27_bandstandIn last month’s issue I mentioned an upcoming concert by the University of Toronto Wind Symphony. I had the pleasure of attending that concert, and can report on a superb performance of all works on the programme. My principal reason for attending was to hear the solo performance of the Gregson Tuba Concerto by a young man whose development I have been following over the past few years. Now in his final year in the Faculty of Music at the University of Toronto, Eric Probst was this year’s recipient of the U of T Wind Ensemble Concerto Competition. In 2008 Eric was the winner of  the Hannaford Youth Band Solo Competition.

I have heard this concerto a number of times in the past, and this performance ranks with the best that I have heard. At some performances, I have had the impression that I was hearing a sort of fight to the finish, with the performer attacking the concerto as an adversary to be subdued. That was not the case in this performance. Throughout the performance Eric gave the impression that he was embracing the work as his friend. They were cooperating with each other to share their mutual admiration with the audience. Even in the technically demanding cadenzas there was no hint of a struggle; by his body language and facial expressions the performer told us that he was enjoying himself at all times.

The only really well known work on the program was the Symphonic Dance Music from Leonard Bernstein’s West Side Story. Here the large woodwind section displayed a combination of precision, blend and depth of tone not often heard in a concert band.

The other student highlighted in the programme was Meaghan Danielson a graduate student conductor. She displayed her considerable conducting talent and stage presence in Contre Qui, Rose by American composer Morten Lauridsen, best known for his choral compositions. Originally written as a choral work, under Miss Danielson’s sensitive baton this transcription for wind ensemble by H. Robert Reynolds retained the feeling of a choir of wind instruments expressing the poetry which inspired the work.

The second half of the evening was devoted to Testament: Music for a Time of Trial and Give Us This Day: Short Symphony for Wind Ensemble, two contrasting works by contemporary American composer David Maslanka. Dr. Maslanka left active teaching some years ago and retired to a small town in Montana to devote most of his time to composition. He was spending several days in Toronto as the Wilma and Clifford Smith Visitor in Music at the Faculty of Music. During an interval in the programme he spoke of his inspirations for the two works featured and on his philosophy of composition. It was an inspiring talk, but too fleeting to summarize here.

This “Visitorship” was established in 1986 by the Steven and Jane Smith family to honour their parents. Since renowned singer John Vickers was named as first visitor, the students have benefited from the counsel of many distinguished musicians. During his stay Dr. Maslanka conducted master classes, sat in on rehearsals and conducted a forum with composition students.

My visit to this concert introduced me to a series of concerts at Faculty of Music that are well worth more attention than they usually receive. They provide top quality performances by talented young musicians at very affordable prices and are at an excellent venue just a few steps from two subway stations. They are worth investigating.

Now, back to the tuba. Since the tuba is generally not looked upon as a solo instrument, there is very little solo repertoire written specifically for that instrument. Personally, I knew of only two concertos for tuba; the one heard in this concert written by British composer Edward Gregson in 1976 and a somewhat earlier one by Ralph Vaughan Williams. I had a question. Since the tuba usually remains well hidden in all but small ensembles and is not generally considered a solo instrument, what prompted these composers and few lesser known ones to write concertos? So, like any good modern researcher, after consulting the Oxford Companion to Music and Grove’s Dictionary of Music and Musicians, I turned to the internet. Lo and behold, what did I find? I found a forum on the Gramophone Magazine website with the title “Why write a Tuba concerto”? (This was apparently specifically targeting the Vaughan Williams work.)Various submissions to this forum over a few months last year provide both entertainment and insight. I encourage you to read them!

(On a personal note, one of my all time favourite records is a set of duets for tuba and guitar by renowned tubist Sam Pilafian and guitarist Frank Vignola. In particular, their renditions of works by renowned French guitarist Django Reinhart show those works in a whole new melodic light.)

On the subject of compositions: Late in 2010, as a way to thank the city for all its support over the years, the members of the Pickering Community Concert Band were looking for a project to help the City of Pickering commemorate its bicentennial year. By happy coincidence 2010 also happened to be the 20th anniversary of the band. The decision was made to sponsor a competition open to amateur composers across Ontario. Entries were solicited for two distinct types of composition to be performed at ceremonies marking the two anniversaries.

