Editor's Corner

Editor's Corner - March 2026

As Torontonians learned several years ago when Dundas Square was renamed, the word Sankofa, originating from the Akan people of Ghana, comes from a Twi expression whose literal meaning is “Go back and get it!” a command to pay due regard to the lessons and practices of the past and to draw on them to inform the present and the future. The symbol of Sankofa, is often depicted as a bird with its feet facing forward (progress) while its head is turned backward (reflection), carrying a precious egg in its mouth (future/wisdom).

In October 2024 the Art of Time Ensemble produced Sankofa: The Soldier’s Tale Retold under Andrew Burashko’s direction, Nigerian-Canadian poet Titilope Sonuga’s reimagining of Stravinsky’s L’Histoire du Soldat. As their contribution to this year’s Black History Month Leaf Music released a recording of this stunning work (LM304 leaf-music.lnk.to/lm304c).

The original story by Charles-Ferdinand Ramuz told of a First World War soldier who encounters the devil to whom he barters his violin for the promise of eternal riches, a bargain that has dire consequences. Sonuga’s version tells of a (fictional) Jamaican man of African heritage in Halifax in 1914 who wants to enlist in the Canadian army but is turned down because people of his skin colour are not welcome to join. He meets the devil who cajoles him into accepting a magic violin in exchange for his bird amulet, a gift from his mother. “Sankofa, is what he calls the bird, who holds his history in a word. A symbol, an ancient guide, resting near his heart with pride.” With the devil’s help he is accepted into the only entirely black battalion in the Canadian army, the historical No.2 Construction Battalion, which suffered abuse at the hands of their white officers and was relegated to digging ditches because their commanders refused to give them arms.

Spoiler alert: As in the original, and many other such tales, selling your soul to the devil never turns out well, although there are a number of exhilarating moments along the way.

Stravinsky’s music is used throughout the hour-long performance. Burashko says “I asked [Sonuga for] an homage to the original in the following ways: that the libretto be written in rhyming verse; for the same characters (Soldier, Devil and Narrator); that it follow the original structure by having the Devil appear in different guises and that the new libretto make perfect sense with the original music.” It does indeed, and also makes for a powerful story.

The skeletal orchestration – violin, clarinet, trumpet, trombone, bassoon, double bass and percussion – is said to represent the scarcity of musicians in Stravinsky’s Paris in the wake of the devastation of WWI. The excellent members of the Art of Time Ensemble, led by violinist Benjamin Bowman, capture the score brilliantly, and the actors – Ordena Stephens-Thompson (Narrator), Olaoluwa Fayokun (Soldier) and Diego Matamoros (Devil) – bring the story compellingly to life. The jam-packed disc also includes a stellar performance of the 28-minute instrumental suite that Stravinsky extracted from L’Histoire. Kudos to all concerned.

Listen to 'Sankofa: The Soldier’s Tale Retold' Now in the Listening Room

There are many parallels between Stravinsky’s tale and Kevin Lau’s Kimiko’s Pearl, a ballet developed in conjunction with Bravo Niagara in 2024, now available on CD (BNCD001 kimikospearl.com). The story is centred around the internment of Japanese Canadians during the Second World War and, like the Stravinsky, also uses minimal instrumental forces: harp (Mariko Anraku), violin (Conrad Chow), Japanese and Western flutes (Ron Korb) and cello (Rachel Mercer).

Founded in 2014 by mother-daughter duo Christine Mori and Alexis Spieldenner, Bravo Niagara is based in Niagara-on-the-Lake and dedicated to amplifying underrepresented voices through the arts. Lau says Mori and Spieldenner’s family experience of the Japanese Canadian internment inspired the narrative with its encompassing of universal themes: love, devastation, grief, resilience, and the reclamation of identity. Based on a story by Howard Reich, four generations of the Ayukawa family are represented from the great-grandfather’s arrival in Canada in 1917 through to 15-year-old Kimiko’s discovery of a mysterious trunk in their basement in Toronto a century later. There are some magical moments, such as when an antique radio broadcasts news of the Second World War, along with a wedding dress, a pearl ring and the diary also found in the trunk that help bring the family story to life for Kimiko.

The Ayukawa family trunk, currently in the collection of the Canadian War Museum, is a real artifact built by Shizuo Ayukawa in the New Denver internment camp in British Columbia. Kimiko’s Pearl reflects the tragedies, triumphs and perseverance of Japanese Canadians before, during and after the internment they endured during WWII. A parable particularly relevant today, it attests to heroism and hope in the face of racism and intolerance.

Lau’s lush yet crystalline score is brilliantly realized by the quartet of musicians with supplemental sound design aspects (including taiko drums and other enhancements) developed by Aaron Tsang. The CD booklet is beautifully illustrated with stunning photos from the stage production. It includes a detailed synopsis of each of the eight scenes and biographies of all involved. It’s easy to see why this very impressive package has received two JUNO-nominations, for Classical Album of the Year (small ensemble) and Classical Composition of Year.

