Classical and Beyond

“Grimaud doesn’t sound like most pianists. She is a rubato artist, a reinventor of phrasings, a taker of chances.”
— D.T. Max, The New Yorker, 2011

The remarkable French-born pianist Hélène Grimaud last visited Toronto a year ago when she performed Brahms’ Piano Concerto No.1 with the TSO and showed off her great dynamic range. Her intimate pianism exposed the intrinsic beauty of the slow movement and she entered fully into the passion of the third movement with its rhapsodic cadenza, spurring the audience into an immediate standing ovation. The year before she held the Koerner Hall audience in her sway with a performance of her Resonances CD that moved from Mozart to Berg to Liszt to Bartók, all united by the historical fact of the composers being children of the Austro-Hungarian Empire.

Her upcoming Koerner Hall appearance April 19 is typical of her adventurous spirit and imaginative programming. All the pieces are united by the theme of water: Berio’s Wasserklavier III; Takemitsu’s Rain Tree Sketch II; Fauré’s Barcarolle No.5 in F-sharp Minor, Op.66; Ravel’s Jeux d’eau; Albéniz’s Almería from Iberia Suite Book 2; Liszt’s Les jeux d’eaux à la Villa d’Este from Années de pèlerinage: Troisième année, Janáček’s In the Mists I; Debussy’s La Cathédrale engloutie from Préludes, Book I; concluding with Brahms’ Piano Sonata No.2 in F-sharp Minor, Op.2.

She told William Grimes of The New York Times: “Water is the element most necessary to life, the most precious resource for our planet, the most endangered and the one that poses the greatest risk on its potential for conflict.” Explaining her process in a video for the artnet News website, she described how she spent two years “boiling down” her conception of pieces having to do with water, to reduce it to “something very pure and abstract in its expression.” There were several Liszt works that fit her original idea but the one she finally selected was the “most abstract of all his water pieces.”

“An art form has to live in the moment,” she said. “It has to sound as if it is being written while you hear it.” On the San Francisco Classical Voice website she explained to Lara Downes earlier this year that the water program is “more fragile and vulnerable repertoire, and as an audience member you have to be willing to make that journey.”

When she performed the same pieces last December in New York over ten nights, she did so in an inch of water, mixing performance art metaphors. Anthony Tommasini in The New York Times described the riveting 20-minute process of filling the 55,000 square foot Drill Hall of the Park Avenue Armory with that inch of water for “Tears Become ... Streams Become ... ” He called the collaboration between Grimaud and the artist Douglas Gordon a “compelling, boldly original work, a dramatic combination of art installation, light show and piano recital.”

Brian Levine, the executive director of the Glenn Gould Foundation, sees in Grimaud a resemblance to Gould: “She has this willingness to take a piece of music apart and free herself from the general body of practice that has grown up around it.”

Ten days after her Toronto concert she performs with the Stamford Symphony Orchestra to bring awareness to her other passion: environmental education centred around wolves – she founded the Wolf Conservation Center in South Salem, New York in 1996.

Evgeny Kissin: Evgeny Kissin’s mother was a piano teacher, his father an engineer. When Kissin was born (in Moscow in 1971), his sister, who was more than ten years older, was learning the piano. In Christopher Nupen’s DVD Evgeny Kissin: The Gift of Music, Kissin tells a tale one would be inclined to dismiss as apocryphal were it not for everything that has happened to him since. He had been a quiet baby, even standing on his cot in silence as his sister practised. When he was 11 months old, he opened his mouth and sang the Bach fugue she had just been playing (the Prelude and Fugue in A-Major from the 2nd book of the Well-Tempered Clavier). By the time he could reach the keyboard he was two and on his way to superstardom.

He elaborated in an interview with Frederic Gaussin for piano mag on iplaythepiano.com. “Before I began my studies at the School, I had been listening to music non-stop, practically from the day I was born. I became familiar very early on with all different kinds of music and pieces, until one day I became physically able to touch the keyboard and play this repertoire, these melodies, by ear ... From the very beginning, my taste was vast, very eclectic.”

In that interview he speaks of Chopin as the composer that he plays the most, “whose music is closest to my heart.” He continues: “From a pianistic point of view, Chopin was a revolutionary, the only one (with the exception of young Scriabin, who drew much from Chopin) who demands such flexibility from the hand at the piano.” Gaussin raises the topic of Debussy – not in Kissin’s repertoire – as someone who was not “any less sensitive or technically innovative than Chopin in his personal idiom.” Kissin responds that the same is true of Shostakovich, Schoenberg and Prokofiev, adding Messiaen, “whose works I do not yet play. His music is profound, very spiritual. He’s a perfect counter-example ... I see him in a way as the last survivor of an extinct species. I will certainly play Messiaen in the future.”

May 1 marks Kissin’s first solo recital at RTH in 15 years; his most recent appearance with the TSO was in May of 2012. It’s a virtuoso program beginning with Beethoven’s Sonata No.21 in C major, Op.53 “Waldstein” with its glorious third movement, followed by Prokofiev’s quietly charming, utterly logical Sonata No. 4 in C minor, Op.29. Then three nocturnes and six mazurkas by Chopin lead into Liszt’s Hungarian Rhapsody No. 15 S.244/15 “Rákóczi March,” a quixotic foot stomper.

Kissin’s popularity is immense, his intellectual and musical gifts even more so. He once said that the main purpose of music is “that it elevates us into the world of the sublime.” The evening should be memorable.

Sara Constant:The WholeNote’s social media editor, flutist Sara Constant, headlines a concert titled “Xi” at Array Space April 24 featuring an intriguing line-up of mid to late 20th-century music. Stockhausen’s Xi (1987) for solo flute utilizes microtonal glissandi throughout. Denisov’s Sonata for Flute and Piano (1960) has been described as a collage of styles. Chiel Meijering, the composer of I Hate Mozart (1979) for flute, alto saxophone, harp and violin, says that he considers eroticism, sensuality and even obscenity prerequisites for a high-quality performance of his music. In each of Lutosławski’s Three Fragments (1953) the flute takes the melodic lead and the harp supplies a consistent, animated backdrop. Tsuneya Tanabe’s Recollections of the Inland Sea (1995) for flute and marimba was inspired by the scenic impression the composer had as an adult of a beautiful inland sea, Setonaikai, in the middle of Japan.  The music, he says is his effort to “express my interior vision of the sea, spreading out before me….”

