Beat Columns (Live Music)

Music and nature are closely intertwined, the beautiful sights, sounds and smells of our planet inspiring musicians for centuries, even millennia. The ancient philosophical concept of a Harmony of the Spheres as proposed by Pythagoras suggests that the sun, moon and planets all emit their own unique pitch frequency based on their orbital revolution, and that the quality of life on Earth reflects the harmony of celestial sounds which are physically imperceptible to the human ear. Although Aristotle later contested this theory, the idea of Harmonia mundi continues to be reinvented and interpreted by composers in new and exciting ways. For example, in 1996 the Dutch composer Joep Franssens premiered his massive Harmony of the Spheres for chorus, combining minimalist and spectralist approaches to create a work that captures both the profound immensity of the universe and the bright shimmer of far-off stars.

Between Pythagoras and Franssens lies a wealth of nature-inspired music, from silly and serene to severe and stormy. Birds in particular have been a source of inspiration: German Baroque pipe organs contained special stops such as the nightingale, which produced a fluttering, high-pitched whistle (the organ at Metropolitan United has a nightingale stop, a generous donation from an organ aficionado), while French Baroque musicians such as Daquin and Rameau wrote imitations of birds in works such as Le Coucou and La Poule. Perhaps the greatest ornithological composer in history is Olivier Messiaen, who faithfully transcribed bird calls noting the species and location, and wove these threads into masterful pieces of music. It is nearly impossible to find a late work of Messiaen that does not incorporate bird song as an integral and essential component.

Bach and Handel used the pastoral as a musical model, illustrating idyllic scenes of shepherds tending their sheep. Mozart wove birds into The Magic Flute through the character of Papageno, an earthy birdcatcher who, when he finds his perfect match in Papagena, rejoices with an imitation of bird-like courting sounds. Beethoven and Brahms both enjoyed long walks through the woods, put to paper in Beethoven’s case in Symphony No. 6, “Pastoral,” portraying everything from bubbling brooks and bird calls to a violent thunderstorm. Mahler used his mountain retreat as his summertime escape from Vienna, hiking, walking, rowing and composing his greatest works in a nearby hut, mirroring the intensity of his temperament and the immensity of the mountains in his large-scale symphonies.

Summer continues to be a time of escape and refuge for many, whether braving traffic on Highway 400 to reach a familiar lakeside cottage hideaway or taking a road trip and exploring new and exciting places. While many use the summer months as a chance to get away and recharge, musicians sometimes seem to grow busier over July and August, as evidenced by the plethora of festivals and concert series that continue to increase in number and scale each year. A quick glance at the Green Pages in this issue of The WholeNote provides some idea of the sheer number of exciting opportunities available to hear new, old and endearingly familiar masterpieces. Regardless of where your travels take you, there is something to see and listen to. Here is a brief overview of this summer’s early music festivals and events:

June

May and June offer season-ending performances by organizations across the city, grand finales showcasing great ensembles and equally great musical works. As seasons end, others begin, and this June serves as the starting point for numerous summer programs and concerts.

The Tafelmusik Baroque Summer Institute (TBSI), a world-renowned training program for advanced students, pre-professional and professional musicians in instrumental and vocal Baroque performance practice, is led by some of the world’s finest musicians in the field. This year’s TBSI runs from June 10 to 23 and features five separate performances by faculty and students at venues across Toronto’s Bloor-Annex corridor, including Jeanne Lamon Hall and Walter Hall, with the grand finale at Grace Church on-the-Hill. As a former participant in this superb training program, I cannot speak highly enough of the quality of repertoire and tutelage each participant receives, and strongly encourage lovers of early music to attend at least one of these performances. Keep the program, too – you’ll be amazed at how many names return as fully formed performers in following years!

North Winds Do Blow! On June 16, some of Canada’s most celebrated Baroque music specialists play a cornucopia of beautiful tunes from Handel operas and oratorios. ”Handel: Airs for the Theatre” showcases tunes from Rinaldo, Acis & Galatea, Riccardo Primo, Orlando, Admeto and other Handelian hits, arranged by Toronto’s own Colin Savage after 18th-century models, as well as a few 18th-century arrangements published by Handel’s contemporary, John Walsh. Featuring Baroque woodwind wizards from across the city playing a diverse and colourful array of period instruments, this concert is an ideal celebration of summer’s arrival, and the debut performance of North Wind Concerts, an evolution of the group formerly known as Baroque Music Beside the Grange. Taking place at St. Thomas’s Anglican Church, this concert is perfectly located, just down the road from Tafelmusik’s Summer Institute.

Montréal Baroque: If you are planning a trip to Montreal in June, make sure to explore the 2018 Festival Montréal Baroque’s “Hallelujah Handel,” taking place from June 21 to 24. This overview of Handel’s output from his solo sonatas to opera will be a first for Montreal, focusing on rarely heard music including the complete keyboard works, the complete sonatas for flute, recorder, violin and gamba, the complete trio sonatas, concerti for violin, organ and harp, and rarely heard oratorios and masques, performed by many of Montreal’s Baroque ensembles, established and novice, as well as invited guests. Taking inspiration from Berlioz’s description of Handel as a “tub of pork and beer,” the Montreal Festival events will include food and wine tastings. (Handel, a famously corpulent person, was a well-known epicurean famed for downing two bottles of red each evening – he eventually developed a serious case of gout!)

July

Elora and Parry Sound: If June is the month of Handel, July presents a mixed-bag assortment of much-loved early music. The Elora Festival, renowned for its varied and eclectic programming, offers performances by both guest ensembles and the resident Elora Singers and Festival Orchestra. This year’s guests include the Studio de Musique Ancienne de Montréal in a concert of three settings of Lamentations by the prophet Jeremiah, written by the 16th-century composers Tallis, Morales and de Lassus; the renowned English ensemble The Gesualdo Six, making their Canadian debut; and two concerts by the Elora ensembles, featuring Bach’s Lutheran Masses, Handel’s Dettingen Te Deum and Mozart’s Mass in C.

Further north, the Festival of the Sound presents six concerts from July 25 to 27, pairing works by Bach with pieces by other canonic composers such as Mozart, Schumann, Brahms and Debussy. This series (titled “Papa Bach”) explores Johann Sebastian Bach’s influence on subsequent generations of musicians, as each concert features a solo cello suite followed by a work from a composer who was inspired by his music. Featuring a wide range of performers playing on modern instruments, this varied series presents an interesting contrast with the Baroque specialists featured throughout June’s festivals.

August

Stratford Summer Music: Although August marks the beginning of the end of summer (and back-to-school ads appear earlier and earlier each year), the music continues – notably in the Stratford Summer Music series. Angela Hewitt returns to Stratford on August 11 and 12 to present Books One and Two of Bach’s inspiring keyboard work The Well-Tempered Clavier. Through two performances, Hewitt will play the complete 48 preludes and fugues in all 24 major and minor keys. Seldom heard live in its entirety, The Well-Tempered Clavier is an astonishing masterpiece and this will be a rare and memorable opportunity to experience one of the world’s most profound works of creativity performed by one of today’s leading Bach interpreters.

Music Garden:Tucked away in Toronto’s waterfront, the Toronto Music Garden was conceived by internationally renowned cellist Yo-Yo Ma and landscape designer Julie Moir Messervy in partnership with the City of Toronto’s Parks and Recreation department. Through its labyrinthine landscape, the garden interprets Bach’s Suite No.1 in G Major, BWV 1007 for unaccompanied cello. Each summer the Toronto Music Garden is home to Summer Music in the Garden, presenting a tremendous range of chamber and world music. On August 19, “Sunday Afternoon at the Opera” offers scenes and arias from Mozart operas; late medieval love songs, including works by Guillaume de Machaut and Johannes Ciconia, are the focus of the August 23 concert “Elas mon cuer”; and on August 26, a program of chamber music and dance from the French Baroque is presented in “Confluence: Baroque Dance in the Garden.”

Navigating the Summer

As anyone who has travelled to an unfamiliar place knows well, navigating is often the trickiest part of going somewhere new. This issue of The WholeNote serves as your musical road map, helping you traverse the winding roads of summer music in all its forms without a GPS shouting “Recalculating!” With so many opportunities to hear splendid music, it is impossible to make a wrong turn and I encourage you to delve into some of these magnificent concerts and festivals.

If you have any questions or want to hear my two cents on anything early music this summer, send me a note at
earlymusic@thewholenote.com. See you in September! 

Matthew Whitfield is a Toronto-based harpsichordist and organist.

A few months ago I mentioned a trip to Ukraine by Bob Gray, a local band conductor, teacher and trumpet player. What he learned on that trip inspired him to pay another visit, with two primary goals in mind. The first was to investigate the feasibility of start-up brass bands in Ukraine during his eight-week stay in Kiev. The second was to be there for the celebration of the 25th anniversary of the Salvation Army’s ministry in Ukraine. In a recent email from Kiev, Bob reported on how things are going there, and unfortunately his first goal is not working out as easily as he had hoped. The idea was to investigate the feasibility of establishing new brass bands there. However, at present, there are no Salvation Army bands in Ukraine to use as models. Since there is no tradition upon which to build, there are no qualified leaders or instructors already active within the Salvation Army organization, making it difficult for some of the congregations to sustain and support the start and development of any band. Other setbacks: he has also learned that their music for worship in Salvation Army services differs greatly from the rest of the Salvation Army world. There are no brass band arrangements of the songs used there. Even for Christmas, the carols used in many places elsewhere differ from those familiar and popular in Ukrainian culture.

His second purpose for his extended trip will likely have a happier outcome. He will be there for the celebration of the 25th anniversary of The Salvation Army’s ministry in Ukraine. This event will take place on the weekend of June 8 to 10 in Victory Park and Hotel Bratislava. For this occasion, the Salvation Army band from Winton Corps, in Bournemouth, England will be participating. Bob has been asked to sit in with that band, as one of their cornet players is unable to make the journey to Kiev. It is the hope that the activities of this well-established band will stir some interest in resurrecting the brass band movement within the ranks of the Salvation Army in Ukraine. We wish him every success, and hope to hear of the establishment of new bands there in the near future.

Strings Attached

From messages about all-brass music thousands of miles away, we move to news about all-strings music right here in town. We have just heard from Ric Giorgi about the next concert of the Strings Attached Orchestra, their final concert for this year on June 3, again at the Isabel Bader Theatre. As usual, the program was designed to span a wide spectrum of music from such classics as Handel’s Arrival of the Queen of Sheba and Bach’s Brandenburg Concerto No.6 to Ashokan Farewell and the Best of ABBA.

