Orchestra; Bruno Weil, conductor.<br />

Koerner Hall, TELUS Centre, 273 Bloor<br />

St. W. www.tafelmusik.org/concerts-events/<br />

concerts/beethoven-4-5 or 416-408-0208.<br />

From $48. Also Sept 22 & 24.<br />

● 9:00: Fallsview Casino Resort. Smokey<br />

Robinson In Concert: Smokey Music & Memories.<br />

Fallsview Casino Resort, OLG Stage,<br />

6380 Fallsview Blvd., Niagara Falls. 1-877-<br />

833-3110 or www.ticketmaster.ca. From $81.<br />

Sunday <strong>September</strong> 24<br />

● 4:00: St. Olave’s Anglican Church. William<br />

Byrd: His Style and Legacy. Opens with<br />

Choral Evensong for Michaelmas, a religious<br />

SUN 24 SEP AT 4<br />

Choral Evensong<br />

followed at 4.45 by<br />


His Style<br />

and Legacy<br />

with Robert Busiakiewicz<br />




FRI, SEPT 22, <strong>2023</strong><br />

7:30PM<br />


106 KING ST E, TORONTO<br />

TICKETS: $25<br />

SEARCH FOR: David Briggs<br />

Inaugural Recital<br />

on www.eventbrite.ca<br />

stjamescathedral.ca<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | <strong>29</strong>

LIVE OR ONLINE | Sep 1 to Oct 10, <strong>2023</strong><br />

service with Byrd’s music, followed directly<br />

by an illustrated music feature to mark the<br />

400th anniversary of his passing in 1623; presented<br />

by Robert Busiakiewicz, the former<br />

music director at St. James Cathedral. Millar<br />

Piano Duo: Gregory and Lisa Millar, piano.<br />

360 Windermere Ave. www.YouTube.com/<br />

StOlavesAnglicanChurch or 416-769-5686.<br />

Contributions appreciated.<br />

● 7:00: Royal Conservatory of Music. Mazzoleni<br />

Masters Series: An Evening of Schubert<br />

& Brahms. Schubert: Fantasia in f<br />

D.940 (op.posth.103); Brahms: Piano Trio<br />

No.1 in B Op.8. Temerty Theatre, Telus Centre,<br />

273 Bloor St. W. 416-408-0208; www.<br />

rcmusic.com/performance. $25.<br />

● 7:30: Cuckoo’s Nest Folk Club. Friends of<br />

Fiddler’s Green. Chaucer’s Pub, 122 Carling<br />

St., London. www.ticketscene.ca/events. $25.<br />

● 7:30: FirstOntario Performing Arts<br />

Centre. Decades of Bond. Rebecca Noelle,<br />

Michael Hanna Sr., vocalists. FirstOntario<br />

Performing Arts Centre Partridge Hall,<br />

250 St. Paul St., St. Catharines. 905-688-<br />

0722; boxoffice@firstontariopac.ca. $40-$52.<br />

● 7:30: Massey Hall. Rae Lamontagne. With<br />

special guest Tomberlin. 178 Victoria St.<br />

www.ticketmaster.ca. From $95.<br />

● 8:00: Hugh’s Room Live. Lina Allemano<br />

Four. Hugh’s Room Live (New Location),<br />

<strong>29</strong>6 Broadview Ave. www.hughsroomlive.<br />

com or www.showpass.com/lina-allemanofour-revival.<br />

$25.<br />

● 8:00: Tafelmusik. Beethoven 4 & 5.<br />

Beethoven: Symphony No. 4 in B-flat Op.60;<br />

Beethoven: Symphony No.5 in c Op.67. Tafelmusik<br />

Baroque Orchestra; Bruno Weil, conductor.<br />

Koerner Hall, TELUS Centre, 273 Bloor<br />

St. W. www.tafelmusik.org/concerts-events/<br />

concerts/beethoven-4-5 or 416-408-0208.<br />

From $48. Also Sept 22 & 23.<br />

Monday <strong>September</strong> 25<br />

● 7:00: FirstOntario Performing Arts Centre.<br />

Walk Right Back - The Everly Brothers<br />

Story. FirstOntario Performing Arts Centre<br />

Partridge Hall, 250 St. Paul St., St. Catharines.<br />

905-688-0722; boxoffice@firstontariopac.ca.<br />

$49.<br />

● 8:00: Massey Hall. Mt. Joy. 178 Victoria St.<br />

www.ticketmaster.ca. From $43. Also Sep 26.<br />

● 8:00: TD Music Hall. Y La Bamba.<br />

178 Victoria St. www.tickets.mhrth.com. $20.<br />

Tuesday <strong>September</strong> 26<br />

● 12:10: University of Toronto Faculty of<br />

Music. Tuesday Noon Series: I’ve Got U Under<br />

My Skin - AIDS and Classical Music. Walter<br />

Hall, Edward Johnson Building, University of<br />

Toronto, 80 Queen’s Park. 416-978-3750 or<br />

www.music.utoronto.ca. Free.<br />

● 1:00: St. James Cathedral. Tuesday Organ<br />

Recital. Peter Nikiforuk, organ. Cathedral<br />

Church of St. James, 106 King St. E. 416-364-<br />

7865 or www.stjamescathedral.ca/recitals.<br />

Free. Donations welcome.<br />

● 7:30: FirstOntario Performing Arts Centre.<br />

Howard Jones. Acoustic Trio. Partridge<br />

Hall, FirstOntario Performing Arts Centre,<br />

250 St. Paul St., St. Catharines. 905-688-<br />

0722; boxoffice@firstontariopac.ca. $65;<br />

$55(members).<br />

● 8:00: Massey Hall. Mt. Joy. 178 Victoria St.<br />

www.ticketmaster.ca. From $43. Also Sep 25.<br />

● 8:00: Payadora Tango Ensemble. A Night<br />

of Tango with Payadora. Classic and modern<br />

tango, originals, and South American folk<br />

music. Rebekah Wolkstein, violin & vocals;<br />

Drew Jurecka, bandoneon/violin/mandolin;<br />

Robert Horvath, piano; Joe Phillips, doublebass<br />

& guitar; Elbio Fernandez, vocals. Jazz<br />

Bistro, 251 Victoria St. 416-363-5<strong>29</strong>9. $25.<br />

Also Nov 15.<br />

Wednesday <strong>September</strong> 27<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: Mostly Mozart. UofT<br />

Opera presents a concert of beloved operatic<br />

ensembles by Mozart, augmented by<br />

works inspired by the man widely recognized<br />

as “one of the greatest composers in the history<br />

of Western music.”. Students from UofT<br />

Opera. Richard Bradshaw Amphitheatre,<br />

Four Seasons Centre for the Performing Arts,<br />

145 Queen St. W. www.coc.ca/free-concertseries.<br />

Free.<br />

● 12:30: Yorkminster Park Baptist Church.<br />

Noonday Organ Recital. Nicholas Wanstall,<br />

organ. 1585 Yonge St. www.yorkminsterpark.<br />

com. Free. Donations welcome.<br />

● 8:00: FirstOntario Performing Arts<br />

Centre. Cowboy Junkies. FirstOntario<br />

Performing Arts Centre Partridge Hall,<br />

250 St. Paul St., St. Catharines. 905-<br />

688-0722; boxoffice@firstontariopac.ca.<br />

$48.03-$60.86.<br />

Thursday <strong>September</strong> 28<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: What is Gaga? Join a<br />

dynamic introduction to Gaga, Ohad Naharin’s<br />

world renowned movement language, as<br />

Fall for Dance North brings his famous<br />

work KAMUYOT to their upcoming ninth<br />

annual festival, performed by Charlotte Ballet.<br />

Richard Bradshaw Amphitheatre, Four<br />

Seasons Centre for the Performing Arts,<br />

145 Queen St. W. www.coc.ca/free-concertseries.<br />

Free.<br />

● 12:00 noon: Music at Metropolitan.<br />

Thursday Noon at Met:. Featuring Wagner<br />

transcriptions. Jonathan Oldengarm,<br />

organ. Metropolitan United Church, 56 Queen<br />

St. E. www.metunited.ca/live. Free. LIVE &<br />


● 12:10: University of Toronto Faculty of<br />

Music. Thursdays at Noon. Michael Bridge,<br />

accordion. Walter Hall, Edward Johnson<br />

Building, University of Toronto, 80 Queen’s<br />

Park. 416-978-3750 or www.music.utoronto.<br />

ca. Free.<br />

● 7:30: Burlington Performing Arts Centre.<br />

Leisa Way’s Opry Gold. Wayward Wind<br />

Band. Burlington Performing Arts Centre<br />

- Community Studio Theatre, 440 Locust<br />

St., Burlington. 905-681-6000. $49.50;<br />

$44.50(member). Also Sep <strong>29</strong>, 30(2pm &<br />

7:30pm), Oct 1(4pm).<br />

● 8:00: Flato Markham Theatre. Sultans<br />

of String: Walking Through the Fire. The Rez,<br />

A Beautiful Darkness, Black Winged Raven,<br />

Our Mother The Earth, and Nîmihito (Dance).<br />

Alyssa Delbaere-Sawchuk; Marc Meriläinen,<br />

Shannon Thunderbird, Don Ross, Leela Gilday,<br />

and others. 171 Town Centre Blvd., Markham.<br />

905-305-7469 or www.flatomarkhamtheatre.<br />

ca. $68(regular); $78(prime); $15(YTX).<br />

● 8:00: Toronto Symphony Orchestra.<br />

The Poem of Ecstasy. Jimmy López Bellido:<br />

Synesthésie (North American Premiere);<br />

Ravel: Rapsodie espagnole; Ravel: Piano<br />

Concerto for the Left Hand; Scriabin: The<br />

Poem of Ecstasy. Seong-Jin Cho, piano; Gustavo<br />

Gimeno, conductor. Roy Thomson Hall,<br />

60 Simcoe St. 416-598-3375. From $35. Also<br />

Sep <strong>29</strong>(7:30pm), 30(8pm).<br />

Friday <strong>September</strong> <strong>29</strong><br />

● 7:00: Jazz at Durbar. Matt Pines Jazz Trio.<br />

Matt Pines, piano; TBA, double-bass; and Rebecca<br />

Enkin, vocals. Durbar Indian Restaurant,<br />

2469 Bloor St. W. 416-762-4441 or www.rebeccaenkin.com.<br />

.<br />

● 7:00: TD Music Hall. Vancestock XII. Featuring<br />

Doc Robinson, Pudding and Sisters &<br />

Brothers. 178 Victoria St. www.tickets.mhrth.<br />

com. TBA.<br />

● 7:00: Westben. Fall Festival: Kris & Dee.<br />

The Campfire, 6698 County Road 30 N.,<br />

Campbellford. 1-877-883-5777 or www.westben.ca.<br />

$45; $43(sr); $30(under 30); $5(18<br />

and under).<br />

● 7:30: Burlington Performing Arts Centre.<br />

Leisa Way’s Opry Gold. Wayward Wind<br />

Band. Burlington Performing Arts Centre<br />

- Community Studio Theatre, 440 Locust<br />

St., Burlington. 905-681-6000. $49.50;<br />

$44.50(member). Also Sep 28, 30(2pm &<br />

7:30pm), Oct 1(4pm).<br />

● 7:30: Canadian Opera Company. Fidelio.<br />

Music by Ludwig van Beethoven. Miina-<br />

Liisa Vārelā, soprano (Leonore); Clay Hilley,<br />

tenor (Florestan); Dimitry Ivaschenko,<br />

bass (Rocco); Anna-Sophie Neher, soprano<br />

(Marzelline); Josh Lovell, tenor (Jaquino);<br />

and other soloists. Canadian Opera Company<br />

Chorus & Orchestra; Johannes Debus, conductor;<br />

Matthew Ozawa. Four Seasons Centre<br />

for the Performing Arts, 145 Queen St.<br />

W. 416-363-8231 or 1-800-250-4653 or tickets@coc.ca.<br />

Single tickets on sale Aug 28.<br />

Also Oct 1(2pm), 7, 12, 14(4:30pm), 18, 20. At<br />

7:30pm unless otherwise noted.<br />

● 7:30: Stratford Symphony Orchestra.<br />

Indigenous Artists and Sultans of String<br />

Walking Though the Fire: A Trailblazing<br />

Canada’s TWELFTH CARILLON has been<br />

installed at YORKMINSTER PARK!<br />

And we have planned a weekend of celebration.<br />

Friday, <strong>September</strong> <strong>29</strong> to Sunday, October 1<br />

With special guest Dr. Andrea McCrady, Dominion Carillonneur<br />

from the Peace Tower in Ottawa.<br />

Friday at 7:00 pm: YP Speakers Series Lecture<br />

Saturday at 4:00 pm: Inaugural Recital<br />

Sunday at 11:00 a.m. Dedication and Recital<br />

Yorkminster Park<br />

Baptist Church<br />

1585 Yonge Street<br />

www.yorkminsterpark.com<br />

30 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Musical Response to the TRC’s 94 Calls<br />

to Action. Sultans of String; Alyssa Delbaere-Sawchuk,<br />

fiddler; Marc Meriläinen,<br />

singer/songwriteriwan), Shannon Thunderbird,<br />

singer/songwriter; Don Ross, guitar;<br />

and others. Avondale United Church,<br />

194 Avondale Ave., Stratford. www.stratfordsymphony.ca/Walking_Through_Fire.<br />

$45;<br />

$15(st); Free(under 12).<br />

● 7:30: Toronto Symphony Orchestra.<br />

The Poem of Ecstasy. Jimmy López Bellido:<br />

Synesthésie (North American Premiere);<br />

Ravel: Rapsodie espagnole; Ravel: Piano<br />

Concerto for the Left Hand; Scriabin: The<br />

Poem of Ecstasy. Seong-Jin Cho, piano; Gustavo<br />

Gimeno, conductor. Roy Thomson Hall,<br />

60 Simcoe St. 416-598-3375. From $35. Also<br />

Sep 28(8pm), 30(8pm).<br />

● 8:00: Hugh’s Room Live. Narada Duo. Featuring<br />

Aline Morales & Wagner Petrilli. Hugh’s<br />

Room Live (New Location), <strong>29</strong>6 Broadview<br />

Ave. www.hughsroomlive.com or www.showpass.com/aline-morales-wagner-petrillirevival/.<br />

$25.<br />

● 8:00: Royal Conservatory of Music. Concert<br />

to Commemorate National Day of Truth<br />

& Reconciliation. Koerner Hall, TELUS Centre,<br />

273 Bloor St. W. 416-408-0208; rcmusic.com/<br />

performance. From $40.<br />

● 8:00: TO Live. Lakecia Benjamin and<br />

Phoenix Quartet: Jubilation. Lakecia Benjamin,<br />

saxophone. George Weston Recital Hall,<br />

Meridian Arts Centre, 5040 Yonge St. www.<br />

tolive.com or 416-366-7723 and 1-800-708-<br />

6754 or boxoffice@tolive.com. From $30.<br />

● 9:00: Fallsview Casino Resort. Anjelah<br />

Johnson-Reyes. Fallsview Casino Resort, Avalon<br />

Theatre, 6380 Fallsview Blvd., Niagara<br />

Falls. 1-877-833-3110 or www.ticketmaster.<br />

ca. From $64.<br />

Saturday <strong>September</strong> 30<br />

● 10:00am: Westben. Fall Festival: Sounds<br />

in Nature. Enjoy a magical autumn morning<br />

amidst the ancient splendour of colourful forests,<br />

peaceful streams, and turning leaves.<br />

Ben Finley & Friends. Willow Hill Amphitheatre,<br />

6698 County Road 30 N., Campbellford.<br />

1-877-883-5777 or www.westben.ca. $55;<br />

$53(sr); $30(under 30); $5(18 and under).<br />

Also Oct 1. Meet at Willow Hill and then take a<br />

nature walk through the Mary West Nature<br />

Reserve followed by refreshments, snacks,<br />

and conversations with the artists at the<br />

Westben Campfire.<br />

● 2:00: Burlington Performing Arts Centre.<br />

Leisa Way’s Opry Gold. Wayward Wind<br />

Band. Burlington Performing Arts Centre<br />

- Community Studio Theatre, 440 Locust<br />

St., Burlington. 905-681-6000. $49.50;<br />

$44.50(member). Also Sep 28(7:30pm),<br />

<strong>29</strong>(7:30pm), 30(7:30pm), Oct 1(4pm).<br />

● 2:00: Westben. Fall Festival: George Fox.<br />

Willow Hill Amphitheatre, 6698 County Road<br />

30 N., Campbellford. 1-877-883-5777 or www.<br />

westben.ca. $45; $43(sr); $30(under 30);<br />

$5(18 and under).<br />

● 3:30: Apocryphonia. GinasterAmirov:<br />

Argentine & Azerbaijani Opera and Piano<br />

Masterworks. Ginastera: Piano Sonata<br />

No.1; Ginastera: Las horas de una estancia;<br />

Amirov: Romantic Sonata (Canadian Premiere);<br />

Amirov - Excerpts from Sevil. Thera<br />

Barclay, soprano; Alexander Cappellazzo,<br />

tenor; Narmina Afandiyeva, piano. Heliconian<br />

Hall, 35 Hazelton Ave. 514-378-2558. Pay<br />

What You Want(In-person or Eventbrite);<br />

$25/$50(Supporter Donations/Program<br />

Shout-Outs). Also Oct 1(Cosmopolitan Music<br />

Hall at 7:30pm).<br />

● 4:00: Yorkminster Park Baptist Church.<br />

Inaugural Carillon Recital. Dr. Andrea<br />

McCrady, Dominion Carillonneur from the<br />

Peace Tower in Ottawa. 1585 Yonge St. www.<br />

yorkminsterpark.com. Free. Donations<br />

welcome.<br />

● 7:00: Annesley United Church. James<br />

Brown Trio in Concert. James Brown, guitar;<br />

Aline Homzy, violin; Clark Johnston, doublebass.<br />

82 Toronto St. S., Markdale. 519-997-<br />

2727 or www.annesley.events. $25/$20(adv);<br />

$15(streaming). LIVE & STREAMED.<br />

● 7:00: Kitchener-Waterloo Chamber<br />

Music Society. Eliot Quartet. KWCMS Music<br />

Room, 57 Young St. W., Waterloo. 519-569-<br />

1809 or www.ticketscene.ca/kwcms. $35;<br />

$20(st). Program and venue to be confirmed.<br />

● 7:30: Barrie Concerts Association. Spirit<br />

‘20. Works by Ellington, Gershwin, and Ravel.<br />

Guy Few, trumpet; Mark Fewer, violin; James<br />

Campbell, clarinet; Chloé Dominguez, cello;<br />

John Novacek, piano; Christian Sharpe, bassoon.<br />

Hiway Pentecostal Church, 50 Anne St.<br />

N., Barrie. www.barrieconcerts.org. Live:<br />

$35; $10(st). Livestream: $20; $10(st). Available<br />

for up to 30 days after the concert.<br />

● 7:30: Burlington Performing Arts Centre.<br />

Leisa Way’s Opry Gold. Wayward Wind<br />

Band. Burlington Performing Arts Centre<br />

- Community Studio Theatre, 440 Locust<br />

St., Burlington. 905-681-6000. $49.50;<br />

$44.50(member). Also Sep 28, <strong>29</strong>, 30(2pm &<br />

7:30pm), Oct 1(4pm).<br />

● 7:30: Confluence Concerts. Irish Songbook.<br />

New and traditional Irish repertoire.<br />

Patricia O’Callaghan, soprano. Heliconian<br />

Hall, 35 Hazelton Ave. www.bemusednetwork.com/events.<br />

$25. Pre-concert<br />

chat(7:15pm). Also Oct 1(3pm).<br />

● 7:30: Niagara Symphony Orchestra.<br />

Indigenous Artists and Sultans of String<br />

Walking Though the Fire: A Trailblazing<br />

Musical Response to the TRC’s 94 Calls to<br />

Action. Sultans of String; Alyssa Delbaere-<br />

Sawchuk, fiddler; Marc Meriläinen, singer/<br />

songwriteriwan), Shannon Thunderbird,<br />

singer/songwriter; Don Ross, guitar; and<br />

others. FirstOntario Performing Arts Centre,<br />

Partridge Hall, 250 St. Paul St., St. Catharines.<br />

www.tinyurl.com/bdch4tyt or 905-<br />

688-0722. $75; $<strong>29</strong>(st univ/college with<br />

valid ID); $24(youth under 18 with valid ID);<br />

$46(under 35); $52(arts workers with valid<br />

ID); $100(Diamond). Also Oct 1(2:30pm).<br />

● 7:30: Scarborough Philharmonic Orchestra.<br />

Fun and Fanciful. Tchaikovsky: Souvenir<br />

de Florence, for String Sextet; and other<br />

works. Guests: Odin Quartet (Alex Toskov, violin;<br />

Tanya Charles Iveniuk, violin; Matt Antal,<br />

viola; Samuel Bisson, cello) with Odin Quartet,<br />

with Jacob Clewell, viola and Ronald Royer,<br />

cello. St. Paul’s L’Amoreaux Anglican Church,<br />

3333 Finch Ave. E., Scarborough. 647-482-<br />

7761 or www.spo.ca/Concerts. $15-$35.<br />

● 7:30: University of Toronto Faculty of<br />

Music. University of Toronto Symphony<br />

Orchestra. Berlioz: Roman Carnival H95; Respighi:<br />

Church Stained Glass Windows (Four<br />

Symphonic Impressions); Dvořák: Symphony<br />

No.8 in G Op.88. Uri Meyer, conductor.<br />

MacMillan Theatre, Edward Johnson Building,<br />

80 Queen’s Park. 416-408-0208. $30;<br />

$20(sr); $10(st). U of T students admitted free<br />

with a valid TCard, space permitting.<br />

● 8:00: Flato Markham Theatre. Twin<br />

Flames & Friends. Jaaji & Chelsey June,<br />

Nina Segalowitz, Marie-Celine Charron Einish.<br />

171 Town Centre Blvd., Markham. 905-<br />

305-7469; www.flatomarkhamtheatre.ca.<br />

$58(regular); $68(prime); $15(YTX).<br />

● 8:00: Kitchener-Waterloo Symphony.<br />

Feher Conducts Boléro. Rimsky-Korsakov:<br />

Capriccio espagnol; Dutilleux: Tout un monde<br />

lontain ... (A Whole Remote World); Karen<br />

Sunabacka: IV. The Prairies; Falla: El sombrero<br />

de tres picos (Three-Cornered Hat);<br />

Ravel: Boléro. Johannes Moser, cello; Andrei<br />

Feher, conductor. Centre in the Square,<br />

101 Queen St. N., Kitchener. 519-745-4711 or<br />

1-888-745-4717. $<strong>29</strong>-$87. Also Oct 1(2:30pm).<br />

● 8:00: Royal Conservatory of Music. Music<br />

Mix Series: Steven Page with Craig Northey,<br />

Kevin Fox and special guest Tom Wilson.<br />

Koerner Hall, TELUS Centre, 273 Bloor St. W.<br />

416-408-0208; rcmusic.com/performance.<br />

From $45.<br />

● 8:30: Toronto Symphony Orchestra.<br />

The Poem of Ecstasy. Jimmy López Bellido:<br />

Synesthésie (North American Premiere);<br />

Ravel: Rapsodie espagnole; Ravel: Piano<br />

Concerto for the Left Hand; Scriabin: The<br />

Poem of Ecstasy. Seong-Jin Cho, piano; Gustavo<br />

Gimeno, conductor. Roy Thomson Hall,<br />

60 Simcoe St. 416-598-3375. From $35. Also<br />

Sep 28(8pm), <strong>29</strong>(7:30pm).<br />

● 9:00: Fallsview Casino Resort. Tom Cochrane<br />

& Band. Fallsview Casino Resort, OLG<br />

Stage, 6380 Fallsview Blvd., Niagara Falls.<br />

1-877-833-3110 or www.ticketmaster.ca.<br />

From $45.<br />

Sunday October 1<br />

● 11:00am: Yorkminster Park Baptist<br />

Church. Carillon Dedication and Recital. Dr.<br />

Andrea McCrady, Dominion Carillonneur<br />

from the Peace Tower in Ottawa. 1585 Yonge<br />

St. www.yorkminsterpark.com. Free. Donations<br />

welcome.<br />

● 1:15: Mooredale Concerts. Music & Truffles<br />

KIDS. Jason Vieaux, guitar. Walter Hall,<br />

Edward Johnson Building, University of<br />

Toronto, 80 Queen’s Park. 416-922-3714 x103;<br />

647-988-2012 (eve/wknd). $25.<br />

● 2:00: Arraymusic. Public Workshop:<br />

Improvisation with Allison Cameron. Open to<br />

musicians of any level! Beginners welcome<br />

(and encouraged!). Use your instrument as a<br />

tool for sound exploration. Work with a professional<br />

composer/musician to play and<br />

create graphic scores. Have fun in a chill<br />

and welcoming environment. Array Space,<br />

155 Walnut Ave. www.arraymusic.ca. Free.<br />

Donations accepted. Also Aug 6 & Sep 10.<br />

● 2:00: CAMMAC Toronto Region. Mozart’s<br />

Solemn Vespers. Reading for singers and<br />

instrumentalists. Thomas Burton, conductor.<br />

Christ Church Deer Park, 1570 Yonge St. 647-<br />

458-0213 or www.cammac.ca/toronto. $15;<br />

$10(members).<br />

● 2:00: Canadian Opera Company. Fidelio.<br />

See Sep <strong>29</strong>. Also Oct 7, 12, 14(4:30pm), 18, 20.<br />

At 7:30pm unless otherwise noted.<br />

● 2:00: Westben. Fall Festival: Michael<br />

Kaeshammer. Michael Kaeshammer,<br />

piano & vocals. The Barn (Campbellford),<br />

6698 County Road 30, Campbellford. 1-877-<br />

883-5777 or www.westben.ca. $65.<br />

● 2:30: Kitchener-Waterloo Symphony.<br />

Feher Conducts Boléro. Rimsky-Korsakov:<br />

Capriccio espagnol; Dutilleux: Tout un monde<br />

lontain ... (A Whole Remote World); Karen<br />

Sunabacka: IV. The Prairies; Falla: El sombrero<br />

de tres picos (Three-Cornered Hat);<br />

Ravel: Boléro. Johannes Moser, cello; Andrei<br />

Feher, conductor. Centre in the Square,<br />

101 Queen St. N., Kitchener. 519-745-4711 or<br />

1-888-745-4717. $<strong>29</strong>-$87. Also Sep 30(8pm).<br />

● 2:30: Niagara Symphony Orchestra.<br />

Indigenous Artists and Sultans of String<br />

Walking Though the Fire: A Trailblazing<br />

Musical Response to the TRC’s 94 Calls to<br />

Action. Sultans of String; Alyssa Delbaere-<br />

Sawchuk, fiddler; Marc Meriläinen, singer/<br />

songwriteriwan), Shannon Thunderbird,<br />

singer/songwriter; Don Ross, guitar; and<br />

others. FirstOntario Performing Arts Centre,<br />

Partridge Hall, 250 St. Paul St., St. Catharines.<br />

www.tinyurl.com/bdch4tyt or 905-688-<br />

0722. $75; $<strong>29</strong>(st univ/college with valid ID);<br />

$24(youth under 18 with valid ID); $46(under<br />

35); $52(arts workers with valid ID);<br />

$100(Diamond). Also Sep 30(7:30pm).<br />

● 3:00: Confluence Concerts. Irish Songbook.<br />

New and traditional Irish repertoire.<br />

Patricia O’Callaghan, soprano. Heliconian<br />

Hall, 35 Hazelton Ave. www.bemusednetwork.com/events.<br />

$25. Pre-concert chat<br />

(2:45pm). Also Sep 30(7:30pm).<br />

● 3:00: Royal Conservatory of Music. Piano<br />

Concerts Series: Mahani Teave. Bach: Chromatic<br />

Fantasia & Fugue in d BWV 903; Chopin:<br />

Nocturne in b-flat Op.9 No.1; Chopin: Mazurka<br />

in g Op.67 No.2; Chopin: Mazurka in a<br />

Op.67 No.4; Chopin: Nocturne in e Op.72 No.1;<br />

and works by Arevalo, Liszt, Rachmaninoff,<br />

and others. Koerner Hall, TELUS Centre,<br />

273 Bloor St. W. 416-408-0208; rcmusic.com/<br />

performance. From $40.<br />

● 3:15: Mooredale Concerts. Jason Vieaux,<br />

classical guitar. Walter Hall, Edward Johnson<br />

Building, University of Toronto, 80 Queen’s<br />

Park. 416-922-3714 x103; 647-988-2012 (eve/<br />

wknd). $55; $50(sr); $30(st).<br />

● 4:00: Burlington Performing Arts Centre.<br />

Leisa Way’s Opry Gold. Wayward Wind<br />

Band. Burlington Performing Arts Centre<br />

- Community Studio Theatre, 440 Locust<br />

St., Burlington. 905-681-6000. $49.50;<br />

$44.50(member). Also Sep 28(7:30pm),<br />

<strong>29</strong>(7:30pm), 30(2pm & 7:30pm).<br />

● 4:00: Flute Street. Tenth Anniversary Season:<br />

Dances with Flutes. Stravinsky: Dances<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 31