Seen and Heard:The elegant Vadim Repin shone in his Russian repertoire – Stravinsky and Tchaikovsky – in Koerner Hall March 6; The Vienna Piano Trio displayed an exemplary sense of ensemble and an unusually close seating arrangement in their well-received recital March 8 highlighted by Beethoven’s Kakadu Variations and two Mendelssohn Andantes (from his Trio Nos.1 and 2; the latter played as an encore); Till Fellner brought exceptional musicianship to Mozart’s Piano Sonata K282 on March 10. Kudos to Music Toronto’s Jennifer Taylor for bringing us Fellner as well as the London-based Elias Quartet March 19. French sisters Sara and Marie Bittloch on violin and cello set the tone for the quartet’s intimate sound and its impeccable sense of ensemble. Equally attentive were second violinist Scotsman Donald Grant and Swedish violist Martin Saving. Together the foursome brought heavenly pianissimos and wonderful silences that allowed Mozart’s music to breathe in his “Dissonance” Quartet K465 and unrelenting anger and passion to Mendelssohn’s last string quartet without losing the ruminative lyricism of its slow movement.

Quick Picks:

April 8 and 9 former TSO music director Jukka-Pekka Saraste returns to conduct Mahler’s glorious Symphony No.5 and accompany pianist Valentina Lisitsa in Rachmaninoff’s romantic masterpiece, his Concerto No.2. Conductor Peter Oundjian, soprano Isabel Bayrakdarian, violinist Sergey Khachatryan and pianist Serouj Kradjian join with the TSO April 22 for a concert celebrating Armenian music. It includes a double dose of Aram Khachaturian as well as the world premiere of Mychael Danna’s Ararat, a suite Danna constructed from his soundtrack to Atom Egoyan’s film of the same name. May 6 finds Oundjian supporting the up-and-coming twentysomething German violinist Augustin Hadelich in Mendelssohn’s justly celebrated Violin Concerto, a work which will appear on his next CD later this spring.

April 8 the co-artistic directors of the Chamber Music Society of Lincoln Center, cellist David Finckel (ex-Emerson Quartet) and pianist Wu Han, are joined by the versatile violinist Daniel Hope and violist Paul Neubauer in a compelling program of piano quartets by Mahler [Movement in A Minor], Schumann [E-Flat Major Op.47] and Brahms [No.1 in G Minor Op.25] at Koerner Hall. Also at Koerner Hall, April 24, take advantage of a rare chance to hear international superstar Yannick Nézet-Séguin conduct his hometown ensemble, Orchestre Métropolitain in a program of English music: Vaughan Williams’ Symphony No.4; Elgar’s indelible Enigma Variations and his ever-popular Cello Concerto with 20-year-old cellist Stéphane Tétreault as soloist.

April 10 the Mercer-Oh Trio play Haydn, Jean Lesage and Smetana under the auspices of the Kitchener-Waterloo Chamber Music Society. Pianist Eric Himy shows off his technical prowess in a program of Rachmaninov, Scriabin, Chopin, Albéniz and de Falla April 25. Still in Waterloo, TSO violinist Arkady Yanivker leads the Toronto Serenade String Quartet in music from Latin America April 28 while on May 2 it’s Sofya Gulyak of London’s Royal College of Music who tests the mettle of the Music Room’s piano in music by Liszt, Coulthard and Mussorgsky. She repeats the program in Toronto May 3 under Syrinx’s banner at the Heliconian Hall.

April 12 Syrinx presents the Seiler Trio (violinist Mayumi Seiler, cellist Rachel Mercer and pianist Angela Park) playing Beethoven’s beloved Archduke Trio, Mendelssohn’s Trio No.2 and Kevin Lau’s Trio.

April 13 finds the Associates of the Toronto Symphony saluting the double bass with music of Rossini, Boccherini and Dvořák. Double bassist Tim Dawson teams up with violinists Etsuko Kimura and Angelique Toews. violist Christopher Redfield and cellist Marie Gelinas at Trinity-St. Paul’s Centre.

April 16 Music Toronto presents the Lafayette Quartet, an all-female ensemble who have remained together since their founding in 1986, a distinct rarity. Since then they have spent their time entertaining audiences and teaching some of Canada’s finest young string players from their base at the University of Victoria. Their program includes a middle Haydn quartet (No.28, Op.29, No.6), a late Beethoven (No. 15, Op.132) and Jean Coulthard’s String Quartet No.2, “Threnody.” The latter two pieces will be part of their Chamber Music Hamilton concert April 19.

April 17, group of 27: TSO principal oboist Sarah Jeffrey brings her warm sound to Mozart’s tuneful Oboe Concerto K314; Symphonies by C.P.E. Bach (the wild and beautiful Wq.179) and Haydn (No. 19), along with Jocelyn Morlock’s addictive Disquiet complete an intriguing group of 27 program. The group’s founder and music director, the dynamic Eric Paetkau, whom I interviewed in the December/January issue of The WholeNote, has just been named music director of the Saskatoon Symphony Orchestra. The night before the concert, April 16, The WholeNote will be hosting an open rehearsal of the group at the Centre for Social Innovation, 730 Bathurst St., ground floor. Doors open at 7:30pm. Experience g27’s lively playing in a casual, intimate atmosphere.

April 25 Karin Kei Nagano, the teenage daughter of conductor Kent Nagano and pianist Mari Kodama (read the glowing review of her recording of all 32 Beethoven sonatas elsewhere in this issue), joins her mother for what should be a memorable afternoon of piano music; part of the BravoNiagara! Festival of the Arts.

Paul Ennis is the managing editor of The WholeNote.

The Vienna Piano Trio’s previous Toronto appearances – with the Women’s Musical Club in November 2005 and three visits to Toronto Summer Music from 2010 to 2012 – were greeted with widespread acclaim. So it’s no surprise that they are highly anticipating their Mooredale Concerts recital March 8. That’s what the gregarious Stefan Mendl, the trio’s pianist and last remaining of its founding members, told me recently by phone from Vienna, the city where he has lived since his birth.

I asked him about the particular sensibility that typifies a chamber musician. “From scratch you must have the urge to find a special sound that is the group sound,” he answered. “You should not be so restrained that nobody can hear you but neither are you so predominant that you drown out the others. It must be your goal from the beginning that you find this sound; if you have a good ear and if you have the will to do this, then you are off to a good start.