The Plumbing Factory

Speaking of all-brass bands, we also just had a message from Henry Meredith of the Plumbing Factory Brass Band where he referred to the “devastating and relentless winter” we’ve all just been through. Rather than paraphrase what he said, here is his musical response to Mother Nature, verbatim: “Because of the ice storms only a week before our ‘spring’ concert, and the snowstorm on the night of our dress rehearsal, the PFBB has now decided to expand our concert season into the late spring and early summer. It is hoped that this will make it easier on both us and our audience, not to have to battle the weather to prepare and enjoy our brass band music. So we have decided to keep rehearsing, and to develop a brand new concert for you, to be performed on June 27.”

In typical Henry Meredith style, he outlines the program in one of his poems.

This little rhyme will explain the reason
Why we established a new summer season
It also provides a few hints about
The music which you will enjoy, without doubt.

The concert, “Summertime Musical Adventures” (June 27, 7:30pm at Byron United Church, 420 Boler Rd., London), will include such band favourites as Ringling Bros. Grand Entry, Barnum and Bailey’s Favorite, Bernstein’s Candide and The Whistler and his Dog by Arthur Pryor.

A Musical Movie

Something entirely new appeared on my radar screen recently: a Russian-Canadian film production company that is in the process of making a documentary about Benny Goodman’s historic tour of the USSR in 1962. Now, over 55 years later, this story is still alive in the minds of people who remember those concerts of the jazz orchestra of Benny Goodman, those “strange” but incredibly attractive American musicians. They remember the joy of buying scarce tickets and enjoying music, and screaming “encore” up to ten times. The whole world as we knew it was struck by the headline at the time. “The King of Swing Benny Goodman Plays Yankee Doodle Dandy on Red Square.” Certainly Russians had never seen anything like that before.

This full-length feature film, Trojan Jazz, will retell the events of the exchange of talented musicians between the US and the Soviet Union. The anticipated appeal is to jazz enthusiasts in both English- and Russian-speaking cultures. The concept of Trojan Jazz likens the Benny Goodman Orchestra to members of a Trojan horse that brought Western jazz culture into an isolated Eastern jazz culture. The impact was unpredictable. Jazz musicians of both cultures exchanged written ideas, which began a collaboration second to none.

Local concert clarinetist Julian Milkis, son of former TSO concertmaster Yasha Milkis, is cast as Benny Goodman. Milkis actually studied with Goodman while attending the Juilliard School of Music in New York City. He can be seen in a variety of ensembles recreating some of Goodman’s hit songs.

To illustrate the Goodman legacy of playing big band music continuing to this day in community groups around the world, the producers wanted to show such a group in rehearsal So, all of a sudden, one evening a few weeks ago, I and my bandmates found ourselves being bombarded by bright studio lighting and surrounded by at least a half-dozen cameras. The Toronto-based rehearsal band Swing Machine, of which I have been a member for many years, was chosen and filmed to exemplify this ongoing tradition. There we were many years later, still enjoying the performance of big band music. We haven’t heard anything of when or where this movie might be seen, but I am told a visit to https://firstjazztourinussr.com will provide more in-depth information as the project develops.

Mikhail Sherman

A few weeks ago, at a regular rehearsal of the Swing Machine Big Band, I looked across at the saxophone section. The usually very reliable baritone saxophone player, Mikhail Sherman, was missing. We later learned that he had decided to have a nap before leaving for the rehearsal, but never woke up.

Born in the USSR, Mikhail grew up with a love of music in a country famed for great classical musicians. After serving time in the army and playing in a military band, he went on to become the principal clarinet and saxophone player for the famed Moscow State Circus, City of Lviv, for seven years.

In 1979 he left and came to Toronto to pursue more opportunities. He started his life here as a refugee with nothing. He washed dishes and became a cook at the Windfields Restaurant. His love for music led him in another direction. It was here that he met Frank Fermosi and Rocco Nufrio, the owners of the then-successful Saxophone Shop. They quickly spotted Mikhail’s love for music. He, in turn, showed a keen ability to learn the trade of repairing instruments. They offered him a job and training, in which he quickly excelled!

In 1986, when the Sax Shop closed, Mikhail decided to would open his own shop in North Toronto. Still with little in his pocket, he started Mikhail Sherman Music Service, which was to become one of the most successful woodwind repair shops in Canada, servicing the educational system and many top professional musicians. Mikhail passed away peacefully and suddenly in his sleep on April 26, 2018. Many of the great musicians and music educators in the GTA will miss his quick response and expertise. A true rags-to-riches story.

Uxbridge Community Concert Band

After a year’s absence from the local band scene and some questions about the band’s rebirth, the Uxbridge Community Concert Band, with Steffan Brunette at the helm, has now had its first rehearsal. Steffan took a year off to study composition and to do some travelling. Rather than assume all of the many duties required to operate a band successfully, Steffan now has an executive team to help with the many details, but it is, once again, a superbly organized band. After their first rehearsal it became evident that a few more trumpets would be welcome. The band is a summertime-only group that rehearses in Uxbridge on Wednesday evenings. For information, email uccb@powergate.ca.

Toronto Summer Music Festival

On Sunday, July 29 at 2pm, the 2018 Toronto Summer Music Festival will commemorate the 100th anniversary of the end of WWI with a concert titled “Reflections on Wartime” at The Bentway. This will include a full afternoon of events with a feature performance by the “Canadian National Brass Project.” For those not familiar with it, The Canadian National Brass Project brings together many of the best brass players from professional symphony orchestras throughout North America, and each summer this all-star ensemble, led by conductor James Sommerville, joins forces and performs across the country. The program will include Tchaikovsky’s 1812 Overture, Mussorgsky’s Pictures at an Exhibition, and Mars from Gustav Holst’s The Planets. Concertgoers can also take in the sights and sounds of the Fort York Guard, enjoy a demonstration of artillery firepower, and hear military music by the Fort York Drums. There will also be a “Musical Petting Zoo” for children to test out a variety of musical instruments. For those not familiar with it, The Bentway, 250 Fort York Boulevard adjacent to Old Fort York, is being described as Toronto’s most exciting new outdoor concert venue.

A few days later, on Thursday, August 2 at 7:30pm in Koerner Hall, TSM will present “A Big Band Celebration,” which will focus on music of World War II. During the darkest days of the war the big band music of Benny Goodman, Count Basie, Glenn Miller and others was a major source of entertainment for life on the home front. As the presenters suggest, these familiar tunes became a metaphor for the way of life soldiers were fighting to preserve. This promises to be a stimulating evening of the best of the big band era as interpreted by music director Gordon Foote and featuring JUNO Award-winning jazz singer Ranee Lee.

Coming Events

By the time this issue is available in print, some of the events mentioned below will have taken place, but for the record and for online users, they are included here. Now that summer is close at hand, Resa Kochberg’s three musical groups have announced their current concert plans:

On Sunday, May 27 at 7:30pm, Resa’s Pieces Concert Band will perform at the Flato Markham Theatre, 171 Town Centre Blvd., Markham.

On Sunday, June 3 at 7:30pm, Resa’s Pieces Strings Ensemble will be at St. Basil College School, 20 Starview Ln., North York.

On Monday, June 4 at 7:30pm, Resa’s Band will present another concert at Mel Lastman Square in Toronto.

On Monday, June 11 at 8pm, Resa’s Singers Ensemble will perform at Beth Emeth Bais Yehuda Synagogue, 100 Elder St., North York.

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

Keeping apace of new music events in the city is like a never-ending discovery of new ideas, initiatives and opportunities to expand one’s horizons on both the local and international scenes. The Royal Conservatory’s annual 21C Music Festival, running from May 23 to 27, provides an opportunity to experience all this within a five-day span, with eight concerts and 37 premieres. The Kronos Quartet, along with composer and multi-instrumental performer Jherek Bischoff, will open the festival, followed by concerts featuring a number of different international and national pianists, including Anthony de Mare with his special project Liaisons: Re-Imagining Sondheim From the Piano, Sri Lankan-Canadian composer and pianist Dinuk Wijeratne performing with Syrian composer and clarinetist Kinan Azmeh, and the French sibling pianists Katia and Marielle Labèque.

As is customary for 21C, one of their concerts is a co-presentation with an established Toronto new music presenter – in this case, New Music Concerts, who will bring a Claude Vivier-inspired program to Mazzoleni Hall on May 27. This year, however, a second co-presentation also caught my eye: Grammy Award-winning vocal ensemble Vox Clamantis with Maarja Nuut & HH, presented on May 26 in collaboration with Estonian Music Week, running concurrently in the city from May 24 to 29.

The Estonian Music Week co-presentation is one of two concerts at 21C that combine music by contemporary composers with music of the past – thus creating a blurring of time, as it were. Vox Clamantis will offer both Gregorian chant music alongside contemporary works by primarily Estonian composers – while in another 21C show on May 25, pianist Simone Dinnerstein and the A Far Cry chamber orchestra will combine two works by J.S. Bach and two by Philip Glass.

Vox Clamantis

I had an opportunity to speak with Jaan-Eik Tulve, the conductor of Vox Clamantis, about the ensemble, the connections between Gregorian chant and contemporary music, and the legendary singing tradition in Estonia. Vox Clamantis was formed 20 years ago by Tulve as a way to continue singing the Gregorian chant he had studied in Paris in the 1990s. However, it quickly expanded into an ensemble that embraced the music of contemporary Estonian composers, who were keen to write music for them. One of the key reasons for this desire to compose for Vox Clamantis, Tulve told me, “was because they found that our musicality, phrasing and voices are different from classical singers. Even though Gregorian chant is the basis for classical music, the differences are that it is unmetered and monophonic music, so you must pay close attention to phrasing and listening to each other.”

One of the composers the ensemble has a very close working relationship with is the esteemed Estonian composer Arvo Pärt. Back in 1980, Pärt was forced to leave Estonia, which was part of the USSR at the time, in order to have his creative freedom. He lived in Berlin for 30 years, only returning to Estonia in the late 1990s after the country regained its independence. A strong relationship between Pärt and Vox Clamantis was quickly established, strengthened by the fact that Pärt had studied Gregorian chant when he was young. “We found a lot of similarities in our musical expressions and understandings of music, and little by little we sang more and more music that he wrote for us. He also often comes to us with new compositions while he is working on them so he can hear what they sound like,” Tulve said. The program at the 21C Festival will include five pieces by Pärt, all of which are on The Deer’s Cry CD, an album fully dedicated to performances of Pärt’s music by Vox Clamantis. As well, one of the repertoire programs that the ensemble regularly performs is comprised of a mixture of Pärt’s music with Gregorian music, a program designed by both Tulve and Pärt.

Other contemporary composers whose works will be on Vox Clamantis’ 21C program include the music of Helena Tulve, Jaan-Eik’s wife, who also studied Gregorian chant along with contemporary composition. “It’s a very short but concentrated monophonic piece which is quite different from most of her other instrumental compositions,” Tulve said. It will be paired with Ave Maria by Tõnis Kaumann, who is also a singer in the ensemble. And finally, a work by American composer David Lang will round out the concert, demonstrating Lang’s ability to write in a wide range of styles. When I asked Tulve about the connection between the ensemble and Lang’s musical language, he remarked that Lang’s music “was perfect for our ensemble as it is quite close to our musicality. It’s minimalist music, and we find minimalism in Pärt’s music, Gregorian chant and Lang’s music. Minimalism is the one common point.”