Listen to 'Kimiko’s Pearl' Now in the Listening Room

Perhaps the most famous example of military imprisonment leading to the creation of a masterpiece is the story behind Olivier Messiaen’s Quatuor pour la fin du temps. Messiaen was serving in the medical auxiliary of the French army when he was captured by the Germans near Verdun in 1940 and transported to Stalag VIII-A, a prisoner-of-war camp in Görlitz, Silesia (then German territory, now Poland). During the nine months he spent there he was treated decently and with the help of a friendly German guard, Carl-Albert Brüll, who provided manuscript paper and pencils, Messiaen was able to compose. Using the meagre materials at hand – a dilapidated upright piano, a cello with just three strings, a violin and a clarinet – he wrote what would go on to be recognized as one of the greatest chamber works of the last century. The quartet reflects Messiaen’s profound religious faith, with each of its eight movements devoted to a different aspect of praise to God and Nature. The instrumentation changes from movement to movement, with each musician, except for the piano, given a solo turn. Most striking is the Abîme des oiseaux, where the clarinet, alone, rises out of nothingness to depict the abyss of the birds.

There are two new recordings of this iconic work, and I confess that I am hard-pressed to choose between them. Thankfully I don’t have to! The first features Montrealer Louise Bessette, renowned for her performances and recordings of Messiaen’s solo piano music, having worked extensively with the composer’s wife Yvonne Loriod. She is joined by young cellist Cameron Crozman, the recipient of the 2021 Canada Council for the Arts Virginia Parker Prize, the Council’s largest award for emerging classical musicians, Dominic Desautels, principal clarinetist at the Canadian Opera Company and violinist Mark Lee, assistant concertmaster of Symphony Nova Scotia. This new disc (ATMA ACD22940 atmaclassique.com/en/produit/olivier-messiaen-quatuor-pour-la-fin-du-temps-fantaisie) is available on streaming platforms in the immersive Dolby Atmos process with exceptional clarity and depth of sound. As a bonus the disc also gives a taste of a younger, pre-mystical Messiaen with the less frequently performed and somewhat bombastic Fantasie for violin and piano (1933).

Formed in 2020, the Anzû Quartet is dedicated to the music of our time and the recent canon. Comprising Olivia De Prato (violin), Ashley Bathgate (cello), Ken Thomson (clarinet) and Karl Larson (piano), Anzû pays homage to Olivier Messiaen’s Quatuor pour la fin du temps by actively commissioning and performing new works for this iconic instrumentation. The name anzû refers to a massive, fire and water breathing bird found in Babylonian and Sumerian mythology. In these ancient texts, Anzû is linked to death and destruction as well as birth and creation, reflecting the juxtaposing themes of calamity and salvation often expressed through birdsong in Messiaen’s quartet.

The notes to this recording (Cantaloupe Music anzuquartet.com/quatuor-pour-la-fin-du-temps) include “Thoughts about Quatuor pour la fin du temps” by Anzû’s mentor, cellist Fred Sherry, whose own group Tashi studied the work with Messiaen in the late 1970s, so advice from the horse’s mouth, if once removed. The resulting performance is one to be treasured, with all the nuance and dynamic range this exhilarating work demands.

The music of Argentine-born American composer Osvaldo Golijov is featured on a new disc entitled Ever Yours (Phenotypic Recordings phenotypicrecordings.com). Golijov tells us “Ever Yours was the last piece I wrote for and dedicated to Geoff Nuttall, who was, and still is, my brother in music and life. I was inspired primarily by two things: brotherhood, as embodied in the letters that Vincent van Gogh wrote to his brother Theo—which he always signed with the words ‘Ever Yours’—and the String Quartet, Op.76, No.2 by Joseph Haydn, who was the composer Geoff loved and admired the most […] I wrote Ever Yours, primarily, as a conversation about music, Haydn, friendship, life, and death, between Geoff and me. Geoff is now gone, and his (and my) beloved St. Lawrence String Quartet, which he co-founded and led for more than 30 years, has disbanded. But the idea of a conversation between friends continues to live…”

Haydn’s quartet finds its way into each of the four movements, but we also hear snatches of Beethoven’s final quartet in the third. Originally written for string octet, Golijov has added a double bass in the current version for which the Arethusa and Animato Quartets are joined by bassist Nicholas Schwartz. For Tintype, violist Barry Shiffman, another founder of the St. Lawrence Quartet joins the Arethusa in a work that began its life as a soundtrack for the film Elie Wiesel: Soul on Fire. A theme inspired by several animated sequences in the film, in which Wiesel dreams of his father, who died in the Holocaust, was later expanded and became the second movement of Tintype. The first movement is based on a traditional Hebrew melody, and the third is based on a version of the prayer, “Ani Maamin” [I Believe], that Wiesel sings in the last minutes of the documentary. Here, Golijov says, “it alternates between sparse, expressionistic fragments of the prayer, and driven, motoric sections inspired by Philip Glass’s string writing. I hear the spirit of Schubert in his chamber music, as I hear it in my own music.”

The disc concludes with two shorter tracks. K’vakarat [As a Shepherd…] is a prayer from the Yom Kippur liturgy originally written for cantor Misha Alexandrovich and string quartet here performed in an arrangement for viola and strings by Shiffman. The concluding Esperanza [Hope] from 2025 is a love theme composed for the soundtrack of Francis Ford Coppola’s film Megalopolis, performed by the same nine musicians from Ever Yours, bringing the disc full circle.