“Then, of course there is experience, knowing when you can really play out and when you have to combine with the strings; when you have to give them more bass or less bass. You have to put aside your own ambitions and have the will to find a sound that blends.”

In his own case, right from his first experience on stage, chamber music felt better. “I discovered early on in my soloist days [born in 1966, he founded the trio in 1988] that I enjoyed playing concertos much more than recitals. I think that sometimes you get more ideas or better ideas when you have the chance to interact with others. At least for me that’s the case and I feel very, very comfortable with friends and with colleagues on stage. I don’t feel that comfortable when I’m on my own.

“And of course there is the wonderful music that is written for piano trio, piano quartet and piano quintet [he regularly performs with the Hagen Quartet]. Sometimes, all of our greatest composers put a lot of their inner feelings and emotions into their chamber music. I find it all very fascinating, still,” he said, with a laugh that underlined the hold the music still has on him.

The key thing to a trio’s success he believes is to have three people of equal musical and technical skill who have similar musical goals. “You need a rich palette of ideas and colour. Everybody needs their own opinion amidst the common goal.”

I wanted to know how he relates to the music the trio will be performing on the upcoming Sunday afternoon in Toronto. “Beethoven’s Kakadu Variations is really a fantastic piece of music,” he replied with palpable verve. “The very late opus number [Op.121a] is a bit misleading. No one hearing the very heavy introduction would expect it to turn into this funny theme, but there are hints, hidden in a minor key in a delicate, funny way. One slow variation before the finale is very deep and serious. Like all of Beethoven, the deepest and most serious is right next to the fun, almost grotesque or rude side. He was never shy, even in his greatest works to put little bits of his feelings right next to the really funny things. These variations are a really good way to experience that; in a very short amount of time he does all these turns and twists.”

This was a good opportunity to bring up the relationship between recording and live performance since the trio released the Kakadu variations along with Beethoven’s Trios Op.70, on their latest MDG Gold CD last year. “Recording something always affects your live playing because you get so close to it. You listen more to detail than you would otherwise ... sometimes you get things brought out that you probably wouldn’t have discovered before and then your performance is altered. Of course, your performance always changes over time,” he said.

Mendelssohn’s Trio No.1 Op.49 in D Minor, the concluding piece on the March 8 program, is the more famous of the composer’s two trios, but for Mendl, they are both on the same genius level. The trio plays them frequently and loves both of them. Mendl particularly enjoys the “gorgeous and brilliant and skillful piano writing which hardly any great composer has accomplished to that extent.

“It works so well for the medium of the piano trio because Mendelssohn had all these great melodies – mainly he wrote in the strings – and the texture for that is this incredibly bubbling piano part which makes a fantastic contrast. He does this in a very, very idiomatic way so that his piano trios will always be at the top of the list of the greatest trios both for performers and the audience. And a beautiful lyrical slow movement, a quicksilvery light scherzo – the type of scherzo so different from what anybody else wrote in those days ... The scherzo is perfect; there can’t be a more perfect scherzo imaginable.”

Mendl reminded me that Schumann had written a famous review raving about that D-Minor trio, calling it the role model of a piano trio. Very interesting in light of the preceding work on the Toronto recital, Schumann’s Fantasiestücke Op. 88. Despite its late opus number, it was written earlier than the composer’s piano trios but published later and less often performed. Schumann called them fantasy pieces because they didn’t conform to the trio form. The first and third pieces, the slow ones, are especially close to the pianist’s heart and “contain some of Schumann’s best piano trio writing ... they are in no way second rate.”

I was curious about the formidable list of mentors on the Vienna Piano Trio’s website, almost all of whom the trio met during a memorable two-week chamber music workshop in New York in 1993. “We’d never been to New York before so it was a double experience, really mind-blowing I would say, without exaggeration.” They got several lessons from Isaac Stern, the Guarneri Quartet (Arnold Steinhardt and Michael Tree), from Henry Meyer of the LaSalle Quartet and from the Kalichstein-Laredo-Robinson Trio. Mendl still remembers the kindness of Jaime Laredo who brought them back to New York for a concert series.

Most important was the enormous impact the intense workshop had on the group’s musical goals. It brought a “kind of down-to-earth quality” to what had been the “very polished style of trio playing we had experienced with [earlier mentors] the Trio di Trieste.”

Finally, I wondered, did living in Vienna inspire him, since the City of Dreams had been a place where many composers lived and died.  “And died especially,” he laughed. “I personally live very, very close to where all these Beethoven memorial places are ... and although I don’t want to do this too consciously, sometimes I’m touched when I wander around in this area and I feel that Beethoven wrote so much music there and lived there for a great while.”

Seen and Heard:The RBC Piano Extravaganza – or “Ax-travaganza” as Mervon Mehta dubbed it – took the city by storm over an 11-day period attracting approximately 14,000 to events at RTH alone. In addition, 27 amateurs performed on the hall’s newly acquired New York Steinway during the Community Piano Showcase; including the Young People’s Concert programs, 20 pianists performed on the RTH stage during the festival; and 200 people played the five Steinways in the festival’s inaugural event, Pianos in the City, February 4 between 11am and 2pm.

My immersion in the Extravaganza began on its second day, Thursday February 5, with festival curator Emanuel Ax’s introduction of two young pianists at a COC free noontime concert. Siberian-born Pavel Kolesnikov, the 2012 Honens Competition winner now studying with Maria João Pires in Brussels, learned three Liszt transcriptions of Wagner operas, including the “Pilgrim’s Chorus” from Tannhäuser, especially for the event. Impressive. American pianist Orion Weiss, who left his native Cleveland for Juilliard, specifically to study with Ax for his integrity and revelatory playing, brought a singing touch to a pair of Granados Goyescas. Several hours later they played a dynamically well-matched Rachmaninoff Symphonic Dances for two pianos that preceded a TSO concert that included the orchestral version of the same piece.

Ax began that program with an agreeable, self-effacing rendition of a Schubert impromptu followed by Mozart’s Piano Concert No. 14 K449. Round tones of limpid liquidity gave the impression that the pianist was opening a musical jewel box.

The four-hour and twenty-minute Pianopalooza Sunday afternoon included 16 disparate performers selected by the RCM in a musical cavalcade that came close to filling Koerner Hall and concluded with a show-stopping, two-piano-eight-hands version of Tchaikovsky’s 1812 Overture complete with recorded cannon shots. The event featured two bona fide highlights: Robi Botos’ jazz set was an uninterrupted 20-minute piece of spontaneous joy; Ax’s melodic, technically assured performance of Chopin’s Scherzo No. 2 was piano playing at its best.