I concluded my conversation with Tulve by asking him to speak about the relationship between singing and the Estonian national identity. In what’s known as the Estonian Age of Awakening, which began in the 1850s and ended in 1918 with the declaration of the Republic of Estonia, the Estonian Song Festival was established in 1869. It is one of the largest amateur choral events in the world, held every five years, bringing together around 30,000 singers to perform the same repertoire for an audience of up to 80,000. “This festival was very important during the Soviet occupation” Tulve told me, “and helped Estonians survive this period by strengthening their own national identity. To preserve this strong link between singing and the Estonian identity, every child learns to sing in choirs at school, and the singing is at a very high level throughout the country with many good amateur choirs.”

Two other Estonian performers will also take to the stage that same evening – Maarja Nuut, performing on vocals, violin and electronics, along with Hendrik Kaljujärv on electronics. For the evening finale, the choir and these two young experimental performers will come together with a work performed by Vox Clamantis with improvisations by Nuut and Kaljujärv.

Simone Dinnerstein with A Far Cry

One of the pianists the 21C Festival is programming is Brooklyn-based Simone Dinnerstein, who burst onto the international scene with her self-produced recording of Bach’s Goldberg Variations in 2007. Since that time, she has performed internationally, with repertoire spanning from Baroque to select 21st-century works especially composed for her. Recently, she entered into a creative collaboration with composer Philip Glass, whose Piano Concerto No. 3 for piano and strings will receive its Canadian premiere at 21C along with pieces by J.S. Bach and Glass’ Symphony No.3. The concerto was a co-commission from a consortium of 12 orchestras; it was premiered in Boston in 2017 with string orchestra A Far Cry.

In my recent phone interview with her, Dinnerstein spoke about how this came about. The idea arose in 2014 when both artists discovered that they had a mutual interest in the music of Bach. Glass was interested in writing a work for her and Dinnerstein proposed that it be a concerto for piano and string orchestra. “I thought it would be interesting if the performance of the piece was paired with a Bach concerto,” she said. “All of Bach’s keyboard concertos are for keyboard and string orchestra, and there haven’t been many pieces written for that combination since Bach’s time. Glass liked the idea and from there, along with A Far Cry, we all decided it would be interesting to create a whole program with music by Bach and Glass.” At the May 25 concert, the first half includes Glass’ Symphony No. 3 followed by Bach’s Keyboard Concerto in G Minor BWV1058, and in the second half, Bach’s Orchestral Suite No. 2 in B Minor will be followed by Glass’ new Piano Concerto. And just in time for the festival, the two keyboard concertos on the program will be available on a CD titled Circles.

Glass’ concerto is written in three movements, with some parts more flowing and others quite dynamic. Dinnerstein said that in the second movement, some parts remind her of rock music in terms of sonority and rhythm. “At times the orchestra almost sounds like one of those 1970s synthesizers and it’s a really amazing sound. The third movement is definitely what I call transcendental music.”

In a an accidental but striking instance of synchronicity between 21C and Estonian Music Week, this third movement is dedicated to Arvo Pärt. “I can see why he dedicated it to Pärt,” Dinnerstein commented, “because there is a stillness to it that is present in a lot of Pärt’s music. But to me, it still sounds very much like Philip Glass. It’s a very slow-paced movement and is extremely difficult to rehearse because you need to be an active listener all the time. Everybody in the orchestra and the pianist have to be really aware of each other and of the music moment by moment, which takes a great deal of focus. I’ve now played this with a number of orchestras and one of the things that is wonderful about playing it with A Far Cry is they are an ensemble that really spends a lot of time listening to each other since they have no conductor. It’s part of their artistic personality to be able to respond to each other in a very instantaneous way, so we’ve tried different things with that movement. I might suddenly change something I’m doing and they have to respond to it without having a plan, so it’s much more improvisatory. That kind of thing is very hard to do with a larger orchestra and a conductor, but with them, it’s really possible.”

Dinnerstein went on to describe the commonalities between the music of Glass and Bach. “Both of their writing deals a lot with sequences of patterns and they have a common interest in the larger architecture of a piece. As well, they have written relatively very little regarding the interpretation of a performance. Their use of tempo, articulation and dynamic markings is quite bare, so that leaves a great deal up to the interpreter to try and delve into the music and see what the music is saying to them. I love that about those composers. As a result, when you hear different people play their music, it can sound wildly different.”

As for commonalities between Baroque and contemporary music, Dinnerstein commented: “I’ve always thought there’s a stronger connection there than between Romantic music and contemporary music. There’s a kind of abstraction to both Baroque and contemporary, and if you listen to Chopin for example, it feels very much of its time. You’re very aware of Chopin the artist. With Bach and Glass, the expression is less tied to the composers themselves – I don’t feel a sense of them as people. Rather, I feel that whoever is playing their music can bring out something quite different. The personality of the composer feels less dominant and there is a wider spectrum that lies within the music itself.”

What is striking about both these concerts I’ve highlighted here is the way contemporary music is linked with the sensibilities of both medieval Gregorian chant and Baroque music. It will definitely make for some fascinating listening – and an opportunity to experience music in all its timelessness. 

Wendalyn Bartley is a Toronto-based composer and electro-vocal sound artist. sounddreaming@gmail.com.

A protégé of legendary lyricist Oscar Hammerstein and student of serialist composer and electronic music trailblazer Milton Babbitt, Stephen Sondheim is equally famous as a lyricist and tunesmith. Midway through the first decade of the 21st century, American pianist Anthony de Mare acted on his lifelong immersion in Sondheim’s work and commissioned a wide net of composers from multiple genres to create their own “re-imaginings” of a favourite Sondheim song for solo piano. By the time the Liaisons project was completed in 2014, 36 composers (31 men and five women; 32 of whom were American-born) had contributed and de Mare’s love affair with Sondheim’s music had borne a bountiful harvest.

Drawn from 12 shows – A Funny Thing Happened on the Way to the Forum (1962) to Passion (1994) – Liaisons explores the sound world of the foremost creator of American musical theatre in the last half of the 20th century through the singular lenses of composers from Steve Reich to Gabriel Kahane. “Each of the composers is having a conversation with Mr. Sondheim,” de Mare told The New York Times, “with his material but also his influence, his musical wit and his craft.”

The lone Canadian contribution, Rodney Sharman’s Notes on “Beautiful,” written in the Valentine Studio, Leighton Arts Colony, Banff, Alberta, “is a transformation of the duet between mother and son, Beautiful, from Sunday in the Park with George, and dedicated to Anthony de Mare and the memory of my mother.” Sharman’s piece is one of 14 de Mare will be performing in Mazzoleni Hall on May 24 as part of the 21C Music Festival. A second concert, the following evening in Temerty Theatre, contains ten additional works concluding with a reprise of Reich’s Finishing the Hat.

WN: How does it feel, as a lifelong fan of Stephen Sondheim’s music, to play a dozen or two of the Liaisons transcriptions in an evening?

AdM: It is always an exhilarating experience for me to perform these works, no matter how many are included on each program. And because I’m so enamoured with the entire canon of Sondheim’s work, there are just so many of his shows in addition to dozens and dozens of his songs that I love so much. He has often said that Sunday in the Park with George is the show “closest to his heart” and I would say that has [also] always been one of my favourites. And I would just add that for myself, the more I work and live with this material, the more I learn – it has become a body of work that I hold very close to my own heart and it is an honour to be able to share it with the world now.

The flexibility of the project allows me to create programs based on what each individual presenter desires coupled with my own instincts and choices. Some presenters have had me perform two to three concerts as a series covering a vast portion of the collection.

However, selecting the program content is very important to me, as is its shape. I actually consider the entire program (and its sequencing) to be its own “piece,” carefully assembled to guide the listener on a journey through these fascinating works. Each piece is very much a marriage between the composer’s individual style and Sondheim’s original material. Add to this the inclusion often of audio and video clips of the composers speaking about their relationship to Mr. Sondheim and his work, in addition to the short film of Sondheim himself speaking (extracted from the interviews that were part of the Liaisons premiere concerts at Symphony Space here in NYC). Audiences have often commented favourably on how satisfying the entire experience is for them.

What was the first Sondheim song you fell in love with? What did it mean to you?

The first Sondheim song I encountered was the iconic Send in the Clowns from A Little Night Music. The first recording I heard of it was Judy Collins’ classic version back when I was in high school in the 1970s. I was so enamored with the shape of the melody, the beautiful sequence of harmonies, the eloquent lyrics, and of course her gentle interpretation, which made it memorable.

What is the first Sondheim song you remember hearing? How old were you?

Along with Send in the Clowns, there was Comedy Tonight from A Funny Thing Happened on the Way to the Forum. Shortly thereafter, I began listening over and over to the original cast recording of Company – the opening song of which became an immediate favourite, along with Another Hundred People. Again, this was around junior high and high school.

What prompted you to embark on such an ambitious project of commissioning piano re-imaginings of Sondheim songs? What was the genesis of the project?

This massive project was the culmination of a series of musical endeavours that I had created in years past. I have long been referred to as one of the leading exponents of contemporary music and my love of musical theatre has played a distinctive role in establishing myself as the “pioneer” of the speaking/singing pianist genre which I created in the late 1980s, commissioning a variety of composers to create specific theatrical works that I would perform solo at the piano. This in turn led to a large multimedia concert project I created titled “Playing with MySelf” – which involved a wide variety of contemporary works, video, projections, lighting, set design, costumes, etc. – which had a successful run here in NYC and abroad.

My love for Stephen Sondheim’s work dates back to my teenage years, having discovered such shows as A Little Night Music, Company, Follies and Pacific Overtures – which led to an obsessive immersion into his work, especially each time one of his new shows appeared on the theatre scene. I had always wondered what his amazing songs would sound like transcribed as legitimate piano works, much in the same vein as what pianists like Earl Wild had accomplished with Gershwin’s songs, and what Art Tatum did for so many his contemporaries. This tradition goes back as far as Franz Liszt, but no one had ever approached Sondheim’s work like this for the piano, so I thought it was about time.

In the late 1980s, I was invited to create a transcription of one of his songs [Children and Art from Sunday in the Park with George] to perform at a summer music festival and from there I decided I would like to possibly create about five or six more of these transcriptions. My performing and teaching career started to take off and got in the way of focusing on the project, so I had to shelve the idea for a while – actually a long while. Several composer friends and colleagues kept asking me throughout the 1990s (and into the new century) when I was planning to do it. Finally, in 2006, my good friend – Pulitzer Prize-winning composer Paul Moravec – and I sat down and he encouraged me to seriously pursue this. My idea at the time was to cast the net wide to a variety of composers from multiple genres (contemporary classical, jazz, theatre, film, opera, indie, pop, etc.) to create their own settings or “re-imaginings” of a favourite Sondheim song. With the help of a very talented and dedicated fund-raising producer named Rachel Colbert, the project was set afoot.