After rigorous judging in accordance with well defined criteria, the winners for each of the two categories have been selected. “Elliott Overture,” by young Markham composer Sean Breen, will be performed by the Pickering Community Concert Band at the City of Pickering’s March 4 celebratory event in the Pickering Recreation Complex. “Inchworm/Lazy Afternoon,” by veteran trumpeter and singer Vern Kennedy, will be featured at the band’s 20th anniversary celebration to take place April 16. The winning composers will be introduced and awarded their prizes at each event.

And finally, a clarification: In last month’s Bandstand column we talked about the new Artist in Residence Program offered by Silverthorn Symphonic Winds. Subsequent to publication of that issue we have received some clarification on the status of this program. Raymond James Ltd., the Canadian subsidiary of Raymond James Financial, Inc. will be the official corporate sponsor of the inaugural Artist in Residence Program offered by Silverthorn Symphonic Winds during the 2010/2011 season, rather than, as we thought the Ontario Trillium Foundation. While the band is in receipt of a Trillium grant these funds will be allocated for other community activities, not the Artist in Residence Program. (The Artist in Residence Program brings an established, professional musician as a collaborator with the band for a one-year term. The artist provides coaching to ensemble members, performs at two public concerts, and offers a free public master class.

Please write to us: bandstand@thewholenote.com.

Definition Department

This month’s lesser known musical term is flute flies: “those tiny mosquitoes that bother musicians on outdoor gigs.”

We invite submissions from readers.

In recent columns we have been following the progress of a few startup community ensembles in this part of the world. In particular, we have been reporting on the progress of a few beginners groups. Without exception, the ones we have visited are flourishing, and at least two new such groups are in the planning stages. But what of the startups we reported on a few years ago? We arbitrarily chose three years as a reasonable time for a new group to either coalesce or cease operations. The Milton Concert Band and the Silverthorn Symphonic Winds fell into that category.

The brainchild of two members of the Etobicoke band who had moved to Milton, The Milton Concert Band is prospering with an experienced permanent conductor, a regular rehearsal home and an impressive performance schedule for a band that was just an idea in the minds of two members three years previously. The thorough step by step process followed by Cheryl Ciccarelli and Angela Rozario in their planning could well act as a textbook model for anyone contemplating the organization of a new musical ensemble in their community.

23_resendesmiltonOnce settled into Milton, a rapidly growing town with an active arts community, they decided to put a call out to see if there were any other amateur musicians in the area interested in performing together. First they did their research. They talked to people with other bands and looked at the Constitutions and By-Laws of several other groups. They lined up a potential conductor in the person of Joseph M. Resendes, an experienced instrumentalist, conductor and Ph.D. candidate in music at York University. Finally they contacted the Mayor, local councillors and anyone else they could think of to enlist their help and support. These included local music teachers, Arts Milton, and other community groups. When they felt that they were ready, they contacted the local paper and managed to get an article printed. Soon they had 20 musicians willing to join and they were scrambling for a place to rehearse.

Their first rehearsal took place in February 2007, squeezed into a small meeting room at a local hockey arena. By June 2007 four performances had been lined up. Fittingly, the first performance was for Milton’s 150th Anniversary Street Party. This was quickly followed by performances at the local hospital’s Strawberry Fair and a meeting of Arts Milton. By July 2007, they had hosted their first free concert in the park before taking a break for the summer. September 2007 marked the start of the band’s first full season. Interest in the band continued to grow and they moved to a new permanent home at the Lion’s Club Hall in Milton Memorial Arena, with plenty of space to accommodate more musicians. It was a season of firsts.

Since then the group has grown to 45 members and now hosts 8 to 10 public performances a year. Under the tutelage of Music Director Resendes, in the short span of three years the band has grown artistically and is now a vital arts organization in the community. Equally importantly, the members have become a family who support each other and have the confidence to tackle new musical challenges. They are very excited about the possibility of making use of the new Milton Art Centre next season and the opportunities that may provide.

