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PRICELESS! Vol 21 No 3 NOVEMBER 1 - DECEMBER 7 2015 LISTINGS | FEATURES | RECORD REVIEWS INSIDE Boesmans’ Julie comes to CanStage Radvanovsky comes to Koerner William Norris comes to Tafelmusik Matthew Jocelyn The Holidays at Baroque Orchestra and Chamber Choir BACH CHRISTMAS ORATORIO IVARS TAURINS JANA MILLER DIRECTOR SOPRANO BENNO SCHACHTNER COUNTERTENOR JAMES GILCHRIST TENOR PETER HARVEY BARITONE “Rejoice, exult! Rise up, glorify the day!” TICKETS SELLING QUICKLY! Dec 3-6, 2015 TRINITY-ST. PAUL’S CENTRE, JEANNE LAMON HALL (TSP) Bach’s celebration of Christmas is an evocative recounting of the nativity story that is at once intimate and jubilant. MESSIAH CONCERTS SPONSOR & SEASON PRESENTING SPONSOR INSPIRING HARMONY #tafelmusik Featuring a stellar international cast of soloists and the renowned Tafelmusik Chamber Choir, it’s the perfect way to kick off the holiday season. 416.964.6337 tafelmusik.org MESSIAH at KOERNER HALL Toronto’s Hallelujah Event! IVARS TAURINS DIRECTOR JOANNE LUNN SOPRANO MARY-ELLEN NESI MEZZO-SOPRANO RUFUS MÜLLER TENOR NATHANIEL WATSON BARITONE HANDEL MESSIAH Dec 16–19 @ 7:30pm KOERNER HALL AT THE TELUS CENTRE (KH) COMPLETE THE MESSIAH EXPERIENCE! Handel Messiah 2CD, Best of Messiah CD, and Sing-Along Messiah DVD Buy your copies at the concert or tafelmusik.org/Shop Don’t miss other Messiah events: SING-ALONG MESSIAH Dec 20 @ 2pm MASSEY HALL (MH) Sing-Along Messiah Vocal Workshop Sat Nov 7 REGISTRATION ONLY $10! tafelmusik.org/Workshop Best of Messiah Handel Messiah Sing-Along Messiah SELLS OUT EVERY YEAR! KH: 416.408.0208 MH: 416.872.4255 tafelmusik.org Volume 21 No 3 | November 2015 FEATURES 6. Neighbourhoods of the Musical Heart | DAVID PERLMAN 8. CONVERSATIONS | Sondra Radvanovsky Comes Home | DAVID PERLMAN 10. CONVERSATIONS | William Norris Comes to Tafelmusik | DAVID PERLMAN 14. ON OPERA | Boesmans’ Julie Comes to CanStage | CHRISTOPHER HOILE 16. CBC RADIO TWO: THE GOLDEN YEARS | Alex Pauk’s Big Idea | DAVID JAEGER BAROQUE MUSIC FROM THE SPANISH NEW WORLD 30. JAZZ STORIES | Jane’s Day, Jane’s Way | ORI DAGAN 61. WE ARE ALL MUSIC’S CHILDREN | MJ BUELL BEAT BY BEAT 17. In with the New | WENDALYN BARTLEY 19. Classical & Beyond | PAUL ENNIS 22. Bandstand | JACK MacQUARRIE 23. Choral Scene | BRIAN CHANG 26. Art of Song | HANS DE GROOT 27. Early Music | DAVID PODGORSKI 28. World View | ANDREW TIMAR 55. Mainly Clubs, Mostly Jazz! | BOB BEN B1 - B2 (33-34) Blue Pages Presenter Directory Update LISTINGS 51. B | Concerts Beyond the GTA 55. D | In the Clubs (Mostly Jazz) 58. E | The ETCeteras DISCOVERIES: RECORDINGS REVIEWED 62. Editor’s Corner | DAVID OLDS 64. Keyed In | ALEX BARAN 66. Strings Attached | TERRY ROBBINS 68. Vocal 68. Early Music And Period Performance 69. Classical & Beyond 71. Modern & Contemporary 71 Jazz & Improvised 73. Pot Pourri 74. Something in the Air | KEN WAXMAN 76. Old Wine, New Bottles | BRUCE SURTEES 78. Jazz, Eh? | STUART BROOMER ACD2 2702 34. A | Concerts in the GTA L’HARMONIE DES SAISONS perfoms works from the 17th and 18th centuries on period instruments under the musical direction of world-renowned New York conductor and harpsichordist ERIC MILNES. Hélène Brunet, Elaine Lachica SOPRANOS Rodrigo del Pozo, Philippe Gagné, Joel Gonzalez Estrada, Mark Bleeke TENORS Mélisandre Corriveau MORE 6. Contact Information & Deadlines 7. Index of Advertisers 60. Classified Ads ARTISTIC DIRECTOR » AVAILABLE FROM NOVEMBER 13, 2015 AVAILABLE IN HD AT ATMACLASSIQUE.COM CD STUDIO MP3 QUALITY QUALITY Cover Photograph Courtesy of Canadian Stage F O R O P E N E R S | DAV I D P E R L M A N Neighbourhoods of the Musical Heart S Lots of the details of that story are still clear in my mind, but I hunted out the issue and re-read it. (You can follow his 30-year journey from Saigon to Hanoi, then Moscow, Tokyo and Montreal yourself, by the way. If you go to thewholenote.com/previous you will discover a complete digitized flip-through archive of every magazine in our 20-year history, handily shelved.) But one crucial detail in the story I had completely forgotten, from the time Dang Thai Son was still a youth in Hanoi: “In 1974 a visiting Russian pianist Isaac Katz heard the 16-year old play, and made it his business to get him to Moscow – to the Moscow State Tchaikovsky Conservatory.” There is such a huge arc of time captured in that photograph: from Isaac Katz in 1974 making the musicianship he saw in 16-year old Dang Thai Son “his business”; to Dang the teacher’s joy at Yike (Tony) Yang’s 2015 triumph. It’s nice to think that without the “sheer plod” of documenting, month in and month out, the simple heartbeat of our musical neighbourhoods, such sweet coincidences, with their capacity to make our hearts soar and sing, might well simply be lost in the mists of time. ometimes a detail from one of the stories or columns in the magazine leaps off the page, grabs my heart, and makes my job of penning this Opener much easier. This time it was a a tiny detail – the caption to a joyous photograph at the top of Paul Ennis’ Classical and Beyond column. Dang Thai Son and Yike (Tony) Yang at the end of the 2015 Chopin Competition it reads. What grabbed me wasn’t the name of 16-year-old Toronto high school student Yike (Tony) Yang who came seemingly out of nowhere to take fifth place in the world’s most prestigious Chopin competition in Warsaw. It was the joy on the face of the man hugging him – Dang Thai Son, described in the column as “one of Yang’s teachers.” Dang Thai Son, you see, was on the cover of The WholeNote in February 2000, in the context of what he called “my real Toronto debut” at Women’s Musical Club of Toronto. That February 2000 Toronto recital was 20 years after he had “burst seemingly out of nowhere, onto the world stage in 1980, when he was awarded the First Prize Gold Medal at the tenth Chopin Piano Competition in Warsaw.” The WholeNote™ VOLUME 21 NO 3| NOVEMBER 1, 2015 – DECEMBER 7, 2015 Centre for Social Innovation 720 Bathurst St., Suite 503, Toronto ON M5S 2R4 PHONE 416-323-2232 | FAX 416-603-4791 Publisher/Editor In Chief | David Perlman [email protected] Chairman of the Board | Allan Pulker [email protected] EDITORIAL Managing Editor | Paul Ennis [email protected] Recordings Editor | David Olds [email protected] Social Media Editor | Sara Constant [email protected] Listings Editor | John Sharpe [email protected] Club Listings Editor | Bob Ben [email protected] SALES, MARKETING & MEMBERSHIP Concerts & Events/Membership | Karen Ages [email protected] Record Industry Sales/Marketing | Thom McKercher [email protected] Directory Sales and Services | Adrienne Surtees [email protected] Advertising/Production Support/Operations Jack Buell | [email protected] Classified Ads | [email protected] Website/Systems | Bryson Winchester [email protected] Website/Systems Support | Kevin King [email protected] Circulation/Subscriptions | Chris Malcolm [email protected] SUBSCRIPTIONS $35 per year + HST (9 issues) 6 | Nov 1 - Dec 7, 2015 THANKS TO THIS MONTH’S CONTRIBUTORS Beat Columnists Hans de Groot, Jack MacQuarrie, Brian Chang, David Olds, David Podgorski, Wendalyn Bartley, Bob Ben mJ buell, Andrew Timar Features Christopher Hoile, David Jaeger, David Perlman, Ori Dagan, Paul Ennis CD Reviewers Alex Baran, Andrew Timar, Bob Ben, Bruce Surtees, Daniel Foley, Dianne Wells, Hans de Groot, Janos Gardonyi, Ken Waxman, Lesley Mitchell-Clarke, Richard Haskell, Robert Tomas, Roger Knox, Stuart Broomer, Terry Robbins, Tiina Kiik, Wendalyn Bartley Proofreading Vanessa Wells, Jennifer Liu, John Sharpe, Paul Ennis Listings David Perlman, Bob Ben, Tilly Kooyman, JennieLea McLeish, Ruth Atwood, Simone Desilets, Jennifer Liu Circulation Team Abram Bergen, Andrew Schaefer, Beth Bartley, Bob Jerome, Dagmar Sullivan, Dave Taylor, Garry Page, Gero Hajek, Jack Buell, Jeff Hogben, Joan Andrews, John Dodington, Lorna Nevison, Mark Clifford, Micah Herzog, Niamh Malcolm, Patrick Slimmon, Paul Ennis, Randy Weir, Robert Faulkner, Sharon Clark, Tiffany Johnson, Tom Sepp, Vicki Stainton, Wende Bartley Layout & Design Bryson Winchester an Ontario government agency un organisme du gouvernement de l’Ontario Upcoming Dates & Deadlines Free Event Listings Deadline 6pm Sunday November 8 Display Ad Reservations Deadline 6pm Sunday November 15 Classifieds Deadline 6pm Monday November 23 Advertising Materials Due 6pm Friday November 18 Publication Date Friday November 27 (Online) Tuesday December 1 (Print) Volume 21 No 4 covers December 1, 2015 to February 7, 2016 WholeNote Media Inc. accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Printed in Canada Couto Printing & Publishing Services Circulation Statement November 2015: 30,000 printed & distributed Canadian Publication Product Sales Agreement 1263846 ISSN 14888-8785 WHOLENOTE Publications Mail Agreement #40026682 Return undeliverable Canadian addresses to: WholeNote Media Inc. Centre for Social Innovation 503–720 Bathurst Street Toronto ON M5S 2R4 COPYRIGHT © 2015 WHOLENOTE MEDIA INC thewholenote.com thewholenote.com Do we repeat ourselves? Very well, then, we repeat ourselves. The way we work around here, our individual columnists usually function pretty autonomously within their beats. They seldom have access, in deciding what to cover, to information about what other writers have also decided to cover. Editorially we attempt to avoid complete trainwrecks (i.e. such as when writers’ individual trains of thought go barrelling down exactly the same track from opposite directions). But more often than not, our reasoning is that if two writers covering different beats find themselves interested in the same story, that’s something of value for our readers to know, because it suggests that the musical item in question has escaped the pigeonhole one might normally consign it to. Andrew Timar in his World View column this month, for example, talks about something he calls “hybridity” – which I understand to be a rigorous and ethical alternative to cultural appropriation. David Dacks, artistic director of the Music Gallery explains the distinction succinctly in Timar’s column: “If one is attempting to join culture A to culture B in a coherent musical statement, one must be really attuned to power relationships, comparative structures/forms/tuning/language, your own personal experience and other points of connection or difference between musical ingredients one is working with.” Is something of the same force at work when beat writers, normally overlapping very little in their interests, find themselves drawn from different directions, like moths, to the same musical candle? Watch for the tendency as you read. Chances are, something special’s going on! Examples? Watch how David Virelles’ Gnosis shows up in Timar’s column and in Wende Bartley’s In with the New. And how Timar’s reference to Jane Bunnett in the context of discussing Bunnett’s role in Virelles’ musical lif resonates with Ori Dagan’s story “Jane’s Day, Jane’s Way,” which charts some of the reasons that Bunnett is this year’s worthy winner of the Premier’s Award for Excellence in the Arts. Congratulations, Jane. Masterpiece means what? As a Facebook RRRR (relatively recent regular reader) it still intrigues me to see which posted topics push people’s buttons enough to get them to comment. One such recent thread came from a musician/ teacher I have a particular interest in, wondering out loud how to explain to her students what a “masterpiece” is. It elicited a large volume of responses, most of which took the form of naming particular works which, in the opinion of the commenter, were worthy of the designation. In my way of thinking that is analogous to responding to the question “what is a forest?” by rhyming off the names, or even individual locations of a whole bunch of trees. My own response was along the lines that a masterpiece is a work where if you don’t get it, the problem is more likely to be with you than with it. What do you think? I can be disgreed with, or enlightened, at [email protected] INDEX OF ADVERTISERS Academy Concert Series 43 Acclarion Records 67 Adam Sherkin 35 ArtsMedia Projects60 ATMA 5, 67 Aurora Cultural Centre39, 42, 50 Bach Children’s Chorus24 Beth Anne Cole37 Cantemus Singers 25 Cathedral Bluffs Symphony Orchestra39 Choirs Ontario39 Christ Church Deer Park Jazz Vespers 55 City of St. Catharines 54 Claude Watson Secondary Arts Program 21, 51 Don Wright Fac Mus/ Western U53 Eglinton St. George’s United Church51 Elizabeth Krehm Memorial Concert40 Ellen Waterman 67 Elmer Iseler Singers 48 Esprit Orchestra 15, 40 Exultate Chamber Singers 48 thewholenote.com Galen Weston / The Rose Room 31, 45 Greater Toronto Philharmonic Orchestra 44 Group of 27 36 Horizon Tax 60 Jubilate Singers 47 Kira Braun42 Lark Ensemble35 Liz Parker60 Long & McQuade30 Massey Hall/RTH 38, 46, 80 MasterPerforming 60 Masterworks of Oakville Chorus & Orchestra42 McGill Symphony Orchestra 13 Mississauga Festival Choir 49 Mississauga Symphony43 Mozart Project41 Music at Metropolitan36 Music Gallery 18 Music Toronto 9, 35, 38, 45 Musicians in Ordinary45 Nagata Shachu 29, 46 Naxos 63, 75 Neapolitan Connection47 New Music Concerts 37, 51 Nine Sparrows Arts Foundation37 NUMUS Concerts18 Ontario Christian Music Assembly49 Ontario Philharmonic43 ORIANA Women’s Choir 44 Ottawa Bach Choir 39 OUR Recordings 63 Pasquale Bros.59 Pax Christi Chorale 23, 50, 62 Peter Hum75 Poculi Ludisque Societas 36 Remenyi House of Music 17 Royal Conservatory 44, 79 Scarborough Philharmonnic 46 Show One Productions 4, 49 Sound Post, The31 Soundstreams11 St. James’ Cathedral 19, 50 St. Michael’s Choir School 49 St. Olave’s Church47 St. Philip’s Jazz Vespers 34, 55 Steinway Piano Gallery10 Sultans of String75 Tafelmusik 2, 3, 36, 48 Tallis Choir 47 Tapestry Opera41 That Choir 25, 38 Toronto Classical Singers 50 Toronto Concert Orchestra 46 Toronto Consort 11, 27, 39 Toronto Mendelssohn Choir 24, 44 Toronto Symphony 38, 41, 77 Toy Piano Composers 43 Trio Arkel38 U of T Faculty of Music 41, 42 Unitarian Congregation in Mississauga44 Village Voices 25 Windermere String Quartet 40 Women’s Musical Club of TO 41 Wychwood Clarinet Choir 51 Yorkminster Park Baptist Church 20, 49 16 TH Annual BLUE PAGES DON’T EVER STOP MUSIC IS FOR LIFE THE BLUE PAGES A rich resource for musicians and all lovers of live music, with detailed profiles of Southern Ontario’s live music makers and their 2015/16 seasons. Printed in October WITH UPDATES IN THIS ISSUE and year-round at thewholenote.com. Inquiries to [email protected] THE CANARY PAGES The WholeNote’s annual guide to the extraordinary choral diversity of Southern Ontario. Find yourself the right choir anytime! Printed every year in May but searchable online year-round. Inquiries to [email protected] THE GREEN PAGES GUIDE TO SUMMER MUSIC Our 2015 enhanced coverage remains online for year-round browsing and dreaming of next summer. Updated and printed in our Summer (June, July, and August, 2016) edition. Inquiries to [email protected] Musical guides online, all the time thewholenote.com/ resources Nov 1 - Dec 7, 2015 | 7 CONVERSATIONS AT THE WHOLENOTE Asked what she thinks it was Manoli heard in her voice at that moment, she becomes reflective. “You know, my voice is a very unique voice – and not saying that egotistically – but it’s … voices fit into boxes, and mine doesn’t really seem to fit into a conventional box. I would say that it’s a large instrument, but it’s not thick. It’s not like a Deborah Voigt, who has a very thick voice, you know, a dramatic voice. Mine is loud, yes, and it confuses people sometimes because they think, ‘Wow, it’s so loud that you should sing Turandot and all the dramatic soprano roles’; but ... I [also] have that agility and I think it really fits more into that category of soprano d’agilità, like Maria Callas in many ways. And it took a long time to really find that niche for me. So I started out with more of the big, full Verdi and then we found this flexibility.” Curiously, the turning point came at a moment in her career that could have been devastating – 2003, after she had vocal cord surgery. “I think that’s where it all came from because I was starting with a clean slate and I didn’t have this impediment that was constantly blocking my voice. And we found this agility in the voice and thought, ‘Wow! Use it!’” I ask her about Beverly Sills’ comment about the Three Queens taking five years off her performing life. “I would call her – she was probably a coloratura soprano, and I think I have a little more weight in my voice, so that the Anna Bolena, which is probably the heaviest of the three, really doesn’t weigh me down, the dramatic demands of that role. Whereas I think that probably weighed her down a lot. I’m sure Roberto Devereux for her was easy! Which for me is going to be probably the most challenging.” We’ve heard her rise to the challenge of Devereux already here, at the COC about a year and a half ago. But there will be differences this time round. “It’s going to be a new production by Sir David McVicar again ... The Anna Bolena was done for Anna Netrebko, four years ago; then we go onto the Maria Stuarda that was done for Joyce DiDonato, probably about two years ago; and then mine will be the new, the last new one. And that will complete the whole cycle.” And down the road? “Well, we do have some new roles coming up. Honestly, I’m very happy singing what I’m singing now. And as long as I can keep singing the bel canto, it keeps the voice young, fresh, flexible, all of that. Mozart didn’t work for me as medicine for the voice. It just didn’t. So this is my medicine for the voice: the bel canto, the early Verdi. Maybe a few later Verdi works will be coming in – some bigger, more spinto roles. Maybe some Russian repertoire will be coming in. And maybe some German repertoire.” “I notice you’ve got some Strauss art song in your December 4 recital,” I say, fishing. “Baby steps!” she replies. “Is that a clue?” I ask, and she relents, slightly. “It probably will be a bit of Strauss and it might be some Korngold in the mix, in the operatic repertoire, and Russian, might be some Tchaikovsky, so yeah, baby steps. You know I think I don’t want to get too dramatic too soon, if I don’t have to. Because I think once you go down that path, there’s no turning back. So I think the voice, more than anything, will tell us when it’s ready to do that. And I think it’s starting to say, ‘Why not?’ I did the Four Last Songs last year, here with the Toronto Symphony, and that was a lot of fun. So ...” In Recital: The program for her December 4 recital is a combination of arias and art song that seems to be the way these days. “Aria in recital is an odd one for me, as an audience member,” I challenge. “It’s like figure skating [replays] where all they show you are the triple axels - all arias without the recitative and without the build.” She has clearly thought about it. “You know, I think nowadays the whole context of recital has changed,” she says. “I think the audience wants to see kind of a snapshot of who you are. My last Koerner Hall recital [Toronto Summer Music, July 31, 2014] was just that, a snapshot: I talked to the audience. I think that’s what they want. They want to know who I am, not only as a singer but as a person. And I am an opera singer. I don’t call myself a recitalist. So this program kind of displays who I am musically. I try to give a snapshot of where I’ve come from – so Rusalka is there. And La Mamma Morta is where I’m going. And I do have Chénier scheduled in the future. So to show people, kind of, this is what I do vocally. But also the language of the Sondra Radvanovsky Comes Home M DAV I D P E R L M A N aking our way to Sondra Radvanovsky’s rural Caledon, Ontario home, on this particular October day, takes us down a blazing gold avenue to the side door of a spacious country house on ten hilly acres, about an hour and a half’s drive from Toronto’s Four Seasons Centre for the Performing Arts. Nice thing about arriving at the side door is it takes one into the house through a light-filled informal side room, past an upright piano laden mostly with opera scores, and lumped in among them an oversize box of Crayola crayons. The wall behind the piano is covered with posters for various operas. The posters collectively supply a snapshot of contemporary opera’s greats – its greatest singers, conductors, directors and opera houses. Radvanovsky’s name is nestled in among them in each poster. I’m already mumbling my (only partially sincere) apologies for the intrusion as I sidle in the door. True, I am disrupting one of a few precious days of “down home” time for Radvanovsky before she and husband/manager Duncan Lear must hit the road again. She has just completed five Donizetti Anna Bolenas at the Met, as well as a glittering New York appearance at the annual Park Avenue Armory Gala (alongside electropop duo The Young Professionals). From here it’s on to Berlin for Manon Lescaut and Tosca. And it’s only October. This season, by the time it’s over, will see her achieve the almost unthinkable feat of performing Donizetti’s “Three Queens” at the Met in a single season. A veritable operatic grand slam, for those of you who don’t mind a sporting metaphor or two. (After all, it was just the fact of taking on Roberto Devereux, Maria Stuarda and Anna Bolena that Beverly Sills described as shortening her operatic career by at least five years.) So, it’s a season that promises to put paid, once and for all, to the lingering label of Radvanovsky as “the greatest Verdi soprano you’ve never heard of” that has inexplicably dogged her career. Best news of all from a Toronto perspective is that, courtesy of Show One Productions and the Royal Conservatory, we will have the opportunity, sooner rather than later, to hear Radvanovsky in the relatively intimate context of a solo recital, December 4 at Koerner Hall, with pianist Anthony Manoli, who, perhaps more than any other musician, has helped to shape her career. (This is why my apology as I enter the side door of her Caledon home is only partly sincere. This is the story I am here to get, and she, being a consummate musical professional in the modern sense of the word, understands that interviews like these are an integral part of the job.) Anthony Manoli: Her professional relationship with Anthony Manoli goes back a very long time. “Twenty years!” she says. “I know; I call him my first husband!” It’s a particularly interesting association in the context of the Three Queens Met marathon now under way. Because it was Manoli, as she explains, who put her on the path of going beyond Verdi - the composer with whose work her career had become inextricably linked - to Donizetti. “He’s the one who heard it” she says. “He heard it in my voice. I had no idea; this was a whole new world that opened up to me. I wasn’t all that familiar with the bel canto repertoire, and we started with Lucrezia Borgia, actually; that was my first foray into the bel canto. And then the Met approached me with the Three Queens, and I said, ‘I’m not so familiar with those. Let me go home and look at them first.’ I knew Bolena, but Maria Stuarda: no. And Devereux: really no ... So we took some time and looked through them and I said, ‘Yes, absolutely. I want to embrace it and take the challenge’.” 8 | Nov 1 - Dec 7, 2015 thewholenote.com METROPOLITAN OPERA Sondra Radvanovsky in Roberto Devereux recital is definitely art song .. so I want to give them both, a little bit of both, but definitely more art song than aria, to kind of end it with a bit of a ‘Wow!’ ... Everything on this recital is music that I love. Because Renata Scotto told me, ‘If you don’t love it, they’ll know it, so don’t do it.’ So everything on this, I love. And it relates to me in one way or another and when they come to the recital, they’ll see how it all relates to me.” Toronto Masterclass: Along with the December 4 Koerner concert, Radvanovsky will also give a masterclass December 1 at 2pm in Walter Hall at the University of Toronto Faculty of Music. It’s a side of her that we have not seen much of before, but from what she says, this is something that is sure to change. “Everywhere I go in the world, I teach masterclasses, usually for free. And I think that will be my passion once I decide to retire from this crazy world, just to keep passing it along. It’s my real passion. It’s passing on that knowledge that I’ve acquired over 20-some years of doing this trade ... passing it on to the new generation, because I felt that I was given so much information along the road, being in the Lindemann Young Artist [Development] Program, and working with the greats, with Renata Scotto, with Régine Crespin, having a close relationship with all these people, picking their brains–this is my 20th year of singing at the Metropolitan Opera. Hearing these people and passing that on: I think it’s my duty and my job to help young kids because if I don’t, what’s going to happen to opera? Next year, and the year after ... It’s a comfortable hour and a half drive from the Four Seasons Centre for the Performing Arts at University and Queen to that country house in the Caledon Hills, with its basement home gym for the opera singer who fully understands that she is an athlete, and its upright piano covered with thumbedthrough scores, marked up with Crayolas. The journey to and from the FSCPA is not one that she has made often enough for some of us, I tell her. “I know I can’t ask what it is,” I say. But will there be news, at the Canadian Opera Company 2015/16 launch this coming January to change that situation? thewholenote.com Nov 1 - Dec 7, 2015 | 9 CONVERSATIONS AT THE WHOLENOTE Sondra Selfie! “Yes there will,” she says. “About what I am doing next year. And the year after that … And the year after that. And the year after that. I will be coming back every year now.” “That’s good news!” I say. “Yes. Alexander Neef and I had a meeting and we decided that this is my home, this is where I live and I love, and I want to sing here every year. And it’s a conscious decision that we made, so it’s a good place for me to try out new repertoire as well … “Well, that was true of your Aida and it was also true of the Devereux, T he WholeNote had a chance recently to chat with William Norris who has arrived in Toronto as the new managing director of Tafelmusik. (Norris replaces Tricia Baldwin, who has moved on to take the helm at the new Isabel Bader Centre for the Performing Arts in Kingston. But that will have to be a story for another day.) Norris comes to Tafelmusik following a ten-year sojourn with Orchestra of the Age of Enlightenment, in London, England, or OAE as he refers to it. OAE has a 30-year history, the past 20 as orchestrain-residence at London’s Southbank Centre. He dropped by our offices to chat with publisher David Perlman. The WholeNote: We won’t start by asking you for sweeping statements about everying you’ve learned about Toronto already! Tell us about Orchestra of the Age of Enlightment and your connection to it. That way our readers who know Tafelmusik can draw some parallels. Norris: OAE has been at Southbank for two decades, Southbank being the equivalent of, say, the Lincoln Center in New York. OAE plays in two halls there, one 900-seater, one almost 3,000 seats, and has been resident there for at least 20 years. And before that? OAE will celebrate their official 30th birthday in June 2016. It was set up by musicians themselves, I suppose as a rebellion against a time when the period bands were led by one conductor (like John Eliot Gardiner or Roger Norrington). The musicians decided they wanted to run their own show and decide who they wanted to be conducted by rather than be dictated to. So the fact of OAE being period instruments and run by musicians was, in 1986, quite a rebellious thing to do to. And it evolved from there. They started out doing a concert here and a concert there, and now it’s over 100 events a year. In a wide range of venues? Yes, actually; though their home base is in London, most events happen outside of London, lots of touring in Europe – in the U.K. and further afield – also resident orchestra at Glyndebourne Opera Festival and frequent appearances at King’s Place in London which is a new venue, more of a chamber-size venue. Three thousand seats is an enormous obligation, tough to fill especially if you are pushing the adventurous end of things. Yes, so obviously the larger programs go there. The OAE’s repertoire extends more into the romantic era than, say, Tafelmusik’s does – this season includes music by Mahler and Bruckner, for example. So for OAE, the Age of Enlightenment didn’t end in 1789, then? No. For us (for them, I should say, now) Age of Enlightenment is more of an ethos than a strict era. Looking at the name, I misread it first as “Orchestra For The Age of Enlightenment,” so as though it was intended to have a dual intent, in terms of how attitudes to this music are going to have to shift if it is to survive. Is there that kind of dual intent in the name? I guess it’s about embodying enlightenment values, about adventure, seeking out new things, exploring different ways of doing things, so the values of the era, not just the music of the era. So values like the coffee houses, the penny university, the salon taking music into milieus not controlled by “the aristocracy,” that kind of thing ... Absolutely yes. That’s definitely the kind of thing the orchestra has been exploring in recent years, taking the music to pubs for example, and venues not usually associated with classical music. I read about one OAE program called The Night Shift that you were particularly involved in. You were at OAE for, what, five years? Ten and a half, actually. A big slice of my time, and of their time. We set The Night Shift up in 2006 – a very experimental thing at the time. so it’s a good town for that.” “I think so. And not just a good town, but an amazing opera house: the hall is spectacular, the acoustics are great, everybody top to bottom is wonderful – the orchestra, the productions that they get. I’m really, really happy to be singing here.” “Right now, as you can hear, I’ve been talking and singing a lot this last week. It takes a toll on you and you have to really be very regimented in what we do. And some days you live like a nun and you don’t go out and see your friends, because, well, it’s our job. But I signed up for it, and all of this – doing interviews – nowadays is all part of it. Hosting – I’m going to be hosting the Live from the Met, the Manon Lescaut which I love to do, it’s really a lot of fun; you get to put another hat on but it’s a lot of talking, a lot of energy for a whole day. So that’s why we come home and refresh and reboot the whole computer system and stay in our pyjamas and let the phone ring …” David Perlman can be reached at [email protected] 10 | Nov 1 - Dec 7, 2015 William Norris Comes to Tafelmusik thewholenote.com A stunning 21st-century operatic take on August Strindberg’s Miss Julie JULIE COMPOSED BY PHILIPPE BOESMANS DIRECTED BY MATTHEW JOCELYN MUSIC DIRECTION BY LESLIE DALA Photo: Carolina Bruck-Santos and Alexander Knop in Julie. Photo by: Gérard Bezard/La République du Centre. North American Premiere November 17–29, 2015 A Canadian Stage production presented in association with Soundstreams with support from the Théâtre d’Orléans (France). PRODUCTION SPONSOR: NEW DIRECTIONS IN MUSIC Black CMYK Pantone thewholenote.com Nov 1 - Dec 7, 2015 | 11 what the orchestra does it’s less easy to find money for something that is just continuing, although actually what made that project successful was keeping at it and developing it, refining it, and building that brand with the right audience. How does the fact that the orchestra performs exclusively on period instruments affect how the orchestra can collaborate with other musicians, in something like The idea was to appeal to new audiences and audiences aged under 35, not by changing the music we play but by changing how we were presenting it, giving it a different surround. So by putting music in other genres before and after it, and having the classical music presented from the stage, by changing the lighting, by having people bring drinks in, encouraging social media, photography, that kind of thing. And it’s been a huge success. From a one-off event it’s now a real part of what the orchestra does, usually between four and ten events a year – four William Norris large-scale and chamber events, say, plus chamber events in pubs as part of the London season. Is there also a strategy at OAE of using, say, orchestra section leads for chamber concerts, for outreach into schools, for example? They do a lot of education work. In fact it’s quite interesting because the education work is led by Cherry [Forbes] who used to play in the orchestra as well, so she had a dual role, something like Charlotte [Nediger] at Tafelmusik, bridging the orchestra/office’s two different worlds. But they do a huge amount of work in schools with children of all ages, and all sorts of public education. One of the real successes of recent years has been what they call OAE Tots, concerts for children under under five years old. Its amazing the kind of rapt attention you can get from children under five if you’ve got the right material. Brought by grandparents? Grandparents or parents, yeah, or ... The grandparent/grandchild dynamic particularly interests me – bypassing the generation between. If you can set it up so you take away the stress for the adults in question of worrying that the children have to behave in a particular way. Yes. And it’s amazing because we’re still using core bits of the baroque repertoire but we might put words to them or actions to them that engage children and at the end there’s a good chance for the children to come right up close to the instruments. I want to go back for a second to something you said earlier about OAE as a player-driven ensemble. It put me in mind of the Vienna Philharmonic which is a player-run association – I don’t think it’s even incorporated. But they decide which conductors to invite, as guests, to lead them. In their case, though, they are also all employees of the Vienna State Opera Orchestra on negotiated leave. So there isn’t the worry of “who’s going to pay the bills?” So in the case of OAE, who does pay the bills? That’s interesting because the other unique thing about OAE is that it was founded with no government money, no public money; it was all individual donors. Obviously in the U.K. there are lots of ensembles funded at arms length by the Arts Council, and now the OAE does get money from the government, but it was a difficult decision to take at the time because they prided themselves on their independence and not being answerable to a government body. Even so, it’s still a very small part of it, less than ten percent. The rest is individual donors, ticket income; but also lots of it – it’s a different model to here – lots of the income comes from touring; touring in Europe is a major part of an orchestra’s income. And recordings? Less so these days because, sadly, now recordings are more things you invest in. In terms of arts council funding, a lot of what happens around here is that, until you are well established, you’re compelled to undertake new projects to apply for funding, so new funds entail taking on new work that overextends the same little band of workers. Yes, that’s a familiar problem. In a way OAE has been quite lucky. In terms of core funding from the arts council we’ve been able able to demonstrate the quality of what we do, and that’s been fine. Certainly if you want to go to trusts and foundations, they want something new, so when the Night Shift was started ... I wouldn’t say it was easy but certainly it was slightly easier to find money, and now that it’s a core part of 12 | Nov 1 - Dec 7, 2015 Night Shift, for example? They can’t really, in fact. So what usually happens is the OAE orchestral bit of the evening is usually a stand-alone thing and the music, say, in the bar happens separately to that so we don’t have problems with things like pitch. Having said that, we have done collaborations, say with London Sinfonietta, which is contemporary music; we’ve recently had a new commission written for both orchestras which actually used the difference in pitch as something within the composition. So we have done collaborations like that, and that’s something I would be interested to do here as well I think. One of the interesting things about Tafelmusik, in the same way as a symphony orchestra in town does, is that it helps stabilize the life of the core players. So they are able engage in all kinds of interesting other musical stuff at times the orchestra isn’t playing. Does OAE have enough critical mass to enable its players to do the same kind of thing? I think it’s slightly different. It does a degree – I mean there are 100 concerts a year - but membership is more fluid than Tafelmusik is; that’s also just how the European music scene is – everyone has portfolio careers, and plays in other orchestras in London, or teaches, or even plays with other orchestras outside London or even Europe, a lot of the time, so it’s a slightly different environment. But one of the great things, or possibly unique, about Tafelmusik in terms of period instrument orchestras is to have such a stable core of musicians. It’s really unusual and I think a great bonus. And of course it develops into a two-way street; for example, [Tafelmusik violinists] Aisslinn Nosky and Julia Wedman came to Tafelmusik from I Furiosi; I think I was there the first time that Jeanne Lamon and Christina Mahler came to hear I Furiosi on their home turf, and things went from there, evidently to mutual advantage. In London I guess it’s just that there are so many ensembles there is no one ensemble which is that binding element, because there’re just too many. But it’s interesting what a musician was saying to me earlier about Tafelmusik and that having that stability is that it encourages risk in a way because the musicians are secure in their position and there’s not the feeling with each job that you’re being assessed and might not get booked again. You have that security that allows you to try things out which you might not have the opportunity to do otherwise. And does OAE also have an associated choir? Yes we do – the Choir of the Enlightenment, you’ll be surprised to hear it’s called! A fantastic choir and they do seven projects a year with the orchestra. It’s on somewhat more of a loose basis than the choir here which is much more part of the core of what the orchestra is all about. I also wanted to ask you a bit about audiences. Tafelmusik has always had a hardcore band of purists in its Birkenstock brigade, I guess you could once have called them – you know, people who emphatically draw “thus far but no further” lines in terms of musical taste. “Early Mozart is fine,” for example. Has OAE gone through a similar kind of challenge in terms of audience horizons? I guess I would have had to be with them ten years before I arrived to know that; interestingly, these days it’s actually the earlier boundary that thewholenote.com and applaud when you feel like it, because the rule about not doing so came a decade or so after this symphony was written. And of course the payoff was absolutely magical, including silence at the end of the work. Yes indeed! And to have the last movement, the despair of it, emerge from applause is way more effective than if everyone was sitting in “Gosh, I can’t clap now” silence. I never quite understand that thing where clapping is frowned upon but coughing and sneezing is absolutely fine. So I’d rather have people evidently enjoying themselves than awkward silence. So how did you find Tafelmusik, or how did they find you? Was there some kind of Aha! moment for you at some point? Or did you know the orchestra already? I knew the orchestra a little bit because in the last few years it’s really raised its profile in the industry because of things like the Galileo Project which was such a different thing for an orchestra to be doing. And actually two people sent me the job listing, two friends of mine, and said, you should look at this. And after the second person said it and someone posted it on Facebook, so it was clearly very social media-age-related, I thought okay I’ll look at it. And I was looking for a new challenge; so it was a chance, really, a lovely chance. I said I wouldn’t pin you down to sweeping generalizations about Toronto so early in your stay, but that was 15 minutes ago. So generalize! I’m enjoying it so far. I’ve seen it in all seasons. I was here for job interviews in January and February which was my first experience of sub-minus 20 weather; I was here in the summer which was much more pleasant. And I enjoyed the fantastic weather over the Thanksgiving weekend. (It’s very British of me to talk about the weather, all the time.) But I’m enjoying getting to know it. I have been surprised at how much is happening musically. One of the things about London is you can feel overwhelmed by how much is going on and you end up seeing nothing. Actually I think I could end up feeling the same in Toronto because there is so much happening – conflicting events I want to go and see. I want to dip my toe into the musical scene as much as possible, and also musical theatre and so on. And everyone has talked about Toronto being a city of neighbourhoods so I am enjoying getting to know those as well. So I’m enjoying it so far, apart from the streetcar system which almost made me late for work this morning. We look forward to working lots with you, keeping the scene looking as overwhelming as possible. Well, your listings certainly do that! Tafelmusik has been part of what we cover since our very first issue 20 years ago and it’s been absolutely fascinating to watch the organization maintain itself and thrive by the way it manages change. We look forward to the next chapter. As do I. has been the debate. It was only quite recently that we did Monteverdi for the first time, five years ago was our Vespers. My understanding though has been that it has been quite an organic process, trying new things. Obviously there’s a point at which you can go no further or there would be no point in playing a period instrument, but there are huge amounts of repertoire to explore. And in terms of pushback on changes in concert etiquette? Well I think the point is we haven’t stopped doing anything, we have just added to what we are doing. We still do concerts that start at seven o’clock and last two hours with an interval, as you would expect. There might be one or two things about it you might find a bit different, but it’s still a standard concert, maybe with talks before or after. But then, the same evening there might be a Night Shift concert at 10pm for a completely different audience and a couple of days afterward a toddlers concert, and there might also be a study day taking up a Sunday. We try to tailor things for different audiences so even the aficionados can come to study events and really get in depth with things. With concerts do you live with the late-19th-century ethos of not applauding during works even though the custom postdates most of the music? You can’t regulate the audience. But do you try? And do people try to glare others into silence? Well, personally I really like it if the audience claps between movements because a) it means we’ve got a different audience in and b) it means there’s been a spontaneous enjoyment of something and people have shown that. There was a really nice instance of that recently at the Night Shift. We were playing in a night club so it was great for the setting. We were doing some Purcell and there was a particularly elaborate passage for the violins and people kind of clapped over like they would in a jazz bar and that was a lovely moment because it was a completely spontaneous moment. It was great. And probably closer to the original effect. Exactly. I am sure it would have happened back in the day when the music was played. And so I am all for spontaneous shows of appreciation. I am all for it being the responsibility of the host to tell the guests out loud what the house rules are. Indeed. Yes. And, really, often the composer gets what they want. I mean it’s a much later example but in the Tchaikovsky Sixth I am pretty sure Tchaikovsky expected people to applaud at the end of the penultimate movement because it’s such an explosive ending. Funny you should mention that. We had a fantastic Tchaikovsky Sixth here a season or so ago at the TSO, with a lot of young people in the audience. [Conductor] Peter Oundjian came onstage and talked about the structure of the work - the thing you just mentioned - that after the third movement you are probably going to want to break out in applause at that point as if it were the end. So go right ahead thewholenote.com Nov 1 - Dec 7, 2015 | 13 Beat by Beat | On Opera Boesmans’ Julie Matthew Jocelyn (left) and precise, incredPhilippe Boesmans ibly heart wrenching, and a powerful form of music theatre.” There are at least two other wellknown operatic versions of Miss Julie – one by Ned Rorem from 1965 and one by William Alwyn from 1977 – besides that of Boesmans. So I asked Jocelyn why he chose this version, “I have a long-standing relationship with Philippe Boesmans. I met him over 20 years ago when I was Patrice Chéreau’s assistant for a production of Hamlet by Shakespeare and he engaged Philippe to write the music for the Ophelia songs. Later he came to see the work I was doing for Opera Studio of the Strasbourg National Opera; I asked him to do a chamber version of his opera Reigen [from 1993], based on the play La Ronde by Arthur Schnitzler, and he agreed to do it. “That chamber version is now the one done around the world far more than the full orchestral version because it’s just got that extra theatrical quality and it’s a great piece for younger singers. And Philippe has come to prefer the chamber version himself because he says it brought him closer to the theatre, and his real love is the theatre. So when he received his next commission from La Monnaie, he asked to do a chamber opera and wrote Julie.” “After the world premiere,” Jocelyn continues, “I did my own production of Julie, two or three years later, that played in Orléans, Paris, and toured to about 12 or 14 theatres in France, Belgium and Switzerland. So because of this long relationship with Philippe and because I have done the opera before and know it so well, that’s why I wanted to do it again.” “Besides that,” Jocelyn emphasizes, “Philippe really is one of the top opera composers, if not the top, in the world today. This year he won the International Opera Award for his latest opera Au Monde. He is an exceptional composer. He has an understanding of dramaturgy, an understanding of theatre on the stage. He has a complexity of musical languages at his disposal.” Asked to characterize Boesmans’ music, Jocelyn responded that “Boesmans is a non-dogmatic composer. He’s free of the Boulezian orthodoxy or the 12-tone orthodoxy or the new American music orthodoxy. Philippe was a master of baroque music and so he has the facility of tempo changes and the facility of the relationship with the spoken word of the baroque and an absolute virtuosity in terms of rhythm. His greatest inspiration probably comes from [Alban] Berg and a bit from Richard Strauss. In terms of other 21st-century composers, he has the brio and the orchestral sophistication of a George Benjamin. He’s really in a class of his own. He is also 80 years old and had the opportunity to live through many, many schools of music. But even though he may quote or play with specific styles, you hear a page of his music and you know it’s Boesmans.” “The Philadelphia Opera is co-producing his next opera in 2018, Comes to CanStage ISABELLE FRANÇAIX A CHRISTOPHER HOILE n unusual event that bodes well for opera in Toronto takes place in November. Canadian Stage and Soundstreams have combined forces to produce the chamber opera Julie by Belgian composer Philippe Boesmans. This will not only be the North American premiere of Julie, but, amazingly, the North American premiere of any opera by Boesmans, one of the most highly regarded contemporary composers of opera. This will also mark the first time that an opera has been included in Canadian Stage’s subscription series. Julie, which had its world premiere at La Monnaie in Brussels in 2005, is based on August Strindberg’s classic play Miss Julie from 1888, a portrait of class and gender politics that was far ahead of its time. The libretto was written by the director Luc Bondy and MarieLouise Bischofberger in German. For the Toronto production, director Matthew Jocelyn has decided to use an English-language translation, with English super-titles, first presented by Music Theatre Wales in London in 2007. The cast is entirely Canadian. Singing the aristocratic Julie will be Lucia Cervoni, a mezzo-soprano from Toronto who has a great career singing all the major mezzo roles in Europe, but until now, has never sung in Canada. Jean, the servant with whom Julie is enamoured, is baritone Clarence Frazer, who graduated from the COC Ensemble last year. Christine, the servant engaged to Jean, will be sung by coloratura soprano Sharleen Joynt. The conductor will be Leslie Dala. To discover how the Canadian Stage/Soundstreams production came about, I spoke with Jocelyn in mid-October. Jocelyn noted that there are both practical and philosophical reasons: “Soundstreams and Canadian Stage have been speaking for two or three years about various forms of collaboration and this one seemed like an ideal project. It’s not the kind of thing Canadian Stage could have done alone, but by partnering with another organization we have the resources with which to do it. There is a philosophical reason as well. For me, from the very beginning, it has been important to say of Canadian Stage that we are no longer a ‘theatre’ – we are a place of contemporary performance practice, and some of that is straight plays, and some of that is contemporary dance and new musical theatre like London Road, that we did in 2014 – which was a radical departure from the more standard type of musical fare that had been presented at Canadian Stage in the past. London Road was our first foray into a new form of contemporary musical vocabulary. So now with Julie we are going one stage further into an actual piece of contemporary classical music. It is just one stage further in the sophistication of the palette that we are offering audiences here.” When asked whether he is confident that his audience will follow Canadian Stage in this next step, Jocelyn answered, “The audience has not only been following us, they have been increasing over the course of the past few years and becoming more diverse. At present more than half of our audience is under the age of 50, which no other largescale theatre in the country can claim. “We find that each of these adventures brings us new audiences. I think that there are a lot of opera aficionados in the city who don’t go to the theatre, don’t go to contemporary dance. The opportunity of seeing the North American premiere, in Toronto, of an opera by Philippe Boesmans is extraordinary. There may be many in the audience who have never been to Canadian Stage before. On the other hand, for theatre lovers, the opera is based on a classic of dramatic literature so there is automatically a point of reference, a point of recognition. And the opera follows the storyline very closely, though very economically, since the entire opera is only 70 minutes long. Reducing the play to a libretto has left the work incredibly 14 | Nov 1 - Dec 7, 2015 thewholenote.com world of opera. Before coming to Toronto, he led the Atelier du Rhin in Alsace, France, for ten years, establishing it as a major centre for theatre, opera and contemporary dance. In 2008 he was named Chevalier des Arts et des Lettres by the French Ministry of Culture, one of the country’s most prestigious arts honours. Last year he won the ACMA Award for best opera production in Argentina for Requiem for a Nun by Oscar Strasnoy, based on the novel by William Faulkner which Jocelyn directed for the Teatro Colón and for which he wrote the libretto. Currently Jocelyn has been at work on the libretto for a new opera for Glyndebourne, an experience he calls “joyful” and “a real pleasure” since it is the first new commission from Glyndebourne for their main stage in a decade. The source text is no less than Shakespeare’s Hamlet and the composer is the Berlin-based, Australian composer, Brett Dean. The opera will have its world premiere in 2017 as part of Glyndebourne’s celebration of Shakespeare. Describing his ability to run Canadian Stage and still have the chance “to disappear for a little while to work on opera in houses like the Teatro Colón and Glyndebourne – it’s like dying and going to opera heaven.” “I am delighted that we are the first but I am also ashamed that we are the first since Boesmans should have been recognized in North America long ago.” –Matthew Jocelyn but that is still three years away. But our Julie will be the first time ever that one of his operas will be done in North America. I am delighted that we are the first but I am also ashamed that we are the first since Boesmans should have been recognized in North America long ago. Still, it is fantastic that such an important event as this should take place in Toronto.” Asked about the future at Canadian Stage, Jocelyn says: “We won’t be doing an opera every year, but in our modest way we’re already looking toward the future to what that kind of project might be. We have to make sure it’s the right partnership and a work we can really defend because a project like this is a very heavy project for us. Over the next couple seasons I hope that we will be doing more opera and more musical theatre of a more challenging variety. Opera is a form I am enamoured of and continue to work in. I’m working on a couple of other projects right now for elsewhere so I do remain very plugged in to the world of opera.” Many readers may not know just how connected Jocelyn is to the Julie by Philippe Boesmans and directed by Matthew Jocelyn runs at the Bluma Appel Theatre November 17, 19, 20, 22, 25, 26, 28 and 29. Director Matthew Jocelyn gives us a sneak peek into his creative process and a first chance to hear excerpts from the opera before its North American premiere at the Berkeley Street Theatre, November 12. Free; PWYC. Play Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at [email protected]. Season Sponsor we’re not voting for our bank balance. Sunday November 15 2015 8:00pm Concert Concert Sponsor Anonymous ESPRIT ORCHESTRA Alex Pauk, Founding Music Director & Conductor Koerner Hall Andrew Norman (U.S.A.) Thomas Adès (England) John Rea (Canada) Box Office 416 408 0208 espritorchestra.com Play* Tevot** Zefiro torna (Zephyr Returns) *Canadian Premiere **Canadian Premiere generously supported with funding from The Koerner Foundation The Koerner Foundation thewholenote.com #EspritO The Mary-Margaret Webb Foundation The Max Clarkson Family Foundation Nov 1 - Dec 7, 2015 | 15 CBC Radio Two: The Golden Years Alex Pauk’s Big Idea T DAV I D J A E G E R he moment my new CBC Radio Two network program Two New Hours hit the airwaves in January of 1978, composers, and especially Canadian composers, suddenly had a new way to connect with audiences across Canada. The simple act of broadcasting concerts of new works from all the major production centres of Canada each week immediately allowed a growing number of people to become aware of all the diverse sorts of newly created music. And naturally, the musicians who performed in these concerts of new works quickly realized there were paying gigs for them if they were willing to learn new compositions. Musicians began networking with other musicians, often with the result that they created ensembles to play all this new repertoire. Two New Hours was an instant success. Audience numbers for what was considered highly specialized