How long did it take to complete the project from the time of the first commission? What was the first commission?

The first commissions were put forth in 2008/09. There were many composers commissioned all at once, but not the total amount that it ended up being. The first completed work to arrive was Ricky Ian Gordon’s setting of Every Day A Little Death from A Little Night Music. Following that, a few more trickled in (William Bolcom, David Rakowski, Jake Heggie) and then they started coming one after the other between 2009 and 2014.

What were your criteria for which composers you invited to participate in the project?

The project was originally going to be about 20 to 25 works, but the roster kept expanding as the composer genres expanded. Also, Steve would suggest more composers along the way who seemed perfect for the project and it gradually climbed up to 36 – “a nice round number” as the producer said – and this provided many options for presenters in addition to emphasizing the possibilities for flexible programming on my part.

I wanted to be sure from the beginning that each composer involved felt a true “connection” to Mr. Sondheim’s work and that they wrote well for the piano. Over the years, several composers continued to contact me asking to participate, but we were committed to keeping a balance within the genres.

Was it intentionally multi-generational?

Yes, definitely. We wanted to have a wide range in age, and the final roster encompassed composers ranging in age from their late 20s to their 80s.

Did you have any guidelines you asked the composers to follow?

The word re-imagining is key to this project. I presented each composer with five parameters when they started. First, they were free to choose any song they felt connected to. There was a wish list, but they didn’t need to adhere to that list per se. Second, they were asked to retain the original melodic material of the song. Third, to retain most of his original harmonies. Fourth, they were free to play with the structure, especially since they would now be creating an instrumental piece from an original song, which is where much of the re-imagining seems to have originated for many of them. And finally, I requested that they not “deconstruct the material,” although a few actually did.

Did any composer ask to transcribe a song that had already been chosen by another?

They were of course free to choose a song that had already been chosen. However, the situation occurred only a few times where they asked about a song that was already taken. Once they knew that, they each decided to choose a different one. Nearly all of them had so many favourites, it wasn’t very hard for them to choose another.

Which of the commissioned works surprised you the most?

Let me just say that each piece was a revelation and each was quite unique from all the rest. Therefore, all of them were actually wonderful surprises. There were those that chose to either add an audio track accompaniment, while others incorporated unexpected “bells ’n whistles.” In each case, the approach was usually indicative of their individual style of writing.

Sondheim is so well known for the quality of his lyrics, how did the composers deal with the absence of words in their transcriptions?

One of the core missions of the project from the start was to illustrate Sondheim’s genius as one of the great composers of the 20th/21st century.

Since Sondheim’s original musical material in each song is expanded by lyrics and narrative, the challenge for many of the composers was to capture and encapsulate the essence of the lyrics, the overall ambience/mood, the character singing it, and the core of its message through an instrumental setting of his brilliant musical material.

Some composers found this a mighty challenge – many commented that the songs were already “perfect.” Therefore, some went the route of direct transcription for piano, some more fantasia-like. Each again is unique to each composer’s individual style, active within the fabric of Sondheim’s original musical material.

Three examples: Steve Reich’s two-piano setting of Finishing the Hat – enhancing the original passionate melody with his own signature pulsing metre-shifts; David Rakowski’s ingenious setting of The Ladies Who Lunch – capturing the complete musical material combined with the pathos, sadness, humour and bitterness of the character who sings this song. Andy Akiho’s prepared piano setting of Into the Woods, where he animates the piano by orchestrating each character’s voice and personality using prepared piano techniques (dimes, poster tacks, credit cards) and exotic timbres in lieu of the text.

There are actually numerous more examples, too many to cite, especially since each piece accomplishes something unique in terms of the individual direction each composer chose to take.

What, if any, was Stephen Sondheim’s involvement with the project?

Steve was quite intrigued by the idea of the project from the start and also very humbled by the fact that so many of these “A-list” composers (as he referred to them) were so interested in setting his melodies at the piano. He has been extremely generous throughout the entire ten-year trajectory of this project, offering suggestions, commissioners, constructive ideas and a strong foundation of support. We would check in with him periodically to give him updates and he always provided a very enthusiastic “go ahead.” He seems to have a very deep respect for all of the compositions in the collection.

How eager would you be to participate in a project that examined the evolution of the musical elements of Sondheim’s songs the way Sondheim himself examined his lyrics with Finishing the Hat and Look, I Made a Hat?

Oh I would be very eager. Over the past several years, I often present workshops and classes for students and the public illustrating the connections of each re-imagined piece to its original song both from a musical standpoint as well as from a dramatic one. This has oftentimes also included exploring the composers’ process in creating and re-imagining the works – their challenges and their breakthroughs.

Anthony de Mare performs selections from Liaisons: Re-Imagining Sondheim as part of the 21C Music Festival in Mazzoleni Hall May 24 and Temerty Theatre on May 25.

Paul Ennis is the managing editor of The WholeNote.

The creation of new Canadian operas continues apace. April saw the premieres of The Overcoat: A Musical Tailoring by James Rolfe to a libretto by Morris Panych and the premiere of The Ecstasy of Rita Joe by Victor Davies to his own libretto. May will see the premieres of two more new operas that form a stark contrast in terms of subject matter, performers and intended audience. The first off the mark is Hockey Noir, the Opera by Quebecois composer André Ristic. The second is The Monkiest King by Hong Kong-born Canadian composer Alice Ping Yee Ho. While at the COC The Nightingale and Other Short Fables, featuring two operas by Igor Stravinsky, continues to May 19, and Anna Bolena by Donizetti continues to May 26, the arrival of these brand-new operas demonstrates how varied and vibrant the opera scene in Toronto has become.

Hockey Noir

Hockey Noir, the Opera premieres on May 10 with a second performance on May 11. Subtitled “A bilingual chamber opera in 3 periods,” Hockey Noir is the first full-scale opera to be presented by Toronto’s Continuum Contemporary Music. It is co-produced by Ensemble contemporain de Montréal (ECM) and the Toronto Comic Arts Festival. As the title suggests, the opera is an homage to film noir, as well as a portrayal of the perennial Montreal-Toronto rivalry in hockey (which is why the libretto is in both French and English).

The setting is a fictional 1950s Canada during the playoff final between the Montreal Quabs and the Toronto Pine Needles.The action is narrated in voice-over by a Detective Loiseau, who describes the details of his investigation and the goings-on behind the scenes of the playoff series. He observes the backroom schemes of a colourful cast of characters consisting of mobsters, drag queens, hockey stars and femme fatales, whose paths all become entangled.

The plot involves Romanov, the city’s mob boss, who also has the hockey community in his grip, and Madame Lasalle, an irresistible seductress and Romanov’s girlfriend, who is under his thumb but who secretly hopes to take his place. Their problem is Bigowsky, a young hotshot player for the Quabs. Bigowsky is in love with Lasalle and deep in debt to Romanov, who is forcing him to lose the series so that Romanov will win his wager on the Pine Needles. To escape Romanov’s clutches, Bigowsky disappears, disguises himself as a female groupie for the Quabs and prowls around the stands encouraging and coaching his friend and teammate, winger Guy Lafeuille, a hockey veteran who wants to end his career on a high note by winning the cup.

The opera came about after Continuum commissioned 3 Environments by André Ristic in September 2015. At that time, artistic director Ryan Scott discussed the idea of a larger collaboration with Ristic and proposed a remount of the ECM production of Ristic’s first opera with librettist Cecil Castellucci, the highly successful comic book opera, Les Aventures de Madame Merveille (2010). By then, however, Ristic and Castellucci were already at work on the idea of Hockey Noir.

To mount the opera, the four singers, conductor Véronique Lacroix and six ECM musicians (string quartet, percussion and synthesizer) will be onstage. They interact with projections designed by Serge Maheu based on illustrations by Kimberlyn Porter, moving from frozen to animated states, leaping from the giant screen onto the “skating rink” onstage.

Romanov will be sung by baritone Pierre-Étienne Bergeron, Madame Lasalle by mezzo-soprano Marie-Annick Béliveau, Bigowsky by soprano Pascale Beaudin and Lafeuille by tenor Michiel Schrey. All four are familiar with Ristic’s musical style of caricature and his mix of acoustic and electronic instruments because they all appeared in Ristic and Castellucci’s previous opera. Marie-Josée Chartier is the choreographer and stage director.

CCOC’s Monkiest King

In complete contrast to Hockey Noir, which is aimed at adults familiar with the various tropes of 1950s film noir, is the other new opera of the month: The Monkiest King, the main opera production of the Canadian Children’s Opera Company, celebrating its 50th anniversary. The opera, commissioned by CCOC artistic director Dean Burry, is by composer Alice Ping Yee Ho and librettist Marjorie Chan, who won the 2013 Dora Award for Outstanding New Opera for their Toronto Masque Theatre commission of The Lessons of Da Ji. After school previews on May 25, the opera will have public performances on May 26 and 27.

The story is based on the Song Dynasty mythological figure of Sun Wukong, the Monkey King. From these beginnings, the Monkey King as a mythological character grew to include Taoist, Buddhist and Hindu influences, spreading outside of China throughout East and Southeast Asia. He has appeared in many forms and adaptations, perhaps most prominently the classic 16th-century novel Journey to the West by Wu Cheng’en. The novel is best known in English under the title Monkey, in the 1942 abridged translation of Arthur Waley. The figure remains prevalent in the modern day, with appearances in Hong Kong action movies and video games. A proud trickster character reminiscent of Raven in First Nations lore or the god Loki in Norse mythology, Sun Wukong rebels against heaven, but ultimately learns humility.

The novel consists of 100 chapters and, in its latest, complete translation by W.J.F. Jenner, is 2346 pages long. In her librettist’s statement, Marjorie Chan writes that she and Ho realized that for an opera intended to be only one hour long, they would have to focus on only the first seven chapters of the novel. She says, “I wanted to steer away from a strict adaptation. I highlighted different parts of the story, changed a few details about characters for more impact, while remaining truthful to the novel’s message. So, instead of the Monkey King, we have the Monkiest King! Part of the joy for me on this project was creating a work for 50 or so diverse performers, from the very young to those out of their teenage years!”

In Chan’s version the story is told within a frame in which a child hides near a stuffed monkey in the Chinese exhibit in a museum and falls asleep. The action is thus the child’s dream. The action begins with the birth of the Monkey King and continues through the displeasure his boasting causes the Jade Emperor, who pursues and imprisons him. He manages to escape and under the guidance of the goddess of mercy, Kwanyin, begins to give up his foolish ways to do good.  