In January of this year the band played the first of a proposed series of concerts for Deaf/Blind Ontario at the Bob Rumble Centre in Milton. This innovative performance was designed to allow people with varying degrees of hearing and/or vision loss to experience music in an “up close and personal” setting. The centre’s clients will hold balloons to amplify the vibrations of the instruments and will be invited to interpret the experience through an art project. Both the band and the clients are very excited about this opportunity. We look forward to hearing more about this initiative.

24_silverthorn_1443The Silverthorn Symphonic Winds (SSW) was established in September 2006 by a group of local musicians who wanted an opportunity to perform more challenging music. Composed of advanced amateurs and semi-professional musicians, the group is conducted by Andrew Chung, a graduate of the University of Toronto as well as universities in Hong Kong and Freiburg Germany. Andrew also serves as Music Director of The Brass Conspiracy and the Chinese Canadian Choir of Toronto.

Thanks to a three year grant from The Ontario Trillium Foundation, the SSW have embarked on an Artist in Residence program and are expanding their activities in York Region. The Artist in Residence for the 2010/2011 season will be clarinetist Peter Stoll, a member of the Talisker Players, principal clarinet of the Toronto Philharmonia Orchestra and a member of the Faculty of Music, University of Toronto. As artist in residence he will be the featured soloist and host at two concerts in the Richmond Hill Centre. In addition to their concerts, the SSW will feature free public master classes for both adult and high school aged clarinetists. Throughout the season Stoll will assist in six SSW rehearsals where he will coach the woodwinds and offer advice to the ensemble as a whole.

IN RECENT YEARS I have developed an interest in how musicians that I meet settled on their chosen instruments. When I meet a musician, amateur or professional, for the first time, I ask “did you choose the tuba (or whatever instrument they play) or did the tuba choose you?” Such answers as “it was all that was left when I started music in grade nine” or “the teacher gave it to me as the best for me” are common. However, among tuba players, a more common answer is “I always wanted to play tuba” or “we were made for each other.”

I have had the pleasure of following the development of three young tuba players who fall into that “made for each other” category. Some years ago, as a grade ten student, Courtney Lambert arrived at the Newmarket band with the determination to be a professional tubist. Now, some years later, with a masters degree in music, she is busy performing professionally and teaching. At the other end of the time spectrum, Caitlin Jodoin was determined to play tuba in grade eight. Now in grade eleven and headed for France for a stint as an exchange student, she’s not taking her tuba with her. She’s renting one while there. In the centre of that triumvirate I first met Eric Probst as a grade eleven student. He is now in his final year in the Faculty of Music at the University of Toronto and has won the
U of T Wind Ensemble Concerto Competition. He will be performing the Gregson Tuba Concerto with the U of T Wind Symphony on February 11 at 7:30pm in the MacMillan Theatre. I certainly intend to be in the audience.

I think it is no accident that all three of these young musicians honed their skills under the tutelage of Anita McAllister and the Hannaford Youth Band organization.

Definition Department

This month’s lesser known musical term is: Fiddler Crabs: Grumpy string players. We invite submissions from readers. Let’s hear your daffynitions

And this just in: It has become common practice for community bands to program a concert around a particular theme. Now, The City of Brampton Concert Band goes one better. Their concluding concert for this season is titled “The Good, The Bad and the Ugly: A Tribute to the Music of the West.” The program will highlight familiar music from the movies such as “The Magnificent Seven” and “Hang ‘em High,”compositions that reflect on the majestic and varied natural beauty of the region including “The Yellowstone Suite,” and other music inspired by native lullabies, dances and culture. The innovative twist is a throughline narrative, with local actor Scott Lale telling tales of the many personalities that gave the wild west its iconic imagery, and with local dancers as well as performers on such instruments as banjo, guitar and harmonica woven in. It all happens at 8pm on Saturday February 26, 2011 at the Rose Theatre in Brampton.

Please write to us: bandstand@thewholenote.com.