In June 2023 the Toronto Symphony Orchestra under the direction of Gustavo Gimeno gave the premiere performances of Daniel Bjarnason’s Trilogy for Orchestra: I Want to be Alive, a work they had co-commissioned with the Cincinnati and Iceland Symphony Orchestras and the Helsinki Philharmonic. Bjarnason is currently Artist in Collaboration: Iceland Symphony Orchestra, where he previously held posts as Principal Guest Conductor and Artist in Residence. He has also worked extensively with the Los Angeles Philharmonic and one of his collaborations there resulted in the piano concerto FEAST performed by its dedicatee Vikingur Ólafsson in 2021 under Gustavo Dudamel.

That majestic near-half-hour work opens the CD The Grotesque and the Sublime in a new performance with pianist Frank Dupree and the Iceland Symphony Orchestra, who are featured throughout the recording with the composer conducting (Sono LuminusDSL-92287 sonoluminus.com/sonoluminus/grotesque-and-sublime). Bjarnason is a hub-like figure in the group of composers who could be said to constitute a First Icelandic School. But his own music sprawls beyond the borders of the school’s typical aesthetic, its characteristic gradual transformation of vaporous orchestral sounds, akin to the shifting shape and colour of a North Atlantic cloud. This difference is amply displayed in FEAST with its seven dramatic and dynamically boisterous movements. Also of note here is an external narrative – Edgar Allan Poe’s short story The Masque of the Red Death – reflected in the phantasmagorical movement titles such as “the brazen lungs of the clock” and “domination over all (skeletal procession).” The score follows the trajectory of Poe’s story, opening with a dense and decadent party punctured by its own ‘reverie’ for solo piano. Some 25 minutes later, after the skeletal procession, the flamboyant concerto dissolves into dust.

The centrepiece of this recording, Fragile Hope – In memory of Jóhann Jóhannsson, is more like the atmospheric works of the Iceland School, and fittingly so as Jóhannsson was a seminal figure in that movement. It is dark and brooding, full of angst and longing, although there are bright moments where hope shines through.

The final work Inferno is a percussion concerto featuring the rising young German star Vivi Vassileva. Although the three orchestral percussionists play a vast range of instruments, the soloist is limited to only a few: drum kit, wood blocks, txalaparta (a traditional Basque instrument constructed of wooden boards on a platform), marimba, Japanese taiko drums, kick drum and timpani. Bjarnason says “the primary objective was sonic: a focus on particular sound worlds, rather than a mad dash between many instruments.” The unusual sound of the txalaparta, which is featured extensively in the first and third movements, is especially intriguing and to my ear reminiscent of some of the instruments invented by Harry Partch. There is an extended and effective timpani cadenza reinforced by low strings and woodwinds. Inferno provides a stimulating climax to a scintillating disc.

Britten – Suites pour violoncelle 1-3 (revisitées) features Montreal cellist Pierre-Alain Bouvrette. This is a digital release which unfortunately does not come with much documentation. I say this because these are very complex works, unlike most of Britten’s oeuvre and it would be useful to be given some analysis or at least some background and context to their composition. When I asked Bouvrette about this absence he responded that many digital platforms don’t support anything but audio files and cover art, so he did not produce a programme booklet. He did however send me an artist’s statement from which I have adapted the following:

The leading element of my approach was driven by the nature of these works with their polyphonic ambitions for an instrument that is mostly monophonic. The cello can certainly be bi-phonic but it is realistically impossible to play more than 2 notes at the same time. Therefore, polyphony becomes a pure illusion. […] I have produced a studio recording, exempt from the constraints of a false linear time frame, existing only as a sound object on its own. Using every tool available in the studio I have created a version of this music, one that could be imagined through the lens of an interpreter/sound technician/sound designer. […] This was made with utmost respect for these works that I love but not without a touch of humour and lightness, which I hope may be forgiven. This version should not be taken as a reference for these works and I hope that if a listener falls in love with what they hear, they will also go listen to a more traditional version.

That all being said, I find Bouvrette’s renditions convincing and satisfying, with all the extreme dynamics and rhythmic nuances intact. The recorded sound is exemplary, and I was not aware of any obvious instances of studio manipulation. I did, however, take his advice and listened to my traditional favourite performances, those by the dedicatee Mstislav Rostropovich, and more recent recordings by Truls Mørk and Pieter Wispelwey. It was great to have an excuse to immerse myself again in these masterworks. You can find Bouvrette’s Britten on most streaming platforms, or here: palmaresadisq.ca/en/artist/pierre-alain-bouvrette/album/britten-suites-pour-violoncelle-1-3-revisitees.

David Olds can be reached at discoveries@thewholenote.com.

Editor's Corner - January 2025

Why do I so often talk about myself as I write this column? Personal connections open doors, and ears, especially with the esoteric field of contemporary music. As I learned during my time as general manager of New Music Concerts from founder Robert Aitken, hearing firsthand from the composer – for the audience at pre-concert chats and post-concert receptions – can really foster understanding and curiosity about challenging repertoire and approaches to music-making. Of course, I also had the opportunity to get to know the composers during their often-week-long rehearsal sessions with our musicians.

Brady: New Music Concerts was not my first opportunity to meet composers in person and discuss their work, however. From 1984 through 1991 I was the host of “Transfigured Night” on CKLN-FM and in my first year of broadcasting I had the pleasure of meeting Tim Brady, an accomplished jazz guitarist who also composes for the concert hall. I believe he was the first guest on my overnight radio program. We discussed an album of his piano music recorded by Marc Widner on the Apparition label. This was the first of many encounters with this prodigious artist over the past 40 years, including a subsequent interview about his Chamber Concerto commissioned for New Music Concerts’ 15th anniversary event in 1986. There were numerous collaborations during my own tenure with NMC, most notably when we presented his opera Three Cities in the Life of Doctor Norman Bethune in 2005 and the evening-long multi-media creation My 20th Century in 2009. I also had the opportunity to perform in Brady’s Instruments of Happiness project While 100 Guitars Gently Weep – Concerto for George at Luminato in 2018, so my relationship with Tim is many-faceted.