Three days later, Ax joined Jan Lisiecki for Mozart’s heavenly Concerto for Two Pianos K316a/365 and Saint-Saëns’ delightfully entertaining The Carnival of the Animals.

The next day in a pre-concert performance, Ax displayed his chamber music skill set in an immensely satisfying reading of Schumann’s Piano Quintet Op. 44. The string parts were taken by the first chair TSO players, concertmaster Jonathan Crow, principal second violinist Paul Mayer, prinicipal violist Teng Li and principal cellist Joseph Johnson. The players faced the choir loft, which overflowed into the adjacent sections of the hall. No one who heard them will forget the strings’ strength, the way Ax was able to emerge from the background to point out the melody and the assured playing of this propitious gathering.

Later that evening Ax demonstrated a deft curatorial touch in an adventurous program pairing a two-piano piece with its orchestral equivalent. Ax and Stewart Goodyear, more or less balanced in selected pieces of Carl Maria von Weber, returned for an exciting performance of Ravel’s La Valse. In between Anagnoson & Kinton proved to be very well-matched in an apparently seamless gambol through Brahms’ Variations on a Theme by Haydn. As in the previous week’s Rachmaninoff Symphonic Dances, the orchestral colour was more varied than the keyboards’ but the unique opportunity to hear the difference was welcome.

Ax spoke of his love of the word “metamorphosis” when he introduced that program. The next morning he became its agent at a master class for Glenn Gould School students. He was his usual combination of self-effacing and endearing as his analysis and advice transformed a student’s performance of Chopin’s Barcarolle, a piece he called “ecstatic” and which he linked forward to Wagner and back to Bach. He continued his delicate balance of dispensing compliments, ever careful that his suggestions would not be construed as outright criticism.

He recalled an encounter he had as a young man with Pablo Casals when the cellist was 96 and spending his last summer at Marlboro. “[When] the music goes up, [play] loud; music goes down, soft,” Casals instructed. “We all thought he was out to lunch,” Ax said. “But the older I get, the more I see how right he was.”

Quick Picks:

Mar 6 Siberian-born violinist Vadim Repin, the interview subject of my last month’s column, makes his eagerly awaited Toronto recital debut at Koerner Hall in a diverse program of Bartók, Debussy, Ravel, Stravinsky and Tchaikovsky.

Mar 8 at Koerner Hall KahaneSwensonBey, who re-formed in 2012 after a 25-year hiatus, perform piano trios by Mozart, Schumann, Ravel and Schoenfield. In an unfortunate scheduling conflict their afternoon concert occurs at the same time as the Vienna Piano Trio’s Mooredale recital in Walter Hall just minutes away.

On the evening of Mar 8 violinist Moshe Hammer and pianist Angela Park perform works by Brahms, Franck and Sarasate at the Aurora Cultural Centre.

Mar 11, 12 and 14 Gianandrea Noseda conducts the TSO in a program featuring Beethoven’s Symphony No. 7, which is all you need to know to make plans to attend. The program also includes Adrianne Pieczonka performing Wagner’s Liebestod from Tristan und Isolde and Richard Strauss’ divine Four Last Songs, which further certifies it as a must-see. Rising star Krzysztof Urbanski and the TSO are joined Mar 27 and 28 by the captivating Sol Gabetta in Dvořák’s masterpiece, his Cello Concerto in B minor, Op. 104, a work they have played together many times. Then Urbanski leads the orchestra in Stravinsky’s rhythmic revelry, The Rite of Spring. Another must-see.

 TSO associate principal clarinetist Yao Guang Zhai is joined by pianist Jeanie Chung for Luigi Bassi’s Concert Fantasy on themes from Verdi’s Rigoletto in a free COC concert also featuring Gershwin, Brahms and three solo pieces by Stravinsky at the Richard Bradshaw Amphitheatre Mar 12.

Mar 14 is crystal ball gazing time when students from the Phil and Eli Taylor Performance Academy for Young Artists give a free concert in Mazzoleni Hall. On Mar 31 another Mazzoleni Hall free concert (ticket required) features solo and chamber works performed by Rebanks Fellows from the Glenn Gould School. Apr 2 three of the Rebanks Fellows perform Brahms’ gorgeous Trio for horn, violin and piano in a free noontime COC concert.

Mar 15 Trio Arkel with guests, cellist Amanda Forsyth and violinist Aaron Schwebel, perform Schubert’s sublime String Quintet in C in the Church of the Holy Trinity.

Mar 16 group of 27 presents Payadora Tango Ensemble and g27 violinist Rebekah Wolkstein in a recital at Heliconian Hall.

Don’t miss your chance Mar 19 to hear the Elias String Quartet, the “excellent” (New York Times), “exuberant” (The Guardian) young British ensemble making their local debut presented by Music Toronto, in works by Haydn, Mozart and Mendelssohn.

Mar 22 Alliance Française presents Stravinsky’s tuneful fable The Soldier’s Tale featuring Jacques Israelievich, violin, with Uri Mayer conducting.

Mar 27 Violinist Lisa Batiashvili, Till Fellner’s trio partner (along with Alfred Brendel’s son Adrian) is joined by pianist Paul Lewis in his first Toronto appearance since his remarkable debut opening the Women’s Musical Club’s 115th season in the fall of 2012. Their program includes Schubert’s “Grand Duo” and “Rondeau brilliant,” Beethoven’s Violin Sonata No.10, Op.96, Telemann’s Fantasia No.4 for Solo Violin and Busoni’s arrangement of Bach’s Chorale Prelude “Nun komm’ der Heiden Helland” for solo piano.

Mar 27 and 28 the incomparable Kitchener-Waterloo Chamber Music Society presents concerts 13, 14, 15 and 16 in the Attacca Quartet’s ongoing series performing all 68 of Haydn’s quartets. Each concert features quartets drawn from the early, middle and later period of the composer’s life.

YouTube star Valentina Lisitsa’s piano playing has struck quite a few chords based on upwards of 80 million views. Before her Royal Albert Hall recital in front of an audience of 8000 in June 2012 her fans had the chance to vote online for their preferred program – a form of audience participation that has become one of Lisitsa’s trademarks. Will the contents of her BravoNiagara! solo concert Apr 4 be similarly chosen?