listening were at once respectable and in a short period of time grew to be more than just respectable. By 1982 Two New Hours had already broadcast more than 400 world premiere performances and commissioned more than 30 original works, composed specifically for the program. Several of these commissioned works, such as Walter Buczynski’s 1978 Monogram for solo piano, Brian Cherney’s 1979 String Trio and R. Murray Schafer’s 1981 Third String Quartet had been heard around the world through international program exchanges such as the International Rostrum of Composers in Paris. Enter Esprit: The missing ingredient in this early success story was the lack of new Canadian works for orchestra. Our symphony orchestras at that time showed no interest in contemporary repertoire. And the budget that had been established for Two New Hours productions was sized for chamber music recordings. This made sense, given that the new music ensembles across the country were all chamber groups of various sizes. This aspect changed in 1983, when composer and conductor Alex Pauk founded Esprit Contemporain, an orchestra devoted entirely to the performance of contemporary music. Alex Pauk was experienced in starting new music groups. The Toronto group Array was “born in my living room in 1972,” he told me. In 1974 Alex settled in Vancouver and founded, first Array West, a group that didn’t last, and then Days, Months and Years to Come, which did. Their concerts were heard on Two New Hours in the 1970s. He also became familiar with the CBC Vancouver Chamber Orchestra, an orchestra that often included new Canadian works in their concerts, usually blended with standard repertoire. It was at one of those concerts that Pauk met his mentor, the French-Romanian composer-conductor, Marius Constant. But in 1981, Alex moved back to Toronto and was elected president of the Canadian League of Composers. In 1982 he told me that he had started thinking seriously about creating an orchestra that would only play contemporary music. Versed as he was in the mechanics of raising support for musical start-ups, it was clear to Alex that the usual modest sums available from the regional, provincial and national arts councils would barely get him into the rehearsal room, let alone cover the costs of paying the musicians to perform a series of concerts. However, a chance meeting with a Suncor executive at the Financial Post Awards for Business and the Arts in 1982 gave him a key connection with corporate Canada. A major donation from Suncor Inc. was secured, and the company’s commitment of continuing support, together with a grant from the Canada Council gave Alex the means to mount his first concert with Esprit Contemporain in the summer of 1983, in Kingston. This concert of new Canadian orchestral music, presented in association with the National Youth Orchestra of Canada, was not broadcast on Two New Hours, but their very next concert was. It was the beginning of a 16 | Nov 1 - Dec 7, 2015 The cover of our November 2000 issue. legacy of broadcasting contemporary orchestral music on CBC Radio Two that lasted 25 years. World Music Days: John Peter Lee Roberts, a former head of CBC Radio Music, and the creator, along with Sir Yehudi Menuhin, of International Music Day, had persuaded the International Society for Contemporary Music to hold their annual festival, World Music Days, in Canada in 1984. This high profile event was a made-for Two New Hours opportunity. I made sure that we were the lead broadcaster for the festival by making the case to CBC senior managers that this was our chance to show ourselves to our international colleagues as a model for contemporary music broadcasting. Alex Pauk’s new orchestra was a festival highlight, and we were there to help Alex announce Esprit Contemporain to the world via our broadcasts on CBC Radio Two in Canada and through international program exchanges with public radios in more than 30 countries. World Music Days was a watershed moment for Alex’s new orchestra, and the positive spin it created helped Two New Hours as well. Karen Kieser (1948-2002), who was Deputy Head of Radio Music in 1984, and who had helped raise budgetary support for our broadcasts of the festival, arranged that we be funded to continue including orchestral broadcasts. The addition of Esprit Orchestra concerts allowed Two New Hours to offer its listeners a full range of contemporary musical genres. Alex Pauk and I shared the conviction that developing emerging Canadian composers was a necessity. Esprit Orchestra gave young composers their first high profile presentation of large-scale compositions and Two New Hours let the network audience know who these young artists were and what they were doing. “The Two New Hours broadcasts of our concerts created a sense of camaraderie among our musicians,” Alex told me. “The CBC relationship knit the players together and helped to raise their expectations to a higher standard.” When Alex Pauk takes the podium November 15 at Koerner Hall to conduct the largest orchestral ensemble in Esprit’s history, it will demonstrate the result of decades of patient development and cooperation by those who believed it was necessary to have such an orchestra and those who insisted the story needed to be shared. Esprit Orchestra’s concert at Koerner Hall, November 15, begins at 8pm; pre-concert chat at 7:15. David Jaeger is a composer, producer and broadcaster based in Toronto. thewholenote.com Beat by Beat | In with the New This also extends to the underlying meanings of the word “play,” which suggests something both fun and also something more dark, like a chain of control with the musicians being “played” by the conductor. And given the role of the percussionists, they too become more like a conductor, playing the orchestra. In all, it sounds like it will be quite the ride on the evening Andrew Norman of November 15. Joining in on the Esprit express that night will be two other works – Tevot, written in 2007 by English composer Thomas Adès and Canadian John Rea’s Zefiro torna (Zephyr Returns) from 1994. Seismic Waves: There are several other upcoming musical events that also promise to create seismic movement in the local airwaves. In early December, Soundstreams is launching “Ear Candy,” a new series designed to engage the audience with new forms of presentation in more intimate venues. The first one happens on December 7 and 8 and features an electrified version of the Christmas classic, the Messiah. “Electric Messiah” puts together electronic musicians (John Gzowski, Doug Van Nort), extended vocals (Christine Duncan) and sound poetry (Gabriel Dharmoo) along with the Electroacoustic Orchestra of York University. The evening at the Drake Hotel will be bookended by DJ sets. Before all this gets going though, Soundstreams will be collaborating with Canadian Stage to present the North American premiere of Julie, which runs from November 17 to 29. This chamber opera composed by Belgium’s Philippe Boesmans is an adaptation of Strindberg’s 1888 play, Miss Julie, and is an example of Strindberg’s Playing Big O W E N D A LY N B A R T L E Y nce there was a time when aspiring Canadian composers were discouraged from writing pieces that required large ensembles, such as an orchestra. “No one will play it” was the advice given. But in Canada, that was before Esprit Orchestra came along. Formed in 1983 by conductor and director Alex Pauk, the orchestra is still going strong after more than 30 years of programming exclusively new orchestral music. Recently Pauk was recognized for his outstanding contributions to Canadian life and was appointed as a member of the Order of Canada. That followed on the heels of a wildly successful tour this past spring to China, where according to Alexina Louie’s blog posts, they performed to cheering packed houses, with audience members clamouring to have selfies taken with members of the orchestra afterwards. Such was the reception of Canadian orchestral music in China! To read more about the tour, I recommend reading Louie’s posts, which can be found by going to espritorchestra.com and clicking on the blog link. Play: The opportunity and possibilities that Esprit gives composers are about to be displayed to the maximum in their upcoming concert on November 15 with the programming of a piece titled Play by American composer Andrew Norman. Play is a massive and sprawling 47-minute work originally written in 2013 for the Boston Modern Orchestra Project and is described as being akin to a “Symphony No.1.” In researching Norman’s work, I came across a November 18, 2014 episode of the Meet the Composer podcast series produced by Q2, an online radio station connected to the Classical WQRX station based in New York. Luckily, the last segment of the episode (44 minutes in) was dedicated to a conversation with Norman about Play. He talked about how he was given free rein to write anything he wanted, so he decided to go “really big.” The podcast begins with a collage of different voices, each one describing their response to the piece. “Like a roller coaster ride, a jack-in-the-box, exhilarating, expansive, breathless, frightening, frenetic, and risky” are some of the terms used. With such a description, it’s best to go straight to Norman’s own words about the inspiration for the piece: the structure of video games. Although not a gamer himself, what intrigues him the most is the idea of “trying things again and again until you get it right. You try something, and you fail. You try again, and choose another door.” For him, this gaming process is very much about structural or formal design, the architecture of a piece. He even goes so far as to equate classical symphonic form itself as sharing similarities with video games. For example, in a Beethoven symphony, several ideas are first presented, but all mixed up. The ideas return in different ways until finally they appear in the right arrangement in the finale. A similar process happens in Play, where the listener is confronted with a vast array of ideas at the beginning, a “gazillion ideas,” as Norman describes it. As the piece unfolds, some of those ideas become important and are transformed, while others are like wrong doors and are discarded. There are even multiple climaxes – each one coming up with a different answer, which turn out to be the wrong one, until the final climax appears with the right answer close to the end of the piece. He also uses the percussionists in a fashion analogous to the different operations in a game environment – pause, fast forward, rewind, etc. For example, every time a certain percussion instrument is played, that’s the signal for the orchestra to pause. It’s actually how he wrote the piece, thinking “what would it sound like if I randomly paused the music at any moment, sped it up, or moved it fast forward?” Norman’s other interest in the piece is to explore the human potential of the orchestra, rather than just limit himself to using the orchestra as a field of sonic resources. Thus the orchestra members become different protagonists, interacting on an interpersonal level. thewholenote.com Nov 1 - Dec 7, 2015 | 17 JUAN HITTERS concerts of the 2015/16 season. naturalism aesthetic that sought to create theatrical Founded four years ago in 2011, the Thin Edge characters who were more realistic with multiple New Music Collective begins its season with “Light motivations for their behaviour. The story pits an Show” on November 29, including the Toronto aristocratic and desperate Julie against the ambipremiere of Music for Lamps, an installation and tious social climber Jean, who inevitably become performance work for 12 sound and light emitinvolved with each other, but not seemingly for ting lamps. Other works by Oesterle, Murail and love or mutual attraction. The score is minimalistic Bolaños Chamorro complete a program that also with the composer’s aim being to distill the music includes visual illuminations and silent film. so that the narrative shines through. Spectrum Music, founded in 2010, opens its Tagaq and Pallett: To get us rock and rolling season on November 14 with a concert delving into the Christmas season, what surely will be an into the complexities of colonial exploration. The explosive event will be happening at Massey Hall program is made up of a suite of works narrating on December 1 when two previous Polaris award the adventures of explorers from the 15th century winners - Tanya Tagaq and Owen Pallett – take the that left the world forever changed. As an interesting stage. Pallett is a Canadian composer and violinist David Virelles twist, each new work is paired with a reimagined whose creative output spans writing orchestral music classic folk song performed by singer-songwriter Alex Lukashevsky. and performing in the indie music scene using programmed loop Kicking off their eighth season on Novembert 21, the eclectic Toy pedals to send his sound into multiple speakers. Tagaq, who appeared Piano Composers presents “To Be Announced III”– a program of six in R. Murray Schafer’s Apocalypsis back in June, is renowned for her extreme range of primal vocal sound that arises out of her Inuit throat world premieres by emerging composers curated from TPC’s national call for new works. singing heritage. She will appear with members of her band, percusAdditional Concerts and Performances of contemporary music sionist Jean Martin and violinist Jesse Zubot, with a special appearNew Music Concerts has two events this month. On November 8, ance by the improvising Element Choir directed by Christine Duncan. an R. Murray Schafer CD benefit concert and on December 6, a Gnosis: Shock waves will also spread on November 27 and 28 when program featuring two works by French composer Philippe Leroux, Arraymusic and the Music Gallery team up to present the world who currently teaches at McGill University, works by Gérard Grisey premiere of Gnosis, a large-scale work created by former Torontonian and Elliott Carter, and a newly commissioned piece by one of Leroux’s David Virelles. Virelles sought out the Music Gallery as his venue of former students, Scott Rubin. choice to present this work which offers a kaleidoscopic ride through group of 27 and Eric Paetkau presents Loved and Were Loved the percussive rhythms of Cuban music. The evening will be an by Canadian composer John Burge, November 6, in a novel venue: opportunity to hear the unique drums used by the Afro-Cuban secret the ground floor “Garage” at the Centre of Social Innovation at 720 society Abakuá, as well as master drummer Román Díaz performing Bathurst Street. with members of the Array Ensemble. New Music Kingston: Works by John Estacio, Vivian Fung and Thin Edge, Spectrum, Toy Piano: Three of Toronto’s younger and Jordan Pal, November 11, in the new but already muscally thriving blossoming presenters are hot at it this month with their opening Isabel Bader Centre for the Performing Arts in Kingston. Music Toronto presents a world premiere commission by Nicole Lizée, performed by the Cecilia Quartet November 5. Heliconian Club celebrates the music of Canadian composer Kye Marshall, including a world premiere for harp duo. November 20. University of Toronto Faculty of Music: Works by Christos Hatzis, Dean Burry, Julie Spencer, Dinuk Wijeratne and George Kontogiorgos, December 7. Wendalyn Bartley is a Toronto-based composer and electrovocal sound artist. [email protected]. 18 | Nov 1 - Dec 7, 2015 thewholenote.com Beat by Beat | Classical & Beyond T PA U L E N N I S oronto and Canada have been abuzz recently with the announcement of pianist Charles Richard-Hamelin’s second-place finish in the 17th Fryderyk Chopin Competition in Warsaw. It’s the first time a Canadian has won a prize in that prestigious event. In addition Richard-Hamelin won the Krystian Zimerman Prize for best performance of a sonata for Chopin’s Sonata No. 3 in B Minor, Op. 58. The Women’s Musical Club of Toronto was justly proud. It was the same sonata that won him their Career Development Award last April. In fact at the initial concert of their 148th season October 15, the WMCT announced that Richard-Hamelin had just made the finals. Even mainstream media picked up on the historic nature of the award, the story made sweeter by the (perhaps) more unexpected news that 16-year-old Toronto high school student Yike (Tony) Yang, who finished fifth, became the youngest prizewinner in the history of the gruelling competition. One of Yang’s teachers, former Chopin Competition winner (1980) Dang Thai Son (the subject of The WholeNote’s February 2000 cover story), was one of 17 jury members. Martha Argerich (whose final vote mirrored the top two finishers -- Seong-Jin Cho of South Korea was awarded first place), Garrick Ohlsson, Yundi and Adam Harasiewicz were other former winners among the jurors. Richard-Hamelin’s second place puts him in the distinguished company of Vladimir Ashkenazy, Mitsuko Uchida and Ingrid Fliter. Ardeeva: This month’s listings are brimming with young talent. In a 65 ChurCh STreeT, ToronTo thewholenote.com Dang Thai Son and Yike (Tony) Yang at the end of the 2015 Chopin Competition coincidence of rare serendipity, Yulianna Ardeeva, who placed first in the previous Chopin competition in 2010, is the guest soloist with the Orchestre Symphonique de Montréal (OSM) at Roy Thomson Hall on November 25. On her website you can get a sense of the crisp articulation that will undoubtedly serve her well here in Stravinsky’s elegant Capriccio for Piano and Orchestra. Kent Nagano will also lead the orchestra in Shostakovich’s profound Symphony No.10. Alexander Seredenko, who won first prize in the Canadian Chopin Piano Competition in 2014 is the soloist in the latest instalment of Rob Kapilow’s ongoing TSO series “What Makes It Great?” Rachmaninoff’s justly popular Piano Concerto No.2 will be explored by the engaging Kapilow and the up-and-coming Seredenko. Anastasia Rizikov, another gifted prodigy, now 16, gives a recital at Glenn Gould Studio, November 28. It will be interesting to see if she performs Albéniz’ Triana, which earned her first place at the Jaén International Piano Competition in Spain earlier this year, as well as a special prize in the Obligatory Spanish Work category. This 416.364.7865 www.stjamescathedral.on.ca Nov 1 - Dec 7, 2015 | 19 PHOTO COURTESY OF THE CHOPIN INSTITUTE Speaking of Prodigies • THE 7 TH ANNUAL CITY • CAROL SING In collaboration with City, in support of Food Banks across Canada SATURDAY, DEC. 5 – 2:00 PM YORKMINSTER PARK BAPTIST CHURCH CHOIRS • BRASS • ORGAN • READINGS WITH SPECIAL GUESTS JOHN MCDERMOTT MAEV BEATY GORD MARTINEAU The True North Brass FEATURING The Bach Children’s Chorus That Choir The Hedgerow Singers Yorkminster Park Baptist Church Choir ADMISSION FREE A collection will be taken for the Churches-on-the-Hill Food Bank Yorkminster Park Baptist Church 1585 Yonge St., (1 block north of St. Clair Ave.) FOR MORE INFO VISIT: YORKMINSTERPARK.COM or 9SPARROWSARTS.ORG COMING UP CAROLS BY CANDLELIGHT, Dec. 13th, 4:30 p.m. NINE LESSONS AND CAROLS, Dec. 20th, 4:30 p.m. 20 | Nov 1 - Dec 7, 2015 thewholenote.com ELIZABETH DELAGE piece is scheduled for inclusion on her upcoming Naxos CD, to be released next March, 2016. Phil and Eli Taylor Academy: Speaking of prodigies, the COC is featuring three young pianists from the RCM’s Phil and Eli Taylor Performance Academy for Young Artists, in a noontime free concert, Charles Richard-Hamelin November 26: 11-year-old Leonid Nediak, who won the Canadian Music Competition (age 7 to10) in 2013 and made his OSM debut in 2014; 12-year-old Raymond Huang; and Richard Chao Gao, who appeared at RTH in the Emanuel Ax-curated “Pianorama” last February. The fall edition of the Taylor Academy Showcase Concert November 21 at Mazzoleni Hall is already sold out, so this is an opportune moment to get a sense of the young talent on the rise in our city without having to wait for the Taylor Academy’s next showcase in the winter of 2016. Lisiecki: No reference to prodigies would be complete without noting the sublime Jan Lisiecki, now 20, whose December 6 Koerner Hall recital is sold out. I’m happy to say I already have my ticket and I’m looking forward to hearing Lisiecki (and his pellucid, singing tone) perform, among other works, Chopin’s Preludes Op.28, Mozart’s Sonata No.11 in A Major K331 and Mendelssohn’s Variations sérieuses in D Minor, Op. 54. Peter Jablonski, now 44, who makes his Toronto debut at the Jane Mallett Theatre November 10, began studying drums at five and piano at six. He played the Village Vanguard with Buddy Rich and Thad Jones when he was nine, earning praise from Miles Davis. He then made his solo recital and orchestral piano debut at eleven in Sweden before establishing a distinguished professional career in the U.S. and U.K. in the early 1990s. His Music Toronto program is unusually rich and varied, moving from Szymanowski and Chopin to Grieg, Rachmaninoff, Scriabin and Leonard Bernstein’s transcription of Copland’s El Salón Mexico. Schulich School. Richard-Hamelin, currently studying with André Laplante, received his master’s degree from the Yale School of Music in 2013 and a bachelor’s degree in performance from McGill’s Schulich School of Music in 2011. Another Schulich tie-in: celebrating the Schulich School’s tenth anniversary, the McGill Symphony Orchestra, led by conductor Alexis Hauser, makes its Koerner Hall debut November 17. Highlighting the evening will be Brahms’ resplendent Double Concerto in A minor, Op.102 with violinist Axel Strauss and cellist Matt Haimovitz as soloists. Strauss’ Naxos recording of Volume 2 of Enescu’s violin and piano music caught the attention of Terry Robbins in last June’s WholeNote. He called the CD “exceptional” and Strauss “terrific”in his Strings Attached column. The opportunity to hear the internationally acclaimed Haimovitz is always welcome. All three artists are on the Schulich School faculty. The evening begins with John Rea’s Over Time. Rea, a two-time recipient of the Jules Léger Prize for New Chamber Music, will attend the concert. Closing out the program is Shostakovich’s forceful Symphony No.5, with its contagious rhythms that careen from sarcasm to triumph. And speaking of student orchestras, ten days later, Tania Miller, music director of the Victoria Symphony, leads the Royal Conservatory Orchestra (the RCM’s own student orchestra) in its fall Koerner Hall concert. Their program opens with Traffic Jam, by the Banff Centre’s “emerging composer” and composer-in-residence of the Victoria Symphony, Jared Miller. Concertmaster Heidi Hatch, a Glenn Gould School scholarship recipient, is the soloist in Bruch’s Scottish Fantasy, a delightful mashup of Scottish folk songs and German Romanticism. Mahler’s memorable Symphony No.5 completes the evening. Grosvenor’s Return: Last month I profiled the extraordinarily talented young British pianist, Benjamin Grosvenor. His return visit to the Jane Mallett stage October13 exceeded all my expectations. For a report on the concert, please read my blog on thewholenote.com. QUICK PICKS November 5 The Cecilia Quartet’s Music Toronto concert includes Mendelssohn’s String Quartet Op.44, No.2 which is featured on their newly released Analekta CD. The quartet series continues November 26 with the Toronto debut of the young Polish ensemble, the Apollon Musagète Quartet, playing Dvořák and Schubert. November 6 Beethoven’s under-appreciated Symphony No.4 is the featured work in a diverse program by the energetic group of 27 under the direction of the effervescent Eric Paetkau that also includes works by Purcell, Burge and Glazunov. November 8 Marquis Classics recording artist, flutist Susan Hoeppner, and TSO principal oboist, Sarah Jeffrey, are joined by pianist Jeanie Chung in a program of works by Ginastera, W.F. Bach, Ibert and others in Mazzoleni Hall. November 8 The superb string trio, Trio Arkel, includes Haydn and Beethoven in its Kitchener-Waterloo Chamber Music Society (K-WCMS) recital. November 9 finds the Arkel in Heliconian Hall playing a similar program. November 12 the COC free noontime concert series features them again in the Beethoven Trio Op.9, No.3 as well as Michael Oesterle’s Warhol Dervish. November 10 Legendary musicians flutist Suzanne Shulman and harpist Erica Goodman perform “An English Midday Serenade” at McMaster University in a free lunchtime concert that includes music by Vaughan Williams, Handel and Elgar, among others. November 11 Nocturnes in the City presents the celebrated Zemlinsky String Quartet in a program of works by Dvořák, Janáček, Suk and Shostakovich November 12 The K-WCMS series continues with the Zemlinsky String Quartet. The esteemed Czech musicians include the first of Beethoven’s late string quartets, his Op.127, in their program. November 17 rising star violinist Francesca Anderegg gives a solo recital featuring Bach, Ysaÿe and Kreisler. November 21 the versatile Ottawa-based pianist, David Jalbert, mixes and matches Satie, Poulenc and Stravinsky in his “Soirée Parisienne.” November 12 and 14 Michael Sanderling, of the musical Sanderlings (father Kurt, brothers Thomas and Stefan) and conductor of the Dresden Philharmonic, leads the TSO in Mahler’s Symphony No.4, perhaps the composer’s most popular symphony. November 18 and 19 Peter Oundjian takes back the baton for Rimsky-Korsakov’s crowd-pleasing Scheherazade, with concertmaster Jonathan Crow as violin soloist. Principal clarinetist Joaquin Valdepeñas brings his gorgeous, full tone to Weber’s Clarinet Concerto No.1. Dec 2, 3 and 5 Crow returns to the spotlight for Tchaikovsky’s Violin Concerto, that enduring romantic icon, while Oundjian conducts another of the composer’s masterpieces, his Symphony No.6 “Pathétique.” November 14 The Dover Quartet caught everyone’s attention when they won the Grand Prize and all three Special Prizes at the 2013 Banff International String Quartet Competition. Their concert in Kingston’s Isabel Bader Centre for the Performing Arts should be worth the trip. November 15 The Windermere String Quartet perform Russian works by Alabiev and Glinka as well as Beethoven’s great “Razumovsky” Quartet Op.59, No.2. November 25 André Laplante brings his secure pianistic sense to Schubert’s Moments Musicaux (Nos.1,2 and 6) and Three Petrarch Sonnets by Liszt as part of the Toronto Mendelssohn Choir’s “German Romantics” program. November 29 Canadian superstar violinist, James Ehnes, is the soloist in Lalo’s virtuosic Symphonie Espagnole with the Niagara Symphony Orchestra. Paul Ennis is the managing editor of The WholeNote. High School Musicality 2015 1ST PLACE PROVINCIAL WINNERS ONTARIO MUSIC FESTIVALS ASSOCIATION Earl Haig Woodwind Trio Earl Haig Symphony Orchestra Earl Haig Chamber String Orchestra Earl Haig Symphonic Band Caviar Jazz Band Claude Watson Secondary Arts Program, Earl Haig Secondary School 100 Princess Avenue, North York, ON claudewatson.ca | (416) 395-3210 x20137 Other Claude Watson Programs: DANCE | VISUAL ARTS | DRAMA | FILM thewholenote.com GREAT MINDS OF MUSIC Come and study at Toronto’s specialized High School of the Arts MUSIC PROGRAMS IN: Strings Woodwinds Brass Percussion Piano Voice Composition ENSEMBLES: Orchestra Symphonic Band Chamber Strings Mixed Chorus APPLY TO JOIN US! Applications due: November 27, 2015 Auditions: January 16-19, 2016 Application forms at claudewatson.ca Nov 1 - Dec 7, 2015 | 21 Beat by Beat | Bandstand Pun Times For All A concert this fall, the Wellington Wind Symphony will feature a section by their Slide by Slide Trombone Quartet. Another smaller outgrowth of a concert band is the After Hours Big Band which Plumbing Factory Brass Band consists almost exclusively of members of the Newmarket Citizens’ Band. Unlike other groups formed from within a concert band, this groups has never performed in a concert with the mother band. On the other hand, they do perform regularly quite independently from the concert band. For many years the Newmarket Citizens’ Band rehearsed in the local Lions Club hall. There the band had its own section for music storage and a refrigerator to store refreshments. It was common practice, after the regular rehearsal was over, for a few members to remain on “after hours” and play big band music. In time this group became more formalized and adopted the name The After Hours Big Band. In time they started playing engagements independent of the activities of the concert band. Several years ago the Lions’ Club hall was destroyed by arsonists. Over the years the Citizen’s Band has moved from one temporary location to another. On the other hand, the After Hours Big Band has been able to settle into a regular rehearsal location which would not be suitable for the full concert band. While I don’t have any information on their future performances, I do know that they quite regularly entertain at retirement residences and long-term care facilities. Instrumental Choirs: In past issues we have mentioned a few of the choirs, or ensembles, of like instruments including Flute Street and the Wychwood Clarinet Choir. We have just learned of another such group, the Flute Flight Community Flute Choir. Their concert on November 15, ”A Whole Lot of Treble,” will include works for flute ensembles of various sizes from trios to full flute choir. This will all take place at the Cosmopolitan Hall of Cosmo Music in Richmond Hill on November 15. Handbells: Speaking of small ensembles, for several years I have thought about researching and writing about some of the lesserknown groups. In particular, I was interested in learning more about Handbell Ensembles. Then suddenly without any planning on my part I found myself listening to two different Handbell groups within one week. The first of these was at the 12th Annual Sandford Music Gala at Sandford United Church. For those not familiar with the geography, Sandford is a small hamlet north of Uxbridge. The last time I had been to one of these events was a couple of years ago when I was playing in a brass quintet. This year, not being a part of the show, I was attracted when I read that one of the groups performing would be a handbell ensemble known as Rhythm A’Peal. Marilyn Meikle: Less than a week later I heard another handbell group, The Embellished Handbell Ensemble. However, this latter event was very different. The handbell ensemble was playing at a memorial service for one of its members, Marilyn Meikle. Marilyn was not only a member of this handbell group. She, along with her husband Tim, were long time members of the Newmarket Citizens’ Band. Her passing has significantly impacted our household. For years I have been sitting beside Tim in the tuba section and, when she was able to attend, my partner Joan sat beside Marilyn in the flute section. Less than two weeks before Marilyn’s passing, I was chatting with her at a rehearsal. She told me how much she had enjoyed their cruise around the British Isles just a few weeks earlier. She certainly will be missed. JACK MACQUARRIE t this time of year the majority of bands we hear from are preparing for fall concerts, and only a few already have their sights set on Christmas. After attending the rehearsals of two different bands in mid-October, two weeks before Halloween, with nothing but Christmas music in their rehearsal folders, I was beginning to wonder if fall was going to be bypassed this year. Then we heard from the Wellington Wind Symphony. In their program November 1, “On the Road Again,” conductor Daniel Warren takes the audience on a trip, with a broad selection of works by Grainger, Reed, Hazo, Mahler and Koetsier. In a similar vein, Silverthorn Symphonic Winds’ November 28 concert, “Music that Tells a Story,” is built around music from such shows as Anne of Green Gables. So chalk a couple up for fall fare. One day later, though, the Markham Concert Band tilts the balance slightly the other way with a concert titled “A Seasonal Celebration” including Christmas and Hanukkah favourites. (Although, to be fair, it also includes music from all eight Harry Potter films.) Plumbing the Depths: If as some suggest the pun is the lowest form of wit, then hats off once again to “Professor Hank,” Henry Meredith, for once again plumbing the depths of imaginative programming. For the London-based Plumbing Factory Brass Band’s December 2 concert, Meredith has pulled out all of the thematic stops and put them to practical effect. Many bands will frequently feature a small ensemble of band members for one selection, but this time every section of the band gets to display the talents of its members. Rather than attempt to paraphrase, here is a lengthy excerpt from the December 2 program announcement. “The ‘agenda’ for the Semiannual Convention of The Plumbers Union includes small ensemble music by its offshoot subcommittees and delegations of like-instruments, as well as music for the entire membership. 1. The conference begins with two pieces heralding the bonds of comradeship typically found at such a conclave – ‘Emblem of Unity’ March by J.J. Richards and Overture ‘Fraternal’ by M. M. Snyder. 2. Following these opening ceremonies, the first delegation on the agenda, the Slush Pumps trombone ensemble, enters, sounding a ‘Royal Procession’ dedicated to their union boss. 3. Then the trombone section proceeds to discuss its regional interests in shipping with two familiar Newfoundland folk songs, ‘Jack was Every Inch a Sailor’ and ‘I’se the B’y that Builds the Boat.’ The entire ‘caulk us caucus’ responds with its rendition of a medley of several additional folk songs describing life on the ocean. 4. The Siphon Sirens are next to take the podium, playing two Austrian hunting tunes on valveless Parforce Horns. Their haunting Nocturne from Mendelssohn’s Midsummer Night’s Dream, follows, performed on traditional alto horns. 5. The names of each committee evoke plumbing terminology, so the Rusty Pipes cornet ensemble continues the serenade with the elegant aria ‘Leise, Leise’ from Weber’s Der Freischütz, followed by their Flanges and Flugelhorns contingent. 6. Subsequently, the Saucy Faucets of the cornet section become Hipster Hosers when they play Jimmie Lunceford’s ‘Count Me Out.’ After these detours ... the convention recesses for an intermission card game featuring ‘King of Diamonds,’ the seldom heard Overture by Calixa Lavallée, composer of O Canada. 7. The semiannual conference adjourns for the holidays with two versions by Georges Bizet of the familiar medieval Christmas carol, “March of the Kings,” both as a “Prelude” with variations, and also as a ‘Farandole’ folk dance.” Other sectionals: While this program of the Plumbing Factory Band features separate performances by just about every section of the band, it is quite common for bands to include one or two numbers in a concert by a small ensemble of band members. In their 22 | Nov 1 - Dec 7, 2015 Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at [email protected]. thewholenote.com Beat by Beat | Choral Scene Starting Young T Oakville Children’s Chorus has begun a project in partnership with ErinoakKids, the largest children’s treatment centre for a variety of disabilities. Members of ErinoakKids and the OCC sing together regularly in a glee club that was created to share music. Sarah Morrison speaks of the joy and learning that is shared when choirs reach out into their communities. And, as she says, more often than not, it’s the kids who have the ideas, the energy and the enthusiasm for these collaborations. The Hamilton Children’s Choir also performs regularly for seniors in their communities. A functional musical vocabulary is another benefit of early involvement in a choir. As a policy analyst by educational training and trade, I spend a lot of time around people who have no formal musical background. These are not people who don’t have music in their lives – far from it. But they aren’t playing clarinet in a wind ensemble or violin in a string quartet or singing alto in a mixed-voices choir. They have a musical vocabulary made up of words like “rocking,” “energetic” and “soft,” instead of “chromatic,” “largamente” and “that suspension in the time change before the major chord was innovative.” Children’s choirs have an important part to play in the evolution of how larger communities engage in music. Because really, who looks at a bunch of kids singing and goes “Wow. I really don’t like this.” These kids inevitably grow up and in time share their experiences in music with a new generation. Moreover, the skills they learn will continue to serve them and us throughout their lives. That being said, we should beware of making the jargon of music into a kind of closed door club. I take friends to concerts who have never been or go infrequently to live instrumental or choral music. The musical fabric of the city is built into their lives in bars, pop concerts, street performers and music theatre, but the same cannot be said of instrumental music. On a recent trip to the Toronto Symphony Orchestra’s presentation of La Mer and A Sea Symphony, I brought a friend who had been to a symphony only twice before. I gave a briefer on the Sea Symphony and used many of the words that I used in last month’s column: bombastic; imperialistic; grand. This BRIAN CHANG he GTA has a host of fantastic children’s choirs. From Oakville to Mississauga, Hamilton and Niagara, these choirs are oftentimes the entry point for a lifelong engagement with music and the arts. They provide important exercises in strengthening the fabric of social engagement, inside and outside of music, helping to provide key skills as children age and move on to other adventures – some of which may be still be musical. There are some skills essential to choral music that directly benefit later-life experiences, such as knowing when to blend in and be part of a greater whole; paying attention to difficult situations and implementing plans and practices to address them; learning to follow instructions/direction and applying them to your personal situation/physicality; and learning how to engage contructively with people who ignore all these things. There is so much that these ensembles do in creating and building communities. Here are some of them: The Toronto Children’s Chorus has eight separate choral programs for different skills and levels of engagement including six choirs. The VIVA! Youth Singers are featured every year in the National Ballet’s performances of The Nutcracker and have five ensembles. The Oakville Children’s Choir has seven programs including six choirs. (Artistic director Sarah Morrison led the Oakville Children’s Choir to a double gold finish at the World Choir Games in the Summer of 2015.) The Hamilton Children’s Choir with Zimfira Poloz was featured in R. Murray Schafer’s Apocalypsis during Luminato, as well as the Pan American Games closing ceremonies. These are some of the hardest working choirs out there year after year. And there are many others throughout Southern Ontario. It’s also important to note that these are also ensembles who have a presence in their communities beyond their membership. The Berlioz L’enfance du Christ Pax Christi Chorale & Orchestra with Nathalie Paulin, Olivier Laquerre, Alain Coulombe, Sean Clark, Matthew Zadow Saturday, December 5, 7:30p.m. & Sunday, December 6, 3:00p.m. Grace Church on-the-Hill PaxChristiChorale.org an Ontario government agency un organisme du gouvernement de l’Ontario thewholenote.com Nov 1 - Dec 7, 2015 | 23 of experience. So the languages trained musicians use to communicate widely should not exclude others. The languages of what we could describe as music in the widest sense are as varied and many, as diverse as the living things that make up this planet. One doesn’t need to analyze the pitch and program of toads in the Caledon Hills during mating season to appreciate that something grand and exceptional is happening. Similarly, one can listen to A Sea Symphony and interpret a military sound without knowing that trumpets and snare drums are creating that sound. It is also worth considering the information we get as to the state of choral music making in our communities not by what the established choirs are doing, but by what is happening on the fringes, and anywhere children and young voices are concerned. Where are younger people Oakville Children's Choir at the World Choir Olympics in Latvia (2014) engaging with music? EDM, DJ worked for him. For a person untrained in music, who cannot usually Skratch Bastid, Choir!Choir!Choir, Pentatonix, music theatre and film soundtracks are just some of the sources of music I find my friends tell the difference in sound between a trombone or a horn, or what going to that aren’t mega-scale, heavily produced pop concerts. And a cadence is, he understood because he felt it. And this is where the for this, and an even younger crowd, Disney movies continue to be a great power of instrumental music lies, in common experience. His vocabulary didn’t need to be RCM certified to convey the commonality source of deep and powerful musical tradition (That Choir recently BACH CHILDREN’S CHORUS BACH CHAMBER YOUTH CHOIR associate conductor David Briggs John Lam YORKMINSTER PARK BAPTIST CHURCH The Toronto Mendelssohn Choir and the Canadian Staff Band welcome the season with traditional and contemporary carols and music for Christmas. $ 35 – $ 76 organ Canadian Staff Band WED, DEC 9, 2015 | 7:30 PM TICKE TS Linda Beaupré, Conductor Eleanor Daley, Pianist conductor Jennifer Min-Young Lee bandmaster Concert photo by Brian Summers Festival of Carols Noel Edison VOX TIX $ 20 SATURDAY DECEMBER 12, 2015 FOR 30 AND UNDER $40 and $35 at the Toronto Centre box office or TicketMaster at 1-855-985-2787 (ARTS) TMC BOX OFFICE 416-598-0422 ext AT 7:30PM 221 www.tmchoir.org Toronto Centre for the Arts 5040 Yonge Street Photo by Flickr user Daniel S Used under Creative Commons licence Design by David Kopulos www.davidkopulos.com facebook.com/BCCandBCYC bachchildrenschorus.ca 24 | Nov 1 - Dec 7, 2015 thewholenote.com had a Disney-themed cabaret). In September, That Choir did a season launch that wasn’t a choral performance. This is unusual and welcome in an attempt to build a community of relationships that support a choir and its work. The TSO does this as well, with donors of much more privileged wallets. One day I might make it through the doors of the Maestro Club or the fancy Amex lounge at Roy Thomson Hall. For now, having a drink at No One Writes to the Colonel and singing “I can’t feel my face when I’m with you” by the Weeknd with 100 other people hits the spot pretty well. And importantly, it does for a lot of other people as well. Children’s Choir Concerts The Toronto Children’s Chorus is going on tour to Boston and New York City in March 2016. These talented kids will light up the hallowed walls of Carnegie Hall in the Choirs of America National Competition. The Toronto Children’s Chorus presents “Spectral Contrasts” on Saturday November 7, at 4pm, in Calvin Presbyterian Church. Proceeds will go towards the competition. The Hamilton Children’s Choir will be part of the City of Hamilton’s Remembrance Day ceremonies on November 8, at 10:30am in St George’s Church. The VIVA! Youth Singers present “Shanti!: Our Native Land” on November 29, at 3:30pm in Trinity-St Paul’s Centre. The Oakville Children’s Choir presents “Songs for a Winter Night” on Saturday December 5 at 7pm in St. John’s United Church in Oakville. Chorus Niagara’s Children’s Choir presents “The Time of Snow” at Beacon Christian School on Saturday December 6 at 2:30pm in St Catharines. Other Concerts Chorus Niagara is pulling together the McMaster University Choir and the Niagara Symphony Orchestra in presenting “CELEBRATE!: The Explosive Power of 160 Voices in Partridge Hall” on November 7, at 7:30pm in FirstOntario Performing Arts Centre in St Catharines. Further east, another conglomeration of choirs is assembling for “Choralpalooza,” featuring the Kingston Chamber Choir, She Sings, the Kingston Townsmen, the Kingston Choral Society and Open Voices Community Choir. This will take place November 8, at 12pm in the Isabel Bader Centre for the Performing Arts, Kingston. Bel Canto is just one of many choirs in Scarborough. They perform “The Most Wonderful Time of the Year” on December 6, at 2:30pm and 7:30pm, in St. Dunstan’s of Canterbury. Two sets of German choral works are being presented: one by the Toronto Mendelssohn Choir on November 25, at 7:30pm in Koerner Hall; the other by the Hart House Chorus on November 29, at 4pm in the Great Hall of Hart House. THAT CHOIR CAROLS with a reading of Dylan Thomas' 'A Child's Christmas in Wales' by Jim Mezon GJEILO. RAMINSH. WHITACRE. LAURIDSEN. WILLAN. PENTATONIX. Sunday, Dec. 13, 2015 | 8pm Metropolitan United Church 56 Queen St. East, Toronto TICKETS: $25 | $15 | $5 www.thatchoir.com [email protected] Please stay in touch! Feedback: [email protected] or Twitter @thebfchang MESSIAH DIRECTED BY JOAN ANDREWS Guest Artists Rebecca Whelan, soprano Andrea Ludwig, mezzo-soprano Asitha Tennekoon, tenor Jesse Clark, bass/baritone Gerald Loo, organist The Talisker Players Sat, Dec 12, 2015 at 7:30 pm Markham Missionary Church 5438 Major Mackenzie Drive East, Markham Adult $35 Senior $30 Student $20 Child under 12 FREE For tickets call (905) 763-4172 or at the door www.villagevoices.ca thewholenote.com Nov 1 - Dec 7, 2015 | 25 Beat by Beat | Art of Song Five Sopranos and A Mezzo HANS DE GROOT Emma Kirkby: It has sometimes seemed to me that my interest in early music began with listening to Kirkby. When I checked dates, I realized that that was not true. I bought my first early music LP (two of Bach’s Brandenburg Concertos, conducted by August Wenzinger) when I was a schoolboy in the early 50s, while Kirkby’s career did not begin until 1971 when she joined the Taverner Choir as a founding member. But my mistake highlights the fact that Kirkby’s singing has been central to early music performances ever since. On October 18 she and her accompanist, the fine lutenist Jacob Lindberg, gave a recital of English music ranging from William Byrd to Henry Purcell at Trinity College Chapel. Now that Kirkby is in her mid-60s the incomparable beauty of her singing is also layered with a lifetime of nuance; every presentation provides a lesson in how these songs can be delivered. In the first half of the program we heard a number of students, members of the University of Toronto’s Schola Cantorum. Until recently the University had not shown much interest in early music but this changed with the appointment of Daniel Taylor (best known as a countertenor but now also a conductor) as Early Music Area Head. Many of these performances were very fine, a tribute to the singers but also to Taylor’s leadership and to the extra coaching the singers received from Kirkby and Lindberg. Agnes Zsigovics: Kirkby studied classics at Oxford University and became a schoolteacher. At that time she would have had no notion that a professional career could be built on the singing of early music. That is no longer the case and Kirkby’s career is one reason why that change became possible. There are now many singers who specialize in Early Music and one of the finest is a Canadian soprano Agnes Zsigovics whom we shall be able to hear on November 14 with the Ottawa Bach Choir and York University Chamber Choir in a performance of Bach’s Mass in B Minor at Grace Church on-the-Hill. The other soloists are Daniel Taylor, alto, Rebecca Claborn, mezzo, JacquesOlivier Chartier, tenor, Geoffrey Sirett, baritone, and Daniel Lichti, bass-baritone. The conductor is Lisette Canton. When I asked for an interview with Zsigovics, she accepted readily and added: “Isn’t it every soprano’s wish to talk about themselves all day long?” I decided not to take this too literally and I was right not to do so. She is not a self-absorbed diva but a down-to-earth and disciplined artist committed to her craft. As a young woman she sang in choirs at school and as a member of the Bell’Arte Singers. Her first big break came in 2005, when she sang with the Toronto International Bach Festival and was asked by the conductor, Helmut Rilling, to sing the soprano solo in Bach’s Cantata BWV106 (the Actus Tragicus). Daniel Taylor heard her and invited her to sing part of Pergolesi’s Stabat Mater at a private function and to join the Theatre of Early Music. In 2007 she sang in Bach’s St. John Passion under Rilling with the Toronto Symphony Orchestra. I have heard her four times in recent years: in the virtuoso soprano part of Allegri’s Miserere and as Belinda in Purcell’s Dido and Aeneas (both with the Theatre of Early Music), in Vivaldi’s Gloria (with Tafelmusik) and as the soprano soloist in the Grand Philharmonic Choir’s performance of Bach’s St. Matthew Passion in Kitchener last Good Friday. She has now sung outside Ontario many times. In May she performed at the Bethlehem Bach Festival (and she will return there next May) and she took part in the reconstructed St. Mark Passion by Bach at the Festival d’Ambronay in France in September. As for the near future: in January she will be in Montreal in a program of Bach cantatas, in April she will sing Monteverdi’s 1610 Vespers in Chicago with Music of the Baroque and in May she will sing Bach in Calgary. 26 | Nov 1 - Dec 7, 2015 Agnes Zsigovics and Benjamin Butterfield with the Bach Choir of Bethlehem in a performance of the Bach Mass in B minor at the Bethlehem Bach Festival (2014) She will make her debut in a fully staged operatic performance when she will sing the role of Eurydice in Gluck’s Orfeo ed Eurydice in Grand River, Michigan. We can also hear her voice on several recordings, two with the Theatre of Early Music (The Voice of Bach on RCA, and The Heart’s Refuge on Analekta) and one with Les Voix Baroques and the Arion Baroque Orchestra under Alexander Weimann (Bach’s St. John Passion, on ATMA). Zsigovics is now looking at the possibility of launching her first solo recording. Simone Osborne: Like Zsigovics, Simone Osborne could be described as a lyric soprano but, unlike Zsigovics, she is primarily an opera singer. In 2008, when she was 21, she won the Metropolitan Opera National Concert Auditions. In 2012, Jeunesses Musicales Canada chose her as the first winner of the Maureen Forrester Award. She was a member of the Ensemble Studio of the Canadian Opera Company and has performed a number of roles for the COC on the main stage: Pamina in Mozart’s The Magic Flute, Oscar in Verdi’s Un Ballo in Maschera, Gilda in Verdi’s Rigoletto, Nannetta in Verdi’s Falstaff and Lauretta in Puccini’s Gianni Schicchi. She will return to the COC later this season to sing Micaela in Bizet’s Carmen. On November 12 and 14, we have a chance to hear her in concert with the Toronto Symphony Orchestra. Part of the TSO’s Decades Project, that concert will show the diversity of styles in works from the first decade of the 20th century. Osborne will sing three pieces: the aria Depuis le jour from Charpentier’s Louise, first performed in 1900; the Song to the Moon from Dvořák ‘s Rusalka (1901) and the soprano solo in the final movement of Mahler’s Fourth Symphony (1901). Isabel Leonard: The Women’s Musical Club of Toronto can always be relied on to provide artists and programs of interest. I, myself, am very much looking forward to the recital by the American mezzo Isabel Leonard on November 19 inWalter Hall. A few seasons ago Leonard sang with the COC in Mozart’s La clemenza di Tito and she was splendid in the role of Sesto. The recital will include works by Montsalvatge, de Falla, Ives, Higdon and others. Sondra Radvanovsky: I last heard Sondra Radvanovsky in a dazzling performance as Queen Elizabeth I in Donizetti’s Roberto Devereux for the COC. On December 4 she will give a recital in Koerner Hall. The program includes the aria Sposa son disprezzata from Bajazet by Vivaldi, the Four Last Songs by Richard Strauss, the Song to the Moon from Dvořák ‘s Rusalka and songs and arias by Bellini, Barber, Giordano and Liszt. Magali Simard-Galdès: Jeunesses Musicales Canada has announced that the winner of the 2015 Maureen Forrester Prize is the soprano Magali Simard-Galdès. The prize consists of a 30-city tour in which she will perform a program of art songs including a new song cycle by Tawnie Olson, commissioned by the Canadian Art Song Project. Hans de Groot is a concertgoer and active listener, who also sings and plays the recorder. He can be contacted at [email protected]. thewholenote.com Beat by Beat | Early Music But When In Naples ... T Spanish and Habsburg Empires for the next 200 years, and became a Napoleonic possession from then until 1815. That wasn’t a lot of time for Southern Italy to develop an independent, let alone pan-Italian identity, so maybe other Italians (or at least that particular Italian) are referencing the fact that, politically, Naples was in fact a French, Spanish, or Austrian province more than it was ever an Italian one. As a cultural centre, though, Naples in its prime was a fascinating place. Ethnically Italian with a Spanish influence, its position smack in the middle of the Meditarranean made it a natural port of call between the rest of the European continent and the Middle East. Naples is also largely responsible for giving us a major institution of both culture and of classical music – the modern conservatory. The Spanish regime in Naples was one of the first governments to found conservatories, which it did in Naples – initially church-run institutions to shelter and educate orphans, they later became the music schools we know today. In 17th-century Naples, with the new form of opera quickly becoming popular and a sudden high demand for trained singers and musicians throughout Italy, conservatories found themselves part of a feeder system for professional musicians and singers, as they were both amply funded and made music education a significant part of a child’s education. Vesuvius:This month, The Toronto Consort pays tribute to the music and culture of this Renaissance cosmopolis in their opening concert of the season, “The Soul of Naples.” The Consort will be performing this month at Jeanne Lamon Hall at Trinity-St-Paul’s Centre at 8pm on November 13 and 14. I’ve been looking forward to this concert for some time. The Consort is teaming up with the Vesuvius Ensemble, which is the only folk group I’ve ever encountered that specializes specifially in Renaissance Neapolitan folk music. The group has the good fortune to be led by a top-rate tenor, Francesco Pellegrino, who will be directing both Vesuvius and the Consort this time around. And if you’re a guitar fan, this is definitely the concert for you – this show features a menagerie of plucked-string instruments, including baroque guitar, theorbo and lute, as well as the far more obscure DAV I D P O D G O R S K I here’s an anecdote from a book I read once that’s been bothering me for a while. In the memoir Kitchen Confidential, the American celebrity chef Anthony Bourdain describes the following altercation he had with one of his Italian chefs at a restaurant he owned: “Gianni had taken one look at my chef de cuisine, shaken his head and warned, ‘Watch out for dees guy. He’ll stobb you inna back,’ making a stabbing gesture as he said it. “What? What’s his problem? He’s Sicilian?’ I asked jokingly, knowing Gianni’s preference for all things Northern. ‘Worse,’ said Gianni. ‘He’s from Naples.’” Bourdain never explained what the problem with being Neapolitan was at any point in the rest of the book (maybe he never got around to asking Gianni), and frankly, I’ve never tried to ask anyone whether they were from Naples, Italy, or anywhere else. Was Bourdain’s chef a racist? Are Neapolitans intrinsically untrustworthy? And (most importantly) why would they be intrinsically untrustworthy to other Italians? Maybe the chef’s mistrust had to do with the fact that Naples had a history that pitted it against the rest of the Italian kingdoms for most of the last millennium: the Kingdom of Naples, comprising the city of Naples and roughly the southern half of the Italian boot, was ruled by the (French) King of Anjou from mid-13th to mid-14th century, the (Spanish) Aragonese from then to the early 16th century, the thewholenote.com Nov 1 - Dec 7, 2015 | 27 Beat by Beat | World View Musicians in Ordinary Hybrid Sounds I chitarra battente and colascione. The Consort has a few concerts for 2015/16 that look very interesting, and this is one of them. The group has a unique talent for taking an audience back to a particular time and place in history. I can’t wait for opening night. The Canadian Opera Company is a Toronto institution that dabbles in early music only occasionally, but it will be well worth checking out their upcoming program this month if you’re a fan of either Monteverdi or new music. Pyramus and Thisbe is a new opera by Canadian composer Barbara Monk Feldman and will be headlining the evening, but the two opening acts are overlooked gems of the Baroque repertoire and rank as some of the Venetian composer’s most accomplished miniatures. Il combattimento di Tancredi e Clorinda and Lamento d’Arianna are both exciting and powerful (though brief) works that take the listener back and forth from vivid depictions of warfare to intense sadness, often in the space of just a few bars. They’re great examples of the revolution in music that happened at the beginning of the 17th century when Monteverdi declared that poetry and text was more important than any musical idea could be. And more importantly, they’re fun to listen to. Check them out on November 5 and 7 at the Four Seasons. The Oratory: Sometimes less is more. If a folk/medieval supergroup and a pair of Monteverdi mini-operas with a full continuo band aren’t enough to get you to a concert this month, there are a couple of choral concerts that promise to be very enjoyable indeed. The Oratory at Holy Family Church (1372 King Street West) is presenting two concerts based around the Renaissance choral repertoire. The first, featuring a five-voice men’s chorus singing just one to a part, is a requiem mass for the feast of All Souls. The oratory has some fairly pious music lined up for the occasion – they’ll be performing works by that great papal hero of Renaissance polyphony, Giovanni Pierluigi da Palestrina, as well as the Spanish composer Cristobal de Morales on November 2 at 8pm. If you miss the occasion (or don’t want to sit through a whole mass) consider going instead to their November 18 concert at 7:30, which will feature Roland de Lassus’ Requiem for 5 Voices and his Music from the Office of the Dead as well as music by Tomas Luis de Victoria and J.S. Bach. Hardly cheerful music, to be sure, but a chance to hear Renaissance sacred music done with all soloists as opposed to a massive chorus is a rare and enjoyable experience. Rossi in Ordinary: The 16th-century Italian composer Salamone Rossi has the unique legacy, for musicians and scholars, of having written sacred music for the synagogue which survives and is still performed today. It’s unfortunate that there aren’t more extant examples of Jewish sacred music that modern audiences can listen to – Catholics being the main recipients of a half millennium of high-level patronage to the exclusion of nearly everyone else – but this month, the Musicians in Ordinary are performing Rossi’s sacred music as well as some of his sonatas for two violins. Violinists Chris Verrette and Patricia Ahearn will join the ensemble on November 27 at 8 pm at Father Madden Hall in the Carr building at the University of Toronto to explore the work of a fine composer in the Renaissance mould who has been regrettably overlooked by history. David Podgorski is a Toronto-based harpsichordist, music teacher and a founding member of Rezonance. He can be contacted at [email protected]. 28 | Nov 1 - Dec 7, 2015 ANDREW TIMAR n previous columns I’ve explored something I called hybridity in Toronto music -- transculturalism as it manifests itself musically, both in the disciplines of composition, improvisation and performance practice, and in the way audiences respond to music reflecting these hybridized values. This column connects the dots between a few Toronto concerts featuring hybrid sounds. Pedram Khavarzamini is World Music Artist-in-Residence at the U. of T.’s Faculty of Music. Over the last decade or two the GTA has been the beneficiary of a wave of talented, primarily emerging career Iranian musicians. The tombak (principal Iranian goblet drum) virtuoso, teacher and composer, Pedram Khavarzamini, stands prominently among them. Moving to Toronto last year, this accomplished musician and scholar has steadfastly maintained the traditions of tombak technique and repertoire and introduced new audiences to them. He is also known for his innovations in cross-cultural collaboration and musical experimentation. Both the traditional and collaborative sides of Khavarzamini’s work were on ample display in his exciting May 16, 2015 Music Gallery concert, “East Meets Further East,” which he shared with Montréal tabla soloist Shawn Mativetsky. Their drum duo at the end of the night was a memorable marvel of musical respect and communication. It reminded the audience that transcultural challenges can be met and honoured at the highest level. A pioneer in another – and more hybrid - arena too, Khavarzamini also composes for Persian-centric percussion ensembles. His main outlet is Varashan, a group he directs and composes for. Its performance was yet another musically satisfying feature of the May 2015 Music Gallery concert I attended. In addition to his eloquent performances set in international halls with leading Persian and international musicians, Khavarzamini has also taken tombak teaching onto the global stage. Offering conducting workshops and individual instruction to scores of students in Iran, Europe and North America, live and via Skype, he has become a leading instructor on his chosen drum and its indigenous musical idioms. Khavarzamini’s activities as a virtuoso percussionist, composer, teacher and group leader have already attracted the attention of learning centres. His appointment this fall at U of T’s Faculty of Music provides proof of this. Searching for insights into this development in his career, I exchanged several emails and Facebook chats with Khavarzamini in the penultimate weekend of October. He confirmed that his Artist-in-Residence duties will, among others, include “leading masterclasses and the newly formed U. of T. Iranian Music Ensemble,” activities which will involve several dozen music students. An excellent opportunity to witness the impressive breadth and depth of Khavarzamini’s work can be had at a November 17 free concert at University of Toronto’s Walter Hall, where he will lead the Iranian Music Ensemble and members of Varashan. The Persian instrumentation will include multiple tombaks, the dayereh (medium-sized frame drum with jingles), santoor (hammered dulcimer), kamancheh (bowed lute), tar (plucked lute) and perhaps a vocalist. Then on December 3 the Iranian Music Ensemble directed by Khavarzamini takes part in a World Music Ensembles concert at Walter Hall alongside the Klezmer Ensemble and the Japanese Taiko Ensemble. These biannual public concerts, along with their York University counterparts, have for decades subtly influenced the general Toronto reception of non-mainstream European- and American-centred musics, perhaps even laying the groundwork for the kind of hybrid creations increasingly appearing in a whole range of venues. David Virelles: Gnosis featuring Román Díaz at the Music Gallery. David Dacks, the Music Gallery’s artistic director, has certainly not shied away from engaging in musical hybridity, as he made clear in an X Avant festival story in The WholeNote last year. thewholenote.com “Abakuá drums have never been in a concert hall setting, so this is absolutely a new form of music that Virelles is exploring.” For Dacks, it’s not “just a ‘local guy makes good’ show, it’s bigger than that. Virelles is already the most experimental pianist of Cuban origin I’ve ever heard, and he has become a major creative force. As such, this is a unique opportunity for the Music Gallery and our partners to help him take the next, ambitious step.” However he remains Pedram Khavarzamini very aware of the inherent complications of mixing and matching musical genres, especially the everprickly notion of authenticity. “If one is attempting to join culture A to culture B in a coherent musical statement, one must be really attuned to power relationships, comparative structures/forms/ tuning/language, your own personal experience and other points of connection or difference between musical ingredients one is working with.” He gives a down-home example: “randomly sampled African chants over breakbeats just won’t fly anymore.” Fortunately we’re mostly in good hands, Dacks adds. “In crazy, diverse Toronto, many musicians are cognizant of these factors, not just academically, but internally. The resulting hybrid musical creations are way more than pastiches, they are declarations of one’s transcultural (going back to last year’s term) life experiences.” For Dacks the November 27 and 28 concerts, “David Virelles: Gnosis featuring Román Díaz,” at the Music Gallery, co-presented by the Music Gallery, Arraymusic and Lula Music & Arts, are a case in point. For those unfamiliar with Virelles’ music, the billing “futuristic AfroCuban chamber music” gives a taste of what one might expect. Immigrating to Canada from Cuba at 18, pianist and composer Virelles began his musical studies at Toronto’s Humber College and continued them at the University of Toronto. He came under the mentorship of saxophonist Jane Bunnett, long celebrated for her support of both Cuban music and musicians. Virelles has since developed into a cutting-edge jazz innovator. Achieving career success along the way, last year he released his first ECM recording Mboko, in the words of Dacks, “taking Cuban music places it’s never been.” The 32-year-old Virelles is “capable of tropically intense polyrhythms and irregular but internally logical phrasing, which befits an artist who came to jazz through Thelonious Monk, Andrew Hill, and Bud Powell.” About five years ago Virelles moved to New York to further his career and has since worked with jazz leaders like Henry Threadgill, Andrew Cyrille and many more. Earlier this year he scooped the Downbeat Rising Star – Piano award. The Music Gallery partnership with both Arraymusic and Lula Music & Arts in presenting Gnosis is part of the story. As Dacks explains: “Gnosis, is a big project (hence a rare two-night stand at The Music Gallery). It’s a chamber piece, requiring some 12 musicians. Rick Sacks … [has committed members] of the Array Ensemble to the group, plus most of the rehearsals will be at their Arrayspace. It’s turned into a big part of their season too.” As for Lula Music & Arts, they’re “a natural promotion partner in this project. Virelles played there frequently [when he was a Toronto resident] and it’s the nerve centre for so much Latin music in Toronto.” Another significant element in the work is the inclusion of Abakuá drums by Cuban master drummer Román Díaz with four other Cuban drummers. Hermetic and little known even within Cuba, Abakuá is an Afro-Cuban men’s initiatory fraternity, a secret society, with roots extending back to Nigeria and Cameroon. Despite its secret nature, the percussion and vocal dance music of the Abakuá, as well as other music of West African origin, have been found by researchers to have collectively infused and influenced virtually all genres of Cuban vernacular music, including rumba and son. Dacks notes that Díaz “has been playing with Virelles for quite a while now” drawing on Cuba’s deep African musical heritage as an essential element of the performance. Rather than using Abakuá songs and drumming as a superficial pinch of ethnic spice in a jazz score, they have instead chosen to perform it as it occurs in Afro-Cuban ritual practice (echoing Dacks’ earlier comments about authenticity). thewholenote.com Quick Picks Continuing with this month’s theme of musical hybridity, the Aga Khan Museum presents two concerts which can easily be included in that portfolio. November 28 the Kinan Azmeh City Band mounts the AKM’s auditorium stage with a concert blending jazz, Western classical and Syrian music. Kinan Azmeh, clarinet, Kyle Sanna, guitar, John Hadfield, percussion, and Petros Klampanis, double bass, perform works from their album Elastic City. December 5 the spotlight shifts to the Indo-Afghan music of the veteran singer Ustad Eltaf Hussain Sarahang. Starting his career as a young court musician – appointed as Royal Musician to the Court of King Zahir Shah of Afghanistan (reigned 1933–73) – Sarahang has enjoyed a career spanning decades as a leading exponent of the hybrid traditions of Indo-Afghan music. Andrew Timar is a Toronto musician and music writer. He can be contacted at [email protected]. Nov 1 - Dec 7, 2015 | 29 Beat by Beat | Jazz Stories J Jane’s Day, Jane’s Way ORI DAGAN ane Bunnett’s day is so chock full that the only time we can find to do an interview is at Ana Maria’s hair salon, down the street from her Parkdale home. It’s a big week. Two nights ago (October 20) she won Ontario’s Premier’s Award for Excellence; today (October 22) is her birthday; and on Saturday night (October 24) she performs at Koerner Hall with Maqueque and Emilie Michel. I congratulate her on the Premier’s Award and ask what this particular honour means to a five-time JUNO winner, two-time Grammy nominee and Order of Canada recipient: “First of all this is my third time up for this award, and every time, the people in this category have been people that I respected. Some of them I knew because they are closer to my field, but when I’ve been seeing the other nominees and investigated and researched what they do, I’m extremely honoured because I look at them and I think, ‘That’s amazing, look what this person has done, look what this person has done!’ and I’m saying it about everybody and then I go, ‘Wait a minute, I’m in the same category!’ so that must mean, you know? The jury, my peers are recognizing me in the same way. I’m so very honoured.” Bunnett’s talent is astonishing, her passion contagious and her discipline inspiring. She is also lucky in love: her husband of nearly 35 years is producer manager and occasional sideman Larry Cramer. “He is my other half in making these things happen. We are a real team … my vision is not as strong as his vision. A lot of the time I can’t quite see it, but Larry sees the end results. I just see all the work that has to get done and I freak out. We’re a great team.” The two have toured this planet dozens of times in the past 30 years, acting as Canadian ambassadors, standing up for social and political causes, collaborating with some of the very best in the world and providing countless opportunities for others every step of the way. “Sometimes it’s hard for us to stand back and just look at the total body of what we’re doing because artists are so forward thinking and you never know where your next bread and butter are going to come from. To sit back and savour the moment, the recognition because we are always moving forward – you finish a project and you’re on to the next one – so to be able to stand back with Larry, it means so much to us. And not to look like a materialistic person, but there is a monetary 30 | Nov 1 - Dec 7, 2015 value to the award that could not come at a better time, when we’ve been stretched financially. We’ve set a certain standard for ourselves, and it can’t be any less that that. Twenty records later, we have to keep our standard high ... keep it interesting for yourself and your fans if you have fans. So sometimes we have to beg, borrow and steal to make a project happen.” Making a living as a jazz artist in Toronto can seem nearly impossible without a secondary income. Most jazz musicians teach either privately or in a post-secondary institution. Although she is a natural mentor, Bunnett has never had a regular teaching position, which arguably has allowed for the 20 recordings under her belt. “Who knows down the road, as I get older – I don’t know how long my body can handle the running around – as a jazz musician when you are doing what I’m doing, when you don’t have a teaching position, you have to travel. To work I have to travel. There’s only so much you can do in Toronto, there’s only so much you can do in Canada, so you have to up and move, and so when I can combine that with going into a university or a high school or a community arts thewholenote.com weston_colorprintad3.5625x10_thewholenote.qxt_Layout 1 10/15/15 8:41 PM Pa “... beautifully written and warmly performed …" JazzTimes “A guitar tour de force... ” The Midwest Record organization, I really enjoy doing that and I like to be able to shed light on what I do, because some people really don’t understand what is entailed in being an artist – the sacrifices that you make to do that. How you put the whole thing together – the whole record – especially with young people, because there is a disconnect with creativity, everything being so hi-tech. The way I work is very organic – in the case of Maqueque – I write a piece of music and then we sit down and we work on it, and I’m very open to people’s ideas. If a change is suggested we’ll all bounce it around and a lot of the time their suggestions are great. We workshop the material to bring in the different influences. I see myself as a collaborator – I thrive on not only doing my own thing, but bringing other ingredients into what I do – and I think in a certain way, I am good in the educational world, to be able to explain this experience.” Maqueque: The group Maqueque – which is also the name of their debut album – is Bunnett’s latest triumph, finding her in the company of five female Cuban twentysomethings: Daymé Arocena, vocals and percussion; Dánae Olano, piano and vocals; Magdelys Savigne, vocals and percussion; Célia Jiménez, vocals and bass; and Yissy García, drums. Maqueque won the 2015 JUNO for Jazz Album of the Year – Group. “The record was done in 2013 and it was done pretty quickly. We put the group together down there, and we rehearsed three or four days, and then went into the studio and made the record. I hardly even knew most of the girls.” Having followed Bunnett on Facebook for the past few years, I’ve noticed many posts about favourable receptions on their North American tour. I asked her what surprised her about the response to the album, both from critics and audiences: “That’s a good question. When we made that record, I had no idea – Maqueque was actually a very difficult record to make. There were certain things that happened … part of the tracks were recorded on a broken bass, and I didn’t even know it! Celia didn’t even own a bass – she was a classical bassoon player but she really wanted to play jazz and picked up the bass but she didn’t own one. I don’t even know whose bass she was using. We were in the studio and then when were mixing, both Jeremy Darby and David Travers-Smith were like ‘I don’t know what to do about the bass sound, it’s just dreadful’ and I was quite overwhelmed with all the things that were going on. I knew something was funny but, I later found she was playing on a broken bass that wasn’t hers and she didn’t want to tell me because she thought I wouldn’t let her be in the band. Yeah, thanks! Thousands of dollars later and trying to clean up the sound. “And then there was making a record and not knowing who the “...Weston straddles a myriad of styles on his auspicious debut as a leader...with conviction and rare facility. Definitely a talent deserving of wider recognition.” Bill Milkowski Contributor to DownBeat, Jazziz and author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius GalenWeston plugged in Official album launch Wed Nov 25 @ Tattoo Queen West, Toronto Fri Nov 13 @ The Pearl Company, Hamilton Thu Nov 19 @ The Moonshine Cafe, Oakville Wed Dec 2 @ The Boathouse, Kitchener JAZZ STORIES continues to page 54 Violins, violas, cellos & bows Com mpl Complete line of strings & accessories Expert repairs & rehairs Canada’s Cana ad largest stock of string music A treasure treasu ure trove of gifts for string players thesoundpost.com info@the soundpost.com 93 Grenville St, Toronto M5S 1B4 416.971.6990 • fax 416.597.9923 DOWNLOAD FOR FREE AT GALENWESTON.ORG facebook.com/GalenWestonBand • SALON CONCERT • blu azz Jeanne Lamon & Friends • Nov 1, 2pm thewholenote.com Twitter: @Galen_Weston p r o d u c t i o n s Nov 1 - Dec 7, 2015 | 31 BLUE PAGES 2015/16 16th ANNUAL DIRECTORY OF MUSIC MAKERS – SUPPLEMENT The Blue Pages is The WholeNote’s annual directory of concert presenters: choirs, orchestras, bands, chamber ensembles, opera companies and more. It’s published every October in our print magazine, and is up-to-date and available year-round at thewholenote. com. The 147 profiles published in our October 2015 edition gave an extraordinary overview of the vigorous and diverse music community in the GTA and Southern Ontario and an appetizing taste of who’s doing what this season. Ongoing support from Ontario’s music presenters helps The WholeNote, now in its 21st season, to continue fulfilling its mission. You can do your part by going to concerts and encouraging others, especially younger people, to support live music. Presenters who missed the October issue of the magazine were invited to be a part of this November’s directory supplement – the eight profiled here may be old friends or excitingly new to you. PROJECT MANAGER Karen Ages PROJECT EDITOR Kevin King PROOFREADING Vanessa Wells LAYOUT & DESIGN Susan Sinclair WEBSITE Bryson Winchester COVER PHOTO Janet Kimber BLUE 16TH ANNUAL PRESENTERS! It’s still not too late to be part of the Blue Pages online. For more information on the benefits of WholeNote membership, contact Karen Ages at [email protected] or 416-323-2232 x26. BLUE PAGES TEAM 2015/16 ● In residence at the St. Lawrence Centre for the Arts since 2011, Toronto native Adam Sherkin is a dynamic pianist who commands a multi-dimensional approach to performance and composition. Sherkin released his debut album in 2012 on the Centrediscs label: a full-length solo disc featuring his own works, As At First. Acclaim has followed for Sherkin’s first record, described as displaying “a sense of daring,” “craftsmanship,” unmistakable music by a “young, living, breathing and very gifted composer.” Sherkin has performed at significant venues throughout Canada and Britain, including the Glenn Gould Studio, the Toronto Centre for the Arts, St. Martin-in-theFields, Covent Garden and the Royal Albert Hall. In partnership with Steinway & Sons, Adam Sherkin presents the Write Off the Keyboard Noon Hour Series at the St. Lawrence Centre for the Arts in Toronto this 2015-16 concert season. All concerts take place on the first Thursday of every month at noon, at the Bluma Appel Lobby of the St. Lawrence Centre for the Arts. 27 Front Street East. Admission is FREE. stlc.com Nathan Williams, communications manager 416-825-2744 [email protected] adamsherkin.com ● PAGES PRESENTER PROFILES 2015/16 Adam Sherkin Bel Canto Singers The Bel Canto Singers is a dynamic 50-voice community-based SATB choir that performs works from an assortment of genres, including opera choruses, Broadway show tunes, folk songs, spirituals and even rock. Auditions to determine voice range are conducted at the beginning of September and January. This season’s concerts are on December 6, 2015 and May 1, 2016. We also sing for seniors’ residences and in fundraisers for other organizations. Rehearsals are 7:30-10:00 pm Tuesdays at St. Nicholas Anglican Church, 1512 Kingston Road, Toronto, Ontario, M1N 1R7. Linda Meyer, director 416-699-4585 belcantosingers.ca ● Elora Festival Singers The Elora Festival Singers, an all-professional Grammy- and Juno-nominated chamber choir, was founded in 1980 by Noel Edison as principal choral ensemble of the Elora Festival. In 1992, the Elora Festival Singers was incorporated as a separate organization to manage its year-round activities. Since 1997, the choir has been the core of the Toronto Mendelssohn Choir and the Toronto Mendelssohn Singers, and is the choral ensemblein-residence of the Elora Festival each summer. Through regular concert series, recordings, broadcasts, and touring, the Elora Festival B1 | theWholeNote 2015/16 PRESENTER PROFILES Singers has established a reputation as one of the finest chamber choirs in Canada and beyond, contributing to the musical life not only of the community but on an international stage. With ten releases on the NAXOS label, the Elora Festival Singers is known for its rich, warm sound and clarity of texture. The choir is renowned for its diverse styles, for its commitment to Canadian repertoire, and for its collaborations with other Canadian artists. 519-846-0331 [email protected] elorafestival.com ● FirstOntario Performing Arts Centre The FirstOntario Performing Arts Centre is a brand new 95,000 square foot cultural complex located in downtown St. Catharines and is comprised of four state-of-the-art performance venues: Partridge Hall, the crown jewel of the FirstOntario PAC, boasts world-class acoustics and an intimate connection to the stage. Robertson Theatre is a flexible ‘black box’ theatre that can accommodate performances, recitals, cabarets, workshops and more. Cairns Recital Hall is acoustically-pristine and the perfect intimate setting for small musical ensembles, singer-songwriters, recitals and spoken word artists. The Film Theatre has fully cinematic capabilities that will showcase the best in classic, cult and world cinema, as well as genre films that we love. The FirstOntario PAC will host local, national and international music, including classical, chamber, contemporary, jazz, folk, world, choral and symphony. Plus a plethora of theatre, dance, comedy, and so much more. The Arts Live Here. Discover What’s Inside. Jordy Yack 905-688-0722 [email protected] FirstOntarioPAC.ca ● Meredith Potter Arts Management Meredith Potter Arts Management works with contemporary performing arts companies in Toronto, including Peggy Baker Dance Projects and Volcano Theatre. Volcano creates theatre that is stylistically and socially modern, a theatre that explores identity, politics, history, and the contemporary human condition. Peggy Baker Dance Projects is dedicated to offering experiences of significance, personal connection, and transformative potential to our audience through the power and beauty of the art of dance. Established in Toronto, Canada in 1990 and incorporated in 1996, Peggy Baker Dance Projects is a charitable non-profit organization led by one of Canada’s foremost modern dancers – Peggy Baker. Distinguished from the outset by collaborations with extraordinary creators and performers, the company has built an MEREDITH POTTER ARTS MANAGEMENT exceptional body of work and a growing slate of education, engagement, and enrichment programs. Peggy Baker Dance Projects began as a vehicle for solo dance expression; the company’s work now encompasses solo and ensemble dance repertoire, performed to both live and electro-acoustic music, and features a company of outstanding dancers. Meredith Potter 416-538-4436 [email protected] peggybakerdance.com ● Opera Atelier Opera Atelier is North America’s premier period opera/ballet company, producing the opera, ballet and drama of the 17th, 18th, and 19th centuries. While drawing upon the aesthetics and ideals of the period, Opera Atelier goes beyond “reconstruction” and infuses each production with an inventive theatricality that resonates with modern audiences. Led by founding artistic directors Marshall Pynkoski and Jeannette Lajeunesse Zingg since 1985, Opera Atelier has garnered acclaim for its performances at home as well as in the United States, Europe and Asia. The 2015-16 season marks Opera Atelier’s 30th anniversary. The season continues in April with a new Canadian production of Mozart’s Lucio Silla (Apr. 7-16, 2016), which was met with great critical acclaim in Salzburg and at La Scala in Milan. Tickets start at $38 and can be purchased through Ticketmaster at 1-855-622-ARTS(2787) or www.ticketmaster.ca, or at the Elgin Theatre Box Office (189 Yonge Street). 1-855-622-2787 [email protected] operaatelier.com ● Rose Room Music Group The Rose Room Music Group is a new, fully-integrated company that offers a world-class recording studio, full-service integrated artist services agency, boutique record label and live concert promotions both in Toronto and on a touring basis. The company’s core team brings over 50 years of collective experience as musicians, promoters and agents to the table along with an extremely broad and fluid skill set and a can-do spirit. Sebastian Cook 416-573-8055 [email protected] roseroom.ca ● Toronto Symphony Orchestra Founded in 1922, the Toronto Symphony Orchestra is one of Canada’s most important cultural institutions, recognized internationally as an outstanding orchestra. Music director Peter Oundjian leads the TSO with a commitment to innovative programming and audience development through a broad range of performances that showcase the exceptional talents of the Orchestra along with a roster of distinguished guest artists and conductors. The TSO also serves the larger community with TSOUNDCHECK, the original under-35 ticket program, the Toronto Symphony Youth Orchestra, and music education programs that reach over 50,000 students each year. 416-593-4828 TSO.ca theWholeNote 2015/16 PRESENTER PROFILES | B2 A. Concerts in the GTA LISTINGS IN THIS ISSUE: Aurora, Aurora, Bolton, Burlington, Colgan, Etobicoke, Georgetown, Kleinburg, Markham, Milton, Mississauga, Mississauga, Newmarket, North York, Oakville, Oshawa, Port Credit, Richmond Hill, Scarborough, Sharon, Thornhill, Waterloo, Whitby The WholeNote listings are arranged in four sections: A. B. C. D. Sunday November 1 GTA (GREATER TORONTO AREA) covers all of Toronto plus Halton, Peel, York and Durham regions. ●●1:15: Mooredale Concerts. Music & Truf- fles: Vivacious Violins - One-hour Interactive Presentation. Prokofiev: Sonata for Two Violins Op.56; Violin Sonata No.1 in f Op.80; SaintSaëns: Violin Sonata No.1 in d Op.75; Sarasate: Navarra, Op.33 for two violins and piano. Nikki Chooi and Timothy Chooi, violins; Jeanie Chung, piano. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-922-3714 x103. $13. For ages 5-11(adults welcome). 3:15: Full concert. ●●2:00: Canadian Opera Company. La Traviata. Verdi. Ekaterina Siurina, soprano (Violetta Nov. 1, 4); Joyce El-Khoury, soprano (Violetta Nov. 6); Charles Castronovo, tenor (Alfredo Nov. 1, 4); Andrew Haji, tenor (Alfredo Nov. 6); Quinn Kelsey, baritone (Germont Nov. 1, 4); James Westman, baritone (Germont Nov. 6); Marco Guidarini, conductor; Arin Arbus, director. Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. $50–$435; $22(under 30). Also Nov 4, 6; start times vary. ●●2:00: Latvian Guild of Organists of North America. Festival Service and Concert. Six North American Latvian organists; Latvian Vocal Ensemble (Brigita Alka, conductor); Emilija Rozensteina, cello; Lauma Pruse; piano; Vita Kalnciema, organ; Ingrīda Gutberga, organ. St. Barnabas Anglican Church, 361 Danforth Ave. 416-626-8910. Freewill offering. ●●2:00: Royal Conservatory. Mazzoleni Masters Songmasters Series: Songs of Remembrance. Monica Whicher, soprano; Rachel Andrist, piano. Mazzoleni Concert Hall, Royal Conservatory, 273 Bloor St. W. 416-4080208. $25. ●●2:00: The Sound Post. Fall Salon Concert. Jeanne Lamon, violin; and others. 93 Grenville St. 416-971-6990 x244. Free. Call to reserve. Reception to follow. ●●2:00: Visual and Performing Arts Newmarket. Adi Braun, voice. Newmarket Theatre, 505 Pickering Cres., Newmarket. 905-953-5122. $30; $25(sr); $10(st). ●●3:00: McMichael Canadian Art Collection. McMichael Concert Series: Genevieve Marentette Quartet. 10365 Islington Ave, Kleinburg. 905-893-1121 x2209. $39; $29; $15(st). Ticket price includes gallery admission. ●●3:00: Milton Philharmonic Orchestra. The Magical World of Disney. St. Paul’s United Church (Milton), 123 Main St. E., Milton. 905302-3169. $25; $20(sr); $10(st/child). BEYOND THE GTA covers many areas of Southern Ontario outside Toronto and the GTA. Starts on page 51. IN THE CLUBS (MOSTLY JAZZ) is organized alphabetically by club. Starts on page 55. THE ETCETERAS is for galas, fundraisers, competitions, screenings, lectures, symposia, masterclasses, workshops, singalongs and other music-related events (except performances) which may be of interest to our readers. Starts on page 59. A GENERAL WORD OF CAUTION. A phone number is provided with every listing in The WholeNote — in fact, we won’t publish a listing without one. Concerts are sometimes cancelled or postponed; artists or venues may change after listings are published. Please check before you go out to a concert. HOW TO LIST. Listings in The WholeNote in the four sections above are a free service available, at our discretion, to eligible presenters. If you have an event, send us your information no later than the 8th of the month prior to the issue or issues in which your listing is eligible to appear. LISTINGS DEADLINE. Attention! DOUBLE ISSUE! The next issue covers the period from December 1, 2015 to February 7, 2016. All listings must be received by Midnight Sunday November 8. LISTINGS can be sent by e-mail to [email protected] or by fax to 416-603-4791 or by regular mail to the address on page 6. We do not receive listings by phone, but you can call 416-323-2232 x27 for further information. LISTINGS ZONE MAP. Visit our website to see a detailed version of this map: thewholenote.com. Georgian Bay Lake Huron 8 7 6 3 4 2 1 City of Toronto ●●3:00: Toronto Chamber Choir. The Mem- ory Palace of Matteo Ricci. Guests: China Court Trio; Kathleen Kajioka, narrator. Church of the Redeemer, 162 Bloor St. W. 416763-1695. $30; $25(sr); $12.50(under 30). Coffee, tea and home baking to follow. ●●3:00: Toronto Concert Orchestra. Stage & Screen. Music from Star Wars, West Side Story, Raiders of the Lost Ark; other works. Kerry Stratton, conductor. Timothy Eaton Memorial Church, 230 St. Clair Ave. W. 1-800222-6608. $40; $25(sr/st). ●●3:00: Toronto Operetta Theatre. H.M.S. Pinafore: A Tribute Concert to Gilbert and Sullivan. “He is an Englishman.” Gregory Finney(Sir Joseph Porter); Charlotte Knight(Josephine); Rosalind McArthur(Mrs. Cripps); Natasha Fransblow, piano/music director. St. Lawrence Centre for the Arts, 27 Front St. E. 416-366-7723. $46–$63. ●●3:15: Mooredale Concerts. Vivacious Violins. Prokofiev: Sonata for Two Violins Op.56; Sonata No.1 in f Op.80 for violin and piano; Saint-Saëns: Sonata for Violin and Piano No.1 in d Op.75; Sarasate: Navarra, Op.33 for two violins and piano. Nikki Chooi and Timothy Chooi, violins; Jeanie Chung, piano. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-922-3714 x103. $30; $20(under 30). 1:15: Music & Truffles for ages 5-11. ●●4:00: Amadeus Choir. Luminosity. James Whitbourn: Luminosity; Bob Chilcott: Canticles of Light; Êriks Ešenvalds: Stars; Morten Lauridsen: Lux Aeterna; Hussein Janmohamed: Sun on Water. Amadeus Choir; Steven Dann, viola; Diana Atherton Davis, singing bowls; Shawn Grenke, piano; Lydia Adams, conductor. Eglinton St. George’s United Church, 35 Lytton Blvd. 416-446-0188. $20-$45. ●●4:00: Cathedral Church of St. James. Twilight Organ Series. Thomas Fitches, organ. 65 Church St. 416-364-7865. Free. ●●4:00: Church of St. Mary Magdalene. Warlock’s Capriol Suite. Andrew Adair, organ. Church of St. Mary Magdalene (Toronto), 477 Manning Ave. 416-531-7955. Free. ●●4:00: St. Olave’s Anglican Church. Music of Fauré. Choral Evensong for All Saints’ Day. Fauré: Requiem; other works. Voices Chamber Choir; Ron Cheung, conductor. 360 Windermere Ave. 416-769-5686. Contributions appreciated. Includes Pumpkin Tea and an illustrated talk on Plainsong and the Prayer Book. ●●4:00: St. Philip’s Anglican Church. St. Philip’s Anglican Church Sunday, November 1, 4pm | Mariachi Vespers Lake Ontario Jorge Lopez & his Mexico Amigo Band Sunday, November 22, 4:00 pm | Jazz Vespers Tim Rutledge Quartet with Tim (saxophone), Ben Riley (drums), Bruce Hemmings (piano) and Keith Laurie (bass) 5 Sunday, November 29, 4:00 pm | Jazz Vespers Robi Botos (solo piano) Lake Erie St. Philip’s Anglican Church | Etobicoke 25 St. Phillips Road (near Royal York + Dixon) 416-247-5181 • stphilips.net • free will offering 34 | Nov 1 - Dec 7, 2015 thewholenote.com Mariachi Vespers with Jorge Lopez and Mexico Amigo Band. 25 St. Phillips Rd., Etobicoke. 416-247-5181. Freewill offering. ●●4:30: Christ Church Deer Park. Jazz Vespers. All Saints’ Day with the Chameleon Band. 1570 Yonge St. 416-920-5211. Free. Donations welcome. ●●7:00: Aradia Baroque Ensemble. On the Path of Champlain. In celebration of Samuel de Champlain’s 1615 visit to Ontario. Works by Lambert, Lully, Charpentier and Hotterre. Katherine Hill, soprano; Patrice Dutil, narrator; Kevin Mallon, conductor. Alliance Française de Toronto, 24 Spadina Rd. 647960-6650. $35; $20(sr/under 30). ●●7:30: Lark Ensemble. In Concert. Moz- art: Flute Quartet, K298; Kodály: Duo, Op.7; Martinů: Madrigals, H313; Haydn: “Lark” Quartet, Op.64 No.5. Leslie Allt, flute; Aaron Schwebel, violin; Roberta Janzen, cello; Keith Hamm, viola. Corkin Gallery, 7 Tank House Ln. 416-979-1980. $35; $20(st). Refreshments included. ●●8:00: Ozere. Finding Anyplace. CD Release. Jessica Deutsch, violin and vocals; Emily Rockarts, vocals; Lydia Munchinsky, cello; Adrian Gross, mandolin; Bret Higgins, bass. Tranzac Club, 292 Brunswick Ave. 416-8378027. $15; $10(st/arts workers). ●●10:15: Neuberger Holocaust Education Week. Sounds of Survival: Music of the Women’s Orchestra of Auschwitz. Jeri Robins, cantor. Temple Sinai, 210 Wilson Ave. 416487-4161. Free. Education Week runs Nov 2-9. Monday November 2 ●●2:00: Neuberger Holocaust Education Week. Remembering Yiddish Culture through Song. Sing-a-long of pre-war Yiddish songs with Etta Donnell. Kensington Place Retirement Residence, 866 Sheppard Ave W. 416-636-9555. Free. Education Week runs Nov 2-9. ●●7:30: Fraser Jackson with Monique de Margerie and Friends. Poulenc Sextet. Works from the last century by Poulenc and others. Gallery 345, 345 Sorauren Ave. 416697-4743. $10-$20. ●●7:30: Pages Unbound/Porcupine’s Quill. Lotería Huasteca Book Launch and Concert. Alec Dempster, author; Guests: Tlacuatzin Trio. Gladstone Hotel, 1214 Queen St. thewholenote.com W. 416-531-4635. $10. Free with purchase of book. ●●8:00: The Oratory. Usus Antiquior: Requiem Mass for All Souls. Works by Palestrina and Morales. Oratory Chant Schola with 5-voice men’s choir; Philip Fournier, conductor. The Oratory, Holy Family Church, 1372 King St. W. 416-532-2879. Free. Donations accepted. Free parking. Thursday November 5 Tuesday November 3 ●●12:30: University of Toronto Faculty of Music. Tuesday Performance Class for Singers. Songs of Requiem and Light presented by third-year Oratorio class. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-408-0208. Free. ●●1:00: Cathedral Church of St. James. Midday Organ Series. Simon Walker, organ. 65 Church St. 416-364-7865. Free. ●●2:30: York University Department of Music. Music at Midday: Singing our Songs. Arias and Lieder. Young artists in the classical vocal performance studios of Catherine Robbin, Stephanie Bogle, Norma Burrowes, Michael Donovan, Janet Obermeyer and Karen Rymal. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 647-459-0701. Free. Also Nov 5 (1:30). ●●6:30: Canadian Opera Company. Centre Stage: Ensemble Studio Competition. Vocal showcase of young Canadian singers selected from nationwide auditions, followed by dinner with competition finalists and COC artists. COC Orchestra; Johannes Debus, conductor. Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. $1,500(dinner); $100(cocktail reception); $35(st). 5:30: Cocktails. ●●7:30: Opus 8. War & Peace. Opus 8 Choral Octet. Cathedral Church of St. James, 65 Church St. 416-364-7865. Free. ●●8:00: Lula Lounge. Unplugged. Conversation between song, dance and guitar. Flamenco. La Otra Orilla, Flamenco troupe. 1585 Dundas St. W. 416-588-0307. $32.75. ●●12:00 noon: Adam Sherkin. Chopin & Rach- maninoff: Darkness Visible. Chopin: Scherzo No.1 in b, Op.20; Impromptu No.2 in F-sharp, Op.36; Rachmaninoff: Preludes Op.32, Nos.1012; Sherkin: Sunderance (2008). Adam Sherkin, piano. St. Lawrence Centre for the Arts, 27 Front St. E. 416-366-7723. Free. Bluma Appel Lobby. ●●12:00 noon: Canadian Opera Company. Chamber Music Series: Haydn the Master. Haydn’s earliest works contrasted with his final compositions from Opus No.77. COC Orchestra members. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-3638231. Free. ●●12:00 noon: Encore Symphonic Concert Band. In Concert: Classics and Jazz. John Edward Liddle, conductor. Wilmar Heights Centre, 963 Pharmacy Ave., Scarborough. 416-346-3910. $10. Includes coffee and snack. ●●12:10: University of Toronto Faculty of Music. Thursdays at Noon. MacMillian: The Country Wife; Lee Lesselman: Make Me a Willow Cabin; Jon Magnussen: Twinge. Midori Koga, piano; Lindsay Kesselman, soprano; Kimberly Cole Luevano, clarinet. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-408-0208. Free. ●●12:15: Metropolitan United Church. Noon at Met. Ashley Tidy, organ. Metropolitan United Church (Toronto), 56 Queen St. E. 416363-0331 x26. Free; donations welcome. ●●1:30: York University Department of Music. Music at Midday: Singing our Songs. Arias and Lieder. Young artists in the classical vocal performance studios of Catherine Robbin, Stephanie Bogle, Norma Burrowes, Michael Donovan, Janet Obermeyer and Karen Rymal. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 647-459-0701. Free. Also Nov 3 (2:30). ●●2:00: Neuberger Holocaust Education Week. From Despair to Hope: A Musical Tribute in Song. Deborah Staiman, vocals; Asher Farber, piano. Hazelton Place Retirement Residence, 111Avenue Rd. 416-928-0111. Free. Education Week runs Nov 2-9. ●●7:30: Canadian Opera Company. Pyramus Wednesday November 4 ●●12:30: Yorkminster Park Baptist Church. Noonday Organ Recitals. William Maddox, organ. 1585 Yonge St. 416-922-1167. Free. ●●6:00: Cathedral Church of St. James. Cantatas in the Church. Bach: Cantata, BWV139 and organ works. Kirsten Fielding, soprano; Alison Roy, alto; Charles Davidson, tenor; Graham Robinson, bass; David Briggs, organ. 65 Church St. 416-364-7865. PWYC. All donations go directly to the artists. ●●7:00: Monarchs Pub. Ault Sisters at Monarchs. Jazz vocal trio. 33 Gerrard St. W. 416585-4352. Free. ●●7:30: Canadian Opera Company. La Traviata. See Nov 1(2:00); Also Nov 6; start times vary. ●●7:30: University of Toronto Faculty of Music. New Orford String Quartet. Beethoven: Op.59 No.3; Op.130 with the Grosse Fugue finale. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-408-0208. $40; $25(sr); $10(st). ●●8:00: Flato Markham Theatre. Emanuel Ax. Works by Beethoven and Chopin. 171 Town Centre Blvd., Markham. 905-3057469. $74-$79. and Thisbe. New Canadian opera and two early Baroque classics. Monk Feldman: Pyramus and Thisbe (world premiere); Monteverdi: Lamento d’Arianna; Il combattimento di Tancredi e Clorinda. Krisztina Szabó, mezzo (Thisbe, Arianna, Clorinda); Phillip Addis, baritone (Pyramus, Tancredi); Owen McCausland, tenor (Testo); Johannes Debus, conductor; Christopher Alden, director. Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. $50–$435; $22(under 30). Also Nov 7; start times vary. ●●7:30: Opera York. Tosca. Puccini. Romulo Delgado (Cavaradossi); Rachel Cleland (Tosca); Nicolae Raiciu (Scarpia); Sabatino Vacca, artistic director; Giuseppe Macina, stage director. Richmond Hill Centre for the Performing Arts, 10268 Yonge St., Richmond Hill. 905-787-8811. $40-$50; $25(st). Also Nov 7. ●●7:30: University of Toronto Faculty of Music. Fall Major Opera Production: The Medium/The Telephone (Gian Carlo Menotti). Sandra Horst, conductor, Patrick Du Wors, designer; Lisa Magill, costumes; Michael Patrick Albano (The Telephone) and Anna Theodosakis (The Medium), directors. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-408-0208. $40, $25(sr); $10(st). Opera Talk 30 minutes before each performance in Room 130. Also Nov 6, 7 (7:30); Nov 8 (2:30). ●●7:30: York University Department of Music. York University Wind Symphony and York University Symphony Orchestra Preview Concert. Mark Chambers and William Thomas, conductors. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 416-736-5888. $5. ●●8:00: Flato Markham Theatre. The Irish Rovers: 50th Anniversary Tour. 171 Town Centre Blvd., Markham. 905-305-7469. $59-$64. ●●8:00: Gallery 345. Musikk for Hardanger and Strings. Rebekka Wolkstein, Sarah Fraser Raff, Brandon Chui, Wendy Solomon, Alex Samaras and GREX (chorus). 345 Sorauren Ave. 416-822-9781. $25; $15(st). ●●8:00: Music Toronto. Cecilia Quar- tet. Haydn: String Quartet in B-flat, Op.50, No.6: Nicole Lizée: New Commission (world premiere); Mendelssohn: String Quartet Op.44, No.2. Min-Jeong Koh, violin; Sarah Nov 1 - Dec 7, 2015 | 35 A. Concerts in the GTA Nematallah, violin; Caitlin Boyle, viola; Rachel Desoer, cello. Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front St. E. 416366-7723. $55, $50; $10(st); age 18 to 35: pay your age. ●●8:00: Neuberger Holocaust Education Week/Ashkenaz Foundation. Maramaros: The Lost Jewish Music of Transylvania. Muzsikás. George Weston Recital Hall, 5040 Yonge St. 416-979-9901. $36; $30(sr/st). BAROQUE MASTERS 416-225-1922. $15/$10(adv); $10 (sr/st). ●●7:00: University of Toronto Scarborough. Madawaska Ensemble. Guests: Anna Redekop, Sarah Fraser Raff, Anita Walsh, and Amber Ghent. Arts and Administration Building, University of Scarborough, 1265 Military Trail, Scarborough. 416- 208-4769. Free. Limited seating. Please RSVP. ●●7:30: Canadian Opera Company. La Traviata. See Nov 1(2:00). ●●7:30: Music at Metropolitan/Toronto Centre, Royal Canadian College of Organists. In Recital: Stefan Engels, organ. Works by Alain, Bach, Reger, Mendelssohn and KargElert. Metropolitan United Church (Toronto), 56 Queen St. E. 416-363-0331 x26. $20; $10(18 and under). Nov 7: Masterclass (see under ETCeteras). ●●7:30: Poculi Ludique Societas/St. Thomas’s Anglican Church. The Mary Play From the Medieval N-Town Manuscript. Directed by Kimberley Radmacher. St. Stephen-in-theFields Anglican Church, 103 Bellevue Ave. 416978-8849. $20; $15(sr); $10(st). Also Nov 7. ●●7:30: University of Toronto Faculty of Music. Fall Major Opera Production: The Medium/The Telephone (Gian Carlo Menotti). ●●1:10: Gordon Murray Presents. Piano Pot- pourri. Works from classics, opera, operetta, musicals, ragtime, pop, international and other genres. Gordon Murray, piano. TrinitySt. Paul’s United Church (Chapel), 427 Bloor St. W. 416-631-4300. PWYC. Lunch and snack friendly. ●●1:30: Oakville Opera Guild. Opera Duets. Shauna Yarnell, mezzo; Janaka Welihinda, baritone; and Natasha Fransblow, piano. Queen Elizabeth Park Community and Cultural Centre, 2302 Bridge Rd, Oakville. 905815-5979. $15; advance purchase required. ●●7:00: St. George Music Knights. Kings of Gypsy Swing. A Django Reinhardt/Stephane Grappelli Tribute Concert. Roberto Rosenman, guitar; Aline Homzy, violin. St. George Anglican Church, 5350 Yonge St. Poculi Ludique Societas The Mary Play From the Medieval N-Town Manuscript Nov 5-8 416.964.6337 tafelmusik.org Sandra Horst, conductor, Patrick Du Wors, designer; Lisa Magill, costumes; Michael Patrick Albano (The Telephone) and Anna Theodosakis (The Medium), directors. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-408-0208. $40, $25(sr); $10(st). Opera Talk 30 minutes before each performance in Room 130. Also Nov 5, 7 (7:30); Nov 8 (2:30). ●●8:00: group of 27. All the King’s Love. Purcell: Chaconne from King Arthur; John Burge: Loved and Were Loved; Beethoven: Symphony No.4; Glazunov: Theme and Variations. Eric Paetkau, conductor. Centre for Social Innovation, 720 Bathurst St. 416-323-1292. $30, $25, $10. ●●8:00: Royal Conservatory. Music Mix Series: David Sanborn. Jazz. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $45 and up. ●●8:00: Tafelmusik. Baroque Masters. Corelli: Concerto Grosso; Fasch: Orchestral Suite in d; Bach: Concerto for violin in a, BWV1041; Locatelli: Concerto “Il Pianto d’Arianna”; Vivaldi: Concerto for two violins and two oboes in F. Tafelmusik Baroque Orchestra; Elisa Citterio, guest director and violin. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-964-6337. $91; $82(sr); $81(under 18). Also Nov 5, 7, 8(3:30). ●●9:00: Hart House Music Committee. Jazz Night: 11 O’Clock Jazz Orchestra. Jim Lewis, conductor. Arbor Room, 7 Hart House Circle. 416-978-2452. Free. Saturday November 7 ●●2:00: Kira Braun Presents. Recital & CD ●●8:00: Tafelmusik. Baroque Masters. Cor- elli: Concerto Grosso; Fasch: Orchestral Suite in d; Bach: Concerto for violin in a, BWV1041; Locatelli: Concerto “Il Pianto d’Arianna”; Vivaldi: Concerto for two violins and two oboes in F. Tafelmusik Baroque Orchestra; Elisa Citterio, guest director and violin. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-964-6337. $91; $82(sr); $81(under 18). Also Nov 6, 7, 8(3:30). Post-performance talk on Nov 5. Friday November 6 ●●12:10: Music at St Andrew’s. Noontime Recital. Su Jeon Higuera, piano. St. Andrew’s Church, 73 Simcoe St. 416-593-5600 x231. Free. 36 | Nov 1 - Dec 7, 2015 Launch. Schubert: The Shepherd on the Rock; works by Fauré, Rachmaninoff and Chopin. Kira Braun; soprano; Peter Krochak, piano; Carlos Melendez, clarinet. Little Trinity Anglican Church, 425 King St. E. 416-7863109. $25. ●●2:00: Toronto Symphony Orchestra. Big Bold Brass! Wagner: The Ride of the Valkyries; Williams: Superman March. Øystein Baadsvik, tuba; Sameer Patel, conductor. Roy Thomson Hall, 60 Simcoe St. 416-593-4828. $20.50 to $32.75. Also 4:00. ●●3:00: Peter Margolian and Friends. In Concert. Pijper: Sonata for flute and piano; Gàl: Friday, November 6 Saturday, November 7 7:30 pm Saint Stephen-in-the-Fields 365 College Street Tickets $20 / $15 sen / $10 st 416-978-8849 uofttix.com thewholenote.com thewholenote.com Nine Sparrows Arts Foundation & Yorkminster Park Baptist Church Improvised electronic music performed with custom-built software and hardware. T.A. Gambarotto: Pattern / Anti-pattern. T.A. Gambarotto, Matthew Leblanc, Robertson Holt, Len Goins and Savino Mazzuocco. Array Space, 155 Walnut Ave. 416-703-9536. $10. ●●8:00: Neuberger Holocaust Education Week. The Lost Rhapsody of Leo Spellman. Paul Hoffert of Lighthouse. Temple Har-Zion, 7360 Bayview Ave., Thornhill. 905-889-2252. Free. Education Week runs Nov 2-9. ●●8:00: North York Concert Orchestra. Invitation to the Dance. Works by Borodin, Copland, Dvořák, Fauré, Tchaikovsky, and others. Rafael Luz, conductor. Yorkminster Citadel, 1 Lord Seaton Rd., North York. 416-628-9195. $25; $20(sr); $10(st). ●●8:00: Tafelmusik. Baroque Masters. Corelli: Concerto Grosso; Fasch: Orchestral Suite in d; Bach: Concerto for violin in a, BWV1041; Locatelli: Concerto “Il Pianto d’Arianna”; Vivaldi: Concerto for two violins and two oboes in F. Tafelmusik Baroque Orchestra; Elisa Citterio, guest director and violin. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-964-6337. $91; $82(sr); $81(under 18). Also Nov 5, 6, 8(3:30). Present Special Guest Annalee Patipatanakoon Saturday November 7th, 2015 7:30 pm Yorkminster Park Baptist Church 1585 Yonge Street at Heath Street Admission Free Donations Welcome ●●7:30: Nine Sparrows Arts Foundation/ Yorkminster Park Baptist Church. A Concert of Remembrance. Yorkminster Park Baptist Choir; Hedgerow Singers; Annalee Patipatanakoon, violin; Rob Crabtree, piper; Colleen Burns, narrator; Elizabeth Anderson, organ; Lark Popov, piano; Eric N. Robertson, conductor. Yorkminster Park Baptist Church, 1585 Yonge St. 416-922-1167. Admission free. Donations welcome. ●●7:30: Opera York. Tosca. Puccini. Romulo Delgado (Cavaradossi); Rachel Cleland (Tosca); Nicolae Raiciu (Scarpia); Sabatino Vacca, artistic director; Giuseppe Macina, stage director. Richmond Hill Centre for the Performing Arts, 10268 Yonge St., Richmond Hill. 905-787-8811. $40-$50; $25(st). Also Nov 5. ●●7:30: Poculi Ludique Societas/St. Thomas’s Anglican Church. The Mary Play From the Medieval N-Town Manuscript. Directed by Kimberley Radmacher. St. Stephen-in-theFields Anglican Church, 103 Bellevue Ave. 416978-8849. $20; $15(sr); $10(st). Also Nov 6. ●●7:30: Small World Music. Anton Apostolov with Green Sky Project. Anton Apostolov; guitar; Jacek Karlowski, tamboura and guitar; Nikola Gaidarov, kaval; Max Senitt, percussion; and others. Small World Music Centre, Artscape Youngplace, 180 Shaw St. 416-5513544. $25. ●●7:30: University of Toronto Faculty of Music. Fall Major Opera Production: The Medium/The Telephone (Gian Carlo Menotti). Sandra Horst, conductor, Patrick Du Wors, designer; Lisa Magill, costumes; Michael Patrick Albano (The Telephone) and Anna Theodosakis (The Medium), directors. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-408-0208. $40, $25(sr); $10(st). Opera Talk 30 minutes before each performance in Room 130. Also Nov 5, 6 (7:30); Nov 8 (2:30). ●●8:00: Aga Khan Museum. Monsoon-Music. Indian classical traditions combined with jazz. Jonathan Kay, saxophones, bansuri; Andrew Kay, saxophones, eastern reed instruments, percussion; Justin Gray, fretless bass, electric bass, percussion. Aga Khan Museum Auditorium, 77 Wynford Dr. 416-6464677. $25. ●●8:00: Canadian Opera Company. Pyramus and Thisbe. See Nov 5. ●●8:00: G Group. Pattern / Anti-pattern. ●●3:30: Tafelmusik. Baroque Masters. Cor- elli: Concerto Grosso; Fasch: Orchestral Suite in d; Bach: Concerto for violin in a, BWV1041; Locatelli: Concerto “Il Pianto d’Arianna”; Vivaldi: Concerto for two violins and two oboes in F. Tafelmusik Baroque Orchestra; Elisa Citterio, guest director and violin. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-964-6337. $91; $82(sr); $81(under 18). Also Nov 5, 6, 7. ●●4:00: Cathedral Church of St. James. Twilight Organ Series. David Briggs, organ. 65 Church St. 416-364-7865. Free. ●●4:00: University Settlement Music & Arts School. Student Scholarship Winners’ Concert. St. George the Martyr Church, 197 John St. 416-598-3444 x243. Free. Donations accepted. R. MURRAY SCHAFER Sunday November 8 © André Leduc Sonata for violin and piano; Finney: Divertimento for oboe, piano and percussion. Isobel Buda, flute; Hazel Boyle, oboe; Peter Margolian, piano; Mike Murphy, percussion; Steve Prime, violin. Array Space, 155 Walnut Ave. 647-980-5475. Free. ●●3:00: The Neapolitan Connection - Musical Matinées at Montgomery’s Inn. New World Piano Trio. Montgomery’s Inn, 4709 Dundas St. W. 647-262-4316. $37.99/$15.00. Tea, historical tour (2:15), cookies included. ●●3:30: Harbourfront Centre. Day of the Dead: Mariachi Los Gallos. Brigantine Room, Harbourfront Centre, 235 Queens Quay W. 416-973- 4000. Free. Also on Nov 8. ●●4:00: Church of the Ascension. All Souls’ Service. Fauré: Requiem. Melanie Conly, soprano; Stephen King, baritone; Christopher Dawes, organ. 33 Overland Dr. 416-444-8881. Freewill offering. Reception following. ●●4:00: Toronto Children’s Chorus. Spectral Contrasts. I Te Timatanga (Maori action song), Inuit dancing, drumming and throat singing; other works. Guest: James Westman, baritone; Elise Bradley, conductor. Calvin Presbyterian Church, 26 Delisle Ave. 416932-8666 x231. $35; $30(sr/st); $20(child). Annual tour fundraising concert. ●●4:00: Toronto Symphony Orchestra. Big Bold Brass! Wagner: The Ride of the Valkyries; Williams: Superman March. Øystein Baadsvik, tuba; Sameer Patel, conductor. Roy Thomson Hall, 60 Simcoe St. 416-593-4828. $20.50 to $32.75. Also 2:00. ●●4:30: Canadian Opera Company. Pyramus and Thisbe. See Nov 5. Also 8:00. ●●6:00: Church on the Queensway. An Evening with the Gaither Vocal Band. Guests: Charlotte Richie, vocalist; Gene McDonald; vocalist; Kevin Williams, guitar. 1536 The Queensway, Etobicoke. 877-700-3130. $45/$40(adv); $30(sr/child). ●●6:00: Gallery 345. Jazz at Gallery 345. Workshop & performance. Larnell Lewis, drums; Robi Botos, piano; Mike Downes, bass. 345 Sorauren Ave. 416-822-9781. $20; $15(st). 