LIVE OR ONLINE | Sep 1 to Oct 10, <strong>2023</strong><br />


Flute Street<br />

presents<br />

Dances<br />

with<br />

Flutes<br />

SUN. OCTOBER 1, 4PM<br />

www.flutestreet.ca<br />

from Petrouchka; Valerie Coleman: Juba<br />

Dance, Bartók: Rumanian Dances; Warlock:<br />

Capriol Suite, John Palmer: Samba.<br />

Church of St. Peter and St. Simon-the-Apostle,<br />

525 Bloor St. E. 416-462-9498. PWYC - $25<br />

suggested.<br />

● 7:30: Apocryphonia. GinasterAmirov:<br />

Argentine & Azerbaijani Opera and Piano<br />

Masterworks. Ginastera: Piano Sonata<br />

No.1; Ginastera: Las horas de una estancia;<br />

Amirov: Romantic Sonata (Canadian Premiere);<br />

Amirov - Excerpts from Sevil. Thera<br />

Barclay, soprano; Alexander Cappellazzo,<br />

tenor; Narmina Afandiyeva, piano. Cosmopolitan<br />

Music Hall, 10 Via Renzo Dr., Richmond<br />

Hill. 514-378-2558. Pay What You Want(Inperson<br />

or Eventbrite); $25/$50(Supporter<br />

Donations/Program Shout-Outs). Also<br />

Sep 30(Heliconian Hall at 3:30pm).<br />

Monday October 2<br />

● 10:00am: Westben. Fall Festival: Sounds<br />

in Nature. Enjoy a magical autumn morning<br />

amidst the ancient splendour of colourful forests,<br />

peaceful streams, and turning leaves.<br />

Ben Finley & Friends. Willow Hill Amphitheatre,<br />

6698 County Road 30 N., Campbellford.<br />

1-877-883-5777 or www.westben.ca. $55;<br />

$53(sr); $30(under 30); $5(18 and under).<br />

Also Oct 1. Meet at Willow Hill and then take a<br />

nature walk through the Mary West Nature<br />

Reserve followed by refreshments, snacks,<br />

and conversations with the artists at the<br />

Westben Campfire.<br />

● 3:00: Fallsview Casino Resort. Sergio<br />

Mendes. Fallsview Casino Resort, Avalon Theatre,<br />

6380 Fallsview Blvd., Niagara Falls.<br />

1-877-833-3110 or www.ticketmaster.ca.<br />

From $45. Also Oct 3(3pm) & 4(8:30pm).<br />

● 8:00: Massey Hall. Tom Odell. 178 Victoria<br />

St. www.ticketmaster.ca. From $46.<br />

Tuesday October 3<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: Trios for Clarinet,<br />

Bassoon, and Piano. Beethoven: Septet<br />

Op.20 (arr. by Beethoven for trio); Glinka:<br />

Trio pathétique. Dominic Desautels, clarinet;<br />

Zsófia Stefan, bassoon; Jean-Luc Therrien,<br />

piano. Richard Bradshaw Amphitheatre,<br />

Four Seasons Centre for the Performing Arts,<br />

145 Queen St. W. www.coc.ca/free-concertseries.<br />

Free.<br />

● 12:10: University of Toronto Faculty of<br />

Music. Tuesday Noon Series: Fourth Year<br />

Singers In Performance. Walter Hall, Edward<br />

Johnson Building, University of Toronto,<br />

80 Queen’s Park. 416-978-3750 or www.<br />

music.utoronto.ca. Free.<br />

● 1:00: St. James Cathedral. The Life and<br />

Times of William Byrd. Organ music as well<br />

as sacred and secular songs of William Byrd.<br />

Thomas Bell, Nathan Jeffery, and soloists<br />

from the Choir of St. James Cathedral. Cathedral<br />

Church of St. James, 106 King St. E.<br />

416-364-7865 or www.stjamescathedral.ca/<br />

recitals. Free. Donations welcome.<br />

● 3:00: Fallsview Casino Resort. Sergio<br />

Mendes. Fallsview Casino Resort, Avalon Theatre,<br />

6380 Fallsview Blvd., Niagara Falls.<br />

1-877-833-3110 or www.ticketmaster.ca.<br />

From $45. Also Oct 2(3pm) & 4(8:30pm).<br />

● 7:30: Brantford Symphony Orchestra.<br />

Indigenous Artists and Sultans of String<br />

Walking Though the Fire: A Trailblazing<br />

Musical Response to the TRC’s 94 Calls<br />

to Action. Sultans of String; Alyssa Delbaere-Sawchuk,<br />

fiddler; Marc Meriläinen,<br />

singer/songwriteriwan), Shannon Thunderbird,<br />

singer/songwriter; Don Ross, guitar;<br />

and others. Sanderson Centre for the Performing<br />

Arts, 88 Dalhousie St., Brantford.<br />

www.brantfordsymphony.ca/event/walking-through-the-fire<br />

or 519-758-8090. $49;<br />

$20(st).<br />

● 8:00: Hugh’s Room. Coco Montoya.<br />

Coco Montoya, guitar & vocals. The Revival,<br />

783 College St. www.showpass.com/cocomontoya.<br />

$70/$60(adv).<br />

● 8:00: Toronto Symphony Orchestra.<br />

Pops: The Doo Wop Project. The Doo Wop<br />

Project, vocal group; Steven Reineke, conductor.<br />

Roy Thomson Hall, 60 Simcoe St. 416-<br />

598-3375. From $62. Also Oct 4.<br />

Wednesday October 4<br />

● 12:00 noon: Canadian Opera Company.<br />

Free Concert Series: Meet the Artists of<br />

NIGHT/SHIFT. Meet three of NIGHT/SHIFT’s<br />

dynamic movement makers before their new<br />

dance work’s world premiere as part of Fall<br />

for Dance North’s ninth annual festival, copresented<br />

with Citadel + Compagnie. Enjoy a<br />

thought-provoking preview and hear directly<br />

from the choreographers about their creative<br />

process. Citadel + Compagnie and Fall<br />

for Dance North. Richard Bradshaw Amphitheatre,<br />

Four Seasons Centre for the Performing<br />

Arts, 145 Queen St. W. www.coc.ca/<br />

free-concert-series. Free.<br />

● 12:30: Yorkminster Park Baptist Church.<br />

Noonday Organ Recital. John Paul Farahat,<br />

organ. 1585 Yonge St. www.yorkminsterpark.<br />

com. Free. Donations welcome.<br />

● 7:00: FirstOntario Performing Arts Centre.<br />

The Circle: Indigenous Songwriters’<br />

Showcase. FirstOntario Performing Arts<br />

Centre, Robertson Theatre, 250 St. Paul St.,<br />

St. Catharines. 905-688-0722; boxoffice@<br />

firstontariopac.ca. PWYC.<br />

● 7:30: University of Toronto Faculty of<br />

Music. University Of Toronto Percussion<br />

Ensemble Presents Ligeti at 100. Walter<br />

Hall, Edward Johnson Building, University of<br />

Toronto, 80 Queen’s Park. 416-978-3750 or<br />

www.music.utoronto.ca. Free.<br />

● 8:00: Flato Academy Theatre. Indigenous<br />

Artists and Sultans of String Walking Though<br />

the Fire: A Trailblazing Musical Response<br />

to the TRC’s 94 Calls to Action. Sultans of<br />

String; Alyssa Delbaere-Sawchuk, fiddler;<br />

Marc Meriläinen, singer/songwriteriwan),<br />

Shannon Thunderbird, singer/songwriter;<br />

Don Ross, guitar; and others. 2 Lindsay St.<br />

S., Lindsay. www.flatoacademytheatre.com/<br />

events-shows/sos or 705-324-9111 or 1-877-<br />

888-0038 or boxoffice@academytheatre.ca.<br />

From $42.<br />

● 8:00: Kitchener-Waterloo Symphony.<br />

Eternal Sun. Delius: A Song Before Sunrise;<br />

Telemann: Overture in C (Water Music);<br />

Delius: Summer Night on the River; Dvořák:<br />

Nocturne in B for String Orchestra; Debussy<br />

(arr. Mouton): Rêverie; Haydn: Symphony<br />

No.6 (Le Matin); Debussy (arr. Mouton): Clair<br />

de lune. Ian Whitman, curator; Thomas le<br />

Duc-Moreau, conductor. First United Church<br />

(Waterloo), 16 William St. W., Waterloo. 519-<br />

745-4711 or 1-888-745-4717. $<strong>29</strong>-$87. Also<br />

Oct 6(Harcourt Memorial United Church,<br />

Guelph) & Oct 7(Central Presbyterian Church,<br />

Cambridge).<br />

● 8:00: Toronto Symphony Orchestra. Pops:<br />

The Doo Wop Project. The Doo Wop Project,<br />

vocal group; Steven Reineke, conductor. Roy<br />

Thomson Hall, 60 Simcoe St. 416-598-3375.<br />

From $47. Also Oct 3.<br />

● 8:30: Fallsview Casino Resort. Sergio<br />

Mendes. Fallsview Casino Resort, Avalon Theatre,<br />

6380 Fallsview Blvd., Niagara Falls.<br />

1-877-833-3110 or www.ticketmaster.ca.<br />

From $45. Also Oct 2(3pm) & 3(3pm).<br />

Thursday October 5<br />

● 11:00am: Encore Symphonic Concert<br />

Band. Monthly Concert. 35-piece concert<br />

band performing band concert music,<br />

pop tunes, jazz standards (2 singers) and<br />

the occasional march. Trinity Presbyterian<br />

Church York Mills, 2737 Bayview Ave. www.<br />

encoreband.ca. $10.<br />

● 12:00 noon: Music at Metropolitan.<br />

Thursday Noon at Met:. Masucci Facchini,<br />

countertenor. Metropolitan United Church,<br />

56 Queen St. E. www.metunited.ca/live. Free.<br />



OCTOBER 5 | 1.30 PM<br />

FAURÉ<br />


416-923-7052 | wmct.on.ca<br />

● 1:30: Women’s Musical Club of Toronto.<br />

Music in the Afternoon: Fauré Quartett - The<br />

Pleasure and the Spirit. Beethoven: Piano<br />

Quartet in E-flat Op.16; Fauré: Piano Quartet<br />

No.2 in g Op.45; and music by Max Reger.<br />

Fauré Quartett: Dirk Mommertz, piano;<br />

Erika Geldsetzer, violin; Sascha Frömbling,<br />

viola; Konstantin Heidrich, cello. Walter<br />

Hall, Edward Johnson Building, University of<br />

Toronto, 80 Queen’s Park. 416-923-7052 X1.<br />

$50; free(st with ID at door).<br />

● 8:00: Flato Markham Theatre. Abbamania<br />

& Night Fever. 171 Town Centre Blvd., Markham.<br />

905-305-7469; www.flatomarkhamtheatre.ca.<br />

$65(prime); $60(regular).<br />

● 8:00: Massey Hall. Steve Hackett: Genesis<br />

Revisted, Foxtrot at 50, and Hackett Highlights.<br />

178 Victoria St. www.ticketmaster.ca.<br />

From $59.<br />

Friday October 6<br />

● 12:10: Music at St. Andrew’s. Noontime<br />

Recital. Mozart: Piano Sonata No.15 in<br />

F K.533/494 and works by Bach, Peart, and<br />

Debussy. Oliver Peart, piano. St. Andrew’s Presbyterian<br />

Church, 73 Simcoe St. 416-593-5600<br />

X231 or www.standrewstoronto.org. Free.<br />

32 | <strong>September</strong> <strong>2023</strong> thewholenote.com

● 7:00: FirstOntario Performing Arts Centre.<br />

Relive the Music 50’s & 60’s Show.<br />

FirstOntario Performing Arts Centre Partridge<br />

Hall, 250 St. Paul St., St. Catharines.<br />

905-688-0722; boxoffice@firstontariopac.ca.<br />

$46.61-$55.46.<br />

● 7:30: Canadian Opera Company. La<br />

Bohème. Music by Giacomo Puccini. Amina<br />

Edris, soprano (Mimì); Pene Pati/Kang<br />

Wang, tenor (Rodolfo); Joo Won Kang, baritone<br />

(Marcello); Charlotte Siegel, soprano<br />

(Musetta); Blaise Malaba, bass (Colline); Justin<br />

Welsh, baritone (Schaunard), and other<br />

soloists. Canadian Opera Company Chorus<br />

& Orchestra; Jordan de Souza, conductor;<br />

John Caird, director. Four Seasons Centre for<br />

the Performing Arts, 145 Queen St. W. 416-<br />

363-8231 or 1-800-250-4653 or tickets@<br />

coc.ca. Single tickets on sale Aug 28. Also<br />

Oct 8(2pm), 11, 13, 19, 21, 22(pm), 28(4:30). At<br />

7:30pm unless otherwise noted.<br />

● 7:30: Toronto Symphony Orchestra. Film<br />

Screening: Disney’s Coco In Concert. Music<br />

by Michael Giacchino. Steven Reineke, conductor.<br />

Roy Thomson Hall, 60 Simcoe St. 416-<br />

598-3375. From $55. Also Oct 7(2pm).<br />

● 7:30: University of Toronto Faculty of<br />

Music. Side-By-Side Concert Series. Students<br />

from the Conservatoire national supérieur<br />

de musique de Lyon join with Faculty<br />

of Music string students and faculty. Marianne<br />

Piketty, conductor. Walter Hall, Edward<br />

Johnson Building, University of Toronto,<br />

80 Queen’s Park. 416-408-0208. $40;<br />

$25(sr); $10(st). U of T students admitted free<br />

with a valid TCard, space permitting.<br />

● 8:00: Burlington Performing Arts Centre.<br />

An Evening with Andy Kim. Burlington<br />

Performing Arts Centre - Main Theatre,<br />

440 Locust St., Burlington. 905-681-6000.<br />

From $59.50(Regular) & $54.50(Member).<br />

● 8:00: Kitchener-Waterloo Symphony.<br />

Eternal Sun. Delius: A Song Before Sunrise;<br />

Telemann: Overture in C (Water<br />

Music); Delius: Summer Night on the River;<br />

Dvořák: Nocturne in B for String Orchestra;<br />

Debussy (arr. Mouton): Rêverie; Haydn:<br />

Symphony No.6 (Le Matin); Debussy (arr.<br />

Mouton): Clair de lune. Ian Whitman, curator;<br />

Thomas le Duc-Moreau, conductor. Harcourt<br />

Memorial United Church, 87 Dean Ave.,<br />

Guelph. 519-745-4711 or 1-888-745-4717. $<strong>29</strong>-<br />

$87. Also Oct 4(First United Church, Waterloo)<br />

& Oct 7(Central Presbyterian Church,<br />

Cambridge).<br />

● 8:00: Massey Hall. Bonnie Raitt: Just<br />

Like That... - Tour 2003. With Royal Wood.<br />

178 Victoria St. www.ticketmaster.ca. From<br />

$217.<br />

● 8:00: Royal Conservatory of Music. Temerty<br />

Orchestral Program: Earl Lee Conducts<br />

the Royal Conservatory Orchestra. Ravel:<br />

Boléro; Prokofiev: Violin Concerto No.2 in<br />

g Op.63; Strauss: Also sprach Zarathustra<br />

Op.30. Koerner Hall, TELUS Centre, 273 Bloor<br />

St. W. 416-408-0208; rcmusic.com/performance.<br />

From $25.<br />

Saturday October 7<br />

● 2:00: Toronto Symphony Orchestra. Film<br />

Screening: Disney’s Coco In Concert. Music<br />

by Michael Giacchino. Steven Reineke, conductor.<br />

Roy Thomson Hall, 60 Simcoe St. 416-<br />

598-3375. From $55. Also Oct 6(7:30pm).<br />

● 7:30: Canadian Opera Company. Fidelio.<br />

See Sep <strong>29</strong>. Also Oct 12, 14(4:30pm), 18, 20.<br />

At 7:30pm unless otherwise noted.<br />

● 8:00: Cathedral Bluffs Symphony<br />

Orchestra. New World. Katie Agocs: Shenanigan;<br />

Christine Donkin: Three Autumn<br />

Scenes; Bramwell Tovey: Ancestral Voices;<br />

Dvořák: Symphony No. 9 in e Op.95 B.178<br />

“From the New World”. Marion Newman,<br />

mezzo; Martin MacDonald, conductor. P.C. Ho<br />

Theatre, Chinese Cultural Centre of Greater<br />

Toronto, 5183 Sheppard Ave. E., Scarborough.<br />

416-879-5566. From $25. Free for children<br />

under 12. Pre-concert talk: 7:15pm.<br />

● 8:00: Fallsview Casino Resort. Kenny<br />

Wayne Shepherd Band and Samantha<br />

Fish. Fallsview Casino Resort, OLG Stage,<br />

6380 Fallsview Blvd., Niagara Falls. 1-877-<br />

833-3110 or www.ticketmaster.ca. From $58.<br />

● 8:00: Kitchener-Waterloo Symphony. Eternal<br />

Sun. Delius: A Song Before Sunrise; Telemann:<br />

Overture in C (Water Music); Delius:<br />

Summer Night on the River; Dvořák: Nocturne<br />

in B for String Orchestra; Debussy (arr.<br />

Mouton): Rêverie; Haydn: Symphony No.6 (Le<br />

Matin); Debussy (arr. Mouton): Clair de lune.<br />

Ian Whitman, curator; Thomas le Duc-Moreau,<br />

conductor. Central Presbyterian Church (Cambridge),<br />

7 Queens Sq., Cambridge. 519-745-<br />

4711 or 1-888-745-4717. $<strong>29</strong>-$87. Also Oct 4(First<br />

United Church, Waterloo) & Oct 6(Harcourt<br />

Memorial United Church, Guelph).<br />

● 8:00: TD Music Hall. Zenesoul & THEHON-<br />

ESTGUY. 178 Victoria St. www.tickets.mhrth.<br />

com. $25.<br />

Sunday October 8<br />

● 2:00: Canadian Opera Company. La<br />

Bohème. See Oct 1. Also Oct 11, 13, 19, 21,<br />

22(pm), 28(4:30). At 7:30pm unless otherwise<br />

noted.<br />

Tuesday October 10<br />

● 1:00: St. James Cathedral. Tuesday Organ<br />

Recital. Jeremy Tingle, organ. Cathedral<br />

Church of St. James, 106 King St. E. 416-364-<br />

7865 or www.stjamescathedral.ca/recitals.<br />

Free. Donations welcome.<br />

3030 Dundas West<br />

3030 Dundas St. W. 416-769-5736<br />

3030dundaswest.com<br />

A large, airy space that plays hosts to concerts,<br />

events, and more, 3030 Dundas is<br />

home to a wide variety of music and a topnotch<br />

Trinidadian-Canadian food menu.<br />

Burdock<br />

1184 Bloor St. W. 416-546-4033<br />

burdockto.com<br />

A sleek music hall with exceptional sound<br />

and ambience, featuring a draft list of housemade<br />

brews.<br />

BSMT 254<br />

254 Landsdowne Ave. 416-801-6325<br />

bsmt254.com<br />

A cozy music venue with an underground<br />

vibe, BSMT 254 has a wide variety of shows,<br />

from jazz to hip-hop to DJ nights.<br />

Cameron House<br />

408 Queen St. W. 416-703-0811<br />

thecameron.com<br />

An intimate, bohemian bar with ceiling<br />

murals & nightly performances from local<br />

roots acts on 2 stages.<br />

Capone’s Cocktail Lounge<br />

1573 Bloor St. W. 416-534-7911<br />

caponestoronto.com<br />

A self-described perfect marriage of an<br />

intimate cocktail den and comfortable neighbourhood<br />

bar, with live music Wednesday<br />

through Sunday.<br />

Castro’s Lounge<br />

2116 Queen St. E. 416-699-8272<br />

castroslounge.com<br />

Featuring an ever-changing selection of specialty<br />

beers, Castro’s hosts a variety of local<br />

live music acts, including bluegrass, jazz,<br />

rockabilly, and alt-country.<br />

C’est What<br />

67 Front St. E. 416-867-9499<br />

cestwhat.com<br />

A haven for those who appreciate real cask<br />

ale, draught beer from local Ontario breweries,<br />

and live music.<br />

Drom Taberna<br />

458 Queen St. W. 647-748-2099<br />

dromtaberna.com<br />

A heartfelt homage to the lands that stretch<br />

from the Baltic to the Balkans to the Black<br />

Sea, with a wide variety of music.<br />

Emmet Ray, The<br />

924 College St. 416-792-4497<br />

theemmetray.com<br />

A whisky bar with a great food menu, an everchanging<br />

draft list, and live jazz, funk, folk and<br />

more in the back room.<br />

Grossman’s Tavern<br />

379 Spadina Ave. 416-977-7000<br />

grossmanstavern.com<br />

One of the city’s longest-running live music<br />

venues, and Toronto’s self-described “Home<br />

of the Blues.”<br />


Hirut Cafe and Restaurant<br />

2050 Danforth Ave. 416-551-7560<br />

hirut.ca<br />

A major destination for delicious and nutritious<br />

Ethiopian cuisine, with monthly jazz<br />

residencies and jam sessions.<br />

Home Smith Bar – See Old Mill, The<br />

Hugh’s Room<br />

<strong>29</strong>6 Broadview Ave. 416-533-5483<br />

hughsroom.com<br />

A dedicated listening room with an intimate<br />

performing space, great acoustics, and an<br />

attentive audience.<br />

Jazz Bistro, The<br />

251 Victoria St. 416-363-5<strong>29</strong>9<br />

jazzbistro.ca<br />

In an historic location, Jazz Bistro features<br />

great food, a stellar wine list, and world-class<br />

jazz musicians in airy club environs.<br />

Jazz Room, The<br />

Located in the Huether Hotel, 59 King St. N.,<br />

Waterloo. 226-476-1565<br />

kwjazzroom.com<br />

A welcoming music venue dedicated to the<br />

best in jazz music presentations, and home to<br />

the Grand River Jazz Society, which presents<br />

regular series throughout the year.<br />

Lula Lounge<br />

1585 Dundas St. W. 416-588-0307<br />

lula.ca<br />

Toronto’s mecca for salsa, jazz, afro-Cuban,<br />

and world music, with Latin dance classes<br />

and excellent food and drinks.<br />

Manhattans Pizza Bistro & Music Club<br />

951 Gordon St., Guelph 519-767-2440<br />

manhattans.ca<br />

An independently owned neighbourhood restaurant<br />

boasting a unique dining experience<br />

that features live music almost every night<br />

of the week.<br />

Mezzetta Restaurant<br />

681 St. Clair Ave. W. 416-658-5687<br />

mezzettarestaurant.com<br />

With a cozy atmosphere and a menu of Middle-Eastern<br />

cuisine, Mezzetta hosts music on<br />

Wednesday evenings.<br />

Monarch Tavern<br />

12 Clinton St. 416-531-5833<br />

themonarchtavern.com<br />

With a café/cocktail bar on the main floor and<br />

a pub with microbrews upstairs, Monarch<br />

Tavern regularly hosts indie, rock, and other<br />

musical genres on its stage.<br />

Old Mill, The<br />

21 Old Mill Rd. 416-236-2641<br />

oldmilltoronto.com<br />

The Home Smith Bar:<br />

With a stone-lined room and deep, plus seating,<br />

the Home Smith Bar provides elevated pub food<br />

and cocktails along with straightahead live jazz.<br />

Oud and the Fuzz, The<br />

21 Kensington Ave. 647-283-9136<br />

theoudandthefuzz.ca<br />

An Armenian bar and live music venue, The<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 33