Paul Ennis is the managing editor of The WholeNote.

Russian-born Vadim Repin may just be the best violinist you’ve never heard of. Unless you happened to catch his TSO appearance in 2007 playing Prokofiev’s Violin Concerto No.2 with guest conductor Thomas Dausgaard, his only exposure here has been through recordings (most recently with Deutsche Grammophon) and YouTube clips. The clips span almost 30 years of an acclaimed career that took international flight after he won the prestigious Queen Elisabeth Competition in Brussels in 1989 when he was only 17.

In a recent telephone conversation the warm and gracious violinist described how he felt at that time: “The competition itself was really tough, very difficult psychologically and [physically]. It goes forever [one month]. For the next four years it put me in the spotlight of the music world but then there was a new winner, so forget about it. You have to do other things to get noticed and get the spotlight.”

This virtuoso, for whom technique is always a means to a musical end, never an end in itself, began violin lessons at five by “pure chance.” His mother, who had been encouraging her son to play with musical toys since he was three, took him to school intending to sign him up for accordion studies. Only violin places were available so he took up the violin. By age seven, chance took him under its wing again; his teacher advised studying with Zakhar Bron (who later taught Maxim Vengerov and Daniel Hope), a relationship which would continue for 13 years.

Seen and Heard: After each standing ovation that followed his performances of three Beethoven piano concertos with the TSO in November, 19-year-old budding superstar Jan Lisiecki would take a seat at the piano and confidently greet the RTH capacity crowd with the words “Good evening.” He added at the last of his six concerts, “As has become traditional, I will now play some Chopin.” The Nocturne No. 20 in C Sharp Minor, Op. Posth. followed, flowing as naturally as the encores in the first two programs, the Prelude Op.28 No.1 and the Etude Op.25 No.1. Like putting on a comfortable shirt.

Lisiecki’s playing of the first movement of the Fourth Piano Concerto on November 12 had an almost fortepiano quality; the melancholy second movement had a conversational tone until it time-travelled into the future before meeting up with the impetuous Rondo. At intermission TSO composer advisor Gary Kulesha asked Lisiecki to compare Beethoven to Mozart and Chopin, the latter two composers having supplied the contents of the pianist’s two Deutsche Grammophon CDs.

“In Mozart you’re completey exposed – elegant; in Chopin you can play the concerto without the orchestra; in Beethoven you’re a member of the orchestra,” he responded.

“My modus operandi is to make the piano sing,” Lisiecki said. Along with a wonderful tone, that’s his approach to every piece he plays.

Kulesha wondered how Lisiecki would characterize the three Beethovens. The Third “has a similar ferocity and darkness as the D minor Mozart K.466 which it parallels”; the Fourth “pushes the boundaries . . .  [it] begins from the soul of the piano”; the Fifth “broadens what can be done in a concerto.”

Three days later came a first-rate performance of the Third. It had great cohesion, its architecture proceeding organically from the propulsive Allegro con brio and delicacy of the Largo to the pure joy of the inverted theme after the Rondo’s cadenza. You could feel the composer’s notes straining against classical convention but revelling in it. In the Chopin etude, Lisiecki demonstrated the beauty of tone over technique.

Lisiecki’s playing of the “Emperor” the following Saturday was dynamically diverse yet always controlled, from the wondrously hushed non-cadenza of the Allegro and the magical Adagio which felt as though the piano’s notes were walking on air, to the radical contrasts of the Rondo.

In a conversation with William Littler during intermission, Lisiecki divulged that a teacher in pre-school had suggested that the five-year-old child be given piano lessons. It took most of that year and a generous gift of a 100-year-old upright from a family friend before his parents agreed. Curiously, the Third Piano Concerto was the first piece by Beethoven he can remember as a child. Lisiecki also revealed that if he doesn’t practise he doesn’t feel right: “You don’t want to be around me.”

Talking about his instrument and the fact that every pianist is at the mercy of the venue where he performs, he raved about the piano at Koerner Hall, declined to comment on those at RTH and gushed over the one he played in Hamburg. “Not knowing what to expect forces us to create art in the moment,” he said.

Lisiecki’s Beethoven coincided with a series of three symphonies by the Danish composer Carl Nielsen, all under the enthusiastic baton of Neilsen’s countryman Thomas Dausgaard. Judging by the orchestra’s generous applause and responsive playing, their connection to the guest conductor was genuine. For his part, Dausgaard exudes joy on the podium, which manifests itself occasionally as open-mouthed. And he often lowers his arms and lets the orchestra play on their own, trusting them for bars at a time. He turned away from the audience in his introduction to the final concert and spoke directly to the players: “Can I say to you Toronto Symphony – you own this music.”

Lisiecki too fell under his spell as the two musicians intently locked eyes at the beginning of the finale of the “Emperor,” the young Canadian drawing on the Dane’s energy.

Trifonov Trifecta: Daniil Trifonov, only 23, the 2011 Tchaikovsky Competition multi-award-winner, having already proved his technical prowess at the Arthur Rubinstein International Piano Master Competition earlier that year, seemed intent on establishing his artistic reputation with three programs available to Toronto audiences this season. The first, a dazzling performance of Rachmaninov’s Rhapsody on a Theme by Paganini with the TSO took place in September. An ambitious solo recital December 9 at Carnegie Hall will be live streamed on medici.tv (and available free for 90 days thereafter). Consisting of Bach’s Fantasy and Fugue for Organ in G Minor, BWV 542 (transcribed for piano by Franz Liszt, S. 463), Beethoven’s Piano Sonata No. 32 in C Minor, Op. 111 and Liszt’s Transcendental Etudes, it will likely add to his burgeoning reputation.

Then on January 20 at Koerner Hall, Trifonov turns to chamber music with the great Gidon Kremer. Mozart’s Violin Sonata No. 33 in E-flat Major, K. 481. Schubert’s Fantasy in C Major, D. 760 and Rachmaninov’s Trio élégiaque No. 2 in D Minor, Op. 9 comprise a program that will certainly reveal yet another side of this talented Russian-born phenom.