6:00-6:45 composition/rhythm section workshop; 7:00 performance. ●●7:30: Canadian Art Song Project. The Living Spectacle. Erik Ross: The Living Spectacle; Brian Harman: Sewing the Earthworm; R. Strauss: Ophelia Lieder; Libby Larsen: Try Me, Good King. Ambur Braid, soprano; Carla Huhtanen, soprano; Steven Philcox, piano; Jennifer Nichols, dancer. Extension Room, 30 Eastern Ave. 647-352-7041. $45; $40(adv). Phone number is for venue only. Tickets at canadianartssongproject.ca. ●●7:30: Music On The Donway. Lost Pilgrim Group. Donway Covenant United Church, 230 The Donway W. 416-444-8444. $20; free(st/child). ●●7:30: Neuberger Holocaust Education Week. From Budapest to Toronto: A Personal Journey in Music and Words. Moshe Hammer and the Hammer Band. Grace Church on-theHill, 300 Lonsdale Rd. 416-488-7884. Free. Education Week runs Nov 2-9. ●●7:30: Opera by Request. The Impresario/ Bastien and Bastienne. Mozart. Stephanie Ferracane, soprano (Mrs. Heartfelt/Bastien); Michelle Danese, soprano (Miss Silvertone/Bastienne); Larry Tozer, bass-baritone (Mr. Buskin/Colas); William Shookhoff, piano/ conductor. College Street United Church, 452 College St. 416-455-2365. $20. ●●1:30: Kingston Road United Church. Bohemians in Brooklyn. Works by Britten, McPhee, Weill and Bernstein; and original songs by members of the cast. Tom Allen, narration/trombone/vocals; Lori Gemmell, harp/guitar/vocals; Bryce Kulak, piano/ vocals; Patricia O’Callaghan, vocals/percussion. 975 Kingston Rd. 416-699-6091. $20; $10(st); free(under12). In conjunction with the Toronto Public Library’s “Beaches Reads” series. ●●2:00: Royal Conservatory. Mazzoleni Masters. Susan Hoeppner, flute; Sarah Jeffrey, oboe. Mazzoleni Concert Hall, Royal Conservatory, 273 Bloor St. W. 416-408-0208. $25. ●●2:00: Trio Bravo. In Concert. Beethoven: Septet; Lane: Trio No.1; and other works. Terry Storr, clarinet; Baird Knechtel, viola; John Selleck, piano. All Saints Kingsway Anglican Church, 2850 Bloor St. W. 416-2422131. $20; $15(sr/st). ●●2:30: University of Toronto Faculty of Music. Fall Major Opera Production: The Medium/The Telephone (Gian Carlo Menotti). Sandra Horst, conductor, Patrick Du Wors, designer; Lisa Magill, costumes; Michael Patrick Albano (The Telephone) and Anna Theodosakis (The Medium), directors. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-408-0208. $40, $25(sr); $10(st). Opera Talk half an hour prior to each performance in Room 130. Also Nov 5, 6, 7 (7:30). ●●3:00: Beth Anne Cole/Musideum. Love a Gershwin Tune. Fasctinating Rhythm; Embraceable You; A Foggy Day; I Got Rhythm; They All Laughed; and others. Beth Anne Cole, vocals; Richard Whiteman, piano. Musideum, Suite 133 (main floor), 401 Richmond St. W. 416-599-7323. $20. ●●3:00: Hart House Music Committee. Sunday Concerts: Joshua Peters, Violin & Katherine Dowling, Piano. Great Hall, Hart House, 7 Hart House Circle. 416-978-2452. Free. ●●3:30: Harbourfront Centre. Day of the Dead: Mariachi Los Gallos. Brigantine Room, Harbourfront Centre, 235 Queens Quay W. 416-973- 4000. Free. Also on Nov 7. LOVING | Sun. Nov 8 | Gallery 345 Special Event | Call 416.961.9594 www.NewMusicConcerts.com ●●7:00: New Music Concerts. R. Murray Schafer: Loving/Toi CD Preview and Benefit. Works by R. Murray Schafer. Brooke Dufton, Joseph Macerollo, Robert and Dianne Aitken, Max Christie, David Hetherington and Gregory Oh, Stuart Laughton and Patricia Green. Gallery 345, 345 Sorauren Ave. RSVP: 416-961-9594. $100; 2 for $150. Charitable receipts issued. Proceeds to support the Centrediscs re-issue of New Music Concerts’ historic recording of Schafer’s Loving/ LOVE a Gershwin tune Beth Anne Cole with Richard Whiteman, piano Sunday Nov 8, 3pm Musideum [email protected] Nov 1 - Dec 7, 2015 | 37 A. Concerts in the GTA Toi. Door prizes and refreshments. Non-subscription event. Thursday November 12 Midday Organ Series. David Briggs, organ. 65 Church St. 416-364-7865. Free. ●●12:00 noon: Canadian Opera Company. Chamber Music Series: String Trio Gems. Works by Beethoven, Kodály and Gubaidulina. Trio Arkel: Marie Bérard, violin; Teng Li, viola; Winona Zelenka, cello. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-3638231. Free. ●●12:10: University of Toronto Faculty of Music. Thursdays at Noon. Works by SaintSaëns, Infante and Gershwin. Emily Chiang, piano; Helen Becqué, piano. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●12:15: Metropolitan United Church. Noon at Met. Sarah Svendsen, organ. Metropolitan United Church (Toronto), 56 Queen St. E. 416363-0331. Free. ●●7:30: University of Toronto Faculty of Music. U of T 12tet. Jim Lewis, trumpet; Terry Promane, director. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. $20; $10(st). ●●7:30: York University Department of Music. Faculty Concert Series: New Twists on the Classics. Christina Petrowska Quilico, piano. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 416-736-5888. $15; $10(sr/st). ●●8:00: Hart House Orchestra. In Concert. Hart House, Great Hall, 7 Hart House Circle. 416-978-2452. Free. THAT CHOIR REMEMBERS conducted by Craig Pike November 8, 2015 www.thatchoir.com ●●8:00: That Choir. That Choir Remem- bers. Works by Nystedt, Allan, Barber, Lauridsen, Whitacre and Rachmaninoff. Craig Pike, conductor. Metropolitan United Church (Toronto), 56 Queen St. E. 416-419-1756. $25; $15(sr/arts workers); $5(st). Monday November 9 ●●7:30: Trio Arkel. À la Carte. String trios by Haydn, Beethoven, Oesterle and a surprise composer. Heliconian Hall, 35 Hazelton Ave. 416-409-6824. $30; $15(st). 6:30: Pre-concert talk with Marie Bérard. Tuesday November 10 ●●12:10: Nine Sparrows Arts Foundation/ Yorkminster Park Baptist Church. Lunchtime Chamber Music: Rising Stars Recital. Featuring performance students from the University of Toronto’s Faculty of Music. Yorkminster Park Baptist Church, 1585 Yonge St. 416-241-1298. Free; donations welcome. ●●1:00: Cathedral Church of St. James. ●●8:00: Music Toronto. Peter Jablonski, pian- ist. Toronto debut. Szymanowski: Don Juan Serenade; Chopin: Mazurka, Op.17 No.4; Szymanowski: Mazurka No.1; Chopin: Polonaise, Op.26 No.1; Grieg: Ballade in g; and works by Rachmaninoff, Scriabin and Copland/Bernstein. Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front St. E. 416-366-7723. $55, $50; $10(st); age 18 to 35: pay your age. Wednesday November 11 ●●12:30: Yorkminster Park Baptist Church. Noonhour Recitals. Angus Sinclair, organ; Paulo Sanvidotti, trumpet. 1585 Yonge St. 416922-1167. Free. ●●7:30: Nocturnes in the City. Zemlinsky String Quartet. Works by Mendelssohn, Janáček, Suk and Dvořák. St. Wenceslaus Church, 496 Gladstone Ave. 416-481-7294. $25; $15(st). ●●8:00: Massey Hall presents at the Harbourfront Centre Theatre. Torn from the Pages: Nino Ricci. Newly commissioned songs, stories and poems inspired by “Sleep”. Dave Bidini, host; Nobu Adilman; Tony Dekker; Oh Susanna; Corin Raymond; and others. Harbourfront Centre Theatre, 231 Queens Quay W. 416-872-4255. $19.50-$29.50. ●●8:00: Toronto Symphony Orchestra. Mahler Symphony 4. R. Strauss: Dance of the Seven Veils from Salome; Dvořák: Song to the Moon from Rusalka; Charpentier: “Depuis le jour” from Louise; Mahler: Symphony No.4. Simone Osborne, soprano; Michael Sanderling, conductor. Roy Thomson Hall, 60 Simcoe 38 | Nov 1 - Dec 7, 2015 R M A H L EO NY 4 SYMPOH SBORNE, SIMONE SOPRANO .CA 14 | TSO NOV 12 & St. 416-598-3375. $33.75-$148. Intermission Chat in the lobby with Tom Allen. Also on Nov 14. Friday November 13 ●●12:10: Music at St. Andrew’s. Noontime Recital. Koichi Inoue, piano. St. Andrew’s Church, 73 Simcoe St. 416-593-5600 x231. Free. ●●1:10: Gordon Murray Presents. Piano Potpourri. Featuring classics, opera, operetta, musicals, ragtime, pop, international and other genres. Gordon Murray, piano. TrinitySt. Paul’s United Church, 427 Bloor St. W. 416631-4300. PWYC. Lunch and snack friendly. ●●7:30: Leonard Music Services/Shaw Percussion. The Cocksure Lads in Concert. You’re a Cocksure Lad; You’ve Gotta Stay Cocksure; Wellies in the Bath; In London Town; Easy Peasy; and other works. Murray Foster, vocals, bass, guitars; Mike Ford, vocals, guitars, keyboards; Tim Bovaconti, lead guitar; Blake Manning, drums and percussion. Sharon-Hope United Church, 18648 Leslie Street, Sharon. 905-722-5449. $25; $20(adv). ●●7:30: Royal Conservatory. AIMIA Discovery Series: GGS Fall Opera. Xavier Montsalvatge: Puss in Boots; Berio: Folk Songs. Mazzoleni Concert Hall, Royal Conservatory, 273 Bloor St. W. 416-408-0208. $15. Also Nov 14. ●●7:30: Toronto Symphony Orchestra. What Makes It Great?® Rachmaninoff Piano Concerto 2. Rachmaninoff: Piano Concerto No.2. Alexander Seredenko, piano; Rob Kapilow, conductor & host. Roy Thomson Hall, 60 Simcoe St. 416-598-3375. $34.75-$83.75. ●●8:00: Curtain Call Players. A Christmas Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 14-15, 18-21. Times vary. ●●8:00: Royal Conservatory/Batuki Music/ Small World Music. Youssou N’Dour & Le Super Étoile de Dakar. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $50. ●●8:00: Toronto Consort. Soul of Naples. Renaissance music featuring comic street songs, love poetry set to music, tarantellas and virtuoso fantasias. Vesuvius Ensemble; Francesco Pellegrino, tenor and director. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, thewholenote.com ●●8:00: Aurora Cultural Centre. Movie Fund-raiser for poverty-stricken families in Kenya caring for orphans. ●●8:00: Blue Moss Ensemble. With Quatuor Bozzini: Pine Mushrooms. Oswald: preLieu; Höstman: Moths drink the tears of sleeping birds; LeBel: gather; Renaud: Lowlands (palimpsest I). Clemens Merkel and Alissa Cheung, violin; Stéphanie Bozzini, viola; Isabelle Bozzini, cello. The Music Gallery, 197 John St. 416-204-1080. $20/$18(adv); $15(st). ●●8:00: Cathedral Bluffs Symphony Orchestra. In Concert. Rachmaninoff: Piano Magic. Beethoven: Sonata for Piano and Violin “Spring” Op.24 No.5; Janáček: Sonata for Violin and Piano; John Williams: Schindler’s List; John Corigliano: Chaconne for Violin and Piano (from The Red Violin). Jonathan Crow, violin; Philip Chiu, piano. 22 Church St., Aurora. 905-713-1818. $34; $28(sr/st). ●●9:00: Hart House Music Committee. Jazz Night: Rita Di Ghent. Arbor Room, 7 Hart House Circle. 416-978-2452. Free. Saturday November 14 ●●11:00am: Canadian Opera Company. Opera 427 Bloor St. W. 416-964-6337. $24-$57; $22$52(sr); $10(st/30 and under). 7:00: pre-concert talk. Also Nov 14. Jonathan Crow Philip Chiu “Movie Magic” Friday, Nov. 13, 8pm auroraculturalcentre.ca 905 713-1818 thewholenote.com Concerto No.4; Brahms: Symphony No.2. Arthur Ozolins, piano. P.C. Ho Theatre, Chinese Cultural Centre of Greater Toronto, 5183 Sheppard Ave. E., Scarborough. 416879-5566. Regular: $34; $29(sr/st). Premium: $54; $44(sr/st). Free(under 12). ●●8:00: Indie88. Reykjavik Calling. Samaris; Airplane and Spaceship; also a local Toronto band and DJ. Adelaide Hall, 250 Adelaide St. W. 647-344-1234. Free. Doors open at 7:00. First-come, first-served. Must be 19. ●●8:00: Royal Conservatory. World Music: Sing for Families: Bremen Town Musicians. Opera by Dean Burry for children ages three to twelve. Inspired by the Brothers Grimm fairy tale of a singing band of animals searching for a better life. COC Ensemble Studio. Joey and Toby Tanenbaum Opera Centre, 227 Front St. E. 416-363-8231. $15; $10(under 15). 10:00am: Audience invited to participate in hands-on activities; opera 45 min. followed by Q and A. ●●1:30: Canadian Opera Company. Opera for Families: Operation Superpower. Opera by Armand Ranjbaran for young people ages three to twelve. An interactive performance. COC Ensemble Studio. Joey and Toby Tanenbaum Opera Centre, 227 Front St. E. 416-3638231. $15; $10(under 15). 12:30: Audience invited to participate in hands-on activities; opera 45 min. followed by Q and A. ●●7:30: Ottawa Bach Choir. J.S. Bach: Mass in B minor, BWV 232. Ottawa Bach Choir; York University Chamber Choir; Ensemble Caprice Baroque Orchestra and soloists; Daniel Taylor, countertenor; and others; Lisette Canton, conductor. Grace Church on-the-Hill, 300 Lonsdale Rd. 416-736-2100 x70191. $40/$50(reserved); $35(sr); $15(st). ●●7:30: Royal Conservatory. AIMIA Discovery Series: GGS Fall Opera. Xavier Montsalvatge: Puss in Boots; Berio: Folk Songs. Mazzoleni Concert Hall, Royal Conservatory, 273 Bloor St. W. 416-408-0208. $15. Also Nov 13. ●●7:30: The Marion Singers. All For Love. Songs on the theme of love. 16-voice a cappella choir. College Street United Church, 452 College St. 416-766-7265. $20. Adjudicated choir performances, clinics, workshops and massed festival choir for choirs, choristers and conductors November 14, 2015 Come as a choir or come solo! Concert of Choirs, 7:30 pm Christ Church Deer Park, Calvin Presbyterian Church, Toronto Information & registration visit www.choirsontario.org Nov 1 - Dec 7, 2015 | 39 A. Concerts in the GTA Sara Tavares & Caminho. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $35$80. Also Nov 13. ●●8:00: Spectrum Music. Tracing One Warm Line. Ozere; Alex Lukashevsky, singer/ songwriter. Alliance Française de Toronto, 24 Spadina Rd. 416-988-3127. Free. Pre-concert chat at 7:30. ●●8:00: Toronto Consort. Soul of Naples. Renaissance music featuring comic street songs, love poetry set to music, tarantellas and virtuoso fantasias. Vesuvius Ensemble; Francesco Pellegrino, tenor and director. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 416-964-6337. $24-$57; $22$52(sr); $10(st/30 and under). 7:00: pre-concert talk. Also Nov 13. ●●8:00: Toronto Symphony Orchestra. Mahler Symphony 4. R. Strauss: Dance of the Seven Veils from Salome; Dvořák: Song to the Moon from Rusalka; Charpentier: “Depuis le jour” from Louise; Mahler: Symphony No.4. Simone Osborne, soprano; Michael Sanderling, conductor. Roy Thomson Hall, 60 Simcoe St. 416-598-3375. $33.75-$148. Intermission Chat in the lobby with Tom Allen. Also on Nov 12. Pre-concert performance by The TSO Chamber Soloists at 6:45pm (Nov 14 only). Sunday November 15 ●●10:15am: St. John’s United Church. World Music Sunday: The Music of Bob Dylan. St. John’s United Church (Toronto), 2 Nobert Rd. 416-491-1224. Free. ●●2:00: Curtain Call Players. A Christmas Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 13-14,18-21. Times vary. ●●2:00: Jazz at RY. The Gene di Novi Quartet. Gene di Novi, piano; Mike Murley, saxophones; Neil Swainson, bass; Andrew Scott, guitar. Royal York Road United Church, 851 Royal York Rd. 416-231-9401. $20. Net proceeds to Refugee Support Fund. ●●2:00: Mozart Project. Salon Concert. Chansons, Lieder, and Arias. Non temer, amato bene K490; L’amerò, sarò costante; Violin Sonata No.32 in B-flat, K454. Nathalie Paulin, soprano; Helen Becqué, piano; Leslie Dawn Knowles, violin. Arts and Letters Club, 14 Elm St. 416-597-0223. $40(table); $20(theatre); students half-price. ●●3:00: Flute Flight Community Flute Choir. A Whole Lot of Treble! Works for flute ensemble from trios to full flute choir. Cosmopolitan Free. Also Oct 27. Hall, Cosmo Music, 10 Via Renzo Drive, Richmond Hill. 416-908-9924. $20; $15(sr); $5(under 12). Play Sunday November 15 2015 8:00pm Concert Koerner Hall ESPRIT ORCHESTRA photo: Melissa Sung Русские идут! Alex Pauk Music Director & Conductor (The Russians Are Coming!) espritorchestra.com Alabiev, Glinka, Beethoven ●●8:00: Esprit Orchestra. PLAY. Norman: Sunday November 15 Play (Canadian premiere) Rea: Zefiro torna; Adès: Tevot (Canadian premiere). Alex Pauk, conductor. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $20 and up. 7:15: Pre-concert chat with Alexina Louie. ●●3:00: Windermere String Quartet. The Russians Are Coming! Performances on period instruments. Alexander Alabiev: Variations on a Russian Folk Song; Glinka: Quartet in F; Beethoven: Quartet in e Op.59 No.2 “Razumovsky”. St. Olave’s Anglican Church, 360 Windermere Ave. 416-769-0952. $25; $20(sr); $10(st). ●●4:00: Cathedral Church of St. James. Twilight Organ Series. Thomas Fitches, organ. 65 Church St. 416-364-7865. Free. ●●4:00: Toronto Mandolin Orchestra. In Concert. Folk songs of Azerbaijan and Iran; classical music from the Caucasus, Ukraine, Russia; other works. Toronto Mandolin Orchestra; Hassan Anami, tenor; Narmina Afandiyeva, piano; Ira Erokhina, domra; Alexander Veprinskiy, artistic director & conductor. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-533-2725. $35; $30(sr); $20(st). ●●4:30: Christ Church Deer Park. Jazz Vespers. Bill McBirnie, flute; Bernie Senensky, piano. 1570 Yonge St. 416-920-5211. Free. ●●5:00: Neuberger Holocaust Education Week. Concert in Honour of Illuminations: The Art of Samuel Bak. Atis Bankas, violin; Constanze Beckman, piano. Beth Torah Congregation, 47 Glenbrook Ave. 416-901-3831. Monday November 16 ●●8:00: Metropolitan United Church. Eliza- beth Krehm Memorial Concert. Mahler: Symphony No.2 “Resurrection”. Michèle Bogdanowicz, mezzo; Rachel Krehm, soprano; Canzona Chamber Players Orchestra; Pax Christi Chorale; Evan Mitchell, conductor. Metropolitan United Church (Toronto), 56 Queen St. E. 647-248-4048. $20 suggested donation. Benefit concert for St. Michael’s Hospital ICU. Tuesday November 17 ●●12:00 noon: Canadian Opera Company. Chamber Music Series: Intimate Harmonies. Young artists from The Glenn Gould School. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. Free. ●●12:10: University of Toronto Faculty of Music. Tuesday Performance Class for Singers. Fourth-year students. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●1:00: Cathedral Church of St. James. Midday Organ Series. Sarah Svendsen, organ. 65 Church St. 416-364-7865. Free. ●●7:30: Jubilee UC 2015-2016 Season. Dance of the Blessed Spirits. Daniel Rubinoff, saxophones; Chris Dawes, organ. Jubilee United Church, 40 Underhill Dr. 416-447-6846. $10; free(youth/child). ●●7:30: University of Toronto Faculty of Music. Pedram Khavarzamini, World Music Artist in Residence. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●8:00: Koerner Hall. Schulich School of Music at McGill University presents McGill Symphony Orchestra. John Rea: Over Time; Brahms: Double Concerto in a, Op.102; Shostakovich: Symphony No.5 Op.47. McGill Symphony Orchestra; Axel Strauss, violin; Matt Haimovitz, cello; Alexis Hauser, conductor; Julie Nesrallah, host. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $25; $15(sr/st). ●●8:00: Soundstreams/Canadian Stage. Julie. North American premiere of the chamber-opera adaptation of Strindberg’s 1888 play. Music by Boesmans; libretto by Bondy and Bischofberger. Sharleen Joynt, soprano; Lucia Cervoni, mezzo; Clarence Frazer, baritone; chamber orchestra; Les Dala, music director; Matthew Jocelyn, stage director. Bluma Appel Theatre, St. Lawrence Centre for the Arts, 27 Front St. E. 416-368-3110. $24$99. Also Nov 19, 20, 22, 25, 26, 28, 29; start times vary. Wednesday November 18 ●●12:00 noon: Canadian Opera Company. Jazz Series: Contempo. Contemporary jazz. Humber Contemporary Jazz Ensemble; Kirk MacDonald, saxophone and director. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. Free. ●●12:30: Yorkminster Park Baptist Church. Noonhour Recitals. John Paul Farahat, organ. 1585 Yonge St. 416-922-1167. Free. ●●7:00: Monarch’s Pub. Cara Matthew at Monarchs. Monarchs Pub, 33 Gerrard St. W. 416-585-4352. Free. ●●7:30: Tempus Choral Society. Heroes: Salute to Service Concert. Tempus salutes those who serve as police, firefighters, paramedics, doctors and nurses, armed forces personnel and veterans. Tempus Choral Society; Halton Regional Police Chorus; Burlington Welsh Male Chorus; Craig Kielburger MAHLER SYMPHONY NO. 2 The annual Elizabeth Krehm Memorial Concert presents Mahler’s Second Symphony as a benefit concert for St. Michael’s Hospital ICU. Evan Mitchell, conductor Monday November 16, 2015 8:00 pm Michèle Bogdanowicz, mezzo-soprano Admission: suggested minimum donation of $20 Metropolitan United Church Rachel Krehm, soprano Canzona Chamber Players Orchestra Pax Christi Chorale prepared by Stephanie Martin 40 | Nov 1 - Dec 7, 2015 56 Queen St E, Toronto For more information call 647.248.4048 thewholenote.com Women’s Musical Club of Toronto Music in the Afternoon of Toronto, 80 Queen’s Park. 416-923-7052. $45. 12:15: Lecture by Iain Scott “Tuning your Mind”. ●●7:30: TOLOrk. Hello World. Jascha Narveson: Lament for Solo Computer; Simms: PHASE:LUM (for percussion and light-sensitive mini-synth); Walker/Taylor: little urban green; Palumbo: Music for nn Email Machines; and other works. Toronto Laptop Orchestra; Maeve Palmer, Loren Graziano and Rebecca Genge, sopranos; Myriam Blardone, harp; Andy Macneilly, percussion. Array Space, 155 Walnut Ave. 416-532-3019. $15. ●●7:30: University of Toronto Faculty of Music. gamUT Contemporary Music Ensemble. Wallace Halladay, director. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●8:00: Curtain Call Players. A Christmas Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent ISABEL LEONARD, mezzo-soprano VLAD IFTINCA, piano Thursday November 19, 1.30 p.m. Tickets $45 416-923-7052 www.wmct.on.ca FEATURING MEMBERS OF F**KED UP WITH KRISZTINA SZABÓ AND DAVID POMEROY NOVEMBER 19-21 | $25/$35 N ARABIA T S W, NIGH HAN CRO Nov 17, Dec 3 7:30 pm Pedram Khavarzamini Tombak master and distinguished visitor plays with friends & students. Nov 21 TAPESTRYOPERA.COM (416) 537-6066 Secondary School Choir; Interlink Choir; also students from Emily Carr Public School. Oakville Conference Centre, 215 Wyecroft Rd., Oakville. 905-618-7510. $10. Proceeds to Oakville Food for Life and Safety Net. ●●7:30: Toronto Shape Note Singing Community. Toronto Sacred Harp Singing. Selections from The Sacred Harp, 1991 Denson Edition. Bloor Street United Church, 300 Bloor St. W. 647-838-8764. PWYC. ●●8:00: Curtain Call Players. A Christmas Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 13-15,19-21. Times vary. ●●8:00: The Oratory. Oratorium Saeculare: All Souls. Lassus: Requiem for 5 voices; Music from the Office of the Dead; Victoria: Salve Regina; Bach: Fantasy & Fugue in g. The Oratory, Holy Family Church, 1372 King St. W. 416532-2879. Free. Donations accepted. Includes a talk by one of the Fathers of the Oratory. 7:30 pm U of T Symphony Orchestra Doctorate student conductors Chad Heltzel, Francois Koh and Samuel Tam lead the student orchestra in pieces by Beethoven, Strauss, Ravel and Gershwin. Nov 26 12 pm Erika Raum & Scott St. John The violinists play Omar Daniel’s Gioco Della Copie and Eugène Ysaÿe’s Sonata for Two Violins. JONAT VIOLIN .CA 19 | TSO NOV 18 & ●●8:00: Toronto Symphony Orchestra. Ara- bian Nights. Estacio: Wondrous Light; Weber: Clarinet Concerto No.1; Rimsky-Korsakov: Scheherazade. Joaquin Valdepeñas, clarinet; Jonathan Crow, violin; Peter Oundjian, conductor. Roy Thomson Hall, 60 Simcoe St. 416598-3375. $33.75–$148. Also on Nov 19. ●●8:30: Nomadica. CD launch: Dance of the Infidels. David Buchbinder, trumpet and composer; Roula Said, vocals, instrumentals, dancer; and others. Lula Lounge, 1585 Dundas St. W. 416-588-0307. $15; $12(adv). General admission. Dinner reservations guarantee seating. Dec 1 2 pm Sondra Radvanovsky The globally celebrated soprano visits for the Riki Turofsky Master Class in Voice. Thursday November 19 ●●12:15: Metropolitan United Church. Noon Dec 2 at Met. Peter Nikiforuk, organ. Metropolitan United Church (Toronto), 56 Queen St. E. 416363-0331. Free. ●●1:30: Women’s Musical Club of Toronto. Music in the Afternoon. Works by Montsalvatge, de Falla, Ives, Higdon and others. Isabel Leonard, mezzo; Vlad Iftinca, piano. Walter Hall, Edward Johnson Building, University 7:30 pm 11 O’Clock Jazz Orchestra & Vocal Jazz Ensemble Conducted by Jim Lewis and Christine Duncan. music.utoronto.ca 416-408-0208 thewholenote.com Nov 1 - Dec 7, 2015 | 41 A. Concerts in the GTA & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 13-15,18,20-21. Times vary. ●●8:00: Sinha Danse and Constantinople. Sunya: A Dance and Music Spectacular. Roger Sinha, choreographer and artistic direction; Kiya Tabassian, musical conception and artistic direction; Jo Leslie, artistic direction; Thomas Casey, Tanya Crowder, MarieÈve Lafontaine, François Richard and Roger Sinha, dancers; Kiya Tabassian, sétar, voice; Patrick Graham, percussion; Pierre-Yves Martel, viola da gamba. Fleck Dance Theatre, Harbourfront Centre, 235 Queens Quay W. 416-973-4000. $35. Also Nov 20 and 21. Postperformance Q and A. ●●8:00: Soundstreams/Canadian Stage. Julie. See Nov 17; Also Nov 20, 22, 25, 26, 28, 29; start times vary. ●●8:00: Tapestry Opera. Tap:Ex Metallurgy. Music by Ivan Barbotin. Libretto by David James Brock. Directed by Michael Hidetoshi Mori. Krisztina Szabó, mezzo; David Pomeroy, tenor; Jordan de Souza, keyboards; Mike Haliechuk, Jonah Falco, and Josh Zucker. Ernest Balmer Studio (315), Distillery District, 9 Trinity St. 416-537-6066. $35; $25(st/ artists/arts workers). Also Nov 20, 21(7:00 and 10:00). ●●8:00: Toronto Symphony Orchestra. Arabian Nights. Estacio: Wondrous Light; Weber: Clarinet Concerto No.1; Rimsky-Korsakov: Scheherazade. Joaquin Valdepeñas, clarinet; Jonathan Crow, violin; Peter Oundjian, conductor. Roy Thomson Hall, 60 Simcoe St. 416598-3375. $33.75–$148. Also on Nov 18. Friday November 20 ●●12:10: Music at St. Andrew’s. Noontime Recital. Ian Grundy, organ. St. Andrew’s Church, 73 Simcoe St. 416-593-5600 x231. Free. ●●1:10: Gordon Murray Presents. Piano Potpourri. Featuring classics, opera, operetta, musicals, ragtime, pop, international and other genres. Gordon Murray, piano. TrinitySt. Paul’s United Church, 427 Bloor St. W. 416631-4300. PWYC. Lunch and snack friendly. ●●7:00: Soundstreams/Canadian Stage. Julie. See Nov 17; Also Nov 22, 25, 26, 28, 29; start times vary. Pre-show chat. ●●7:30: Danceweavers. Toussaint: Traditions of the Dark Months. Storytelling and music drums. 22 Church St., Aurora. 905-713-1818. $22/$18(adv). ●●8:00: Burlington Performing Arts Centre. The Irish Rovers: 50th Anniversary Tour. 440 Locust St., Burlington. 905-681-6000. $59; $55(sr/st/youth/child). ●●8:00: Curtain Call Players. A Christmas Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 13-15,18-19,21. Times vary. ●●8:00: Masterworks of Oakville Chorus & Orchestra. G.F. Handel’s Messiah. Guests: Allison McAuley, soprano; Courtney V. Murias, mezzo; Michael P. Taylor, tenor; James Baldwin, bass. St. Andrew’s Roman Catholic Church, 47 Reynolds St., Oakville. 905-8443303. $30; $25(sr); $10(st); free(child). Also Nov 21 and 22. ●●8:00: Sinha Danse and Constantinople. Sunya: A Dance and Music Spectacular. Roger Sinha, choreographer and artistic direction; Kiya Tabassian, musical conception and artistic direction; Jo Leslie, artistic direction; Thomas Casey, Tanya Crowder, MarieÈve Lafontaine, François Richard and Roger Sinha, dancers; Kiya Tabassian, sétar, voice; Patrick Graham, percussion; Pierre-Yves Martel, viola da gamba. Fleck Dance Theatre, Harbourfront Centre, 235 Queens Quay W. 416-973-4000. $35. Also Nov 19 and 21. Postperformance Q and A. ●●8:00: Tapestry Opera. Tap:Ex Metallurgy. Music by Ivan Barbotin. Libretto by David James Brock. Directed by Michael Hidetoshi Mori. Krisztina Szabó, mezzo; David Pomeroy, tenor; Jordan de Souza, keyboards; Mike Haliechuk, Jonah Falco, and Josh Zucker. Ernest Balmer Studio (315), Distillery District, 9 Trinity St. 416-537-6066. PWYC. Also Nov 19, 21(7:00 and 10:00). ●●8:00: Victoria College Choir. In Concert. Rutter: The Sprig of Thyme; works by Gibbons, Di Lasso and Henry VIII. Taylor Sullivan, director. Victoria College Chapel, 91 Charles St. W. 416-585-4521. Free. ●●9:00: Hart House Music Committee. Jazz Night: UTJO. Big band jazz standards and contemporary works. Gordon Foote, conductor. Arbor Room, 7 Hart House Circle. 416978-2452. Free. from the Celtic tradition of Breton folklore. Emilyn Stam, fiddle; Tangi Ropars, accordion; Bruce Carmody, storyteller. Montgomery’s Inn, 4709 Dundas St. W. 416-394-8113. $20; $15(sr/st/youth). Meal tickets sold separately. Breton meal 6:30-7:30. Doors open at 6:00. Not suitable for children under 12. ●●7:30: Heliconian Club. We Make the Air. Classical compositions with jazz and Latin influences by Kye Marshall; Endangered Species (world premiere). Harp Duo Novus; Heliconian String Quartet; Maria Soulis, contralto; Alison Arends, soprano; Rita Greer, clarinet; Velma Ko, violin; Ruth Kazdan, piano; Louise Morley; piano; Dorothy Deval, piano. Heliconian Hall, 35 Hazelton Ave. 416-9223618. $25; free(child). ●●7:30: Toronto Symphony Orchestra. James Bond: The Music. Ron Bohmer, vocalist; Capathia Jenkins, vocalist; John Morris Russell, conductor. Roy Thomson Hall, 60 Simcoe St. 416-598-3375. $33.75–$112.25. Also on Nov 21. ●●7:30: University of Toronto Faculty of Music. Wind Symphony. Boerma: Cityscapes; Woolfenden: Illyrian Dances; Demeij: Big Apple (Mvmt. 2); Nelson: Rocky Point Holiday; Waignen: Rhapsody for Alto Saxophone. Russell Lu, saxophone; Tony Gomes, conductor. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-978-0492. $30, $20(sr); $10(st). Paul Neufeld Jazz Quartet Friday, Nov. 20, 8pm Saturday November 21 ●●2:00: Curtain Call Players. A Christmas auroraculturalcentre.ca 905 713-1818 Carol: The Musical. Music by Alan Menken. Lyrics by Lynn Ahrens. Book by Mike Ockrent & Lynn Ahrens. Fairview Library Theatre, 35 Fairview Mall Dr. 416-703-6181. $28. Also Nov 13-15,18-20. Times vary. ●●4:30: Bach on the Beach. Elizabeth Anderson & Patrick Dewell, Organ. Beach United Church, 140 Wineva Ave. 416-691-8082. ●●8:00: Aurora Cultural Centre. Paul Neufeld Jazz Quartet. Paul Neufeld, piano; Sean O’Connor, saxophones and clarinets; Rob Clutton, double bass; Lowell Whitty, Friday, Nov 20/8 pm Saturday, Nov 21/8 pm Sunday, Nov 22/3 pm U of T Symphony Orchestra Performing works by Beethoven, Strauss, Ravel and Gershwin. Saturday, November 21 at 7:30 pm MacMillan Theatre, 80 Queen’s Park For tickets, call 416-408-0208 or visit music.utoronto.ca 42 | Nov 1 - Dec 7, 2015 Free will offering. Informal reception before concert. ●●4:30: Royal Conservatory. Taylor Academy Showcase Concert. Phil & Eli Taylor Performance Academy for Young Artists. Mazzoleni Concert Hall, Royal Conservatory, 273 Bloor St. W. 416-408-0208. SOLD OUT. ●●7:00: Ladom Ensemble. In Concert. Small World Music Centre, Artscape Youngplace, 180 Shaw St. 416-536-5439. $20. ●●7:00: Tapestry Opera. Tap:Ex Metallurgy. Music by Ivan Barbotin. Libretto by David James Brock. Directed by Michael Hidetoshi Mori. Krisztina Szabó, mezzo; David Pomeroy, tenor; Jordan de Souza, keyboards; Mike Haliechuk, Jonah Falco, and Josh Zucker. Ernest Balmer Studio (315), Distillery District, 9 Trinity St. 416-537-6066. $35; $25(st/artists/arts workers). Also Nov 19, 20, 21(10:00). ●●7:00: York University Department of Music. York University Concert and Chamber Choirs. Lisette Canton, director. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 416-736-5888. $15; $10(sr/st). ●●7:30: Concerts at Scarborough Bluffs. The Downtown Jazz Band. Scarborough Bluffs United Church, 3739 Kingston Rd., Scarborough. 416-267-8265. $15. ●●7:30: Kira Braun Presents. Baroque Tales. Works by Bach, Telemann, Haydn and others. Kira Braun; soprano; Stephen Bell, tenor; Michael York, baritone; Elixir Baroque Ensemble. Little Trinity Anglican Church, 425 King St. E. 416-786-3109. $25. ●●7:30: Thornhill United Church. November Delights. Choirs and instrumentalists. 25 Elgin St., Thornhill. 905-889-2131. Freewill offering. Refreshments to follow. ●●7:30: Toronto Symphony Orchestra. James Bond: The Music. Ron Bohmer, vocalist; Capathia Jenkins, vocalist; John Morris Russell, conductor. Roy Thomson Hall, 60 Simcoe St. 416-598-3375. $33.75–$112.25. Also on Nov 20. ●●7:30: University of Toronto Faculty of Music. University of Toronto Symphony Orchestra. Beethoven: Symphony No.8 in F; J. Strauss: Blue Danube Waltz; Gershwin: American in Paris. Chad Heltzel, conductor; François Koh, conductor; Samuel Tam, conductor. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-978-0492. $20, $10(st). ●●8:00: Academy Concert Series. Dvořák Messiah G.F. Handel’s Allison McAuley, soprano; Courtney V. Murias, mezzo-soprano, Michael P. Taylor, tenor; James Baldwin, bass St. Andrew’s Catholic Church 47 Reynolds St, Oakville Adults $30, Seniors $25, Student $10, Child 10 and under FREE www.masterworksofoakville.ca BAROQUE TALES Saturday, November 21st, 7:30pm Little Trinity Anglican Church 416-786-3109 thewholenote.com Discovers America. Von Kunits: String Quartet; Dvořák: String Quartet in F Op.96 “American”; String Quintet in E-flat Op.97. Scott St. John and Elizabeth Loewen Andrews, violin; Emily Eng and Marcin Swoboda, viola; Kerri McGonigle, cello. Eastminster United Church, 310 Danforth Ave. 416-629-3716. $20; $14(sr/st). ●●8:00: Acoustic Harvest. Noah Zacharin. Opening with Jenie Thai. St. Nicholas Anglican Church, 1512 Kingston Rd. 416-264-2235. $25/$22(adv). ●●8:00: Greater Toronto Philharmonic Church, 47 Reynolds St., Oakville. 905-8443303. $30; $25(sr); $10(st); free(child). Also Nov 20 and 22. Orchestra. The Second. Dvořák: Slavonic Dance No.2; Sibelius: Symphony No.2; Rachmaninoff: Piano Concerto No.2. Ethan Chen, piano; Jean-Michel Malouf, conductor. Calvin Presbyterian Church, 26 Delisle Ave. 647-2380015. $17-$27. ●●8:00: Masterworks of Oakville Chorus & Orchestra. G.F. Handel’s Messiah. Guests: Allison McAuley, soprano; Courtney V. Murias, mezzo; Michael P. Taylor, tenor; James Baldwin, bass. St. Andrew’s Roman Catholic ●●8:00: Missisauga Symphony Orchestra. MSO Masterworks: Scenes from London. Barber: Overture to “The School for Scandal”; Dvořák Discovers America November 21, 2015 at 8pm Featuring: Location: Eastminster United Church 310 Danforth Ave. (Chester) Scott St. John, violin Programme: Kunits - String Quartet (1891) Dvořák – String Quartet in F Major, op. 96 “American” (1893) Dvořák – String Quintet in E Flat Major, op. 97 (1893) Concert Series AcademyConcertSeries.com Buy online: Single TickeTS: $20 / $14 Sen. & Student 3 TiX FleX pAck: $49 / $32 Sen. & Student 2015-2016 CONCERT SERIES CLASSICS 101 HAYDN’s Symphony No.88 in G major BEETHOVEN’s Symphony No.3 op.55 in E-flat major “Eroica” Denis MastroMonaco MUsic Director & c o n D U c t o r mso Saturday, November 21, 2015 Masterworks GUEST CONDUCTOR Juan Manuel Gonzalez SCENES from LONDON sAturdAy nov 21, 2015 8pm TICKETS ON SALE NOW HAmmerson HALL BArBer Overture to The School for Scandal at UOIT Regent Theatre (Oshawa) WALton Concerto for Viola vAugHAn WiLLiAms Symphony No. 2 A London Symphony 905.721.3399 ext.2 or OP office 905.579.6711 [email protected] FeAtured soLoists paul Barna Viola Saturday, November 21, 2015 | 8:00PM UOIT Regent Theatre (Oshawa) www.ontariophil.ca | Living Arts Centre - HAmmerson HALL - mississAugA. tiCkets stArt At $48. to purCHAse, CALL: 905-306-6000. or visit: mississAugAsympHony.CA thewholenote.com Nov 1 - Dec 7, 2015 | 43 A. Concerts in the GTA 2015 / 2016 Presents Walton: Concert for Viola; Vaughan Williams: Symphony No.7 “A London Symphony”. Guest: Paul Barna, viola. Hammerson Hall, Living Arts Centre, 4141 Living Arts Dr., Mississauga. 905-306-6000. $30-$65. ●●8:00: Ontario Philharmonic. Master Series: Haydn & Beethoven. Haydn: Symphony No.88 in G; Beethoven: Symphony No.3, Op.55 in E-flat “Eroica”. Juan Manuel Gonzalez, guest conductor. Regent Theatre (Oshawa), 50 King St. E., Oshawa. 905-721-3399 x2. $45-$56. Post-performance Q and A. ●●8:00: Toy Piano Composers. To Be Announced 3. Works by Glaser, Lowrie, McGraw, Mermelstein, Tozer and Wang. Maureen Batt, soprano; Jesse Clark, baritone; Tim Crouch, flute; Anthony Thompson, clarinet; Sharon Lee, violin; Adam Scime, bass; Daniel Morphy, percussion; Wesley Shen, piano. Music Gallery, 197 John St. 647-829-4213. $20/$15(adv/st). ●●10:00: Tapestry Opera. Tap:Ex Metallurgy. Music by Ivan Barbotin. Libretto by David James Brock. Directed by Michael Hidetoshi Mori. Krisztina Szabó, mezzo; David Pomeroy, tenor; Jordan de Souza, keyboards; Mike Haliechuk, Jonah Falco, and Josh Zucker. Ernest Balmer Studio (315), Distillery District, 9 Trinity St. 416-537-6066. $35; $25(st/artists/arts workers). Also Nov 19, 20, 21(7:00). Sunday November 22 A Seasonal Celebration ●●1:00: Paul Mercs Concerts. Raffi: Beluga Works by Jenkins, Watson Henderson, Quartel, and Rutter Sunday, November 22, 2015 ~ 3:00 p.m. Butler, Bernstein & The Hot 9 Grace Church on-the-Hill, 300 Lonsdale Road, Toronto Tickets available through our website or 416-978-8849 uofttix.ca Adults: $25 Seniors/Under 35: $20 www.orianachoir.com SATURDAY, NOVEMBER 21, 8PM KOERNER HALL Students: $10 TICKETS: 416.408.0208 [email protected] ●●8:00: Royal Conservatory. TD Jazz. But- ler, Bernstein & The Hot 9. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $40-$80. ●●8:00: Sinha Danse and Constantinople. Sunya: A Dance and Music Spectacular. Roger Sinha, choreographer and artistic direction; Kiya Tabassian, musical conception and artistic direction; Jo Leslie, artistic direction; Thomas Casey, Tanya Crowder, MarieÈve Lafontaine, François Richard and Roger Sinha, dancers; Kiya Tabassian, sétar, voice; Patrick Graham, percussion; Pierre-Yves Martel, viola da gamba. Fleck Dance Theatre, Harbourfront Centre, 235 Queens Quay W. 416-973-4000. $35. Also Nov 19 and 20. German Romantics WED, NOV 25, 2015 | 7:30 PM KOERNER HALL,TELUS CENTRE FOR PERFORMANCE AND LEARNING CHORAL LIEDER BY BRAHMS AN D SCHUBERT INCLUDING ZIGEUNERLIEDER AND PSALM 23 TICKE TS $ 35 – $ 81 SOLO PIANO WORKS BY LISZT AND SCHUBERT Concert photo by Brian Summers Toronto Mendelssohn Choir with Conductor Noel Edison and Pianist André Laplante Unitarian Congregation of Mississauga presents 2015/2016 Ensemble in Residence thin edge new music collective VOX TIX $ 20 Grads Concert. Family concert with legendary children’s entertainer. Raffi Cavoukian, singer-songwriter. Roy Thomson Hall, 60 Simcoe St. 416-872-4255. $65(VIP); $27.50-$37.50. VIP tickets include opportunity to meet Raffi after the show. Proceeds benefit the Centre for Child Honouring. Also 4:30; Nov 21 (Hamilton). ●●2:00: Unitarian Congregation in Mississauga. The Thin Edge Music Collective. Suhashini Arulanandam, violin; Dobrochna Zubek, cello; Cheryl Duvall, Ilana Waniuk, artistic directors. 84 South Service Rd., Mississauga. 905-278-5622. $25; $20 (sr/st). ●●2:30: VOICEBOX/Opera in Concert. Prince Igor. Borodin. Geoffrey Sirett (Prince Igor); Natalya Matyusheva (Yaroslavna); Andrey Andreychik (Galitsky); Adam Fisher (Vladimir Igorevich) Giles Tomkins (Konchak); Narmina Afandiyeva, piano/conductor. St. Lawrence Centre for the Arts, 27 Front St. E. 416-3667723. $40-$52. ●●3:00: Masterworks of Oakville Chorus & Orchestra. G.F. Handel’s Messiah. Guests: Allison McAuley, soprano; Courtney V. Murias, mezzo; Michael P. Taylor, tenor; James Baldwin, bass. St. Andrew’s Roman Catholic Church, 47 Reynolds St., Oakville. 905-8443303. $30; $25(sr); $10(st); free(child). Also Nov 20 & 21. ●●3:00: Oriana Women’s Choir. Snow Angel: FOR 30 AND UNDER Cheryl Duvall, Ilana Waniuk Artistic Directors Suhashini Arulanandam, Violin Dobrochna Zubek, Cello WESTON FAMILY BOX OFFICE AT KOERNER HALL 416-408-0208 www.tmchoir.org Sunday, November 22, 2 pm Unitarian Congregation in Mississauga 905-278-5622 www.uucm.ca 44 | Nov 1 - Dec 7, 2015 thewholenote.com A Seasonal Celebration. Jenkins: A Celebration of Christmas; Watson Henderson: Songs of the Nativity; Quartel: Snow Angel; Rutter: Dancing Day. Mitchell Pady, artistic director; guests: M. Dawn Pear, flute; Alyssa Wright, cello. Grace Church on-the-Hill, 300 Lonsdale Rd. 416-978-8849. $25; $20(sr/under 35); $10(st). ●●3:00: Penthelia Singers. Magic and Musical Enchantment. Music, magic and songs. Renaissance to contemporary music; themes from Cinderella, The Wizard of Oz, and other works. Alice Malach, conductor. Rosedale Presbyterian Church, 129 Mt. Pleasant Rd. 647-248-5079. $20; Pay your age(12 and under). 2:30: Magic pre-show. ●●3:00: Regent Theatre. The Irish Rovers: 50th Anniversary Tour. Regent Theatre (Oshawa), 50 King St. E., Oshawa. 905-721-3399. $49.50. ●●4:00: Cathedral Church of St. James. Twilight Organ Series. David Briggs, organ. 65 Church St. 416-364-7865. Free. ●●4:00: St. Philip’s Anglican Church. Jazz Vespers with the Tim Rutledge Quartet. Tim Rutledge, saxophone; Bruce Hemmings, piano; Ben Riley, drums; Keith Laurie, bass. 25 St. Phillips Rd., Etobicoke. 416-247-5181. Freewill offering. ●●4:00: University Settlement Music & Arts School. Chamber Program Concert. Intermediate and advanced students. St. George the Martyr Church, 197 John St. 416-5983444 x243. Free. Donations accepted. ●●4:30: Paul Mercs Concerts. Raffi: Beluga Grads Concert. Family concert with legendary children’s entertainer. Raffi Cavoukian, singer-songwriter. Roy Thomson Hall, 60 Simcoe St. 416-872-4255. $65(VIP); $27.50-$37.50. VIP tickets include opportunity to meet Raffi after the show. Proceeds benefit the Centre for Child Honouring. Also 1:00; Nov 21 (Hamilton). ●●7:00: Soundstreams/Canadian Stage. Julie. See Nov 17; Also Nov 25, 26, 28, 29; start times vary. ●●7:30: University of Toronto Faculty of Music. Percussion Ensemble. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. 65 Church St. 416-364-7865. Free. ●●7:00: University of Toronto Faculty of Music. Student Composers Concert. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●7:30: Westwood Concerts. Beethoven meets Falla and Beach. Beethoven: Cello Sonata in A, Op.69; Duos for clarinet and cello; De Falla: Suite Populaire Espagnole; and other works. Michael Westwood, clarinet; Erika Nielsen, cello; Lisa Millar, piano. Gallery 345, 345 Sorauren Ave. 888-316-2416. $30/$20(adv). Leonid Nediak, piano; Raymond Huang, piano; Richard Chao Gao, piano. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-3638231. Free. ●●12:10: University of Toronto Faculty of Music. Thursdays at Noon. Omar Daniel: Gioco Della Copie; Ysaÿe: Sonata for Two Violins. Erika Raum, violin; Scott St. John, violin. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-9780492. Free. ●●12:15: Metropolitan United Church. Noon at Met. Ian Grundy, organ. Metropolitan United Church (Toronto), 56 Queen St. E. 416Wednesday November 25 363-0331. Free. ●●12:30: York University Department of ●●12:30: York University Department of Music. World @ Midday. Padma SubrahMusic. Faculty Spotlight: Faster than Time. manyam. Martin Family Lounge, Accolade Contemporary Canadian works. Christina East, York University, 4700 Keele St. 647-459- Petrowska Quilico, piano. Tribute Commun0701. Free. ities Recital Hall, Accolade East Building, YU, ●●12:30: Yorkminster Park Baptist Church. 4700 Keele St. 647-459-0701. Free. ●●7:30: Toronto Symphony Orchestra. Peter Noonhour Recitals. Rashaan Allwood, organ. 1585 Yonge St. 416-922-1167. Free. and the Wolf: In Support of SickKids. Brit●●1:00: Soundstreams/Canadian Stage. ten: The Young Persons’ Guide to the OrchesJulie. See Nov 17; Also Nov 26, 28, 29; start tra; Carmichael (arr. John Iveson): Stardust; times vary. Post-show chat. Rachmaninoff: Rhapsody on a Theme of Paga●●7:30: Toronto Mendelssohn Choir. Gernini; Prokofiev: Peter and the Wolf. Rick Merman Romantics. Works by Brahms, Liszt and cer, narrator; Coco Ma, piano; Neil Deland, Schubert. André Laplante, piano; Noel Edison, horn; Peter Oundjian, conductor and co-host. conductor; Jennifer Min-Young Lee, associRoy Thomson Hall, 60 Simcoe St. 416-598ate conductor. Koerner Hall, Telus Centre, 3375. $50-$150. Proceeds to benefit Sickweston_photolistings 273 Bloor St. W. 416-598-04221.7188x3colorad x221. $35-$81; Kids_w Hospital. $20(ages 35 and under). 8:00 pm WED nov 25 the galen weston band Plugged In CD RELEASE Monday November 23 ●●7:30: University of Toronto Faculty of Music. University of Toronto Concert Orchestra. Paul Widner, conductor. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. Tuesday November 24 ●●12:00 noon: Canadian Opera Company. World Music Series: Different Shades of Blue. Jazz harmonies over the folk and popular rhythms of the Caribbean, from Reggae, Son and Salsa in the north to Calypso, Soca, Rapso and Zouk from the Eastern Caribbean. Kalabash, jazz sextet. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-3638231. Free. ●●12:10: University of Toronto Faculty of Music. Tuesday Performance Class for Singers. First-year students. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●1:00: Cathedral Church of St. James. Midday Organ Series. David Briggs, organ. thewholenote.com TATTOO 567 QUEEN ST. W. ●●8:00: Music Toronto. Apollon Musagète Quartett. Dvořák: Quartet No.11 in C, Op.61; Schubert: Quartet No.15 in G, Op.161 D887. Pawel Zalejski, violin; Bartosz Zachlod, violin; ●●8:00: Galen Weston. Plugged In CD Release. Tattoo, 567 Queen St. W. 416-7035488. $20/$15(adv). ●●8:00: Toronto Symphony Orchestra. Orchestre Symphonique de Montréal. Bach/ arr. Mahler: Suite for Orchestra, Harpsichord, and Organ; Stravinsky: Capriccio for Piano and Orchestra; Shostakovich: Symphony No.10. Orchestre symphonique de Montréal, guest orchestra; Yulianna Avdeeva, piano; Kent Nagano, conductor. Roy Thomson Hall, 60 Simcoe St. 416-598-3375. $33.75– $148. 7:15pm Pre-concert chat in the lobby with Rick Phillips. Piotr Szumiel, viola; Piotr Skweres, cello. Jane Mallett Theatre, St. Lawrence Centre for the Arts, 27 Front St. E. 416-366-7723. $55, $50; $10(st); age 18 to 35: pay your age. Toronto debut. ●●8:00: Soundstreams/Canadian Stage. Julie. See Nov 17; Also Nov 28, 29; start times vary. Post-show chat. Friday November 27 ●●12:10: Music at St. Andrew’s. Noontime Recital. Shara Sun, piano; Rebecca Orsini, piano; and Vivian Chen, piano. St. Andrew’s Church, 73 Simcoe St. 416-593-5600 x231. Free. ●●1:10: Gordon Murray Presents. Piano Potpourri. Featuring classics, opera, operetta, musicals, ragtime, pop, international and other genres. Gordon Murray, piano. TrinitySt. Paul’s United Church, 427 Bloor St. W. 416631-4300. PWYC. Lunch and snack friendly. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Ross Petty’s final bow. A fractured fairytale combining Peter Pan with Alice in Wonderland. Ross Petty; Eddie Glen; Dan Chameroy; Jessica Holmes; Tracey Flye, director; Chris Earl, playwright; Guests: Anthony MacPherson; Steffi DiDomenicantonio; Jordan Clark; Lamar Johnson; Taveeta Szymanowicz. Elgin Theatre, 189 Yonge St. 1-855-599-9090. $27-$99; $27-$69(under 12). Runs from Nov 27 to Jan 3. Various times. ●●7:00: St. Michael’s Choir School. Christmas Concert. St. John the Evangelist Church, 903 Giffard St., Whitby. 905-668-3676 or 905-424-8558. Suggested donation: $25/$20(adv); $15/$10(under 12/adv). ●●7:00: University of Toronto Scarborough. Fall Flourish Concert. Concert Choir. Arts and Administration Building, University of Scarborough, 1265 Military Trail, Scarborough. 416- 208-4769. Free. ●●7:30: Living Arts Centre. Paula Gardin. 4141 Living Arts Dr., Mississauga. 905-3066000. $30-$45. ●●7:30: University of Toronto Faculty of Music. PianoFest. Piano students perform. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-9780492. Free. ●●7:30: York University Department of Music. York University Gospel Choir. Karen Burke, director. Sandra Faire and Ivan Fecan Theatre, Accolade East Building, 4700 Keele St. 416-736-5888. $15; $10(sr/st). Also Nov 28. ●●8:00: Music Gallery/Arraymusic/Lula Music & Arts. David Virelles: Gnosis. Futuristic Afro-Cuban chamber music. Featuring Román Díaz. The Music Gallery, 197 John St. 416-204-1080. $30/$25(adv); $20(members); $15(st). Also Nov 28. ●●8:00: Musicians in Ordinary. Principal’s The Musicians In Ordinary for the Lutes and Voices 7:30PM November 27, 2015 Madden Auditorium, Carr Hall St. Michael’s College, 100 St. Joseph St. Songs of Solomon Salamone Rossi’s Hebrew sacred music for voices and sonatas for violins and theorbo with Christopher Verrette and Patricia Ahern, violins, and guest singers Thursday November 26 ●●12:00 noon: Canadian Opera Company. Piano Virtuoso Series: Piano Prodigies. Tickets $30 / $20 students and seniors Nov 1 - Dec 7, 2015 | 45 A. Concerts in the GTA Music Series: Songs of Solomon. Rossi: Hebrew sacred music for the synagogue (works for three to five voices; sonatas for two violins and chitarrones). Christopher Verrette and Patricia Ahern, violins. Fr. Madden Hall, Carr Bldg., St. Michael’s College, University of Toronto, 100 St Joseph St. 416-535-9956. $30; $20(sr/st). 7:30: pre-concert talk. PACO PEÑA Fri Nov 27 8pm ●●8:00: Roy Thomson Hall. Paco Peña. Paco Peña, Rafael Montilla, Paco Arriaga, guitars; and others. 60 Simcoe St. 416-872-4235. $44.50-$74.50. ●●8:00: Royal Conservatory. Royal Conservatory Orchestra. Miller: Traffic Jam; Bruch: Scottish Fantasy; Mahler: Symphony No.5. Heidi Hatch, violin; Tania Miller, conductor. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $25-$55. Prelude recital at 6:45. ●●9:00: Hart House Music Committee. Jazz Night: Jay Danley Ethio Project. Ethiojazzstyle works. Arbor Room, 7 Hart House Circle. 416-978-2452. Free. Royer, conductor. Salvation Army Scarborough Citadel, 2021 Lawrence Ave. E., Scarborough. 416-429-0007. $30; $259(sr); $15(st); $10(child). ●●7:30: Silverthorn Symphonic Winds. Music That Tells a Story. Music from Anne of Green Gables and other works. Wilmar Heights Centre, 963 Pharmacy Ave., Scarborough. 416301-5187. $15; $10(st). ●●7:30: Tallis Choir. Charpentier: Midnight Mass for New France, 1725. Campra: Adoro Te; works by Delalonde, Raison and Lebegue; works from Livre d’orgue de Montréal. Talisker Players; Tallis Choir; organ; Peter Mahon, artistic director. St. Patrick’s Catholic Church (Toronto), 131 McCaul St. 416-2869798. $30; $25(sr); $10(st). ●●7:30: Toronto Concert Orchestra. SaintSaens Organ Symphony, Schubert Mass in G, Gounod Mass in C. Toronto Concert Orchestra; Novi Choir; Coro San Marco; Christopher Dawes, organ; Matthew Jaskiewicz, conductor (Saint-Saëns); Kerry Stratton, conductor (Schubert); Daniele Colla, conductor (Gounod). Timothy Eaton Memorial Church, 230 St. Clair Ave. W. 1-800-222-6608. $40/$35(adv); $25(sr/st)/$20(adv). ●●7:30: Toronto Symphony Orchestra. Romeo & Juliet vs West Side Story. Bizet: Farandole from L’Arlésienne Suite No.2; Ravel: Tzigane for Violin and Orchestra; Prokofiev: Selections from Romeo and Juliet; Wagner: Prelude to Act III of Lohengrin; Chausson: Poème for Violin and Orchestra; Bernstein: Symphonic Dances from West Side Story. Angelo Xiang Yu, violin; Ward Stare, conductor. Roy Thomson Hall, 60 Simcoe St. 416598-3375. $33.75–$107. Also on Nov 29. ●●7:30: University of Toronto Faculty of Music. Wind Ensemble. Newman: Blow It Up and Start Again; MacDonald: Tabula Rasa; Meyerowitz: Three Comments on War; Shapiro: Lights Out; Bartók: Folk Dances; Sparke: Dance Movements. Gillian MacKay, conductor. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-978-0492. $30; $20(sr); $10(st). ●●7:30: York University Department of Music. York University Gospel Choir. Karen Burke, director. Sandra Faire and Ivan Fecan Theatre, Accolade East Building, 4700 Keele St. 416-736-5888. $15; $10(sr/st). Also Nov 27. Saturday November 28 ●●3:00: Oakville Chamber Orchestra. Youth Concerto Competition Prize Winners. Tiffany Yeung and Leslie Ashworth, violin; Tiffany Tse and Thomas Dobrovich, piano. Queen Elizabeth Park Community and Cultural Centre, 2302 Bridge Rd, Oakville. 905-483-6787. $15. Donations accepted in support of Arthouse music and arts programs for disadvantaged kids of Halton. ●●7:00: In Concert. Music to Remember Dance. Mississauga Big Band Jazz Ensemble; Little Peter and the Elegants. Port Credit Legion, 35 Front St. N., Port Credit. 905-2746131. $20. ●●7:00: The Neapolitan Connection. Anastasia Rizikov at the CBC. Anastasia Rizikov, piano. Glenn Gould Studio, 250 Front St. W. 647-262-4316. $25. ●●7:30: Achill Choral Society. Rejoice. Rutter: Magnificat; and other works. Christopher Dawes, organ; Shawn Grenke, piano; Roger Flock, percussion; A. Dale Wood, conductor. Christ Church Anglican (Bolton), 22 Nancy St., Bolton. 905-936-5060. $25; $10(1317); $5(child). Also Nov 29 (Colgan), Dec 6 (Orangeville). ●●7:30: Jubilate Singers. Roads Travelled and Untravelled. Rossini: La Passeggiata; Halley: Untravelled Worlds; Thompson: Road Not Taken; Christmas carols. St. Simon-the-Apostle Anglican Church, 525 Bloor St. E. 416-4851988. $25; $20(sr); $15(st). ●●7:30: Opera by Request. Mystery Musical Experience. Lindsay McIntyre and Peggy Evans, sopranos; Vilma Vitols, Marcia Whitehead, Lisa Spain, mezzos; Stephen Bell, Michel Corbeil, Taylor Whote, tenors; Gene Wu, Peter Wiens, Peter Barnes, baritones; William Shookhoff, music director and pianist. College Street United Church, 452 College St. 416-455-2365. $20. ●●7:30: Scarborough Philharmonic Orchestra. A Family Holiday Concert. John Williams: Main Theme from Star Wars; Prokofiev: Peter and The Wolf; Ronald Royer: Dance for Orchestra; Alan Silvestri (arr. Brubaker): Polar Express Concert Suite; Winter Wonderland (arr. Calvin Custer); and other seasonal music including a carol sing-along. Ronald ●●8:00: Aga Khan Museum. Kinan Azmeh City Band. Western classical music, jazz and the music of Syria. Works from album “Elastic City”. Kinan Azmeh, clarinet; Kyle Sanna, guitar; John Hadfield, percussion; Petros Klampanis, double bass. Aga Khan Museum Auditorium, 77 Wynford Dr. 416-646-4677. $45. ●●8:00: Georgetown Bach Chorale. Advent Cantatas and Double Harpsichord Concerto. Bach: Double Concerto in c for 2 harpsichords and strings; selected choruses and arias. GBC (Ron Greidanus, conductor); Baroque Chamber Orchestra. Guest: Matthew Pope, harpsicord. St. John’s United Church (Georgetown), 11 Guelph St., Georgetown. 905-877-2531. $35; $10(st). ●●8:00: Massey Hall/Toronto Blues Society. Women’s Blues Revue. Jully Black, Rita Chiarelli, Cécile Doo-Kingué, Terra Lightfoot, Crystal Shawanda and Suzie Vinnick, vocals; Women’s Blues Revue Band. Massey Hall, 178 Victoria St. 416-872-4255. $24-$55. ●●8:00: Nagata Shachu. 11. Featuring new and rearranged works for large ensemble on Japanese drums, bamboo flutes and voice. Kiyoshi Nagata, music director. Fleck Dance A FAMILY HOLIDAY CONCERT NOVEMBER 28, 2015, CHILD-FRIENDLY 7:30 P.M. SALVATION ARMY SCARBOROUGH CITADEL 2021 LAWRENCE AVENUE EAST (AT WARDEN) TICKETS ARE AVAILABLE AT THE DOOR, BY CALLING 416 429-0007, EMAIL [email protected] OR ONLINE. VISIT US AT SPO.CA 46 | Nov 1 - Dec 7, 2015 thewholenote.com Theatre, Harbourfront Centre, 235 Queens Quay W. 416-973-4000. $52-$62(VIP); $27$37; $20(sr/st). Also Nov 29(mat). ●●8:00: Music Gallery/Arraymusic/Lula Music & Arts. David Virelles: Gnosis. Futuristic Afro-Cuban chamber music. Featuring Román Díaz. The Music Gallery, 197 John St. 416-204-1080. $30/$25(adv); $20(members); $15(st). Also Nov 27. ●●8:00: Soundstreams/Canadian Stage. Julie. See Nov 17; Also Nov 29; start times vary. ●●8:10: Gordon Murray Presents. Piano Soirée. Rachmaninoff: Daisies, Op.38 No.3; Concerto No.2 - 1st movement; Vocalise, Op.34 No.14; Rhapsody on a Theme of Paganini, Op.43 - Variation 18; and others. All works arranged by Gordon Murray. Gordon Murray, piano. Trinity-St. Paul’s United Church, 427 Bloor St. W. 416-631-4300. $15; $10(st). Sunday November 29 ●●1:00: Hart House Symphonic Band. In Con- cert. Hart House, Great Hall, 7 Hart House Circle. 416-978-2452. Free. ●●1:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. Various times. See Nov 27 (7:00) for details. ●●1:00: Soundstreams/Canadian Stage. Julie. See Nov 17. ●●1:30: Harmonia Hungarica. Advent Concert. Works by Bruch, Clemens, Victoria, Kodály, Bárdos and Halmos. First Hungarian Presbyterian Church, 439 Vaughan Road. 416971-9754. Freewill offering. ●●2:00: Markham Concert Band. A Seasonal Celebration. Christmas and Hanukkah favourites. Music from all eight Harry Potter films. Doug Manning, conductor. Flato Markham Theatre, 171 Town Centre Blvd., Markham. 905-305-7469. $22; $17(sr/st). ●●2:00: Nagata Shachu. 11. Featuring new and rearranged works for large ensemble on Japanese drums, bamboo flutes and voice. Kiyoshi Nagata, music director. Fleck Dance Theatre, Harbourfront Centre, 235 Queens Quay W. 416-973-4000. $52-$62(VIP); $27$37; $20(sr/st). Also Nov 28(8:00). ●●2:00: Pocket Concerts. Brahms on the Wharf. Mozart: String Quintet in D, K593 (Mvts. 1 & 4); Brahms: Sextet in B-flat, Op.18. Andrea Tyniec and Rebecca MacLeod, violins; Rory McLeod and Theresa Rudolph, violas; Rachel Desoer, cello. Market Wharf, Condo Party Room, 1 Market St., Toronto . 647-8968295. $45; $30(35 and under); $15(child/ youth). Includes drinks and food. ●●2:30: Dinner and a Song. Concert à la Carte. Calum Graham, singer/songwriter, guitar; with The Scarborough Uke Jam. Stone Cottage Pub, 3750 Kingston Rd., Scarborough. 