Ongoing, On Demand & Other<br />

Oud and the Fuzz features an excellent menu<br />

of Armenian food, inventive cocktails, and a<br />

rotating cast of top-notch musicians.<br />

Pamenar Café<br />

268 Augusta Ave. 416-840-0501<br />

http://cafepamenar.com<br />

Café by day, bar by night, Pamenar serves<br />

some of the best coffee and cocktails in the<br />

city, with a rotating cast of musicians playing<br />

both recurring gigs and one-off shows.<br />

Pilot Tavern, The<br />

22 Cumberland Ave. 416-923-5716<br />

thepilot.ca<br />

With over 75 years around Yonge and Bloor,<br />

the Pilot is a multi-level bar that hosts live jazz<br />

on Saturday afternoons.<br />

Poetry Jazz Café<br />

1078 Queen St West.<br />

poetryjazzcafe.com<br />

A sexy, clubby space, Poetry hosts live jazz,<br />

hip-hop, and DJs nightly in its new home on<br />

Queen Street West.<br />

Reposado Bar & Lounge<br />

136 Ossington Ave. 416-532-6474<br />

reposadobar.com<br />

A chic, low-light bar with top-shelf tequila,<br />

Mexican tapas, and live music.<br />

Reservoir Lounge, The<br />

52 Wellington St. E. 416-955-0887<br />

reservoirlounge.com<br />

Toronto’s self-professed original swingjazz<br />

bar and restaurant, located in a historic<br />

speakeasy near St. Lawrence Market, with<br />

live music four nights a week.<br />

Rev, La<br />

2848 Dundas St. W. 416-766-0746<br />

https://larev.ca<br />

La Rev offers their guests an authentic taste of<br />

comida casera (Mexican homestyle-cooking),<br />

and a welcoming performance space featuring<br />

some of Toronto’s most talented musicians<br />

Rex Hotel Jazz & Blues Bar, The<br />

194 Queen St. W. 416-598-2475<br />

therex.ca<br />

With over 60 shows per month of Canadian and<br />

international groups, The Rex is Toronto’s longestrunning<br />

jazz club, with full bar and kitchen menu.<br />

Sauce on Danforth<br />

1376 Danforth Ave. 647-748-1376<br />

sauceondanforth.com<br />

With Victorian lighting, cocktails, and an<br />

extensive tap and bottle list, Sauce on Danforth<br />

has live music Tuesday through Saturday<br />

(and sometimes Sunday).<br />

The Senator Winebar<br />

249 Victoria St 416 364-7517<br />

thesenator.com<br />

An intimate, upscale French-inspired bistro<br />

with live music serving hearty, delicious comfort<br />

food alongside a curated selection of<br />

wine and cocktails.<br />

Smokeshow BBQ and Brew<br />

744 Mt. Pleasant Rd 416-901-7469<br />

Smokeshowbbqandbrew.com<br />

A laid-back venue with an emphasis on barbecue<br />

and beer, Smokeshow hosts cover artists<br />

and original music Thursday through Sunday,<br />

with Bachata lessons on Tuesdays and Karaoke<br />

on Wednesdays.<br />

Tranzac<br />

<strong>29</strong>2 Brunswick Ave. 416-923-8137<br />

tranzac.org<br />

A community arts venue dedicated to supporting,<br />

presenting, and promoting creative<br />

and cultural activity in Toronto, with live shows<br />

in multiple rooms every day of the week.<br />


● Kensington Market Jazz Festival.<br />

Sep <strong>29</strong>-Oct 1. No advance tickets. Cash only.<br />

www.kensingtonjazz.com.<br />

● Stonebridge Wasaga Beach Blues.<br />

Sep 15-17. www.wasagabeachblues.com. Jordan<br />

John, Durham County Poets, KC Roberts<br />

and The Live Revolution, Ben Racine<br />

Band, and others. $15 per day / $40 for 3 days<br />

/ $100 VIP pass for 3 days / Free(under 12).<br />

Stonebridge Town Centre.<br />

● SweetWater Music Festival. Baroque and<br />

Beyond. Sep 12-17. Guest Musicians: SHHH<br />

Ensemble (piano-percussion duo), Lori Gemmel<br />

(harp), Tom Allen (host), Daniel Taylor &<br />

Ellen McAteer (vocalists), and others. Owen<br />

Sound, Meaford, and Leith. www.sweetwatermusicfestival.ca.<br />


● Choralairs. Singers in all voice parts are<br />

welcome as in-person rehearsals resume<br />

(with masks & Covid safety protocols) on<br />

Tuesdays. Rehearsals are 7pm- 8:45pm<br />

at Edithvale C.C. 131 Finch Ave W. Toronto.<br />

Please contact Elaine at 905-731-8416 or<br />

choralairs@gmail.com to let us know if you<br />

are coming. Check out our website at: www.<br />

choralairschoir.com.<br />

● Chorus York, Richmond Hill. Welcoming<br />

singers in all voice parts, with masks & COVID<br />

safety protocols. Every Tuesday from 7:30-<br />

9:30 p.m. at the Richmond Hill Presbyterian<br />

Church (Wallace Hall), 10066 Yonge St., Richmond<br />

Hill. Please contact Mary-Lou at 905-<br />

884-7922 if you wish to sit in on a rehearsal.<br />

Check out our website www.choruyork.ca for<br />

more information about the choir.<br />

● Etobicoke Community Concert Band. Full<br />

rehearsals every Wednesday night at 7:30pm.<br />

309 Horner Ave. Open to all who are looking<br />

for a great band to join. Text Rob Hunter at<br />

416-878-1730.<br />

● North Toronto Community Band. Openings<br />

for drums, clarinets, trumpets, trombones,<br />

French horns. Rehearsals held at<br />

Willowdale Presbyterian Church 38 Ellerslie<br />

Ave. (just north of Mel Lastman Square).<br />

Monday evenings 7:30-9:30 pm. Contact<br />

ntcband@gmail.com.<br />

● Strings Attached Orchestra, North<br />

York. All string players (especially viola, cello,<br />

bass) are welcome. Mondays 7 to 9 p.m.<br />

from Sep to Jun. Email us first at info.stringsattached@gmail.com<br />

to receive music and<br />

other details or visit our website at www.<br />

stringsattachedorchestra.com for more<br />

information.<br />


● Shaw Festival. Gypsy. Book by Arthur Laurents,<br />

Music by Jule Styne, Lyrics by Stephen<br />

Sondheim. Jay Turvey, stage director; Paul<br />

Sportelli, music director; Genny Sermonia,<br />

choreographer. Shaw Festival Theatre,<br />

10 Queen’s Parade, Niagara-on-the-Lake.<br />

1-800-511-SHAW (74<strong>29</strong>) or www.shawfest.<br />

com. From $34. Runs to Oct 7.<br />

● Shaw Festival. Rodgers & Hammerstein’s<br />

A Grand Night for Singing - One Act<br />

- In Concert. Music by Richard Rodgers.<br />

Lyrics by Oscar Hammerstein II. Musical<br />

Arrangements by Fred Wells. Orchestration<br />

by Michael Gibson & Jonathan Tunick.<br />

Conceived by Walter Bobbie. Directed and<br />

choreographed by Allison McCaughey. Music<br />

direction by Paul Sportelli. Shaw Festival Theatre,<br />

BMO Stage, 10 Queen’s Parade, Niagara-on-the-Lake.<br />

1-800-511-SHAW (74<strong>29</strong>)<br />

or www.shawfest.com. $35; $30(under 30).<br />

Runs to Sep 30.<br />

● Shaw Festival. The Amen Corner. By<br />

James Baldwin. Directed by Kimberley Rampersad.<br />

Music supervision by Paul Sportelli.<br />

Shaw Festival Theatre, 10 Queen’s Parade,<br />

Niagara-on-the-Lake. 1-800-511-SHAW<br />

(74<strong>29</strong>) or www.shawfest.com. Runs to Oct 8.<br />

Recommended for Grade 9+ | Age 14+.<br />

● Stratford Festival. Monty Python’s<br />

Spamalot. Book and Music by Eric Idle. Music<br />

by John Du Prez. Directed by Lezlie Wade.<br />

Avon Theatre, 99 Downie St., Stratford.<br />

www.stratfordfestival.ca. From $19.50. Runs<br />

to Oct 8.<br />

● Stratford Festival. Rent. Book, Music, and<br />

Lyric by Jonathan Larson. Directed by Thom<br />

Allison. Stratford Festival Theatre, 55 Queen<br />

St., Stratford. www.stratfordfestival.ca.<br />

From $57. Runs to Oct 28.<br />

34 | <strong>September</strong> <strong>2023</strong> thewholenote.com

● Toronto Consort. Canoe: A Two-Act<br />

Opera. Libretto & Story by Spy Dénommé-<br />

Welch. Music by Spy Dénommé-Welch &<br />

Catherine Magowan. Unsettled Scores.<br />

Trinity-St. Paul’s Centre, Jeanne Lamon<br />

Hall, 427 Bloor St. W. www.torontoconsort.org<br />

or 416-964-6337. Pay what you like:<br />

$65 / $45 / $20, Previews: $10. Previews:<br />

Sep 12(7:30pm) & 13(7:30pm). Performances:<br />

Sep 15(7:30pm), 16(2pm & 7:30pm).<br />

● TYT Theatre. Pinkalicious the Musical.<br />

Recommended for ages 4+. Wychwood Barns<br />

Park, 76 Wychwood Ave. www.tyttheatre.<br />

com/onstage. From $25. Also shows at 12_<br />

noon & 3:30pm: Sep 16, 17, 23, 24, 30, Oct 1, 7,<br />

8, 14, 15, 21, 22.<br />


● Trinity College, University of Toronto.<br />

Evensong. Traditional Anglican choral music.<br />

Trinity College Chapel Choir; Thomas Bell, director<br />

of music; Peter Bayer, organ scholar.<br />

Trinity College Chapel, University of Toronto,<br />

6 Hoskin Ave. 416-978-2522 or Trinity College.<br />

Free. Evensong is sung every Wednesday<br />

starting Sep 13 at 5:15pm in the beautiful Trinity<br />

College chapel during term time.<br />

● Encore Symphonic Concert Band.<br />

Monthly Concert Band Concert. The first<br />

Thursday of every month present at 11am. 35-piece<br />

concert band performing band concert<br />

music, pop tunes, jazz standards (2 singers)<br />

and the occasional march. Trinity Presbyterian<br />

Church York Mills, 2737 Bayview Ave.<br />

www.encoreband.ca. $10.<br />


Come sing<br />

with us!<br />

● Arts@Home. A vibrant hub connecting<br />

Torontonians to arts and culture. Designed to<br />

strengthen personal and societal resilience<br />

through the arts. www.artsathome.ca.<br />

● North Toronto Community Band. Openings<br />

for clarinet, trumpet, trombone, tuba<br />

and auxiliary percussion. Rehearsals held at<br />

Willowdale Presbyterian Church 38 Ellerslie<br />

Ave. (just north of Mel Lastman Square).<br />

Monday evenings 7:30 to 9:30 p.m. Contact<br />

ntcband@gmail.com.<br />

● Recollectiv: A unique musical online meeting<br />

group made up of people affected by<br />

memory challenges caused by illness (such<br />

as dementia) or brain injury (stroke, PTSD,<br />

etc.) and their care partners. Participation is<br />

free with pre-registration. Email info@recollectiv.ca<br />

for meeting times, information and<br />

registration.<br />


● Sep 8 6:00: North York Central Library.<br />

Open Mic at the Library: North York Edition.<br />


Do you love The WholeNote?<br />

Music, poetry & storytelling. Are you a musician,<br />

poet, or storyteller? If so, then you’re<br />

invited to share your talents at the North<br />

York Central Library Open Mic. Guitar, piano<br />

& djembe provided. 7 minutes for each<br />

performance. For adults, teens, and seniors.<br />

North York Central Library Auditorium,<br />

5120 Yonge St. Sign-up is at 5:30pm. For<br />

more information, contact the Language, Literature<br />

& Fine Arts Department at 416-395-<br />

5639. Free. Also Oct 13, Nov 10, Dec 8.<br />

● Sep 16 2:30: SweetWater Music Festival.<br />

Classical Jam Sesh. Bring your instruments<br />

for a classical jam session of Bach’s<br />

Brandenburg Concerto No.3. Local musicians<br />

are invited to join featured SweetWater musicians<br />

led by Artistic Director Edwin Huizinga.<br />

Anyone who plays a string instrument, at any<br />

level of expertise, is welcome to be a part of<br />

this fun, community-building experience in a<br />

comfortable, welcoming environment! Print<br />

your own part and bring your own stand. Harmony<br />

Centre, 890 4th Ave. E., Owen Sound.<br />

www.sweetwatermusicfestival.ca. Free.<br />


● Aug 27 12:00 noon: Arraymusic. Public<br />

Workshop: Community Gamelan - Array /<br />

The Evergreen Club Contemporary Gamelan.<br />

Jubilate<br />

singers<br />

Isabel Bernaus<br />

conductor<br />

Come sing with us!<br />

Our friendly and inclusive<br />

chamber choir performs<br />

exciting choral music from<br />

around the world.<br />

openings in all sections<br />

info@jubilatesingers.ca<br />

www.jubilatesingers.ca<br />

Share the love and earn a little money!<br />

Join our circulation team,<br />

and deliver 6 times a year.<br />

Currently seeking circulation<br />

associates for the GTA.<br />

Interested? Contact: circulation@thewholenote.com<br />

Array Space, 155 Walnut Ave. www.arraymusic.ca.<br />

$10 at door.<br />

● Sep 10 2:00: Arraymusic. Public Workshop:<br />

Improvisation with Allison Cameron.<br />

Open to musicians of any level! Beginners<br />

welcome (and encouraged!). Use your instrument<br />

as a tool for sound exploration. Work<br />

with a professional composer/musician to<br />

play and create graphic scores. Have fun in<br />

a chill and welcoming environment. Array<br />

If you can read this,<br />

thank a music teacher.<br />

MosePianoForAll.com<br />


machetes,<br />

scythes & axes<br />

clippers, scissors<br />

and knives<br />

ALSO<br />

tree felling,<br />

trail-making,<br />

and chainsaw<br />

maintenance<br />

fdmroz@icloud.com 416-705-8427<br />

Search listings online at<br />

thewholenote.com/just-ask<br />

Chamber<br />

Choral<br />

Early/Baroque<br />

Folk/Roots<br />

Jazz & Blues<br />

Musical Theatre<br />

New Music<br />

Space, 155 Walnut Ave. www.arraymusic.ca.<br />

Free. Donations accepted. Also Oct 1.<br />

● Sep 22-24. North American Guild of<br />

Change-Ringers. Annual General Meeting<br />

and Ringing Course. St. James Cathedral,<br />

106 King St E. This will be a time for peal<br />

attempts,dinners,social events and ringing.<br />

To register and for more information please<br />

visit www.nagcr.org.<br />

Orchestra<br />

Organ<br />

Piano<br />

Solo Voice<br />

Strings<br />

World Music<br />

…and more<br />

A vacation<br />

for your dog!<br />

Barker Avenue Boarding<br />

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call or text 416-574-5250<br />



Economical and visible!<br />

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musically engaged readers,<br />

in print and on-line.<br />


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FREE online classifieds: if you’re offering immediate paid employment<br />

opportunities for musicians. 60 word limit.<br />

All other online classifieds: $50 for 60 words for up to two months. Discounts<br />

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thewholenote.com <strong>September</strong> <strong>2023</strong> | 35



Jumping the gun a wee bit, I’d like to start<br />

with a world premiere recording of Leonard<br />

Bernstein’s “long lost” Music for String<br />

Quartet (1936) that will not be released officially<br />

until <strong>September</strong> 8 (Navona Records<br />

nv6577 navonarecords.com). Composed by<br />

an 18-year-old Bernstein during his studies<br />

at Harvard, the piece has been “steadfastly<br />

shepherded from its re-discovery to this<br />

historic release” by former Boston Symphony Orchestra librarian John<br />

Perkel who discovered it in the Library of Congress. The two-movement<br />

work lasts just over ten minutes, beginning with an extended<br />

angular, though melodic, dance-like fast movement followed by a<br />

brief and somewhat mournful slow one. It’s not clear whether this<br />

latter, recently found in the Library of Congress, was intended as a<br />

final movement – it ends somewhat inconclusively with a pizzicato<br />

pattern fading into oblivion. Complete or not, this is an interesting<br />

addition to the string quartet repertoire and an important key to<br />

understanding the young Bernstein who would go on to become such<br />

an iconic figure in American music. It is convincingly performed by<br />

violinists Lucia Lin and Natalie Rose Kress, violist Danny Kim and<br />

cellist Ronald Feldman. Kress and Kim are also featured in the<br />

contemplative duo Elegies for Violin and Viola by Aaron Copland, a<br />

musical mentor, collaborator and dear friend of Bernstein’s.<br />

Sticking with American music for string<br />

quartet, Bright Shiny Things has recently<br />

released Shatter, three world premiere<br />

recordings performed by the Verona Quartet<br />

(BSTD-0186 brightshiny.ninja). The works<br />

include Julia Adolphe’s Star-Crossed<br />

Signals, Michael Gilbertson’s Quartet and<br />

Reena Esmail’s Ragamala, which features<br />

Hindustani singer Saili Oak. It is this latter<br />

four-movement work that opens the disc and comprises almost half<br />

its length. Ragamala interweaves Eastern and Western traditions.<br />

Each movement opens the same way, inspired by Esmail’s experience<br />

of attending concerts in India, with traditional drones here provided<br />

by the string quartet. Each movement is based on a different raag:<br />

Fantasie (Bihag); Scherzo (Malkauns); Recitative (Basant); and the<br />

Rondo (Jog) all sung by the sultry Oak over the lush textures of the<br />

strings. Adolphe’s Star-Crossed Signals juxtaposes issues of empowerment<br />

and the assertion of dominance with a yearning for connection.<br />

The movement titles, DELTA X-RAY and KILO KILO come from nautical<br />

signal flags used by ships at sea, which the composer’s father used<br />

in his early paintings. The first, which means “keep your distance” and<br />

“watch for my signals,” is quite aggressive in contrast to the second, “I<br />

wish to communicate with you” in which the composer says “the<br />

strings gently reach for one another, enveloping and folding each line<br />

in a kind of dance.” Gilbertson’s Quartet was in progress during the<br />

2016 U.S. presidential election, after which it became a personal reaction<br />

to those events. Feeling the need to compose something<br />

comforting, Gilbertson chose as the basis for the first movement<br />

Mother Chords a gesture like the pulsing chords that open Sibelius’<br />

Second Symphony. The second movement Simple Sugars, which<br />

Gilbertson describes as “carbs that are metabolized quickly and<br />

provide an immediate rush, but no nutritional substance” is an allusion<br />

to the movement’s restless energy. The Verona Quartet rises to all<br />

the challenges of these diverse works.<br />

From quartets to octets now, in a manner of<br />

speaking. My first exposure to Steve Reich’s<br />

music for multiple instruments of the same<br />

family was Vermont Counterpoint for solo<br />

flute and an ensemble of ten flutes, or prerecorded<br />

tracks of the piccolos, flutes and<br />

alto flutes as performed by the soloist, this<br />

latter being the case in the 1982 Ransom<br />

Wilson EMI release. In 2003 Reich composed<br />

Cello Counterpoint for eight cellos on a joint<br />

commission for Maya Beiser (who will appear later on in the column).<br />

On the recent New Focus Recordings release 8-Track (FCR373<br />

newfocusrecordings.com) we are presented with Ashley Bathgate’s<br />

layered realization of the work, along with new compositions in the<br />

same format by Canadian/Icelandic composer Fjóla Evans and<br />

Americans Emily Cooley and Alex Weiser. Evans’ Augun was inspired<br />

by a traditional Icelandic song and features overlapping motives to<br />

create shimmering, undulating textures. Cooley tells us that<br />

composing Assemble was like “assembling a sort of puzzle;” only at<br />

the end do the pieces come together in one voice. Weiser’s Shimmer<br />

unfolds through gradual and dramatic changes, in a waxing and<br />

waning of the canonic relationship between each cello and the soloist.<br />

This is the closest in minimalist spirit to Reich’s original which<br />

concludes this inspired disc. Bathgate’s technical control and musicality<br />

shine through each of these contrasting works within a<br />

common context, resulting in a mesmerizing recording. My only<br />

concern is that the two most similar sounding works, Weiser’s and<br />

Reich’s, are placed side by side. I would have preferred the disc to<br />

begin with Cello Counterpoint thus presenting a context for the<br />

project.<br />

Kate Ellis’ Strange Waves is a digital release<br />

that takes this same approach to the cello<br />

ensemble, but this time presenting an<br />

extended six-movement work by collaborating<br />

Irish composer Ed Bennett (Ergodos<br />

Records ergodos.bandcamp.com). Ellis<br />

has been a member of Crash Ensemble,<br />

Ireland’s leading new music group, for the<br />

past two decades and currently serves as<br />

its artistic director. Strange Waves is a predominantly ambient work<br />

with the multiple cellos blending in a dreamlike texture of glissandos<br />

and drones creating a foggy haze into which field recordings from the<br />

County Down coast and Ireland’s northernmost island, Rathlin in the<br />

North Atlantic, are subtly integrated. A truly meditative experience.<br />

Infinite Bach is Maya Beiser’s very personal take on the iconic Suites<br />

for Solo Cello by Johann Sebastian Bach (Islandia Music Records<br />

IMR012 islandiamusic.com/releases). In the words of Beiser, best<br />

known for her work as an avant-garde cellist, “I spent 2022, my 60th<br />

year of life, immersed in recording, and rerecording, deconstructing<br />

36 | <strong>September</strong> <strong>2023</strong> thewholenote.com

and decontextualizing, experimenting and<br />

exploring sounds, reverberations, harmonics<br />

in my converted barn in the Berkshires,<br />

Massachusetts, engaging with Bach’s cello<br />

Suites. Having dedicated the past 35 years to<br />

creating new music, work that reimagines<br />

the cello on a vast canvas in multiple disciplines,<br />

I radically departed from the conventional<br />

classical cello sound. Yet, the Suites<br />

were ingrained in my daily practice. Even as I was getting ready to<br />

perform a new work by Steve Reich, Louis Andriessen, or David<br />

Bowie, I would still begin every day playing a movement from the<br />

Suites. Over the years I was experimenting with the process of<br />

unlearning the doctrine I was taught about this music, until last year<br />

when I took the time to relearn it anew.” The result takes some getting<br />

used to, sounding at times as if recorded from a different room, with<br />

extreme reverberation sometimes supplemented with sympathetic<br />

drones and overlays, and some radically altered tempos. I also find the<br />

arrangement of the suites surprising. Spread over three discs (itself not<br />

unusual) Beiser has chosen to pair the suites according to major and<br />

minor tonality, the G major and C majors (nos.1 and 3) on the first<br />

disc, the D minor and C minor (2 and 5) on the second and the E-flat<br />

major and D major (4 and 6) on the last. While my initial reaction was<br />

that this was too much of the same mood on each disc, I eventually<br />

came around to appreciate the continuity. And once I let myself let go<br />

of expectations and prejudice about how these works were supposed<br />

to sound, I was able to immerse myself in Beiser’s vision and enjoy the<br />

ride. Although Infinite Bach is available in Full Dolby Atmos Spatial<br />

Audio via Apple Music and in an Immersive Binaural Mix for<br />

enhanced headphone listening, I must say the plain old-fashioned CDs<br />

sound pretty good on my old stereo system too.<br />

Sæunn Thorsteinsdóttir is another cellist<br />

who has made the Bach Suites “her own,”<br />

re-interpreting them, although in a much<br />

less radical way than Beiser. In the liner<br />

notes to Marrow – The 6 Suites for Solo<br />

Cello by J.S. Bach (Sono Luminus<br />

DSL-92263 sonoluminus.com) she says<br />

“There is an Icelandic saying, ‘mergur<br />

málsins,’ which directly translates to ‘the<br />

marrow of the matter,’ and these Suites, to me, speak directly to the<br />

essence of being human. As for many cellists, these Suites have been<br />

my steady companion throughout my life with the cello, first as a<br />

vehicle to learn counterpoint, style, and harmony, then as material<br />

with which to explore personal expression and interpretation, and<br />

today they are a mirror, reflecting the deeper truth of the human<br />

experience, revealing more layers of meaning each time I come back<br />

to them.” Thorsteinsdóttir feels Bach “pushes the boundaries of the<br />

expressive and technical possibilities of the instrument with each<br />

succeeding Suite.” As she began playing the Suites as a set, she heard a<br />

dramatic through-line begin to emerge, finding the first “innocent”<br />

and the second as a “first taste of bitter disappointment,” in the third a<br />

“renewed optimism,” the fourth “bold and brash,” with “dark<br />

tragedy” in the fifth and “glorious redemption” in the sixth. To clearly<br />

illuminate this arc, she presents the Suites without the printed repeats<br />

“so that we may more closely follow this universal storyline.” This also<br />

has the advantage of making it possible to present them all of a piece,<br />

in one sitting. The two CDs of this set clock in at 90 minutes, and<br />

present the suites in numerical order conserving the original majorminor-major<br />

groupings. The performance is exhilarating and makes<br />

for a satisfying, if intense, listening session.<br />

The final selection also features solo cello,<br />

but in a very different context. In a trip<br />

down memory lane, Portrait (mikeherriott.<br />

com/bwg_gallery/discography) featuring<br />

cellist Ofra Harnoy and her life partner<br />

trumpeter Mike Herriott, takes me back to<br />

my days as a music programmer at CJRT-FM.<br />

Harnoy’s RCA discs of Haydn and Vivaldi<br />

concertos (several of which were world<br />

premiere recordings) with the Toronto Chamber Orchestra under the<br />

direction of former CJRT music director Paul Robinson were staples of<br />

our library. The current disc with the H&H Studio Orchestra, a handpicked<br />

ensemble of Toronto’s finest studio musicians, features many<br />

of the jewels of the operatic repertoire that were often heard during<br />

CJRT’s exhilarating all-hands-on-deck fundraising campaigns. These<br />

include Una Furtiva Lagrima from L’elisir d’Amore, The Flower Duet<br />

from Lakme, Au Fond du Temple Saint from The Pearl Fishers, along<br />

with several selections from Porgy and Bess and Somewhere from<br />

West Side Story. These vocal treasures have been masterfully arranged<br />

by Herriott and feature cello and trumpet alternating in the solo roles.<br />

All the performances are outstanding and my only quibble is that<br />

overall mood, lyrical and slow moving, is a bit too similar from track<br />

to track. That being said, it’s still a marvellous journey, which ends<br />

with Harnoy’s moving transcription for cello and trumpet of Larry<br />

Adler and Itzhak Perlman’s languid duet arrangement of the iconic<br />

Summertime.<br />

We invite submissions. CDs, DVDs and comments should be sent to:<br />

DISCoveries, WholeNote Media Inc., The Centre for Social Innovation,<br />

503 – 720 Bathurst St. Toronto ON M5S 2R4.<br />

David Olds, DISCoveries Editor<br />

discoveries@thewholenote.com<br />

What we're listening to this month:<br />

The WholeNote<br />

Listening Room<br />

Hear tracks from any of<br />

the recordings displayed in<br />

this section:<br />

Plus<br />

Watch Videos<br />

Click to Buy<br />

thewholenote.com/listening<br />

8-Track<br />

Ashley Bathgate<br />

Cellist Ashley Bathgate releases<br />

a recording of works inspired by<br />

Steve Reich's Counterpoint series.<br />

A Left Coast<br />

Tyler Duncan and Erika Switzer<br />

The album is a heartfelt tribute to<br />

the place we call home – British<br />

Columbia. Our connections to<br />

BC’s communities, geography, and<br />

spirit, continue to nourish us as<br />

artists.<br />

Basta parlare!<br />

Les Barocudas<br />

The award-winning period<br />

ensemble returns with a joyful<br />

album exploring the dynamic,<br />

experimental musical style that<br />

swept 17th century Italy.<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 37