In my column last issue, I speculated that Alice Ping Yee Ho may be Canada’s most prolific and most recorded composer, but I now realize that Brady’s output rivals hers, with some 30 CDs of his own, plus a dozen more that include his work. There are also four no longer available vinyl LPs, three of which are still in rotation on my turntable, including the abovementioned Music for Solo Piano.

2025 saw two releases, a double CD of solo (although many layered) works, For Electric Guitar (peopleplacesrecords.bandcamp.com/album/for-electric-guitar) and The Possibility of a New Work for String Quartet: Tim Brady String Quartets Nos. 3-5 which features the Montreal-based Warhol Dervish String Quartet (leaf.music/leaf-music-tim-brady-and-warhol-dervish-string-quartet-present-the-possibility-of-a-new-work-for-string-quartet). This album’s name is derived from the String Quartet No.3 “The (Im)Possibility of a New Work for String Quartet.”

Brady says “In March 2019 I woke up one morning with this idea in my head: It’s impossible to write another string quartet – so many have been written – there is literally nothing left to do with the medium. I needed to think of the string quartet not as a finished product (a score) but as a process for making music. So, I wrote a bunch of instructions on how the members of a quartet should compose their own quartet. These instructions are… ‘Write a fake folk tune,’ ‘Sustain notes in F minor’ ‘Make a big noise,’ etc.—it never tells them precisely where to go or what to do but jump-starts the collaborative process.” I find this iteration of the work – the players are instructed to tear up the score at the end of the performance to insure no two presentations will be alike – very convincing, and I was captivated by the “fake folk song,” a kind of a dirge reminiscent of some of the rustic children’s songs that Béla Bartók collected. Not having read the program note in advance, I had no clue that this wasn’t through-composed, it seemed so organic.

Since sketching the outline for that work Brady has evidently found a way to reconcile himself to the medium, and the two subsequent quartets are fully fledged contributions to the genre. Brady says String Quartet No.4 from 2020 is “quite sparse and transparent, and generally slow and meditative. I also use quarter-tone harmonies in a few places in this piece... It gives a soft, almost fuzzy feel to these chords which suits the reflective nature of the work.”

“#5 was also totally unbidden. I woke up one morning in October 2022 (near the end of the pandemic when we all had time to sit and ruminate on many things, including string quartets) and had this idea: a really big multi-movement string quartet with lots of notes and big contrasts—why not? Say 30 minutes: a good chunk of time, something that the players and listeners could really sink their teeth (ears) into. The plan is five movements—including two slow movements, with ample opportunity for the players to push their rhythmic agility and ensemble acuity. It’s a bit of a ‘chops-buster,’ but Warhol Dervish give an impressive performance.” And that’s true of all three works. By the way, Brady tells us that he has since written a sixth string quartet.

Regarding For Electric Guitar I’ll simply quote from the press release: “The three works it encompasses are all solo guitar pieces that he composed for himself to play. Throughout its 80+ minute runtime… Brady manages to embrace a plethora of styles and approaches with languid ambiences and textures, driving post-minimalist composition, nods to prog and jazz, and vital gestural moments that relate to modern concert music. The titular piece even echoes the format of a concerto, with Brady varying his tone to allow him to behave as both the soloist and ensemble.” It’s a striking achievement.

And if you found my mention of Brady’s 100 Guitars project intriguing you can check out the latest

Installment from the 2025 Brisbane Festival on YouTube (youtube.com/watch?v=Kqfjd4aAsO4&t=11s), where you can also find the George Harrison tribute (youtube.com/watch?v=3M_4_FTW1wY).

Listen to 'For Electric Guitar' Now in the Listening Room

Listen to 'The Possibility of a New Work for String Quartet' Now in the Listening Room

Boulez: A couple of issues ago I wrote extensively about having the opportunity to spend some time with Pierre Boulez, one of the truly great composers and conductors of our era, during my time as general manager of New Music Concerts. The context of that reminiscence was the release of a seemingly definitive set of recordings of his collected works, Boulez the Composer (DG 4847513, 13 CDs) which came out to commemorate the 100th anniversary of his birth. I recently found a stunning complement to that collection, Quatuor Diotima’s own tribute to Boulez’s centenary, a recording of his Livre pour quatuor (pentatonemusic.com/product/boulez-livre-pour-quatuor). The album features the world premiere of the piece’s fourth movement, which the composer conceived in close cooperation with the members of Diotima (who, incidentally, performed for New Music Concerts back in 2011).

“Working on Pierre Boulez’ Livre pour quatuor was one of the founding projects of the quartet when we began in 1996. However, the project had to be postponed due to an ongoing collaboration on the same score with the Parisii Quartet. About fifteen years later, Boulez agreed to initiate a new collaboration with us around this piece. This took place within the context of a four-concert cycle project, ‘Schoenberg / Beethoven’ in which we proposed to include each of the six movements of the Livre pour quatuor between the works of those two Viennese masters, involving the creation of the fourth movement, which had previously remained unfinished… Unfortunately, severe vision problems forced [Boulez] to give up composing and conducting. The task of reconstructing this unfinished movement was therefore entrusted to Philippe Manoury. We are proud to have been associated with this project and delighted to have finally been able to record this complete version of the Livre pour quatuor.”