A Trio of Quartets: Music Toronto presents the latest incarnation of the Juilliard String Quartet January 8 in a program headed by Webern’s shimmering Five Movements, Op.5. Three weeks later the mighty St. Lawrence String Quartet returns for its annual visit to its first home. The exuberant Geoff Nuttall will lead us in a “Haydn Discovery” followed by the father of the string quartet’s Op. 33, No.2 “The Joke.” A major new work by John Adams fills the concert’s second half. On January 6 the New Orford String Quartet treats us to Beethoven’s Op. 95 and Brahms’ Op. 51, No.1 before premiering a new work by Gary Kulesha. The New Orford then teams up with Amici February 1 for one of the most interesting programs of the new year, “Bohemian Contrasts.” They join cellist David Hetherington and violist Teng Li in a performance of Schulhoff’s String Sextet and Joaquin Valdepeñas in Brahms’ unforgettable Clarinet Quintet in B-minor, Op.115. Pianist Serouj Kradjian fills out the rest of the program with piano works by Liszt and Janáček.

KWCMS’s 40th: The Kitchener-Waterloo Chamber Music Society has designated the week of November 28 to December 7 to mark its considerable achievement. Over the years the cumulative volume of talented performers who have made their way to Jan and Jean Narveson’s home is astonishing enough, but it is the KWCMS’ penchant for programming complete cycle concerts that really makes one sit up and take notice. [For a glimpse into how they do it, see my October 2013 Classical and Beyond column.] Two cycles over the December-January period caught my eye: Trio Celeste’s complete traversal of Beethoven’s Piano Trios December 12, 14 and 16; and the scintillating Duo Concertante performing Schubert’s complete music for violin and piano January 29 and 31. It promises to be  an even more musically satisfying event than the Beethoven. Schubert’s music in this case is consistently of the highest order, charming and melodious; the opportunity to hear all of it should not be missed.

Quick Picks

Dec 6 the prodigious Stewart Goodyear performs Tchaikovsky’s The Nutcracker entirely on the piano joined by dancers from the National Ballet School of Canada and Ballet Creole, and singers from the Toronto Children’s Chorus.

Dec 7 two recent Glenn Gould School appointees, celebrated pianist John O’Conor and former first cellist of the Cleveland Orchestra, Desmond Hoebig, team up for Beethoven’s serene Cello Sonata No.3 in A Major, Op.69. O’Conor will play a selection of Nocturnes by his Irish countryman John Field and by Chopin; Yehonatan Berick, Cordelia Paw and Barry Shiffman join them for Schumann’s masterful Piano Quintet in E-flat Major, Op.44.

Dec 7 two admirable pianists make their Toronto debut in Mooredale Concerts’ “Piano Dialogue.” Wonny Song will play Beethoven’s Moonlight Sonata and David Jalbert Poulenc’s Les soirées de Nazelles before coming together for duets by Ravel and Schubert and Rachmaninoff’s Suite No.2 in C Major, Op.17 for two pianos.

Dec 12 Anastasia Rizikov brings her already considerable 15-year-old experience to Chopin’s Piano Concerto No.1 accompanied by Sinfonia Toronto before performing a staggering KWCMS solo concert Jan 24. Bach, Chopin and Liszt lead in to Mussorgsky’s Pictures at an Exhibition; then after intermission Chopin and Mozart precede Balakirev’s fiendishly difficult Islamey.

Jan 9 Angela Hewitt, the subject of this month’s cover story, is joined by mezzo-soprano Anne Sofie von Otter in a program rich in songs by Beethoven, Schubert, Brahms, Fauré, Debussy and Chaminade. Interspersed between them Hewitt will play piano music by Schubert, Brahms and Chabrier.

Jan 14, 15, 17 and 18 mark the beginning of the TSO’s Mozart@259 festival curated by Les Violons du Roy’s Bernard Labadie. The impressive young British conductor and keyboardist Matthew Halls leads the orchestra in three varied programs showing Mozart’s range as an instrumental composer.

Jan 22 to 25 will see the Montreal Symphony’s Kent Nagano make a rare foray into the forest of period instruments as he leads Tafelmusik in performances of Beethoven’s Symphony No.5 in C Minor, Op. 67 and his Mass in C Major, Op.67. It will be fascinating to compare this performance of the symphony to that in Nagano’s recent recording [reviewed by Richard Haskell in this issue of The WholeNote].

Feb 7 Pinchas Zukerman makes his final Toronto appearance as music director of the National Arts Centre Orchestra in an RTH program with two of Brahms’ most beloved concertos. Zukerman is joined by NAC principal cellist Amanda Forsyth for the Double Concerto for Violin and Cello in A Minor, Op.102; Yefim Bronfman is the soloist in the Piano Concerto No.2 in B-flat Major Op. 83, the epitome of 19th century romanticism.

Paul Ennis is managing editor of The WholeNote. He can be reached at editorial@thewholenote.com.

Anne-Sophie Mutter was only 22 years old when she started her first foundation in aid of young string players; it was limited to the area of Germany at the foot of the Black Forest where she was born. As a teenager if had become clear to her – she told me in a recent telephone conversation – that “we string players sooner or later run through the same circle of problems mainly to do with finding the right teacher but also with finding an instrument which can be a musical partner for life, and hopefully financially obtainable as well. So my first foundation was sort of a tryout, how I could help younger colleagues.”

Now in its 16th or 17th year, the Circle of Friends of the Anne-Sophie Mutter Foundation provides instruments for the foundation’s chosen scholars as one attempt to help. Another is commissioning new works. The Toronto program of Anne-Sophie Mutter and the Mutter Virtuosi in Roy Thomson Hall on November 21 opens with a commission by the Circle of Friends for double bass -- Ringtones by the American Sebastian Currier.

“Obviously throughout history the double bass has been one of the important pillars of the orchestra but there have been very few solo performers,” she said. “Roman Patkoló was one of my first scholars and I was totally blown away by his talent, by his artistry and great passion,” she continued. So even though her original plan had not included the double bass that much, it became “really a main focus of my foundation” with four pieces commissioned for Patkoló starting with “a beautiful double concerto” written and recorded by André Previn, “a very pizzazz-y solo piece by Penderecki,” as well as “a very intellectual spherical piece” by Wolfgang Rihm.

“Ringtones is a very serious piece but also leaves room for fun,” she continued, explaining that it’s a way to build a case for the virtuosity of the bass. Showing off her sense of humour, she dead-panned: “Ringtones are for the very first time in a concert welcome!”

As to what it’s like to perform with her students and former students -- who comprise the Mutter Virtuosi with whom she’s sharing the RTH stage – she recounts how when she was 13, Karajan treated her as an adult, addressing her with the German equivalent of “vous,” not “tu,” which would be normal in speaking to a 13-year-old. She points this out to indicate that experience and age are irrelevant to the “all-embracing strength of musical language.”