Violinist Tianwa Yang and pianist Nicholas<br />

Rimmer are absolutely superb on the<br />

incredibly challenging George Antheil<br />

Violin Sonatas Nos.1-4, a recital of remarkable<br />

music by the New Jersey-born<br />

pianist/composer who left America for<br />

Europe as a 21-year-old in 1922 intent on<br />

becoming “noted and notorious” – and<br />

succeeded (Naxos 8.559937 naxos.com/<br />

CatalogueDetail/?id=8.559937).<br />

Antheil met Stravinsky in Berlin and in 1923 followed him to Paris,<br />

where the first three sonatas were written, commissioned by Ezra<br />

Pound for his mistress, the American violinist Olga Rudge. Sonata<br />

No.1 shows the unmistakable influence of Stravinsky’s Les Noces<br />

(premiered the night Antheil arrived in Paris) and the earlier Rite<br />

of Spring. The single-movement Sonata No.2 is a dazzling collage<br />

of ragtime, popular melodies and folk songs. Stravinsky’s influence<br />

is back, albeit with a more melodic feel, in Sonata No.3, also a<br />

single movement.<br />

Sonata No.4 is from 1947, long after Antheil had moved back to the<br />

United States. Although built on Baroque and classical forms the<br />

rhythmic, mechanistic style of his Parisian sonatas is still discernible.<br />

In 2021/22 the American violinist Maria<br />

Ioudenitch won first prize at the Ysaÿe<br />

International Music Competition and<br />

both the Tibor Varga and Joseph Joachim<br />

International Violin Competitions, the<br />

latter also landing her the Warner Classics<br />

Prize that led to her debut Songbird CD<br />

with pianist Kenny Broberg (Warner<br />

Classics 5419737407 mariaioudenitch.<br />

com/listen).<br />

Her “journey through song” is a selection of short works by Robert<br />

and Clara Schumann, Fanny Mendelssohn, Nadia Boulanger, Amy<br />

Beach, Tchaikovsky, Medtner, Rachmaninoff, Glinka and Richard<br />

Strauss. The one substantial work is Schubert’s four-movement<br />

Fantasie in C Major D934. Theresa Pilsl is the soprano on the Strauss<br />

song Morgen.<br />

Technically flawless, Ioudenitch draws a huge tone from the 1691<br />

Pietro Guarneri of Mantua violin, her sweeping phrasing imbued with<br />

deep musicality and subtle nuances.<br />

On All Roads, the Shea-Kim Duo of violinist<br />

Brendan Shea and pianist Yerin Kim explore<br />

music by composers connected to the city of<br />

Vienna “in increasingly distant ways” (Blue<br />

Griffin Recording BGR643 shea-kimduo.<br />

com/shop-1).<br />

Beethoven moved there from Bonn;<br />

a beautifully expressive performance of<br />

his Sonata for Piano and Violin No.3 in<br />

E-flat Major Op.12 opens the disc. Robert<br />

Schumann is represented by his Sonata for Violin and Piano No.1 in A<br />

Minor Op.105.<br />

Alfred Schnittke also lived in Germany but studied in Vienna;<br />

included here is his Suite in the Old Style. The final work is the<br />

Romance Op.23 by the American Amy Beach, whose tenuous link to<br />

Vienna is that she apparently “visited once.”<br />

Warm, stylish playing, fine ensemble and a lovely recording quality<br />

make for a highly enjoyable disc.<br />

On The Living American the excellent<br />

violinist Timothy Schwarz continues to<br />

champion American music with a diverse<br />

collection of works by seven of today’s<br />

leading American composers, including five<br />

recording premieres; the pianist is Charles<br />

Abramovic (Albany Records TROY1930<br />

albanyrecords.com).<br />

There are three solo violin works:<br />

Fantasia on Lama badaa yatasana by<br />

Steven Sametz; Jessie Montgomery’s Rhapsody No.2; and Reena<br />

Esmail’s Raag Charukeshi from Drashan, a blend of Indian and<br />

Western classical music that explores grief in various forms.<br />

The third movement of Jennifer Higdon’s String Poetic is here, as is<br />

Avner Dorman’s wide-ranging single movement, Sonata No.1. The<br />

three entertaining pieces by musical theatre composer/pianist Joseph<br />

Goodrich were written for and premiered by Schwarz, as was the<br />

Sametz work and the final work on the CD, Denis DiBlasio’s<br />

Australian Sketches, in which the duo is joined by bassist Douglas<br />

Mapp and drummer Doug Hirlinger.<br />

Cellist John-Henry Crawford and pianist<br />

Victor Santiago Asuncion celebrate the<br />

composer’s 150th anniversary on Voice of<br />

Rachmaninoff, an album that explores the<br />

vocal nature of his music through original<br />

works and transcriptions (Orchid Classics<br />

ORC100241 orchidclassics.com).<br />

The Cello Sonata in G Minor Op.19<br />

anchors a recital that includes transcriptions<br />

of the Vocalise Op.34 No.14, two songs,<br />

a piano Prelude, the 19th variation from the Rhapsody on a Theme of<br />

Paganini and Fritz Kreisler’s arrangement of the theme from the slow<br />

movement of the Piano Concerto No.2.<br />

Crawford’s warm cello sound is perfectly suited to Rachmaninoff’s<br />

expansive, long-breathed melodies, ably supported by Asuncion in the<br />

often extremely difficult piano parts.<br />

What we're listening to this month:<br />

Variation<br />

David Rogosin<br />

New Brunswick pianist<br />

David Rogosin explores the<br />

ways a musical theme can<br />

be transformed, tracing an<br />

arc spanning 400 years of<br />

composition.<br />

Around Baermann<br />

Maryse Legault & Gili Loftus<br />

Around Baermann is Montreal<br />

clarinetist Maryse Legault’s love<br />

letter to one of the most formative<br />

players and developers of early<br />

clarinet technique and repertoire.<br />

38 | <strong>September</strong> <strong>2023</strong> thewholenote.com

It’s a digital-only release and fairly brief at<br />

just under 25 minutes, but Shostakovich/<br />

Prokofiev – Violin Duos with violinists Julia<br />

Fischer and Kirill Troussov and pianist<br />

Henri Bonamy is well worth a listen (Orchid<br />

Classics ORC100234 orchidclassics.com).<br />

The Shostakovich work is his Five Pieces<br />

for Two Violins and Piano, short miniatures<br />

in a much more light-hearted vein than<br />

is often the case with this composer. The<br />

Prokofiev is his Sonata for Two Violins, a typically spiky but tuneful<br />

work with a high degree of difficulty.<br />

An interesting trivia note: Troussov’s violin is the 1702 “Brodsky”<br />

Stradivarius that Adolph Brodsky played at the December 1881<br />

premiere of the Tchaikovsky concerto.<br />

The booklet essay for the Escher String<br />

Quartet CD of quartets by Leoš Janáček and<br />

Pavel Haas notes that while programmatic<br />

and autobiographical quartets date back to<br />

Beethoven nowhere have they been more<br />

prominent than in the Czech lands, and the<br />

three works here are all of a highly personal<br />

nature (BIS 2670 SACD bis.se).<br />

Janáček’s voice in his later compositions<br />

is unmistakable, overflowing with raw<br />

emotion and passion. His 1923 String Quartet No.1 “Kreutzer Sonata”<br />

was inspired by Tolstoy’s novella about marriage and adultery, but it’s<br />

in his 1928 String Quartet No.2 “Intimate Letters” that his unrequited<br />

love for the much younger Kamila Stosslova finds full expression,<br />

perfectly captured by the Escher Quartet.<br />

The 1925 String Quartet No.2 “From the Monkey Mountains” by<br />

Pavel Haas recalls a memorable stay in the beautiful Czech Moravian<br />

Highlands, with reminiscences of an early love affair. Colin Currie<br />

handles the ad lib percussion part in the remarkable A Wild Night<br />

final movement.<br />

Two glorious chamber works are featured in<br />

outstanding performances on Mozart String<br />

Quintets K515 & 516, with violist Antoine<br />

Tamestit joining the Quatuor Ébène<br />

(Erato 5419721332 warnerclassics.com/<br />

release/mozart-string-quintets).<br />

The two quintets, No.3 in C Major and<br />

No.4 in G Minor were written a month<br />

apart in April and May of 1787, with the<br />

extra viola – a favourite instrument of<br />

the composer’s – adding a warmth and richness to the heart of the<br />

music. The release blurb refers to K515 as being “radiant and energetic,<br />

exuding elegance and grace,” which is also a perfect description<br />

of the playing here, which gets to the emotional heart of this remarkable<br />

music.<br />

Beautifully recorded, it makes you wish for a complete set of the five<br />

mature quintets.<br />

The Japanese violinist Fumika Mohri is<br />

the soloist in the Violin Concertos Opp.2<br />

& 7 by Mozart’s exact contemporary the<br />

remarkable Joseph Boulogne, Chevalier de<br />

Saint-Georges, with the Czech Chamber<br />

Philharmonic Orchestra Pardubice under<br />

Michael Halás (Naxos 8.574452 naxos.com/<br />

CatalogueDetail/?id=8.574452).<br />

The Concerto in G Major Op.2 No.1 and<br />

the Concerto in D Major Op.2 No.2 were published in Paris in 1773,<br />

and the Concerto in A Major Op.7 No.1 and the Concerto in B-flat<br />

Major Op.7 No.2 in 1777, although issues with the sources suggest a<br />

much earlier composition date. The editions here are by Allan Badley,<br />

who also wrote the excellent booklet notes.<br />

Comparison with Mozart is perhaps inevitable, but these showcases<br />

for Saint-Georges’ virtuoso technique are attractive and engaging<br />

works, described by Badley as “rich in melodic invention and<br />

displaying at times a striking degree of originality.” Performances are<br />

beautifully judged throughout a delightful CD.<br />

Beethoven and Beyond is the impressive<br />

Deutsche Grammophon debut CD by<br />

the young Spanish violinist Mária Dueñas,<br />

recorded live in Vienna’s Musikverein<br />

with the Wiener Symphoniker under<br />

Manfred Honeck (4863512 deutschegrammophon.com/de/katalog/produkte/<br />

beethoven-and-beyond-dueas-1<strong>29</strong>50).<br />

Dueñas says that in the Beethoven concerto<br />

“you have to reveal yourself. And that can only<br />

be done through sound.” And what a sound she produces: a crystal clear,<br />

bright and glowing tone full of warmth. All three cadenzas are her own,<br />

but she cleverly ends the CD with terrific performances of first movement<br />

cadenzas by Spohr, Ysaÿe, Saint-Saëns, Wieniawski and Kreisler for<br />

fascinating comparison, filling out the recital with an original work by<br />

each composer. Ysaÿe’s Berceuse Op.20 and Kreisler’s Liebeslied are from<br />

the live concert; Saint-Saëns’ Havanaise Op.83, Wieniawski’s Légende<br />

Op.17 and Spohr’s Adagio from his Symphonie concertante No.1 with<br />

harpist Volker Kempf are studio recordings.<br />

thewholenote.com/listening<br />

Breaking Barriers<br />

Carlos Bastidas<br />

Enjoy listening to this Classical<br />

music album by Canada's most<br />

diverse professional orchestra.<br />

Works by Mozart, Host, Bach and<br />

Vivaldi.<br />

Femmes de légende<br />

Élisabeth Pion<br />

A highly personal debut solo<br />

piano album featuring works by<br />

three giants of the 20th century:<br />

Debussy, Dutilleux, Lili Boulanger<br />

and Pion's first creation.<br />

Saint-Saëns Duos<br />

for Harmonium & Piano<br />

Miloš Milivojević & Simon Callaghan<br />

The performers hope that the<br />

modern classical accordion will help<br />

these delightful pieces be performed<br />

more & gain the widest audience.<br />

And the Lord Hath Taken Away<br />

The Holy Gasp<br />

is a 65-minute double album,<br />

composed for an orchestra of<br />

45 musicians and vocalists, that<br />

delves into The Book of Job.<br />

Cinematic. Powerful.<br />

Unforgettable.<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 39

Kazakh violinist Aiman Mussakhajayeva is<br />

the superb soloist in world-premiere recordings<br />

of works for violin and orchestra on<br />

Lowell Liebermann Violin Concerto Op.74,<br />

with Tigran Shiganyan leading the debut<br />

recording of the Kazakh State Symphony<br />

Orchestra (Blue Griffin Records BGR645<br />

bluegriffin.com).<br />

The 2001 concerto is an expansive,<br />

emotionally engaging and immediately<br />

accessible work that should really become a mainstay in the repertoire.<br />

Liebermann made violin and string orchestra arrangements of<br />

his two chamber concertos from 1989 and 2006 especially for this<br />

recording, and is the pianist in the Chamber Concerto No.1 Op.28a.<br />

The gorgeous 2011 Air for Violin and Orchestra Op.18 ends a CD<br />

of finely crafted and attractive contemporary works for violin and<br />

orchestra, all brilliantly presented by Mussakhajayeva on her 1732<br />

Stradivarius violin.<br />

Describing his new CD The Blue Album<br />

guitarist Pablo Sainz-Villegas says that blue<br />

stands for a particularly intimate mood,<br />

an atmosphere of reverie and relaxation<br />

(Sony Classical19658779092 pablosainzvillegas.com).<br />

There’s certainly nothing challenging in<br />

a recital of brief pieces by Weiss, Couperin,<br />

Domenico Scarlatti, Sor, Debussy, Satie and<br />

Brouwer, together with Tárrega’s arrangement<br />

of Iradier’s La Paloma, Stanley Myers’ Cavatina and Ryuichi<br />

Sakamoto’s Merry Christmas, Mr. Lawrence.<br />

Bland snippets of Philip Glass and Max Richter seem completely<br />

out of place on an album supposedly featuring “some of the most<br />

beautiful and most heartfelt melodies ever written” – an enormous<br />

stretch – but no matter. There’s clean, efficient playing – perhaps<br />

somewhat lacking in character – all resonantly recorded.<br />

VOCAL<br />

Canciones de mi abuelito<br />

Antonio Figuero; La Familia Figueroa<br />

ATMA ACD2 2856 (atmaclassique.com/en)<br />

! This recording<br />

is a master work,<br />

created in celebration<br />

of the<br />

paternal Figueroa<br />

Grandfather (Don<br />

José Figueroa),<br />

through the veil<br />

of the potent<br />

1950s/1960s<br />

“Golden Age” of Mexican music composed<br />

by noted 20th-century Mexican composers.<br />

Featuring the vocal work of dynamic tenor<br />

Antonio Figueroa, the talented Figueroa<br />

family performs on a variety of instruments<br />

throughout and includes Anton Virquis on<br />

voice/violins; Esteban Duran on voice/violin<br />

and arrangements; Tomy Figueroa on voice/<br />

trumpet; Manuel Figueroa on vihuela (he’s<br />

also artistic adviser); José-Luis Figueroa<br />

on voice/guitar; Alexandre Figueroa on<br />

voice/guitarron and José Figueroa on voice.<br />

Grandfather José first visited Canada as a<br />

performing mariachi during Expo 1967, and<br />

eventually emigrated to Montreal with his 11<br />

children, beginning a thrilling cross-cultural<br />

relationship. It wasn’t long before Mariachi<br />

Figueroa became a family business.<br />

Mariachi music and particularly the<br />

“Cancion Ranchera” is an emotional genre<br />

by which Mexicans express the raw pain of<br />

a broken heart. The stirring opener, Paloma<br />

Querida (José Alfredo Jiménez) features<br />

Antonio’s superb, limitless and communicative<br />

tenor. Every track here is a cultural<br />

and musical gem – rendered with authenticity<br />

and skill. Highlights include the lithesome<br />

Martha (Mosés Simóns), Dime Que<br />

Si (Alfonso Esparza Oteo) with supple<br />

trumpet and violin work, El Pastor (Los<br />

Cuates Castilla) with its gymnastic,<br />

stratospheric melodic line brilliantly negotiated<br />

by Antonio and Diez Años (Raphael<br />

Hernandez) a stunningly arranged gem of<br />

Musica Mexicana. The closer of this compelling<br />

collection, Ojos Tapatios (Jose F. Elizondo<br />

& F. Menendez) is an exceptional and deeply<br />

moving example of authentic Mexican<br />

music – performed to perfection by the<br />

entire ensemble.<br />

Lesley Mitchell-Clarke<br />

Bach – Six Motets<br />

Ottawa Bach Choir; Lisette Canton<br />

ATMA ACD2 2836 (atmaclassique.com/en)<br />

! Founded in<br />

2002 by Dr. Lisette<br />

Canton, the Juno<br />

Award-winning<br />

Ottawa Bach<br />

Choir (OBC) is an<br />

ensemble which<br />

specializes in the<br />

performance of<br />

early music, with a particular emphasis on<br />

the works of Johann Sebastian Bach. Their<br />

latest release, titled Six Motets, is a monumental<br />

effort featuring Bach’s choral motets,<br />

noted for their complexity, profundity and<br />

breathtaking beauty.<br />

This recording begins with a thrilling rendition<br />

of Singet dem Herrn ein neues Lied,<br />

BWV225, which launches at breakneck speed<br />

through passages of virtuosic counterpoint<br />

and driving rhythmic patterns, eases into a<br />

luxurious aria and returns with fiery energy<br />

for the conclusion. Such focus on rhythm<br />

and clarity is a defining feature of this entire<br />

disc, which brings Bach’s music to life in an<br />

illuminative and vital way.<br />

Perhaps the most exceptional excerpt<br />

of OBC’s Six Motets is the monolithic<br />

Jesu, meine Freude BWV227, an 11-movement<br />

work for five-part chorus that spans a<br />

tremendous range of moods and affects. Here<br />

the choir offers a masterclass in precision and<br />

execution, but never at the expense of musicality.<br />

The opening chorale is well-paced,<br />

expertly phrased and subtly expressive, the<br />

devilish “Trotz dem alten Drachen” is one of<br />

the best this reviewer has encountered, and<br />

the lyrical “Gute Nacht, o Wesen” is hauntingly<br />

beautiful.<br />

In a market saturated with recordings of<br />

Bach’s famous motets, it could be challenging<br />

to rationalize yet another addition to<br />

the catalogue, yet this effort from the OBC<br />

holds its own as one of the finest on record.<br />

There is not a weak point present and,<br />

whether familiar or not with these legendary<br />

works, Six Motets is highly recommended<br />

listening for all.<br />

Matthew Whitfield<br />

A Left Coast (A Heartfelt Playlist from<br />

British Columbia)<br />

Tyler Duncan; Erika Switzer<br />

Bridge Records 9574 (bridgerecords.com)<br />

! In their booklet<br />

notes, baritone Tyler<br />

Duncan and pianist<br />

Erika Switzer, both<br />

B.C.-born, call this<br />

CD “our heartfelt<br />

playlist for<br />

the place we will<br />

always call home:<br />

British Columbia.”<br />

The “playlist,” drawn from seven of their<br />

B.C. “friends and colleagues,” begins with<br />

two songs by Iman Habibi, set to Edward<br />

FitzGerald’s translations of two quatrains by<br />

Omar Khayyam. The vocal lines are earnest<br />

and emphatic, the piano parts flavoured with<br />

hints of Persian exoticism.<br />

Jean Coulthard’s Three Love Songs are<br />

appropriately edgy and irritable, as they’re set<br />

to poems from Louis MacKay’s collection, The<br />

Ill-Tempered Lover. In three highly dramatic<br />

songs, Jocelyn Morlock’s Involuntary Love<br />

Songs, with verses by Alan Ashton, traces the<br />

narrator’s development of love from repression<br />

through turmoiled denial to blissful,<br />

sensual ecstasy.<br />

Melancholy lyricism infuses Melissa Hui’s<br />

40 | <strong>September</strong> <strong>2023</strong> thewholenote.com

song Snowflakes (poem by Longfellow)<br />

and Leslie Uyeda’s Plato’s Angel, four songs<br />

set to what Uyeda calls “some of the most<br />

introspective” poems by Lorna Crozier but,<br />

writes Uyeda, “I do not mean them to be<br />

depressing!” (They’re not.) For real depression,<br />

listen to Jeffrey Ryan’s Everything<br />

Already Lost, commissioned by Duncan and<br />

Switzer. Ryan’s sombre music matches the<br />

gloomy moods of four poems by Jan Zwicky,<br />

with repeated references to “night” and<br />

“darkness.”<br />

Stephen Chatman’s very pretty Something<br />

like that, one of a set of Eight Love Songs<br />

written for Duncan, injects some welcome,<br />

warm sunshine into this CD’s ever-looming<br />

storm clouds. Is B.C. weather always like this?<br />

Michael Schulman<br />


Basta parlane!<br />

Les Barocudas<br />

ATMA ACD2 2824 (atmaclassique.com/en)<br />

! The names and<br />

compositions of<br />

17th-century Italian<br />

composers Dario<br />

Castello, Giovanni<br />

Legrenzi, Giovanni<br />

Battista Grillo,<br />

Tarquinio Merula,<br />

Biagio Marini and<br />

Francesco Rognini<br />

Taeggio may be unfamiliar, yet their music,<br />

spiritedly performed by the Montreal-based<br />

Les Barocudas, provides the most purely<br />

entertaining CD of Baroque works I’ve<br />

heard in years.<br />

These composers didn’t always specify the<br />

exact instrumentation to be employed in their<br />

pieces, and all may not have had the recorder<br />

in mind, but the indisputable star of this CD<br />

is recorder virtuoso Vincent Lauzer, whose<br />

brightly coloured, near-non-stop cheerful<br />

chirpings invigorate most of the action. He’s<br />

joined by Marie Nadeau-Tremblay (Baroque<br />

violin), Tristan Best (viola da gamba), Antoine<br />

Malette-Chénier (Baroque harp), Hank Knox<br />

(harpsichord), Nathan Mondry (organ) and<br />

Matthias Soly-Letarte (percussion).<br />

The CD begins and ends with Sonatas by<br />

Castello (a third is included in the disc), each<br />

about seven minutes long, featuring alternating<br />

brief passages of rapid sprightliness<br />

and measured solemnity. At just over ten<br />

minutes, the CD’s longest selection is Marini’s<br />

plaintive Sonata Quarta, in which Nadeau-<br />

Tremblay is accompanied by Malette-Chénier<br />

and Mordry. (It’s the only piece where<br />

Lauzer’s recorder is absent.)<br />

Among the other seven pieces, each lasting<br />

three or four minutes, three especially stand<br />

out: Marini’s Trio Sonata (variations on the<br />

French folk tune La Monica) and Merula’s<br />

Canzon No.19 “La Pasterla,” both stately<br />

dances; Rognini-Taeggio’s Diminutions after<br />

Palestrina’s “Vestiva i colli” is a churchly<br />

processional, rendered somewhat irreverent<br />

by Lauzer’s flamboyantly festive recorder!<br />

Michael Schulman<br />

James Oswald – Airs for the Seasons<br />

Rezonance Baroque Ensemble<br />

Leaf Music LM266 (leaf-music.ca)<br />

! As with many<br />

18th-century<br />

Scottish composers,<br />

much of James<br />

Oswald’s music<br />

can be heard as art<br />

music or as traditional.<br />

On this<br />

recording of selections<br />

from his Airs for the Seasons, a set of 48<br />

chamber suites named for seasonal flowers,<br />

Rezonance Baroque Ensemble plays within<br />

the stylistic expectations of Baroque music<br />

but brings a sparkling playfulness suggesting<br />

Oswald’s connection to the traditional music<br />

and dance of his day.<br />

The dynamic Oswald was composer to<br />

King George III, but previously a cellist and<br />

dancing master and then publisher of the<br />

12-volume Caledonian Pocket Companion.<br />

It’s from this collection of “Scotch” airs that<br />

many traditional musicians know him.<br />

Oswald is mistakenly given credit for some<br />

of the tunes in his Caledonian, but when you<br />

hear his own music you can understand why.<br />

Having played and sung with violinist and<br />

fiddler David Greenberg in his 1990s project<br />

Puirt a Baroque, which pushed the genre<br />

boundaries of this repertoire, I recognize the<br />

movements in his Seasons which might be<br />

based on or inspired by traditional tunes. For<br />

example, Cowslip: III would make a fine reel<br />

if you added a bit more swing and stress on<br />

the backbeats; and with some swagger, Daisy:<br />

II could be a square dance jig.<br />

This repertoire is rich with possibilities for<br />

colour and mood changes, and Rezonance<br />

explores these deftly with a lovely sense of<br />

ensemble and some beautiful expressiveness.<br />

The recording has a lot of reverb but it<br />

complements the timbres of their historical<br />

instruments.<br />

Stephanie Conn<br />

Calcutta 1789 – À la croisée de l’Europe et<br />

de l’Inde<br />

Notturna; Christopher Palameta<br />

ATMA ACD2 2831 (atmaclassique.com/en)<br />

! If colonialism<br />

is the conquest<br />

and control of<br />

other people’s land<br />

and goods, music<br />

articulates the<br />

disparities it creates<br />

between races,<br />

classes and individuals.<br />

As current<br />

scholars, curators and musicians are working<br />

to decolonize Western art music’s academies<br />

and organizations, this revisiting of<br />

18th-century works inspired by music from<br />

India, or performed there, is most timely<br />

and welcome.<br />

“Hindustani airs” were popular with<br />

What we're listening to this month:<br />

thewholenote.com/listening<br />

Za Klavir: For the Piano<br />