Wow – what a week! If this were a concert review column, it would be overflowing with superlatives for two very diverse concerts I attended in the past week. The week began with the Hannaford Street Silver Band’s first concert of the season with euphonium soloist David Childs. Promotional material billed this concert as “Child’s Play.” What Childs did with his instrument was anything but child’s play. The feature work was a concerto for euphonium and band by contemporary Welsh composer Karl Jenkins. Playing with no music, this young virtuoso dazzled his audience not only with his technical skills, but also with amazing musical sounds never before heard from this instrument.

If that wasn’t enough, at the end of the week, we were treated to an even more amazing performance by the Interpreti Veneziani at the Royal Conservatory’s Koerner Hall. The performance of this nine-member string ensemble from Venice prompted one very experienced and knowledgeable friend to proclaim it the best concert they had ever heard. They received no argument from me. From our vantage point in the best seats in the house, we not only heard their remarkable music, we saw them communicate with each other by knowing glances and a host of subtle gestures in the creation of their masterpieces.

Using no music throughout the first half, or during his dazzling solo rendition of a fiendishly challenging Paganini work, the cellist, Davide Amadio, was free to be in constant eye contact with the other members of the group and with those of us in his audience. He told us all in no uncertain terms that he was loving every minute of it. In short, all members of this ensemble were inside each others’ heads, and they were sharing with us in the audience their joy of performance.

This was the pinnacle of musicianship and showmanship. So why is this mini review of two professional concerts in a column devoted to community ensembles? What better way for those of us who play in community ensembles to improve our skills, and enjoy ourselves at the same time, than to immerse ourselves in the total experience of absorbing all aspects of a quality live performance. We have no illusions that we might someday perform to that standard, but it does provide both inspiration and a measuring stick should we tend to become complacent or smug about our abilities.

Many years ago, when serving in a naval air squadron, I was frequently treated to the philosophy of a friend who was one of the finest pilots to ever fly in the Canadian forces. His challenge to the junior pilots under his jurisdiction was simple and direct: “We must constantly strive for perfection, and perhaps we’ll achieve mediocrity.” A little harsh perhaps – but why not aim for the best we can achieve in music?

Having suggested that we set our sights high, how are the beginner and other startup groups faring? From Resa’s Pieces Strings, conductor Ric Giorgi tells us that they now have 22 players enrolled and inquiries coming in weekly from players interested in joining. He states: “More interestingly however is the wonderful performance this group has managed thus far. They have come together as an ensemble remarkably quickly and show every indication that despite the huge differences in skill levels, everyone seems pleased with the challenges and rewards of the repertoire and the satisfaction of making good music together as an ensemble.” Ric also reminded me of the old adage among groups seeking to recruit string players – that the audition piece for string players is “Check For Breath.” By the way, they would still welcome more violas.

p29The other beginner group that I have mentioned before seems to be coming along equally well. Dan Kapp conductor of the New Horizons Band at Long & McQuade tells us that, in mid December, less than three months since their inaugural information meeting, the band will be performing for the folks at a Toronto retirement residence. This group rehearses on weekday mornings so membership is limited to retirees and others who don’t have daytime commitments. In response to many requests, an affiliated band for beginners and those reconnecting with music will begin evening rehearsals in January. For information give Dan a call at Long & McQuade.

A couple of years ago I mentioned the formation of the Scarborough Society of Musicians, a band to provide the opportunity to continue to perform in a musical group after leaving high school. After a brief hiatus, the band’s directors have been busy over the past few months working on a new season to begin in January 2011, with rehearsals continuing into June 2011. As with previous years, they will be rehearsing twice a month on Saturday mornings at Dr. Norman Bethune C.I. For this year’s rehearsal schedule, membership fees and rehearsal dates visit their website (www.continuingmusic.ca). They have also created a survey to gauge the interest in music beyond high school within the community. Your response would be appreciated.

Last year at this time we reported on the joint ventures of instrumental and choral groups. Again this year, the Hannaford Band will be teaming up with the Amadeus Choir for two performances in Toronto and one in Niagara Falls (December 4, 13 and 14). A new venture this year has two Markham groups joining forces. The Kindred Spirits Orchestra and the Village Voices Choir will present two performances of the Vivaldi Gloria (December 11 and 17).