416-265-7932. $15. ●●3:00: Healey Willan Singers. The Colours of Christmas. Porpora: Magnificat; and others. John Stephenson, organ; Ron Ka Ming Cheung, conductor. St. Martin-in-the-Fields Anglican Church, 151 Glenlake Ave. 416-5190528. $20; $15(sr/st). ●●3:00: McMichael Canadian Art Collection. McMichael Concert Series: Tony Quarrington and Friends. Quarrington: original compositions; and other works. Guest: Don Francks, vocals. 10365 Islington Ave, Kleinburg. 905893-1121 x2209. $29-$39; $15(st). Includes gallery admission. ●●3:00: Royal Conservatory. Vienna Boys Choir. Vivaldi: “Gloria ... Domine Deus ... Quoniam tu solus sanctus” from Gloria in D, RV589; Monteverdi: “Ave Maria” from Sacrae cantiunculae tribus vocibus, SV213; Purcell: Excerpts from Come Ye Sons of Art (Ode for the birthday of Queen Mary II), Z323; Bach: “Jesus bleibet meine Freude” from Cantata “Herz und Mund und Tat und Leben”, BWV147; Handel: “He Shall Feed His Flock,” Aria No.20 from Messiah; other works. Bomi Kim, conductor. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $30; $10(rush) - SOLD OUT. BMO Rush tickets will be available. ●●3:00: Toronto Symphony Orchestra. Romeo & Juliet vs West Side Story. Bizet: Farandole from L’Arlésienne Suite No.2; Ravel: Tzigane for Violin and Orchestra; Prokofiev: Selections from Romeo and Juliet; Wagner: Prelude to Act III of Lohengrin; Chausson: Poème for Violin and Orchestra; Bernstein: Symphonic Dances from West Side Story. Angelo Xiang Yu, violin; Ward Stare, conductor. Roy Thomson Hall, 60 Simcoe St. 416598-3375. $29.50–$83.75. Also on Nov 28. ●●3:00: University of Toronto Scarborough. Fall Flourish Concert. UTSC Concert Band and String Orchestra. Arts and Administration Building, University of Scarborough, 1265 Military Trail, Scarborough. 416- 208-4769. Free. ●●3:00: York University Department of Music. York University Wind Symphony. William Thomas, director. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 416-736-5888. $15; $10(sr/st). ●●3:30: Junction Trio. In the Shade of the Sheltering Palms: Exploring the Music of Canada’s Group of Seven. Works by Bach, Debussy, Seitz and Alexander Muir. Junction Trio (Jamie Thompson, flute; Ivana Popovic, violin; Raphael Weinroth-Browne, cello). St. Anne’s Anglican Church, 270 Gladstone Ave. 416-536-3160. PWYC. Refreshments. ●●3:30: VIVA! Youth Singers of Toronto. Shanti!: Our Native Land. Celebrating Canadian music and featuring songs from Canada’s aboriginal people. First Nations Guest Artist; VIVA!’s five choirs. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-788-8482. $20; $15(sr/st). ●●4:00: Cathedral Church of St. James. Twilight Organ Series. Thomas Fitches, organ. 65 Church St. 416-364-7865. Free. ●●4:00: Hart House Chorus. German Choral Works. Bach: Cantata “Christ lag in Todesbanden”; and works by Brahms, Schütz, Bruckner and Hammerschmidt. Hart House Chorus; Daniel Norman, interim conductor; David Eliakis, accompanist. Hart House, Great Hall, 7 Hart House Circle. 647-774-0755. Free. ●●4:00: St. Olave’s Anglican Church. Advent Choral Evensong. St. Olave’s Arts Guild and Consort. 360 Windermere Ave. 416-7695686. Free. Contributions appreciated. Followed by Christmas Tea and seasonal music at 5:00. ●●4:00: St. Philip’s Anglican Church. Jazz Vespers with Robi Botos, piano. 25 St. Phillips Rd., Etobicoke. 416-247-5181. Freewill offering. ●●4:00: St. Simon-the-Apostle Anglican Church. Advent Lessons and Carols. 525 Bloor St. E. 416-923-8714. Freewill offering. ●●4:30: Christ Church Deer Park. Jazz Vespers. Mike Murley, saxophone; David Occhipinti, guitar. 1570 Yonge St. 416-920-5211. Free. PRESENTERS NOTE: The next issue of The WholeNote is the December/January double issue. Please send your December and January listings to [email protected] by November 8th. Sun. 29th Nov. at 4 p.m. Advent Evensong plus Christmas Tea and at 5: CHRISTMAS LIGHTS St. Olave’s Arts Guild and Consort with light music and entertainment, including A Child’s Christmas in Scarborough, an extract from A Christmas Carol, plus some songs, poems and violin solos St. Olave’s Church Bloor and Windermere 416-769-5686 stolaves.ca Director Peter Mahon Charpentier: Midnight Mass for New France, 1725 Period orchestra and organ join forces to recreate the Baroque celebration of Christmas Eve in 1725 in the colony of the Sun King. Charpentier: Messe de Minuit Saturday, November 28 at 7:30 pm St. Patrick’s Church 141 McCaul St. Tickets: $30, Seniors: $25, Students with ID: $10 (only at the door) Info: 416 286-9798 Order online: www.tallischoir.com an Ontario government agency un organisme du gouvernement de l’Ontario thewholenote.com Nov 1 - Dec 7, 2015 | 47 A. Concerts in the GTA ●●6:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. Various times. See Nov 27 (7:00) for details. ●●7:30: Achill Choral Society. Rejoice. Rutter: Magnificat; and other works. Christopher Dawes, organ; Shawn Grenke, piano; Roger Flock, percussion; A. Dale Wood, conductor. St. James Roman Catholic Church (Colgan), 2118 Adjala-Tecumseth Townline, Colgan. 905-936-5060. $25; $10(13-17); $5(child). Also Nov 28 (Bolton), Dec 6 (Orangeville). ●●7:30: University of Toronto Faculty of Music. Percussion Ensemble. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●7:30: University of Toronto Faculty of Music. The Lamb: An A Cappella Christmas Concert. Works by Gibbons, Purcell, Tallis, Britten, Poston and Taverner. Theatre of Early Music Choir; Students of the Schola Cantorum; Daniel Taylor, conductor. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. $30, $20(sr); $10(st). ●●8:00: Thin Edge New Music Collective. Light Show. Basanta, M. Stein and J. Stein: Music for Lamps; works by Oesterle, Bolaños Chamorro, Murail and Rainey. Music Gallery, 197 John St. 647-456-7597. $20/$18(adv); $15(sr/st/arts)/$13(adv). Monday November 30 ●●7:30: University of Toronto Faculty of Music. Brass Chamber Ensembles. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●5:30: Canadian Opera Company. World Music Series: Roots of India, Grown in Canada. All-Canadian program of pop, folk and Indo-fusion originals. Autorickshaw. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. Free. ●●6:00: Cathedral Church of St. James. Cantatas in the Cathedral. Bach: Cantata, BWV132 and organ works. Sheila Dietrich, soprano; Christina Stelmacovich, alto; Robert Busiakiewicz, tenor; David Roth, bass; David Briggs, organ. 65 Church St. 416-364-7865. PWYC. All donations go directly to the artists. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. Various times. See Nov 27 (7:00) for details. ●●7:30: University of Toronto Faculty of Music. 11 O’Clock Jazz Orchestra and Vocal Jazz Ensemble. Jim Lewis and Christine Duncan, conductors. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●7:30: University of Toronto Faculty of Music. Vocalis Series: Opera Excerpts. Master’s and DMA voice students. Great Hall, Hart House, 7 Hart House Circle. 416-9780492. Free. ●●7:30: Village Voices. Christmas Carols Sing-Along. Brass Quintet; Village Voices Community Choir; Joan Andrews, conductor. Cornell Recital Hall, 3201 Bur Oak Ave., Markham. 905-471-4464. Admission by donation. Tuesday December 1 ●●12:00 noon: Canadian Opera Company. Piano Virtuoso Series: Preludes and Pralines. Works by Rachmaninoff, Debussy, Albéniz, Gershwin, Billy Mayerl and others. Linda Ippolito, piano. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-363-8231. Free. ●●12:10: University of Toronto Faculty of Music. Tuesday Performance Class for Singers. C’est bientôt Noël!: A French Christmas Celebration. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●1:00: Cathedral Church of St. James. Midday Organ Series. David Briggs, organ. 65 Church St. 416-364-7865. Free. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. Various times. See Nov 27 (7:00) for details. ●●7:30: University of Toronto Faculty of Music. Woodwind Chamber Ensembles. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-9780492. Free. ●●8:00: Massey Hall/Polaris Music Prize. Tanya Tagaq and Owen Pallett. Tanya Tagaq, Inuit throat singing, electronica, industrial and metal influences; Owen Pallet, violin and loop pedal. Massey Hall, 178 Victoria St. 416872-4255. $18.94-$29.50. Wednesday December 2 Thursday December 3 ●●12:30: Yorkminster Park Baptist Church. ●●12:00 noon: Canadian Opera Company. Noonhour Recitals. Andrew Adair, organ. 1585 Yonge St. 416-922-1167. Free. Jazz Series: A Very Cadence Christmas. A cappella bebop standards, 1980s hits and holiday classics. Cadence. Richard Bradshaw Amphitheatre, Four Seasons Centre for the Performing Arts, 145 Queen St. W. 416-3638231. Free. ●●12:10: University of Toronto Faculty of Music. Thursdays at Noon. Morawetz: Sonata for flute and piano; Sonata for trumpet and piano; Kuzmenko: Melancholy Waltz; Coulthard: Fanfare Sonata for trumpet and piano; Baker: Elegy for flute and piano. Susan Hoeppner, flute; Gillian MacKay, trumpet; Lydia Wong, piano. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●12:15: Metropolitan United Church. Noon at Met. Stephen Boda, organ. Metropolitan United Church (Toronto), 56 Queen St. E. 416363-0331. Free. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Ross Petty’s final bow. A fractured fairytale combining Peter Pan with Alice in Wonderland. Ross Petty; Eddie Glen; Dan Chameroy; Jessica Holmes; Tracey Flye, director; Chris Earl, playwright; Guests: Anthony MacPherson; Steffi DiDomenicantonio; Jordan Clark; Lamar Johnson; Taveeta Szymanowicz. Elgin Theatre, 189 Yonge St. 1-855-599-9090. $27-$99; $27-$69(under 12). Runs from Nov 27 to Jan 3. Various times. ●●7:30: University of Toronto Faculty of Music. World Music Ensembles. World Music Ensemble; Klezmer Ensemble; Japanese Drumming Ensemble; Pedram Khavarzamini, World Music Artist in Residence. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. Free. ●●7:30: York University Department of Music. York University Symphony Orchestra. Mark Chambers, conductor. Tribute Communities Recital Hall, Accolade East Building, YU, 4700 Keele St. 416-736-5888. $15; $10(sr/ st). BACH CHRISTMAS ORATORIO Stories of The Season Friday,December 4th, 2015, 8pm, 383 Huron Street, Toronto Come celebrate through spoken word and Canadian music. Featured composers include Daley, Raminsh, Sirett and Willan. 416-971-9229 www.exultate.net an Ontario government agency un organisme du gouvernement de l’Ontario 48 | Nov 1 - Dec 7, 2015 Dec 3-6 416.964.6337 tafelmusik.org ●●8:00: Tafelmusik. Bach Christmas Oratorio. Jana Miller, soprano; Benno Schachtner, countertenor; James Gilchrist, tenor; Peter Harvey, baritone; Ivars Taurins, director. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 416-964-6337. $40-$93; $37$84(sr); $20-$83(st). Also Dec 4, 5, 6(mat). Friday December 4 ●●1:10: Gordon Murray Presents. Piano Pot- pourri. Featuring classics, opera, operetta, musicals, ragtime, pop, international and other genres. Gordon Murray, piano. TrinitySt. Paul’s United Church, 427 Bloor St. W. 416631-4300. PWYC. Lunch and snack friendly. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. thewholenote.com Various times. See Nov 27 (7:00) for details. ●●7:30: Ontario Christian Music Assembly. Christmas Christian Festival Concert. Guests: Beatrice Carpino, soprano; Michael Ciufo, tenor; Adolfo De Santis, piano; Andre Knevel, organ, Liselotte Rokyta, panflute; Hansen Trio; Toronto Brass Quintet; Choirs of OCMA; Leendert Kooij, conductor. Roy Thomson Hall, 60 Simcoe St. 416-636-9779. $25-$50. ●●7:30: University of Toronto Faculty of Music. PianoFest. Piano students perform. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-9780492. Free. ●●8:00: Elmer Iseler Singers. Handel’s Messiah. Lydia Adams, conductor; guest artists: The Amadeus Choir; Meredith Hall, soprano; Laura McAlpine, mezzo; Bud Roach, tenor; Matthew Zadow, baritone; Patricia Wright, organ; Robert Venables and Robert DiVito, trumpets; and Orchestra. Metropolitan United Church (Toronto), 56 Queen St. E. 416217-0537. $55; $50(sr); $20(st). Pre-concert dinner at the Albany Club, $60. ●●8:00: Exultate Chamber Singers. Stories of the Season; A Canadian Noël. Raminsh: Magnificat; and works by Anderson, Daley, Holman, Sirett, Willan, and others. Daniel Bickle, organ. St. Thomas Anglican Church (Toronto), 383 Huron St. 416-971-9229. $25. 416-408-0208. $25-$35. ●●2:00: University Settlement Music & Arts School. End of Term Student Concert. St. George the Martyr Church, 197 John St. 416598-3444 x243. Free. Donations accepted. Also at 12:00. ●●2:00: Yorkminster Park Baptist Church/ City. 7th Annual City Carol Sing. Choirs, Brass, Organ, Readings. Bach Children’s Chorus; That Choir; The Hedgerow Singers; Yorkminster Park Baptist Church Choir; Guests: John McDermott; Maev Beaty; Gord Martineau; True North Brass. Yorkminster Park Baptist Church, 1585 Yonge St. 416-9221167. Free. A collection will be taken for the Churches-on-the-Hill Food Bank. ●●3:00: Massey Hall/St. Michael’s Choir School. A Toronto Christmas Tradition. Dr. Jerzy Cichocki, Maria Conkey, Jordan de Souza, and Terry Dunn, conductors; William O’Meara, accompanist; Guests: Michael Colvin, tenor; Lori Gemmel, harp; True North Brass; SMCSAA Jubilee Choir. Massey Hall, 178 Victoria St. 416-872-4255. $20-$60. Also Dec 6. ●●3:00: Tempus Choral Society. A Festive Noel Christmas Concert. Tempus Choral Society; Tempus Children’s Choir; Tempus Jazz Choir. Clearview Christian Reformed Church, Manoli, piano. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. $55-$125. ●●8:00: Tafelmusik. Bach Christmas Oratorio. Jana Miller, soprano; Benno Schachtner, countertenor; James Gilchrist, tenor; Peter Harvey, baritone; Ivars Taurins, director. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 416-964-6337. $40-$93; $37$84(sr); $20-$83(st). Also Dec 3, 5, 6(mat). ●●8:00: Tempus Choral Society. A Festival Noel Christmas Concert. Tempus Choral Society; Tempus Children’s Choir; Tempus Jazz Choir. Clearview Christian Reformed Church, 2300 Sheridan Garden Dr., Oakville. 905338-5202. $15. Also Dec 5. ●●8:00: Upper Canada Choristers/Cantemos Latin Ensemble. Wolcum Yole! Britten: Ceremony of Carols; Rutter: Of a Rose, a lovely Rose (from his Magnificat); The Coventry Carol; Cherubini: Veni Jesu; Aguiar: Psalmus; Andreo: O magnum mysterium; other works. Performed a cappella by Cantemos. Laurie Evan Fraser, conductor; Cecilia Lee, piano. Guest: Emily Belvedere, harp. Grace Church on-the-Hill, 300 Lonsdale Rd. 416-256-0510. $25; free(high school st/child). Saturday December 5 ●●12:00 noon: University Settlement Music & Arts School. End of Term Student Concert. St. George the Martyr Church, 197 John St. 416-598-3444 x243. Free. Donations accepted. Also at 2 pm. ●●2:00: Royal Conservatory. Family Concerts: Routes of Andalucia. Music of ancient Andalucia with Arabic, Jewish, and Gypsy cultures. David Buchbinder, trumpet; and others. Koerner Hall, Telus Centre, 273 Bloor St. W. 2300 Sheridan Garden Dr., Oakville. 905338-5202. $15. Also Dec 4. ●●7:00: Oakville Children’s Choir. Songs for a Winter Night. St. John’s United Church by the Choirs of the Ontario Christian Music Assembly Roy Thomson Hall Friday December 4th, 2015 – 7:30 p.m. Leendert Kooij Director Choirs of the OCMA ●●8:00: Show One Productions. Soprano Sondra Radvanovsky in Recital. Vivaldi: Sposa son disprezzata from Bajazet; Bellini: Three Songs; R. Strauss: Four Songs; Dvořák: Song to the Moon from Rusalka; Liszt: Three songs; and songs and arias by Barber and Giordano. Sondra Radvanovsky, soprano; Anthony TICKETS ARE: $50 / $40 / $25 ORDER YOUR TICKETS FROM: Ontario Christian Music Assembly ST. MICHAEL’S CHOIR SCHOOL at MASSEY HALL 90 Topcliff Avenue, Downsview, Ontario M3N 1L8 Please enclose payment. ORDER BY PHONE: 1-416-636-9779 OR BY EMAIL: [email protected] Saturday DECEMBER 5 at 3 PM Sunday DECEMBER 6 at 3PM TICKETS $20 to $60 MASSEY HALL 416.872.4255 WWW.CHRISTMASCONCERT.CA The Barra MacNeils CONDUCTORS dr.jerzy cichocki, maria conkey, jordan de souza & teri dunn ACCOMPANIST william o’meara SPECIAL GUESTS michael colvin, tenor ARTISTIC DIRECTOR D AV I D A M B R O S E true north brass 1965 -2015 A Celtic Christmas Saturday, December 5, 2015 / 8:00 pm / Hammerson Hall, Living Arts Centre Canada’s Celtic ambassadors join MFC for Celtic-infused songs of the season. Tickets: livingartscentre.ca / 905-306-6000 f themississaugafestivalchoir.com l mfchoir / mfchoir.com thewholenote.com lori gemmel, harpist smcsaa jubilee choir YEARS at Massey Hall Nov 1 - Dec 7, 2015 | 49 A. Concerts in the GTA (Oakville), 262 Randall St., Oakville. 905-3377104. $25; $20(sr); $15(child). Advance tickets only. ●●7:00: Ross Petty Productions. Peter Pan in Wonderland. Runs from Nov 27 to Jan 3. Various times. See Nov 27 (7:00) for details. support of Community Centre 55’s Share-aChristmas. Also Dec. 6 at St. Aidan’s Anglican Church (3:00). ●●7:30: Cantores Celestes Women’s Choir. Seven Joys of Christmas: Carols Ancient and Modern. Christmas music from Medieval to Gospel. Britten: Ceremony of Carols; Medieval Carols, Christmas Spirituals, and works by John Rutter and Kirke Mechem. The Pope Joans; Jacqueline Goring, harp; Ellen Meyer; piano; Kelly Galbraith, director. Runnymede United Church, 432 Runnymede Rd. 416-2361522. $25. Proceeds to charity supporting the homeless. ●●7:30: Etobicoke Centennial Choir. Sacred Traditions 2015. Bernstein: Chichester Psalms; Poulenc: Quatre Motets pour le temps de Noel; Patriquin: Six Noels Anciens; Susa: Carols and Lullabies of the Southwest. Accompanied by organ, harp, guitar and percussion. Humber Valley United Church, 76 Anglesey Blvd., Etobicoke. 416769-9271. $25. ●●7:30: Northern Lights Chorus. The Gift of Music. Metropolitan United Church (Toronto), 56 Queen St. E. 1-866-744-7464. $26; $16(st). ●●7:30: University of Toronto Faculty of Music. University of Toronto Symphony Orchestra. Smetana: The Moldau; Rachmaninoff: Piano Concerto No.3 in d, Op.20; Lutosławski: Concerto for Orchestra. Eugene Chan, piano; Uri Mayer, conductor; François Koh, conductor. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-9780492. $30; $20(sr); $10(st). ●●8:00: Aga Khan Museum. Ustad Eltaf Hussain Sarahang, singer. Indo-Afghan musical traditions. Aga Khan Museum Auditorium, 77 Wynford Dr. 416-646-4677. Starting at $40. $5(child). Also Dec 6(mat). ●●7:30: Cathedral Church of St. James. Cath- ●●7:30: Pax Christi Chorale. Berlioz: L’enfance du Christ. Nathalie Paulin, soprano; Olivier Laquerre, baritone; Alain Coulombe, bass; Sean Clark, tenor; Matthew Zadow, baritone. Grace Church on-the-Hill, 300 Lonsdale Rd. 416-488-7884. $45; $40(sr); $25(st); edral Concert. Haydn: Nicolaimesse; Britten: St. Nicolas. Choir of St. James Cathedral; Talisker Players Orchestra; Robert Busiakiewicz, conductor. 65 Church St. 416-364-7865. $30-$35. ●●7:30: Cantemus Singers. Gloria in Excelsis Deo. Christmas music of the Spanish and Austrian courts of the 16th century. Church of the Holy Trinity, 10 Trinity Sq. 416-5786602. $20; free(child). Benefit concert in Rant Maggie Rant T O R O N T O C L A S S I CA L S I NGER S presents Celtic Christmas Celebration Johann Sebastian Bach CHRISTMAS ORATORIO BWV 248 Soloists: Sat., Dec. 5, 8pm Jennifer Taverner, soprano Sandra Boyes, mezzo soprano Asitha Tennekoon, tenor James Baldwin, baritone auroraculturalcentre.ca 905 713-1818 ●●8:00: Aurora Cultural Centre. Rant Mag- gie Rant: Celtic Christmas Celebration. Rant Maggie Rant (Lindsay Schindler, fiddle, vocals; Glen Dias, vocals, recorder, percussion; Barry James Payne, acoustic guitar, vocals); and guests. 22 Church St., Aurora. 905-713-1818. $30/$25(adv). ●●8:00: Mississauga Festival Choir. A Celtic Christmas With the Barra MacNeils. Hammerson Hall, Living Arts Centre, 4141 Living Arts Dr., Mississauga. 905-306-6000. $35; $30(sr/st); $15(12 and under). ●●8:00: Royal Conservatory. Music Mix: Bluebird North. Conservatory Theatre, 273 Bloor The Talisker Players Orchestra Jurgen Petrenko, conductor Sunday December 6, 2015 at 4 pm Christ Church Deer Park 1570 Yonge Street, at Heath St. W. www.torontoclassicalsingers.ca 50 | Nov 1 - Dec 7, 2015 Tickets $30 Adult; $25 Senior/Student Season tickets $80; $65 St. W. 416-408-0208. $25. ●●8:00: Tafelmusik. Bach Christmas Oratorio. Jana Miller, soprano; Benno Schachtner, countertenor; James Gilchrist, tenor; Peter Harvey, baritone; Ivars Taurins, director. Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 416-964-6337. $40-$93; $37$84(sr); $20-$83(st). Also Dec 3, 4, 6(mat). Sunday December 6 ●●2:00: Metropolitan United Church. Deck the Halls: Downtown Carol Sing with the Metropolitan Silver Band. Metropolitan United Church (Toronto), 56 Queen St. E. 416363-0331. Free. Donations welcome. ●●2:30: Bel Canto Singers. The Most Wonderful Time of the Year. Linda Meyer, conductor; Jacqueline Mokrzewski, piano. St. Dunstan of Canterbury, 56 Lawson Rd., Scarborough. 416-286-8260. $20. Also at 7:30. ●●2:30: University of Toronto Faculty of Music. Choral Celebration Concert. Shelley Marwood: These Fragile Snowflakes; Dale Warland: Nativity Suite for Choir, Harp and Flute; Pinkham: Christmas Cantata. MacMillan Singers; Men’s Chorus; Women’s Chamber Choir; Women’s Chorus; and brass choir. MacMillan Theatre, Edward Johnson Building, 80 Queen’s Park. 416-978-0492. $30; $20(sr); $10(st). Pre-concert performance by Young Voices Toronto at 2 pm. ●●3:00: Cantemus Singers. Gloria in Excelsis Deo. Christmas music of the Spanish and Austrian courts of the 16th century. St. Aidan’s Anglican Church (Toronto), 70 Silver Birch Ave. 416-578-6602. $20; free(child). Benefit concert in support of Community Centre 55’s Share-a-Christmas. Also Dec 5 at Church of the Holy Trinity (7:30). ●●3:00: Massey Hall/St. Michael’s Choir School. A Toronto Christmas Tradition. Dr. Jerzy Cichocki, Maria Conkey, Jordan de Souza, and Terry Dunn, conductors; William O’Meara, accompanist; Guests: Michael Colvin, tenor; Lori Gemmel, harp; True North Brass; SMCSAA Jubilee Choir. Massey Hall, 178 Victoria St. 416-872-4255. $20-$60. Also Dec 5. ●●3:00: Orchestra Toronto. Music of Youth. Concert geared towards children, featuring an Instrument Petting Zoo. Prokofiev: Peter and the Wolf; Rimsky-Korsakov: Christmas Eve Suite (selections); Reinecke: Flute Concerto in D Op.283. Stephanie Morin, flute; Tom Allen, narrator. George Weston Recital Hall, 5040 Yonge St. 1-855-985-2787. $43; $37(sr); $15(child/OTopus 14-29). 2:15: preconcert chat. ●●3:00: Pax Christi Chorale. Berlioz: L’enfance du Christ. Nathalie Paulin, soprano; Olivier Laquerre, baritone; Alain Coulombe, bass; Sean Clark, tenor; Matthew Zadow, baritone. Grace Church on-the-Hill, 300 Lonsdale Rd. 416-488-7884. $45; $40(sr); $25(st); $5(child). Also Dec 5(eve). ●●3:00: Royal Conservatory. Invesco Piano Concerts. Jan Lisiecki, piano. Koerner Hall, Telus Centre, 273 Bloor St. W. 416-408-0208. SOLD OUT. BMO Rush Tickets will be available. ●●3:00: Syrinx Concerts Toronto. Peter Longworth, piano & Sheila Jaffé, violin. Works by Mozart, Bartók, Franck and Vivier. Heliconian Hall, 35 Hazelton Ave. 416-654-0877. $25; $20(st). ●●3:30: Tafelmusik. Bach Christmas Oratorio. Jana Miller, soprano; Benno Schachtner, countertenor; James Gilchrist, tenor; Peter Harvey, baritone; Ivars Taurins, director. thewholenote.com SUNDAY, DEC 13 3:30PM March of the Toys | Christmas Festival Sleigh Ride | and a preview of St. Paul’s Suite arranged by Roy Greaves Church of St. Michael and All Angels 611 St. Clair Ave. W. TICKETS $5-$20 available at the door WYCHWOODCLARINETCHOIR.COM thewholenote.com B. Concerts Beyond the GTA $10(sr/child/underwaged/unwaged). PHILIPPE LEROUX IN THIS ISSUE: Barrie, Belleville, Brantford, Brockville, Chatham, Collingwood, Dundas, Elmira, Guelph, Hamilton, Kingston, Kitchener, London, Midland, Nepean, Orangeville, Parry Sound, Peterborough, St. Catharines, Waterloo Sunday November 1 ●●2:00: Kitchener-Waterloo Chamber Music Society. Attacca String Quartet: Complete Haydn Quartets: Concert No.20. Quartet Op.1 No.4; Op.17 No.3; Op.54 No.1. KWCMS Music Room, 57 Young St. W., Waterloo. 519886-1673. $35; $20(st). ●●2:00: Steel City Jazz Festival. Intercurrents: Roy Patterson and Brian Dickinson. Works of Bill Evans and Jim Hall. Roy Patterson, guitar; Brian Dickinson, piano. Pearl Company, 16 Steven St., Hamilton. 905-5248606. $15. ●●2:30: Isabel Bader Centre for the Performing Arts. Piano Series: Emanuel Ax. Works by Beethoven, Dussek and Chopin. 390 King St. W., Kingston. 613-533-2424. $24.25-$44; $12-$22(st). ●●2:30: Niagara Symphony Orchestra. Beethoven Piano Concerto Marathon. Beethoven: Consecration of the House; Piano Concerto No.1; Piano Concerto No.2; Piano Concerto No.3; Piano Concerto No.4; Piano Concerto No.5 “Emperor”. Stewart Goodyear, piano; Bradley Thachuk, conductor. FirstOntario Performing Arts Centre, 250 St. Paul St., St. Catharines. 905-688-0722 or 1-855-5150722. $64; $59(sr); $32(under 31); $14(st); $12(child). ●●3:00: Wellington Wind Symphony. On the Road Again. Works by Grainger, Reed, Hazo, Mahler and Koetsier. Slide by Slide Trombone Quartet; Keith Hagerman, baritone; Daniel Warren, conductor. Grandview Baptist Church, 250 Old Chicopee Dr., Kitchener. 519-669-1327. $20; $15(sr); free(st). ●●3:30: Huronia Symphony Orchestra. Opening Night. R. Strauss: Rosenkavalier © Cécile Brossard Trinity-St. Paul’s Centre, Jeanne Lamon Hall, 427 Bloor St. W. 416-964-6337. $40-$93; $37$84(sr); $20-$83(st). Also Dec 3(eve), 4(eve), 5(eve). ●●3:30: Toronto Welsh Male Voice Choir. Holiday Concert. Our Lady of the Miraculous Medal Catholic Church, 739 Browns Line, Etobicoke. 416-255-2721. $25. ●●4:00: Cathedral Church of St. James. Twilight Organ Series. David Briggs, organ. 65 Church St. 416-364-7865. Free. ●●4:00: Church of St. Mary Magdalene. O Antiphon Preludes. Works by Nico Muhly. Andrew Adair, organ. Church of St. Mary Magdalene (Toronto), 477 Manning Ave. 416531-7955. Free. ●●4:00: St. Philip’s Anglican Church. Jazz Vespers Tribute to Frank Sinatra. Alex Samaras, vocals; Colleen Allen, saxophone; Scott Alexander, bass; Gary Williamson, piano; Brian Barlow, drums. 25 St. Phillips Rd., Etobicoke. 416-247-5181. Freewill offering. ●●4:00: Toronto Classical Singers. In Concert. Bach: Christmas Oratorio. Jennifer Taverner, soprano; Sandra Boyes, mezzo; Asitha Tennekoon, tenor; James Baldwin, baritone; Talisker Players Orchestra; Jurgen Petrenko, conductor. Christ Church Deer Park, 1570 Yonge St. 416-443-1490. $30; $25(sr/st). ●●5:00: Nocturnes in the City. Eliska Latawiec, soprano. Works by Dvořák. St. Wenceslaus Church, 496 Gladstone Ave. 416481-7294. $25; $15(st). ●●7:00: Hart House. Hart House Chamber Strings. Handel: Sinfonia from Messiah; Dvořák: Notturno; Elgar: Serenade for Strings; Lauridsen: O Magnum Mysterium; Bach: Brandenburg Concerto No.3. Hart House, Great Hall, 7 Hart House Circle. 416978-2452. Free. ●●7:30: Bel Canto Singers. The Most Wonderful Time of the Year. Linda Meyer, conductor; Jacqueline Mokrzewski, piano. St. Dunstan of Canterbury, 56 Lawson Rd., Scarborough. 416-286-8260. $20. Also at 2:30. ●●7:30: Echo Women’s Choir. Winter Concert: Heart Like a Wheel. Heart Like a Wheel (arr. Alan Gasser); Quiet on the River (arr. Alan Gasser); Lullabies from Latin America, South Africa, and the Republic of Georgia; Annabelle Cvostek: Apocalypse Lullaby; other works. Becca Whitla, piano and conductor; Alan Gasser, conductor. Church of the Holy Trinity, 10 Trinity Sq. 416-779-5554. $20; $15(adv); Sun. Dec. 6 | Oliphant Theatre www.NewMusicConcerts.com ●●8:00: New Music Concerts. A Portrait of Philippe Leroux. Leroux: AAA; Ailes; Grisey: Talea; Carter: Canon for Three Equal Instruments; Rubin: less than equals three. NMC Ensemble; Alexander Dobson, baritone; Robert Aitken, conductor. Betty Oliphant Theatre, 404 Jarvis St. 416-961-9594. $35; $25(sr/arts workers); $10(st). 7:15: Introduction. Monday December 7 ●●7:30: Cantabile Chorale of York Region. Joy of Christmas. Guests: Ethel Briggs, accompanist; Rev. Sebastian MeadowsHelmer, violinist; Robert Richardson, conductor. Thornhill United Church, 25 Elgin St., Thornhill. 905-731-8318. Entry by food donation to Thornhill Christmas Assistance program. Silent offering to defray expenses. Reception to follow. ●●7:30: Earl Haig and Claude Watson Music. Claude Watson School of the Arts December Showcase Concert. Works by Monteverdi, Mendelssohn, Prokofiev, and others. Orchestra, Symphonic Band, Chamber Strings, Full Mixed Choir. Trinity-St. Paul’s Centre, 427 Bloor St. W. 416-392-3210 x20141. $10; $5(sr/st). ●●7:30: University of St. Michael’s College. A Baroque Concert for Advent. Handel: Foundling Hospital Anthem; also works by Geminiani. The Musicians in Ordinary; Christopher Verrette, baroque violinist; Hallie Fishel, soprano; Choir and Soloists of St. Michael’s Schola Cantorum; Michael O’Connor, director. St. Basil’s Church, University of St. Michael’s College, 50 St. Joseph St. 416-535-9956. Free. Donations welcome. ●●7:30: University of Toronto Faculty of Music. Collaborations. Works by Christos Hatzis, Dean Burry, Julie Spencer, Dinuk Wijeratne and George Kontogiorgos. Beverley Johnston, percussion. Walter Hall, Edward Johnson Building, University of Toronto, 80 Queen’s Park. 416-978-0492. $40; $25(sr); $10(st). ●●8:00: Soundstreams. Ear Candy: Electric Messiah. York University Electroacoustic Orchestra; Christine Duncan, Gabriel Dharmoo, Doug Van Noort, Ashlie Corcoran, Patrick Lavender, John Gzowski, SlowPitch, resident DJ. Drake Hotel, 1150 Queen St. W. 416-504-1282. $20/$15(adv). Also Dec 8. Claude Watson Secondary Arts Program Music Ensembles Showcase Monday, December 7, 7:30 pm Trinity-St. Paul’s Centre 416-395-3210 x20141 AND Earl Haig Secondary School Music Ensembles Suite; Mozart: Horn Concerto No.4 in E-flat K495; Beethoven: Symphony No.5 in c Op.67. David Quackenbush, horn; Oliver Balaburski, conductor. Collier Street United Church, 112 Collier St., Barrie. 705-721-4752. $25; $10(st); $5(child). Tuesday November 3 ●●12:00 noon: Marilyn I. Walker School of Fine and Performing Arts, Brock University. RBC Foundation: Music at Noon. Piano, vocal & instrumental students. Cairns Recital Hall, FirstOntario Performing Arts Centre, 250 St. Paul St., St. Catharines. 905-688-5550. Free. 2 01 5 – 2 01 6 CoNCERt SERiES SUNDAY DECEMBER 13 th 4:00 p.M. A Rhapsody of Christmas Come celebrate an ESG Christmas with Carols, Choir, Brass and Organ. Works by Rutter, Ruth Watson Henderson, Daley, Willan, Whitacre and more… Featuring The Trillium Brass The Eglinton St. Goerge’s Choir Andrew Adair, organist; Krista Rhodes, piano Shawn Grenke, conductor. Tickets $35 Wednesday, December 9, 7 pm Cringan Hall, Earl Haig Secondary School 416-395-3210 x20141 35 Lytton Blvd., Toronto 416.481.1141 www.esgunited.org Nov 1 - Dec 7, 2015 | 51 B. Concerts Beyond the GTA Wednesday November 4 ●●12:00 noon: Midday Music with Shigeru. Barbie Main, piano. Works by Abel, Chopin, Puccini, Strauss and Lecuona. Hi-Way Pentecostal Church, 50 Anne St. N., Barrie. 705726-1181. $5; free(st). ●●8:00: Kitchener-Waterloo Chamber Music Society. Annette-Barbara Vogel, violin & Durval Cesetti, piano. Szymanowski: Sonata in d Op.9; Brahms: Sonata in E-flat Op.120 No.2; Miguez: Sonata in A Op.14. KWCMS Music Room, 57 Young St. W., Waterloo. 519-8861673. $30; $20(st). Thursday November 5 ●●12:00 noon: Wilfrid Laurier University Fac- ulty of Music. Penderecki String Quartet. Maureen Forrester Recital Hall, 75 University Ave., Waterloo. 519-884-1970 x4439. Free. Friday November 6 ●●12:30: Don Wright Faculty of Music. Fri- days @ 12:30 Series: Western University Singers. Works by Handel, Mozart, Brahms; and others. Western University Singers; Victoria Meredith, conductor. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●7:00: St. Clair College Capitol Theatre. The Irish Rovers: 50th Anniversary Tour. 238 King St. W., Chatham. 519-354-8338. $39-$54. ●●7:30: Isabel Bader Centre for the Performing Arts. Jazz Series: Lemon Bucket Orkestra. Jazz, Balkan, Klezmer, Gypsy, Party Band. 390 King St. W., Kingston. 613-5332424. $24.25-$44; $12-$22(st). ●●8:00: Kitchener-Waterloo Chamber Music Society. Trio Arkel. Works by Haydn, Osterle, Rosza, Dvořák and Beethoven. Trio Arkel: Marie Bérard, violin; Teng Li, viola; Winona Zelenka, cello. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $20(st). Saturday November 7 ●●10:30am: Kitchener-Waterloo Sym- phony. Kinderconcert Series: Cabbages and Counterpoint. The musical Mendelssohn Mouse family is rehearsing and getting ready for a concert. Woolwich Memorial Centre, 24 Snyder St. S., Elmira. 519-745-4711. $13 and up; $11(child). ●●7:00: St. Jacobs Country Playhouse. The Irish Rovers: 50th Anniversary Tour. 40 Benjamin Rd. E., Waterloo. 519-638-5555. $52.50. ●●7:00: Wilfrid Laurier University Faculty of Music. WLU Choirs. First United Church (Waterloo), 16 William St. W., Waterloo. 519-8841970 x4439. $15; $7(sr). ●●7:30: Chorus Niagara. CELEBRATE!: The Explosive Power of 160 Voices in Partridge Hall. Finzi: Ode for St. Cecilia; Bruckner: Te Deum; and other works. Guests: McMaster University Choir (Rachel Rensink-Hoff, conductor); Niagara Symphony Orchestra; Leslie Ann Bradley, soprano; Maria Soulis; mezzo; Adam Luther, tenor; Brett Polegato, baritone. FirstOntario Performing Arts Centre, Partridge Hall, 250 St. Paul St., St. Catharines. 905-688-5550 x0722. $40; $38(sr); $25(under 30); $15(st); $12(child). ●●7:30: Guelph Chamber Choir. Carmina Burana and Other Works. Orff: Carmina Burana; Timothy Corlis: Missa Pax. Kevin McMillan, baritone; Sheila Dietrich, soprano; 52 | Nov 1 - Dec 7, 2015 Chamber Music Showcase Concert. Woodwind, brass, percussion and piano students. Studio 242, Music Building, Western University, 1151 Richmond St. N., London. 519-6613767. Free. Chris Fischer, tenor; Tina Yanchus and James Hibbard Duo, pianos; Duo Percussion and friends; Gerald Neufeld, conductor. River Run Centre, 35 Woolwich St., Guelph. 519-7633000. Single tickets $35; $10(30 & under/st); $5(eyeGO). ●●7:30: Hamilton Philharmonic Orchestra. In Remembrance: Songs of Courage and Honour. A tribute to the community’s military personnel and families. Tchaikovsky: 1812 Overture; Richardson-Schulte: Song of the Poets; Medley of Second World War favourites. Hamilton Place, 10 MacNab St. S., Hamilton. 905-526-7756. $25–$67; $23$64(sr); $17(under 35); $10(child). Tuesday November 10 ●●12:00 noon: Marilyn I. Walker School of Fine and Performing Arts, Brock University. RBC Foundation: Music@Noon. Alumna Recital: Christina LeRose, piano. FirstOntario Performing Arts Centre, 250 St. Paul St., St. Catharines. 905-688-5550. Free. Cairns Hall. ●●12:30: McMaster School of the Arts. Suzanne Shulman, flute & Erica Goodman, harp. Convocation Hall, UH213, McMaster University, 1280 Main St. W., Hamilton. 905525-9140 x27038. $20; $15(sr); $5(st). ●●6:00: Don Wright Faculty of Music. Chamber Music Showcase Concert. Stringed instrument and piano students. Studio 242, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●7:30: Charles W. Stokey Centre for the Performing Arts. The Irish Rovers: 50th Anniversary Tour. 2 Bay St., Parry Sound. 705-746-4466. $37. ●●7:30: Don Wright Faculty of Music. Jazz Ensemble: Explorations. The Worst Pop Band Ever. Wolf Performance Hall, 251 Dundas St., London. 519-661-3767. Free. Sunday November 8 ●●12:00 noon: Isabel Bader Centre for the Performing Arts. Choralpalooza. Celebrating Kingston’s choral community. The Kingston Chamber Choir; She Sings; The Kingston Townsmen; The Kingston Choral Society; Open Voices Community Choir; and others. 390 King St. W., Kingston. 613-533-2424 or 1-855-533-2424. Free. ●●2:30: Georgian Music. In Concert. Works by Rachmaninoff and Chopin. Dmitri Levkovich, piano. Grace United Church (Barrie), 350 Grove St. E., Barrie. 705-726-1181. $65. ●●2:30: Orchestra Kingston. War and Remembrance. Beethoven: Eroica Symphony; Palmer: “Lament”; and war-time songs. Guest: Patty Smith, soprano. Salvation Army Citadel, 816 Centennial Dr., Kingston. 613634-9312. $25-$20. ●●3:00: CMO Chamber Choir. Remembrance: A Celebration of Choral Anniversaries. Palestrina: Missa Papae Marcelli; Rachmaninoff: excerpts (Nos.1,2,3,9) from All-Night Vigil; Fauré: Cantique de Jean Racine; J.L. Bach: Das ist meine Freude; Victoria: Ave Maria à 8; and others. Guests: Anna Trubashnik, mezzo; James Hilts, clarinet; David Jones, piano; Jeffrey Moellman, director. St. James’ Anglican Church (Orillia), 58 Peter St. N., Orillia. 705833-2202. $20; $5(under 18). ●●3:00: Don Wright Faculty of Music. Faculty Concert Series. Thoughts on Remembrance Day. Works by Bach-Busoni, Simon Bainbridge, Bach-Nagel, and others. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-6613767. Free. ●●3:00: Dundas Valley Orchestra. Remembering Vimy. Vaughan Williams: Prelude to the 49th Parallel; Old Hundredth; Palmer: Canadian Folk Song Suite; Ketèlbey: Bells Across the Meadow; A Soldier’s Return; and others. Dundas Pipes and Drums; Jason Hales, soloist. St. Paul’s United Church (Dundas), 29 Park St. W., Dundas. 905-387-4773. Free. Donations accepted. Post-concert reception. ●●8:00: Kitchener-Waterloo Chamber Music Society. Trio Arkel. Haydn: Trio, Op.53; Beethoven: Trio, Op.9; Miklós Rózsa: String Trio; Michael Oesterle: string trio (premiere). Marie Bérard, violin; Teng Li, viola; Winona Zelenka, cello. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $20(st). ●●8:00: Midland Cultural Centre. The Irish Rovers: 50th Anniversary Tour. 333 King St., Midland. 705-527-4420. $52.50-$57.50. Wednesday November 11 ●●2:30: Georgian Music. A Time to Remem- ber. Lenard Whiting conducts Music Students from the U. of T. Scarborough Campus in music for Remembrance Day. Grace United Church (Barrie), 350 Grove St. E., Barrie. 705-726-1181. Free. ●●8:00: New Music Kingston/EckhardtGramatté National Concert Tour. In Concert. Works by John Estacio, Vivian Fung and Jordan Pal. Winners of the Eckhardt-Gramatté Competition: Joshua Peters, violin; Kathrine Dowling, piano. Isabel Bader Centre for the Performing Arts, 390 King St. W., Kingston. 613-533-2424. Free. Pre-concert talk at 7:15. Thursday November 12 ●●8:00: Kitchener-Waterloo Chamber Music Society. Zemlinsky String Quartet. Dvořák: Quartet No.1; Jiří Gemrot: Quartet No.4; Beethoven: Quartet No.12 in E-flat, Op.127. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $20(st). Friday November 13 ●●12:30: Don Wright Faculty of Music. Fridays @ 12:30 Series: Eckhardt-Gramatté National Music Competition Winners. Joshua Peters, violin; Katherine Dowling, piano. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-6613767. Free. ●●7:30: Centrepointe Theatre. The Irish Rovers: 50th Anniversary Tour. 101 Centrepointe Dr., Nepean. 613-580-2700. $52-$57. ●●7:30: Kingston Community Strings. In Concert. Brahms: Allegro Giocoso (from Symphony No.4); Handel: Adagio and Allegro (from Sonata No.4); Purcell: Sonata for Trumpet and String Orchestra; Vivaldi: Concerto for 2 Trumpets. Wayne Tindale & Dan Tremblay, trumpets. St. Andrew’s Presbyterian Church (Kingston), 130 Clergy St. E., Kingston. 613-546-6316. Donations at door. Monday November 9 ●●6:00: Don Wright Faculty of Music. Saturday November 14 ●●7:30: Empire Theatre. The Irish Rovers: 50th Anniversary Tour. 321 Front St., Belleville. 613-969-0099. $45-$75. ●●7:30: Isabel Bader Centre for the Performing Arts. Dover Quartet. Works by Dvořák, Berg and Beethoven. 390 King St. W., Kingston. 613-533-2424. $24.25-$44; $12-$22(st). ●●8:00: Kitchener-Waterloo Chamber Music Society. Madawaska Ensemble. Brahms: Piano Quartet No.2 in A; Piano Quintet in f, Op.34. Anita Walsh, violin; Sarah Fraser Raff, violin; Anna Redekop, viola; Amber Ghent, cello; Brett Kingsbury, piano. KWCMS Music Room, 57 Young St. W., Waterloo. 519-8861673. $35; $20(st). Sunday November 15 ●●2:00: Gallery Players of Niagara. Hello Cello! Villa Lobos: Bachianas Brasileiras No.5; Oesterle: Rilke; arrangements of works by Brahms and Tchaikovsky. Silver Spire United Church, 366 St. Paul St., St. Catharines. 905468-1525. $5-$34. ●●3:00: Brockville Arts Centre. The Irish Rovers: 50th Anniversary Tour. 235 King St. W., Brockville. 613-342-7122. $49.50. ●●7:00: Zula Presents. In Concert. Lee Barwin 3 (Gary Barwin, alto saxophone/flute; Ryan Barwin, pedal steel guitar; David Lee, double bass); Holger Schoorl, guitar and Tomasz Krakowiak, percussion. Artword Artbar, 15 Colbourne St., Hamilton. 289-9931993. $15/$12(adv); $12(st). Tuesday November 17 ●●11:30am: Don Wright Faculty of Music/ School for Advanced Studies in the Arts and Humanities. Western Performs! - SASAH Concert Series. Stringed instrument and piano students. Weldon Library Atrium, 1151 Richmond St. N., London. 519-661-3767. Free. ●●12:00 noon: Marilyn I. Walker School of Fine and Performing Arts, Brock University. RBC Foundation: Music@Noon. Faculty & Guest Recital. Colin Maier, oboe; Alexander Sevastian, accordion. FirstOntario Performing Arts Centre, Cairns Hall, 250 St. Paul St., St. Catharines. 905-688-5550. Free. ●●5:30: Hamilton Philharmonic Orchestra. Happy Hour with the HPO: Mozart and Martinis. Hamilton Philharmonic Orchestra String Quartet. Baltimore House, 43 King William St., Hamilton. 905-546-3100. $20. ●●8:00: Kitchener-Waterloo Chamber Music Society. Songs of Solitude. Bach: Sonata No.1 in g; John Harbison: Four Songs of Solitude; Ysaÿe: Sonata No.4; Kreisler: Recitative & Scherzo. Francesca Anderegg, violin. KWCMS Music Room, 57 Young St. W., Waterloo. 519886-1673. $30; $20(st). Wednesday November 18 ●●12:00 noon: Music at St. Andrew’s. A Time to Remember. Chris Bohdanowicz, organ. St. Andrew’s Presbyterian Church (Barrie), 47 Owen St., Barrie. 705-726-1181. $5; Free(st). ●●7:30: Grand Theatre. The Irish Rovers: 50th Anniversary Tour. 218 Princess St., Kingston. 613-530-2050. $44.50-$49.50. Thursday November 19 ●●2:00: Sanderson Centre for the thewholenote.com Performing Arts. The Irish Rovers: 50th Anniversary Tour. 88 Dalhousie St., Brantford. 519758-8090. $40. Friday November 20 ●●12:30: Don Wright Faculty of Music. Fri- days @ 12:30 Series: Gwen Beamish, piano. Works by Canadian composers. Gwen Beamish, piano; and others. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●1:30: Don Wright Faculty of Music. Voice Fridays: International Week Concert. Studio 242, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●7:30: Marilyn I. Walker School of Fine and Performing Arts, Brock University. ENCORE! Professional Concert Series Presents Southern Exposure. Works by Villa-Lobos, Piazzola and Jobim. Gordon Cleland, cello; Patricia Dydnansky, flute; Andrée Simard, viola; Timothy Phelan, guitar. FirstOntario Performing Arts Centre, Partridge Hall, 250 St. Paul St., St. Catharines. 905-688-0722 or 1-855-515-0722. $29; $23(sr/st); $5(eyeGo). ●●8:00: Don Wright Faculty of Music. Opera at Western: Hansel and Gretel. By Humperdinck. Alain Trudel, conductor; Theodore Baerg, stage director. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-672-8800. $30; $20(sr/st). Also Nov 21(2pm and 8pm); Nov 22(2pm). ●●8:00: McMaster School of the Arts. Madawaska Quartet & Ensemble. Works for strings and piano. Convocation Hall, UH213, McMaster University, 1280 Main St. W., Hamilton. 905525-9140 x27038. $20; $15(sr); $5(st). Saturday November 21 ●●2:00: Don Wright Faculty of Music. Opera at Western: Hansel and Gretel. By Humperdinck. Alain Trudel, conductor; Theodore Baerg, stage director. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-672-8800. $30; $20(sr/st). Also Nov 20(8pm), Nov 21(8pm), Nov 22(8pm). ●●2:00: Paul Mercs Concerts. Raffi: Beluga Grads Concert. Family concert with legendary children’s entertainer. Raffi Cavoukian, singersongwriter. Hamilton Place, 10 MacNab St. S., Hamilton. 905-546-4040. $65(VIP); $27.50$37.50. VIP tickets include opportunity to meet Raffi after the show. Proceeds benefit the Centre for Child Honouring. Also Nov 22 (Toronto). ●●7:30: Avanti Chamber Singers. Nocturne: Songs of the Night. Viva Voce! Choral Series. Harris Loewen; conductor. Covenant Christian Reformed Church, 278 Parnell Ave., St. Catharines. 905-688-5550. $25; $20(sr/st); $5(eyeGo); $5 discount on advance tickets. ●●7:30: Grand Philharmonic Chamber Choir. Arvo Pärt @ 80: Passio. Pärt: Passio. Mark Vuorinen, conductor. St. John the Evangelist Anglican Church, 23 Water St. N., Kitchener. 519-578-6855. $30. Pre-concert talk at 6:45. ●●8:00: Don Wright Faculty of Music. Opera at Western: Hansel and Gretel. By Humperdinck. Alain Trudel, conductor; Theodore Baerg, stage director. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-672-8800. $30; $20(sr/st). Also Nov 20(8pm), Nov 21(2pm), Nov 22(2pm). ●●8:00: Jeffery Concerts. Arthur Rowe, Piano. Wolf Performance Hall, 251 Dundas St., London. 519-672-8800. $35; $30(sr); $15(st). ●●8:00: Kitchener-Waterloo Chamber Music thewholenote.com Society. Soirée Parisienne. Satie: Trois valses distinguées du précieux dégoûté; Poulenc: Mouvements perpétuels; Hommage à Édith Piaf; Les Soirées de Nazelles; Eight Nocturnes; Satie: Gymnopédie No.1; Stravinsky: Trois Mouvements de Pétrouchka. David Jalbert, piano. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $30; $20(st). Saturday November 28 ●●3:00: 5 at the First Chamber Music Ser- ies. Payadora Tango Ensemble. Rebekah Wolkstein, violin; Joseph Phillips, bass; Branko Džinović, accordion; Tom King, piano. First Unitarian Church of Hamilton, 170 Dundurn St. S., Hamilton. 905-399-5125. $20; $15; $5. ●●7:30: Barrie Concerts. Handel’s Messiah. Vocal Horizons Chorus & Orchestra; soloists. Hi-Way Pentecostal Church, 50 Anne St. N., Barrie. 705-726-1181. $85. ●●7:30: ChoralWorks. A ChoralWorks Messiah. Favourite choruses and solos from Handel’s beloved masterpiece. ChoralWorks chamber choir; chamber orchestra; guest soloists. New Life Brethren in Christ Church, 28 Tracey Ln., Collingwood. 705-888-4454. $25; free(under 12). ●●7:30: Hamilton Philharmonic Orchestra. Totally Mozart. Mozart: Overture to Abduction from the Seraglio; Sinfonia Concertante; Symphony No.40. Stephen Sitarski, violin; Chau Luk, viola; Ivars Taurins, conductor. Hamilton Place, 10 MacNab St. S., Hamilton. 905-5267756. $25-$67; $23-$64(sr); $17(under 35); $10(child). 6:30: pre-concert talk. ●●7:30: Queen’s University School of Music. Queen’s Wind Ensemble. Directed by Dan Tremblay. Isabel Bader Centre for the Performing Arts, 390 King St. W., Kingston. 613533-2424. $15; $7(sr/st). ●●8:00: NUMUS Concerts/The Perimeter Institute for Theoretical Physics. 30th Anniversary Concert No.5: DISCO NEXT. Exploring the social freedoms that liberated in the disco movement and disco in contemporary classical works. DJ Cyclist: Nudisco Improv; Hatzis: Arabesque for Violin, Piano and String Orchestra (2009); Hatch & DJ Cyclist: New Work For DJ and Strings (2015 Premiere); Adams: Alleged Dances for String Quartet (1994). Penderecki String Quartet; Perimeter Chamber Players; DJ Cyclist; Glenn Buhr, piano; Eric Paetkau, conductor. Perimeter Institute for Theoretical Physics, 31 Caroline St. N., Waterloo. 519-883-4480. $35; $20(sr/arts worker); $15(st). Sunday November 22 ●●2:00: Don Wright Faculty of Music. Opera at Western: Hansel and Gretel. By Humperdinck. Alain Trudel, conductor; Theodore Baerg, stage director. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-672-8800. $30; $20(sr/st). Also Nov 20(8pm), Nov 21(2pm and 8pm). ●●2:30: Kingston Symphony. Major Mitchell Salutes Science. Music from Kingston Symphony with live science experiments. Evan Mitchell, conductor. Grand Theatre, 218 Princess St., Kingston. 613-530-2050. $10-$25. Tuesday November 24 ●●12:00 noon: Marilyn I. Walker School of Fine and Performing Arts, Brock University. RBC Foundation: Music@Noon. Voice Students Recital. FirstOntario Performing Arts Centre, Cairns Hall, 250 St. Paul St., St. Catharines. 905-688-5550. Free. Wednesday November 25 ●●8:00: Showplace. The Irish Rovers: 50th Anniversary Tour. Showplace Performance Centre, 290 George St. N., Peterborough. 705742-7469. $43. Thursday November 26 ●●12:15: St. George’s Cathedral (Kingston). Advent Concerts at the Cathedral. Mark Himmelman, organ. 270 King St. E., Kingston. 613548-4617. Freewill offering. Thursdays until Dec 17. ●●7:30: Queen’s University School of Music. MOSAIC Concert. Electroacoustic and acoustic compositions by Queen’s University students. Harrison-LeCaine Hall, Queen’s University, 39 Bader Ln., Kingston. 613-5332424. Free. Sunday November 29 Christmas. Readings and poetry about Christmas and winter and audience participation with carol-singing. Saint-Saëns: Christmas Oratorio; other works. Madawaska Quartet; Sharlene Wallace, harp; Chris Dawes, organ; Gerald Neufeld, conductor. St. George’s Anglican Church (Guelph), 99 Woolwich St., Guelph. 519-763-3000. $25; $10(30 & under/st). ●●2:30: Niagara Symphony Orchestra. Blaze of Glory. Kevin Lau: Heroes and Angels; Lalo: Symphonie espagnole; Mussorgsky (orch. Ravel): Pictures at an Exhibition. James Ehnes, violin; Bradley Thachuk, conductor. FirstOntario Performing Arts Centre, 250 St. Paul St., St. Catharines. 905-688-0722 or 1-855515-0722. $64; $59(sr); $32(30 and under); $14(student); $12(15 and under); $5(EyeGo). ●●5:00: St. George’s Cathedral (Kingston). Advent Candlelight Procession with Carols. Adult, Teen and Children’s Choirs and congregational singing. 270 King St. E., Kingston. 613548-4617. Freewill offering. ●●7:30: Queen’s University School of Music. Queen’s Choral Ensemble. Directed by Darrell Bryan. Isabel Bader Centre for the Performing Arts, 390 King St. W., Kingston. 613-533-2424. $15; $7(sr/st). ●●8:00: Kitchener-Waterloo Chamber Music Society. Norteño - Tango Quintet. Tangos by Astor Piazzolla, Pierre-Paul Provencher, and others. Rémi Barrette, guitar; Laurie Rosewarne, piano; Pierre-Paul Provencher, bandonéon; Tobias Meis, bass; Christian Vachon, violin. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $20(st). Monday November 30 ●●8:00: Don Wright Faculty of Music. Early Music Studio. Studio 242, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. Tuesday December 1 ●●7:30: Isabel Bader Centre for the Per- forming Arts. Gryphon Trio. Works by Haydn, Dinuk Wijeratne and Schubert. Guests: Cantabile Children’s Choir. 390 King St. W., Kingston. 613-533-2424 or 1-855-533-2424. $24.25-$44; $12-$22(st). ●●2:30: Guelph Chamber Choir. Carols for Friday November 27 ●●12:30: Don Wright Faculty of Music. Fridays @ 12:30 Series: Bud Roach. Bud Roach, tenor/ baroque guitar. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●12:30: Don Wright Faculty of Music. Percussion Ensemble. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. Also at 8pm. ●●7:30: Don Wright Faculty of Music. Gloria! Christmas in Brass. Rutter: Gloria; Work by Z. Randall Stroope. Members of the Brass Faculty; Les Choristes; Chorale; Gregg Redner, organist. Metropolitan United Church (London), 468 Wellington St., London. 519-6613767. Free. ●●7:30: Queen’s University School of Music. Queen’s Jazz Ensemble. Directed by Greg Runions. Isabel Bader Centre for the Performing Arts, 390 King St. W., Kingston. 613-533-2424. $15; $7(sr/st). ●●8:00: Don Wright Faculty of Music. Percussion Ensemble. Paul Davenport Theatre, Talbot College, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. Also at 12:30pm. Nov 1 - Dec 7, 2015 | 53 Beat by Beat | Jazz Stories B. Concerts Beyond the GTA Wednesday December 2 ●●6:00: Don Wright Faculty of Music. Wel- come Yule! St. Cecilia Singers; Western University Singers. Von Kuster Hall, Music Building, Western University, 1151 Richmond St. N., London. 519-661-3767. Free. ●●7:30: Plumbing Factory Brass Band. Semiannual Convention of the Plumbers Union and Its Delegations. J.J. Richards: Emblem of Unity March; M.M. Snyder: Fraternal Overture; Mendelssohn: Nocturne from A Midsummer Night’s Dream, Weber: “Leise, Leise” from Der Freischütz; and other works. Henry Meredith, conductor. Byron United Covenant Church, 420 Boler Rd., London. 519-471-1250. $15; $10(st). ●●8:00: Kitchener-Waterloo Chamber Music Society. Alexander Tselyakov, piano - with Canadian Sinfonietta Chamber Musicians. Hummel: Piano Quintet in E-flat, Op.87; Chopin: Barcarolle; Ballade No.4; Piano Concerto No.2 in f with quintet. Joyce Lai, Alain Bouvier, violins; Ian Clarke, viola; Andras Weber, cello; Tim FitzGerald, bass. KWCMS Music Room, 57 Young St. W., Waterloo. 519-886-1673. $35; $20(st). Thursday December 3 ●●12:15: St. George’s Cathedral (Kingston). Advent Concerts at the Cathedral. Mark Himmelman, organ. 270 King St. E., Kingston. 613-548-4617. Free with voluntary offering. Thursdays until Dec 17. ●●7:30: FirstOntario Performing Arts Centre. Hot Ticket: Louise Pitre. 250 St. Paul St., St. Catharines. 905-688-0722. $47. Friday December 4 ●●7:30: FirstOntario Performing Arts Cen- tre. Hot Ticket: Jesse Cook -- One World! Jesse Cook, guitar. 250 St. Paul St., St. Catharines. 905-688-0722. $62. JANE BUNNETT continued from page 31 ●●5:30: St. Andrew’s United Church. Indian Christmas Night: Concert & Dinner. Christmas carols performed in Indian Raga/fusion style on sitar, flute, guitar and tabla. Bruce Harding, flute and guitar. St. Andrew’s United Church (Hamilton), 497 Upper Paradise Rd., Hamilton. 905-383-7411. $25; $20(adv). Authentic Indian dinner. ●●7:00: Guelph Youth Singers. Snowforms. Annual winter concert. Markus Howard, artistic director/conductor; Heather Fleming, choir/conductor. Harcourt Memorial United Church, 87 Dean St., Guelph. 519-763-3000. $25; $20(sr/st); $5(eyeGO). ●●7:30: FirstOntario Performing Arts Centre. Hot Ticket: Natalie MacMaster & Donnell Leahy’s Christmas Celebration. 250 St. Paul St., St. Catharines. 905-688-0722. $55. Also 2:30. ●●7:30: Lyrica Chamber Choir. A Canadian Noel. Works by Mark Sirett, Jeff Enns, Eleanor Daley, Derek Holman, Healey Willan and others. Lyrica Chamber Choir; Steve Winfield, director; Brent Mayhew, piano. Burton Avenue United Church, 37 Burton Ave., Barrie. 705-722-0271. $17; $14(sr/st). record was going to be for, because at that time EMI was being bought by Universal and so we didn’t have a label for it. A lot of people work like that, do it independently, but we had spent a lot of money and we were very lucky, we got some assistance from Ontario Arts Council and Toronto Arts Council and FACTOR to make that recording. That all being said, when it was done, I thought, ‘This music is very, very different from any of the musics I have written.’ There is a feminine – there’s something different from any other record I’ve made. There’s all these women singing – there’s a vocal component on four tracks – it’s not a pure jazz record, not a pure Afro-Cuban record, it’s a real mixture of the two things. I was really afraid of how people were going to react to it. “As with all of our recordings, we are always moving ahead of the curve when we make something and it’s also our problem in a way too. I can’t stay in one place, do the same thing over and over again, but just as somebody starts to understand what our last project is, we have moved on to something different. So there’s always kind of a catch-up mode with your audience, and some people get it and some people don’t. But yeah, I was really afraid, to be totally honest. Plus with it being an all-female record, I was worried that people wouldn’t give it their ears – an all-girl group – not give it the real attention and look at the integrity of it. Every one of those artists, even though some were more developed than others – it was a leap of faith taking a bunch of girls – most of them had never been into a studio before and it was their first recording. “It’s a whole bunch of firsts and Larry and I were carrying all these new things, it was a huge leap of faith and money to do this and say to the world, “What do you think of this one now?” Larry really was the one that was saying, ‘It’s going to be a great record.’” Maqueque is now working on their second album. “We’re writing new material and rehearsing every day, much to my neighbour’s chagrin,” laughs Bunnett. Following Saturday’s concert, they are doing a tour of Australia – Bunnett’s first time down under since 1993 – as well as performances planned in Cuba as part of the JAZZ.FM91 jazz safari and the Kennedy Center in May. “The record was great and it’s the door opener, but I think when this group gets on stage, people’s minds are blown because the energy is so strong from these young women. They so love performing and they so love the opportunity to get on a stage. I have been saying this for years in interviews: the only way you get better – you get more popular, you become great – is by performance opportunity. Look at Esperanza Spalding as a perfect example. She is a great talent, but if she didn’t get all those opportunities with Joe Lovano and all those people, they have all been stepping stones to her becoming her own artist. “There’s the 10,000 hours thing which has been studied – but you can put all those hours in and not get the opportunities too. I feel it so greatly when I get on the stage with them … they have these great big smiles and they are not being phony. They’re so excited to be in front of an audience, playing and getting feedback. They love it and it’s very contagious. And they’re all kickass musicians who play their instruments so well. They love being together as a group, and I know that because they’re all living in our house! So I see how it works, there is a deepness in the relationship, all the girls coming from Cuba and knowing what they’ve had to be up against. And knowing that what is happening for them right now is a huge opportunity. It’s been great for me because it has given me new energy also.” Heavyweights’ Chris Butcher: As selected by Bunnett, the Emerging Artist Award that goes with the Premier’s Award went to trombonist, composer and bandleader Christopher Butcher. At the awards gala, she introduced him: “This wonderful young musician has been in the trenches as an artist/educator/radio show host at U of T and an arts activist. Along with his Heavyweights Brass Band, he brings great musicianship to the streets and concert halls …” And says Butcher: “It is a huge honour to be selected by Jane Sunday December 6 ●●2:30: Niagara Symphony Orchestra. Family Concert: From Neverland to Hogwarts. Peter Pan; The Harry Potter Children’s Suite. Bradley Thachuk, conductor. Cairns Hall, FirstOntario Performing Arts Centre, 250 St Paul St., St. Catharines. 905-6880722. $32; $12(child). ●●7:30: Achill Choral Society. Rejoice. Rutter: Magnificat; and other works. Christopher Dawes, organ; Shawn Grenke, piano; Roger Flock, percussion; A. Dale Wood, conductor. St. Mark’s Anglican Church (Orangeville), 5 First Avenue, Orangeville. 905-936-5060. $25; $10(13-17); $5(child). Also Nov 28 (Bolton), 29 (Colgan). Saturday December 5 ●●2:30: FirstOntario Performing Arts Cen- tre. Hot Ticket: Natalie MacMaster & Donnell Leahy’s Christmas Celebration. 250 St. Paul St., St. Catharines. 905-688-0722. $55. Also 7:30. 25 TH ANNIVERSARY CIVIC CHRISTMAS CAROL CONCERT PRESENTED BY THE CITY OF ST. CATHARINES th ● Tuesday, Dec. 8 Noon St. Thomas’ Church, 99 Ontario St. Doors Open at 11:30 a.m. Laura Secord Secondary School Concert Choir Dave Sisler ~ Conductor Holy Cross Catholic Secondary School Concert Choir J.P. Dupont ~ Conductor The St. Catharines Civic Brass Ensemble Steve Fralick ~ Conductor Peter M. Partridge Conductor of Massed Choirs Ross R. Stretton Producer & Organist of the Civic Christmas Carol Concert Free-will collection to Community Care 54 | Nov 1 - Dec 7, 2015 thewholenote.com Beat by Beat | Mainly Clubs, Mostly Jazz! Music Never To Die For Bunnett as emerging artist at the Premier’s Awards for Excellence in the Arts. The award comes at an important moment in my career. I’m Jane Bunnett and Chris Butcher heading to New Orleans in January to study with trombone master and producer Delfeayo Marsalis, with support from the Ontario Arts Council. I look forward to being able to focus on my art while soaking up vibrations from the birthplace of the music I love. I’ll be coming back to the first American tour of my group, the Heavyweights Brass Band, in March, with clinics and concerts in NYC, Buffalo, Williamsville, Cleveland, Akron, Detroit and more, as well as heading out west with Mexican singer/songwriter and JUNO award-winner QuiQue Escamilla.” Butcher, like many musicians – yours truly included – feels lucky to have Jane Bunnett as an inspiring beacon in our community. “Jane has been a mentor and inspiration to me for years. I feel validated and inspired to have been selected by her. Not only do I want to work harder for a positive change to the fabric of Canadian culture through my art/music, I also want to give back to the community and have a positive impact on humankind. With her Spirit of Music Foundation, which provided instruments for Cuba, and countless benefit concerts, Jane has showed the way.” BOB BEN T his past September, The WholeNote celebrated its 20th anniversary with a concert/party at the newly renovated Trinity-St. Paul’s Centre. Rarely passing up an opportunity to hear live music for free, and absolutely never turning down a good excuse to wear a suit and tie, I reserved my seats very quickly. It was great. There was a diverse program, lots of good humour, and perhaps most importantly cake. I remember turning to my plus-one after a lot of the performances and saying “Okay, that was my favourite.” Some highlights include: Mary Lou Fallis, who did a great job co-hosting the event with WholeNote publisher David Perlman, sang a hilarious song, listed in the program as Tone Deaf, in which the narrator goes on about her musical ineptitude, pokes fun at herself and punctuates phrases with deliberately off-key notes. It’s the tiniest bit ironic that while singing about an inability to distinguish pitches, Fallis demonstrates a very finely tuned command of pitch by nailing those “off” notes so perfectly imperfectly. The pianist Christina Petrowska-Quilico paid tribute to renowned violinist and educator Jacques Israelievitch, who passed away from lung cancer three short weeks earlier, by playing a quick and upbeat piece of music, Glass Houses (5) by Anne Southam because, as she told it, the “always on” Israelievitch never wanted to play things slow (or, more accurately, below performance tempo), even in sight-reading sessions, and “because he would have liked it.” The program also included some jazz. During the second set, as Sophia Perlman, Julie Michels and Adrean Farrugia approached the Ori Dagan is a Toronto-based jazz musician, writer and educator who can be reached at oridagan.com. C. In the Clubs (Mostly Jazz) 120 Diner 120 Church St. 416-792-7725 120diner.com (full schedule) Nov 1 6pm Emily Mac $10. 8pm Tracey Gallant $10. Nov 3 7-11pm Girls Night Out Jazz Jam. PWYC. Nov 4 6pm Black Unicorn: Zoe Ackah & Carl Harvey PWYC; 8:30pm Kevin Barrett with Amanda Martinez $10. Nov 5 6pm Perlhaze $10. Nov 6 6pm Sam Broverman $10. Nov 7 6pm Rebecca Binnendyk $10. Nov 8 6pm Coleman Tinsley $10; 8pm Hello Darlings $10. Nov 10 7-11pm Girls Night Out Jazz Jam. PWYC. Nov 11 6pmBlack Unicorn: Zoe Ackah & Carl Harvey PWYC; 8:30pm Kevin Barrett with Julie Michels $10. Nov 12 6pm Liz Tansey $10. Nov 13 6pm Bobby Hsu & Alex Samaras: Tribute to Angela Lansbury $10. Nov 14 6pm Brenda Lewis CD Release with Margaret Stowe (guitar) $10. Nov 15 6pm Darlene Stimson Sings Carole King $10; 8pm Laura Hubert $10. Nov 17 7-11pm Girls Night Out Jazz Jam. PWYC. Nov 18 6pm Black Unicorn: Zoe Ackah & Carl Harvey $10. PWYC; 8:30pm Kevin Barrett with Daniela Nardi $10. Nov 19 6pm Ori Dagan & Marla Lukofsky Sing June Christy $10. Nov 20 6pm Kathleen Gorman $10. Nov 21 6pm Kristina Nojd $10. Nov 22 6pm Bossa Nova with Angela Turone & Chris Platt $10; 8pm Kalya Ramu: Kal’s Hot Four $10. . Nov 24 7-11pm Girls Night Out Jazz Jam. PWYC. Nov 25 6pm Black Unicorn: Zoe Ackah & Carl Harvey. PWYC; 8:30pm Kevin Barrett with Rebecca Campbell $10. Nov 26 6pm Michelle Lecce $10. Nov 27 6pm Whitney Ross Barris $10. Nov 28 6pm Elizabeth Martins $10. Nov 29 6pm Hampton Avenue Four $10; 8pm Juliet Dunn & Peter Shea $10. Alleycatz 2409 Yonge St. 416-481-6865 alleycatz.ca All shows: 9pm unless otherwise indicated. Call for cover charge info. November 4 Amber-Leigh. November 6 Taxi. November 7, 27 Jamesking. November 11 Sean Stanley with Carlos Morgan. November 13, 14, 21, 28 Lady Kane. November 18 Play at the Parks. November 20 Recipee Band. November 25 Nightbird Band. Annette Studios 566 Annette St. 647-880-8378 annettestudios.com Every Mon 9:30pm Jazz Jam w/ Jared Goldman Quintet. Suggested donation $12/$9(st). Artword Artbar 15 Colbourne St., Hamilton. 905-543-8512 artword.net (full schedule) November 12 8pm Vocal jazz jam with Sue Ramsay Trio. November 13 8pm Art Crawl: Beg to Differ Trio with Tim Ninehouse PWYC. November 15 7pm Lee Barwin 3 plus Schoorl & Krakowiak $15. Blakbird, The 812b Bloor St. West 647-344-7225 theblakbird.com (full schedule) Bloom 2315 Bloor St. W. 416-767-1315 St. Philip’s Anglican Church Sunday, December 6, 4:00 pm | Jazz Vespers Tribute to Frank Sinatra with Alex Samaras (vocals), Colleen Allen (saxophone), Scott Alexander (bass), Gary Williamson (piano) and Brian Barlow (drums) Sunday December 20, 4:00 pm | Christmas Jazz Vespers Diana Panton (vocals), Reg Schwager (guitar) and Don Thompson (piano). St. Philip’s Anglican Church | Etobicoke 25 St. Phillips Road (near Royal York + Dixon) 416-247-5181 • stphilips.net • free will offering thewholenote.com Nov 1 - Dec 7, 2015 | 55 Beat by Beat | Mainly Clubs, Mostly Jazz! JOSHUA GOLDHAR stage, I nudged my friend and said, “This is definitely going to be my favourite.” I had said before that Sophia Perlman was my favourite jazz singer in the city and then quickly corrected myself. “One of my favourites. Top five.” The finale of the anniversary celebration invited the participation of the audience. A bunch of people with conducting experience came on stage, divided the audience into sections, and conducted each respective section in a rendition of the round Music Alone Shall Live, while Mary Lou Fallis accompanied us on the piano. “All things shall perish from under the sky. Music alone shall live, music alone shall live, music alone shall live, never to die.” The song is true. If not literally, then in some other way. Music may not survive the heat death of the universe, but it is transcendent and universal. It has existed since before recorded history and it – or at least evidence of it – will exist after our species has gone extinct. It could have been my imagination, or the nature of the music, or the elevation of the stage, or just the fact that we were in a church, but for me, it was a reverent moment. There was no dancing or even standing (excepting the conductors). Only a bunch of people simultaneously expressing a belief we all share, and which none of us takes lightly. Sophia Perlman: Vocal diamonds. Earlier that week I had gone to the Reservoir Lounge, a venue with less light, more food, and a louder audience, to hear Sophia Perlman. Accompanied by Farrugia on piano, the band also included Richard Underhill on alto sax, Jeff Halischuk on the drums and Mike Carson on bass. It was a marvellous show. The finale of the night, a cover of Paul Simon’s Diamonds on the Soles of Her Shoes, complete with vocal harmony from the band also invited audience participation. Before the night was over, everyone was on their feet. Most people danced. I’m not one for dancing, but I couldn’t sit for it. I had to sway. The music aside, the setting was different. The stage was less elevated. No one was in formal attire. Most people were drunk (I was not) and at times willing to talk over the band (also not I) – which I think made it all the more meaningful and beautiful when the audience did choose to hand over their attention to the musicians on stage. “Ta na na, Ta na na na” is not quite the statement that “music alone shall live, never to die” is. Nonetheless it lifted in a similar way to the Sophia Perlman at Trinity-St. Paul’s Centre (late September 2015) round in the church. So in retrospect, maybe it wasn’t the words. Maybe it was the joy of making music with other people. For the aforementioned jazz singer, Sophia Perlman, a large part of the joy of making music – specifically improvised music – with other people is the spontaneity of it. Jazz musicians aren’t known for their creative inflexibility or physical tension, but even in this idiom you will rarely see someone as loose, relaxed, comfortable on stage and comfortable in her skin as Perlman is. C. In the Clubs (Mostly Jazz) bloomrestaurant.com All shows: 19+. Call for reservations. November 26 7pm Sophia Perlman (voice) Trio with Adrean Farrugia (piano), Ross MacIntyre (bass) $45 (includes dinner). Castro’s Lounge 2116e Queen St. E 416-699-8272 castroslounge.com (full schedule) All shows: No cover/PWYC Every Wed 6pm The Mediterranean Stars. C’est What 67 Front St. E (416) 867-9499 cestwhat.com (full schedule) November 7, 21 3pm The Boxcar Boys. November 14, 28 3pm The Hot Five Jazzmakers. Chalkers Pub, Billiards & Bistro 247 Marlee Ave. 416-789-2531 chalkerspub.com (full schedule) De Sotos 1079 St. Clair Ave. W 416-651-2109 desotos.ca (full schedule) Every Sun 11am-2pm Sunday Live Jazz Brunch hosted by Anthony Abbatangeli No cover. Dominion on Queen Emmet Ray, The Fat City Blues 924 College St. 416-792-4497 theemmetray.com (full schedule) All shows: No cover/PWYC November 1 8pm Matt Marantz (sax) Quartet with Alex Goodman (guitar), Rick Rosato (bass), Jimmy MacBride (drums). November 2 7pm Jacob Damelin Trio; 9:30pm Keith Price (guitar) Trio with Mark Godfrey (bass), Curtis Nowasad. November 5 9pm JohnWayne Swingtet: Wayne Nakamura (guitar), Abbey Sholzberg (bass), John Farrell (guitar). November 8, 22 5:30pm Monk’s Music. November 8 8pm Autobahn: Jeff LaRochelle (sax), James Hill (piano), Ian Wright. November 9 7pm Christian Overton Quintet. November 12 9pm Bossa Tres: Victor Monsiváis (guitar), Abbey Sholzberg (bass). November 15 8pm Parker Abbott Trio: Teri Parker (piano), Simeon Abbott (piano, organ), Mark Segger (drums). November 16 9:30pm William Carn & Kelsey Grant (trombones). November 19 9pm Vokurka’s Vicarious Virtuoso Violin with Ed Vokurka (violin), John Fletcher (guitar), Abbey Scholzberg (bass). November 22 8pm Avi Granite & Ted Quinlan (guitars). November 23 7pm Max Senitt Trio; 9:30 Mark Godfrey Quartet. 890 College St. 647-345-8282 Garage @ CSI Annex, The 720 Bathurst St. 416-619-4621 livefromtheannex.com November 3 ‘Live From the Annex’ monthly Cabaret $15(adv). Gate 403 403 Roncesvalles Ave. 416-588-2930 gate403.com All shows: PWYC. November 1 5pm Keith Price Blues Music from Winnipeg; 9pm Diablo’s Dust. November 2 5pm Mike Daley Jazz Trio; 9pm Bruce Chapman Blues Duo. November 3 5pm Howard Willett Blues Duo; 9pm Grant Lyle Blues Music. November 4 9pm Julian Fauth Blues Night. November 6 9pm Fraser Melvin Blues Band. November 7 5pm Bill Heffernan and His Friends. November 9 9pm Chris Staig Trio. November 11 5pm Michelle Rumball with friend; 9pm Julian Fauth Blues Night. November 12 9pm Kevin Laliberté Jazz & Flamenco Trio. November 13 9pm Denielle Bassels Jazz Band. November 14 5pm Bill Heffernan and His Friends. November 18 9pm Julian Fauth Blues Night. November 20 5pm Sam Broverman Jazz Duo. November 21 5pm 500 Queen St. E 416-368-6893 dominiononqueen.com (full schedule) Call for cover charge info. 56 | Nov 1 - Dec 7, 2015 Bill Heffernan and His Friends. November 25 9pm Julian Fauth Blues Night. November 28 5pm Bill Heffernan and His Friends. November 30 Kalya Ramu Jazz Band. Grossman’s Tavern 379 Spadina Ave. 416-977-7000 grossmanstavern.com (full schedule) All shows: No cover (unless otherwise noted). November 1 4:30pm New Orleans Connection All Star Jazz Band; 10pm The National Blues Jam with Brian Cober. November 2 9:30pm The Band is called NO BAND REQUIRED. November 3 9:30pm Ms. Debbie & The Don Valley Stompers. Harlem Restaurant 67 Richmond St. E. 416-368-1920 harlemrestaurant.com (full schedule) All shows: 7:30-11pm (unless otherwise noted). Call for cover charge info. November 2, 9, 16, 23, 30 Neil Brathwaite. November 5, 12, 19, 26 Dirty Jazz. November 7 Liz Loughrey & Adrian X. November 13 Mellow Dee. November 14 Kristin Fung. November 20 Gyles. November 21 The Jay Danley Ethiojazz Group. Hirut Cafe and Restaurant 2050 Danforth Ave. 416-551-7560 Home Smith Bar – See Old Mill, The thewholenote.com (piano) Trio with Rob Clutton (bass), Anthony Michelli (drums) $15(Thurs)/$20(Fri, Sat). November 10 7am Jazz FM – Piano Series. November 11 8pm Hump Day Blues with Professor Piano Scott Cushnie $10. November 12, 13, 14 9pm The Dave Young (bass) Sextet with David Restivo (piano), Terry Clarke (drums), Kevin Turcotte (trumpet), Landen Viera (sax), Drew Jurecka (violin) Plays Ellington $15(Thurs)/$20(Fri, Sat). November 15 8pm The Nightwatchers: Rupert Wates (guitar) and Bartosz Hadala (piano) $15. November 18 8pm Hump Day Blues with Shakura S’Aida $10. November 19 8pm George Olliver (voice) with Tony Padalino (piano), Peter Mueller (guitar), Eli Eisenburg (bass), Paul Delong (drums) $15. November 20, 21 9pm Broadsway: Heather Bambrick, Julie Michels & Diane Leah $20. November 22 7pm I hear Music: The Lorraine Foreman Songbook $20. November 26 8pm Swing Night with Colin Hunter (voice) and the Anthony Terpstra (drums) Seventet: Richard Whitehouse (piano), Dave Field (bass), Paul Tarussov (trombone), John Little (trumpet), Steve MacDonald (tenor sax), Anthony Rinaldi (bari sax) $15. November 27 8:30pm Colin Hunter (voice) with the Joe Sealy (piano) Quartet: Paul Novotny (bass), Daniel Barnes (drums), Alison Young (sax) $15. November 29 7pm Preludes and Pralines $20. She has clearly worked hard at developing this craft, and she must know how good she is. But yet, offstage, she is as uncomfortable with flattery as anyone. When I told her I had transcribed one of her scat solos (All of Me at Shops at Don Mills, available on YouTube), she laughed nervously and said: “Don’t do that, I don’t know what I’m doing!” Imagine the luck that must be involved, to build a career of not knowing what you’re doing! Her voice has a rasp to it. Not the kind that comes from years of smoking, but the kind that might come from shouting excitedly about something for a few minutes. The rasp isn’t the defining feature of her voice, but to me it adds something to the performance that’s difficult to nail down. It’s shading. Musical shading. The rasp is good. But through the rasp comes a voice that is clear, powerful, and shockingly huge. I’ve only heard her perform live three times – each at a different venue, with a different ensemble. And each time the experience was radically different. In fact, if it wasn’t radically different, it wouldn’t be worth attending, never mind writing about. When she was a novice on the Toronto scene, Perlman says she found it “baffling, and at times really frustrating” how fluid lineups were. But – as evidenced by the performances I’ve seen, and the ease with which she adapts – she’s gotten used to that since then: “The beauty of belonging to this community is that every time you stand onstage, and take stock of who’s there, you realize there are two things at play: you have a relationship with everyone on the bandstand to some degree. Usually. But most of the time, they all have their own relationships with everyone else on the bandstand – a whole other collection of shared musical experiences, some of which don’t include you!” I’m excited, and I hope you’re excited, too: You can catch Sophia Perlman adapting to all manor of different factors at two listed gigs this month (and possibly more): one at Bloom in Toronto with Adrean Farrugia and Ross MacIntyre on November 26; the other at Manhattans Pizza Bistro & Music Club in Guelph with Terra Hazelton, under the name PerlHaze. Jazz Room, The Located in the Huether Hotel, 59 King St. N., Waterloo. 226-476-1565 kwjazzroom.com (full schedule) All shows: 8:30pm-11:30pm unless otherwise indicated. Attendees must be 19+. November 6 Paul Mitchell (trumpet) Quintet with Mike Massaro (sax), Joel Haynes (drums), Rob Fekete (piano), Clark Johnston (bass) $18. November 8 4pm Christian Howes Band (Ohio) $20. November 13 Benjamin Deschamps Quartet (Montreal) $15. November 14 Carol McCartney (voice) Group with Brian Dickinson (piano), Kieran Overs (bass), Reg Schwager (guitar), Chris Robinson (sax), Terry Clarke (drums) $18. November 20 New Vibes Quintet with Andy Macpherson (percussion and vibraphone), Dan Brennan (bass), Gary Tomlin (drums), John Zadro (piano), Jerzy Kaplanek (violin) $15. November 21 Alex Dean’s Three Baritone Band $20. November 27 Jason White Trio $15. Bob Ben is The WholeNote’s jazz listings editor. He can be reached at [email protected]. C. In the Clubs (Mostly Jazz) Hugh’s Room 2261 Dundas St. W. 416-531-6604 hughsroom.com All shows: 8:30pm (unless otherwise noted). November 1 Joey DeFrancesco Trio $35(adv)/$40(door). November 3 Tom Paxton $42.50(adv)/$45(door). November 4 Daniel Champagne $18(adv)/$20(door). November 5 Oliver Swain’s Big Machine – Never More Together Album Launch $20(adv)/$22.50(door). November 6 Ian Thomas $30(adv)/$32.50(door). November 10 JP Cormier – Take Your Chances Tour $22.50(adv)/$25(door). November 11, 12 Howard Jones – Solo Piano Performance $48.50(adv)/$52.50(door). November 13 8th Annual New Orleans Stomp! featuring Gregg Stafford & Detroit Brooks $25(adv)/$30(door). November 14 Carlos del Junco & The Blues Mongrels $25(adv)/$27.50(door). November 15 7:30pm Micah Barnes & Friends “Uptown: Tribute to The Apollo Theatre” $27.50(adv)/$30(door). November 16 Sherman Downey & Matthew Byrne $25(adv)/$28.50(door). November 17 Dione Taylor – CD Release – Born Free $20(adv)/$22.50(door). November 18 Eric Andersen $30(adv)/$32.50(door). November 19 The East Pointers $20(adv)/$22.50(door). November 20, 21 Stan Rogers Tribute thewholenote.com $25(adv)/$27.50(door). November 23 8pm The Cherry Trees Band & Friends – A Fundraiser for the Water for Life Initiative $30(adv)/$35(door). November 24 Catholic Family Services of Toronto Foundation presents Jazz Night to End Woman Abuse $40(adv)/$45(door). November 26 Jay Aymar – CD/Book Release $20(adv)/$22.50(door). November 27 A Man called Wrycraft presents 10th Annual Heart of Saturday Night – A Live Concert Tribute to Tom Waits $25(adv)/$30(door). November 28 The Last Waltz – A Musical Celebration of The Band $40(adv)/$45(door). November 29 2pm Ken Whiteley’s Sunday Gospel Matinee $20(adv)/$22.50; 8:30pm The Last Waltz – A Musical Celebration of The Band $40(adv)/$45(door). November 30 Tara Beier & The Silverthorns $15(adv)/$20(door). Joe Mama’s 317 King St. W 416-340-6469 joemamas.ca Every Tue 6pm Jeff Eager. Every Wed 6pm Thomas Reynolds & Geoff Torrn. Every Thurs 9pm Blackburn. Every Fri 10pm The Grind. Every Sat 10pm Shugga. Every Sun 6:30pm Organic: Nathan Hiltz (guitar); Bernie Senensky (organ); Ryan Oliver (sax), Morgan Childs (drums). Jazz Bistro, The KAMA 251 Victoria St. 416-363-5299 jazzbistro.ca November 1 7pm The Nathan Hiltz (guitar) Trio with Pat Collins (bass), Morgan Childs (drums) plays Gershwin $15. November 3 8pm The Eric St. Laurent (guitar) Quartet with Paul Pacanowski (sax), Jordan O’Connor (bass), Attila Fias (piano) $15. November 4 8pm Hump Day Blues with Michael Pickett $10. November 5, 6, 7 9pm The Steve Koven 214 King St. W. 416-599-5262 kamaindia.com (full schedule) All shows: 5pm-8pm. La Revolucion 2848 Dundas St. W 416-766-0746 restaurantlarevolucion.com (full schedule) Local Gest, The Lula Lounge 1585 Dundas St. W. 416-588-0307 lula.ca (full schedule) November 3 8pm La Otra Orilla $32.75(adv). Manhattans Pizza Bistro & Music Club 951 Gordon St., Guelph 519-767-2440 manhattans.ca (full schedule) All shows: PWYC. November 3, 18 John Zadro. November 7 Parker Abbott Trio. November 8, 22 Stan Chang. November 11, 25 Jokela, Vogan & Cooley. November 13 PerlHaze: Sophia Perlman & Terra Hazelton. November 14 Ori Dagan Trio. November 17 Brad Halls. Mezzetta Restaurant 681 St. Clair Ave. W 416-658-5687 mezzettarestaurant.com (full schedule) All shows: 9pm, $8 (unless otherwise noted). Monarch Tavern 12 Clinton St. 416-531-5833 themonarchtavern.com (full schedule) November 9 7:30pm Martin Loomer & His Orange Devils Orchestra $10. Monarchs Pub At the Eaton Chelsea Hotel 33 Gerrard St. W. 416-585-4352 monarchspub.ca (full schedule) Wednesday shows: 7pm. Thursday shows: 8pm. All shows: No cover. November 4 The Ault Sisters. November 5 Mark “Bird” Stafford. November 11 Soren Nissen Trio. November 12 Crissinger Band. November 18 Cara Matthew. November 19 Michael Schatte. November 25 Brownman Electryc Trio. November 26 Jack de Keyzer. Morgans on the Danforth 1282 Danforth Ave. 416-461-3020 morgansonthedanforth.com (full schedule) All shows: 2pm-5pm. No cover. November 1 Fall Back into Jazz with Ilana Waldston (voice), Bernie Senensky (piano), Steve Wallace (bass). November 29 Lisa Particelli’s ‘Girls Night Out’ Jazz Jam. Musideum 401 Richmond St. W., Main Floor 416-599-7323 musideum.com (full schedule) November 1 8pm The Steve Koven Trio $20. November 6 8pm On Topic $20. November 8 3pm Beth Anne Cole: “LOVE A Gershwin Tune” $20. November 13 8pm Coleman Tinsley $20. November 14 8pm Peter Campbell $20. November 15 3pm Joel Sheridan Sings Billie & Frank $15. November 19 8pm Malkah Lerner & Andrew Downing $20. November 22 8pm Eva Green: Compared to What $20. November 24 8pm Steve Amirault $20. November 28 8pm Rose Stella $20. Nawlins Jazz Bar & Dining 299 King St. W. 416-595-1958 nawlins.ca All shows: No cover/PWYC. Every Tue 6:30pm Stacie McGregor. Every Wed 7pm Jim Heineman Trio. Every Thu 8pm Nothin’ But the Blues w/ guest vocalists. Every Fri 8:30pm All Star Bourbon St. Band. Every Sat 6:30pm Sam Heinman; 9pm All Star Bourbon St. Band. Every Sun 7pm Brooke Blackburn. 424 Parliament St. 416-961-9425 Nov 1 - Dec 7, 2015 | 57 C. In the Clubs (Mostly Jazz) Nice Bistro, The 117 Brock St. N., Whitby. 905-668-8839 nicebistro.com (full schedule) Old Mill, The 21 Old Mill Rd. 416-236-2641 oldmilltoronto.com The Home Smith Bar: No reservations. No cover. $20 food/drink minimum. All shows: 7:30pm-10:30pm November 3 In Concert & Conversation with Gene DiNovi. November 5 Micah Barnes (voice, piano) Trio with Russ Boswell (bass), Daniel Barnes (drums). November 6 Colina Phillips (voice) Quartet with Stacie McGregor (piano), Mike Milligan (bass), Ted Warren (drums). November 7 Drew Jurecka (violin, sax, voice) Trio with Mark Kieswetter (piano), Clark Johnston (bass). November 12 Whitney Ross-Barris (voice) Quartet with Mark Kieswetter (piano), Ross MacIntyre (bass), John MacMurchy (sax). November 13 Tom Szczesniak (piano) Trio with Neil Swainson (bass), Ethan Ardelli (drums). November 14 Vern Dorge (sax) Trio with Nancy Walker (piano), Paul Novotny (bass). November 19 The Satin Dolls: Karen Bell, Donna Green, Liz Tansey, Ilana Waldston (voices), Mark Kieswetter (piano). November 20 Mike Cadó (guitar) Trio with Patricia Wheeler (sax), Ross MacIntyre (bass). November 21 Maureen Kennedy (voice) Trio with Bernie Senensky (piano), Steve Wallace (bass). November 26 Terra Hazelton (voice) Trio with Richard Whiteman (piano), Drew Jurecka (violin, sax, voice). November 27 Shirantha Beddage (bari sax) Trio with Mike Downes (bass), Mark Kelso (drums). November 28 Russ Little (trombone) Quartet with Tom Szczesniak (piano), Scott Alexander (bass), David DiRenzo (drums). Only Café, The 972 Danforth Ave. 416-463-7843 theonlycafe.com (full schedule) Nov 11, 25 Lazersuzan. Paintbox Bistro 555 Dundas St. E. 647-748-0555 paintboxbistro.ca (Full schedule) November 8 1pm Moo’d Swing Concert & CD Launch $18(adv)/$20(door). Pilot Tavern, The 22 Cumberland Ave. 416-923-5716 thepilot.ca All shows: 3:30pm. No cover. November 7 Pat LaBarbara Quartet. November 14 Mike Murley Quartet. November 21 Bob Brough Quartet. November 28 Barry Elmes Quartet. Poetry Jazz Café 224 Augusta Ave. 416-599-5299 poetryjazzcafe.com (full schedule) All shows: 9pm Reposado Bar & Lounge 136 Ossington Ave. 416-532-6474 reposadobar.com (full schedule) Every Wed Spy vs. Sly vs. Spy. Every Thurs, Fri 10pm Reposadists Quartet: Tim Hamel (trumpet), Jon Meyer (bass), Jeff Halischuck (drums), Roberto Rosenman (guitar). 58 | Nov 1 - Dec 7, 2015 Mike Murley Quartet. November 27 4pm Hogtown Syncopators; 6:30pm Artie Roth Quartet; 9:45pm New York’s Russ Nolan Quartet. November 28 12pm The Sinners Choir; 3:30pm George Lake Big Band; 7:30pm Sara Dell; 9:45pm Humber Faculty Nonet. November 29 12pm Excelsior Dixieland Jazz Band; 3:30pm Freeway Dixieland Band; 7pm Bugaloo Squad; 9:30pm Sammy Jackson Group. November 30 6:30pm University of Toronto Student Jazz Ensembles; 9:30pm University of Toronto Jazz Orchestras. Reservoir Lounge, The 52 Wellington St. E. 416-955-0887 reservoirlounge.com (full schedule). Every Tue 9:45pm Tyler Yarema and his Rhythm. Every Wed 9:45pm Bradley and the Bouncers. Every Thu 9:45pm Mary McKay. Every Fri 9:45pm Dee Dee and the Dirty Martinis. Every Sat 9:45pm Tyler Yarema and his Rhythm. Rex Hotel Jazz & Blues Bar, The Salty Dog Bar & Grill, The 194 Queen St. W. 416-598-2475 therex.ca (full schedule) Call for cover charge info. November 1 12pm Excelsior Dixieland Jazz Band; 3:30pm Club Django; 7:30pm Scott Kemp Trio; 9:45pm New York’s Ari Hoenig with Jacam Manricks Trio. November 2 6:30pm University of Toronto Student Jazz Ensembles; 9:30pm Mike Malone & The Writers Jazz Orchestra. November 3 6:30pm Jordana Talsky’s Standard Deviation; 9:30pm Classic Rex Jazz Jam hosted by Chris Gale. November 4 6:30pm The Cookers Quintet; 9:30pm Laura Swankey. November 5 6:30pm Kevin Quain; 9:45pm Mark Eisenman Quintet. November 6 4pm Hogtown Syncopators; 6:30pm Artie Roth Quartet; 9:45pm Mark Eisenman Quintet. November 7 12pm Rachel Piscione Rhythm & Blues; 3:30pm Swing Shift Big Band; 7pm Sara Dell; 9:45pm Mark Kelso’s Jazz Exiles. November 8 12pm Excelsior Dixieland Jazz Band; 3:30pm Red Hot Ramble; 7pm Scott Kemp Trio; 9:30pm Greg DeDenus Trio. November 9 6:30pm University of Toronto Student Jazz Ensembles; 9:30pm Edmonton’s Jenie Thai. November 10 6:30pm Jordana Talsky’s Vintage Pop; 9:30pm Classic Rex Jazz Jam hosted by David Diao. November 11 6:30pm Ryan Oliver Trio; 9:30pm Lorne Lofsky Quartet. November 12 6:30pm Kevin Quain; 9:30pm Lorne Lofsky Quartet. November 13 4pm Hogtown Syncopators; 6:30pm Artie Roth Quartet; 9:45pm Alison Young. November 14 12pm The Sinners Choir; 3:30pm Advocats Big Band; 7:30pm Justin Bacchus; 9:45pm Kiki Misumi Sextet. November 15 12pm Excelsior Dixieland Jazz Band; 3:30pm Dr. Nick & The Rollercoasters; 7pm Bugaloo Squad; 9:30pm James Brown Quartet. November 16 6:30pm University of Toronto Student Jazz Ensembles; 9:30pm Brampton’s Jazz Mechanics Big Band. November 17 6:30pm Jordana Talsky’s Mixed Bag; 9:30pm Classic Rex Jazz Jam hosted by Chris Gale. November 18 6:30pm Ryan Oliver Trio; 9:30pm New York’s Greg Osby with Luis Deniz Quintet. November 19 6:30pm Kevin Quain; 9:30pm New York’s Greg Osby with Luis Deniz Quintet. November 20 4pm Hogtown Syncopators; 6:30pm Artie Roth Quartet; 9:45pm Alex Pangman. November 21 12pm The Sinners Choir; 3:30pm Laura Hubert Band; 7:30pm Justin Bacchus; 9:45pm Al Henderson Quintet. November 22 12pm Excelsior Dixieland Jazz Band; 3:30pm Mr. Rick’s Tin Pan Alley; 7pm Bugaloo Squad; 9:30pm Three Blind Mice. November 23 6:30pm University of Toronto Student Jazz Ensembles; 9:30pm Taylor Cook Quintet. November 24 6:30pm Jordana Talsky’s Cabaret Jazz; 9:30pm Classic Rex Jazz Jam hosted by Chris Gale. November 25 6:30pm Ryan Oliver Trio; 9:30pm Ken McDonald Quartet. November 26 6:30pm Kevin Quain; 9:30pm 1980 Queen St. E. 416-849-5064 (full schedule) Sauce on the Danforth 1376 Danforth Ave. 647-748-1376 sauceondanforth.com All shows: No cover. Every Mon 9pm The Out Of Towners: Dirty Organ Jazz. Every Tue 6pm Julian Fauth. Seven44 (Formerly Chick n’ Deli/The People’s Chicken) 744 Mount Pleasant Rd. 416-489-7931 seven44.com (full schedule) November 2 7:30pm Advocats Big Band No cover. November 9 7:30pm The Big City Big Band No cover. November 16 7:30pm George Lake Big Band No cover. November 23 7:30pm Mega City Swing Band. Tattoo 567 Queen St. W 416-703-5488 tattooqueenwest.com (full schedule) Nov 25 8pm Galen Weston CD Release: Plugged In $15(adv)/$20(door). Toni Bulloni 156 Cumberland St. 416-967-7676 tonibulloni.com (full schedule) No cover. Saturday shows: 9pm. $30 food/ drink minimum. Sunday shows: 6pm. $25 food/drink minimum. Tranzac 292 Brunswick Ave. 416-923-8137 tranzac.org 3-4 shows daily, various styles. Mostly PWYC. Every Mon 10pm Open Mic Mondays. Every Thurs 7:30pm Bluegrass Thursdays: Houndstooth. Every Fri 5pm The Foolish Things (folk). This month’s shows include: November 1, 15 5pm Monk’s Music. November 2 7:30pm Jeremy Cunningham (drums) Quartet with Jeff Parker (guitar), Josh Johnson (sax), Matt Ulery (bass). November 3 7:30pm Ali Berkok; 10pm Peripheral Vision. November 8 10pm The Lina Allemano Four. November 10 7:30pm Aurochs; 10pm Bedroom. November 15 7:30pm Diane Roblin. November 17 10pm The Ken McDonald Quartet. November 24 10pm Nick Fraser Presents. November 27 10pm The Ryan Driver Sextet. Stori Aperitivo 95 King St. E 416-361-0404 stori.ca (full schedule) D. The ETCeteras Competitions ●●NUMUS. Student Curator Competition 2015. Open to all undergraduate students currently enrolled at accredited Canadian universities or colleges, up to a maximum age of 25. The winner will curate a concert in NUMUS’ MIX Music Series in the 2015-2016 concert season, to be presented on Sunday, April 10, 2016 at The Block 3 Brewery in St. Jacobs. Winners will receive financial support from NUMUS (up to a maximum of $500) to cover programming costs such as artist fees, tech fees, and equipment rentals if applicable. Winners will also receive advertising and marketing support from NUMUS and mentorship from NUMUS’ artistic director. numus.on.ca Deadline: November 27 2015. ●●Orchestra Toronto. Marta Hidy Concerto Competition 2016. This year’s prize awarded to a percussionist. For Canadian virtuosos aged 23 and younger. Prize includes a scholarship of $1,000 and an opportunity to perform as a soloist with Orchestra Toronto at its December 2016 youth-oriented concert at the Toronto Centre for the Arts. For full history and registration form: orchestratoronto.ca Deadline for mailing the application form and registration fee: February 1 2016. ●●Toronto Mendelssohn Choir. Choral Composition Competition for emerging composers. Winner receives $1000, Debbie Fleming Prize for Choral Composition, and TMC premiere of work at the January 20th Symposium concert. For more info and submission requirements: tmchoir.org/ new-choral-composition-competition-foremerging-composers/ Deadline for submissions: November 13 2015. Festivals, Fairs, Festivities ●●Nov 15: Iceland Naturally. An Evening in Iceland. Interactive ticketed event showcasing the best cuisine Iceland has to offer. Join chef Helgadóttir along with Oliver & Bonacini’s Anthony Walsh and Michael Wilson for a meet and greet cocktail reception, followed by a four-course tasting menu. Chefs will walk guests through the menu while they dine at communal tables and are treated to a musical performance throughout the night. Luma Restaurant, 330 King St. W. icelandnaturally.com. $115. Lectures, Salons, Symposia ●●Nov 01 2:30-5:30: International Resource Centre for Performing Artists. Who’s Who in the Industry. William Littler moderates a high-voltage session that examines the challenges and advantages of the present day, through the perspectives of music presenters, managers, performers, journalists, publicists and more. Panelists include Annette Sanger, Women’s Musical Club; Anthony Sargent, Luminato Festival; Stan Passfield, Orillia Concert Society; Faye Perkins, Real World Management/Records; Kathy Domoney, Domoney Artists Management; and others. Performing Arts Lodge, 110 The Esplanade. thewholenote.com D. The ETCeteras 416-362-1422; http://ircpa.net $20 IRCPA members; non-members $25 ●●Nov 02 – 23, Mondays at 1:30: Miles Nadal JCC. Four of the Greatest Scenes from Four of the Greatest Operas. With opera educator Iain Scott. Does the stage director make a difference? Iain will examine the ways in which all-time great scenes from Carmen, Don Giovanni, Aida and Tosca have been interpreted in widely different productions. 750 Spadina Ave. To register: 416-924-6211 x0. $72 (4-week series); $22 drop-in. ●●Nov 05 – 26 1:00-3:00: Royal Conservatory of Music. Music Appreciation Course: Music of the North. This course will survey Sibelius’ wonderful seven symphonies – works that are famous for their evocations of mists, hoar frosts and bleak, austere landscapes. Instructor: Rick Phillips. 273 Bloor St. W. For information and to register: 416-408-2825; rcmusic.ca/musicappreciation $195. ●●Nov 06 12:30: Queen’s University. Queen’s Music: New Directions for Sociology of Music Education. Colloquium Presentation by Dr. Roberta Lamb. Harrison-LeCaine Hall, Rm. 124, 39 Bader Lane, Kingston. 613-533-2066; queensu.ca/music Free. ●●Nov 07 7:00: The Toronto Gilbert and Sullivan Society. Quiz ’n Kaye. Fun prevails with a riotous quiz on all things Victorian. Plus, hear Danny Kaye and Nelson Eddy sing G&S, through recordings, with Canon Michael Burgess providing context, a bit of bio, and ‘answers oracular.’ St. Andrew’s United Church, 117 Bloor Street E. 416-763-0832. Guests: $5. ●●Nov 08 2:00–5:00: Classical Music Club Toronto. A gathering place for all lovers of classical music. Originally started over 20 years ago as a gay social club, we now warmly welcome both gay and gay-positive visitors. Monthly sessions offer a prepared program and feature audio and video recordings and informal discussion with refreshments. This month’s program covers Swedish pianist Peter Jablonski who appears with Music Toronto on Nov. 10. For information and location, contact John Sharpe at 416-597-1924 or [email protected] Annual membership: $25; first-time visitors free. ●●Nov 08 2:00: Toronto Opera Club. Aging and Creativity in Verdi, Strauss, Messiaen and Britten. Guest speakers Linda and Michael Hutcheon discuss their latest book Four Last Songs. Room 330, Edward Johnson Bldg., Faculty of Music, 80 Queen’s Park. 416-9243940. $10. ●●Nov 12 7:00: Soundstreams Salon 21. Directing an Opera. Canadian Stage artistic director and Julie director Matthew Jocelyn gives us a sneak peek into his creative process for directing contemporary opera. A first chance to hear excerpts from Philippe Boesmans’s opera, Julie, before its North American premiere on Nov 17. Berkeley Street Theatre, Upstairs, 26 Berkeley Street. 416-504-1282. Free; PWYC preferred seating available. ●●Nov 13 12:30: Queen’s University. Queen’s Music: The Language of Music. Colloquium Presentation by Robert Aitken, flutist. Harrison-LeCaine Hall, Rm. 124, 39 Bader Lane, Kingston. 613-533-2066; queensu.ca/music Free. ●●Nov 17 11:30am: Queen’s University. Mall Dr. torontopubliclibrary.ca/search. jsp?Ntt=pneuma+ensemble Free. Queen’s Music: Overcoming Obstacles in Performance: Strategies to Combat Performance Anxiety. Colloquium Presentation by Dina Namer. Harrison-LeCaine Hall, Rm. 124, 39 Bader Lane, Kingston. 613-533-2066; queensu.ca/music Free. ●●Nov 17 1:30: Oakville Opera Guild. Opera Gems on Film. Features Dean Perry, musician and classic movie aficionado. Oakville Public Library Central Branch, 120 Navy St. Oakville. 905-827-5678; Oakville. Opera.Guild@ outlook.com $10 (proceeds go towards our scholarship fund, to be awarded to a student attending the Faculty of Music at the U of Toronto, and support our annual donation to the Canadian Opera Company. ●●Nov 18 7:00: North York Central Library. Elvis is King: Costello’s My Aim is True. Richard Crouse delves into the story of the creation of the groundbreaking album, focusing on Costello’s musical upbringing, the recording of the legendary songs, and the marketing behind the music that would redefine youth culture. Auditorium, 5120 Yonge St. To register: 416-395-5639. Free. ●●Nov 19 1:30: Miles Nadal JCC. Big Band Jazz: Gershwin to Goodman and Beyond. Learn how songwriters from Tin Pan Alley and musicians George Gershwin and Benny Goodman changed the face of American Jazz. Includes an historical overview, film/music clips and live clarinet music. With musician Jonno Lightstone. 750 Spadina Ave. For more information: 416-924-6211 x155 or lisar@ mnjcc.org $4. ●●Nov 20 12:30: Queen’s University. Queen’s Music: Brave New World: The Twentieth Century Begins. Colloquium presentation by Philip Adamson, pianist. Harrison-LeCaine Hall, Rm. 124, 39 Bader Lane, Kingston. 613533-2066; queensu.ca/music Free. ●●Nov 25 & Dec 02 2:00-4:00: Royal Conservatory of Music. Music Appreciation Course: Christmas by Bach: The Christmas Oratorio. Explore the joy, mystery, contemplation and awe of this 6-part masterpiece in preparation for the performance by the Tafelmusik Baroque Orchestra and Chamber Choir, directed by Ivars Taurins. Instructor: Rick Phillips with special guest, Ivars Taurins. 273 Bloor St. W. For information and to register: 416-4082825; rcmusic.ca/musicappreciation $99. ●●Nov 26 1:30: Miles Nadal JCC. Big Band Jazz: Gershwin to Goodman and Beyond. Learn how songwriters from Tin Pan Alley and musicians George Gershwin and Benny Goodman changed the face of American Jazz. Includes an historical overview, film/music clips and live clarinet music. With musician Jonno Lightstone. 750 Spadina Ave. For more information: (416) 924-6211 x155 or lisar@ mnjcc.org $4. ●●Second Tuesday of every month (excluding December & June/July): Duke Ellington Society, Toronto chapter. Meeting dedicated to learning more about Ellington’s music. Montgomery’s Inn, 4709 Dundas St. W. For membership details: 416-239-2683. ●●Every Wednesday to Nov 30: Majlis Arts. Artists in the Library residency: Pneuma Ensemble. Medieval music events, including lecture/demos, kids and adult programs, and an anglo-norman werewolf theatrical extravaganza just after Halloween. Fairview Library, 35 Fairview Master Classes ●●Nov 03 and 04 10:00am-1:00 and 2:00- 5:00: International Resource Centre for Performing Artists. Encounter with Measha Brueggergosman. Soprano Measha Brueggergosman works with young professional singers in opera, oratorio or recital, in matters such as repertoire, performance, stagecraft, style and career essentials. Applications must be received no later than October 20. Alliance Française, 24 Spadina Road. 416-362-1422; ircpa.net Observers welcome: $20 IRCPA members (or $30 for the day); non-members $25 ($35 for the day). ●●Nov 05 2:00-5:00: International Resource Centre for Performing Artists. Encounter with Maestro Marco Guidarini. Guidarini will give advice to five Canadian singers on their Italian style and pronunciation in performance. Alliance Française, 24 Spadina Road. 416-362-1422; ircpa.net $20 for IRCPA members; non-members $25. ●●Nov 07 10:00am-12:00 noon: Music at Metropolitan. Organ Master Class with Stefan Engels. Metropolitan United Church, 56 Queen St. E. 416-363-0331. Free. ●●Nov 20 2:10: University of Toronto Faculty of Music. Flute Master Class with Lorna McGhee, principal flutist of the Pittsburgh Symphony Orchestra. Walter Hall, Edward Johnson Bldg., 80 Queen’s Park. 416-9783744. Free ●●Dec 01 2:00: University of Toronto Faculty of Music. The Riki Turofsky Master Class in Voice. With soprano Sondra Radvanovsky. Walter Hall, Edward Johnson Bldg., 80 Queen’s Park. 416-978-3744. Free Screenings ●●Nov 08 4:00 and 7:30: Toronto Jewish Film Society/ Royal Conservatory/GoetheInstitut Toronto. Wunderkinder. The moving story of three musical prodigies - two Jewish and one German - set in 1941, during the Nazi invasion of Poltava/Ukraine. In a war-torn, grown-up world gone mad, the three children provide the light of music and, ultimately, salvation. Guest speaker: author/artist Bernice Eisenstein. Miles Nadal JCC, 750 Spadina Ave. 416-924-6211 x606. $15; $10 (young adults 18-35). Spoken Word, Performance Art ●●Nov 12 8:00: Massey Hall. Torn from the Pages: author Nino Ricci. Also featuring Nobu Adilman, Tony Dekker (Great Lake Swimmers), Oh Susanna, Corin Raymond, Lucas Workshops ●●Nov 07 2:00: CAMMAC Toronto Region. Vocal Percussion Workshop. Rodrigo Chavez, leader. Northern District Library, 40 Orchard View Blvd. 905-877-0671. $30; $25 (members). ●●Nov 13 7:30: CAMMAC Recorder Players’ Society. Amateur recorder players are invited to join in the playing of early music. Mount Pleasant Road Baptist Church, 527 Mount Pleasant Rd. 416-597-0485 or cammac.ca $15 (non-members). Refreshments included. ●●Nov 14 10:30am-1:00: Toronto Mendelssohn Choir. Singsation Saturday Choral Workshop. Join guest conductor Mervin Fick of the MCS Chorus and Toronto Beach Chorale, members of the Toronto Mendelssohn Choir, and an enthusiastic community of singers for a program of Handel’s stirring Coronation Anthems. Bring your voice, we’ll provide the scores. Yorkminster Park Baptist Church, 1585 Yonge St. 416-598-0422 x223; tmchoir. org/singsation-saturdays/ $10. ●●Nov 22 2:00: CAMMAC Toronto Region. Reading of C.P.E. Bach: Die Israeliten in der Wuste, for singers and instrumentalists. David Passmore, conductor. Christ Church Deer Park, 1570 Yonge St. 416-482-6562. $10; $6 (members). ●●Dec 04 7:30: CAMMAC Recorder Players’ Society. Amateur recorder players are invited to join in the playing of early music. Guest coach Avery MacLean. Mount Pleasant Road Baptist Church, 527 Mount Pleasant Rd. 416-597-0485or cammac.ca $20 (non-members). Refreshments included. ●●Dec 05 2:00-4:30: Musikay. How to Handle Messiah. An exploration of the performance practices of baroque music and a discussion on different interpretations of Handel’s masterwork. Grace Lutheran Church, 304 Spruce St. Oakville. To reserve: 905-8259740; musikay.ca $30. PASQUALE B PASQUALE BROTHERS ROTHERS PURVEYORS OF FINE FOOD (416) 364-7397 thewholenote.com Silveira and Michael Winter. Each will perform newly-commissioned songs, stories, poems and more, evoked and inspired by Ricci’s latest novel, Sleep. Ricci, too, will participate, reading his own work. Harbourfront Centre Theatre, 231 Queens Quay W. 416-8724255; masseyhall.com $19.50 - $29.50. ●●Dec 04 – 06, 11 – 13, 18 – 20: Church of the Holy Trinity. The Christmas Story. Professional musicians and a volunteer cast present this charming hour-long Nativity play. Matinee and evening performances: please see website for exact times. 19 Trinity Square. 416-598-4521 x301; thechristmasstory.ca Suggested donation: $20 adults; $5 children. CATERING WWW.PASQUALEBROS.COM Nov 1 - Dec 7, 2015 | 59 Classified Advertising | [email protected] AUDITIONS & OPPORTUNITIES AUDITION PREPARATION WORKSHOP SERIES FOR TEENS No Strings Theatre. Preparation for secondary and postsecondary arts school, community auditions, exams, festivals. More information www.nostringstheatre.com, [email protected], 416-551-2093. THE CELTIC FIDDLE ORCHESTRA OF SOUTHERN ONTARIO is looking for additional musicians: violin, viola, cello, bass and flute. We practice twice a month on Sunday afternoon at the QEPCCC in Oakville. Please contact Byron Grant at 905-469-1417 or email [email protected] COUNTERPOINT COMMUNITY ORCHESTRA (www.ccorchestra.org) welcomes volunteer musicians for Monday evening rehearsals, downtown Toronto. We’re especially looking for trombones and strings. Email [email protected]. DO YOU LOVE TO SING? Are you looking for a choir that performs every type of sacred music, from Byrd to Britten, Howells to Hogan? The Anglican Church of St. John the Baptist seeks all voice types to enhance their Mass Choir. Services take place on Sundays at 10:30 AM in the Beaches, one of Toronto’s most active and artistic neighbourhoods. For more information, contact music@ stjohnsnorway.com or (647) 302-2074 SEEKING A CHORAL CONDUCTOR/ DIRECTOR. Effective immediately. Jewish women’s ensemble (SSAA), meets once/ week in North York. Conductor to be paid on a per rehearsal basis. Please send resume to [email protected] ALL I WANT FOR CHRISTMAS is 4 days in a good recording studio / 3 hours of massage therapy / 2 people to clean up my apartment while I’m away on tour / and 1 dog walker for those long rehearsal days... WholeNote CLASSIFIEDS can advertise your SERVICES or your HELP WANTED needs. Inquire now for the December & January combined issue [email protected] Introducing BUSINESS CLASSIFIEDS! Ideal for ongoing promotion of your services and products to the WholeNote’s musically engaged readership, in print and on-line. Book by November 21 for Dec/Jan! [email protected] 60 | Nov 1 - Dec 7, 2015 INSTRUCTION & COURSES FOR SALE / WANTED CLASSICAL RECORD AND CD COLLECTIONS WANTED. Minimum 350 units. Call, text or e-mail Aaron 416-471-8169 or [email protected]. CHILDREN’S PIANO LESSONS: Friendly, approachable - and strict! Contact Liz Parker at 416-544-1803 or liz.parker@ rogers.com. Queen and Bathurst area, Toronto. WHATS IN YOUR CLOSET? Sell your unused instruments or donate them to an educational charity with a WholeNote classified ad! Band days just a hazy memory? Someone out there would love to give your nice old guitar, flute, tuba (etc) a new life. Contact [email protected]. FLUTE, PIANO, THEORY LESSONS. RCM exam preparation. RCM certified advanced specialist. Samantha Chang, FTCL, FLCM, Royal Academy of Music PGDip, LRAM, ARCT. Toronto, Scarborough 416-293-1302, samantha.studio@gmail. com www.samanthaflute.com STOLEN FROM CAR – Lorée OBOE & ENGLISH HORN: $700 reward for information leading to return. Serial #’s: oboe TA 78, English horn HV 25. Please call Karen 416-656-4312 or 416-323-2232 x.26 PIANO LESSONS: personalized instruction by experienced teacher, concert pianist EVE EGOYAN (M. Mus., L.R.A.M., F.R.S.C.). All ages and levels. Downtown location. [email protected] or 416- 603-4640. MUSICIANS AVAILABLE PRIVATE VOICE/PIANO/THEORY/ EAR-TRAINING LESSONS/GROUP MASTERCLASSES: Voices of Colour Music. Classical to contemporary styles. Preparation for RCM exams, festivals, auditions. [email protected], www.voicesofcolourmusic.com BRING MODERN ELEGANCE TO YOUR NEXT EVENT with stunning live jazz – Arvelis Jazz Band now booking for winter and holiday parties! www.arvelisliveholidayjazz.com HITCH’em & PITCH’em! I Do you play in a party band? If you provide live music for wedding & wakes, roasts & retirements, and all kinds of occasions, you can advertise your ensemble right here for as little as $24 plus tax!! Contact classad@thewholenote. com by November 23 to book your ad for the December & January combined edition! PRIVATE VOICE/PIANO/THEORY LESSONS: Experienced, BFA Certified Teacher located at Christ Church Deer Park (Yonge & St. Clair). Prepares you or your child for RCM exams, competitions & auditions. Contact Jessika: [email protected] (647) 214-2827. STUDY SAXOPHONE with Bruce Redstone, BAEd, MMus. 20 years with Royal Conservatory, experienced performer and teacher. Reasonable rates and location, all levels. 