Nina Platiša<br />

The Za Klavir: For the Piano digital<br />

album, silk-screened posters and<br />

e-book are available for purchase<br />

through Nina Platiša's website.<br />

Recesses<br />

Lee Weisert<br />

Composer Lee Weisert’s second<br />

album on New Focus follows his<br />

2014 release, Wild Arc. Weisert is<br />

heard on piano, guitar, percussion,<br />

and electronics.<br />

The Toronto Project<br />

The Composers Collective Big<br />

Band<br />

What is the sound of a city?<br />

Come explore the streets and<br />

neighbourhoods of Toronto<br />

through the eyes of its top jazz<br />

composers!<br />

Nowhere Girl<br />

Nicky Schrire<br />

Blurring the lines between jazz,<br />

folk and singer-songwriter genres,<br />

Nicky Schrire’s “Nowhere Girl”<br />

is a celebration of Canadian<br />

collaboration<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 41

British residents of Calcutta in the late 18th<br />

century, resulting in transcriptions for harpsichord.<br />

At the same time, Indian nobles such<br />

as King Serfoji II of Thanjavur appreciated<br />

European classical music. For this reason,<br />

both repertoires are represented here, beautifully<br />

recorded in a reverberant space that<br />

might evoke an English hall or the Indian<br />

king’s palace.<br />

Transcriptions could not take into account<br />

the tuning, modes, timbres and style of Indian<br />

musical practices, and the airs were adjusted<br />

for Western tastes and instruments. Given<br />

this, Christopher Palameta and Notturna<br />

show sensitivity and great musicality in<br />

their performance of the pieces that at the<br />

time, celebrated the “exoticism” of borrowed<br />

melodies: Sakia, a Rekhta (Mera peara ab<br />

ia re), and a Terana (Dandera vakee). But<br />

by beginning the album with a captivating<br />

cut featuring sitar and tabla, Palameta and<br />

Notturna place the non-European music in<br />

the foreground and thus effect what Palameta<br />

calls an “interplay and aesthetic appreciation<br />

of two equally sophisticated musical<br />

traditions.”<br />

Stephanie Conn<br />

Jean Baur Chamber Music<br />

Elinor Frey; Accademia de’ Dissonanti<br />

Passacaille <strong>2023</strong> (elinorfrey.com)<br />

! The name Jean-<br />

Pierre Baur is<br />

undoubtedly an<br />

unfamiliar one<br />

today, and more<br />

than 200 years after<br />

his lifetime this<br />

French musician<br />

remains somewhat<br />

of a mystery. Born in Bouzonville in 1719, he<br />

ultimately settled in Paris, where he became<br />

known as a composer and harpist, the first<br />

in a family of harpists. Baur’s output was<br />

almost entirely devoted to small pieces for<br />

harp and a certain amount of chamber music,<br />

including sonatas for violin, harp, harpsichord<br />

and flute, many of which are featured<br />

on this attractive Passacaille label recording<br />

performed by members of the Baroque<br />

ensemble Accademia de’ Dissonanti (ADD)<br />

under the direction of cellist Elinor Frey.<br />

The cello sonatas featured here are taken<br />

from Baur’s first two collections Op.1 and<br />

Op.2 published in 1751 and 1756. These are<br />

amiable works comprising alternating slow/<br />

fast movements with the fine tone produced<br />

by cellist Octavie Dostaler-Lalonde complementing<br />

the thoughtful partnership provided<br />

by keyboardist Mélisande McNabney.<br />

Baur’s move to Paris around 1745 preceded<br />

a significant rise in popularity of the harp<br />

in France, one which lasted into the 19th<br />

century. The two harp sonatas here, Op.7<br />

Nos. 3 and 6, are all grace and delicacy with<br />

harpist Antoine Mallette-Chénier delivering a<br />

sensitive performance, always finely nuanced.<br />

As is the case of much Baroque chamber<br />

music, many of Baur’s compositions were<br />

conceived to be performed by various<br />

combinations of instruments and this is the<br />

case with the Sonata for Two Violins No.1,<br />

played here on two small cellos by Dostaler-<br />

Lalonde and Frey.<br />

Kudos to Frey and the ADD for uncovering<br />

this hitherto unfamiliar repertoire – attractive<br />

packaging and excellent notes further<br />

enhance this recording of music deserving<br />

greater recognition.<br />

Richard Haskell<br />

Theme: Variation<br />

David Rogosin<br />

Leaf Music LM251 (leaf-music.ca)<br />

! Do you<br />

remember in the<br />

movie Amadeus<br />

when the young boy<br />

Mozart sits down<br />

at the clavichord<br />

and for the delight<br />

of the Emperor<br />

and embarrassment<br />

of Salieri<br />

quickly improvises half a dozen variations on<br />

a tune by the latter, ending up with something<br />

completely different? Well, Mozart is<br />

duly represented on this remarkable disc by<br />

brilliant pianist and scholar David Rogosin, a<br />

professor of piano from New Brunswick, who<br />

endeavours to trace the variation genre for the<br />

past 400 years, from early music (Gibbons)<br />

through the Baroque (Handel), the classical<br />

(Mozart, Beethoven) and the Romantic<br />

(Chopin) to the present, ending up with<br />

a special composition by Rogosin’s friend<br />

Kevin Morse, 12 Variations on a Fantasia by<br />

J.S. Bach.<br />

Rogosin calls this an “exploration” and this<br />

is his third recording of similar explorations<br />

of various aspects of musical composition.<br />

What amazes me is his ability to capture the<br />

essence of each different period and interpret<br />

it with flawless technical brilliance.<br />

The journey begins in the 16th century with<br />

Orlando Gibbons and it’s interesting to follow<br />

how the form develops from the simple to<br />

the complex, delving into the character and<br />

emotional aspect of the themes, proving<br />

the variation format to be the most difficult<br />

way of composition, testing the composer’s<br />

inventiveness to come up with something<br />

different with each variation.<br />

Traditionalist as I am, I was most impressed<br />

with Beethoven’s magisterial 32 Variations<br />

which amply illustrates how far it is possible<br />

to deviate yet never abandon the theme<br />

and firmly hold a composition together.<br />

Chopin’s Berceuse (actually a set of variations)<br />

is also a very good choice; Rogosin<br />

plays with a beautiful soft legato, the mark of<br />

a master pianist.<br />

Janos Gardonyi<br />

Around Baermann<br />

Gili Loftus; Maryse Legault<br />

Leaf Music LM265 (leaf-music.ca)<br />

! Carl Maria von<br />

Weber’s success<br />

came from knowing<br />

his strengths and,<br />

I’d argue, his shortcomings<br />

as well.<br />

He didn’t try to be<br />

Ludwig.2, but he<br />

killed it writing<br />

over-the-top operas (showing Wagner how),<br />

and he killed it as a touring pianist alongside<br />

such virtuosi as clarinetist Heinrich<br />

Baermann. He gave up writing symphonies<br />

after two early attempts, and turned his attention<br />

to operas, concertos and chamber music,<br />

including a ton of great stuff commissioned<br />

by Baermann.<br />

Clarinetist Maryse Legault joins forces<br />

with Gili Loftus (pianoforte) on the recent<br />

release of pieces written by, for, or during<br />

Baermann’s heyday. Legault’s mouthpiece (I<br />

suspect) is wood instead of (modern) hard<br />

rubber, which could account for her inconsistent<br />

tone; it would be tough managing two<br />

different fibrous materials as they interact<br />

with the local weather. She can really play<br />

the ten-keyed period clarinet (a copy of one<br />

played by Baermann) with assurance and<br />

subtlety, but sometimes her volume distorts<br />

colour and pitch. Most convincing is the<br />

Andante con Moto from Weber’s Grand Duo<br />

Concertante, Op.48, where Legault assumes<br />

the proper role as diva, reaching high and<br />

low for expression. Bravo also to Loftus for<br />

making such tasteful decisions on all the<br />

tracks. The Grand Duo is her tour de force.<br />

My main beef is that not all the material<br />

warrants attention. Champions of Felix<br />

Mendelssohn won’t use his early Sonata<br />

to bolster their argument. And a tossed-off<br />

filler (per Legault’s informative liner notes)<br />

like Weber’s Variations on a Theme from the<br />

opera Sylvana, Op.33 takes too long to type,<br />

let alone listen to. They’d have done better<br />

to include in its place a charming selection<br />

accessible only online: Sonatina for Clarinet<br />

and Piano, by Caroline Schleicher-Krähmer,<br />

a clarinetist/composer of the same period<br />

with otherwise no known connection to<br />

Baërmann.<br />

Clever cover photos reference another great<br />

Romantic artist, Johannes Vermeer.<br />

Max Christie<br />

42 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Breaking Barriers<br />

Yanet Campbell Secades; Tanya Charles<br />

Iveniuk; Marlene Ngalissamy; Ontario Pops<br />

Orchestra; Carlos Bastidas<br />

Independent (ontariopops.com)<br />

! Was it Arthur<br />

Fiedler who said<br />

that there are only<br />

two kinds of music:<br />

the good kind and<br />

the boring kind?<br />

Well, there is<br />

certainly no boring<br />

kind of music here.<br />

This CD features<br />

the Ontario Pops Orchestra (OPO), a<br />

band founded by Carlos Bastidas, born in<br />

Colombia, who is also its conductor and<br />

music director. Apparently as a child Bastidas<br />

was so impressed by Fiedler and the Boston<br />

Pops that this gave him the inspiration of<br />

forming something of the sort in Canada<br />

as well. The orchestra declares itself one of<br />

the most diverse professional orchestras in<br />

Canada, organized on principles of inclusiveness<br />

and multiculturalism. Recorded at<br />

Toronto’s prestigious Jeanne Lamon Hall,<br />

Trinity-St. Paul’s Centre, Breaking Barriers<br />

is their debut recording of orchestral and<br />

concerto pieces featuring three soloists and<br />

the music is by no means boring.<br />

The ambitious program begins with<br />

Mozart’s notoriously difficult (Great) G-Minor<br />

Symphony No.40, a challenge for conductor<br />

and ensemble alike, performed with flawless<br />

grace. Later the hackneyed Eine Kleine<br />

Nachtmusik is played with such freshness, joy<br />

and enthusiasm that it feels like we’ve never<br />

heard it before.<br />

I was absolutely enchanted by the selection<br />

from Vivaldi’s Four Seasons, the second violin<br />

concerto “Summer” inspired by the languor<br />

and laziness of heat interrupted by violent<br />

gusts of wind. The soloist is Tanya Charles<br />

Ivaniuk who plays with terrific intensity<br />

and virtuosity, totally immersed like a truly<br />

great artist. The last movement, the famous<br />

Storm, involves the whole orchestra in frantic<br />

virtuoso violin playing. Later we hear soloist<br />

Yanet Campbell Secades with Bach’s A Minor<br />

Violin Concerto and Marlene Ngalissamy with<br />

Vivaldi’s Bassoon Concerto in E Minor, also in<br />

very fine performances.<br />

We foresee a great future for this orchestra;<br />

they are already becoming popular in<br />

Toronto, giving open air concerts with Latin<br />

American music that includes singing and<br />

dancing with enthusiastic and participating<br />

audiences. Bravo OPO!<br />

Janos Gardonyi<br />

Schubert – Architect<br />

Mathieu Gaudet<br />

Analekta An 2 9188 (analekta.com/en)<br />

! Schubert’s Piano<br />

Sonata in C Minor<br />

D858 was one of<br />

three he composed<br />

in 1828 during<br />

the last months of<br />

his life. For whatever<br />

reason, it<br />

wasn’t published<br />

for another ten years, and it lay neglected<br />

for most of the 19th century. Today, the<br />

piece is recognized as a prime example of<br />

his mature style – closely aligned in spirit to<br />

Beethoven who Schubert revered – and it’s<br />

one of two sonatas presented on Mathieu<br />

Gaudet’s Architect, the eighth in the series of<br />

Schubert’s complete sonatas.<br />

The piece is formidable in length – roughly<br />

36 minutes in total – and like the majority<br />

of Schubert’s sonatas, is a skillful essay in<br />

attractive melodies and carefully constructed<br />

details right from the dramatic opening<br />

movement. As seen in the previous recordings<br />

of the series, Gaudet approaches the score<br />

with an understated virtuosity, very much<br />

letting the music speak for itself. The frenetic<br />

and spirited finale is a true tour de force<br />

– not dissimilar in mood to the lied Erlkönig –<br />

and Gaudet easily handles the technical challenges,<br />

effectively tying all four movements of<br />

this lengthy work into a cohesive whole.<br />

Coupled with this work is the Sonata No.9<br />

D575 in the curious key of B Major completed<br />

in 1817. In contrast to the dramatic intensity<br />

of D858, this piece is all joviality. Gaudet’s<br />

highly expressive performance is solidly<br />

assured, perfectly conveying a joyous spirit<br />

throughout. An added bonus is the inclusion<br />

of the Two Scherzos D593 which are a<br />

light diversion between the two larger works,<br />

helping round out a most satisfying program.<br />

Richard Haskell<br />

Sheng Cai plays Rachmaninoff<br />

Sheng Cai<br />

ATMA ACD2 2861 (atmaclassique.com/en)<br />

! Representing<br />

a third disc with<br />

ATMA Classique,<br />

pianist Sheng Cai<br />

offers an all-Rachmaninoff<br />

essay of<br />

might and undeniable<br />

virtuosity. Cai’s<br />

natural affinity for<br />

the Romantic piano repertory brings a distinct<br />

brand of competent verve to this music.<br />

The album includes oft-recorded “hits”<br />

from the Russian composer, such as the<br />

ever-celebrated Sonata No.2 in B-flat Minor,<br />

Op.36, and the crowd-pleaser, Moments<br />

Musicaux, Op.16 (a cycle that Rachmaninoff<br />

revised in 1940 along with a handful of other<br />

works). Cai approaches these well-worn<br />

pieces with expertise and appreciation for<br />

Rachmaninoff’s own performance practice.<br />

Such sensitivity is refreshing; it aids Cai<br />

as he carves his pathway through familiar<br />

musical woods. These interpretations tend<br />

towards a personalized, even intimate<br />

concept, considered and sincere. Pianistically<br />

speaking, the damper pedal should be used<br />

judiciously but Cai employs it all too sparingly<br />

here. While some might welcome such<br />

an absence of sound, this listener yearned for<br />

more resonance: yet more red-hot reverb to<br />

tug at the Russian heartstrings.<br />

The less familiar half of this record is<br />

comprised of novel Rachmaninoff: an<br />

attractive transcription from the opera Aleko,<br />

(penned by Sheng Cai himself), and a curious<br />

polka by German composer Franz Behr. This<br />

piece was beloved by Rachmaninoff’s father,<br />

Vassili (“Wassily,” in German transliteration).<br />

In homage, Rachmaninoff made this arrangement<br />

in 1911, “to W.R.”<br />

Cai’s knack for transcribing is notable here,<br />

demonstrating how compelled Rachmaninoff<br />

devotees truly are to synthesize such nonpiano<br />

works for the public at large.<br />

Adam Sherkin<br />

Femmes de Légende<br />

Élisabeth Pion<br />

ATMA ACD2 2890 (atmaclassique.com/en)<br />

! Québécoise<br />

Élisabeth Pion’s<br />

debut CD offers<br />

an unusual but<br />

rewarding program<br />

of mostly-French,<br />

mostly miniature<br />

piano pieces.<br />

Over a 15-year<br />

span, French<br />

composer Mélanie Bonis (1858-1937) depicted<br />

seven women from myth and literature.<br />

Though not conceived as a set, they were<br />

grouped as Femmes de légende by a clever<br />

publisher. Clever, too, are Bonis’ musical<br />

portraits: Mélisande (sensuous), Desdémona<br />

(wistful), Ophélie (perturbed, despairing),<br />

Viviane (charming), Phoebé (delicate,<br />

elusive), Salomé (wildly unstable) and<br />

Omphale (mysteriously dramatic).<br />

The six pieces of Henri Dutilleux’s Au gré<br />

des ondes are early works, still influenced by<br />

impressionism and neoclassicism. The three<br />

up-tempo pieces – Claquettes, Mouvement<br />

perpétuel and Étude – are rollicking,<br />

rambunctiously jocular – sheer fun!<br />

Presented here are all the solo piano works<br />

completed by Lili Boulanger before her tragically<br />

early death, Debussy’s imprint evident<br />

throughout. The austere Prelude in D-flat<br />

Major is redolent of church bells and incense.<br />

Trois morceaux includes two garden strolls<br />

– the overcast, nostalgic D’un vieux jardin<br />

and the sunny D’un jardin clair; the cheerful<br />

Cortège ends the set. At nine minutes, by far<br />

the CD’s longest work, Boulanger’s Theme<br />

and Variations in C Minor recalls Debussy’s<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 43

La cathédrale engloutie, with weighty,<br />

powerfully tolling chords.<br />

Debussy himself is represented by a scintillating<br />

performance of L’isle joyeuse.<br />

Rounding things out are the grotesque,<br />

un-lullaby-like Berceuse by Thomas Adès<br />

(one of Pion’s teachers), arranged by Adès<br />

from his opera The Exterminating Angel, and<br />

Pion’s own Balcony on a Wednesday Night –<br />

slow, sentimental and almost jazzy.<br />

Michael Schulman<br />

Saint-Saëns <strong>Volume</strong> Four – Duos for<br />

Harmonium & Piano<br />

Milos Milivojevic; Simon Callaghan<br />

Nimbus Records NI 8111 (chandos.net/<br />

products/catalogue/N%208111)<br />

! The harmonium,<br />

for which the works<br />

here were originally<br />

written and/<br />

or arranged, was<br />

developed and<br />

refined in France in<br />

the second half of<br />

the 19th century. Its<br />

subsequent popularity<br />

resulted in many compositions for solo<br />

harmonium, duets with piano and larger<br />

ensembles, as well as arrangements of other<br />

works. The modern classical accordion easily<br />

replaces the harmonium as it creates a similar<br />

sound in almost the same way, by pressing the<br />

buttons/keys and moving the bellows to push<br />

air over vibrating metal reeds. Both instruments’<br />

singing reed sounds perfectly match<br />

the vibrating, at times more percussive, sound<br />

of the piano strings.<br />

Playing the harmonium part on classical<br />

accordion is the renowned Miloš Milivojević,<br />

and playing piano is Simon Callaghan. Both<br />

also arrange here. Camille Saint-Saens’ Six<br />

Duos Op. 8 for Harmonium and Piano (1858)<br />

is beautiful. The Scherzo fast piano part<br />

features Callaghan’s amazing playing of the<br />

repeated notes within its melodic lines, accompanied<br />

by lush accordion chordal transitions.<br />

Chorale opens with a very Romantic piano<br />

part showing off Callaghan’s amazing ability<br />

to create dramatic balance between hands.<br />

The alternating accordion lines are breathtaking,<br />

especially when both instruments play<br />

together, leading to a softer closing extended<br />

cadence. A calming Cavatina has slow piano<br />

chords under Milivojević’s superb bellowscontrolled<br />

lush held note “singing” accordion<br />

melody, from high held notes to lower<br />

contrasting ones. Three other Duos, and works<br />

by Guilmant and Franck are also included.<br />

The Milivojević and Callaghan duo performances<br />

are tight, balanced and expressive.<br />

Tiina Kiik<br />


The Water Cycle & Tango Inoxidable<br />

Organum Vulgarum<br />

Independent (amichaibenshalev.<br />

bandcamp.com/album/the-water-cycletango-inoxidable)<br />

! Canadian-born<br />

musician/teacher/<br />

composer Amichai<br />

Ben Shalev was<br />

raised in Israel and<br />

lived in Buenos<br />

Aires from 2005<br />

to 2020 where<br />

he graduated in<br />

2012 from the Manuel de Falla Conservatory<br />

specializing as a bandoneon soloist under the<br />

tutelage of Rodolfo Daluisio. His career there<br />

included collaborations with contemporary<br />

tango composers and international appearances.<br />

In 2020 Amichai moved to Montreal<br />

and in 2022 founded the contemporary music<br />

ensemble Organum Vulgarum for bandoneon<br />

and string quartet/quintet to explore this<br />

instrumentation’s sonorities.<br />

Amichai’s seven-movement contemporary<br />

composition The Water Cycle, is inspired by<br />

the continuous movement of water on earth<br />

and in the atmosphere. Heat opens with<br />

ascending string intervals moving to higher<br />

bandoneon held notes, with faster lines as<br />

the water gets warmer, to an amazing closing<br />

with a held high note and a slightly rippling<br />

ending. Evaporation has lower pitched held<br />

notes, fades and swells creating musical evaporation.<br />

Chill has sharp “freezing” bandoneon<br />

accents contrasting with longer lower<br />

“puddle” strings. Precipitation features<br />

pizzicato string raindrops, low held note<br />

thunder blasts, and bandoneon bellows<br />

shakes increasing the storm effect. Brilliant<br />

tight ensemble playing and interpretation of<br />

Amichai’s reflective “watery” music reminiscent<br />

of summers at the lakeside.<br />

Amichai expresses two common tango<br />

aspects, “Desolado” (solitary and sad)<br />

and “Reo” (rough) throughout his Tango<br />

Inoxidable. His virtuosic playing is featured<br />

here as bandoneon bellows create a wave<br />

effect, followed by dramatic string lines and<br />

bandoneon rhythms. Quieter remorseful<br />

bandoneon lines lead to intricate musical<br />

conversations with the strings.<br />

The Organum Vulgarum instrumentalists’<br />

performances meld together memorably, at<br />

times amazingly, almost sounding like one<br />

instrument. Amichai’s sonority explorations<br />

are unforgettable.<br />

Tiina Kiik<br />

Montréal Musica<br />

Marc Bourdeau<br />

Centrediscs CMCCD 3<strong>2023</strong> (cmccanada.<br />

org/product-category/recordings/<br />

centrediscs)<br />

! Like so many<br />

things in life, the<br />

inverted U-shaped<br />

curve best represents<br />

the ideal<br />

balance of exposure<br />

and mystery within<br />

a solo recording.<br />

Too much unveiling<br />

leaves nothing to the imagination in its<br />

fulsome exposition. Conversely, an unwillingness<br />

to unmask and musically disclose (the<br />

so-called “warts and all”), can come across<br />

as coy and not revelatory enough to strike<br />

a personal connection between artist and<br />

listener. But, when the forces align and an<br />

appropriate balance is struck, there is often<br />

magic contained within the performance<br />

that follows. Such is the case with Montréal<br />

Musica, a fine new recording by respected<br />

pianist, chamber musician and pedagogue<br />

Marc Bourdeau on Centrediscs, the record<br />

label of the Canadian Music Centre.<br />

Spanning nearly a century of Canadian<br />

composition linked together not by style,<br />

genre or epoch, but rather uniformly tethered<br />

to the island of Montréal where Bourdeau<br />

calls home, this excellent <strong>2023</strong> release is<br />

notable for both its beautiful fidelity and<br />

acoustic capture of the instrument, as well<br />

Bourdeau’s bold decision to be stylistically<br />

agnostic and take on a mixed bag of<br />

intriguing repertoire whose only point of<br />

connection is the geographic origin of the<br />

composers. Although on the surface there<br />

may be little that unifies the music of Claude<br />

Champagne and Oscar Peterson, in the skilled<br />

hands of Bourdeau, the angles are found<br />

despite the stylistic discrepancies, and repertoire<br />

and artistry coalesce nicely to form<br />

a compelling and unified musical statement.<br />

Other composers represented include<br />

François Morel, André Mathieu, Jacques Hétu,<br />

John Rea, Denis Gougeon, Rachel Laurin and<br />

Marc-André Hamelin.<br />

Andrew Scott<br />

Colin Eatock – Choral and Orchestral Music<br />

Sinfonia Toronto; Soundstreams’ Choir 21<br />

Centrediscs CMCCD31023 (cmccanada.<br />

org/product-category/recordings/<br />

centrediscs)<br />

! Following up on<br />

the Canadian Music<br />

Centre’s release<br />

of Colin Eatock:<br />

Chamber Music<br />

in 2012 (CMCCD<br />

17812) this second<br />

volume features<br />

Eatock’s orchestral<br />

and choral works in performances by Sinfonia<br />

44 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Toronto conducted by Nurhan Arman and the<br />