Since I am ex-navy, and a member of the Naval Club of Toronto, I would be remiss if I didn’t mention regular small combo performances two Sunday afternoons per month at the club’s new location, 1910 Gerrard Street East. Treat yourself to an afternoon of relaxing music by the Downtown Jazz Band, and enjoy an optional light hot meal. See us there December 12, January 9 and 23 at 2pm.

On the personal front, I have both happy news and sad news to report. On the happy side, members of the Newmarket Citizens Band attended the recent wedding of two band members. Ron Spencer of the euphonium section and Linda Heath of the flute section tied the knot. The band now has several couples active in the band. With a few more, they could have an all-couples band, with a few children added.

On a sad note, members of the Toronto band community are mourning the loss of Gary Cameron, a former music teacher at Danforth Technical School and Northern Secondary School. In recent years Gary was most active with the Band of the Royal Regiment of Canada, the Encore Symphonic Concert Band and a number of swing bands. We will miss him and his great welcoming personality.

Jack MacQuarrie plays several brass instruments, and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

Oops. There was bit of a mistake in one of our photo captions last month. One of our photos showed the trumpet section of Resa’s Pieces band, but the caption stated that this was the trumpet section of the New Horizons Band. Actually, at the time of publication, the New Horizons Band did not yet have a trumpet section. The band had just had its first organizational meeting, and potential members were trying to decide which instrument they would like to embrace as their own. Now, one month after that organizational meeting, I am pleased to report that the New Horizons Band has 24 members signed up, with more anticipated in the wings.

p28Having heard of the very favourable response from that organizational meeting, I decided that a visit to one of their rehearsals might be in order. So, on a Wednesday morning at 9:30, I arrived at rehearsal number three. While the repertoire was still very rudimentary, there was a sense of a cohesive organization blossoming. It was not the group of strangers that arrived one month earlier. Members were chatting on a first name basis and generally helping each other. In one case, one member seemed a bit discouraged at slow progress in mastering the fingering of the instrument. Section members were sympathetic and helpful. Now, by the advent of the third rehearsal, they had formed ad hoc committees and there was an impressive array of refreshment goodies at the break.

They are still short of low brass players. Trombones, French horns and tubas would all be welcomed. Otherwise, there was good balance. After I took a few photographs, conductor Dan Kapp handed me a tuba and offered the opportunity to sit in and participate in a mixture of basic exercises and in playing a few simple melodies. By the end of the session The New Horizons Band had performed recognizable renditions of “Old MacDonald Had a Farm” and a somewhat simplified version of the “Ode to Joy” from Beethoven’s Ninth Symphony. Now, after only three weeks, midtown Toronto has the makings of a new daytime rehearsal band.

Also in last months issue, there was a photo of Resa’s Pieces Strings at their inaugural rehearsal. At that time they were doing remarkably well, but were still out prospecting for their first viola player. Now, Resa Kochberg reports that the orchestra has a small viola section, and the general progress of the orchestra is exceeding expectations.

In both of these startup groups the social rewards of playing in some form of musical ensemble have quickly come to the fore. However, for the beginner, there is the question of what instrument would be preferable. What are the physical demands and the demands on one’s dexterity posed by the various instruments? It seems that there are significant numbers of people interested in learning to play an instrument who have no idea of the skills required for the many different instruments. Perhaps that could be the subject of a future column.


Our Readers Write

I’m pleased to report that I have just received an interesting “Short history of the Thorold Reed Concert Band” from their musical director, Brian Williams. Here’s what Brian sent to us.

“The band was formed back in 1851, when Thorold was a village, and has been active to the present day. The band has seen many conductors and instrumentalists over the years, and today boasts a membership of 45 musicians from the Niagara area. It has been an integral part of the Thorold community, and in the past it raised the money to build a bandstand and the present-day Cenotaph monument in Memorial Park. The bandshell in Battle of Beaverdams Park in the center of Thorold was sponsored jointly by the City of Thorold, the St. Lawrence Seaway and a Wintario grant.