In her composer’s statement, Alice Ho writes, “The opera is written especially to showcase the talents of Canadian Children’s Opera Company: their soloists and six choruses of different ages. The young singers are featured in an abundance of roles, including a number of animal characters, soldiers of heaven, villagers, as well as the forceful Jade Emperor and the benevolent Kwanyin. The combination of Chinese and Western instruments (Western and Chinese woodwinds, erhu, pipa, guzheng, harp, percussion and string quartet) instigates an exotic sound world that depicts both the past and present, life or dream.”

The opera also explores the dramatic and expressive use of languages, Ho explains. “Though primarily sung in English, there are Mandarin songs that were composed to reflect the poetic side and spiritual philosophy of ancient Chinese culture. The occasional injection of Mandarin words and Cantonese slang also highlights the authenticity of Chinese folk culture. As a Canadian-Chinese composer, I hope this new opera will inspire and educate child performers with the magic of music and drama in a different cultural context. Taking a fresh look at Chinese folk mythology, The Monkiest King will bring new energy to a ‘cross-cultural’ children’s opera, bringing something exuberant and challenging to a diversified music community. It is a dream project for me to bring this mischievous good-natured character to life in a contemporary children’s opera setting.”

Unlike many previous CCOC operas, The Monkiest King will feature no adult singers. The only adult performer will be Yi Xi, a dancer from Toronto’s Little Pear Garden Dance Company (LPGDC). Stage direction will be by Nina Lee Aquino, choreography by LPGDC artistic director Emily Cheung and music direction by Teri Dunn. The production promises fun and challenges to all! 

Christopher Hoile is a Toronto-based writer on opera and theatre. He can be contacted at opera@thewholenote.com.

Most songs are not created for the purpose of fighting injustice. There is, however, a definite period in the history of the English-language song when the political potential of songwriting craft became obvious: the 1960s and 1970s in the US, with roots reaching back to the 1930s and the odd branch extending into the 1980s. It’s this period, which we now call the golden age of protest song, that Art of Time Ensemble’s artistic director Andrew Burashko homes in on for the three-day festival “All We Are Saying” at Harbourfront Theatre. The festival runs May 10 to 12 with “The Songs Program” performed on May 10 and 12 and “The Classical and Folk Program” on May 11.

Where was the cutoff point for the protest song, I ask Burashko when we meet to talk about the festival. (It seems to me that few popular songs come out of political grievance these days.) They continue to be made, he replies, but generationally and aesthetically, he feels closest to the songs from this period, when the political songwriting was at its most creative. “Much of the first song program in our festival comes from the African-American experience. Nina Simone’s To Be Young, Gifted and Black, Sam Cooke’s A Change is Gonna Come, Gil Scott-Heron, Marvin Gaye. Billie Holiday in the extraordinary Strange Fruit.

“Then there’s Stevie Wonder’s Village Ghetto Land, which he opens with a string orchestra and gives it a surprisingly light, almost ironic tune, while the lyrics talk about extreme poverty and ghettoization,” Burashko says. How do you explain that discrepancy? Perhaps as a distancing of sorts, avoidance of sentimentality? “It’s hard to tell, but it’s fascinating, and Stevie Wonder did it in some other songs too.” For this occasion, Burashko asked a few Canadian composers to create original arrangements for the songs. “We had to find the fine line between too complex and ‘classical’ arrangements, and remaining true to the spirit of the song. There’s such a thing as being too clever as an arranger.”

Music in songs like these is there to amplify the words, not distract. And the lyrics have a core meaning that should be honoured. “In all fairness, some of the legendary singer-songwriters like Dylan and Cohen haven’t been particularly great musicians. They have been great poets, though. Words are what matters.”

As they do, I suggest, in hip-hop today, though only some of the hip-hop is political or concerned with injustice. And in pop and electronic music there are even fewer instances of songs concerned with broader societal issues. At the risk of sounding like an old person complaining about “the kids today,” I ask him, are today’s songs across popular genres largely apolitical and indifferent? Burashko demurs: young people surely have their own causes in pop song, it’s just that perhaps we aren’t following them very closely. An interesting coincidence, he says: just before this interview somebody sent him a piece by Theodore Adorno in which the German sociologist of music was being typically sceptical about the freeing potential of pop music. In Adorno’s view, the so-called popular song is opium for the people, crafted by corporations and selling the illusion of happiness and the illusion of political engagement. “And what we usually find in Top 40 is not far from that description,” says Burashko, unlike the best protest songs which have had mobilizing effects, have voiced the previously unsaid, and served as a form of collective memory.

The largely American program of the song night won’t be entirely devoid of Canadian creators. Buffy Sainte-Marie’s Universal Soldier, Bruce Cockburn’s ’Red Brother Red Sister and Joni Mitchell’s Big Yellow Taxi are also on the program. One wonders what a heavily Canadian program of political song would have looked like; it would certainly have more Quebec and other Canadian Francophonie in it, possibly the reggae remix of Michèle Lalonde reading Speak White (which exists on YouTube). On this occasion, it’s the performers who will bring in the Canadian component: singers Shakura S’Aida and Jackie Richardson, guitarist and vocalist Colin James, and instrumentalists Rob Piltch, Lina Allemano, Rob Carli and John Johnson, with Burashko at the piano. Among those Canadian composers who have be asked to rearrange the protest song classics are Andrew Staniland, Jonathan Goldsmith (who composed the music for Sarah Polley’s excellent Take This Waltz and Stories We Tell and who is an Art of Time Ensemble founding member) and Kevin Fox, composer, cellist and frequent Steven Page collaborator.

The second program of the “Festival of Protest Music” is a classical- and folk-flavoured night on May 11. It will feature the Rolston String Quartet in George Crumb’s Vietnam War-era Black Angels for electric string quartet, and Burashko himself at the piano in a selection of variations from Frederic Rzewski’s The People United Will Never Be Defeated. A set of roots and folk songs will be performed by Skydiggers’ Andy Maize and Josh Finlayson. Jay Gorney/”Yip” Harbur song of life on a skid row, Brother, Can You Spare a Dime, made famous by Bing Crosby, will be heard, as will Dylan’s Masters of War, which borrows its melody from a late-medieval English folk ballad. Pete Seeger was an important link in the survival of the Black civil rights anthem Keep Your Eyes on the Prize and it’s his version that will be honoured on May 11.

Before saying goodbye to Burashko, I ask him who his all-time favourite songwriters are. He lists Lennon and McCartney, Tom Waits, George Gershwin, Paul Simon. “The last Leonard Cohen album I thought was exceptional,” he says. He also loves P.J. Harvey. Radiohead is still good – and will be touring Canada this July. And he really liked the 2010 album that John Legend released with The Roots, carried on the wave of activism well past Obama’s election.

But The Roots and John Legend compiled an album of songs from the 1960s and 1970s, not the Bush-era and Obama-era original content, I thought on my way back home. Not even Obama, the most youth-mobilizing US president in recent memory, managed to inspire much original political content in song. So far Trump’s presidency hasn’t ignited much either, Eminem’s anti-Trump song being one prominent exception. Or have I missed it, while trying to avoid being completely engulfed by American culture? Beyoncé’s performances and video art are certainly more political than her song lyrics, and her brand of feminism does mean a lot to a lot of young women. Kendrick Lamar’s Pulitzer Prize-winning album DAMN. has only two or three songs that struck me as being of the politically conscious hip-hop kind.

Björk, Alicia Keys, Lauryn Hill and Erykah Badu are extraordinary artists, yet remain mostly non-political in song. Janelle Monaé’s recent single ‘Pynk’ and its accompanying video directed by Emma Westenberg is rightly adored far and wide but it won’t turn anyone into an activist. Kate Tempest’s songs are political – see her album Let Them Eat Chaos – but Brits are on the other continent and do things differently: it’s American and Canadian song that strikes me as privately focused.

Ani DiFranco, Kathleen Hanna and Amanda Palmer are still around, though working for smaller, not planetary audiences, and not very much in the media. Was punk the last crowd of musicians who were overtly political in their work? (Grunge wasn’t exactly political, despite a political lyric here and there.) To echo Marvin Gaye, what has been going on, reader? When were you last stirred and made to pay attention to a problem in the world by a song? Or does the issue lie with the media and the Internet: pop artists who are multinational corporations hog everybody’s attention broadband?

Let me know your thoughts through the email below. Meanwhile, the protest song festival on May 10 to 12 is for taking stock, and maybe even inspiration.

Lydia Perović is an arts journalist in Toronto. Send her your art-of-song news to artofsong@thewholenote.com.

The month of May is one of fully ripened choral fruit. At the end of the season for many choirs, these are the signature concerts for many ensembles and in some cases, farewells. I’ve provided some in-depth interviews and insights into a handful of concerts. Check out the Choral Canary Pages and learn about choirs in your area – and check out the listings for a more extensive list of concerts this month.

The Tallis Choir Celebrates 40 years: Rise Up my Love!

The Tallis Choir concludes their 40th anniversary season. Artistic director Peter Mahon spoke to The WholeNote about what to expect: “As we wrap up our 40th anniversary season, we commemorate the 50th anniversary of the death of Healey Willan and we offer a belated salute to our nation at the tail end of the 150th anniversary of Confederation with music by Canadian composers including Stephanie Martin, Eleanor Daley and Matthew Larkin” (all of whom reside in Toronto, as Mahon points out).

Mahon has a unique connection directly to Willan, whom he describes as “Canada’s best loved composer of church music.” There are few Canadian composers who have had the reach that Willan achieved. “Both my mother and father sang at St. Mary Magdalene,” shares Mahon, “from the time of their arrival in Canada in 1948, until Dr. Willan’s death in 1968 and for many years afterwards.” Willan served as music director at St. Mary Magdalene for almost 50 years. Mahon also remembers being a young chorister who was able to sing with his family in tribute at Willan’s passing: “I was 13 when Dr. Willan died and was privileged to sing at his Requiem Mass, sitting right behind my father in the Ritual Choir.”

“Most church singers in English Canada can name at least one piece by Healey,” says Mahon. “A good majority of them would also say that they can probably sing Rise Up My Love from memory. Such is the universal appeal of Willan’s music. For the most part, he wrote miniature gems, designed for the liturgy of the Church of St. Mary Magdalene, but choirs across the country and beyond sing them regularly… Speaking personally, I grew up listening to Willan’s music at St. Mary Magdalene, so it is in my blood.” Willan’s music anchors this all-Canadian presentation of music for Tallis’ 40th anniversary.

May 12, 7:30pm. The Tallis Choir presents “Milestones.” St. Patrick’s Church, Toronto.

Schola Magdalena: Votes for Women!