The Parisii’s 2001 recording of the then existing five movements was included in the DG set mentioned above. Thanks to this exquisite new release by the Diotima I can now consider my Boulez collection complete.

Lachenmann: Another iconic composer I had the pleasure of meeting through New Music Concerts is Helmut Lachenmann (b.1935). Known for his “musique concrète instrumental,” Lachenmann’s music makes extreme demands on the players, utilizing a plethora of unconventional playing techniques which produce unusual sounds from conventional instruments. Often entire pieces unfold without any traditionally “musical” tones, melodies or harmonies. This is exemplified on Lachenmann: Works for String Quartet (pentatonemusic.com/product/lachenmann-works-for-string-quartet), the fruit of a 25-year collaboration between Quatuor Diotima and that visionary composer.

Their first meeting in 1998, originally just a one-week workshop, sparked a deep artistic bond and a shared fascination with his radical approach to sound and listening. This album is the result of hundreds of hours spent in rehearsal, performance, and conversation with the composer. It doesn’t make for easy listening, even in comparison to the rigours of the music of Boulez, but patient and careful listening will reward the adventurous musical soul.

Quatuor Diotima is not the only ensemble to have benefited from working with Helmut Lachenmann. Back in 2003 an early iteration of the JACK Quartet came to Toronto for an intensive masterclass with him under the auspices of New Music Concerts. Fully matured, JACK would return to headline a concert co-presented by NMC with Music Toronto a dozen years later, but this encounter with Lachenmann was a formative experience for the young quartet.

Wourinen: another iconic composer who graced the stage of NMC during my tenure is Charles Wuorinen (1938-2020). Perhaps best known for his opera Brokeback Mountain, Wuorinen’s uncompromising oeuvre encompassed solo works to large orchestral scores and included electronic compositions, such as 1970’s Time’s Encomium for which he won a Pulitzer Prize. A recent addition to his discography, MEGALITH (rezrecordz.com/megalith), comprises six works from the composer’s later years. JACK is joined by violist Miranda Cuckson and cellist Jay Cambell for Zoe (2012) which to my ear harkens back to the serialism of the Second Viennese School (rather than to the lush textures of Schoenberg’s own string sextet Verklärte Nacht).

The disc begins with Spin 5, a concerted work from 2006 for solo violin (Alexi Kenney) and an ensemble of 18 musicians conducted by James Baker, and also includes a piano concerto, the title work from 2014, featuring Peter Serkin and the Saint Paul Chamber Orchestra under Matthias Pintscher. Filled out with an extended work for solo oboe (Jacqueline Leclair) and mixed sextet, Buttons and Bows for cello (Michael Nicolas) and accordion (Mikko Luoma), and Scherzo for solo piano (Tengku Irfan) this collection is a testament to the importance of one of the most challenging American composers of the last half century.

Laplante: While JACK Quartet is only peripherally involved in the Wuorinen recording, they are front and centre on Travis Laplante – String Quartets 1 & 2 (New Amsterdam Records travislaplante.bandcamp.com/album/string-quartets). The Brooklyn-based composer and saxophonist was deeply moved by the experience of reading W. A. Mathieu’s seminal theory book The Harmonic Experience. This led to an interest in resonance which led to studies with Mathieu, and ultimately to a PhD in composition at Princeton University.

Laplante’s fascination with resonance guided him into the world of just intonation using the Helmholtz-Ellis notation system, and into collaborating with JACK Quartet who have extensive experience working within this musical framework. This is particularly noticeable in the first movement of String Quartet No.1 where the slowly unfolding muted opening has a medieval quality. The second movement, which also opens quietly, develops into minimalist textures and arpeggios referred to as [Philip] Glass-esque by the composer.

“String Quartet No.2 leads the listener to harmonic spaces that challenge our perception of beauty and resonance. The longing melodic payoff at the end of the piece comes only after moving through an intense harmonic passage that pushes and pulls consonant harmony to its extremes. JACK Quartet performs at the very edge of intensity where any push can break the music, yet they remain in total control…”

I see I have, as usual, used up most of my allotment talking about myself, but there are several other striking discs which came our way that I want to bring to your attention before they get too “long of tooth.” To keep things brief, I’ll rely on the accompanying press releases for the basic info. I want to assure you, however, that after repeated listenings I can, in all cases, wholeheartedly embrace the publicists’ enthusiasms.

To start, I want to make amends to one of our reviewers, Sam Dickinson, whose disc Gemini Duets (tqmrecordingco.com/sam-dickinson-gemini-duets) somehow fell through the cracks when it was released last spring. “Gemini Duets was envisioned as a mainly solo guitar album ‘with a few overdubs,’ but quickly grew into a broader project offering dense contemporary soundscapes, multi-tracked duets, and unaccompanied vignettes. This exciting new music was captured at the historic Sharon Temple in Aurora, Ontario by Ron Skinner.