Soundstreams’ Choir 21 under the direction of<br />

David Fallis.<br />

A baker’s dozen of Eatock’s choral works<br />

are on offer here. A number of them are<br />

based on sacred texts: The Lord Is Risen!,<br />

Three Psalms and Benedictus es: Alleluia<br />

are straightforward, major key settings in<br />

a largely syllabic and homophonic style,<br />

conventionally adorned with fleeting imitative<br />

passages, serene modulations and an<br />

abundance of sighing suspensions. Cast<br />

in a similar vein, the secular selections<br />

exhibit a somewhat darker tone and feature<br />

settings of texts by well-known authors Walt<br />

Whitman, Amy Lowell, Christina Rossetti and<br />

the exceedingly obscure 16th-century poet<br />

Francis Kindlemarsh.<br />

The extended opening track, a setting of<br />

Whitman’s Ashes of Soldiers, is an expansion<br />

of a work that also appeared in Eatock’s<br />

previous chamber music disc, heard here<br />

in a setting for string orchestra and harp<br />

with an extended instrumental introduction<br />

featuring a beautifully played introspective<br />

clarinet solo by Kornel Wolak followed by<br />

soprano Lynn Anoush Isnar’s sensitive interpretation<br />

of the text. Only the final selection<br />

of the disc is purely instrumental, a delightfully<br />

quirky Sinfonietta for chamber orchestra<br />

in three concise movements that are by turns<br />

bumptious, plangent and just plain silly,<br />

all tied together by a chromatic four-note<br />

garland seemingly based on transpositions of<br />

the B-A-C-H motive of yore (and perhaps the<br />

analogous D-S-C-H motive as well in light of<br />

the galloping Shostakovich-style rhythms of<br />

the finale!).<br />

All performances were expertly recorded<br />

at Toronto’s sonically legendary Humbercrest<br />

United Church by Robert DiVito. The clarity of<br />

diction is superb throughout.<br />

Daniel Foley<br />

Paul Frehner – Sometimes the Devil Plays<br />

Fate<br />

Mary Beth Nelson; Dominic Desautels;<br />

Hamilton Philharmonic Orchestra; Gemma<br />

New<br />

Centrediscs CMCCD 31423<br />

(cmccanada.org/product-category/<br />

recordings/centrediscs)<br />

! This release<br />

features a fine<br />

ensemble of<br />

musicians from<br />

the Hamilton<br />

Philharmonic under<br />

the superb leadership<br />

of Gemma<br />

New, with mezzosoprano<br />

May Beth Nelson singing the title<br />

track. The chamber ensemble comprises<br />

string and woodwind quintets, plus trumpet,<br />

trombone, percussion, keyboards and harp.<br />

The undertaking was accomplished in the<br />

impossibly short timeframe of two days last<br />

<strong>September</strong>, a fact all the more astonishing<br />

given that New was rehearsing Saint-<br />

Saëns’ Organ Symphony with the Toronto<br />

Symphony Orchestra during the same week.<br />

Poems by Dane Swan provide text for<br />

Sometimes the Devil Plays Fate (which is a<br />

line from one of the two: Epitaph 8; Eclipse),<br />

along with an excerpt of a poem by Charles<br />

Mingus (also called Eclipse). Frehner shows a<br />

subtle appreciation for the themes expressed,<br />

repeating sections and giving them different<br />

musical treatments. The ensemble provides a<br />

commentary behind the incantation, sometimes<br />

syllabic, sometimes lyric. Nelson’s<br />

mezzo colour is perfectly suited to the dark<br />

material. Sometimes the balance is off, to the<br />

detriment of depth of sonic field. Recording<br />

this complex music under these time<br />

constraints might be to blame. Regardless,<br />

Frehner is a skilled orchestrator and knows<br />

exactly how to set players and voice in<br />

complementing strengths.<br />

Voluptuous Panic is the intriguing title of<br />

the work filling the final two tracks: Escape<br />

Velocity and Saltarello – Proxima Centauri;<br />

Frehner captures vertiginous sensation, often<br />

employing a “circus band” aesthetic. The<br />

middle cut is a piece I know and love: Cloak;<br />

Concerto for Clarinet and Ensemble (2016,<br />

revised 2022). Soloist Dominic Desautels gives<br />

a hyper-dramatic reading of the piece. The<br />

revisions work well, making me want another<br />

shot at it myself.*<br />

Max Christie<br />

Editor’s note: Max Christie was the soloist in<br />

the premiere of Cloak with the New Music<br />

Concerts ensemble under Robert Aitken at<br />

Betty Oliphant Theatre in December, 2017.<br />

Robert Lemay – Lignum et Spiritus<br />

Stephen Tam; Anthony Thompson; Ron<br />

Cohen Mann; Kevin Harris; Yoko Hirota<br />

Centrediscs CMCCT 12323<br />

(cmccanada.org/shop/cmcct-12323/)<br />

! Composer<br />

Robert Lemay has,<br />

in a recording he<br />

calls Lignum et<br />

Spiritus, attempted<br />

to fuse four kinds of<br />

woodwinds instruments<br />

with the<br />

piano and enlisted<br />

pianist Yoko Hirota to facilitate this fusion<br />

with four instrumentalists. The performing<br />

artists include Stephen Tam (flute), Anthony<br />

Thompson (clarinet), Ron Cohen Mann (oboe)<br />

and Kevin Harris (bassoon) respectively for<br />

works titled Point d’équilibre, Shared Visions,<br />

Play Off and Au courde-à-courde.<br />

Lemay’s intention to “fuse” two musical<br />

instruments suggests an attempt – albeit both<br />

scientific and intellectual – not so much to<br />

inextricably bind, but to allow the two fused<br />

entities to create something new. The attempt,<br />

he says is non-pedagogical. He means for the<br />

music to organically redirect the physical<br />

nature of each of the individual instruments<br />

– wood or Lignum – by exerting a spectral<br />

force, which suggests breathing a new spirit<br />

into the sonic nature of the instruments,<br />

hence the Spiritus in the title.<br />

Each pair of instruments produces alternating<br />

timbres that magically create new<br />

organic-sounding variations. Lemay’s<br />

imaginative creations and Hirota’s inspirational<br />

pianism preside over duets which are<br />

mystical Schoenbergian odysseys that create<br />

new musical space transformed by vertical<br />

(pitch) and horizontal (rhythm and permutation)<br />

forces.<br />

Raul da Gama<br />

Transformation – Interactive works for<br />

piano<br />

Megumi Masaki<br />

Centrediscs CMCDVD <strong>29</strong>322<br />

(cmccanada.org/product-category/<br />

recordings/centrediscs)<br />

! Japanese-<br />

Canadian<br />

Megumi Masaki<br />

is an internationally<br />

renowned<br />

pianist, multimedia<br />

performing<br />

artist, educator and<br />

curator who was<br />

recently appointed Director of Music at the<br />

Banff Centre for Arts and Creativity. The DVD<br />

Transformation features her performing<br />

three interactive Canadian compositions for<br />

piano and new technology, each composed<br />

in collaboration with Masaki. A project<br />

documentary follows.<br />

Orpheus (1) by T. Patrick Carrabré (composer,<br />

live electronics) and Margaret Atwood (poetry),<br />

for piano, toy piano, synthesizer and voice,<br />

challenges the Orpheus myth as a love story.<br />

Electronic sound washes open, then Masaki’s<br />

musically played simple lines and white<br />

snowflake-like specks on the blue backdrop.<br />

Faster accessible music, keyboard lines, spoken<br />

poetry, electronic rumbles/washes and backdrop<br />

scenes add excitement.<br />

Piano Games by Keith Hamel (composer,<br />

software designer, live computer operator)<br />

for piano, hand tracking and live interactive<br />

video which responds to the piano sounds<br />

and hand positions, making each performance<br />

different. Backdrop lightning-like<br />

flashes and swirls match Masaki’s outfit<br />

colours. Hostile loud sounds and exploding<br />

lights to calming softer sounds and slower<br />

swirls to the pianist’s physical gestures, this is<br />

gaming chamber music!<br />

Dōshite? どうして? by Bob Pritchard<br />

(composer, SHRUG designer, live computer<br />

operator) for piano, voice and movement<br />

honours the over 21,000 Japanese Canadians<br />

sent to internment camps in 1942 during<br />

WWII. Use of spoken text from Tsukiye Muriel<br />

Kitagawa’s book This is My Own (editor Roy<br />

Miki’s permission), a film featuring black and<br />

white photos from this time and piano music<br />

including Japanese song fragments “is offered<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 45

as a form of apology”.<br />

Masaki and each composer talk about<br />

their musical and technological creative<br />

process and working together in the informative<br />

Transformation Documentary Film.<br />

The music, visuals and hi-tech interactions<br />

on Transformation are indeed unforgettably<br />

transforming.<br />

Tiina Kiik<br />

...and the Lord Hath Taken Away<br />

The Holy Gasp<br />

Independent (theholygasp.bandcamp.com)<br />

! If, like me, you<br />

had neither heard<br />

of, nor listened<br />

to, The Holy<br />

Gasp before, the<br />

mere thought of<br />

approaching this<br />

album would be to<br />

expect something<br />

spiritually inclined.<br />

After all an ensemble called The Holy Gasp…<br />

well, what other kind of music would the<br />

ensemble make? Moreover, the album is titled<br />

… and the Lord Hath Taken Away, a direct<br />

quote from The Book of Job, of the Bible’s<br />

Old Testament spoken by the afflicted man<br />

himself at the height of his long suffering.<br />

However, as it turns out, the ensemble’s<br />

frontman, Toronto-born poet, composer<br />

and vocalist of repute, Benjamin Hackman –<br />

knowledgeable as he as about scripture – is<br />

also a wonderfully free-thinking musician<br />

who can wield his impressive tenor voice and<br />

move easily between a kind of opera recitative,<br />

he’s-a-jolly-good-fellow klezmer,<br />

moaning blues-inflected vocals and any other<br />

style that his extraordinary music demands.<br />

Hackman’s multi-faceted skills and this<br />

shape-shifting music are eloquently articulated<br />

by the musicians in this large ensemble.<br />

And it is all held together as if in an enormous<br />

musical sculpture by the extraordinary Robert<br />

W. Stevenson who conducts it all. To experience<br />

a snapshot version simply skip from the<br />

darkening of The Merry Man of Uz to Who<br />

Framed Moishe Hackman? to the rollicking<br />

Everything Where It Should Be. But do that<br />

and you will be missing out on 15 other songs,<br />

each with its own evocative mystery and<br />

musical thrill.<br />

Raul da Gama<br />

Za Klavir: For the Piano<br />

Nina Platiša<br />

Independent (ninaplatisa.com)<br />

! Elemental<br />

and concise –<br />

most under three<br />

minutes – the<br />

27 pieces of Za<br />

Klavir: (For the<br />

Piano), composed<br />

between 2018 and<br />

2022, are subtly<br />

spiced with piquant sprinkles of Balkan folk<br />

idioms. Engagingly varied in tempo, rhythm<br />

and mood, they share unadorned melodic<br />

lines and sparse accompaniments, often only<br />

simple pedal points.<br />

Belgrade-born composer/pianist Nina<br />

Platiša, now based in Guelph, came to Canada<br />

as a three-year-old in 1994. Responding to my<br />

email query, she wrote, “When I was young,<br />

my mom taught my sister and me Balkan folk<br />

songs… As I began to compose the solo piano<br />

pieces that would eventually make up this<br />

album, the music to which I felt the closest<br />

connection was often the simplest, pieces<br />

with simple melodies and harmonies akin to<br />

those of Balkan folk music – unpretentious<br />

and transparent. They seemed to issue from<br />

me naturally.”<br />

Save for the concluding Saputnik<br />

(Companion) No.1, the pieces are numbered,<br />

not named. In an interview posted online,<br />

Platiša described three of them, beginning<br />

with the solemn No.7. “I saw an image of<br />

it being played at the funeral of my grandfather<br />

or great uncle. I pictured my family and<br />

friends dancing to No.20 at my family’s slava<br />

(saint’s day) and I saw myself playing No.25<br />

for a newborn baby.”<br />

I was particularly enchanted by the delicate,<br />

melancholy beauties of Nos.5, 11, 14<br />

and 19, reminiscent of Satie’s haunting<br />

Gymnopédies. I found Za Klavir compelling<br />

listening throughout; you may, too.<br />

Michael Schulman<br />

Emilie Cecilia LeBel – field studies<br />

Jane Berry; Cheryl Duvall; UltraViolet;<br />

Ilana Waniuk<br />

Redshift Records TK530 (emilielebel.ca/<br />

discography)<br />

! Prolific Canadian<br />

composer Emilie<br />

LeBel has roots in<br />

the contemporary<br />

concert music<br />

scenes in Toronto<br />

and Edmonton.<br />

Recorded in both<br />

cities, field studies<br />

features five chamber works composed<br />

between 2016 and 2022.<br />

It’s tempting to describe LeBel’s accomplished<br />

and mature compositional language<br />

as postminimalism. On closer listening<br />

however, it’s in turn austere, serene and<br />

sonically challenging, but also lush and<br />

lyrical. It embraces solitary long tones as<br />

well as complex harmonies and microtonal<br />

gestures. This complexity questions any neat<br />

“minimal” pigeonholing.<br />

Another sonic signature is LeBel’s ingenious<br />

use of coloured noise, exploiting the vast<br />

spectrum between conventional instrumental<br />

tone and white noise. In even if nothing but<br />

shapes and light reflected in the glass for alto<br />

flute, baritone sax and electronics, “tactile<br />

transducers on prepared snare and tom<br />

drums” supply the sonic grit. They provide a<br />

textural counterpoint to the two wind instruments’<br />

built-in wind sounds as well as to<br />

their more typical lyrical voices.<br />

Nor is LeBel afraid of boldly combining<br />

inherently contrasting instruments. For<br />

example, evaporation, blue is scored for the<br />

unlikely paring of piano and harmonica,<br />

both played with conviction and delicacy by<br />

Toronto pianist Cheryl Duvall.<br />

LeBel’s considerable orchestration chops<br />

are aided by her close attention to the<br />

strengths and limitations of instruments and<br />

voices. Beautifully played by Ilana Waniuk,<br />

further migration for solo violin illustrates<br />

the former, while drift for voice and chamber<br />

ensemble animated by Jane Barry’s relaxed<br />

voice, the latter. I wouldn’t be surprised if an<br />

opera is in LeBel’s future.<br />

Andrew Timar<br />

Sources<br />

Louise Campbell<br />

Redshift Records (redshiftmusicsociety.<br />

bandcamp.com/album/sources)<br />

! Ambient soundscapes<br />

can be<br />

fascinating. It’s a<br />

mystery to me that<br />

some can also be<br />

as listenable, out<br />

of context, as the<br />

material on this<br />

new disc. That’s a<br />

long-winded roundabout compliment to the<br />

creator of Sources, multi-disciplinary clarinetist<br />

Louise Campbell. Full disclosure: I too<br />

am a Campbell, of the Irish variety, so call me<br />

biased at an odd angle.<br />

The clarinet on these four tracks is rarely<br />

heard without many layers of electronic<br />

manipulation applied. Campbell’s playing is<br />

equal to the material she writes without ever<br />

being showy. The point is not to highlight the<br />

instrument nor the player, but to distill the<br />

sounds she generates into evocations. The<br />

first track, Songbird, is a psychedelic dawn<br />

chorus set in Georgian Bay. Swirl (an elegy<br />

to her late father) evokes tiny watery movements<br />

at the edge of Le Fleuve St. Laurent.<br />

Briefly, Campbell allows her sound to stand<br />

unclothed by electronic reverb and echo, a<br />

breathtaking moment. Playing Guitar Gear<br />

rocks on about Campbell’s hometown of<br />

Montreal. It’s the most dynamic piece, and<br />

while I don’t get what it’s about, it’s fun.<br />

The first three tracks each last around<br />

ten minutes, and the fourth, People of the<br />

Sea, balances the length almost exactly at 33<br />

minutes. Also a music therapist, Campbell<br />

allows one to wander about within the<br />

sounds. I found myself hearing it accompanying<br />

my thoughts on a range of things<br />

(including editing other reviews) and when<br />

I checked in it was mostly finished. At some<br />

point a single line became several, and a<br />

stationary colour became something like a<br />

melody. The texture is pebbled, not granular<br />

but bumpy, like distressed beach-glass. The<br />

46 | <strong>September</strong> <strong>2023</strong> thewholenote.com

final minute or so is an open harmony, a<br />

major sixth resolving gradually to an open<br />

fifth over an evocation of surf. Amen. Quite<br />

beautiful.<br />

Max Christie<br />

Describe Yourself<br />

Christopher Whitley<br />

Redshift Records TK5<strong>29</strong><br />

(redshiftmusicsociety.bandcamp.com/<br />

track/describe-yourself)<br />

! Six contemporary<br />

pieces for<br />

violin by living<br />

composers who<br />

also happen to be<br />

fellow Canadians<br />

make an interesting<br />

artistic choice. Add<br />

to that remarkable<br />

Canadian violinist Christopher Whitley<br />

performing on the 1700 “Taft” Stradivarius<br />

violin and we get an album that is beaming<br />

with adventure, potency, depth and ingenuity.<br />

Multi-talented Whitley interprets, collaborates,<br />

vocalizes, contorts, draws and carries<br />

the various extended violin techniques and<br />

melodies with the outmost conviction, all the<br />

while staying centred in the resonance and<br />

beauty of the pure sound. He is a sound magician<br />

with a deep understanding of composer’s<br />

intentions.<br />

Some of these pieces are oriented toward<br />

exploration of the fundamental violin sounds,<br />

others more experimental. What they have<br />

in common is the array of open spaces left<br />

for existential sound. Kara-Lis Coverdale’s<br />

Patterns in High Places is successful in<br />

creating a continuum of musical pathways<br />

that are both soothing and probing. Nicole<br />

Lizée’s Don’t Throw Your Head In Your Hands<br />

is a pure joy to listen to; a beautiful cinematic<br />

canvas underneath violin solos is created<br />

through unconventional sound manipulations<br />

using old karaoke tapes. The album<br />

closes with In Bruniquel Cave by Fjóla Evans,<br />

its atmosphere so mysterious and dark that<br />

we might feel we entered a secret chamber to<br />

hear the time passing.<br />

A violinistic and compositional chamber<br />

of curiosities, Describe Yourself makes its<br />

mark through a grand execution of imaginative<br />

writing.<br />

Ivana Popovic<br />

Difficult Grace<br />

Seth Parker Woods<br />

Cedille CDR 90000 219<br />

(cedillerecords.org)<br />

! The work<br />

contained in<br />

cellist Seth Parker<br />

Woods’ Difficult<br />

Grace almost defies<br />

classification.<br />

This is an album<br />

of live theatre,<br />

performance art, electronics, spoken word<br />

and poetry, political awareness, storytelling,<br />

ambient music and gorgeous cello playing.<br />

The overall cohesiveness contained is a theme<br />

of commitment to art, and if you were lucky<br />

enough to catch Woods’ March 2022 Toronto<br />

performance of this album you will be<br />

familiar with what a great work of art it is.<br />

The scope of the works contained is wide<br />

and deep. Beginning with Frederic Gifford’s<br />

2019 Difficult Grace, one is immediately<br />

captured for the entirety of the album. Based<br />

on the poetry of Dudley Randall’s Primitives<br />

the verbal and musically sonic transformation<br />

is easily accessed. The delivery by Woods<br />

is a performance on its own. Coleridge-Taylor<br />

Perkinson’s third movement Lamentations<br />

from his Black/Folk Song Suite reflecting the<br />

African-American experience is solo pizzicato<br />

throughout and aptly described in the title<br />

Calvary Ostinato.<br />

Monty Adkins’ 1972 Winter Tendrils is a<br />

luscious melodic track, followed by Nathalie<br />

Joachim’s 1983 The Race 1915, one the<br />

album’s most powerful works. Inspired by<br />

visual artist Jacob Lawrence’s images of the<br />

historic African-American migration beginning<br />

in 1915, it features excerpts from issues<br />

of the important Black newspaper The<br />

Chicago Defender, published in that pivotal<br />

year citing the oppression and atrocities<br />

facing millions compelled to travel uncertain<br />

journeys. The spoken text and solo cello<br />

rise above the undercurrent of the train-like<br />

electronic ostinato, driving the piece to its<br />

powerful conclusion.<br />

Alvin Singleton’s 1970 work Arogoru (from<br />

the Twi language meaning “to play”) is a<br />

motivic, gestural piece followed by another<br />

of Joachim’s, Dam Mwen Yo. The final piece<br />

is Ted Hearn’s Freefucked (2022). A complex<br />

and yet straightforward suite of songs showcasing<br />

poems by Kemi Alabi, from their<br />

poetry collection Against Heaven, which<br />

really completes this fantastic journey with<br />

the use of electronics, vocal processing and<br />

solo cello. The suite is dynamic and full and<br />

could be listened to in parts or in whole. Each<br />

movement is stunning. It helps to follow the<br />

poetry included in the accompanying booklet<br />

but the music stands without it. This whole<br />

piece is awesome.<br />

Cheryl Ockrant<br />

Recesses<br />

Lee Weisert<br />

New Focus Recordings FCR366<br />

(newfocusrecordings.com)<br />

! The album<br />

Recesses is a fantastical<br />

sonic journey<br />

of melting ice,<br />

acoustic piano,<br />

degraded tape and<br />

voices, a kind of<br />

hustle and bustle<br />

mixed with water<br />

droplets and<br />

electronic fuzz. Layers of time, stratus clouds<br />

shifting, streaks of water moving through air,<br />

frost on metal, children speaking. Colours<br />

of purple, grey and green. Sparkle and dust.<br />

Layer under layer under layer. Windows open<br />

and close, breezes blow through, curtains<br />

move. Empty walls fill up with images and<br />

empty out again. Conversations rise and fall.<br />

This album is a masterful creation, a demonstration<br />

of visually listening peripherally with<br />

a third eye, of noticing and letting go.<br />

Never feeling preachy or heavy, these four<br />

beautiful tracks morph between mindful and<br />

wild, a flowing sonic movement that feels<br />

unrushed but is never still. This is a magical<br />

space to enter without the wastefulness<br />

of extraneous noise or volume. The fourth<br />

track, Similar Speeds, is a rather mesmerizing<br />

visualization of subtle stretching of<br />

mis-timing, reminiscent of the metal ball toy<br />

Newton’s Cradle.<br />

Professor of composition at Northwestern<br />

University, DMA pianist and multi-instrumentalist<br />

Lee Weisert has collected a brilliant<br />

team of collaborators to build his<br />

journey with. Allen Anderson on modular<br />

synth, Nicholas DiEugenio, violin, Jonathon<br />

Kirk, electronics and Melissa Martin, vocals.<br />

This is an album to listen to while doing<br />

nothing else.<br />

Cheryl Ockrant<br />


Live at the Village Vanguard<br />

Kris Davis Diatom Ribbons<br />

Pyroclastic Records PR 28/<strong>29</strong><br />

(krisdavis.net)<br />

! Émigré<br />

Canadian pianist/<br />

composer Kris<br />

Davis here<br />

commemorates<br />

a landmark<br />

appearance at<br />

New York’s Village<br />

Vanguard with<br />

this two-CD set by a quintet form of her<br />

group Diatom Ribbons, ranging through a<br />

program that includes both compositions<br />

by celebrated jazz composers and several of<br />

her own works that sometimes incorporate<br />

the voices of a few singular influences.<br />

Essentially heterodox, broad-based and<br />

witty, the music is anchored by drummer<br />

Terri Lyne Carrington and bassist Trevor<br />

Dunn, while Val Jeanty contributes turntables<br />

and electronics and Julian Lage, perhaps the<br />

leading jazz guitarist of the day, matches the<br />

blistering virtuosity and manic playfulness<br />

that Davis brings to piano, prepared piano<br />

and arturia microfreak synthesizer.<br />

The occasion is clearly one to celebrate<br />

and the performance is carnivalesque<br />

in mood and variety. The opening<br />

Alice in the Congo, composed by Ronald<br />

Shannon Jackson, has roots in both funk<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 47