“No matter how young we are,” she went on. “At the end of the day it’s really your personal viewpoint, and of course, a certain skillfulness, that we only have to share.

“Of course I’m looking with great love and devotion into the lives of the ones I’ve been a small part of for 10 or 15 years and it’s beautiful to see how all of them have found their place in music... it is really the Olympic ideal to make the best out of what you have that is the driving force behind the [foundation’s] selection process.”

Mendelssohn’s great Octet is on the program in Toronto, so I asked Ms. Mutter why she admires the composer so much. Her answer was especially revealing. She began by saying that it was only eight or ten years ago she re-started learning the Violin Concerto:

“My wonderful teacher Aida Stucki never seemed to be quite taken by what I did with the piece and I never felt quite free with what my vision was. So it wasn’t one of the pieces I felt comfortable with and when it was up to me to decide what repertoire I would delve into I thought, ‘Well if no one likes my Mendelssohn playing, I’ll just stop playing it.’

“Then many years ago, I think around Kurt Masur’s 75th or 80th birthday [80th in fact, in 2007] he said ‘I want a gift from you: Restudy the Mendelssohn and let’s do it together.’ Of course, when Kurt Masur wishes something I’ll go to the end of the world for him, so the least I could do was restudy the piece and come to different conclusions. And he gave me wonderful insights.

“I came to admire Mendelssohn as the humanist he was and actually today he’s for me a perfect example of what I expect a musician to be, also [what I expect] of the younger generation: someone who is socially engaged and open-minded and goes with open eyes through life.”

She explained that Mendelssohn built the first music school in Germany for “students of all cultural and financial backgrounds,” and of course, “he resurrected Johann Sebastian Bach.” She summed up her feelings: “Somehow I seem to admire an artist in general even more if he also turns out to be a useful member of human society, apart from being very skillful at what he’s doing.

“Obviously the Octet stands for all these qualities. There’s such a beautiful quote from Mendelssohn who used to say, particularly about the Octet, that when he is writing or making chamber music he hopes that it is ‘like a conversation between very well-educated and interesting friends.’

“And this is pretty much how I feel when I am playing with my young colleagues. We all bring our own viewpoints to it and there’s a lot of freshness and passion in the air, which is the main ingredient really of rediscovering what we think we know.”

I had read that Ms. Mutter had recently begun using a baroque bow to perform Bach, so I asked her if she would be using one in the Toronto performance of Vivaldi’s The Four Seasons, only to discover that new regulations involving animal materials made it difficult to bring even copies to North America. She told me that she will continue to play Bach with it wherever she is able mainly “because the original phrasing in the Bach scores is only to be obtained by bows which are much lighter in the frog [the bottom part of the bow that is nearest to the hand] which was the case in Baroque times.”

While they don’t use baroque bows in their playing of the Vivaldi, it’s nevertheless much less dense and more transparent playing today than what she thought was proper in the 1980s. In Toronto she and her Virtuosi would be keeping that “transparent and very airy sound in mind, for sure.”

I was quite curious about what led Ms. Mutter to take up the violin as a child since I knew that she didn’t come from a family of musicians. She spoke of growing up “kind of a tomboy” with two older brothers in a house with a lot of classical music and literature. Her father was a journalist who later became a newspaper editor. As engagement presents her parents gave each other recordings by Furtwängler and by Menuhin. “That shows how much that was part of their life and how much that became part of our life at home.”

“We listened to a lot of classical music as well as jazz,” she continued. “And that is probably the reason for my deep-rooted love of jazz because I felt so comfortable and basically soaked it up like mother’s milk.

“So for my fifth birthday – it must have been the constant presence of that violin sound which made me want to try it for myself. And I’m still trying it,” she added, almost seriously.

I asked her about the violinists who made an impression on her in her youth and the depth of her answer was quite telling: “The great, unforgettable David Oistrakh definitely left the deepest impression: his presence on stage, the warmth of his personality. I remember there were students sitting literally at his feet ... Yes, I was six years old and he played the three Brahms sonatas.

“A few years later I was fortunate enough to hear Nathan Milstein who became another of my [favourites]; I obviously also played with Menuhin at a later stage of his life; I heard Isaac Stern in person; I was rather close to Henryk Szeryng. I was really very fortunate to hear all of these icons of violin playing at a still fabulous age and in great shape.”

As to what makes a great violinist great, Ms. Mutter responded that “we’re all trying to be a well-rounded musican.” She finds the idea of being a specialist rather boring, caught up with technical details and perfecting them without really having the scope to see the bigger picture. She thinks it’s wonderful that the violin is “an instrument which is best in company with someone else, with another musical partner.” At the same as she extols the virtues of “just being a useful part of the whole” she says, “Of course you have to find – as violinist, pianist or conductor – you have to find an angle where music is newly or freshly or whatever ... it has to bring a spark to something.”

She spoke of shattering the illusion of the listener who might think he knows what you’re playing already and may feel slightly tired of it. “Of course that illusion has to be taken away the moment that the particular artist goes on stage,” she explained. ”Then it really has to be totally fascinating.” When I enthusiastically agree, she responds, “Hopefully.”

Her extensive discography which began when she was just 15 – Deutsche Grammophon celebrated her 35-year recording career with a 40-CD box set last year and her 25-year collaborative partnership with pianist Lambert Orkis was marked with The Silver Album, a 2-CD compilation this year – prompted a question about what, if anything in the violin repertoire she looks forward to recording.

“Sadly, sadly, of course life is too short,” she responded. She is fascinated, she went on to say, with the great encores that Jascha Heifetz used to play, “a repertoire that is sadly, frowned upon in German-speaking countries.” Listening to two CDs over the course of an evening recently, she remarked how struck she was by the “nobility of this great violinist,” and that for the next few months she would be exploring this repertoire. Beyond that? “The repertoire is endless – you can go in this direction or that, ...Walton, ... Barber, more contemporary music ... the Beethoven string quartets.”

“Yes, Paul, it’s kind of [a mock scream over the phone, as if saying it’s all too much to contemplate]” I counter that it’s something to look forward to; “One after the other,” she replies.