Still on the subject of Church of St. Mary Magdalene, Stephanie Martin, the ever-thoughtful composer and conductor-extraordinaire, has noted the upcoming centenary of 100 years since the first Canadian women were permitted to vote for the federal government. Martin and the six-member Schola Magdalena will be singing an all-female-composer concert to mark the event. “A small departure from our usual fare, like Hildegard of Bingen and Brigitte of Sweden,” Martin says, “the concert will also include some modern Toronto music from female composers,” including Martin’s own Missa Lumen, and from soprano Gabrielle McLaughlin. The feature of the evening will be Martin’s Te Deum, which she describes as a song whose “text conjures up so many visual images of martyrs, angels, joy and judgment.”

Although 1918 marked the first time that certain Canadian women were permitted to vote, it wouldn’t be until 1960 that all women in Canada were included in the right to suffrage. (Women of colour, Indigenous women and anyone with mental or physical disabilities were excluded until that time.) Women’s voting rights ties into another event that Martin is exploring. Her upcoming opera Llandovery Castle tells the story of “nurses who served in WWI on the Llandovery Castle hospital ship. [They] were able to vote earlier than other women because they were officers. They could vote federally in 1914.”

While we have much to appreciate in universal suffrage in our contemporary Canada, we would do well to remember that it wasn’t always this way. Stephanie Martin brings history into focus with her thoughtful approach to composition and music.

May 23, 8:15pm. Schola Magdalena presents “Celebrating 100 Years of Votes for Women in Canada.” Church of St. Mary Magdalene, Toronto.

Upper Canada Choristers and Cantemos Latin Ensemble: La Rosa de los Vientos

For many newcomers to Canada, with family, children, partners, and friends far away, love can feel distant – strong, but distant, explains Jacinto Salcedo, coordinator of the Cantemos Latin Ensemble speaking to The WholeNote about the words he wrote in the poem: La Rosa de los Vientos (The Wind Rose). “This is a recurrent theme for immigrants. Often, families are split, but you still love them, care for them, and want the best for them,” he shares. “It is nostalgic and touching.” For the tenth anniversary of the ensemble, the poem has been set to music by César Alejandro Carrillo, a very well-known Venezuelan choral composer and conductor. Carillo is especially known for his work with the Orfeón Universitario of the Central University of Venezuela.

With 12 singers taken from the ranks of the Upper Canada Choristers (UCC), Cantemos endeavours to bring the sounds of Latin American heritage to Toronto audiences. “Ten years ago, the UCC wanted to feature one or two [Latin American] songs in a concert,” Salcedo shares. “It became a natural evolution to continue exploring the richness of the music. We’ve done Latin music that is sacred, secular, dance, Christmas, and modern pieces that aren’t as well known. It’s become a need to keep doing this. We’re always curious and interested in knowing more of our culture and sharing it with people.”

The Upper Canada Choristers, under Laurie Evan Fraser, have a big offering with their “Magic of Music” concert. In addition to Cantemos, guest baritone Bradley Christensen and the Junior and Chamber Choirs of Allenby Public School will join the performance. Christensen will perform Vaughan Williams’ Five Mystical Songs along with the choir. En masse, the choirs will perform Rutter’s The Music’s Always There With You.

“UCC is about sharing music with the community,” says Salcedo. “We come from all kinds of different professions and interests in life, but [singing] is the common ground that we love and nurture.” Next year, the choir goes on tour to Japan with Canadian and Latin repertoire. “We want to keep exploring new rhythms, new songs. We are now at the point where we can be more well known. I think the level of quality and musicianship we’re getting will help us in the next ten years.”

May 11, 8pm. The Upper Canada Choristers and Cantemos Latin Ensemble present “The Magic of Music.” Grace Church on-the-Hill, Toronto.

Celebrating the Human Voice: SING! The A Cappella Festival

SING! The Toronto Vocal Arts Festival co-artistic directors Suba Sankaran and Dylan Bell present a packed schedule this year, with ten days that explore the magic of a cappella music. Sankaran chatted with The WholeNote: “It’s cool again to be singing in Glee clubs, in barbershop ... Through Pentatonix or Pitch Perfect, or Glee, it’s cool to be singing.”

There’s an astounding lineup. Part of the festival I’m flagging: artists FreePlay Duo (which is Sankaran and Bell); hugely popular all-male Rockapella; Retrocity, a local 80s group; an all-female concert featuring the Penthelia Singers and Girl Pow-R with others; and Resound, a totally unbelievable gospel trio who will drop your jaw and melt your heart.

For new attendees, Sankaran has some tips. “Take in one of the weekend shows,” she says. “It will give you a chance to experience a workshop or two, go to the outdoor free stage, drink in some of the a cappella artists, and then go to an evening show.” In one concert, three groups are celebrating their 20th anniversaries: Retrocity, the Toronto Northern Lights and Cadence. It’s a great introduction to the “spectrum” of a cappella as Sankaran describes it, including barbershop, jazz and contemporary.

SING! The Toronto Vocal Arts Festival offers big weekend concerts, a free outdoor stage, and intimate performances in small venues like the Jason George Pub and the Little Trinity Church. There’s a huge breadth of performers representing diverse musical styles and that is a direct reflection of the energy and connections that Sankaran and Bell bring to the table. Local sacred traditions are reflected with “SING! Crossroads,” which features the Ruach Singers and Six 13, both Jewish a cappella worship groups. “SING! Celebrates Gospel” brings in the Christian tradition rooted in Black music of North America. And the multidisciplinary aspect of the festival is reflected with “Art Battle”!

Central to all of this is people making music with nothing but their voices. “The power of the human voice, the fact that it can empower a person, whatever age, whatever ability – that to me is the most important thing. It truly is a universal language, especially when you get into a cappella,” says Sankaran. “Your voice is like your fingerprint. It’s completely unique. People can try and imitate you but they can never be you, they can never breathe like you.”

Make sure to check out ten days of empowering a cappella music.

SING! The Toronto Vocal Arts Festival runs from May 23 to June 3 in a variety of venues, mostly centred around the Distillery District, Toronto. Check out www.singtoronto.com for all the offerings.

Exultate Chamber Singers: “We Sing and Connect”

Last month, I wrongly reported that Hilary Apfelstadt’s final concert with the Exultate Chamber Singers was at their April 6 concert. There is one remaining program in the season, however: “We Sing and Connect,” which takes place on Friday May 25 and Saturday May 26.

May 25 and May 26, 8pm. Exultate Chamber Singers presents “We Sing and Connect.” With special guests the Miles Nadal Jewish Community Centre Adult Choir (May 26 only). St. Thomas’s Anglican Church, Toronto. 

Follow Brian on Twitter @bfchang. Send info/media/tips to choralscene@thewholenote.com.

April provided a rich abundance of music theatre in Toronto from the traditional to the wildly experimental, from new creations to double adaptations. Early in the month the Toronto Symphony Orchestra celebrated the classic musical with the superb pops concert “On Broadway,” under the skilled and energetic baton of Steven Reineke. On hand to sing the songs were the brilliant and brilliantly contrasting current Broadway stars, Canadian Ramin Karimloo (Phantom of the Opera, Les Mis) and Stephane J. Block (Falsettos, Wicked). These two stars had never worked together before and their personal styles could not be more different. Block, with a bigger, brasher belting style, practically channelled Barbra Streisand in a galvanizing Don’t Rain on My Parade from Funny Girl and Karimloo, with a much quieter, focused presence, though equally powerful, captured the audience entirely with an exquisite rendering of Old Man River to his own classical guitar accompaniment partnered with principal cello Joseph Johnson. It was fascinating to see these giant talents each hold the audience in the palms of their hands and to come closer and closer as stage partners through various solos and duets, culminating in what felt like an anthem for each: Being Alive from Company for him and Defying Gravity from Wicked for her, and with a beautifully nuanced Move On by the two together from Sunday in the Park with George. It was an evening that reminded us of the power of the best Broadway scores to move our hearts with stories told through words and music; particularly in the hands of interpreters with such a profound connection to the material, with each other, the orchestra and the audience.

Other music theatre works attempting to take possession of our minds and hearts this past month ranged from a lesbian cartoonist trying to figure out her past in order to move on, a man trying to deal with a recent tragedy and escape his grief, a poor accountant whose life is irrevocably changed by the acquisition of a new coat, and an American GI staying behind in Paris after WWII to indulge his love of painting.

All but one of these are adaptations of other source material. Adaptations are often difficult to pull off, having to match script and score to the source and meet or exceed the expectations of an audience perhaps familiar with the original material.

Fun Home, the 2015 Tony Award-winner for Best Musical, based on lesbian cartoonist Alison Bechdel’s acclaimed and bestselling autobiographical graphic novel, opened on April 17 at the CAA (formerly Panasonic) Theatre in a new production from the Musical Stage Company presented by Mirvish Productions. It connected so strongly with its first audiences that its run was immediately extended (currently to May 20). I wasn’t familiar with the graphic novel before seeing the show, but the adaptation feels flawless. The characters are real, complex people, immediately recognizable; the script by Lisa Kron rings true and the songs by Jeannine Tesori (with lyrics by Kron) feel like necessary moments of heightened emotion, the musical style with a 70s feeling to it helping to create that sensation. The all-Canadian cast is excellent, led by Laura Condlin, Sara Farb, and young Hannah Levinson as central character Alison Bechdel at three different ages. (You can read my full review online on
thewholenote.com).

An American in Paris, another 2015 Tony Award-winner, also made its Toronto debut in April with the North American touring company coming to the Princess of Wales Theatre for a six-week run. In a way this could be looked at as a double adaptation. While this is a new stage musical inspired by/adapted from the famous MGM musical of the same name that starred Gene Kelly and Leslie Caron (and won a special Academy Award for the innovative and brilliant 17-minute American in Paris ballet that took Kelly and Caron’s characters through a love story using panoramic sequence of Parisian painters), the film itself with a script by Alan J. Lerner, was built around earlier classic songs and works by George and Ira Gershwin.

In developing the new stage version, director and choreographer Christopher Wheeldon and book writer Craig Lucas have spoken in various interviews about how they wanted not to just “put the film on stage” but to create a new show with a deeper background. They wanted a more complex story, tied more closely to historical reality by setting it clearly in a Paris just beginning to recover from the ravages of occupation by the Germans. The first half of the show, I found, succeeds wonderfully in these goals. Paris slowly awakening from war and coming to life again becomes itself a character through the brilliant choreographed crowds who fill the stage from the top of the show, clearly signalling the style of the world we are about to enter. The characters we know and love from the movie are still there but slightly altered: Jerry Mulligan, the GI who has stayed after the war to paint, is here a slightly less confident character than in the movie, more uncertain in his talent, more affected by the war. Lise, Caron’s character, has become an aspiring ballet dancer, but still works in a perfume shop, still torn between Jerry and Henri Baurel. Henri is no longer an established musical hall star but a would-be performer, though still in love with Lise. Interestingly, Oscar Levant’s iconic cynical Adam has become the narrator and another would-be lover of Lise. Matthew Scott from the original Broadway company was so strong and likeable in this role that he stole the show from the other men.