and free jazz, and Jeanty’s contribution<br />

adds hip-hop before Davis solos with wild<br />

keyboard splashes and runs. Other pieces<br />

from the contemporary repertoire include<br />

Geri Allen’s The Dancer and two distinct<br />

versions of Wayne Shorter’s Dolores.<br />

The bulk of the set consists of Davis’ own<br />

compositions, some acknowledging more<br />

influences, Nine Hats referencing works by<br />

Eric Dolphy and Conlon Nancarrow and the<br />

comically lumpy VW overlaying an archival<br />

radio interview with Sun Ra. Composers’<br />

voices are even more prominent in the threepart,<br />

34-minute Bird Suite. The Bird Call<br />

Blues segment references both bird song<br />

and Charlie Parker with the voices of Olivier<br />

Messiaen and Paul Bley, while Karlheinz<br />

Stockhausen discusses “intuitive music” on<br />

Parasitic Hunter.<br />

Somehow Davis manages to merge all of<br />

these diverse elements into a coherent and<br />

original whole – at once pulsing, comic and<br />

touching – that’s a brilliant representation<br />

of the range, freedom, energy and inclusivity<br />

that jazz can achieve.<br />

Stuart Broomer<br />

Balladextrous<br />

Sienna Dahlen; Bill Coon<br />

Cellar Music CMR060322 (cellarlive.com)<br />

! Guitarists and<br />

vocalists share a<br />

unique bond when<br />

coexisting as a duo,<br />

and the exposure<br />

present without<br />

a rhythm section<br />

contrasts ominous<br />

vulnerability<br />

with ample space to thrive. Vocalist Sienna<br />

Dahlen and guitarist Bill Coon double down<br />

on this sparseness with Balladextrous,<br />

and make the most of this intimate,<br />

dreamy format.<br />

My favourite duo albums throughout<br />

history tend to playfully eschew traditional<br />

roles of melodic interpretation and harmonic<br />

accompaniment, and Balladextrous walks<br />

this line brilliantly. Coon’s chordal work and<br />

melodic content never leave listeners unsure<br />

of song forms or harmony, but he wisely<br />

avoids bludgeoning anyone with the kinds of<br />

dense accompaniment weaker guitarists may<br />

hide behind in this context.<br />

Dahlen has a playful sense of rhythm and<br />

phrasing that is both confident and interactive.<br />

This is a treat to hear applied to<br />

jazz standards, as it breathes new life into<br />

classic repertoire. Consciously or intuitively,<br />

the duo treats upbeat numbers like<br />

Happy Talk and I’m In The Mood for Love<br />

with a playful vibe, while sticking more to<br />

the bare-bones structures of pieces like Too<br />

Late Now and I Get Along Without You Very<br />

Well. Contrasting choices like these may<br />

not be predetermined, which is yet another<br />

testament to the intuition these two musicians<br />

possess.<br />

Give Balladexterous a listen through quality<br />

headphones with your eyes closed, then try it<br />

again tomorrow while ironing or meal-prepping.<br />

This album promises to elevate in all<br />

contexts!<br />

Sam Dickinson<br />

Let It Shine! Let It Shine!<br />

Dee Daniels; Denzal Sinclaire<br />

Cellar Music CM111621 (cellarlive.com)<br />

! Singers Denzal<br />

Sinclaire and Dee<br />

Daniels take us to<br />

church with their<br />

new offering, Let It<br />

Shine! Let It Shine!<br />

Produced by the<br />

renowned jazz<br />

bass player, John<br />

Clayton, and recorded over several days while<br />

the band and crew were living together in a<br />

house outside Calgary, the love that went into<br />

this project is palpable. With gospel being<br />

the predominant style, the Hammond B3 by<br />

organ master Bobby Floyd is a centrepiece<br />

of the album, but all the players have their<br />

moments, such as Herlin Riley’s tambourine<br />

flair on some of the spirituals and Nick<br />

Tateishi’s groovy guitar work on God, Be<br />

in My Head.<br />

Sinclaire’s signature warmth and gently<br />

swinging style is a nice contrast to Daniels’<br />

powerful vocals, yet they blend beautifully<br />

on their duets. I confess I wasn’t very<br />

familiar with Daniels’ work before listening<br />

to this album and what a force she is. Her<br />

intensity is perfect on the blues-tinged If<br />

He Changed My Name while her emotional<br />

range is showcased on Sometimes It Snows<br />

in April. Sinclaire does a wonderful lilting<br />

reimagining of Row, Row, Row Your Boat<br />

and a simply gorgeous take of Blessings Upon<br />

Blessings. But where the group really seems<br />

to hit its groove is on the traditional spirituals<br />

like This Little Light of Mine and Every Time<br />

I Feel the Spirit. When they let loose and the<br />

choir kicks in, I defy even the staunchest nonbelievers<br />

to sit still and not sing along.<br />

Cathy Riches<br />

Senza Resa<br />

The Schwager/Oliver Quintet<br />

Cellar Music CMR030123 (cellarlive.com)<br />

! Much can be said<br />

about both guitarist<br />

Reg Schwager and<br />

saxophonist and<br />

flutist Ryan Oliver.<br />

Suffice it to say that<br />

both musicians have<br />

paid their dues in<br />

and around Canada<br />

and elsewhere with demanding bandleaders.<br />

In many respects their wide experience and<br />

well-documented discographies make them<br />

ideally suited to this ambitious project called<br />

Sensa Reza.<br />

On sterling repertoire Schwager and<br />

Oliver can be heard firing on all cylinders<br />

throughout the kinetic-energy-filled music<br />

on this album. The ensemble also features<br />

the liquid harmonics of pianist Nick Peck,<br />

and sizzle and rolling thunder with bassist<br />

Rene Worst and drummer Ernesto Cervini.<br />

Together, these musicians meld melodies,<br />

harmonies and rhythms into songs with a<br />

preternatural roar from one chart to the next,<br />

giving no quarter and taking no prisoners.<br />

No wonder that producer Luigi Porretta<br />

titled this album Senza Reza, Italian for<br />

“no surrender.” This powder-keg music<br />

explodes out of the gate with the incendiary<br />

Another Happening. There is no letup as<br />

the quintet negotiates the fast and obliqueangled<br />

rhythmic changes of Rushbrooke.<br />

This magnificently frenetic pace continues<br />

throughout, changing to elegiac only for<br />

Tender Love. The musicians on Senza Reza<br />

present an edge-of-the-seat experience from<br />

end to end, brilliant in both long-limbed soli<br />

and in ensemble.<br />

Raul da Gama<br />

<strong>Volume</strong> 2 – Generational<br />

The Nimmons Tribute<br />

Independent (nimmonstribute.ca)<br />

! While F. Scott<br />

Fitzgerald may have<br />

opined that there<br />

are no second acts<br />

in American life,<br />

apparently there are<br />

second, third and<br />

even fourth acts<br />

possible in the lives<br />

of Canadians, particularly if the Canadian in<br />

question is the talented and thankfully, still<br />

meaningfully recognized and among us, Phil<br />

Nimmons. With <strong>Volume</strong> 2-Generational,<br />

The Nimmons Tribute, under the skilful<br />

direction of Sean Nimmons (composer,<br />

arranger, producer, pianist and grandson of<br />

the now centenarian Phil), again aligns the<br />

Nimmons name with musical excellence<br />

and uncompromising artistry. And while<br />

the artistic conceit of the project is clear, do<br />

not be fooled into thinking that the album is<br />

the work of an ersatz cover band. Quite the<br />

opposite is true in fact, as this recording again<br />

shines a light on the ongoing relevance of<br />

Nimmons’ music.<br />

Continuing the legacy work that began<br />

with 2020’s To The Nth, this <strong>2023</strong> recording<br />

treads an appropriately reverential path in<br />

its careful handling of Nimmons’ canonic<br />

music now interspersed with new compositions<br />

by the younger Nimmons, whose fine<br />

original contributions to this recording do<br />

much to further the legacy of the family<br />

name. Supported by an impressive multigenerational<br />

cast of jazz musicians representing<br />

some of the finest players in Toronto,<br />

it is clear that either as a pedagogue (mainly<br />

at the University of Toronto, but also dating<br />

back to his work at the Advanced School of<br />

48 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Contemporary Music), or as a bandleader and<br />

jazz community member, Nimmons’ impact<br />

on the scene has been considerable and his<br />

contributions to the canon of great Canadian<br />

jazz sacrosanct.<br />

Andrew Scott<br />

Concert note: The Nimmons Tribute will<br />

perform at Aeolian Hall in London, Ontario<br />

on November 23.<br />

The Toronto Project<br />

The Composers Collective Big Band<br />

Independent (christianovertonmusic.com/<br />

ccbb)<br />

! Christian<br />

Overton has<br />

been a long-term<br />

journeyman, paying<br />

his proverbial<br />

musical dues<br />

in ensembles of<br />

varying size and<br />

celebrity from the<br />

city of Toronto<br />

and elsewhere. In addition to his renown as<br />

a virtuoso trombonist, Overton also runs a<br />

music publishing company and is an almost<br />

ubiquitous presence in Toronto’s musical<br />

scene. This has led to his being at the helm<br />

of this creative ensemble – The Composers<br />

Collective Big Band – modelled in the spectral<br />

shadow of his mentor, trombonist Rob<br />

McConnell and the legendary Boss Brass.<br />

The Collective now pays tribute to the city<br />

of Toronto.<br />

The Composers Collective comprises 19<br />

rather successful musicians plus six celebrated<br />

guests. While such a large group of<br />

artistic voices could rub uncomfortable<br />

shoulders with one another, the differences<br />

in style – sometimes subtle, often striking –<br />

enhance the overall impact of these superbly<br />

crafted and affecting miniatures making<br />

up The Toronto Project. Engaging pieces<br />

like the cinematic West Toronto Ode, the<br />

tongue-in-cheek Non-Sequitur and postmodern<br />

Spadina, draw you inexorably into<br />

their sound-world as voiceovers from subway<br />

announcers draw you into their subway<br />

narratives.<br />

Torontonians and visitors to the teeming<br />

multi-cultural city will be able to put<br />

visuals to the miniatures that, collectively,<br />

act as a soundtrack for the city. The repertoire<br />

includes music by other commendable<br />

Canadian composers, capturing atmospheres<br />

in music that glows, expertly balanced<br />

and alive to Toronto’s unique rhythmic and<br />

harmonic nuances.<br />

Raul da Gama<br />

undoundone<br />

Christof Migone; Alexandre St-Onge<br />

ambiences magnetiques (actuellecd.com)<br />

! In the final<br />

static seconds of<br />

undoundone, as the<br />

muffled distorted<br />

vocalizations cease<br />

and the imaginary<br />

entity imprisoned<br />

in the microphone<br />

concedes to<br />

an all-encompassing windscreen, a switch is<br />

flipped. This can be interpreted in the figurative,<br />

as an indicator of change or a fixed transition<br />

between states. In this case however<br />

it is a computer switch, more specifically a<br />

spacebar; as implied by the bluntness of the<br />

attack and the timbre of its softer rebound.<br />

This is a demarcation device shared with<br />

Jay Electronica’s 2020 release Rough Love,<br />

opting not to edit out the sound of a decisive<br />

spacebar click. Electronica uses the spacebar<br />

as a mark of finality, to emphasize that his<br />

verse was recorded on a laptop in a single<br />

take. It can be either refreshing or jarring to a<br />

listener when an artist steps off their pedestal<br />

to show this level of vulnerability in the<br />

creating process.<br />

Christof Migone and Alexandre St-Onge’s<br />

last ambient pas de deux as “undo” is filled<br />

with increasingly brazen spacebars. As if on<br />

the heels of a late arrival Néon aléatoire dans<br />

le hasard inessentiel begins with the tail<br />

end of a sonic happening, initially akin to a<br />

wiry bass string being plucked from a singed<br />

stream of feedback, while each listen defies<br />

categorization until you’re left with a falling<br />

shoe. Therein lies the beautiful irony of this<br />

project: endless sonic detail to obsess over,<br />

the definitive is ultimately undone.<br />

Yoshi Wall<br />

Three Things<br />

Elizabeth Shepherd; Jasper Holby; Michael<br />

Occhipinti et al<br />

Pinwheel Music PM106CD<br />

(elizabethshepherd.com)<br />

! Looking for the<br />

perfect mix of tunes<br />

to accompany these<br />

beautiful summer<br />

nights? Velvetvoiced<br />

vocalist and<br />

pianist Elizabeth<br />

Shepherd brings a<br />

perfect hodgepodge<br />

of mellow grooves and feistier melodies on<br />

her latest release. Those who have followed<br />

Shepherd’s musical journey throughout her<br />

various albums know that she is a genre-traveller,<br />

bringing a little bit of a different theme<br />

to each record. This one takes a foray into<br />

the slightly more “religious” aspect of music,<br />

depicting “a personal faith that uses music<br />

to look beyond oneself, to express gratitude,<br />

and to connect — with the divine and with<br />

others.” These tunes were born in the depths<br />

of the pandemic and provided ample time for<br />

self-reflection, which is why the repertoire is<br />

inspired by the journey of looking deep into<br />

oneself and finding the music within.<br />

The record features innovativeness<br />

through the use of sampling and modernistic<br />

melodies, and a hint of Shepherd’s trademark<br />

funk-jazz-soul sound through the use of<br />

rhythmic bass lines and drum riffs, a perfect<br />

example of this combo being the track Time.<br />

Further, what leaves an impression on the<br />

listener is how each musician’s unique style<br />

of playing both shines on its own and blends<br />

together seamlessly, with most songs being<br />

recorded separately due to restrictions during<br />

the pandemic. The result is what Shepherd<br />

lovingly deems “a Frankenstein album that’s<br />

very different from what I’ve done before.”<br />

A great album for the funk and modern<br />

jazz lover.<br />

Kati Kiilaspea<br />

Ars Transmutatoria: Orange, Iku-Turso &<br />

Primati Primi<br />

Michel Lambert<br />

Jazz from Rant<br />

(michellambert.bandcamp.com)<br />

! On Michel<br />

Lambert’s website,<br />

one can embark on<br />

a virtual audiovisual<br />

tour of the entire<br />

Ars Transmutoria<br />

experience spanning<br />

from the<br />

Rouge, Bleu, Bronze<br />

and Orange volumes, available individually<br />

or as a deluxe boxed set, and subsequent<br />

works expanding on the series. Lambert<br />

explains “Ars Transmutatoria is the process<br />

of work! Collecting plants, creating scores,<br />

work with improvisers, etc... It is an ongoing<br />

process with new works to come.” The art<br />

gallery format is interesting because intuitively,<br />

for a piece to be exhibited alongside<br />

other works it demands to be confined to a<br />

space; one that allows for distinct statements<br />

to be made but requires a level of physical<br />

stasis and order. However, in reality this web<br />

application is a beautifully liberating way to<br />

engage with Lambert’s work, in that it allows<br />

for beholders to take a guided tour or roam<br />

free on their own accord while equipped<br />

with a concise user interface. The museum<br />

itself colour-codes all the rooms, which helps<br />

illuminate Lambert’s original multi-disciplinary<br />

concept of strikingly visual scores,<br />

helping listeners abstractly yet thoughtfully<br />

navigate between conceptual zones in<br />

their mind.<br />

Orange may not be the final room in the<br />

tour, but it represents the end of the beginning<br />

for this sprawling project. It is perhaps<br />

the most ethereal experience of the colour<br />

saga. While all volumes up to this point have<br />

explored different corners of the Lambert<br />

network’s prismatic textural universe, Orange<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 49