416-706-8161, www.torontosaxlessons.com. SERVICES ACCOUNTING AND INCOME TAX SERVICE for small business and individuals, to save you time and money, customized to meet your needs. Norm Pulker, B. Math. CMA. 905-251-0309 or 905-830-2985 CD LINER NOTES, PROMO MATERIAL, CONCERT PROGRAMS, LIBRETTI, WEB SITE CONTENT AND MEMOIRS need proofreading and editing for correct spelling and grammar, clarity and consistency. Contact Vanessa Wells, [email protected], for a copy editor with a music background. Quick turnaround and reasonable rates! wellsreadediting.ca VENUES AVAILABLE / WANTED ARE YOU PLANNING A CONCERT OR RECITAL? Looking for a venue? Consider Bloor Street United Church. Phone: 416-9247439 x22. Email: [email protected]. PERFORMANCE / REHEARSAL / STUDIO / OFFICE SPACE AVAILABLE: great acoustics, reasonable rates, close to Green P Parking, cafés & restaurants. Historic church at College & Bellevue, near Spadina. Phone 416-921-6350. E-mail [email protected] SPACES AVAILABLE FOR RENT - sizes range from 220 to 1600 square feet, at Hillcrest Christian Church (Disciples of Christ) 2 Vaughan Rd at Bathurst, 1 block south of St. Clair. TTC Bus & subway accessible. Rehearsal/Concert space, main floor meeting room with kitchenette. Lower level meeting rooms with kitchen. Contact 416-654-0311 or by email [email protected] VOCAL JAZZ LESSONS: Study with jazz singer Faith Amour - Joyful and Easy-going! Toronto/Scarborough. All Ages! [email protected] | 647.882.4848. WARMHEARTED PIANO TEACHER with sterling credentials, unfailing good humor, and buckets of patience. Royal Conservatory washouts and nervous learners especially welcome. Lovely Cabbagetown studio. “Best teacher ever!” - Beaches tween. “Beats studying with those Quebec nuns!” - Rosedale senior. Peter Kristian Mose, 416.923.3060. www.MoseMusicalArts.com. My students have never won any prizes, except for love of music. (And loyalty.) Master your mind. Mental Skills for Performing Artists Children’s Piano Lessons Friendly, approachable — and strict! Liz Parker Lisa Chisholm www.masterperforming.ca DO YOU DRIVE? RESTORE & PRESERVE YOUR MEMORIES Do you love The WholeNote? Recital and gig tapes | 78’s & LPs | VHS and Hi8 | 35mm Slides |News clippings | Photos & more, transferred to digital files: CD’s, DVD’s, or Video slideshow Share the love and earn a little money! Join The WholeNote’s circulation team: 9 times a year, GTA and well beyond. Interested? ArtsMediaProjects 416.910.1091 Contact: [email protected] [email protected] Queen and Bathurst area, Toronto. NEED HELP WITH YOUR TAXES? Specializing in personal and business tax returns including prior years and adjustments HORIZON TAX SERVICES INC. • free consultation • accurate work For CRA stress relief call: 1-866-268-1319 [email protected] www.horizontax.ca thewholenote.com WE ARE ALL MUSIC’S CHILDREN November’s Child Johannes Debus NEW CONTEST! Who is December’s Child? MJ BUELL BOHUANG.CA Johannes Debus lives in Toronto and Berlin with Elissa Lee, Jonah and Noah. Some of his other passions and pastimes include riding the family Brompton, baking pancakes grandma-style, taking nonsense photos, trying to understand the intricate rules of baseball. Johannes Debus was appointed Music Director of the Canadian Opera Company in 2009 after an acclaimed 2008 COC debut – War and Peace. Recently at the COC: Falstaff, Die Walküre, Bluebeard’s Castle / Erwartung. In the current season he’s conducting the world premiere of Canadian Barbara Monk Feldman’s Pyramus and Thisbe (onstage through Nov 7), Siegfried (Jan 23 to Feb 14) and The Marriage of Figaro (Feb 4 to Feb 27). Beyond the COC: in November he’ll conduct the National Arts Centre Orchestra and the San Diego Symphony. In February he’ll conduct the Royal Conservatory Orchestra; in April The Cunning Little Vixen for the Frankfurt Opera; The Marriage of Figaro in May for the Komische Oper in Berlin; the Cleveland Orchestra at the Blossom Festival in the summer. Debus’ TSO debut was part of their 2013 Mozart@257 – “Pure joy, driven like the wind” (Robert Harris’ response in The Globe and Mail.) Called upon to step in for James Levine at Tanglewood and for Sir Colin Davis at Symphony Hall, Debus conducts, internationally, repertoire of every kind. Between opera houses and symphony halls one hopes he will find time for a little winter skating here in Ontario. Where were you born? Speyer am Rhein, in a lovely region called Palatinate, southwest of Germany, close to Alsace in France. I would like to call it the German Tuscany. I grew up in Speyer and attended high school in Speyer. And right after high school? I went to Hamburg to study conducting. When you look at that childhood photo today, what do you think about? Happy childhood memories! I remember the wobbly feeling being on ice skates for the first time in Look who’s in charge of getting his own show on the road! my life. It was a lot of fun, though, enjoying really cold winters in such a way. !! Born in Penticton BC, grew up Your earliest musical memory? My mom “in Kelowna, Toronto, Montreal, singing whilst changing my diapers. Now you Ottawa …” can say either I have a very good memory or I !! His December Messiah will go wore diapers significantly longer than others! against the grain for some. She sang this beautiful German folksong “Der !! He’ll bring a Requiem to life in Mai, der Mai, der lustige Mai...” January. We all got to sing, we all got to play the !! He’ll reconquer Carmen in April recorder (hooray) and we all learned other and invite us all to get a little too instruments. My younger brother is a fine jazz cozy in the spring. musician - he is the really talented one. !! Circa 1984 at Great-Uncle Gogo Where did listening to music fit in? All and Auntie Lean’s cottage, Bala sources were important to me: the radio, ON. even the TV at times, recordings in various (nowadays vintage) formats (MC, LP, CD). I remember subscription concerts of regional symphony orchestras, lots of very fine concerts by renowned orchestras, ensembles, and organists at the cathedral – memorable also just because of the 12 seconds reverberant sound, which gave certain pieces a slightly unusual soundscape. But at the end it was about being able to play music myself. First memories of making music? Singing was in fact the first way to make music myself. I don’t think there is a more elementary and better way to start. It is also an elementary experience to sing with others. I remember the great community and spirit we had in the choir when I was a young boy. It obviously also trains you to listen, and in particular to listen to others. And instruments? After maltreating everyone’s ears with the unavoidable recorder, I continued with playing the piano. Don’t know if it helped to reconcile those I might have offended with the recorder. The most painful years of my early life involve three years of violin lessons. I regret that I wasn’t patient enough to continue. Instead I went on with the organ and played a lot in the local churches – not the worst move – ask my piggy bank. How did conducting first enter the picture? I loved to conduct the LP player and didn’t care if I made a fool of myself. Ask my siblings! Where does music fit into your family life at home today? Isn’t family life an opera in itself?! You are invited to read an expanded interview at thewholenote.com. CONGRATULATIONS TO OUR WINNERS! Johannes Debus conducts Wagner’s Siegfried (Jan 23 to Feb 14), directed by François Girard, with Stefan Vinke (Siegfried), Christine Goerke (Brünnhilde), Alan Held (Wanderer), Phillip Ens (Fafner), Wolfgang Ablinger-Sperrhacke (Mime) and Chrisropher Purves (Alberich). TICKETS! LIDA H. Mozart’s The Marriage of Figaro (Feb 4 to Feb 27), directed by Claus Guth, with Josef Wagner (Figaro), Jane Archibald (Susanna), Erin Wall (Countess), Russell Braun (Count), Emily Fons (Cherubino), Michael Colvin (Basilio), Robert Pomakov (Bartolo), Helene Schneiderman (Marcelina), Doug MacNaughton (Antonio). TICKETS! PHOEBE CLEVERLY. The Royal Conservatory Orchestra, at Koerner Hall (Feb 12, 8pm) – Tchaikovsky’s Piano Concerto No1 with Edward Zhou and Rimsky-Korsakov’s Scheherazade. TICKETS! RHODA SION. Debus says he’d choose the Brandenburg Concertos for road music on a long drive. LINDA BRANSCOMBE wins this lovely recording by Tafelmusik. thewholenote.com Nov 1 - Dec 7, 2015 | 61 DISCOVERIES | RECORDINGS REVIEWED DAV I D O L D S W hen the Orchestre symphonique de Montréal moved into its new home, the Maison symphonique in the Place des Arts in 2011, the reviews were enthusiastic for both the aesthetics and acoustics of the hall. In May 2014 the crown jewel of the edifice, Le Grand Orgue Pierre-Béique, was unveiled in concerts which included the SaintSaëns “Organ” Symphony No.3 and new works by Montreal-born Samy Moussa and Finnish composer Kaija Saariaho. Kent Nagano was at the helm of the orchestra and the soloists were OSM organist emeritus Olivier Latry in the Saint-Saëns and Saariaho and current organist-in-residence Jean-Willy Kunz in the Moussa. The stunning performances were captured in exquisite recordings that can be found on a recent Analekta CD (AN 2 8779). In earlier years the OSM made many of its recordings in Église de St. Eustache which offered a good acoustic and a fine organ. As the sound on this new CD attests there is no longer any reason for the OSM to leave home to make a recording, and the arrival of the new organ by Casavant Frères is the icing on the cake. The organ was designed in collaboration with the hall’s architects Diamond Schmitt + Ædifica to specifications developed by Latry (now organist at the Notre-Dame Cathedral in Paris). It comprises four mechanical action keyboards, with electrical assistance, 109 registers, 83 stops, 116 ranks and 6,489 pipes. The Saint-Saëns, the benchmark against which all other works in the genre must be measured, is well enough known that I will not go into details here. It will suffice to say that orchestra, soloist and instrument are all in splendid form and under Nagano’s direction it’s hard to imagine a finer performance. The new works, both commissioned by the OSM (in conjunction with Orchestre national de Lyon and London’s Southbank Centre in the case of the Saariaho), are dark works that explore the sound/colour spectrum available through the combination of full orchestra and the vast resources of the “King of Instruments.” Moussa, is a 30-year-old with a flourishing career in Quebec and in Germany. His A Globe Itself Infolding is a one-movement work that slowly unfolds, gradually combining dense textures with only moments of punctuation and no real melodic development but is effective and compelling. It is conceived as a stand-alone piece 62 | Nov 1 - Dec 7, 2015 but also as the prelude to a possible future full-length concerto. Saariaho’s Maan Varjot (Earth’s Shadows) is in three movements. The first, Misterioso ma intenso, is just that, mysterious and intense without much development. This is followed by a Lento calmo in which prominent, if sparse, trumpet phrases are echoed and embellished by the organ. The final Energico opens with a blasting cadenza from the organ which is taken up and sustained by the orchestra, eventually giving way to quiet bass drum “footsteps” and a high, soft organ chord that gradually dies away. Although she has not written extensively for the instrument, Saariaho was an organist in her student years and her understanding of the medium is displayed in an effective work that brings this excellent disc to a close. I first met Erkki-Sven Tüür at the quadrennial Estonian World Festival which was held in Toronto in 1984. At just 25 years old, he was a young composer emerging from the world of rock and roll where he was something of a star. I have followed his development in the three decades since then, both through recordings and live performances, as he has become a fully mature contemporary composer. Tõnu Kaljuste, who conducted a work of Tüür’s a few years ago in Toronto for Soundstreams, was the instigator of a recent recording which features Tüür and Australian composer Brett Dean. The title Gesualdo (ECM New Series 2452) refers to the Italian Renaissance composer and prince, Carlo Gesualdo, best known for his intensely expressive chromatic madrigals and for brutally murdering his first wife and her lover after finding them in flagrante delicto. The Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra perform under the direction of Kaljuste, who transcribed the opening track, Gesualdo’s Moro lasso, for string orchestra. Dean’s Carlo for choir and strings begins with a quotation from Moro lasso and other Gesualdo motives in the choir which are gradually displaced by the orchestra as we are led into a 20th-century sound world. Toward the end of the piece, in the composer’s words, “Gesualdo’s madrigals are eventually reduced to mere whispers of his texts and nervous breathing sounds. These eventually also grow in dramatic intensity into what may be seen as an orchestral echo of that fateful thewholenote.com night in Naples.” At Kaljuste’s request Tüür arranged Gesualdo’s O crux benedicta for strings (adding some “fragile sound clouds” to the original material) and composed L’ombra della croce especially for this recording. The latter reflects the sensibility of Gesualdo’s music with its sombre mood and slowly descending melody, with a brief light and joyous section just past the mid-point before returning to the murky depths. The disc concludes with Psalmody, an earlier work which has its roots in Tüür’s prog-rock band In Spe (1979-1982). Although not composed until 1993, Tüür says it was “a retrospective commentary on the music I had created in [those] years.” It stands in marked contrast to the other works on the disc. Originally written for mixed chorus and the early music ensemble Hortus Musicus, it was conceived as a vehicle to bring together a minimalist diatonicism and complex atonality. In its several incarnations the atonal aspects were excised and in 2012 it was re-orchestrated and reworked for choir, double winds and brass, percussion, keyboard and strings. It is a joyous and energetic work in which the composer “aimed to step into a dialogue with the mainstream of minimalism that originates from America.” I think fans of Steve Reich and John Adams would be suitably impressed. I know I was. The other discs to pique my interest this month were a direct result of my association with New Music Concerts over the past 16 years. I first encountered the composer and clarinet virtuoso Jörg Widmann in October 2005 when Robert Aitken invited him to curate a concert of his own music on the series. He was just 32 but well on his way to a stellar double career. Since then he has returned to Toronto several times, at the invitation of the Toronto Symphony in 2012 to take part in the New Creations Festival with conductor/composer Peter Eötvös and again in 2014 for another portrait concert with NMC and to rehearse with the TSO for their European tour. recorded for Centrediscs back in 1990. At the time producer David Jaeger suggested the same thing about Schafer’s cycle with its interlocking themes and motives. There are other parallels between the Widmann and Schafer quartets, particularly with the vocal outbursts in both third quartets and the use of soprano (albeit much more extensively by Widmann – Claron McFadden is superb) in their respective fifths. Of course Schafer has gone on to expand his set to an even dozen, all interconnecting and all recorded by Quatuor Molinari for ATMA (atmaclassique.com). I wonder if Widmann will continue in the same fashion. At 42 he certainly has time to consider it, but he is currently booked for years in advance with opera and orchestral commissions. It has been a decade since he composed his fifth quartet and so, for the time being, we must content ourselves with this testament to the outstanding contribution to the genre by a young composer who has moved on to larger projects. The set also includes the youthful Absences for string quartet and a brief moto perpetuo movement entitled 180 beats per minute for the somewhat unusual combination of two violins, viola and three cellos. A marvellous “portrait of the artist as a young man.” The most recent New Music Concert featured the Turning Point Ensemble from Vancouver, a large group whose members include cellist Ariel Barnes (featured in a concertante role in Linda Catlin Smith’s Gold Leaf) and harpist Heidi Krutzen (not present for the Toronto performance). Together these two formed the ensemble Couloir in 2011 and have since commissioned a number of works for this somewhat unusual combination. Released in 2013 but previously unknown to me, Wine Dark Sea (Revello Records RR7879 couloir.ca) presents three of these original works: Three Meditations on Light by Jocelyn Morlock; Drifting Seeds by Baljinder Sekhon; and A monk, dancing by Glenn Buhr. The disc opens with Vancouver composer Morlock’s Meditations. The birds breathe the morning light begins quietly with the harp providing pointillistic accompaniment to a high, falling melody in the chanterelle range of the cello which gradually develops denser textures without ever losing its contemplative mood. Bioluminescence, the subtitle for which gives the album its title, while still gentle is a more dance-like movement with rhythmic harp motives shimmering under the lyrical cello melodies. Absence of Light – Gradual Reawakening begins, as we might expect, in darkness and the depths of the instruments’ registers but eventually leads us back to the light with some bird-like sounds along the way, ending in warm long tones from the cello. Sekhon is a composer and percussionist living and teaching in Florida. There are world music influences and extended techniques in his 2012 Drifting Seeds which he says “explores the social and cultural connections between individuals and societies. … While composing this work I was very interested in the idea that we are all different versions of each other.” He does this by juxtaposing, layering and On that first NMC concert he played music of Alban Berg with pianist David Swan and three works of his own with our musicians. The highlight of the concert for me however was the Accordes’ performance of Widmann’s Jagdquartett – String Quartet No.3 with its vocal and extra-musical interjections and flamboyant gestures. That came right back to me while listening to a new Wergo 2CD set Jörg Widmann – Streichquartette which features all five numbered string quartets plus two short early works for the strings performed by the Minguet Quartet (WER 7316 2). The Minguet has worked extensively with Widmann over the past decade. This is actually their second recording of his quartet cycle so I think we can consider these definitive performances of very challenging works that employ myriad extended techniques. The quartets are presented in chronological order and, as discussed extensively in the comprehensive liner notes, treated as five movements of one large work. In this way I am reminded of the Orford Quartet recording of the first five quartets of R. Murray Schafer as What if you could listen in? Now you can! NEW •Read the review •Click to listen •Click to buy from OUR Recordings New this month to the Listening Room Known for his large-scale compositions, Bernstein also wrote extensively for his own instrument - performed beautifully here by Brazilian pianist Alexandre Dossin TheWholeNote.com/Listening For more information Thom McKercher at [email protected] thewholenote.com www.ourrecordings.com Nov 1 - Dec 7, 2015 | 63 KeyedIn ultimately eliminating materials from a “collection of musical fragments. They appear at different speeds, transposition levels, and with different timbres throughout the work.” It is very effective. Kitchener-based Buhr says, “A monk, dancing is a good metaphor for a composer. We composers spend much of our time alone in our studios (monastic cells), but the task is to imagine music; so in our minds, we dance.” After a long contemplative section rife with rich melodic chant-like lines in the cello, an arpeggiated transition leads to the “dance” – “bright and happy, with a beat a monk could dance to…” – before returning to contemplation. While there is a certain sameness to the lush timbres and textures produced by harp and cello in all of the pieces, there is enough diversity to sustain interest throughout this fine recording. At the Turning Point concert I was particularly impressed with the sound Barnes produced from his cello which he told me is a modern Portuguese instrument. On this CD he is playing another gorgeoussounding cello, the 1730 Newland Johannes Franciscus Celoniatus on loan from the Canada Council Musical Instrument Bank. I am left with the feeling that any cello would sound great in his hands. The only piece of music by Isang Yun that I have ever heard performed live was Novelette for flute, harp, violin and cello, presented in the context of New Music Concerts’ Portrait of Toshio Hosokawa that also included Hosokawa’s Memory (In memory of Isang Yun) back in May 2000. The story of Yun is an intriguing one. He was born in what is now Tongyeong, South Korea in 1917, long before the division of North and South. Yun studied and settled in Germany where he was the first Asian composer to integrate aspects of the music of his homeland into the Western Art Music tradition. Yun was a strong believer in the reunification of Korea. While living in West Berlin, along with a number of compatriots, he was in contact with North Korean representatives in East Germany trying to open cultural relations between the two Koreas. Accused of being a spy, Yun and his colleagues were kidnapped and taken to South Korea where they were imprisoned and tortured. After a year, pressure applied by the German government resulted in Yun’s release and return to Germany, where, despite hoping to one day return home to a unified Korea, he remained until his death in 1995. Since that time his music has been championed in both North and South Korea where there are institutes, competitions and festivals in his name, although he is still seen as a dubious character by some. V Also recorded in Moscow are Prokofiev’s Piano Sonatas 6, 7 and 9. Digitally restored from original sources Prokofiev Piano Sonatas (Archipel Records ARPCD 465) features three separate public recitals by Sviatoslav Richter from the mid-1950s. Disappointingly bereft of any historical notes about the concerts, the disc is economically packaged but thankfully a little web sleuthing can uncover plenty more about this material. These are among the recordings from the decade that introduced Richter to the West. The audio restoration is wonderful although the somewhat narrow frequency range of the recording reflects the technology of the period. Still, it in no way impedes the colossal technique Richter possessed. His utter control of the wildest passages in Sonatas 6 and 9 stand in contrast to his pensive playing of the Sonata 7 where doleful reflection speaks of the personal burden Prokofiev felt under the Stalinist regime. Richter seems the perfect pianist for this repertoire. Recording two of Prokofiev’s “War” sonatas from the early 1940s (No.6 and No.7) just a few years after Stalin’s (and the composer’s) death, one wonders what the propaganda chatter must have been at the time. The final sonata on the disc, No.9, was written for and dedicated to Richter in 1947. All three of these performances are truly arresting. Of course there is much more to the story than that, some of which is told in Isang Yun Inbetween North and South Korea, a film by German director Maria Stodtmeier which has been released by Accentus (ACC 20208). It is an excellent introduction to the man and the music, with extended excerpts of performances of his challenging and virtuosic compositions – of special interest to me was the extremely demanding Cello Concerto – as well as moving reminiscences of him as a teacher, mentor and composer of popular school anthems, which continued to be performed anonymously during the period when his music was banned in his homeland. We welcome your feedback and invite submissions. CDs and comments should be sent to: DISCoveries, WholeNote Media Inc., The Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S 2R4. David Olds, DISCoveries Editor [email protected] 64 | Nov 1 - Dec 7, 2015 ALEX BARAN ariations, by their nature, tend toward the cerebral. Pianists who understand this devote a good deal of effort maintaining their ties to the thematic homeland in spite of the distances a composer may travel in his creative wanderings. Konstantin Scherbakov demonstrates this beautifully in Eroica (Two Pianists Records TP1039190) where Beethoven’s Eroica Variations Op.35 journey far on a surprisingly short musical idea. When at times the composer has left little more than a hint of harmonic progression as a fragment of the original idea, Scherbakov finds it and underlines it to remind us of our point of departure. By the time he’s played through all fifteen variations, the closing fugue comes as a highly energized and joyous finale in the form Beethoven so loved to use. The same disc contains both the Pathétique and Appassionata sonatas. Here, Scherbakov is more formal. He is very aware of the architecture around his musical content and artfully recalls the ideas Beethoven requires in the closing arguments. The Adagio of the Sonata No.8 in C Minor, Op.13 “Pathétique” is perhaps less outwardly emotional than some would like, but this works well in the context of Scherbakov’s overall approach to both sonatas. A strong performer with a clear technique, he has made this a very fine addition to anyone’s Beethoven collection. Production values on this disc are very high despite the fact that the program was recorded in different locations (UK and Moscow). Listen in! •Read the review •Click to listen •Click to buy Vadym Kholodenko is the 2013 Van Cliburn International Piano Competition gold medalist. His collaboration with Miguel Harth-Bedoya and the Norwegian Radio Orchestra in Grieg, Saint Saëns Piano Concertos (harmonia mundi HMU 907629) produces thoughtful and unhurried performances. Pianist and conductor are in complete agreement on tempi that favour a more relaxed approach than we sometimes hear. This subtle expansion of time offers the listener an extra moment of consideration before processing the composer’s next thought. The Grieg slow movement is especially exquisite for this reason. The Saint Saëns Concerto No.2 in G Minor, Op.22 is not quite so Wherever you see this arrow. TheWholeNote.com/Listening For more information Thom McKercher at [email protected] thewholenote.com one hesitates to deem it entirely programmatic. With the piano tuned to Werckmeister III (a tuning system with subtle shimmers in certain keys), Kirchoff plays the instrument in the conventional way, but also stops and plucks strings manually and occasionally adds vocalizations. The core of the program is The Stations of The Cross and its narrative is easy to follow. What raises this composition far out of the ordinary is that Kirchoff has fully captured Hicks’ intention to use the piano in ways that create new and powerfully evocative sonorities. These are sound paintings that strongly project images of Jesus’ journey from condemnation to death and burial. It’s emotionally graphic, though in an abstract way. The Annunciation is the only piece that extensively uses familiar keyboard technique. Its technical demands are high and Kirchoff meets them capably. The disc opens with a helpful introduction to Hicks’ keyboard language. The Idea of Domes is a simple keyboard tone poem that delivers exactly what its title suggests and prepares the listener for what’s to come. The closing track L’épitaph de Monk is based on Thelonious Monk’s Crepuscule with Nellie and echoes the rhythmic note clusters that punctuate Monk’s original. Those in the target niche for this recording will find it very gratifying. restrained. Kholodenko takes the first two movements almost ad libitum alternating between the pensive approach of the opening movement and his dazzling chromatic octave runs in the second. But the third is where he explodes out of the gate with real drama. The palpable energy and crisp articulation make this a performance hard to surpass. This is Kholodenko’s second recording for the label. His third is the Prokofiev concertos the first disc of which we can expect the first disc in 2016. Last month’s column reviewed several discs using period instruments. American Romantics, The Boston Scene (Piano Classics PCL0080) does something similar using an 1873 Chickering grand in a historic Episcopal church in Charlestown, MA. The instrument benefits from modern action and sounds more like a contemporary piano than a fortepiano. Still, its darker colours and unique upper register voicing remind us of its vintage. Pianist Artem Belogurov clearly loves this piano and as much caresses it as plays it. His repertoire choices reveal how much this late romantic American school owed to its European origins. It wasn’t until the next generation of composers, the modernists of the early 20th century, that an identifiable American voice began to emerge. Still, this disc’s program helps us understand the creative heritage from which that sprang. Highly programmatic, these short pieces by Foote, Paine, Chadwick and Nevin are beautifully written by composers who knew their craft well. Belogurov commits to them wholly. His playing is sincere and utterly convincing. The disc is enlightening, entertaining and offers a profoundly satisfying final track with Margaret Ruthven Lang’s Rhapsody in E Minor Op.21. Published in 1895, it’s the most substantial work on the recording and demonstrates a remarkable affinity between composer and pianist, across cultures and generations. Since winning first prize at the 2000 International Chopin Competition at age 18, Chinese pianist Yundi has scarcely stopped to catch his breath. Countless international tours and 16 recordings later Yundi’s energy is as impressive as ever. His latest disc is Yundi Chopin Preludes (Mercury Classics/Deutsche Grammophon 4811910) which presents all of the Op.28 Preludes plus the Op.45 in C-sharp Minor and a posthumous work as well. While each on separate tracks, the 24 preludes are produced with very little time between them and give the effect of a larger single piece. This has the novel effect of joining Chopin’s disparate ideas, many less than a minute long, into a statement that he may never have considered. If anything, it allows us a high-contrast glimpse of his remarkable imagination and technique, none of which is beyond Yundi’s grasp. His playing is often unbelievably fast as in the Prelude No.18 in F Minor, but never sacrifices clarity or phrasing. Others like the No.23 in F Major move with an enchanting fluidity. It’s a breathtaking recording and easy to play often for the sheer marvel of it. Some four decades later Leonard Bernstein, then in his late teens, wrote his Sonata for the Piano (1938) and Music for the Dance No.2. These two works open and close pianist Alexandre Dossin’s program on Bernstein: Thirteen Anniversaries (Naxos 8.559756). Dossin is Brazilian-born, Moscow Conservatory-trained and now teaches in the U.S. He plays the Sonata with all the boldness and assertiveness that the young Bernstein brought to the page. It’s brilliant music and brilliantly played. The three-movement Music for the Dance is polytonal and angular in rhythm. Dossin understands Bernstein’s structures and always keeps the principal ideas up front for us to follow. Thirteen Anniversaries from 1988 is the last of four such collections of miniatures Bernstein wrote for his family and numerous friends. A half century separates these from the early compositions on this disc and the difference is remarkable. Dossin conveys what the older composer is feeling. For Stephen Sondheim is a heartfelt tribute to his friend and librettist with very subtle harmonic tilts in the direction of Broadway. In Memoriam: Ellen Goetz is simple and profoundly moving and serves as a fitting close to the set. The 1943 Seven Anniversaries contains tributes to Aaron Copland as well as Serge and Nathalie Koussevitsky and others. Dossin finishes this set with an aggressively energized For William Schumann. All of it is superb. Film music became its own form when musicians first started playing for silent movies. Largely given to supporting and enhancing the emotions portrayed on the screen, film scores occasionally rise beyond their usual task and stand on their own artistic merits. Composer/pianist Francesco Di Fiore has taken this a step further by creating a video and piano performance project using selected shots from a variety of modern films and has reinterpreted the film scores as minimalist keyboard iterations. The studio version of this live project is Piano Sequenza – Piano Music in Film (Zefir Records 9642) and is a remarkably intimate listening experience. Most of the music selected for this recording was already pianocentric, either written for the instrument as solo or using it to carry the main thematic idea. Di Fiore’s reinterpretations have the effect of being artistic distillations, powerful for their links to films we know well, The Piano, The Hours, The Truman Show and others. And while there is a strong melancholic undercurrent to it all, he infuses it with a clear and uplifting simplicity that has a lingering effect. Whether he is spinning the ideas of Michael Nyman or Phillip Glass, Di Fiore succeeds in turning the piano into a unique voice, through which we experience the film world of directors Peter Weir, Jane Campion and the others included on this unusual disc. Felt Hammers (Tantara TCD0314FHM) is a collection of the piano works of Michael Hicks played by Keith Kirchoff. This disc is far from common fare but more than a few will like it – a lot. Contemporary and a bit experimental in both composition and performance, the music has titles that reflect strong allusions to the sacred, poetic and philosophical. Still, thewholenote.com Nov 1 - Dec 7, 2015 | 65 TERRY ROBBINS O ur own James Ehnes is back with a CD of early 18th century works on Vivaldi Four Seasons (Onyx 4134), with his regular partner Andrew Armstrong at the piano for Tartini’s Devil’s Trill Sonata and Leclair’s Tambourin Sonata, and the Sydney Symphony under Ehnes’ direction providing the support for the title work. It’s the first time Ehnes has recorded The Four Seasons, and it was certainly worth the wait. The playing is everything you would expect from him: it’s warm, intelligent and beautifully judged, with sensitive and very effective orchestral accompaniment. The Tartini and Leclair sonatas are the opening works on the CD, with Ehnes using the Kreisler edition of the Devil’s Trill sonata that ends with the challenging cadenza that Kreisler added to the work. Again, the playing by both performers is outstanding. Bach’s three sonatas – in G Major BWV1027, D Major BWV1028 and G Minor BWV1029 – are programmed around Domenico Scarlatti’s Sonata in D Minor Kk90 and Handel’s Violin Sonata in G Minor HWV364b. The Handel here relies on an authentic manuscript version that shows the opening of the violin part lowered an octave and indicated as for viola da gamba. In this work and the Scarlatti the players are joined by Robin Michael on cello continuo. Isserlis points out that playing with a harpsichord allows him “to play as lightly as possible without ever courting inaudibility,” and the result is playing of grace, lightness and warmth. Add the usual intelligent and insightful booklet notes written by Isserlis in his inimitable style – he even quotes Spinal Tap’s Nigel Tufnel at one point – and the whole package is another winner. The often-asked question “How could I not have heard them play before?” raised its head again this month when I played Four Centuries, a new CD from pianist Susan Merdinger and violinist David Yonan featuring works by Mozart, Schumann, Bloch and the Chicago-based contemporary composer Ilya Levinson (Sheridan Music Studio susanmerdinger.org). Both players have impressive résumés, but the Berlin-born Yonan made his recital debut in Berlin, Moscow and St. Petersburg at the age of 11. He also studied with the legendary Dorothy DeLay at Juilliard. He has impeccable technique, a sumptuous tone and a real depth to his playing. A lovely performance of Mozart’s Sonata No.13 in B-flat Major, K454 opens the disc, with the fine balance between the instruments reminding us that the work was written as being “for Piano and Violin.” Schumann’s Sonata for Violin and Piano No.1 in A Minor, Op.105 is also beautifully played, but it is the 20th century work, Bloch’s Suite Hébraïque that really steals the show here. “It is the Jewish soul that interests me,” said Bloch, and it’s that soul which is at the heart of this three-movement suite and given a brilliant realization by Yonan. It’s stunning playing. The final work is the world premiere recording of Levinson’s Elegy: Crossing the Bridge, a short piece dedicated to David Yonan, who gave the world premiere in Chicago in 2011. Susan Merdinger is a terrific partner throughout a highly satisfying CD. Another Onyx CD features live concert recordings of violin music by Sergei Prokofiev in terrific Frankfurt performances by Viktoria Mullova (ONYX 4142). The Frankfurt Radio Symphony Orchestra under Paavo Järvi provides the support in the lovely Concerto No.2 in G, Op.63, recorded over two days in May 2012. Mullova is equally at home in the work’s beautiful slow movement and in the music’s spikier passages. Prokofiev’s two unaccompanied violin sonatas – the Sonata for Two Violins in C, Op.56 and the Solo Violin Sonata in D, Op.115 – were recorded in December 2014. Tedi Papavrami joins Mullova in the former. The recorded ambience is full and resonant, especially in the concerto, and there is no real sign of audience presence other than the applause at the end of the works, which fades out after a few seconds. There’s more live Prokofiev, as well as Shostakovich and Rachmaninov on Russian Concert, a 2-CD recording of the March 28, 2006 concert in Toronto’s Glenn Gould Studio by the outstanding violist Rivka Golani and pianist John Lenehan (Hungaroton HCD 32743-44). The concert opens and closes with pieces (six on CD1, five on CD2) from Prokofiev’s ballet Romeo and Juliet, transcribed for viola and piano, with the composer’s permission, by the Russian violist Vadim Borisovsky. Violist Douglas Perry joins Golani and Lenehan for the final two pieces. CD1 ends with a brooding performance of the Shostakovich Sonata for Viola and Piano Op.147, the only work in the concert in its original form, but the heart of the recital is the transcription – again by Borisovsky – of Rachmaninov’s Cello Sonata in G Minor Op.19. More than anything else on the two CDs this brings impassioned playing from both performers, with the piano often predominant in a role that is far from being merely an accompaniment. Despite the wonderful viola playing, however, it’s difficult to ignore the fact that the instrument’s pitch is higher and somewhat thinner than the cello’s, and the absence of the latter’s strength, depth and richness, particularly in the lower strings, alters the tonal relationship with the piano; at times here, the music just seems to be too big for the instrument. Still, what a performance! Three of the great Czech string quartets are featured on Janáček & Smetana String Quartets, the latest CD from the Takács Quartet (Hyperion CDA67997). All three works, while being strongly nationalistic, are also intensely personal. Smetana openly admitted that his Quartet No.1 in E Minor, From My Life, was a tone picture of his life: the first movement is his youthful yearnings; the second the dance music of his youth; the third his first love – his future wife, whom he would lose to tuberculosis; and the fourth his joy in incorporating nationalism in his mature music, a joy that would be terminated by his growing deafness, represented in the score by the sudden ominous high E harmonic pitch that sounded in the composer’s ear. It’s obvious from the passionate opening that this will be a rewarding performance, and it never disappoints. Janáček’s two quartets, subtitled The Kreutzer Sonata and Intimate The ever-reliable English cellist Steven Isserlis is back with yet another delightful CD, this time with harpsichordist Richard Egarr on Bach, Handel and Scarlatti Gamba Sonatas (Hyperion CDA68045). 66 | Nov 1 - Dec 7, 2015 thewholenote.com strips away the extraneous to reveal simplicity, and certainly the writing here seems to be mostly tonal and quite accessible, with a fairly standard use of the instrument. There’s not a great deal of dynamic, rhythmic or tonal range though, and Gearman’s vibrato never seems to vary much. Still, she’s more than up to any technical challenges the work presents. Judging by the number of cello ensembles around these days, cellists must love company. Vibrez is the first release on the UK’s Edition Classics label by the London-based cello octet Cellophony (EDN1047), featuring a program of nine arrangements by octet member Richard Birchall and one original composition. The eclectic list includes Wagner’s Prelude to Act 1 of Tristan und Isolde, three Schubert songs, Liszt’s La Lugubre Gondola, Wieniawski’s Scherzo-Tarantelle (in a particularly dazzling performance), Mendelssohn’s Ave Maria, a Bach Prelude and Barber’s Adagio Op.11, the famous “Adagio for Strings.” The original composition Violoncelles, Vibrez! by the contemporary Italian composer and cellist Giovanni Sollima completes a charming and entertaining disc. Letters, were both written late in his life, when he had found his decidedly individual voice and was experiencing a late surge in his career. In particular, he was deeply involved in an intensely passionate – though essentially unrequited – friendship with the young Kamila Stősslová, and the second quartet specifically represents events in Janáček’s relationship with her; despite his age, it’s full of the passion and yearning of a youthful man. The performances of both works here are all that you could want them to be. American Dreams is the title of a lovely new CD from the St. Helens String Quartet (Navona Records NV6004) as well as the subtitle of the opening work, Peter Schickele’s String Quartet No.1 from 1983. Schickele, who turned 80 this year, has enjoyed a long career as a composer and performer when not busy with his alter ego P.D.Q. Bach. This quartet, the major work on the CD, is beautifully written, moving in an arch from an Appalachian start through jazz, blues and fiddle styles and a Navajo song back to the dulcimer-like Appalachian tune from the opening. Ken Benshoof (born 1933), Bern Herbolsheimer (born 1948) and Janice Giteck (born1946) are the other composers, represented by a variety of short works. Benshoof’s Swing Low from 2004 is eight views of the famous spiritual, and his Remember is a nostalgic sketch from 1977. His Diversions from 2005 – six pieces in various moods, including Blue Grass and Raggedy Blues – are for violin and piano, with pianist Lisa Bergman providing the accompaniment. Botanas, Herbolsheimer’s five-movement work from 2008, is named for the appetizers served in Mexican bars and cafes. The two pieces by Giteck are Ricercare (Dream Upon Arrival) from 2012 and Where can one live safely, then? In surrender, written for the St. Helens Quartet in 2005. There is nothing here that is hard to assimilate, and a great deal that is thought-provoking and highly enjoyable. The playing throughout is warm and idiomatic, the recording quality excellent. Music for a New Century is a new and intriguing CD of Violin Concertos by the American composers Sidney Corbett and Christopher Adler, performed by Sarah Plum (Blue Griffin Recording BGR371). The Chamber Music Midwest Festival Orchestra under Akira Mori joins Plum in a live recording of Corbett’s Yaël at its June 5, 2011 North American premiere in Wisconsin, while Nicholas Deyoe conducts San Diego New Music in the world premiere of the Adler concerto, commissioned by Plum specifically to pair with the Corbett on this CD release. While both works are clearly very strong neither is an easy first listen, with a good deal of unrelenting toughness that tends to act like a suit of emotional armour, keeping you at bay. Plum, however, calls them “beautiful, original and quite striking,” and says that she is “confident that they will enter the repertoire and be played for many years to come.” I really hope she’s right, but I won’t be putting any money on it; these are works that are not immediately audience friendly in the traditional sense, even on repeated hearings, and might prove difficult to program. Mind you, it’s difficult to imagine a better flag bearer for them than Sarah Plum, who is quite brilliant here, or better performances or recordings. This is still an indispensable addition to the contemporary American violin concerto discography. Also from Navona Records is Feral Icons, a suite of six movements for solo viola by Peter Vukmirovic Stevens performed by Mara Gearman (NV6008). The work was written for Gearman in 2013-14, and according to the very sparse booklet notes employs Stevens’ signature sound of extended tonality and isometric rhythms. To be honest, I’m not quite sure what that means in this particular context. We’re told that Stevens, who studied with Bern Herbolsheimer among others, has a compositional approach that Listen in! •Read the review •Click to listen •Click to buy New this month to the Listening Room Acclarion: Shattered Expectations MAHLER – SYMPHONY NO.10 TheWholeNote.com/Listening For more information Thom McKercher at [email protected] thewholenote.com Accordion and clarinet create breathtaking, richly romantic, vibrant original works and give a new voice to classical masterpieces. www.acclarion.ca Yannick Nézet-Séguin with Orchestre Metropolitain Like a Ragged Flock ~spin~ duo James Harley: electronics and sound diffusion Ellen Waterman: flutes and voice Available from the Canadian Music Centre Nov 1 - Dec 7, 2015 | 67 VOCAL Rimsky-Korsakov – The Tsar’s Bride Peretyatko; Rachvelishvili;Kränzle; Cernoch; Kotscherga; Tomowa-Sintow; Staatkapelle Berlin; Daniel Barenboim BelAir Classics BAC105 !!This produc- tion was a highlight of the 2013 season in Berlin. One of the reasons was Russian director-genius, Dimitry Tcherniakov (creator of the COC’s unorthodox and spectacular Don Giovanni last February) who has since become a very desirable commodity all over the world. Tcherniakov’s modern concept targets the world of media bosses inventing computergenerated heroes and rounding up beautiful women (remember The Bachelor?) to be chosen against their will to be their wives. His concept chimes in nicely with the gruesome original story and is also very engaging, colourful and spectacular to look at. Rimsky-Korsakov’s opera The Tsar’s Bride is largely unknown in the West and it is the true story of Ivan the Terrible’s chosen bride who was poisoned soon after their marriage. The opera is strongly dramatic with beautiful melodic invention and is profoundly moving, especially in the hands of Daniel Barenboim, who is packing in sold-out performances one after the other in Berlin and in Milan – at La Scala where Verdi was discovered and where he is referred to these days simply as “The Maestro.” The celebrated cast is headed by Russia’s latest export, the gorgeous high soprano Olga Peretyatko, still a bit of an unknown quantity to most, but already a star. I’ve watched her in Rossini literally charming the Pesaro audience with her conquering hair-raisingly difficult vocal acrobatics and her spectacular stage presence. It’s almost impossible to outdo her, yet mezzo Anita Rachvelishvili’s deeply felt, heartbreaking performance as the wronged woman gets even more applause at the end. Of the men, German bass-baritone J.M. Kränzle, who is also a great character actor, makes a big impression as a larger-than-life and complex Boyar Grigory. Opera at its best. Janos Gardonyi Parry – I Was Glad; Coronation Te Deum Choir of Westminster Abbey; Onyx Brass; Daniel Cook; James O’Donnell Hyperion CMA68089 !!Sir Hubert Parry’s most famous Church of England standards such as Jerusalem, Dear Lord and Father of mankind (on his hymn tune Repton), the ode Blest pair of sirens, his “Mag and Nunc” (Magnificat and Nunc 68 | Nov 1 - Dec 7, 2015 dimittis) and coronation pieces I was glad and Te Deum are featured alongside lesser-known early works in this excellent recording by the gentlemen and boys of Westminster Abbey. Though some contemporaries saw Parry as overly conventional, one must admit that his music can be rousing and has graced many a royal occasion, not just in his own time but in ours as well. While I was glad and Te Deum served for coronations throughout the 20th century, Blest pair of sirens – Parry’s setting of Milton’s ode At a Solemn Music, was performed by the Westminster Abbey Choir for the wedding of the Duke and Duchess of Cambridge (William and Kate). By employing the Onyx Brass, this recording pays tribute to the many times brass was introduced in arrangements of Parry’s work, notably those by Grayston Ives. The choir performs as if born to this music and an excellent solo quartet for the Magnificat emerges from its ranks, including a treble solo of great clarity by the young Alexander Kyle. Organist Daniel Cook veritably shines, having been given the over 11-minute Fantasia and Fugue in G Major. Dianne Wells Rufus Wainwright – Prima Donna Janis Kelly; Kathryn Guthrie; Antonio Figueroa; Richard Morrison; BBC Symphony; Jayce Ogren Deutsche Grammophon 479 5340 !!Rufus Wainwright is certainly a polarizing figure. Celebrated by some, panned by others, for his fawning song-bysong recreation of Judy Garland’s concerts. He has been a ubiquitous presence at the Toronto Luminato Festival and is now a recorded opera composer. Wait, what? Yes, his 2009 opera Prima Donna, seen in Toronto at Luminato, recently received the full Deutsche Grammophon treatment with a stellar cast. Wainwright says he was inspired by a late-in-life interview with Maria Callas, apparently conducted in French, hence the language of the opera. Instigated apparently as a promise of commission from Peter Gelb and the Metropolitan Opera, it did not end up at the Met – Gelb insisted on a new opera in English, not French. Instead, the Manchester Festival and the now defunct New York City Opera staged it to little fanfare. So, how is it? Surprisingly listenable. Wainwright does not break any new ground here, but it is a competent piece of Puccini-esque nostalgia. The interesting part is that Wainwright writes the best melodies not for his Prima Donna, but for her imagined lover, the journalist André Letourneur. Late in the work, in the fifth scene of the second act, the beautiful voice of Antonio Figueroa brings to life some fine operatic writing. In an intriguing twist of the libretto, the scene is a recreation of the past glory of the Prima Donna and her partner, foreshadowing the sad ending. Nostalgic musically and thematically, Prima Donna is a surprisingly enjoyable effort from the bad boy of torch song. Robert Tomas EARLY MUSIC AND PERIOD PERFORMANCE Perfect Polyphony – Peter Phillips’ Favourites Tallis Scholars Gimell CDGIM 213 !!Coming up to 2000 concerts and 56 albums, director Peter Phillips has chosen to celebrate the Tallis Scholars by compiling his favourite recordings from 40 years of their stellar performances of Renaissance polyphony. Appropriately, the disc begins with Palestrina’s Missa Papae Marcelli, which also happens to be the very first piece the group ever recorded, and is followed by a lovely 1987 recording of Victoria’s Versa est in luctum. Tackling Gesualdo’s intense and harmonically challenging Ave, dulcissima Maria highlights the high level of precision these singers can execute. Particularly moving are the two sets of Lamentations of Jeremiah by Thomas Tallis, with Brumel and Ferrabosco’s settings following. Repetition, however, is not an issue: each composer’s treatment (and selection of text) is quite different. The opening of Josquin’s Missa Ave maris stella is resplendent with purity of tone, particularly in the women’s voices, and is lovely in its canonic pursuit from start to finish. The Tallis Scholars’ perfect intonation is enhanced by their uncanny ability to imbue the performance with meaning and beauty, never departing from the true spiritual significance of these works. Dianne Wells Concert note: The Chamber Music Orillia Chamber Choir performs Palestrina’s Missa Papae Marcelli and works by Rachmaninoff, Fauré and Bach under Jeffrey Moellman’s direction on November 8, at St. James’ Anglican Church, Orillia. The Vale of Tears Theatre of Early Music; Schola Cantorum; Daniel Taylor Analekta AN 2 9144 !!Many years ago I discovered Heinrich Schütz’s funeral cantata, the Musikalische thewholenote.com Exequien at an early music workshop in Amherst, Massachusetts. I am not exaggerating when I say that this was one of the most stunning musical experiences which have come my way. The week ended with a performance which was recorded. Naturally I rushed out to obtain the tape. It proved truly awful. Fortunately I discovered a fine professional performance conducted by Hans-Martin Linde on LP (it never made it to CD). Since then there have been others. I do not myself care for the very extroverted disc conducted by John Eliot Gardiner (Archiv) but there is a superb rendering by Vox Luminis on Ricercar, conducted by Lionel Meunier, who is also one of the bass soloists. I am not going to claim that this new recording led by Daniel Taylor is even better, but it certainly runs close. It gets off to a very good start with the Intonation sung by Rufus Müller, who is terrific throughout. The singing is very fine and besides Müller I very much enjoyed the soprano soloists, Agnes Zsigovics and Ellen McAteer. The CD also contains two short movements from a mass by Michael Praetorius as well as a cantata by Bach (O heiliges Geist- und Wasserbad, BWV165). That cantata has a solo quartet consisting of Zsigovics, Müller, Daniel Taylor (alto) and Alexander Dobson (baritone). They are very good as are some of the obbligato players, notably the violinist Cristina Zacharias and the cellist Christina Mahler. Highly recommended. Hans de Groot Concert note: The Theatre of Early Music Choir and Students of the Schola Cantorum led by Daniel Taylor, are featured in The Lamb: An A Cappella Christmas Concert at Walter Hall, Edward Johnson Building, University of Toronto, on November 29. Also, baritone Alexander Dobson is the featured soloist in New Music Concerts’ peformance of Ailes by Philippe Leroux on December 6 at Betty Oliphant Theatre. Le Concert Royal de la Nuit Ensemble Correspondances; Sébastien Daucé harmonia mundi HMC 952223.24 !!The ballet Le Concert royal de la Nuit was first performed in 1653. It can be seen as an act of homage to the young French king, the then 15-year old Louis XIV, who also danced the main part, that of the rising sun. A complete list of thewholenote.com the performers has survived: it includes 24 princes and aristocrats, four courtiers and five children. We know that the author of the text was Isaac de Benserade. Jean de Cambefort was the most prominent composer of the music. The vocal music has been preserved but the instrumental music is based on a copy by Philidor, made half a century after the ballet’s performance. Philidor wrote out the top line and sometimes the bass line. It was left to the conductor, Sébastien Daucé, to reconstruct the implied but missing inner lines. Often now record companies try to economize on the material provided. That is not the case here where the CDs come with a richly documented book of almost 200 pages that includes illustrations of the original performers and their costumes, illustrations taken from the material preserved at Waddesdon Manor in Buckinghamshire. In one of his notes, Daucé mentions that he had originally intended to create a complete reconstruction of the original ballet, but that was not feasible. Instead, we have here all the vocal music as well as 51 of the original 77 dance sequences. This music is juxtaposed with selections from two Italian operas written for Paris: Ercole amante by Francesco Cavalli and Orfeo by Luigi Rossi. These operatic sequences are written in a rather different idiom than that of the dance music but they go together surprisingly well. The record also contains some earlier airs by Antoine Boesset (who had died in 1643): these provide an interesting contrast with the slightly later dance music. The music requires large forces to do it justice: I counted 16 singers and 34 instrumentalists. Everything is beautifully done. Hans de Groot CLASSICAL AND BEYOND Haydn; Schubert; Brahms Stéphane Tétrault; Marie-Ève Scarfone Analekta AN 2 9994 !!This cello disc comprises three significant works by Viennese masters. Haydn’s delighful Divertimento in D Major was arranged for cello and piano by Gregor Piatigorsky from the original, composed for the violrelated baryton, viola and cello. Cellist Stéphane Tétreault is heartfelt in the opening Adagio’s melodies, still achieving classical poise with pianist Marie-Ève Scarfone. They convey the Menuet’s classicism and match the finale’s brightness and geniality. For me the disc’s highlight is Schubert’s Sonata in A Minor for the six-stringed, bowed arpeggione (1824), now usually played on the cello. The duo’s reading is impassioned, its expression tasteful. Dramatic arpeggios and leaps suggest agitation and crying. The Adagio’s emotional opening cello melody carries forward into a well-shaped long line. There is plenty of colour in Tétreault’s playing, with flexibility of tempo and perfect ensemble by the duo. Lucie Renaud’s fine program notes point out nostalgic and historical elements in Brahms’ Sonata in E Minor (1871) – for example the second movement’s minuet and third movement’s fugato – and connections to the disc’s previous works. After the Schubert, I was struck by this piece’s analogous leaping cello cries in the first movement’s opening theme. And Brahms-like Schubert is a master at mixing major- and minor-key inflections that evoke shifting moods. The performers are neither routine nor precious in their expressive reading of the Menuetto. And Scarfone comes to the fore in the finale, playing its contrapuntal passages with fire and conviction. Roger Knox Schumann – Piano Concerto in A minor; Piano Trio No.2 Alexander Melnikov; Isabelle Faust; Jean-Guihen Queyras; Freiburger Barockorchester; Pablo Heras-Casado harmonia mundi HMC 902198 !!This is the second installment of Schumann’s three trios and concertos. The first (HMC 902196) contained the violin concerto and the third trio Op.110 in performances that were game changing with a soft attack and sensitive textures. This orchestra as we know by now, with their aesthetic firmly based, seeks to recreate the sound of early music in its time. The open mesh to their sound illuminates this middleromantic deployment of pre-modern instruments. With valveless horns and trumpets, woodier woodwinds, sinewy gut strings and taut percussion, this must be the sound the composer knew wherein no instrument is buried. Schumann in his concertos sought to harmonize the sound of soloist and orchestra rather than throw them against each other as Brahms did later. The pianoforte employed in this concert performance, recorded in the Berlin Philharmonie, is an 1837 Érard. The enthusiastic performance is a revelation, driven by Spanish conductor HerasCasado’s well-paced tempi, always attentive to the felicities of Schumann’s score. All aspects considered, this is decidedly a benchmark account. Exactly as I noted in my May 2015 WholeNote review of their performance of the Third Trio, “Faust and her colleagues radiate ardor and optimism, performing with sensitivity, sincere musicality and flawless ensemble that hold the listener’s attention.” Their choice of instruments is interesting: Nov 1 - Dec 7, 2015 | 69 Melnikov’s pianoforte is again the Streicher (1847 Vienna), Faust’s violin the 1704 Strad and Queras’ cello the 1696 Gioffredo Cappa. Bruce Surtees Mahler – Symphony No.5 Seoul Philharmonic Orchestra; MyungWhun Chung Deutsche Grammophon 481 154-0 Mahler – Symphony No.10 Orchestre Metropolitain; Yannick Nézet-Séguin ATMA ACD2 2711 !!Two very different recordings pose the question: how “live” is a live performance? The Korean conductor Myung-Whun Chung has brought the Seoul Philharmonic to the world’s attention thanks to his recording contract with the venerable yellow label and the orchestra certainly sounds fabulous in this latest DG recording of Mahler’s Fifth Symphony. Though it is difficult to say precisely whether the credit lies entirely with the conductor or the German Tonmeister team, the results are sonically exceptional. It is, after all, quite unusual to detect the grainy sound of contrabassoon doublings so distinctly in the concert hall or to apprehend orchestral balances this clearly in real life live performances. In any case, Chung proves himself a master of this familiar work, conducted from memory and sensitively interpreted with a convincing Viennese lilt in the lengthy third movement Scherzo and a moving yet not maudlin performance of the celebrated Adagietto. The challenge of the Rondo finale is adroitly solved by taking a middle-ground tempo that binds together the ever-shifting tempi of the disparate sections. From the outset of his Tenth Symphony it is clear that Mahler was tentatively entering into a new sonic realm of expanded chromaticism and rhythmic