“Effects and electronics have been part of Dickinson’s sound since he first began playing guitar, and Gemini Duets has a healthy helping of these sounds without them taking away from the notes and song-forms.” Dickinson describes this mandate as “I’ve always been interested in how differently I play depending on my instrument and setup of choice. That said, I’m amply careful not to stray from the core of the music itself just to ‘experiment’ with new gadgets and gizmos.”

The result is a solid offering based in straight-ahead jazz idioms ranging from contemplative and balladic tracks to playful turns and rich, resonant soundscapes.

A co-commission and co-production of City Opera Vancouver and Pacific Opera Victoria, MISSING was created to confront the ongoing crisis of Canada’s Missing and Murdered Indigenous Women and Girls (MMIWG). More than half the cast and crew are of Indigenous background, yet as librettist Marie Clements – herself of Métis/Dene heritage – comments: “To me and to so many other people, this is not an Indigenous issue; it’s a human issue. As human beings we have a responsibility to end this, and so we’re asking for people to open their hearts, to be able to comprehend on an emotional level what’s really happening.” Guggenheim Fellowship and Juno Award-winning composer Brian Current (now artistic director of New Music Concerts) joined the project after the libretto was completed and composed the music in close partnership with the cast and cultural advisors.

Set in Vancouver and along the Highway of Tears, MISSING was premiered in November 2017 at City Opera Vancouver and toured by Pacific Opera Victoria in British Columbia and Saskatchewan in 2019. This recording (Bright Shiny Things brightshiny.ninja/missing) features ATOM (Artists of the Opera Missing, including sopranos Cait Wood and Melody Courage and mezzo Marion Newman) and Toronto’s Continuum Ensemble. Conductor and musical director Timothy Long, says: “Being a Muscogee/Choctaw man, I have often felt alone in this musical world, but MISSING revealed the purpose of my path. The victims and the families looked like my family and me. It pivoted my life trajectory towards representing all Indigenous people.”

According to Current, “Working on MISSING alongside Indigenous artists and listening to families of the missing quietly shifted how I see the world. I hope this recording invites the same kind of awakening.” I think it will.

In 2015 New Music Concerts commissioned Canadian Anna Pidgorna to create a piece based on her Ukrainian heritage for a concert featuring a new work by Odessa native Karmella Tsepkolenko. The result was Weeping, for mixed sextet based on rural Ukrainian traditional mourning songs, which Pidgorna had discovered through archival recordings during field work in Ukraine in 2012. Mesmerized by the sonic qualities and emotional power of these songs, a new chapter in her musical development began.

“Invented Folk Songs (redshiftmusicsociety.bandcamp.com/album/invented-folksongs) is a set of songs resulting from her traveling to Ukraine to study with traditional music practitioners. Returning from this period abroad, she subsequently arranged to study voice [at] Princeton with the intention of building her own hybrid vocal sound. The bold, powerful voice she has since cultivated, is couched here in matching ensemble textures that capture the drive and raw emotion of folk music, yet stray far from traditionalism in their form and sound. She has harnessed the strengths of both musical realms, rather than blending superficially. She finds the places where traditional playing overlaps with so-called extended techniques, and expands upon the compositional features of these folk songs that are ripe for experimentation… The lyrics, also written by Pigorna, function similarly, drawing on folkloric imagery and tropes to formulate relevant commentary, often with a strong feminist bent.” The booklet includes the lyrics in her hybrid Ukrainian dialects with full English translations.

Pidgorna is accompanied by the Ludovico Ensemble, a Boston-based chamber group specializing in modern music, known for focusing on specific and often unusual instrumentations. For this recording the instruments are violin, cello, double bass, cimbalom, piano and percussion.

Listen to 'Invented Folk Songs' Now in the Listening Room

When I first started collecting contemporary “classical” music, I was intrigued to find that the Louisville (Kentucky) Orchestra, contrary to common wisdom, was specializing in modern music and trying to support itself by commissioning and recording new orchestral works. Evidently the practice continues to this day, some 90 years after the orchestra’s founding by Robert Whitney.

Cellostatus (brightshiny.ninja/cellostatus), is the debut album from Louisville Orchestra principal cellist Nicholas Finch and the NouLou Chamber Players (Louisville), conducted by Jason Seber. Comprising three world premiere works – by Dorian Wallace, Alyssa Weinberg, and Ljova – commissioned by Finch and the ensemble, the album’s far-flung inspirations include the Kübler-Ross stages of grief (Wallace), the Latin word caligo meaning darkness or obscurity (Weinberg), and the ubiquity of the smartphone and social media (Ljova). Finch is in fine form, ably rising to all the diverse challenges in these attractive works.

My introduction to Johann Sebastian Bach’s sonatas for viola da gamba and obbligato harpsichord was a recording on modern instruments by Leonard Rose (cello) and Glenn Gould (piano). I became enamoured of these “true contrapuntal jewels,” but I must say that hearing them on period instruments has opened my ears in a whole new way (atmaclassique.com/en/product/the-sonatas-by-bach-for-viola-da-gamba-and-obbligato-harpsichord).

“These works offer a dialogue of remarkable eloquence between two instruments engaging on equal footing, revealing both the expressive depth and architectural refinement of Bach’s chamber writing.

Margaret Little and Christophe Gauthier offer a performance that is at once precise, flexible, and deeply expressive. Their musical rapport highlights the nuanced palette of the viola da gamba and the brilliance of the harpsichord, illuminating the emotional power of Bach in a recording that is both vibrant and elegant.”