While by intermission I felt won over by this new version of one of my favourite films, I found in contrast that the second half was a bit of a letdown, particularly in the iconic ballet sequence which here is very modern and abstract, and where Lise makes her professional debut and becomes a star. I found the choreography in this sequence dull and frustrating after the character and imagination elsewhere throughout the show, particularly in contrast to the movie, and not completely saved by the intense romantic pas de deux at its centre where Lise imagines that she is dancing with Jerry. I will say, though, that the audience around me did not seem to have the same reaction. It also seemed to me too easy and clichéd to make Lise a Jewish girl saved by Henri’s family when her parents were killed by the Germans, instead of her being, as she is in the film, the child of Resistance fighters. Still, with those caveats aside, this is a show worth seeing, particularly for its re-creation and re-imagination of post-war Paris.

Overcoat: The other big new music theatre production, half opera, half musical, this month was the world premiere production of The Overcoat: A Musical Tailoring, a three-way co-production from Tapestry New Opera, Canadian Stage and the Vancouver Opera Company.

Highly anticipated as a new experimental exploration of Gogol’s famous short story by Morris Panych (the director and co-creator of the famous wordless physical theatre production of The Overcoat 20 years ago that repeatedly toured here and internationally), The Overcoat: A Musical Tailoring is, as I wrote in The WholeNote last issue, also the first collaboration between Panych and acclaimed Canadian composer James Rolfe. When I spoke with Panych about the show before rehearsals began he talked about the scope of expectations that this new production was facing: people who had loved the original show so much and seen it many times told him they did not want to see this new version for fear that it would dilute that original experience. And yet the creative team were all so energized and excited by the possibilities of exploring the original source material again from new angles and with new artistic tools, that one couldn’t help but feel as though they couldn’t fail to bring something remarkably new to life.

The new Overcoat, with words and singers rather than purely physical performers, is definitely recognizable as a relative of the first production but also clearly something different. It realizes many of the goals of the creative team to explore more intellectual themes and ideas, and it explores the potential of melding purely physical theatre with new opera. To anchor the physicality, choreographed again by Wendy Gorling (co-creator of the original Overcoat), are two actors from that original company and while they stand out from the rest as they do not sing, they perform their function well of anchoring the audience’s perception of the physical world in the style of movement presented, as well as leading the way for the rest of the cast. The singers do a wonderful job with the choreography, in fact seeming to revel in the extra theatricality, particularly the brilliant Peter McGillivray, a standout as singer and actor in his leading contrasting roles of Head of the Department and the Tailor.

The design team has created a clearly evocative world, a slightly macabre, slightly Dickensian, silent movie-in-looks world, dark with colours for highlights, faces all painted white with black-rimmed highlighted eyes exaggerating every facial expression. The music is clean and spare, toeing the line between new opera and new music theatre, occasionally going into flights of fancy (as when the tailor takes his snuff) and finding eerie harmonies for the mad-girl chorus who haunt the hero like an invisible three fates waiting for him to fall, commenting on his actions and predicting his end.

What I did miss was the odd aria, or solo song, to give the characters a chance to connect more deeply with the audience. Both librettist/director and composer spoke to me about wanting to give primacy to the words and ideas rather than musical ornamentation. But I missed the connection that an aria or solo can create between the stage and the audience, particularly for the lead character Akakiy, embodied well by Geoffrey Sirett, a simple man obsessed with numbers to the exclusion of almost everything else in his life. Oblivious to the attraction his rather Brechtian landlady has for him (she gets to tell us a little bit about this) he follows his daily routine and does sing to us a bit about numbers but not at any length or to any great depth. If the creative team still tinker with their creation as it goes on the road and goes into the opera repertoire I hope they will consider adding a solo or two.

Musicals, in my view, need to have these moments – in Fun Home, currently onstage, for example, the most powerful moments are captured in solo songs where the leading characters, unable to hold their feelings in, turn to the audience and sing. Middle Alison in Changing My Major and Small Alison in Ring of Keys, for example, offer clear moments of discovery for both characters.

That being said, there are some other very interesting dramaturgical choices that work well in this Overcoat. Taking Akakiy’s original obsession with copying letters from the short story, turning it into an obsession with numbers and then throughout the libretto into combined themes of counting and measuring a man’s worth, for example. The biggest dramaturgical choice that departs from the short story is the framing of the stage version with madness. When Akakiy loses his overcoat to thieves here, he goes mad rather than just getting mad, and the mad girls and physical performers become the inmates of a mad house where Akakiy ends up, wearing another sort of jacket altogether.

While there is a definite neatness to this concept, it is a bit frustrating in that it loses the universality of the original symbolism of Akakiy dying and his ghost continuing to haunt the streets stealing coats from passersby. There is a haunting moment in the staging where it looks as though this will indeed happen, but then it is gone. These caveats aside, this Overcoat is a highly accomplished, highly theatrical night in the theatre, and I’m sure it will live on and develop further.

QUICK PICKS

To June 3: Fans of TV Series Downton Abbey will be delighted to see Mrs. Patmore (Lesley Nicol) as Miss Hannigan in Annie (run extended to June 3), presented by Mirvish at the Ed Mirvish Theatre.

To May 6: Former composer for La La La Human Steps, Canadian Njo Kong Kie brings his musical collage Picnic in the Cemetery to Canadian Stage’s Berkeley Street Upstairs Theatre.

Starting May 3: Grand Hotel begins at the Shaw Festival. Fans of the film starring Greta Garbo and John Barrymore may be curious to see this musical version.

May 4 to June 2: Soulpepper presents August Wilson’s classic 1920s musical Ma Rainey’s Black Bottom, starring Alana Bridgewater and a strong Toronto cast.

May 24 to June 17: Grease Toronto presents Grease. Music, lyrics and book by Jim Jacobs and Warren Casey. Winter Garden Theatre, 189 Yonge St. 

Toronto-based “lifelong theatre person” Jennifer (Jenny) Parr works as a director, fight director, stage manager and coach, and is equally crazy about movies and musicals.

Discussing early music is similar to discussing winter in Canada, particularly here in Toronto. We know where each is supposed to begin and end: early music covers everything from the Medieval era to the end of the Baroque, widely considered to be 1750 (the year of J.S. Bach’s death); winter begins with the winter solstice near the end of December and lasts until the spring equinox in March. This year, though, Toronto was treated to an intense April ice storm, causing almost 1,500 car accidents over a single weekend, wreaking havoc on property, and instilling regret in those who switched over their vehicle’s winter tires too soon. The Farmer’s Almanac may have told us one thing, but as we well know, real life scenarios rarely match our neat-and-tidy theoretical assumptions.

When attempting to categorize early music, we encounter many of the same practical and theoretical conflicts we face when discussing the weather. As time moves forward, formerly avant-garde composers such as Cage, Messiaen and Berio become part of music’s history, relics from the past century, while the greats of long ago, including Mozart, Beethoven and Brahms, move even further into the distant past. When this happens, we realize that this inevitable progression of time pushes composers and their works further and further back in history, thereby blurring our outdated and neatly conceived 19th- and 20th-century categorizations of classical music’s epochs.

The continually expanding exploration and development of performance practice in music mirrors this passing of time. The Historically Informed Performance (HIP) movement, for example, was started 60-or-so years ago, when Leonhardt, Rilling and Harnoncourt began recording the complete Bach cantatas, and has since grown to encompass Mozart, Beethoven, Brahms and even Mahler. As what we consider contemporary continues to move ahead and composers continue to utilize technology and digital media as compositional techniques to be included along with live performers, we look back at the music of the past through a constantly-changing lens.

Is this to say that we should consistently take the pruning shears to Western music, judiciously weeding out repertoire that no longer serves a purpose or that seems too old or outdated? Probably not – we wouldn’t want to cause a riot, after all, by acknowledging the inherent clunkiness of some of Beethoven’s compositions or the influence of Leopold Mozart on young Mozart’s symphonies and concerti, or echo Pierre Boulez’s critiques of Schoenberg’s structural schizophrenia. Instead, we should look at music as a whole, do away with our naïve categorizations and acknowledge the ancient nature of this music and its place in history.

By taking a large-scale look at individual repertoire in its historical context – as a progression of musical lineage and development that bridges the enormous gulf between the beginning of medieval staff notation and monophony to the monstrous complexity of Ferneyhough and Finnissy, ultimately ending up with the products of today’s composers – we see that everything is connected. If we acknowledge the innate interconnectedness between Schütz and Scelsi, Fasch and Ferneyhough, we can throw away the idea of narrow-minded specialization in music and increase our own awareness of the greatness of all musics, and then pass on this awareness to our audiences. As Robert Heinlein writes: “specialization is for insects.”

Toronto Bach Festival

The month of May provides many interesting opportunities to see presenters straddle the lines more frequently, offering concerts of music taken from different eras and showing the progression of musical history over time, whether in shorter segments or over large, epoch-spanning periods. The third annual Toronto Bach Festival, which takes place from May 11 to 13, explores Bach’s influences, the musical figures from the Renaissance and early Baroque that combined and incubated to result in one of classical music’s primary figures. Featuring three concerts and a lecture by professor Michael Marissen, this year’s Bach Festival, curated by artistic director (and Tafelmusik oboist) John Abberger, focuses on the music of Bach and Heinrich Schütz, regarded as the most important German composer before Bach and an influence on later composers such as Brahms and Webern. The opening concert includes Bach’s Brandenburg Concertos No.2 and 4, Concerto for Oboe d’amore and Orchestral Suite No.4, with Abberger (as oboist and director), Baroque violinist Julia Wedman, and natural horn player Scott Wevers among the orchestra’s 14 players.

British composer Brian Eno recently spoke of our contemporary cult of genius, stating that “although great new ideas are usually articulated by individuals, they’re nearly always generated by communities.” Through performances of Bach’s orchestral music, including two Brandenburg Concerti, Schütz’s stunning Johannes Passion and an organ recital by Rachel Mahon featuring works by Dieterich Buxtehude, this year’s Toronto Bach Festival will paint a large-scale picture of Bach in relation to his peers and predecessors, an engaging portrait that removes Bach from his isolated, elevated pedestal of genius and contextualizes his works within his musical community.

21C Music Festival

Continuing the theme of multi-era concerts, The Royal Conservatory’s 21C Music Festival presents pianist Simone Dinnerstein with chamber orchestra A Far Cry, in what looks to be a magnificent juxtaposition of the complex counterpoint of Bach’s Keyboard Concerto in G Minor with the deceptively simple minimalism of Philip Glass’s Piano Concerto No. 3. While Bach uses counterpoint to create an overall effect greater than the sum of the parts, Glass’ counterpoint sounds less complex than it actually is, with characteristically repetitive themes and gradually evolving, large-scale processes combining to create works that bring to mind Michael Caine’s quote on the duck: calm on the surface, but always paddling like the dickens underneath.