“The band has competed in the Waterloo Music Festival and CNE competitions, and attained top honours. A highlight occurred when the Band led the two 1956 New Orleans Mardi Gras Parades. This was a first for Canadian bands. The band was presented with a gold medal and the keys to the city. In 2001 the band celebrated its 150th year of continuous operation with a grand concert on Canada Day. Nine free Wednesday evening “pops” concerts are still provided by the Band in Battle of Beaverdams Park. Concerts are also given at local retirement residences and nursing homes in Thorold and St. Catharines throughout the year, in addition to supporting special activities put on by the city of Thorold and the Royal Canadian Legion.

“To maintain the enthusiasm of audience and musicians alike, the band’s repertoire is kept up to date with selections of new music every year, alongside many of the old favourites. All of the musicians are volunteers and rehearse throughout the winter months. Today’s band is the best yet, and we look forward to starting our ‘pops’ concert season at the Bandshell in Battle of Beaverdams Park. The nine Wednesday evening concerts are sponsored by the City of Thorold. Some of our concerts feature massed bands with the City of Thorold Pipes and Drums. For more information about the band please call 905-227-0150 or email to gbwilliams@cogeco.ca.

Also in our mailbox this month was a notice about a competition. To commemorate the City of Pickering’s bicentennial celebrations in 2011, the Pickering Community Concert Band, together with the City of Pickering, have announced a music composition competition. The first-prize winning piece will be the City of Pickering’s 200th celebration commemorative piece, and the winner will be awarded $500. The second prize will become the Band’s 20th anniversary celebration commemorative piece and the prize winner will be awarded $300. Both winning compositions will be performed by the Pickering Community Concert Band during the planned 2011 celebrations. For more information, contact info@concertband.ca and use the subject line “composition query.” Budding composers, here’s your opportunity for fame.

On the brass band front, Toronto’s Hannaford Street Silver Band have announced the appointment of noted Canadian trombone virtuoso Alain Trudel as Principal Guest Conductor of the HSSB. Their first concert of the 2010-2011 season (November 7), aptly titled “Childs’ Play,” will feature internationally renowned euphonium soloist David Childs.

Jack MacQuarrie plays several brass instruments, and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com.

In last month’s Bandstand column I focused on a few new ensembles which had graced the local scene over the past two or three years, and mentioned some new ones scheduled to begin this fall. It seemed appropriate then to see how some of these proposed new startups were doing. Two in particular, with very different aims, attracted my attention. Resa’s Pieces Strings was billed as a beginners string orchestra. The New Horizons Seniors Band sponsored by Long and McQuade was to be a beginners band for people 50-plus who wanted to take up music for the first time or get back to it after a prolonged absence. How better to have my questions answered than to attend their inaugural sessions?

p29bFirst up was the rehearsal of the string group Resa’s Pieces Strings (RPS). This is the brain child of Resa Kochberg, founder and conductor of the very successful Resa’s Pieces Band. The strings group included a wide spectrum of ages from high-school students to white-haired seniors. All had enough experience to know how to hold their instruments and play basic scales. For those neophytes in the group who were less than familiar with some of the adjustments required by their instruments, a technician from George Heinl Co. was on hand to assist.

After a few opening remarks outlining the aims and objectives for the months ahead, and getting the instruments tuned, director Ric Giorgi started the group right off playing simple melodies interspersed with exercises on such matters as bowing techniques. By the time the break came along, this new ensemble was playing simple melodies in harmony with better tuning that might nave been expected. At the break, this new group was invited across the hall, where Resa’s Pieces Band had been practising. There they were welcomed into the fold with the cutting and sharing of a cake for their “birthday.”

The RPS will be following the same philosophy that Resa Kochberg has established from day one in leading Resa’s Pieces Concert Band. It is “to provide an opportunity for people to return to playing instruments that they have not touched for years.” Doing your best, but also having fun is what is expected, and everyone grows musically together with each “piece” completing the whole! As of that evening, 24 people had signed up and about 18 got to the first rehearsal.