Two pieces by Antoine Forqueray — La Couperin and La Buisson — complete the program with their virtuosity and distinctly French refinement. A truly refreshing experience.

As with the Bach sonatas, I first heard Beethoven’s cello sonatas recorded by Mstislav Rostropovich and Sviatoslav Richter, and my current favourite recording features Pieter Wispelwey and Dejan Lazić, again on modern instruments (Channel Classics CCS SA 22605). I must say, however, that a new period performance of Beethoven Cello Sonatas, Op. 5 by cellist Keiran Campbell and Sezi Seskir (fortepiano) (leaf.music/keirancampbell-seziseskir-beethoven) is growing on me for its sheer rawness and exuberance.

“Performing on a fortepiano with its leather hammers, and on a gut-strung cello with a supple classical bow allows the players to recapture these beloved sonatas’ intended original sound. The two cello sonatas (Nos. 1 and 2) were composed in 1796, and saw Beethoven attempting to make the two instruments more equal while celebrating the capabilities of the five-octave piano.”

Campbell is co-principal cello of Tafelmusik, and on faculty at the Chamber Music Collective, an intensive chamber music program on period instruments which focuses on post-1750 performance practice. Seskir is a co-founder of the Chamber Music Collective, and an associate professor of Music at Bucknell University. Together they bring new life to these timeless pieces.

Listen to 'Beethoven Cello Sonatas, Op. 5' Now in the Listening Room

Canadian cellist and composer Daniel Hass has built an impressive career that encompasses a diverse range of pursuits, genres, and achievements. He has performed as soloist with orchestras across Canada, the United States, and Europe; and has received numerous commissions, including one from the Glenn Gould Foundation, The Lord of Toronto, His Pavin, for cello and piano dedicated to Glenn Gould.

He wrote to me earlier this year to say “I’m excited to share my next milestone: my debut album Love and Levity (travislaplante.bandcamp.com/album/string-quartets). […] This recording features my original compositions for string quartet and piano quartet, performed by the Renaissance String Quartet and other collaborating artists. These quartets are Beethovenian at heart, in their thematic and structural tautness, but draw from contemporary musics such as Jazz and Folk along the way… [They] were written in the summer of 2021. There was a pandemic going on, and I spent most of the summer in my apartment, reading books and feeling the momentum of life melting away in the heat.”

While the COVID lockdown was not such a productive time for many people, Hass certainly put his isolation to good use, crafting these fine chamber works.

David Olds can be reached at discoveries@thewholenote.com.

Editor's Corner - November 2025

As I write this my street is adorned with ornamental lights, pumpkins, goblins, skeletons and gravestones in advance of Hallowe’en, so perhaps it is fitting that I begin my column with a work based on ghost stories. Alice Ping Yee Ho is one of Canada’s most prolific composers, and surely one of the most recorded, with a discography encompassing 13 CDs devoted to her songs and solo piano works, electronic dance scores, chamber music, orchestral pieces and several operas. There are also some two dozen compilations that include her compositions.

A recent case in point is Alice Ping Yee Ho – Dark Tales, the latest from Duo Concertante (Navona Records navonarecords.com/catalog/nv6748), an evocative five-movement work inspired by Tom Dawe’s story collection An Old Man’s Winter Night. Each movement channels a ghost story rooted in Newfoundland folklore. The Newfoundland-based duo of violinist Nancy Dahn and pianist Timothy Steeves who commissioned the work is in top form here, giving each movement a distinctive colour.

From the brash opening of the title work, through the eerie Landwash Spirits telling of shipwrecks and ghosts at sea, Sheba, in which the narrator is saved by the dog he had previously had to put down, the hauntingly beautiful Woman in the White Dress, to the concluding House in the Drook which tells of the misfortunes that befall a house built upon a “fairy ring,” the hour-long cycle captivates our imaginations.

Originally premiered in an immersive performance with three-dimensional projections, the audio CD captures the intensity and mystery of Ho’s vision, bristling with the enchantment of the spirit world.

Listen to 'Dark Tales' Now in the Listening Room

Although not eerie in the same way, Five Scenes for Orchestra by Azores- and New York City-based Canadian composer Nathan Henninger (rich records nathanhenninger.com/music) is equally dramatic. The recording features the Scoring Berlin Orchestra, session musicians drawn from Berlin’s most prestigious orchestras, with conducting duties shared by the composer and Bernhard Wünsch. Although we are not given clues to a specific story line from the movement titles – Misterioso, Maestoso, Brightly, Misterioso and Gently – if you close your eyes you can likely invent a scenario to go with the lushly orchestrated sounds.

The 20-minute suite is introduced with a brief prelude entitled Horn (Henninger’s own instrument), setting the stage for the adventure to come. I’ll let the composer’s descriptions give you a sense of the drama that ensues: Scene 1 – a primordial or primitive space out of which emerges the principal melody in the flute; Scene 2 – opens eerily and develops the material in a spirited way; Scene 3 – a diatonic space… drawing to a serene orchestral glow; Scene 4 – a more dramatic, cinematic and dissonant exploration… as we encounter darker elements; Scene 5 – shimmers as the celesta softly chimes [and] the horn and flute share a poignant dialogue [before returning] to the romantic theme in full bloom.

Toronto-born Henninger is a composer and conductor of music for film, TV and the concert stage, all of which is reflected in this impressive orchestral debut recording.