Lest one say that Glass’ music is “light” or “superficial,” it is helpful to remember that Glass received the same intensive training as many of his compositional contemporaries, even studying for two years with Nadia Boulanger, the legendary French pedagogue. Glass’ music, particularly his large-scale works, contains moments of distinct compositional ingenuity, thematic developments sharing similarities with the age-old fugue, and ideas that are combined, contrasted and displayed in virtuosic versatility. This ingenuity correlates perfectly with Bach’s own ideas on counterpoint, and this unexpected combination of old and new works not only provides a vehicle for virtuosity that spans the centuries, but also contains a consistent set of underlying principles, albeit within distinctly different soundscapes.

Tafelmusik plays Beethoven

Tafelmusik’s Beethoven collaborations with conductor Bruno Weil, culminating in a recently-released set of the complete symphonies, expand the repertoire conventionally assumed as suitable for a Baroque orchestra. This May, the Tafel/Weil duo reunites to perform Beethoven’s Symphony No. 6, “Pastoral” and his magnificent Violin Concerto, with Jeanne Lamon as concertmaster and Elisa Citterio as soloist. Many are familiar with Romantic interpretations of this symphony – think Furtwängler and later – rife with pictorial depictions of rolling hills, birdsong and the inevitable storm. By performing this work on period instruments – thereby reducing the kaleidoscopic range of expression typically available on modern instruments – the characteristically caricatured interpretation we have come to expect may be tempered somewhat. It will be worthwhile to hear this work in the context of its time, rather than as a scene-painting predecessor to Wagnerian drama!

There are many other fantastic concerts happening in the early music world this month, too many to

mention here, and I hope that you’ll do some exploring, both in this magazine and in the Toronto arts scene as a whole. With the last blast of winter hopefully behind us, take some time this spring to get outside and take in some music. Not only will you be able to walk around in something other than a parka and boots, you will also have the opportunity to hear marvellous music from all eras performed by some of the city’s most talented artists.

I hope to see you at some of this month’s musical events. As always, feel free to get in touch at earlymusic@thewholenote.com. 

Matthew Whitfield is a Toronto-based harpsichordist and organist.

The spirit of an extended modal family is reflected in Labyrinth Musical Workshop Ontario’s inaugural season’s remarkably ambitious lineup featuring 11 masters of Greek, Turkish, Bulgarian, Iranian, Azerbaijani, Arabic, Kurdish and Afghani music traditions. Historically these musical cultures interacted for centuries in their ever-shifting places of origin. In 2018 Toronto it’s possible to see such fruitful musical interactions reflecting the demographic reality on the ground.

Each faculty member will conduct week-long workshops and then perform in four concerts in Toronto throughout May and into June.

Labyrinth Ontario is a made-in-Toronto modal music school founded by an Iranian-Canadian musician, but with roots in an unlikely place (a Mediterranean island), and perhaps an even more unlikely founding father (the English-born Ross Daly who boasts Irish ancestry). Let’s go explore.

Labyrinth Musical Workshop, Crete

Labyrinth Musical Workshop began in 1982 as the brainchild of the Cretan world musician and educator of Irish descent Ross Daly. His first series of Labyrinth workshops took place in 1997 in Athens, Greece.

Daly – a specialist on the music of the Cretan lyra (fiddle) and of the Ottoman court, a participant in intercultural composition before world music became a commercial term, and a composer – originally wanted to establish a space for a creative group of friends. His overall aim was to explore “various modal musical traditions from around the world, as well as of the potential for creative interaction between them.”

In 2002, a permanent base for Labyrinth was established in a restored manor house in the village of Houdetsi on the island of Crete, Greece. There Daly has fine-tuned his workshop model of concentrated weekly music lessons focusing “primarily on the modal musical traditions of the Balkans, Middle East, Central Asia, India, North Africa,” as well as presenting concerts by “outstanding teachers/musicians, the prime representatives of these traditions.”

While leading international musicians and students travel twice a year to Labyrinth’s Cretan village environment, in the last two years Daly’s notion of teaching global modal musical traditions has really caught fire. It has spread across Europe and now jumped the Atlantic to Canada. In 2016 Labyrinth Catalunya was established in Barcelona, and in 2017, Labyrinth Italia in Santa Sofia. This year Labyrinth Cyprus launched, with three modal music seminars which were held April 10 to 15, 2018 in Nicosia, capped with a concert.

Labyrinth Musical Workshop Ontario: Backstory

That brings us to the most recent iteration of the concept, Labyrinth Ontario Musical Workshop in Toronto. And it may be the most ambitious of the Daly-inspired spinoffs, animated by a series of 11 workshops running over four weeks, plus four concerts.

Labyrinth Ontario was on my radar back in September 2017 when I offered a preview in my World Music column, observing that it “focuses on the education of a new generation of musicians – and also audiences.”

Two Toronto-based musicians are at the heart of the project. Virtuoso tar (Persian lute) player and teacher Araz Salek serves as its artistic director and keyboardist and sound designer Jonathan Adjemian as its admin director. Having begun his music career in Iran, Salek has been active as a tar player and leader in Toronto for over a decade in both Persian classical music ensembles as well as in eclectic music circles, such the Persian-flamenco fusion group Persamenco. He performs often in other settings too, in Toronto and on tour internationally, experimenting with new transcultural groupings and various crossroads of classical, experimental and improvised music, seeking out creative musicians in all those areas.

Starting an unorthodox music education and concert series is certainly a risky endeavour, but Salek’s street cred in this arena positions him strongly to kickstart Labyrinth’s presence in Toronto. For example, he has served as an instructor at Daly’s Labyrinth Musical Workshop in Crete and since 2012 has been a core member, with Daly, Pedram Khavarzamini and Kelly Thoma, of the Toronto-Crete quartet This Tale of Ours – a group continuing to be a source of inspiration for Salek. They are all workshop leaders in Labyrinth Ontario’s inaugural season.

I followed the story to the 918 Bathurst Centre. There, on the evening of September 15, 2017, Labyrinth Ontario held its launch and fundraising concert. The event had a warm, mixed-community feel, underscored by the ethnically diverse music and foods on offer covering Persian, Southeastern European, Turkish, Kurdish and Middle Eastern ground. That diversity was reflected in Labyrinth Ontario’s board of directors introduced at the event: Poorya Ferdowsi, Pouria Lotfi, Alia Hamdan O’Brien, Irene Markoff and Rob Simms.

Silk Road and the Spirit of the Extended Modal Family

Simms, associate professor of music at York University, recently posted an essay on Labyrinth Ontario’s website placing its project into a much larger frame. He begins by pointing out that while as recently as 40 years ago “Toronto was thoroughly white-bread, WASP dominated,” today it is “regularly cited as one of the most culturally diverse cities in the world. While this is a wonderful fact and opportunity for those of us who live in the city, it is even more remarkable how recent this came to be.” He continues that while world history “features many previous hotbeds of cultural contact … none of these come close to the complete global integration we now inhabit and that forms the fabric of daily lives” in major global cosmopolitan centres.

Simms then invokes the example of the network of trade routes known as the Silk Road which provide us with “an incredible continuity of musical expression stretching from North Africa, Southern and Eastern Europe, clear across to Central Asia and Western China. This massively extended musical family shares similar social contexts for performance, aesthetics, philosophy, performance practice, instrumentation and musical structures – rhythmic cycles, forms and melodic modes (scales with particular behaviours or personalities).”

Among the various systems of melodic modes which grew up along the Silk Road, one of the most common is the maqam, literally “station, place” in Arabic. “While the underlying musical foundation was shared … a rich array of varying musical traditions flowered, cross-pollinated and withered through the centuries into our own time. Most of the musicians stayed in their particular sonic and social worlds … Until the late 20th century” – which is when Ross Daly enters Simms’ essay. Simms nominates Daly as one of the “early pioneers of exploring the larger maqam family.” Attracted to the lyra tradition of Crete where he has lived for over 40 years, Daly has “established a unique and highly successful series of workshops that brings together master teachers of myriad maqam traditions and keen students from around the world.”

One of the keys to the success of Daly’s Labyrinth Workshops is that they are at the same time informal and highly social yet also intensive and serious in musical focus. In this mix Simms sees the “spirit of the extended modal family tradition throughout history,” echoing Daly’s own ethos: “Labyrinth is more than a musical workshop, it is a way of life through music.”

Labyrinth Ontario’s First Season: Workshops, Concerts and Discussions

Labyrinth Ontario’s first season workshop faculty includes an international roster of leading instrumentalists, singers and composers in their respective genres. They are: Ross Daly (Greece) on modal music composition, Kelly Thoma (Greece) on Cretan lyra, Ali Akbar Moradi (Iran) on Kurdish tanbur, plus American-based Imamyar Hasanov on Azeri kamancha, Tzvetanka Varimezova on Bulgarian singing, and Quraishi on Afghan rabab.

Toronto-area expert practitioners George Sawa on Arabic music theory and qanun, Araz Salek on tar, Bassam Bishara on oud, Pedram Khavarzamini on tombak and Ahmet Ihvani on Turkish bağlama/saz complete this year’s teaching faculty. Interested readers can find bios of each instructor and the dates of instruction on Labyrinth Ontario’s informative website: www.labyrinthontario.com/labyrinth-2018-workshops.

In addition to the workshops, faculty will give a concert each week, and TBA-moderated panel discussions will be open to the public.

The first concert on May 12 features This Tale of Ours, a quartet with members hailing from Canada and Greece, though certainly not musically limited by those nationalities. (The group’s membership – Daly, Thoma, Khavarzamini and Salek – bridges the parent Labyrinth with its newly minted Toronto offspring.) Look to The WholeNote listings and the Labyrinth Ontario website for details on this and the other three concerts.

Each month in this column I chart a few of (what appear to me at the time as) the high points of master musicians from around the world appearing in Toronto and region in concerts, festivals and one-off workshops. From my vantage point it seems Labyrinth Ontario takes this situation to yet another level, focusing our attention intensively – and at an uncompromisingly high artistic level – on a few fascinating and related modal musical cultures.

Borrowing a phrase from Simms’ essay I’m prompted to ask whether Toronto is indeed the “perfect location to carry this amazing, vibrant Eurasian cultural treasure [offered by Labyrinth Ontario] to wherever it is heading in the 21st century.”

It’s too early to give a definitive answer: we’re still weeks away from the final workshop and concert. But the fact that this ambitious project was founded by a person who has emerged from outside Canada’s established cultural elite circles should be a source of pride in the direction we as a community are moving. I will continue to cover Labyrinth Ontario’s progress as it seeks to explore sites of our own Toronto brand of “post-global” music.

Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com.