is a deep dive into<br />

the emotional<br />

power of resonances.<br />

Liner notes<br />

here take particular<br />

pride in the album’s<br />

incorporation of the<br />

booming low-end<br />

warble of the<br />

maikotron contrabasse, which could very<br />

much devour all it touches, and Lambert<br />

unleashes teeth-clattering fury out of its deep<br />

drone. However, when transferring registers<br />

there is a distinctly phlegmy break in its<br />

sustained tones, allowing for it to envelop<br />

Raoul Björkenheim’s flowy guitar harmonics<br />

rather than engross. In this sense, this almost<br />

offers a thesis for the first leg of Ars<br />

Transmutoria; painting around the lines<br />

rather than purely within, resembling that<br />

elusive dustpan-adjacent sketch in the<br />

companion art for Un Jour dans la Forêt.<br />

Iku-Turso and<br />

Primati Primi<br />

mark the beginning<br />

of a new era.<br />

Lambert says: “The<br />

visual scores for<br />

those two releases<br />

are a bit different.<br />

There are 12 of<br />

them divided in<br />

two recording sessions. One took place in<br />

Helsinki, Iku-Turso and the other in Rome,<br />

Primati Primi.” Gone are the monochromatic<br />

motifs of yesteryear; enter zoomorphism.<br />

Resurrected are the poetic pivot points from<br />

Rouge, with Iku-Turso proving that Jeanette<br />

Lambert’s profoundly tuneful approach to<br />

conveying language and image is better than<br />

ever. For a specific example, note the musicality<br />

of the ng sound in Self-Distancing, in<br />

which the word fries as it decays, creating<br />

an illusory effect that obscures the phrase’s<br />

ending while conveying the universal<br />

feeling of lingering on a thought longer than<br />

expected. Lambert is all melody while rapper/<br />

poet Beamer(!) is decisive, comping rhythms,<br />

painting thick lines around Michel Lambert’s<br />

trembling snare patterns like if the Orange<br />

maikotron could burn books with a tongue so<br />

precise it proves that words can briefly take<br />

back the mantle from pictures.<br />

This victory is brief because nary a discipline<br />

owns the mantle.<br />

Yoshi Maclear Wall<br />

Of What Remains<br />

Melissa Pipe Sextet<br />

Odd Sound 005-28 (melissapipe.com)<br />

! Sporting a highly<br />

appropriate name<br />

for a reeds player,<br />

Montreal-based<br />

baritone saxophone/bassoonist<br />

Melissa Pipe’s disc<br />

is refined chamber<br />

jazz with an emphasis on darker textures.<br />

That’s because timbres arise not only from<br />

Lex French’s trumpet, Geoff Lapp’s piano and<br />

Mili Hong’s drums but also from lower tones<br />

encompassing Solon McDade’s double bass,<br />

Philippe Côté’s bass clarinet and tenor saxophone<br />

plus Pipe’s larger horns. It deepens<br />

even more when Michael Sundell’s contrabassoon<br />

is added on three tracks.<br />

Most notable of these is the multi-sectional<br />

Ici, ainsi that moves slowly over drum<br />

rumbles and a walking bass line before portamento<br />

trumpet and saxophone breaks give<br />

way to a mellifluous double bassoon expression<br />

that moves up the scale while the pulse<br />

stays horizontal. Eventually reed stress<br />

turns to decorations as drum rim shots and<br />

piano comping complete the piece. More<br />

overt chamber jazz affiliations arise on a<br />

track like Day, where a dramatic undercurrent<br />

which harmonizes a snarling bassoon<br />

ostinato with plunger trumpeting remains<br />

constant as keyboard clinking outlines the<br />

balladic theme.<br />

Other tracks such as La part des anges and<br />

Apothecium. are arranged with a light West<br />

Coast jazz feel. yet they’re also distinctive.<br />

That’s because these otherwise straight-ahead<br />

foot-tappers that climax with modal blends<br />

of baritone saxophone smears and sparkling<br />

pianism are interrupted when French interjects<br />

Maynard Ferguson-like skyscraper-high<br />

triplets into the mix.<br />

This sophisticated and promising debut<br />

leads us to anticipate her realization of the<br />

next musical Pipe dream.<br />

Ken Waxman<br />

Goldstream<br />

Julian Gutierrez’s Project Goldstream<br />

Independent (juliangutierrezsproject.<br />

bandcamp.com/releases)<br />

! Following the<br />

well-known saying<br />

“if you can’t beat<br />

‘em, join ‘em,” why<br />

beat the summer<br />

heat when you can<br />

make the best of<br />

it with this fiery,<br />

scintillating mix of<br />

tunes? Cuban-born pianist Julian Gutierrez<br />

brings the best of both Latin and jazz music<br />

on his latest album, melding the two worlds<br />

together flawlessly. He adds his own twist<br />

to the record, arranging the collection of<br />

songs for a big band which brings a whole<br />

new, expansive sound to the repertoire. All<br />

tunes are originals penned by Gutierrez<br />

and arranged by both him and bassist Jean-<br />

François Martel.<br />

Duality is a strong theme throughout this<br />

album, not only from a genre-based perspective<br />

but also in an imaginative way. Gutierrez<br />

explains that the music reflects “…nature,<br />

both the landscapes of my homeland… and<br />

the beauty and poetry that emanate from<br />

the landscapes of Canada, my host country.”<br />

This duality is especially noticeable in pieces<br />

such as Canard Goûteux, where the rhythmic<br />

influence of his Cuban roots, seen in Martel’s<br />

bass line combined with the groove of<br />

drummer Axel Bonnaire, is blended with the<br />

alternating mellow chord progressions and<br />

blazing piano riffs of Gutierrez, reflecting<br />

more of the Canadian, tempered side within<br />

the chords. Featuring a full lineup of stellar<br />

international musicians, the prolific pianist’s<br />

vision for this album is propelled to new<br />

heights. Jazz lovers looking for a foray into a<br />

pleasant musical landscape, this is for you.<br />

Kati Kiilaspea<br />


Taraf Syriana<br />

Omar Abou Afach; Naeem Shanwar;<br />

Noémy Bruan; Sergiu Popa<br />

Lula World Records LWR0<strong>29</strong><br />

(lulaworldrecords.ca/taraf-syriana)<br />

! Montrealbased<br />

quartet<br />

Taraf Syriana was<br />

founded in 2020.<br />

Its international<br />

virtuoso musicians<br />

who had<br />

moved earlier<br />

to Montreal are<br />

Romani/Moldavian Sergiu Popa (accordion),<br />

Syrian-based Omar Abou Afach (viola) and<br />

Naeem Shanwar (qanun), and Swiss Noémy<br />

Braun (cello). In this self-titled debut ten<br />

track release, the quartet interprets, arranges<br />

and performs Syrian and Romani folk music,<br />

with other folk traditions from the region like<br />

Balkan and Kurdish, showcasing their dedication<br />

to this music.<br />

Opening track Me Dukhap Tuke features<br />

Popa and Braun with guest instrumentalists<br />

Nazih Borish (oud) and Mohammed Raky<br />

(darbouka) accompanying famed Romani<br />

guest vocalist/guitarist Dan Armeanca in<br />

his happy, exuberant song featuring soaring<br />

vocals above florid accordion lines and attention-grabbing<br />

vocal shots during instrumental<br />

solos. Armeanca also sings his Romani<br />

lyrics Come dance to my song above these<br />

supportive tight instrumentalists in the<br />

upbeat Sare Roma. Raky joins the quartet<br />

in the traditional Kurdish folk song Kevoke<br />

(The Dove), an accessible rendition with<br />

melodic musical accordion alternating with<br />

other instrumental solos. A surprise is Abdul-<br />

Karim’s Tango by Mohammed Abdul-Karlm,<br />

a “tango” in which its composition and Taraf<br />

Syriana’s instrumentation change the traditional<br />

tango sound colour while maintaining<br />

some familiar stylistic qualities. Guest vocalist<br />

Ayham Abou Amar and all instrumentalists<br />

perform the Syrian folk song Al Maya in an<br />

almost pop-sounding rendition. Taraf Syriana<br />

play their meditative, reflective composition<br />

Dialogue intimes. Each slow carefully placed<br />

musical note to closing fade shows a different<br />

50 | <strong>September</strong> <strong>2023</strong> thewholenote.com

side of the ensemble.<br />

This Taraf Syriana release is perfect,<br />

uplifting music.<br />

Tiina Kiik<br />

Little Bit a ‘ Love<br />

Denielle Bassels<br />

Independent (deniellebassels.com)<br />

! Vibrant and fresh<br />

are two descriptors<br />

that are worn<br />

easily by delightful<br />

and innovative<br />

vocalist, tunesmith<br />

and arranger,<br />

Denielle Bassels.<br />

With the release<br />

of her second studio project, Bassels shines<br />

and establishes herself as one of the most<br />

intriguing jazz/pop singer/songwriters on the<br />

current scene. Harkening to the swing era,<br />

and yet firmly contemporary, Bassels is joined<br />

here by talented musicians throughout,<br />

including her core band, bassist Russ Boswell,<br />

violin/viola player Drew Jurecka, vibraphonist/guitarist<br />

Thom McKay (who, along<br />

with Bassels, serves as co-producer here) and<br />

noted percussionist Chendy Leon, as well<br />

as guests.<br />

The majority of tunes here were both<br />

composed and arranged by Bassels, and the<br />

uplifting opener (and title track) incorporates<br />

irresistible swing motifs with Bassels’ smoky,<br />

sultry, sonorous voice, accented by sweet<br />

background vocals. Another treat is Tangled<br />

Thread, the complex rhythmic and melodic<br />

vocal line reminiscent of the sassy Boswell<br />

sisters, replete with a fine acoustic guitar solo<br />

from Tak Arikushi. Another stunner is Lazy<br />

Gazing – a perfect marriage of melody, lyrics<br />

and arrangement. The bluesy Gone is a heartrending<br />

and soulful romantic idyll rendered<br />

with intensity and heart, and the inclusion<br />

of McKay’s vibes on the Cinema Noir-ish Big<br />

Bad Wolf is genius.<br />

The closer, I Wanna Be Like You, is<br />

consummately performed by Bassels,<br />

and with the clever addition of Jacob<br />

Gorzhaltsan’s stirring clarinet work, the<br />

listener is magically transported to a lower<br />

east-side speak easy where they are regaled<br />

by a talented, luminous chanteuse!<br />

Lesley Mitchell-Clarke<br />

Weyn Allah<br />

Al Qahwa<br />

Independent (alqahwa.bandcamp.com/<br />

album/weyn-allah)<br />

! Depending on<br />

who you talk to,<br />

the word multiculturalism<br />

is either<br />

meaningless, or a<br />

politically correct<br />

supercharged<br />

word, especially in<br />

a post-pandemic<br />

world where everyone becomes easily overheated<br />

about everything. If the media is to be<br />

believed even Canada has not been spared the<br />

blushes of intolerance, and there seems no<br />

reason to doubt this.<br />

However, Canadian artists like the oneworld-one-voiced<br />

Al Qahwa have always<br />

fought back against any form of divisiveness<br />

in the exquisite poetry of their music, sometimes<br />

with subtly crafted lyrics and at other<br />

times with more overt sounding words. The<br />

album Weyn Allah feels slightly different,<br />

not only because the title asks (and translates<br />

to) Where is God? But more than that there<br />

appears to be a more elemental, haunting cry<br />

that emanates from this music. The song of<br />

the same name hits the proverbial right spot<br />

in every way: poignant lyrics, elegant music<br />

and perfect execution.<br />

Elsewhere, on Dunya Farewell chromatic<br />

notes sigh, but the harmonic cushioning<br />

rarely falls where you anticipate. Vocalist<br />

Maryam Tollar embodies this elegance in the<br />

plaintive evocations of her vocals sung with<br />

Jono Grant’s excellent performance on nylonstring<br />

guitar.<br />

The lonesome wail of Ernie Tollar’s reeds<br />

and winds is breathtaking. Meanwhile, the<br />

delicately knitted single notes from Demetri<br />

Petsalakis’ oud, framed with the deep<br />

rumble of Waleed Abdulhamid’s bass and the<br />

resonant thunder of Naghmeh Faramand’s<br />

daff all make for a truly affecting experience.<br />

Raul da Gama<br />

Your Requests<br />

Laila Biali<br />

Imago EMG607 (lailabiali.com)<br />

! Gifted pianist<br />

and vocalist Laila<br />

Biali has just<br />

released an all-star<br />

recording with an<br />

interesting twist;<br />

in addition to<br />

welcoming vocal<br />

luminaries Kurt<br />

Elling, Emilie-Claire Barlow and Caity Gyorgy,<br />

the repertoire is based on requests that she<br />

has received from audience members during<br />

her performances.<br />

There are ten exquisite tracks here. Biali’s<br />

instrumental collaborators include clarinetist<br />

Anat Cohen, Grégoire Maret on harmonica,<br />

Michael Davidson on vibes, Kelly Jefferson<br />

on tenor/soprano sax, George Koller on<br />

bass, Ben Wittman (who also shares arranging<br />

and production credits with Biali) and<br />

Larnell Lewis on drums and Maninho Costa<br />

on percussion.<br />

First up is the classic standard, Bye Bye<br />

Blackbird, arranged with a contemporary and<br />

rhythmic sensibility, replete with a dynamic<br />

sax solo from Jefferson. Directly following is<br />

a diaphanous take on Oscar Levant’s Blame<br />

it on My Youth. Biali’s voice is sultry and<br />

emotive here, perfectly interpreting the story<br />

of the poetic lyric. Also of note is Rogers<br />

and Hart’s immortal ballad My Funny<br />

Valentine, rendered here (with palpable<br />

musical chemistry) as a lovely duet between<br />

Biali and the inimitable Elling.<br />

A true highlight is an inspired duet with<br />

Barlow on Rogers and Hammerstein’s My<br />

Favourite Things. Barlow and Biali harmonize<br />

effortlessly and easily manifest a joyous<br />

track. Additionally, Biali shines on both piano<br />

and voice on a sumptuous take on Autumn<br />

Leaves. Her interpretation of Johnny Mercer’s<br />

renowned lyric is perfection itself, enhanced<br />

by another dynamic soprano sax solo from<br />

Jefferson and sensitive and creative bass work<br />

from Koller.<br />

Lesley Mitchell-Clarke<br />

Nowhere Girl<br />

Nicky Schrire<br />

Anzic Records (nickyschrire.bandcamp.<br />

com/album/nowhere-girl)<br />

! This is singersongwriter<br />

Nicky<br />

Schrire’s first<br />

release in ten years<br />

and she’s come a<br />

long way since then,<br />

both geographically<br />

and musically.<br />

Born in London,<br />

England, raised<br />

in South Africa and educated in New York,<br />

Schrire has made her home in Toronto for the<br />

last few years. Her previous jazz recordings<br />

had a healthy dose of covers from the Great<br />

American Songbook, with a smattering of<br />

originals, but Nowhere Girl’s 11 tracks are all<br />

(but one) written by Schrire.<br />

Whether this is a jazz album is debatable,<br />

if you care about such things, but what’s<br />

not in doubt is the high quality of the songwriting,<br />

singing and playing. Supported by<br />

the Canadian jazz trio, Myriad3 (Ernesto<br />

Cervini, drums, Dan Fortin, bass and Chris<br />

Donnelly, piano) and local luminary saxophonist<br />

Tara Davidson, there’s plenty to<br />

satisfy jazz fans. Starting with the driving title<br />

track and finishing in a similar high energy<br />

style with My Love featuring Mozambican<br />

Julio Sigauque’s guitar work. In between is<br />

a collection of lilting, poetic songs delivered<br />

with Schrire’s pretty, unaffected voice that<br />

lends a somewhat Celtic feel to many of the<br />

tracks. Her travels inform a lot of this new<br />

album both literally, with songs like In Paris<br />

and This Train (about New York City), and<br />

also musically, as styles from various cultures<br />

subtly leave their marks.<br />

Cathy Riches<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 51

utalovechamp<br />

Brandon Seabrook<br />

Pyroclastic Records PR27 (store.<br />

pyroclasticrecords.com)<br />

! Brandon<br />

Seabrook is known<br />

to be a composer<br />

who eschews both<br />

sonic norms and<br />

overheated emotion.<br />

But on brutalovechamp<br />

he seems to<br />

tear up that musical<br />

playbook, to turn his own insides out and<br />

even bare his soul. These are works, seemingly<br />

like musical shards of raw emotion. You<br />

don’t really need to unscramble the threeword<br />

mash-up of the title or reach the end<br />

of the booklet to discover that Seabrook was<br />

gutted by the loss of man’s best friend, his<br />

dog Champ.<br />

Seabrook creates dizzying layering-on of<br />

tonal cadences, mixing guitar, mandolin and<br />

banjo, into the low instrumentation of bass<br />

recorder, alto, B-flat and contrabass clarinets<br />

and two contrabasses. Into this he has a<br />

cellist pour liquid notes, while the ensemble<br />

glimmers, redolent of a myriad of percussion<br />

instruments. This unusual collision of timbre<br />

creates a musical feast for the senses.<br />

If Seabrook means for you to feel the<br />

evocations of his pain at losing his beloved<br />

dog, then this you certainly do up close and<br />

personal on brutalovechamp. This is all<br />

inward-looking music, raw in a Jean-Paul<br />

Sartre-esque, existential sort of way. And<br />

although Seabrook may be averse to labels,<br />

some works cannot escape sonic allusions<br />

to the symbolists like Arthur Rimbaud, in<br />

for instance, Gutbucket Asylum. But make<br />

no mistake, every piece of music on this<br />

recording bears the authentic imprint of<br />

Seabrook’s feral sound palette.<br />

Raul da Gama<br />

Something in the Air<br />

The Struggle for Democracy in Portugal<br />

and the Growth of Innovative Music<br />


For Portugal, a country that was still struggling to solidify its<br />

democracy in the 1980s following nearly 50 years of outright<br />

dictatorship, one unexpected byproduct of that struggle has been<br />

a burgeoning free music scene. Resourceful, the scene nurtured by the<br />

struggle for the country’s expanding freedoms now includes<br />

internationally known veterans like violinist Carlos Zingaro, younger<br />

local experimenters and has started to attract improvisers from<br />

elsewhere.<br />

One experienced player is Paris-born pocket<br />

trumpeter Sei Miguel, who has lived in<br />

Portugal since 1986 and has propagated local<br />

free music since then. Road Music (Clean Feed<br />

CF 621 CD cleanfeedrecords.com/album/<br />

road-music) features ten tracks by his Unit<br />

Core recorded between 2016 and 2021. Most<br />

position Miguel’s smeared brass timbres<br />

in microtonal cohabitation with plunger<br />

tones from Fala Mariam’s alto trombone and Bruno Silva’s guitar clips<br />

and twangs with Pedro Castello Lopes adding rhythms from percussion<br />

instruments. These understated pulses are particularly effective on<br />

Sentinela and Canção, with triangle clinks decorating broken octave and<br />

unison short brass bites. Not only do the woody clave smacks provide<br />

a distinctive backing when joined with guitar strums on Canção, but<br />

Mariam’s contrapuntal designations take up as much space as the<br />

trumpet lines. Silva’s percussive string picking is featured on Sentinela<br />

#2 which provides a rare instance of the trumpeter moving past his usual<br />

breathy sighs to a sequence of bugling triplets that torque the tune’s<br />

excitement before harmonizing with the trombonist’s horizontal slurs.<br />

Otherwise, expositions are usually slow-moving and often descend into<br />

near stasis as dramatic bent notes and grit are favoured over unbroken<br />

lines and half-valve expressions. Still there are enough pivots throughout<br />

to trombone tailgate slides, trumpet squeaks and guitar twangs to feature<br />

tonal examinations along with related continuum.<br />

At nearly the opposite end of the sound<br />

spectrum is Echoisms (Clean Feed CF 628<br />

CD cleanfeedrecords.bandcamp.com/<br />

album/echoisms) by young veteran Lisbon<br />

guitarist Luis Lopes and his Abyss Mirrors<br />

tentet. Featured on the seven tracks of the<br />

harsh and turbulent title composition are<br />

two saxes, two players using electronics,<br />

a three-person string section, an electric<br />

bassist and another guitarist besides Lopes. Although working<br />

without a drummer, there are enough guitar flanges, bass thumps<br />

and electronic pulses to anchor the angled and squeaky string glissandi<br />

as well as the doits, honks, smears and altissimo excursions<br />

from the reed players. Most sequences rumble along with Felipe<br />

Zenícola’s electric bass throb and electronics signals creating linearity<br />

until straight-ahead movement is shattered as Lopes’ and the onename<br />

Flak’s effects pedal motions and unusual string techniques join<br />

with dog-whistle-like screeches from saxophonists Bruno Parrinha<br />

and Yedo Gibson to stretch the exposition to near schism until it rights<br />

itself by the following track. By the penultimate Echoism VI however a<br />

bagpipe-like tremolo drone from the dual saxes sets up the final track<br />

– and the suite’s – resolution. Moving through a building crescendo<br />

of cello, violin and viola spiccato shakes, jerky electronic whizzes and<br />

triple-tongued enhanced reed multiphonics, the resolution slows the<br />

narrative to single guitar licks cushioned by voltage pulsations.<br />

Although violist Ernesto Rodrigues and guitarist Flak from Lopes’<br />

tentet are also part of the Suspensão octet on Impromptu (Creative<br />

Sources CS 773 CD creativesourcesrec.com/ ernesto_material/discography/disc_773.html)<br />

the music is as hushed as Echoism is boisterous.<br />

A single, almost 35-minute improvisation, whose 15-word title is<br />

nearly longer than the music itself, it confirms Portuguese improvisers’<br />

versatility. With frequent silent intervals, the evolving track<br />

alternately connects and separates timbres that suddenly arise and<br />

52 | <strong>September</strong> <strong>2023</strong> thewholenote.com

just as quickly vanish. The introduction<br />

matches Carlos Santos’ synthesizer washes<br />

with Bruno Parrinha’s bass clarinet burbles<br />

as spiccato string vibrations, woody clanks<br />

and triangle pings from percussionist José<br />

Oliveira and Luisa Gonçalves’ occasional<br />

piano chords decorate and disrupt the<br />

exposition. One-third of the way along a<br />

combination of tougher guitar frails and Nuno Torres’ alto saxophone<br />

flutters pushes the narrative into horizontal motion. However that’s<br />

swiftly overcome by ray-gun-like whooshes and sul ponticello pressure<br />

from the violist and bassist João Madeira, while Gonçalves’<br />

vibrating patterns from both keyboard and stroked internal strings<br />

reintroduce linear movement. A further expansion of altissimo cries<br />

from the reeds is subsumed by an unvarying double bass groove.<br />

Voltage drones and pinpointed but rugged metal percussion slaps then<br />

affiliate for a logical conclusion. Like much free form music the key<br />

isn’t resolution but the tonal varieties of evolution.<br />

The same could be said for The Wind Wends<br />

its way Round (atrito-afeito 012 atritoafeito.com)<br />

by Montreal pianist Karoline<br />

LeBlanc seconded on three of the six<br />

tracks by Portuguese drummer Paulo J<br />

Ferrreira Lopes. A frequent musical visitor<br />

to Portugal, the pianist’s playing completely<br />

negates the Canadian cliché of deference<br />

and politeness. Pouring intensity<br />

into her improvisations, all tracks are taken at presto or prestissimo<br />

tempos and emphasis is almost always on the ringing bottom notes.<br />

Sympathetically adding press rolls and rolling patterns, Lopes mostly<br />

stands aside from the boiling cauldron of emphasized notes. Perfectly<br />

capable of slowing the tempo, as she does on Porter ses pas, and<br />

able to leapfrog into treble clef tinkles from darker interludes at will,<br />

LeBlanc takes these quick changes in almost literal stride. Tinkling<br />

tonal interludes usually occur at the same time as her other hand is<br />

crunching and clattering basement notes that resonate through the<br />

soundboard and piano’s wood. Always in control, her pumped-note<br />

profusion may resemble those of a player piano, but there’s cerebral<br />

planning attached. Splayed and sputtering piles of notes may issue<br />

from the piano on the title tune and concluding Round Talk yet these<br />

hard returns and dips into darker timbres are heard in symmetry with<br />

unexpected glissandi detours or slapping rebounds. When it appears,<br />

as on The Wind Wends its way Round, that this pressurized playing<br />

will never lose its ferocity, LeBlanc surprises by rebounding to a measured<br />

pace and sudden stops.<br />

What hasn’t stopped is the number of<br />

Portuguese players experimenting with<br />

musical forms and collaborating with<br />

international players. MUEJL’s By Breakfast<br />

(4Da Record CD 006 4darecord.bandcamp.com)<br />

for instance, while recorded in<br />

Lisbon, features local bassist João Madeira,<br />

also on Impromptu, Brazilian clarinetist<br />

Luiz Rocha, French tenor saxophonist Michel Stawicki, Turkish<br />

cellist Uygur Vural and Italian vocalist Elisabetta Lanfredini. With<br />

the nine tracks as consolidated as the band name made up of the<br />

members’ initials, the program displays the tension generated from<br />

string/reed equilibrium, while Lanfredini stretches her tessitura to<br />

approximate timbres from lyric soprano nonsense mumbles, alpine<br />

yodels and wispy basso breaths. Contrapuntal results are expressed<br />

at greatest lengths on Kia’s Vocal Calls as the singer’s melismatic<br />

switch from bel canto to basement mumbles stretches still further<br />

the exposition defined by heavily vibrated bass thumps and warm<br />

clarinet lines. With Lanfredini moving to replications of davening at<br />

one point and Aboriginal chants at another, integration is invoked<br />

when vibrated drones from voice and reed become indistinguishable.<br />

Overall the five constantly move from lightness to darkness as<br />

chalumeau register clarinet and timed sul tasto string strokes can<br />

vanish in a maze of verbal nonsense syllables or, despite cross talk,<br />

bel canto vocalizing can smack up against reed tongue slaps and a<br />

mournful cello line. Furthermore, as demonstrated on Ohai Forest<br />

Suite, vocal mewling doesn’t detract from reed multiphonics, but<br />

climaxes in harmonized breathy tones.<br />

As Portuguese democracy continues to solidify, the hope – and<br />

expectation – is that creative music will evolve with it.<br />

Frédéric Lambert & Ali Kian Yazdanfar<br />

The works for viola and double bass in Iridescence let us<br />

see and hear from a different vantage point: two string<br />

instruments, often found in the shadows and yet filled<br />

with prismatic possibility and potential.<br />

Listen:<br />

leaf-music.lnk.to/lm268<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 53

Old Wine, New Bottles<br />

Fine Old Recordings Re-Released<br />


Born on August 28, 1894 in Graz, Austria Karl Böhm was one of<br />

the most outstanding conductors of the last century. He made his<br />

first foray into conducting in 1917 in his hometown before<br />

migrating to Munich in 1921 at the behest of Bruno Walter. In 1933<br />

Böhm debuted at the Vienna State Opera and in the same year was<br />

appointed GM of the Dresden State Opera. Upon his death in 1981 he<br />

left many recordings with different orchestras in a wide repertoire and<br />

is best known for his Beethoven, Brahms, R. Strauss, Wagner and of<br />

course Mozart. Some Torontonians may remember him guest<br />

conducting here in the 1960s. I attended a very memorable rehearsal<br />

and concert at Massey Hall. He was a strict disciplinarian with a very<br />

fine ear.<br />

SWR Classic has issued a six-disc CD set<br />

of live recordings from concerts with the<br />

Radio Symphony Orchestra Stuttgart. This<br />

orchestra, as many believe, is a superior<br />

ensemble and better than many European<br />

philharmonics. The first disc contains two<br />

works from a live concert on <strong>September</strong> 18,<br />

1974, Mozart’s Symphony No.40 K550<br />

followed by the Beethoven Piano Concerto<br />

No.4 with pianist Branka Musulin. This is the first performance and<br />

recording from the set and I found it movingly fresh and satisfying. It<br />

certainly gave me great expectations that were completely realized by<br />

the repertoire, performances and recordings that followed.<br />

The set continues with Symphonies Nos.2 and 7 by Beethoven,<br />

recorded in concert in Stuttgart on February 14, 1979. Disc Three contains<br />

Beethoven’ s Ninth Symphony recorded live in Stuttgart on November 12,<br />

1959 with soloists of Ruth-Margret Pütz, Sibylla Plate, Walter Geisler and<br />

Karl-Christian Kohn, with the Sudfunkchor and Philharmonischer Chor<br />

Stuttgart. As I expected this is a dramatic and intense performance with<br />

no holding back in the many explosive tuttis that characterize this work.<br />

The choir and soloists complete a flawless cast.<br />

Johannes Brahms waited many years to write his first symphony.<br />

People were waiting for him to write a “Beethoven Tenth Symphony”<br />

as he was thought to be the logical successor to Beethoven and able<br />

to compose a work of this calibre no matter what he would call it. Of<br />

course, he had no intention to put himself in that position. He started<br />

his first symphony at the age of 22 but didn’t finish it until 1876 at the<br />

age of 43. If you don’t know the work, just know it is pure Brahms.<br />

Böhm understood that perfectly and his affectionate performance<br />

recorded in the studio reflects his deep admiration and understanding<br />

of the composer. Also on this disc is the well-known Schumann Piano<br />

Concerto Op.54, again with Musulin.<br />

Disc Five opens with the beautiful Dvořák Symphony No.9 “From<br />

the New World.” A very animated approach to this popular work<br />

brings a more inspired performance than we are used to hearing. It<br />

is wonderful to hear the wind instruments in such balance with the<br />

orchestra. One can only imagine that this is what Dvořák intended.<br />

On the same disc is a vital performance of the Paul Hindemith<br />

Symphonic Metamorphosis of Themes by Carl Maria von Weber.<br />

This performance is unusually translucent. Disc Six contains one<br />

work, the Seventh Symphony by Anton Bruckner recorded live on<br />

<strong>September</strong> 18, 1974 in Stuttgart. Böhm certainly knew his way around<br />

Bruckner as this live performance confirms.<br />

Karl Böhm The SWR Recordings<br />

SWR 19123CD (naxos.com/CatalogueDetail/?id=SWR19123CD)<br />

From Rhine Classics we have an impeccable<br />

transfer of the Jascha Heifetz legendary<br />

New York concert of 1947 on two CDs. The<br />

Korngold Violin Concerto in D Major Op.35<br />

broadcast performance is presented with<br />

the radio announcer’s introduction. He<br />

gives a brief history of Heifetz’ connection<br />

to the work as well as letting us know that<br />

Korngold himself is in the audience.<br />

After a little bit of tuning, we hear Heifetz and the New York<br />

Philharmonic conducted by Ephrem Kurtz. The recording is immaculate<br />

with neither click nor distortion belying its age. Clearly Heifetz<br />

is in position close to the microphone, as was his preference and the<br />

performance sounds authoritative. Also from the same March 1947<br />

concert, we have the Mozart Violin Concerto No.5 in A Major K219, the<br />

“Turkish.”<br />

On the second disc we hear the Beethoven Violin Concerto with<br />

the Detroit Symphony Orchestra under Paul Paray, this one from<br />

the United Nations General Assembly Hall in New York City on<br />

December 9, 1959. After the brilliant Carnegie Hall acoustics this<br />

performance sounds rather dry but all together certainly worth<br />

another hearing. The Brahms Double Concerto with Heifetz and<br />

Gregor Piatigorsky with an unnamed orchestra from December 15,<br />

1966 is clearly an amateur recording from the stalls. This recording<br />

was made by a member of the audience and wisely released for its<br />

historic value as this was the last time Piatigorsky and Heifetz were<br />

to play together. Finally, the Jules Conus Violin Concerto edited by<br />

Leopold Auer from Carnegie Hall with unnamed orchestra and<br />

anonymous conductor. All in all, a must-have disc for Heifetz fans,<br />

including me.<br />

Jascha Heifetz] – The Legendary New York Concerts<br />

Rhine Classics RH-025 (rhineclassics.com/products/rh-025-2cdjascha-heifetz-legendary-new-york-concerts).<br />

English Decca has issued another collection<br />

from their vaults of unreleased<br />

masters of unique performances in their<br />

famous beautiful sound, the excellence<br />

of which may be well remembered from<br />

when they introduced Full Frequency<br />

Range Recordings. They were exceptional<br />

for their day and some of them are prized<br />

by collectors. One of these invaluable<br />

unreleased recordings is the three-CD set of the late soprano Jessye<br />

Norman. I’ve been looking forward to this since it was announced,<br />

and I’ve not been disappointed. Norman was well known in some<br />

circles as a “dramatic soprano” a title she resented as her range<br />

was far beyond that described in such a way. On the first disc we<br />

have excerpts from Tristan and Isolde recorded in Leipzig with the<br />

Gewandhausorchester conducted by Kurt Masur during March and<br />

April in 1998. In the cast are Norman and Thomas Moser, Hannah<br />

Schwartz (Brangäne) and Ian Bostridge (Seemann). There are arias and<br />

duets from each of the four acts. The performances are excellent as is<br />

the conducting under the sensitive direction of Masur. The Liebestod<br />

is heartbreaking.<br />

In the second disc there is outstanding singing in both the Four<br />

Last Songs of Richard Strauss and Wagner’s Wesendonckl-lieder.<br />

Performances are meaningful with sensitive support by the Berlin<br />

54 | <strong>September</strong> <strong>2023</strong> thewholenote.com

Philharmonic under James Levine.<br />

The third disc brings us arias from the Joseph Haydn Scena di<br />

Berenice and arias from Berlioz’s Cléopâtre followed by Benjamin<br />

Britten’s Phaedra. Haydn’s Beatrice and Benedict is very attractive as<br />

conducted by Seiji Ozawa with the Boston Symphony.<br />

This is a wonderful set that has given me great pleasure hour after<br />

hour. I must admit then that the Four Last Songs has regularly found<br />

its way to my player, although perhaps not quite as often as the third<br />

disc. But who’s checking?<br />

Jessye Norman – The Unreleased Masters<br />

Decca 485<strong>29</strong>84 (store.deccaclassics.com/*/CD/The-<br />

Unreleased-Masters/7MRD1YD8000).<br />

What we're listening to this month:<br />

36 8-Track<br />

Ashley Bathgate<br />

40 A Left Coast<br />

Tyler Duncan and Erika Switzer<br />

41 Basta parlare!<br />

Les Barocudas<br />

42 Variation<br />

David Rogosin<br />

42 Around Baermann<br />

Maryse Legault & Gili Loftus<br />

43 Breaking Barriers<br />

Carlos Bastidas<br />

43 Femmes de légende<br />

Élisabeth Pion<br />

44 Saint-Saëns Duos for Harmonium & Piano<br />

Miloš Milivojević & Simon Callaghan<br />

46 And the Lord Hath Taken Away<br />

The Holy Gasp<br />

46 Za Klavir: For the Piano<br />

Nina Platiša<br />

47 Recesses<br />

Lee Weisert<br />

49 The Toronto Project<br />

The Composers Collective Big Band<br />

51 Nowhere Girl<br />

Nicky Schrire<br />

Read the reviews here, then visit<br />

thewholenote.com/listening:<br />

thewholenote.com <strong>September</strong> <strong>2023</strong> | 55

An agency of the Government of Ontario<br />

Un organisme du gouvernement de l’Ontario<br />

Directed by Bruno Weil<br />

Beethoven’s resounding 4th and<br />

monumental 5th symphonies open<br />

Tafelmusik’s 45th anniversary season.<br />

Sept 22–24, <strong>2023</strong><br />

Koerner Hall, TELUS Centre<br />

for Performance and Learning<br />


4 & 5<br />

UP NEXT<br />


Directed by Emmanuel Resche-Caserta<br />

Explore the rich tapestry of French and Italian<br />

baroque styles as they intertwine in perfect harmony.<br />

Oct 13-15, <strong>2023</strong><br />

Jeanne Lamon Hall, Trinity-St. Paul’s Centre<br />

Full season tickets are on sale now at tafelmusik.org

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