Another debut recording, Shades of Mouring, features Israeli-born, New York City-based cellist and composer Tamar Sagiv (Sono Luminus SLE-70041 sonoluminus.com/sonoluminus/shades-of-mourning). In the notes Sagiv says “I am writing these words while the Middle East, my place of birth, is bleeding. Like me, my friends, family, and neighbours who live on the other side of fences built to divide us carry excruciating pain that flows deep as the wars continue.”

The title work and the following Roots include a plaintive voice – presumably Sagiv’s – rising above the solo cello line in a haunting, evocative melody interrupted at times by yelps and brutal outbursts from the cello. Intermezzo is a brief, peaceful meditation for cello quartet in remembrance of her grandmother, with all lines played by Sagiv.

For the next four pieces Sagiv is joined by Leerone Hakami, violin and Ella Bukszpan viola. The first and fourth – And Maybe You Never Used to Be and Imaginary World – show the influence of Philip Glass, in particular his Mishima Quartet in the latter. My Clouds of Grief captures the heaviness that follows mourners when “colors drain from the world around you” and The End of Times in which Sagiv grapples “with uncertainty. Will we find relief in our final movements, or will pain be our lasting legacy?”

Inspired by Chet Baker’s Almost Blue the final two tracks – a solo cello work and cello quintet, again with all parts played by Sagiv – maintain the overall sense of grief, but Sagiv says “I wanted to end this album not in sorrow, but with the same quiet hope that music has always given me. The possibility that even after profound loss, we can still move forward. Together.” Let’s hope she’s right.

There are some minimalist aspects to David Occhipinti’s Camera Lucida (elastic records davidocchipinti.bandcamp.com/album/camera-lucida-elastic-recordings), a collection of chamber works that brings to my mind the music of the late Michael J. Baker, longtime artistic director of Toronto’s Arraymusic ensemble. The Camera Ensemble comprises some fine Toronto jazz players – Occhipinti on guitar, Michael Davidson, vibes and marimba, Dan Fortin contrabass, Aline Homzy violin and Virginia MacDonald clarinet – with special guests from the classical world on selected tracks: Max Christie on clarinet and bass clarinet, Fraser Jackson bassoon and Andy Ballantyne piccolo.

Well-known in the jazz world for his electric guitar work with Mike Murley, Lorne Lofsky, Terry Clarke and others, this is not Occhipinti’s first foray into chamber music – a previous recording with the Camera Ensemble dates from in 2012. This current project combines composed works with his guitar improvisations, and in the case of Southwark a group improv. Occhipinti says “I don’t think of music as having borders or labels. I like pictures of the earth that are taken from the moon, or from space, where we see a big planet with no borderlines of the countries. […] I think of music as a whole thing, and we can take elements that have influenced us to create our own musical world.”

Camera Lucida is a successful blending of a number of styles, not quite fitting into prescribed categories. Of particular note is the marimba-centric Promised Kiss, with exhilarating solos from violin and guitar. Although there is no rhythm section per se, there is no lack of rhythm in these often boisterous tracks. One notable exception is the quirky Playtime, an ethereal sound design piece utilizing wind sounds from clarinet, vibraphone and glockenspiel, radio sounds and whistling. But my favourite is Octavia where Jackson’s dancing bassoon is given free reign.

And this just in… As the deadline for filing my column fast approaches I have just received a disc that is inspiring a nostalgic romp down memory lane. Art Decade (Cantaloupe Music contaqtnewmusic.bandcamp.com/album/art-decade) comprising some fabulous music from the time I spent at CKLN-FM in the late ‘80s, is a wonderful revisioning by Evan Ziporan and Toronto’s ContaQt (formerly Contact). Compositions by Robert Fripp, Harold Budd, Brian Eno and David Bowie are featured in stunning arrangements by Ziporan and/or ContaQt founder Jerry Pergolesi.

Ziporan’s clarinet and bass clarinet are integral parts of the mix, with ContaQt members Allison Wiebe (piano, Rhodes, organ), Andrew Noseworthy (electric guitar and electric bass), Pergolesi (drums, percussion, trumpet), Mary-Katherine Finch (cello) and Sarah Fraser Raff (violin) all contributing to the sometimes gentle ambience and sometimes overpowering wall-of-sound. Fripp’s Red and Larks’ Tongues in Aspic Part Two best fit this latter description, guitarist Joao Carvalho adding to the forces on the former and electric bassist Alex Kotyk supporting the bottom end in both. There is an astounding energy here, and that’s not just my opinion – King Crimson composer and guitarist Fripp calls Larks’ Tongues In Aspic, Part Two “a triumph,” and describes Pergolesi and Ziporan’s version of Red as having “a wonderful manic quality that many of those who cover Red fail to get. By the end, all is good. The world may or may not be in a better place, but it feels like it is.”

These head-bangers are contrasted beautifully by Not Yet Remembered (Budd/Eno), Sense of Doubt (Bowie), and Moss Garden and Neuköln (Bowie/Eno) with their calming and melodious textures. The disc is brought to a gently scintillating conclusion with Fripp and Eno’s Evening Star in an arrangement by Ziporan and Andrew Keeling with guitarist Rob MacDonald added to the ensemble. All in all, this is a surprising and satisfying disc. Thanks for the memories!

Listen to 'Art Decade' Now in the Listening Room

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