Were there any shortcomings noted? Yes. As I anticipated, viola players are in short supply. In fact, one acquaintance of mine has been suggesting to me that I might be an ideal candidate to fill a coveted spot in the viola section. Here’s your chance, wannabe string players: get a viola and join the fun on Monday evenings. Even if your leanings are towards some other string instrument, check it out at their website www.resaspieces.org, or email strings@resaspieces.org.

Two days later, at 9:30am, I joined a group attending a get acquainted session at Long and McQuade’s downtown Toronto store to learn about their New Horizons Seniors Band. After a brief introduction by director Dan Kapp, the goals of this group were outlined. This is a band for retirees who either have not played for years, or have sung or played other instruments and would now like to play in an organized group. The majority of these people did not own instruments, and were curious about which instrument might be right for them. Over the next two hours most tried one or more instruments and decided. One woman initially considered trombone, learned how to hold it, blew a few notes and then decided to try an oboe. Her first attempt startled us. It was not the sound of a wounded duck that emanated. Rather, it was quite a pleasant musical tone. I immediately suggested that she and the oboe were meant for each other. Whether she will stick with oboe or sample other instruments before her final decision remains to be seen.

As with the string orchestra, there are initial shortages. Low brass wannabes were in short supply. It seems that, amongst grandmothers and grandfathers, flutes, clarinets or trumpets have more appeal that tubas and euphoniums.

The goal for this group has already been established, and it’s ambitious. The CBC’s Glenn Gould Studio has already been booked for their spring concert. If you are available Wednesday mornings and would like to try your hand at making this kind of music, experience is not necessary. Group instruction is part of the package. Contact them at www.newhorizonsbloor.ca or call 416-588-7886.

Both groups stressed that playing in such ensembles was also very much a social activity. Members were encouraged to get to know their fellow members and consider forming trios and quartets to practise together outside of regular rehearsal times and hone their skills with the challenges of playing these more intimate forms.

As for other new groups for more experienced players, we have just received word that the new Richmond Hill Concert Band had its first rehearsal as this goes to press. They reported about 30 interested members already with a good distribution of instruments. Their rehearsals are on Thursdays at 7:30pm at Roselawn Public School, 422 Carrville Rd., Richmond Hill.

The Canadian Band Association (Ontario) is celebrating its 9th Annual Community Band Weekend from October 15 through 17. These annual weekends provide an opportunity for musicians from bands across Ontario to join together for music-making with friends, both old and new, under the leadership of expert conductors. As part of their 15th anniversary celebration, Etobicoke Community Concert Band will be acting as hosts this year. Check-in starts at 7:30pm Friday and is followed by a social gathering. Saturday will be devoted to rehearsals under the batons of no fewer than six conductors.

The massed band will perform the concert on Sunday afternoon. The rehearsal and concert take place at Etobicoke Collegiate Institute, 86 Montgomery Rd., Etobicoke. The nearest major intersection is Dundas and Islington, and the school is a manageable walk from both Royal York and Islington subway stations. For full details contact Bill Harris, Acting President, Canadian Band Association (Ontario) at president@cba-ontario.ca, or 416-693-3980.


Definition Department

This month’s lesser known musical term is fermoota: a note of dubious value held for indefinite length. We invite submissions from readers. Let’s hear your daffynitions.


Coming Events

• October 17, 8:00pm: The Cathedral Bluffs Symphony Orchestra.
Norman Reintamm and Friends Recital. St. Timothy’s Anglican          Church, 4125 Sheppard Ave. E.

• October 18, 7:30pm: Orillia Wind Ensemble. Joint Effort. Orillia               Opera House, 20 Mississaga St. W., Orillia.

• October 23, 8:00pm: Greater Toronto Philharmonic Orchestra.
Autumn Classics. Calvin Presbyterian Church, 26 Delisle Ave.

• October 23, 8:00pm: City of Brampton Concert Band. Rose Theatre             in Brampton.

Down the Road

• November 13, 8:00pm: Cathedral Bluffs Symphony Orchestra.
Subscription Concert No.1. P.C. Ho Theatre, 5183 Sheppard Ave. E.


Jack MacQuarrie plays several brass instruments, and has performed in many community ensembles. He can be contacted at: bandstand@thewholenote.com.

Back to top