There is so much to do. Even as she takes the Mutter Virtuosi on their first North American tour, their New York appearance is just one part of Carnegie Hall’s Anne-Sophie Mutter Perspectives in which all facets of her musicianship will be on display, from her recent appearance in the Bruch Violin Concerto No.1 with the Berlin Philharmonic under Simon Rattle at the beginning of October, to the Annual Isaac Stern Memorial Concert November 11 (with Orkis on piano for Beethoven’s “Kreutzer” sonata, and a performance of Currier’s Ringtones with Patkoló), to a concert next spring with Yefim Bronfman and Lynn Harrell (including Beethoven’s “Archduke” trio). Playing Sibelius, Berg and Moret with the Danish National Symphony Orchestra and Michael Tilson Thomas’ New World Symphony completes the six-concert series.

WholeNote readers will be interested in the fact that the Mutter Virtuosi Carnegie Hall concert on November 18 will be live-streamed and available on medici.tv for view for 90 days thereafter. Like the concert in Toronto three days later,  the program includes Vivaldi’s Four Seasons but instead of Mendelssohn and Currier the Carnegie program features Bach’s Concerto for Two Violins BWV 1043 and André Previn’s.

What does she think about the live streaming, I ask. “It’s not downloadable but you can look at it and get horrified from another angle,” she jests, before adding more seriously: “I feel very honoured [because very few concerts are being streamed].”

So anyone going to the November 21 Roy Thomson Hall concert (or contemplating it) will be able to get a sneak preview in the few days before, or more likely cement a memory of parts of the Toronto concert any time through mid-February.

Jan Lisiecki: Like Mutter, Calgary-born pianist Jan Lisiecki began music lessons at five and started recording for Deutsche Grammophon as a teenager (he was 17). He will bring his musical sensibilities to Beethoven’s third, fourth and fifth piano concertos in a series of concerts with the TSO November 12 to 22. I was fortunate several summers ago to hear Alfred Brendel play all five of the concertos with the Boston Symphony at Tanglewood and I can’t overstress what a pleasure such concentrated exposure can be. Guest conducting the TSO will be Thomas Dausgaard who has paired each concerto with a symphony by his Danish countryman, Carl Nielsen. Nielsen, a contemporary of Sibelius, is known for his energetic post-romanticism, and he was quite explicit about the life force music represented to him. Symphony No. 4 “The Inextinguishable” is particularly expressive in this vein, having been composed during the first half of the First World War. It’s paired with Beethoven’s most lyrical piano concerto, the Fourth, November 12 and 13.

Itzhak Perlman: Like Mutter, Izhak Perlman is a towering figure on the world violin stage and occupied as well with music education. His upcoming RTH recital December 1 with pianist Rohan De Silva crosses three centuries with music by Vivaldi, Schumann, Beethoven and Ravel. At his concert here two years ago with collaborator De Silva, he introduced the entire post-intermission part of the program from the stage, with the joyful aplomb of a Borscht Belt kibitzer. Any opportunity to hear what he cals his “fiddle playing” should not be missed.

Leon Fleisher: For many years this city has been fortunate to have Leon Fleisher in its midst. As the occupant of the inaugural Ihnatowycz Chair in Piano at the Royal Conservatory, his presence has been felt in teaching, conducting, performing, examining and giving masterclasses. On November 25 at the Bloor Hot Docs Cinema, he will appear on stage in a Q & A after the screening of the fully packed 17-minute film, Two Hands: The Leon Fleisher Story, which documents his battle to overcome focal dystonia, a movement disorder that affected the use of the fourth and fifth fingers of his right hand. Watching him rise from the depths of despair at the peak of his concert career to remake his life as a musician is thrilling to behold. Take advantage of the opportunity to meet him in person.

Three days later on November 28, Fleisher conducts the Royal Conservatory Orchestra in a program that includes Mozart’s Symphony No.39 and Brahms’ Symphony No.3. On the mornings and afternoons of November 29 and 30 he will give masterclasses in Mazzoleni Hall. He will share a musical legacy traceable back to Beethoven directly through his teacher Artur Schnabel and Schnabel’s teacher Theodor Leschetizky who studied with Carl Czerny who studied with Beethoven. Anton Kuerti can claim a similiar connection through another pupil of Leschetizky, Mieczysław Horszowski, who taught Kuerti.

The evening at the Bloor also includes the feature-length, documentary Horowitz: The Last Romantic, a true curiosity by the noted filmmakers Albert and David Maysles (best know for Salesman, Grey Gardens and Gimme Shelter). The impish pianist and his shrewd wife Wanda (Toscanini’s daughter) are filmed in their apartment where Horowitz is recording an album at the age of 81. The up-close camerawork devoted to his fingers is just one of the attractions of this fascinating film.

Bavouzet and the LPO: Coincidentally, pianist Jean-Efflam Bavouzet, who recently played Prokofiev’s Piano Concerto No. 3 at RTH October 17 with an energetic London Philharmonic Orchestra under Vladimir Jurowski, suffered from functional dystonia that affected his right hand from 1989 to 1993. In the Prokofiev Bavouzet moved confidently from wistful calm to devilish passagework, from idiosyncratic note picking to mysterious pianissimos as he revealed the composer’s Russian soulfulness. In the evening’s other major work, Shostakovich’s Symphony No.8, the LPO displayed great clarity and airiness including wonderful sound clashes, vibrant searing melodies in the strings, terrific brass work and yeoman flute playing that set up the intermittently febrile march of the second movement  and the sardonic third before the gratifying, sombre conclusion.

And So Much More: MacArthur “Genius” Fellowship-winner Jeremy Denk leads a parade of world-class pianists into November’s concert halls. He’s followed by the inimitable Richard Goode, the dynamic aestheticism of Simon Trpčeski, the elegance of Angela Hewitt (in a program that ranges far and wide from Bach and Scarlatti through Beethoven’s Op.110 to Albéniz and Liszt), to Mooredale Concerts’ “Piano Dialogue” between David Jalbert & Wonny Song and the adventuresome Christina Petrowska Quilico whose name is often found in the pages of TheWholeNote’s CD section.

And then there’s the Dover Quartet, the Daedalus String Quartet, the Cecilia String Quartet, the Windermere String Quartet, the Zuckerman Chamber Players, the Canadian Brass, Leonidas Kavakos & Yuja Wang, Dmitri Levkovich ... It goes on and on. Like Tchaikovsky, Danny Kaye’s famous tongue-twister of a patter song, name after name, concert after concert. What riches there are to be found in this issue’s listings.

Paul Ennis is the managing editor of The WholeNote. He can be reached at editorial@thewholenote.com.