freedom, tragically cut short by his untimely death at the age of 50. He left behind skeletal sketches of the entire work which has been reconstructed several times, the most familiar of these being the third Deryck Cooke version presented here. For the most part the Orchestre Métropolitain delivers an impressive performance save for some occasionally ragged playing by the brass section. Though the normal OM string section has been doubled in strength for this performance, they still fall 17 players short of the Seoul forces and the difference is telling. Nonetheless Nézet-Séguin uses this 70 | Nov 1 - Dec 7, 2015 to his advantage, bringing forth a beautifully veiled pianissimo behind the exquisite flute solo in the moving finale of the work. ATMA’s production is far less interventionist, spliced (not altogether seamlessly) together from multiple performances in long takes with a modest array of microphones. Despite the disparate production values of these two releases it is the ATMA recording I find myself returning to most often; Nézet-Séguin clearly has something special to say about this least familiar Mahler symphony and I am willing to forgive its relatively minor shortcomings. Daniel Foley Rachmaninov; Haydn; Ravel Alain Lefèvre Analekta AN 2 9296 !!Ever since winning first prize in piano and chamber music at the Paris Conservatoire followed by first prize at the Alfred Cortot International Piano Competition, Alain Lefèvre has earned a reputation as an artist of the first rank. His performances have won him rave reviews in the press and he has appeared on concert stages as far reaching as New York, Berlin, London and Shanghai. Although born in Poitiers, France, Canada has long claimed him as a native citizen, owing to his long period in this country beginning with his first lessons at the Collège Marguerite-Bourgeoys in Montreal. His newest disc on the Analekta label features an eclectic program of music by Rachmaninov, Haydn and Ravel. From the opening descending arpeggio of the Rachmaninov Sonata No. 2 in B-flat Minor, the listener is made keenly aware that Lefèvre is in full command of this most challenging repertoire. Like Chopin’s sonata of the same key, this work is a study in contrasting movements. Lefèvre approaches the technical demands of the first and third with apparent ease, capturing the dark and dramatic spirit with much bravado, while the quietly introspective second movement is treated with much sensitivity. In total contrast is the Haydn Sonata No.38 in F Major, dating from 1773. Lefèvre’s interpretation is elegant and precise, demonstrating a particular clarity of phrasing as befits this music, clearly rooted in the classical tradition. Ravel’s La Valse from 1918 has always been regarded as a tour de force. In this version for piano, Lefèvre adroitly captures the waltz’s kaleidoscopic moods, from the opening references to a gracious Second Empire ballroom to its final frenzy – a true musical depiction of a “harsh new world” brought on by the immense political and social changes of the early 20th century. Bravo, M. Lefèvre – once again you have proven yourself most worthy of the accolades bestowed by critics and audiences alike. Richard Haskell Prokofiev – Cinderella Mariinsky Ballet & Orchestra; Valery Gergiev Mariinsky MAR0555 !!Of late, with its ongoing confrontation in Ukraine, European trade sanctions and a worrisome intervention in the Syrian war, Russia is again starting to look like a frozen-in-time empire of the Cold War. There is no such freeze in the artistic life of the country however. Case in point: new, exciting choreography for Cinderella. This staple of traditional ballet, rendered beautifully by many artists, from Margot Fonteyn to Maya Plisetskaya, was a stylish piece, to be sure, but it has been in dire need of a makeover. The new Cinderella is simply brilliant. Contemporary and energetic, with smart costumes by Elena Markovskaya, it plays, as it should, as a modern parable of the triumph of good over evil. The sheer nervous energy of the performance highlights the beauty of the score. In typical Prokofiev fashion, the music reveals itself to be even more ahead of its time than we suspected. The physically demanding new choreography illustrates perfectly the tension of the score and highlights Prokofiev’s uncanny ability to express movement through music. Filmed in the Mariinsky Theatre in St. Petersburg, the work truly belongs in Mariinsky II, designed by the Canadian starchitect Jack Diamond. Fresh, exciting and triumphant, this recording leaves us hoping that Putin’s Russia is nothing but a phase in the history of a great artistic nation. Robert Tomas Shattered Expectations Acclarion Acclarion Records ACC3000 (acclarion.ca) !!Acclarion’s latest release showcases the phenomenal musicianship of clarinetist Rebecca Carovillano and accordionist David Carovillano. Partners both in life and in this 12-year duo project, they perform here with passion, elegance, wit and stylistic acuity. Five tracks are composed by David Carovillano. It is always a joy and an earopening experience to hear a composer play his own works. Rooted in romantic and postromantic soundscapes with touches of jazz flavours, the serene virtuosic opening and challenging fluid lines of Twilight of Shadows and driving momentum of the aptly titled thewholenote.com Frenzy, especially showcase Acclarion’s tight ensemble awareness of balance, breath and colour, and the composer’s thorough knowledge of both instruments. Mozart’s Clarinet Quintet for Two is a gorgeous performance by two exceptional classical players as the accordion proves itself to be a perfect instrument to join the clarinet in this transcription. Likewise the three short Vaughan-Williams English Folk Song tracks are welcome, soothing delights both in arrangement and the colourful lush sonic qualities. Rebecca Carovillano is a star clarinet performer with solid breath control, superb varied tone and an unmatched musical ear sensitive to nuance. David Carovillano plays the accordion with the same qualities, and solid bellows control and technical mastery. Together they create detailed and interesting musical conversations. More varied dynamics and a bit more spontaneity would drive the duo toward a welcome future musical journey that will hopefully continue for many years to come! Tiina Kiik MODERN AND CONTEMPORARY Leo Ornstein – Piano Quintet; String Quartet No.2 Marc-André Hamelin; Pacifica Quartet Hyperion CMA68084 !!Why has there been a revival of music by composer/ pianist Leo Ornstein (18932002)? From early groundbreaking piano pieces onward, his was an extraordinary (and extraordinarily long!) musical life. In 1906 his family emigrated from Russia to the United States where he trained as a piano virtuoso, but after an amazing start he gave up concertizing. His father was a cantor and Ornstein’s RussianJewish musical heritage came to the fore. In a modernist context it permeates the Piano Quintet (1927), which I think ranks in quality with the Shostakovitch and Bloch quintets for piano and string quartet. The tempestuous opening movement typifies Ornstein’s rhapsodic process of linking varied phrases and sections that suggest frenzied dances, song-like laments, marches and much more. I particularly liked the slow movement, especially a passage with high violin, mysterious piano repeated notes and chords, and uneasy supporting strings. The Quintet reflects Ornstein’s piano virtuosity; MarcAndré Hamelin, who has recorded a notable Ornstein solo disc on Hyperion, is ideal, while the outstanding Pacifica Quartet partners him with confidence, colour and clarity. Ornstein’s String Quartet No.2 (c.1929) is a more orderly affair. Strings are treated thewholenote.com more independently than in the Quintet,and the lower instruments are given solos. The Pacifica Quartet emphasizes the work’s lyrical beauty with well-shaped melodic gestures and sensitive playing of accompanying parts, which through Ornstein’s variety of chord spacings, registers and rhythmic patterns become just as interesting as his melodies. Roger Knox Spin – like a ragged flock James Harley; Ellen Waterman Independent ADAPPS 15001(jamesharleymusic.com) !!Spin is a highly original disc created by composer James Harley and performer Ellen Waterman, combining electroacoustic composition, improvisation and spatialized sound. Harley provides the electroacoustics, processing, sound diffusion and theremin playing, while Waterman performs on an array of flutes and provides vocal elements. To demonstrate their improvisational creative process, they have included two versions of two different pieces. The first two tracks, Birding I and II, intermingle a wide range of bird and flute calls, creating hints of an intimate human-nature dialogue before cascading into more complex dissonant textures. The second two tracks, Fluting I and II, create a sonic environment that puts the listener within a field of multiple flute voices, particularly evident when listening in the 5.1 surround sound format, a major feature of this recording. Sound diffusion is the art of moving the sound sources amongst multiple speakers. In listening to all six pieces, I observed a different-than-usual approach to diffusion. Rather than sounds dispersed individually in different spatial locations, I experienced a melded aesthetic, much like being in a reverberant space with the combined sound coming from all directions. Creating contrast between different locations in the space was, however, utilized in unique ways – to split up the layers of a dissonant chord, or to highlight glissandi moving between front and back. Spin creates a unique aural experience, providing several touchstones highlighting our relationship with nature. Although primarily a surround-sound DVD without a CD layer, the disc includes stereo files that can be downloaded to a computer or iPod. Wendalyn Bartley Ivan Ilić plays Morton Feldman Ivan Ilić Paraty 135305 (ivancdg.com) !!American avant-garde composer Morton Feldman, the pioneer of “indeterminate music,” began (like Varèse) with the orchestra making weird sound effects as tonal paintings and later simplified it to white noise like his famous Rothko Chapel where people could sit for hours in isolation, meditate and chill out. For further simplification he turned to the piano with long works lasting over an hour, like this one that sounds like soft notes moving slowly and undisturbed around the middle of the keyboard, always quiet, no crescendo and never reaching forte. Sometimes shrill and percussive very high notes interrupt in a different rhythm like a bird chirping, then a sudden blob of a broken chord in the lower register like a drop of water into a still pond …. Listen to it lying down and soon you’ll drift and float, no longer awake but not asleep either, and when it’s suddenly over you feel as if you have been asleep and perhaps missed something. Wagner wrote such subliminal music like the ancient, atavistic shepherd pipe tune meandering in and out of the consciousness of the mortally wounded Tristan that miraculously breaks through his coma and returns him to life. Feldman’s music operates on this level, but it is also a set of 22 very loose variations with changes so imperceptible, like things that happen in real life. When you expect it, it usually won’t happen but if you don’t, it might. You’ll notice the difference between each variation when you quickly sample the tracks. The whole thing is actually composed and written down, but then it has to be played to sound totally improvised or haphazard, completely unstructured. With his soft and wonderful touch pianiste extraordinaire Ivan Ilić’s mind is so dedicated and attuned to Feldman’s that he can do this like no one else can. It’s spellbinding. (You can get a taste of it along with commentary by Ilić at youtube.com/watch?v=V1B9uX4v1H0.) Janos Gardonyi JAZZ AND IMPROVISED MUSIC On the Street of Dreams Morgan Childs Independent (morganchildsmusic.com) !!Morgan Childs is, as a composer, a drummer, an accompanist and a soloist, deeply rooted in tradition, well-informed, incredibly proficient and bubbling with unmistakable personality. All of this and more is on display in his newest release, On the Street of Dreams, a live album which, over the course of around 70 minutes, presents a compelling argument for going to see Childs play live. Street of Dreams is a compilation of Nov 1 - Dec 7, 2015 | 71 recordings made by Childs’ quartet during two 2013 gigs, cut together as one cohesive set. Included are excellent, underplayed selections from the standard repertoire such as The Man That Got Away and It’s All Right With Me, as well as some original Childs compositions. Such tunes are often tributes to eras past, such as Theodore, a playful tune with a Caribbean vibe that evokes St. Thomas, and Parting of the Rocks, a composition of barely contained righteous anger, reminiscent of jazz protest songs by black composers of the 1960s. That title is an English translation of Attawapiskat; Childs wrote it as “a response to the lack of response by the Harper government to the crisis at Attawapiskat.” In both the composition and the group’s approach, John Coltrane’s classic quartet comes to mind. From ballads to scorchers, this album immaculately captures the energy and sound of the group’s live performances; the rest is up to you. Grab a cold drink and enjoy. Bob Ben Meltframe Mary Halvorson Firehouse 12 FH12-04-01-021 (firehouse12. com) !!In her mid-30s, Mary Halvorson has distinguished herself as the most original jazz guitarist of her generation. A veteran of numerous ensembles led by Anthony Braxton and a regular musical partner of Marc Ribot, Halvorson has touched on the radical fringes of folk and rock as well as jazz and has created a remarkable series of CDs leading a trio and quintet. Meltframe is her first solo CD, and it goes very close to the heart of what makes her such a compelling musician, her rare ability both to reach back to jazz traditions and forward to the possibilities while setting everything in an insistent present. Whether it’s her embrace of Duke Ellington and an absurdly full-size hollowbody archtop guitar, or Ornette Coleman and an effects pedal that carries pitch bending to the stratosphere, Halvorson is at ease with fundamentals, corollaries and contradictions. They’re all here, from the dense electric roar with which she approaches Oliver Nelson’s Cascades to the (lightly amplified) flamenco touch she employs on Annette Peacock’s Blood. McCoy Tyner’s delicate Aisha occasionally surrenders to grunge rock. It’s more for those who like to be surprised than those who hate to be disturbed. Coleman’s Sadness arrives amongst wildly bending arpeggios, while Ellington’s Solitude is a reverie in artificial reverb that moves at a glacial pace toward microtonal dissolution. Halvorson can create great drama with minimal means, evidenced in her treatment 72 | Nov 1 - Dec 7, 2015 of Carla Bley’s Ida Lupino, which develops a kind of intense inevitability through deceptively simple strumming. Works by Peacock and Carla Bley may suggest their first advocate, pianist Paul Bley, whose stark keyboard lines and manipulations of timbre are paralleled here. Stuart Broomer promised in the title. It tells unusual stories energetically, with subtlety, but without artifice or showboating. Ken Waxman Telling Stories Sonoluminescence Trio Art Stew Records ASR 003 2015 !!With the release of this exceptional recording, talented Los Angeles-based guitarist, composer and arranger Bruce Lofgren has once again established himself as one of the most innovative and relevant jazz artists currently leading large ensembles. Lofgren has surrounded himself here with “Jazz Pirates” that include the crème de la crème of West Coast musicians, including two French horn players (reminiscent of the late Rob McConnell’s Boss Brass). Lofgren’s prestigious career as a composer/arranger (Airto, Flora Purim, Buddy Rich), as well as his instrumental skill, has informed every note of this project with a tasty smorgasbord of tempos, styles and feels. The CD kicks off with a re-imagined take on Invitation and segues on to the clever Bop Talk with a vocal by Karen Mitchell, whose lovely soprano is all about the beauty of the melodic line – with each vocal nuance perfectly placed. Mitchell adds her voice to two additional tunes on this recording, (including the stunning bossa nova, Find a Place) with equally wonderful effect. A true stand out is Lofgren’s composition, Far Far Away, which has deeply personal significance to him, and the writing conjures up an almost childlike quality of innocent longing. The addition of Glen Berger’s soprano solo is nothing short of breathtaking. The title track is another stunner – utilizing Lofgren’s superb rhythmic skills and musical vocabulary – as a guitarist, composer and arranger – and speaking of rhythm, Café Rio delivers everything that it promises as well as a face-melting keyboard solo from the gifted Charlie Ferguson. Wind and Sand is arguably one of the most significant large ensemble jazz recordings of the year, rife with musical gems. It’s a must-have. Lesley Mitchell-Clarke !!A band whose improvising is as enlightening as its name, which refers to light produced as sound waves pass through liquid, this trio combination confirms that fluid musicianship can easily overcome geography and separation. A tale of three cities – baritone saxophonist David Mott lives in Toronto, percussionist Jesse Stewart in Ottawa and bassist William Parker in New York – the Sonoluminescence three don’t play together very often. But when they do, intercommunication is paramount, because exposing unique sonic patterns is more important to all than sporting showy techniques. Mott and Stewart are particularly cognizant of this. One feels the drummer would sooner lock himself in an airless crypt than shatter this partnership with blasting beats. As opposed to other baritone players who plunder its lower depths like deep-sea divers in the ocean, Mott emphasizes his horn’s moderato facility. He could be playing a tenor, save for some infrequent rhino-like snorts. As for Parker, he’s cognizant that the double bass can be treated as many instruments simultaneously. This is expressed as early as Echoes of Africa, the CD’s first track, where the patterning from Parker’s strings could come from a berimbau or an ngoni and Stewart’s rhythms from a combination of a wood drum and a conga. Mott’s response isn’t further exoticism however, but comprehensive tongue flutters and expressive peeps. A comparable transformation appears on There’s the Rub, where the sum total of thickened bass string strums, timed percussion clatters and selective reed breaths add up to a New Music-like interlude, with the trio’s storytelling facilities intact. The three are also capable of outputting non-stereotypical rhythmic activity as on the slyly named Rumble for Jackie Chan. But the resulting hard-hitting beat is strained through sardonic 21st-century sensibilities, so that the metrical syncopation is brainy rather than merely brawny. Mixing speedy rhythms, standard tune references and technical extensions when needed for additional colour and emphasis, the Sonoluminescence Trio does just what is Wind and Sand Bruce Lofgren’s Jazz Pirates Night Bird NB-4 (brucelofgren.com) A Serpent’s Dream Michel Godard & Le Miroir du temps Intuition INT 3440 2 (intuition-music.com) !!Michel Godard may be the rarest and best kind of musician, filled with curiosity and energy and without prejudice. A master tuba player and member of the French thewholenote.com National Orchestra since 1988, he’s even more distinguished as an explorer. Taking up the tuba’s ancestor, the serpent, he plays jazz on it as well as ancient music. His most distinctive work may be in the unusual hybrids he constructs between jazz and renaissance music, like A Serpent’s Dream with his quartet Le Miroir du Temps. The band’s sounds are distinctly beautiful, blessed by a dry and ancient clarity in the case of Godard’s serpent and Katharina Bäuml’s shawm, though Bruno Hestroffer’s theorbo (a long-necked lute) sounds lightly amplified (at least with a microphone close to the steel strings) and Godard’s occasional electric bass is by definition. Percussionist Lucas Niggli employs a host of instruments to add colour, but it’s his hand drumming that comes to the fore. There’s nothing of the purist in Godard’s approach: most of the works heard here are his own compositions, and he’s just as happy setting them beside the ancient and anonymous In Splendoribus as Charlie Haden’s Our Spanish Love Song, with its distinctively contemporary – or at least romantic – harmonies. Godard’s ensemble manages to reveal a subtle sense of order, some of it gleaned from archives and some just coming into being. Presented with the opportunity to play a serpent made in 1830 that is decorated with an ornate, gilded sea monster with scales and tail, Godard elects to play the blues, the traditional, specific and appropriate Old Black Snake Blues. It’s impossible not to be charmed. Stuart Broomer Leo Records 35th Anniversary Moscow Gratkowski; Kruglov; Nabatov; Yudanov Leo Records CD LR 719 (leorecords.com) !!Anniversaries of record companies usually only serve as a reminder of the longevity implicit in cannily peddling particular products. But the commemoration associated with this CD is more profound. Recorded at the initial Moscow concert of a quartet consisting of two Russians – Alexey Kruglov playing alto saxophone and basset horn and percussionist Oleg Yudanov – plus Germans, pianist Simon Nabatov and alto saxophonist/clarinetist Frank Gratkowski, the five tracks pinpoint the cooperative skills of players from both countries. Providing a forum for Russian free improvisers to demonstrate their advanced expertise was one of the reasons Londonbased Leo Records was founded 35 years ago. That neither the Eastern nor Western players can be distinguished on the basis of talent or sound on this celebratory disc is a tribute to the label’s ideas. Russian-born and American-educated Nabatov provides the perfect linkage among thewholenote.com the band members. The grandeur of his cascading runs on Our Digs for instance, creates emotional underpinning for the reedists’ atmospheric whispering; plus his emphasized wooden key stops provide the climax. At the same time he clatters phrases on the keys and slams the instrument’s frame to amplify the piano’s percussiveness on Homecoming, locking in with Yudanov’s smacks and rolls, never unduly forceful in themselves. Marathon-speed chording also adds to the saxophonists’ expositions that mix harsh Aylerian smears with reed textures as broad as wide-bore scanners. While as indistinguishable as corn stalks in a field, when alto saxophone bites emanate from both players, identifying resonation distinguishes Gratkowski’s bass clarinet and Kruglov’s basset horn on the reed showcase Hitting It Home. Exchanges between the Russian’s warbling yelps and the German’s sonorous hums that could be sourced from an underwater grotto are ornamented by the pianist’s ringing timbres and shaped into a pleasing narrative. Since outsiders rarely associate Germans or Russians with humour, House Games is particularly instructive, when the woodwind players’ choked yelps and snarling pants make the exposition sound like an aural Punch and Judy show – and just as violent. However this tongue splattering and note spewing is eventually harmonized into a manageable melody by the pianist’s romantic interludes. Overall, Leo’s more than three-decade-old promise is fulfilled with a connective session such as this one. Ken Waxman POT POURRI Persian Songs Nexus; Sepideh Raissadat Nexus 10926 (nexuspercussion.com) !!Persian Songs, the 16th album on its own Nexus label (there are numerus others in addition), provides an interesting dual portrait of the veteran Torontobased, internationally renowned group’s musical roots and multi-branched evolution. It’s also an exhilarating listening experience. Two musical suites are featured on the album, both skillfully arranged by Nexus member and University of Toronto music professor Russell Hartenberger. They provide insights into his – and the group’s – career-long investment in two (often complementary) threads: on one hand 20th century American music, and on the other, music performed outside the Euro-American mainstream. First up is Moondog Suite, a mellow tribute to the compositions of Louis T. Hardin (1916–1999), a.k.a. Moondog, the outsider American composer, street musician and poet. His music has been cited as an influence on the development of New York musical minimalism. Hartenberger’s caring and crafty arrangements, rearrangements and adaptations for keyboard-centric percussion provide a disarmingly straightforward presentation of Moondog’s tonal contrapuntal melodies. The Suite is capped by Suba Sankaran’s cameo appearance singing the cheery I’m This, I’m That, set in a classical passacaglia form. The album’s centerpiece is the eight-part Persian Songs, featuring arrangements of songs by the award-winning contemporary Iranian stage director, novelist and songwriter Reza Ghassemi. Musical interpretations of poems by giants of the Persian classical literary period, including Hafez, Sa’adi and Rumi, these songs are evocatively sung and accompanied on the setar by the Iranian vocalist Sepideh Raissadat. Steeped in the rich Persian music tradition from an early age, she has been called “a key figure in the new generation of classical Persian song interpreters.” In 1999 Raissadat took the bold step of giving a solo public performance at the Niavaran Concert Hall in Tehran, the first female vocalist to do so after the 1979 Iranian revolution. Raissadat is currently pursuing her doctoral studies in ethnomusicology at the U. of T. with Dr. Hartenberger among others, just one of the fascinating interconnecting threads on this album. Hartenberger’s arrangements, Raissadat’s singing and Nexus’ precise performances culminate in eight and a half minutes of glorious music making on Az In Marg Matarsid; Bouye Sharab. It’s a powerful illustration of the vibrant and rich transcultural musical tapestry being woven right now, right here in Toronto. Andrew Timar Subcontinental Drift Sultans of String; Anwar Khurshid Independent MCK2060 (sultansofstring. com) !!World music Canadian superstars Sultans of String continue to expand their musical journey with the addition of guest sitar master Anwar Khurshid in this release. Khurshid adds energy and Eastern flavours to the already diversesounding flamenco, Arabic folk, Cuban rhythm, East Coast fiddling and you-nameit-sounding band. The result is perfect, joyful music performed by perfect musicians. Founding members violinist/bandleader Chris McKhool and guitarist Kevin Laliberté along with guitarist Eddie Paton, bassist Drew Birston and Cuban master percussionist Rosendo “Chendy” Leon have created the band’s signature successful blend as heard on the rhythmical percussion-driven Nov 1 - Dec 7, 2015 | 73 Subcontinental Drift and the more folksy A Place to Call Home. It is their strength of vision that welcomes Khurshid’s musicianship to all the tracks. Rakes of Mallow is an ancient Irish fiddle tune introduced to India and taught to local musicians during the English rule. Sung passionately by Kurshid, it is followed in medley form by the rollicking original Rouge River Valley. Bob Dylan’s Blowin’ in the Wind is given a timeless world beat cover. Journey to Freedom is an uplifting positive song/anthem sonic blend tracing Kurshid’s journey from Pakistan to Canada. Other special guests lending their signature sounds to specific tracks include Ravi Naimpally, Shweta Subram, Waleed Abdulhamid and a backing choir. The production qualities feature a balanced mix and live off the floor clear tone quality. Subcontinental Drift is simply great music for all to enjoy and respect. Tiina Kiik Shadow Trails Linda McRae Borealis Records BCD237 (lindamcrae. com) !!This stirring roots/ folk/country project is the inspired brainchild of Canadian vocalist/composer/ multi-instrumentalist Linda McRae and her husband, retired rancher and poet, James Whitmire. The material (nearly all original) is inspired by the Nashville-based couple’s life-affirming work with incarcerated, nascent writers being held in the notorious New Folsom Prison, as well as their important work with at-risk youth – many of whom contribute moving lyrics and their personal stories to this recording. Perhaps best known as a member of the platinum-selling band Spirit of the West, McRae brings to the table her well-lived-in contralto and infallibly honest delivery. Well-produced by guitarist Steve Dawson (who also serves as frequent co-writer), each tune tells a story of love, loss, regret, poverty, isolation, injustice and also grace. In addition to Dawson and Whitmire, McRae’s talented collaborators also include bassist John Dymond, drummer Gary Craig, keyboardist Steve O’Connor and an array of guests including fiddler Fats Kaplin and Ray Bonneville on harmonica. The music here is unflaggingly authentic, deeply satisfying, refreshingly acoustic and imbued with a big dose of soul and a skilled musicality. Of special note are Linda’s biographical reverie, Can You Hear Me Calling; also Flowers of Appalachia, with lyrics by Ken Blackburn – an inmate in New Folsom Prison who became a poet and lyricist through the Arts in Corrections program – and finally Singing River, the heartrending tale of Te-lah-nay and the dehumanizing treatment of Yuchi Native Americans and their brutal relocation away from their beloved “Singing River” in Muscle Shoals, Alabama. Whether roots music is your cup of tea or not, this standout recording is a consciousness-raising journey through a challenging emotional landscape that also embraces hope and redemption. Lesley Mitchell-Clarke Something in the Air Honouring More Than The Few Famous Jazz Greats W KEN WAXMAN extensions and Davis a continuous pitter patter. Crucially, the climax is reached when circularly breathed saxophone pitches blend with distinctively scattered arco swipes from both string players. Confirmed is the abiding power of, plus the continued sonic research involved in creating, the sounds that Anderson and Mitchell helped nurture. ith music like the other arts increasingly focused on known quantities, recorded salutes to jazz greats have almost become a subcategory of their own. If the world needs another record of Beethoven, Mozart, Elvis or Sinatra, then saluting Ellington, Trane or Miles one more time shouldn’t be a dilemma. But more erudite improvisers realize the music’s wider reach, and if they opt to honour innovators, as on the CDs here, choose lesser-known but equally important stylists. Cello, soprano, bass and drums are also featured in a salute to another deceased saxophonist, also using a combination of his compositions and others written especially for the date. But soprano saxophonist Rob Reddy’s Bechet: Our Contemporary (Reddy Music RED 003 robreddy.com) resembles neither Celebrating Fred Anderson nor a reproduction of the music of New Orleansborn soprano saxophonist Sidney Bechet (1897-1959). Like theatre companies which perform modern variations on Shakespeare’s plays, Reddy re-orchestrates the timeworn pieces into something contemporary. Case in point is Chant in the Night expanded from Bechet’s rickety-tick, under-three-minute reed showcase to a 15-minute exercise in counterpoint between trombonist Curtis Fowlkes’s protracted slide smudges and hard-punching almost rural licks from Marvin Swell’s guitar. Encircled by flashing swipes from violinist Charles Burnham and cellist Marika Hughes plus amalgamated horn riffs, the end result piles burnished tones atop one another creating a unique structure that’s both traditional and futuristic, especially when a Theremin-like twinge signals the end. Trombone and trumpet vamps predominate on Petite Fleur. But like a ballet dancer who surprises by executing a faultless cha cha, rather than the familiar theme coming from Reddy’s soprano, it’s instead given a memorable reading by Burnham. Two other Bechet tunes are strutting expositions, although Pheeroan akLaff’s Gene Krupa-like hollow wood block smacks on Broken Windmill may be more trick than tribute. Reddy’s portion of the tunes is as high class, Prize of the group is saxophonist Roscoe Mitchell’s Celebrating Fred Anderson (Nessa ncd-37 nessarecords.com). Here, one of the founders of Chicago’s influential Association for the Advancement of Creative Musicians (AACM) honours another of its founders, tenor saxophonist Fred Anderson (1929-2010) by playing two of Anderson’s and four of his own compositions. Backed by other AACMers, cellist Tomeka Reid, bassist Junius Paul and drummer Vincent Davis, Mitchell, 75, a more experimental stylist than Anderson, uses the narrow, near-Oriental timbres of sopranino to liberate Anderson’s Bernice and Ladies in Love from the older saxophonist’s freebop conceptions. As Davis’ cymbal smacks sprinkle intermittent tones like flowers on a tombstone, Mitchell uses the natural melancholy from Reid’s instrument plus his sax’s nipped tones to convert Bernice into an effective threnody. In contrast, Ladies in Love moves from a respectful moderato melody to Morse code-like beeps, expressed by near replication of infant cries from Mitchell plus staccato counterpoint from the cello. Emphasized is the rainbow-like expressiveness of the theme’s powerful colours. Hey Fred is the session’s highlight. During its 17-minute length Mitchell expels staccato alto saxophone timbres with the ferocity of a lightning storm, while Paul’s thundering stabs and slants pace his string tones. As laboratory scientistlike Mitchell exposes melody permutations, Reid contributes arco 74 | Nov 1 - Dec 7, 2015 thewholenote.com is reminiscent of someone making sure to spread jam on every single millimetre of his toast. More crucially, the pianist’s synergy with his bassist is as pronounced as Bley’s was with his sidemen. Tracks such as the stop-and-go Bluesy and Refugee Blues find the two playing pitch and catch with the themes, with blues expressed only by inference. Meanwhile on the introspective Ashes, Cappelletti appears to be answering every chord he plays himself; and on the slow-moving and stately Coral creates a sense of unfolding drama which perfectly presages the Monk medley that follows it. While Cappelletti’s touch is also not spare enough to meet Monk’s idiosyncrasies on Pannonica & Crepuscule with Nellie, the luxurious elegance he brings to his own compositions is imposing. DiCastri’s bowed bass line adds expressive deep tones to Durate, as Ditmas’ molasses-slow rolls maintain the tune’s ambulatory momentum; while the almost endless thematic development the three bring to Dialogue invests it with a scanty romanticism, characterized by piano-key dusting and the drummer’s patterning smacks. with Erasing Statues making room for bottleneck guitar-like sonorities within a ring-shout-like accompaniment; while luculent horn multiphonics modernize the yearning blues licks from Sewell that introduce Yank. Taking the concept one step further is cellist Erik Friedlander whose Oscalypso (Skipstone SSR22 skipstonerecords.com) consists of nine compositions by cellist Oscar Pettiford (19221960), one of the first to introduce that orchestral instrument to jazz. Throughout Friedlander and company – tenor and soprano saxophonist Michael Blake, bassist Trevor Dunn and drummer Michael Sarin – interpret the tunes with restrained, unselfconscious swing, that could be called cool, but with a harder edge. Sarin, for instance, never thunders, but outputs a constant pulse that ranges from clipping rim shots on the title tune that are answered by spiccato bowing from Friedlander and narrowed note spearing from Blake, to near-Afro-Cuban conga replications on Sunrise Sunset that encourage dance-like flutters from the saxophonist. Supple and relaxed, the cellist’s and reedist’s timbres intersect often, like the conversation of fraternal twins. They can do so at warp speed as on Pendulum at Falcon’s Lair, with its familiarsounding melody studded by (Stan) Getzian euphony from Blake, or in full balladic mode with the slowly building Two Little Pearls. Tongue-trilling tremolos from the saxophonist are egged on by the cellist’s string sweeps as Dunn strengthens the rhythmic bottom as he does throughout. Expressively romantic playing arco as any cellist facing the Impressionistic repertoire, yet as rhythmically exciting plucking pizzicato as any guitarist in a swing combo, Friedlander not only confirms his talents and those of the quartet members, but flags the continued adaptability of Pettiford’s compositions to contemporary sounds. An identical format was used in 1975 by pianist Barry Harris’ trio to pay tribute to a composer-arranger-pianist, whose achievements were even at that early date in danger of being forgotten. Plays Tadd Dameron (Xanadu Master Edition 906071 elemental-music.com) with bassist Gene Taylor and drummer Leroy Williams was the first – and for many years the only – disc given over to classics by Dameron (1917-1965), whose tunes such as Hot House and Our Delight defined bebop. Harris, whose harmonic adroitness is in many ways comparable to Dameron’s, stresses both the melodic and rhythmic parameters of these tunes. With Taylor string interpolations shadowing him like a guide dog with his master, the pianist’s interpretations are more buttoned down than the originals, but this controlled session also lacks spectacular front men like Fats Navarro and John Coltrane, for whom the tunes were first composed. Yet by separating these eight classics from their initial recordings, Harris burnishes the composer’s reputation. For instance his evocative version of If You Could See Me Now, initially recorded by Sarah Vaughan, adds a wash of colourful breaks to the ballad like nuts sprinkled on caramel chocolate. Soultrane, first recorded by Coltrane, is modulated into sophisticated smoothness with the floating beat encompassing pure emotionalism. Meanwhile the assured treatment of the frequently recorded Ladybird is allowed to float freely until double-timing bass work and an elliptical keyboard coda confirm its individuality. Even the lush Casbah is dappled with rhythmic quotes and humour to strip out the false exotica so that the melody stands on its own. Forty years ago Harris, now 85, showed that memorable jazz was made by more than a handful of great composer/performers. Today, canny players are further exposing inventive compositions by lesserknown creators. With more colours and contours in place, a fuller picture of the music emerges. Canada’s second best-known jazz pianist is the subject of another salute: Homage to Paul Bley (Leo Records CD LR 732 leorecords. com), but Italian pianist Arrigo Cappelletti has taken the oddest way to frame his admiration for someone he lists as one of his chief inspirations. Cappelletti, who teaches at Venice’s Music Conservatory and has played with Bley associates like drummer Bill Elgart and bassist Steve Swallow, plays mostly his own music here. Of the three tunes not by Cappelletti though, one was composed by Andrew Hill, two were composed by Thelonious Monk. There’s probably some perverse Mediterranean logic at work here. Although none of the 13 tracks are Bley compositions, the pianist, assisted by bassist Furio Di Castri and drummer Bruce Ditmas, both of whom worked with Bley, writes short, weedy lines that compare to the Canadian’s work. Unlike Bley’s note economy though, the Italian’s style is much busier, even on the title tune. The multi-note textural exposition he specializes in Listen in! •Read the review •Click to listen •Click to buy New this month to the Listening Room Subcontinental Drift TheWholeNote.com/Listening For more information Thom McKercher at [email protected] thewholenote.com Considered by many the finest sung Ring ever, featuring Astrid Varnay, Hans Hotter, Wolfgang Windgassen, Gustav Neidlinger, Josef Greindl and Ramon Vinay in top form. Sultans of String with Anwar Khurshid Alpha Moment Peter Hum Nov 1 - Dec 7, 2015 | 75 Old Wine, New Bottles | Fine Old Recordings Re-Released BRUCE SURTEES T hanks to recordings, we can continue to appreciate earlier generations of performers whose special artistry would be completely lost but for the recording industry – in this instance EMI, who thankfully recorded as many artists as they did, including pianist Benno Moiseiwitsch (1890-1963). He was born in Odessa, the birthplace of many of the great ones: Vladimir de Pachmann, Mischa Elman, Emil Gilels, David and Igor Oistrakh, Nathan Milstein and others. Moiseiwitsch espoused artistic values that today seem to have slipped away. His playing is so packed with meaning and nuances that the question of mere precision is quite irrelevant. Today we are swamped with pianists who outdo each other for accuracy and perfection but Moiseiwitsch, a natural pianist in the Romantic tradition, had a wonderful tone, achieving a continuity though a constant organic pulse, that finds music in every phrase where others find only notes. they stick to each other like glue. The ensemble with the BBC Symphony is honestly thrilling and elicits our rapt attention, hanging on every note. The recording is of the performance given at a Proms concert on September 14, 1946 in The Royal Albert Hall and, although more than serviceable, is not of studio quality. Still, it is much better to have this performance than not. For 50 years the most talked-about, bestknown recording of Wagner’s Ring Cycle is the Decca set from Vienna conducted by Georg Solti (4783702). Decca initially took quite a gamble producing such a massive and expensive project, not exactly sure that there would be a market. However, under the care of producer John Culshaw, the recording was made, opera by opera, over a period of years and the four individual operas – rather, music dramas – and the complete Ring set, have not left the catalogue since. Decca has repackaged the set using the latest 2012 remastering plus the two-CD set of Deryck Cook’s, An introduction to Der Ring Des Nibelungen explaining the themes associated with characters and objects in the drama. A CD-ROM of the complete libretto with English and French translations and two booklets about the Ring and synopses complete the package. Most noteworthy is the price of these 16 CDs – around $50! A case of “it’s so cheap I can’t afford not to buy it.” A new collection from Testament, which already has earlier Moiseiwitsch releases, contains performances from 1946 to 1961 (SBT3.1509, 3 CDs). Included are Beethoven’s Waldstein Sonata, Schumann’s Kreisleriana, Pictures at an Exhibition, Beethoven’s Emperor Concerto and the Rhapsody on a Theme by Paganini. The third disc has over 70 minutes of informative interviews given in New York and on the BBC. The Waldstein is a revelation. The performance from 1958 is instantly captivating with a magic that is, I believe, unique to Moiseiwitsch. In the second movement he finds the sense of indolent suspension that conveys more than only the usual merely slow tempo. Yes, the Waldstein is outstanding but when we turn to Kreisleriana we find the artist in home territory: “What never fails to appeal to me is Schumann.” The constant inflections that are needed to bring this composer off are organically natural to him. While not technically a Richter, Moiseiwitsch’s Pictures at an Exhibition is not an exercise but is a fully searching treatment that fleshes out the emotional suggestion of each of these miniatures. Earlier in his career he had no interest in performing the work and ignored it over many years but eventually he was drawn to it and played it regularly but, in his own words, never the same. Moiseiwitsch first toured the United States in 1919 and New York was no stranger to him. On July 19, 1961 he played the Emperor Concerto with Josef Krips and the Philharmonic in Lewisohn Stadium. The pianist had longtime affection and admiration for the work and he and Krips worked very well together. Rachmaninov is a composer with whom Moiseiwitsch had a close personal relationship (revealed in the accompanying third disc of this set). Rachmaninov was having doubts about one of the variations in the Paganini Variations. He confided in Moiseiwitsch that when he wrote it, it was fine but playing it now he skipped a note. One thing led to another and Moiseiwitsch told him that a drink of crème-dementhe would solve his problem. Later that evening Rachmaninov was coaxed into playing for some guests and he played the variation perfectly. Moiseiwitsch insisted it was the crème-de menthe and so, according to Moiseiwitsch, whenever Rachmaninov played the work, he first enjoyed a crème-de menthe. The Rhapsody on a Theme of Paganini is a showpiece for the kind of volatile collaboration Moiseiwitsch was able to forge with a great artist like Sir Adrian Boult. The tempi they discover here go to necessary but natural extremes yet 76 | Nov 1 - Dec 7, 2015 Testament has issued two sets of music from The Ring both featuring Birgit Nilsson singing Brünnhilde’s Immolation Scene. The first entry is the complete Act III of Götterdämmerung live from the Royal Albert Hall on September 6, 1963 with a full cast from the Royal Opera including Wolfgang Windgassen, Gottlob Frick, Marie Collier, Thomas Stewart, Barbara Holt, Gwyneth Jones, Maureen Guy and the Royal Opera Chorus and Orchestra (SBT 1506). This was, in effect, a dress rehearsal for the complete opera to be staged a few days later in Covent Garden. Given the venue, the Proms and all that, this would have been less demanding for Solti’s first public performance of this work. While it is not as perfect as Solti’s Vienna performance for Decca a year later, it does have a sense of occasion – a you-are-there reality in real space, an illusion that it seems cannot be convincingly faked electronically. Also, the listener knows that there are people attached to the voices and where they are. I enjoyed this immensely. Dynamic stereo sound courtesy of the BBC. The other set from Testament is an all-Wagner concert conducted by Pierre Monteux with the Concertgebouw Orchestra from July 1, 1963 (SBT2 1507, 2 CDs, mono). We hear the Tannhäuser Overture, the Siegfried Idyll and the Prelude and Liebestod (with Nilsson) from Tristan. Following intermission, presumably, is Siegfried’s Rhine Journey and Funeral March followed by the Immolation Scene. Monteux was a master musician, a conductor who left his stamp, in varying degrees on whatever he directed. How different his Wagner is from Solti’s: Monteux’s is broader and more meaningful with a sweep missing under Solti. The listener feels an awareness that engenders different emotions. Recorded three months earlier than the Solti, Nilsson is in splendid voice and under Monteux, I would say, more sympathetic to the role. thewholenote.com MUST-SEE FALL CONCERTS Mahler Symphony 4 Thu, Nov 12 at 8:00pm Sat, Nov 14 at 8:00pm What Makes It Great?® Arabian Nights Fri, Nov 13 at 7:30pm Wed, Nov 18 at 8:00pm Thu, Nov 19 at 8:00pm Rachmaninoff Piano Concerto 2 Michael Sanderling, conductor Simone Osborne, soprano Rob Kapilow, conductor & host Alexander Seredenko, piano R. Strauss: Dance of the Seven Veils from Salome Discover the lush, romantic world of Rachmaninoff's most popular work for piano and orchestra! Dvor̂ák: Song to the Moon from Rusalka Peter Oundjian, conductor Joaquin Valdepeñas, clarinet Jonathan Crow, violin John Estacio: Wondrous Light Weber: Clarinet Concerto No. 1 Rimsky-Korsakov: Scheherazade Charpentier: “Depuis le jour” from Louise Mahler: Symphony No. 4 SIMONE OSBORNE, SOPRANO GET GREAT SEATS FROM ONLY $33.75 ROY THOMSON HALL | 416.593.4828 | TSO.CA STUART BROOMER D rummer/composer Harris Eisenstadt is currently based in New York, but he commemorates his roots in the band that recently released Canada Day IV (Songlines SGL 1614-2, songlines.com). The group style has its roots in the Blue Note avant-garde of the mid 60s: it’s a quintet of trumpet and reeds, vibraphone, bass and drums, but the style is stretched at every point into a dramatic contemporary idiom, from the eerie sound of Chris Dingman bowing his vibraphone to Nate Wooley’s radical reconstruction of trumpet sound, sometimes departing from his crisply incisive lines to couple multiphonics with circular breathing. Eisenstadt’s compositions keep inviting the band members to further invention while anchoring them in often complex designs that reference his interests in African and Cuban rhythmic patterns. An emphasis on sub-groupings brings each individual to the fore, including tenor saxophonist Matt Bauder and the group’s newly arrived French-German bassist Pascal Niggenkemper, while Eisenstadt leads from his drum kit, exploring fresh forms of momentum. Known for his long tenure in Metalwood, the remarkably successful trans-Canada fusion band, Ottawa-born Ian Froman is another Canadian drummer who works primarily in the New York area. He plays a key role on Noah Preminger’s Pivot: Live at the 55 Bar (noahpreminger.com). Preminger is an adventurous saxophonist whose influences range from the laconic abstraction of Warne Marsh to the wail of Ornette Coleman, but he’s chosen to root his music here as deeply as possible. The CD consists of two songs by Mississippi Delta blues singer Bukka White: Parchman Farm Blues and Fixin’ to Die Blues. Each primordial blues provides a launching pad for a 32-minute exploration that will recall both the Coleman quartet and the titanic work of John Coltrane and his drummer Elvin Jones as Froman (a student of Jones) keeps the music moving with continuous polyrhythms and shifting accents, whether pressing Preminger and trumpeter Jason Palmer ahead or providing detailed commentary on their phrasing. Like its sources in the blues, this music has the feel of living tissue. Another fine Ottawa-born drummer, Nick Fraser provides solid support to saxophonist Scott Marshall on Nihahi Ridge (SMT004, scottdouglasmarshall.com), Marshall’s fourth CD as a leader and the third by his Toronto quartet with pianist Marcel Aucoin and bassist Wes Neal. Marshall is a lyrical player using his tenor to create warmly reflective music even when the rhythms are forceful. The group’s sense of dialogue emerges on After all this Time as the quartet smoothly negotiates shifts in mood. Aucoin’s luminous solo is a highlight. Marshall’s tone is just as nuanced when he switches to alto, from the keening wail of Groovy Eliot to the light, airy sound he achieves on I Wish You Peace. Marshall’s preference for ballad tempos and strongly asserted melodies can dominate here, but the off-kilter How Very Kerouac provides a change of pace along the way. Pianist/composer Peter Hum may be better known as a jazz and food critic for the Ottawa Citizen, but there’s nothing to suggest anything but full commitment to his art on Alpha Moment (peterhum.com). Hum leads a sextet here, and his group concept is almost orchestral. His compositions are well formed and subtly voiced, with solos arrayed against his own lush chords, Alec Walkington’s resonant bass and drummer Ted Warren’s constant sonic shadings. While the band’s members are currently spread out geographically, the group clearly came together at a special moment for the Ottawa jazz scene, much of the excitement coming from two Ottawaraised saxophonists who have since moved on: Kenji Omae, now resident in Seoul, may be the most exciting tenor saxophonist to emerge in Canada in recent years, a powerful, impulsive player who’s also capable of lustrous ballad playing; Nathan Cepelinski, now a New Yorker, plays alto and soprano with quicksilver thought and phrasing. Along with glassy-toned Montreal guitarist Mike Rud, the six make up a terrific band, something that’s apparent everywhere here, but most pointedly on the aptly named title tune. Bassist Daniel Fortin makes his debut as a bandleader on Brinks (Fresh Sound New Talent FSNT 473, freshsoundrecords.com). While his compositional skills have figured in releases by the band Myriad3, they play a more prominent role here, defining a strong, personal style. Fortin’s pieces consist of just a few notes, a phrase or two to be recast, concentrated and contrasted. He creates edgy, tensile structures that have some of the character of Thelonious Monk’s works without any particular resemblance. It’s music that requires tremendous discipline on the part of the band to come up with sufficiently minimalist improvisatory approaches that are true to the spirit of the works, but that’s just what tenor saxophonist David French, vibraphonist Michael Davidson and drummer Fabio Ragnelli have done. Operating within a set of timbres that might suggest comfortable ballads, the group turns out complex music filled with intriguing juxtapositions and fresh patterns. Fortin himself plays bass with a keen sense of structure and a special melodic focus. Tenor saxophonist Steve Kaldestad criss-crossed Canada and spent an eightyear sojourn in England before settling in Vancouver in 2008. Since then he has established himself there as a solid exponent of the mainstream modern. New York Afternoon (Cellar Live CL032014, cellarlive.com) presents him in performance with pianist Renee Rosnes (one of Vancouver’s great contributions to New York jazz) and her regular rhythm section of bassist Peter Washington and drummer Lewis Nash. Kaldestad swings fluidly through a program that ranges through hard bop blues and swaying Brazilian melodies to the more exotic modal underpinnings of Joe Henderson’s Punjab, with Rosnes’ scintillating solo recalling her extensive work with the late saxophonist’s band. Her own Icelight explores similar strata, while the ballad highlight comes on Kaldestad’s soulful and silk-toned rendering of Beatriz. Don’t forget to check out the Listening Room at TheWholeNote.com/listening Nov 1 - Dec 7, 2015 thewholenote.com KOERNER HALL IS: “A beautiful space for music“ THE GLOBE AND MAIL Susan Hoeppner & Sarah Jeffrey SUNDAY, NOVEMBER 8, 2PM MAZZOLENI CONCERT HALL “A born soloist,” (The Globe and Mail) flutist Susan Hoeppner performs with oboist Sarah Jeffrey and pianist Jeanie Chung. The program includes works by Ginastera, W.F. Bach, Dring, Damase, Ibert, and others. THE GGS FALL OPERA: Puss in Boots by Xavier Montsalvatge Folk Songs by Luciano Berio FRIDAY, NOVEMBER 13 & SATURDAY, NOVEMBER 14, 7:30PM MAZZOLENI CONCERT HALL Students from The Glenn Gould School’s vocal program present their annual autumn opera. Peter Tiefenbach serves as Music Director. Taylor Academy Showcase Concerts SATURDAY, NOVEMBER 21, 4:30PM MAZZOLENI CONCERT HALL The Phil and Eli Taylor Performance Academy for Young Artists presents a concert by the leading young classical musicians in Canada. Hear the stars of tomorrow! Butler, Bernstein & The Hot 9 SATURDAY, NOVEMBER 21, 8PM KOERNER HALL “New Orleans embodied in music, from the blues to exhilarating jazz improvisations on the Crescent City canon. (The New York Times) Tania Miller conducts the Royal Conservatory Orchestra and Heidi Hatch FRIDAY, NOVEMBER 27, 8PM PRELUDE RECITAL AT 6:45PM KOERNER HALL Conductor Tania Miller’s “experience and charisma are audible.” (Hartford Courant) Program includes Jared Miller’s Traffic Jam, Max Bruch’s Scottish Fantasy with Heidi Hatch (violin), and Gustav Mahler’s Symphony No. 5. Generously supported by Leslie & Anna Dan Routes of Andalucia SATURDAY, DECEMBER 5, 2PM KOERNER HALL FAMILY CONCERT Follow Juno Award-winning trumpeter David Buchbinder and his crew of cross-cultural musicians on a journey into the magic musical realm of ancient Andalucia, with Arabic, Jewish, and Gypsy cultures! A grown-up concert for people 6-13 years old and their parents, grandparents, and friends. Presented in association with Small World Music GREAT GIFT: KOERNER HALL CONCERT TICKETS AND GIFT CARDS More than 40 extraordinary classical, jazz, pop, family and world music concerts to choose from! TICKETS START AT ONLY $15! 416.408.0208 www.performance.rcmusic.ca performance.rcmusic.ca 273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO
