Beat Columns (Live Music)

Here we are; fall has begun. Normally, by now we would have heard of all of the plans for the coming season including concerts, rehearsals and maybe some new member recruitment. This fall the focus is on closures. The most drastic one that we have heard of so far is the notice from the Toronto District School Board. Since the pandemic problems began, the board has locked the doors for all outside organizations. Now, the board has sent notices to outside organizations like bands, choirs and other renters of board facilities that they will remain locked out for the balance of the calendar year, and perhaps longer.

So how are community music groups coping? Most are actively seeking alternative rehearsal spaces; some have given up temporarily. A few are trying to maintain some form of Zoom rehearsal, or at least social gatherings. One of the more interesting activities I heard about is that Resa’s Pieces in cooperation with New Horizons Band Toronto (two ensembles I have written about frequently in the past) were in discussions with Long & McQuade Music to plan a few online Zoom sessions of advice from specialists at L & M. Stay tuned on that one!

How are groups adapting?

While concert bands and similar large groups are basically shut down, smaller groups are adapting and new small groups are being formed. While most are simply rehearsing to maintain their skills and their social contacts, some are exploring small ensemble work for the first time. Rather than restrict their playing to in-house rehearsals, some have expanded their horizons and are performing on porches, on lawns, in driveways and even in cul-de-sacs where available. While some are simply impromptu events for the enjoyment of the players, others have been well organized to raise funds to assist professional musicians who have few, it any, paid gigs during the pandemic. In some cases, listeners are charged an admission fee, in others, donations are collected.

“Is there a radical hope to be found in the humble drama classroom?”

This question was asked (and answered in the affirmative) by Towards Youth, a play by Andrew Kushnir produced by Crow’s Theatre and Project Humanity in the early spring of 2019, almost exactly a year before the current COVID-19 lockdown. Originally commissioned through, and inspired by, University of Toronto professor Dr Kathleen Gallagher's research project Youth, Theatre, Radical Hope and the Ethical Imaginary, the play was created from verbatim interviews  with drama students in India, Taiwan, England, and Greece, resulting in a production described by Now Magazine as “ambitious, sprawling, and invested with tenacious heart” that captured the imaginations of audiences and critics alike.

In a time when the role of the arts in schools is under budgetary and philosophical attack, this is an exciting and crucial argument to the contrary. Now that – thanks to the ongoing pandemic –  almost all live performance has been shut down, we are all feeling the lack of connection and community that live theatre provides. What better time to celebrate and explore the power of drama studies in schools, and the belief that exposure to (and participation in) the arts can not only change individual lives, but empower those individuals to change society for the better?

Loose Tea Music Theatre, an indie opera and music theatre company based in Toronto, was already a vibrant, though small, presence on the Toronto scene before the pandemic hit, producing innovative socially conscious productions that pushed the boundaries of interdisciplinary performance while staying based in classical voice. With the advent of the lockdown in March, like every other theatre company, all their plans had to be put on hold. Excitingly, however, as everything stopped and the usual doors closed, new doors blew open, as if the pandemic had unleashed a new energy. 

Speaking with Alaina Viau, Loose Tea’s founder and executive artistic director, I was astounded by her hunger to create, and how she has embraced the enforced rest from live theatrical performance to concentrate on planning and building future initiatives for her company as well as initiating new partnerships to expand her own and her company’s artistic vision. 

The Canary Pages choral directory in this issue has been a fixture of the May WholeNote for the past 17 years. Until this year, that is, when the magazine decided to hold it back to September, given the climate of uncertainty that has gripped the choral community since March. 

Better late than never: the directory remains welcome a reminder that hundreds of choral organizations across Ontario sustain and uphold communities that celebrate art and beauty from the largest cities to the smallest communities throughout Ontario. 

March feels a long time ago now. Seasons shuttered, theatres closed, rehearsals stopped, and as the shutdown continued, choirs started thinking towards the fall and onwards. If you look at the language amongst the Canary profiles, there’s new terminology that has become standard – postponed, indefinite hiatus, online rehearsals, Zoom, suspended, TBD. The good thing is, the choirs and the people who make music are still around.

It’s almost impossible to believe that this most Twilight Zone of summers is rapidly drawing to a close. How did September come so fast despite many of us enduring so many long, empty and isolated days? Days upon days of not working, of not going out much save when necessary, of not seeing people, except on a computer screen or in brief “Dare we?” encounters. Indeed, with everything still pretty much upside down and our sense of normalcy and time in tatters, it’s hard to even say what the passing of summer means anymore. More on this later, but it reminds me of one of the many wonderfully droll lines from the great relief pitcher Dan Quisenberry: “I’ve seen the future; it’s a lot like the present, only longer.”

A Blizzard of Cancellations

In the old days, during inevitable patches when work was slow (we didn’t know what slow was), musicians would jokingly say “I looked in my gig book the other day and got snow blind” – as in too many blank, white squares, a blizzard of empty dates. It’s like that now, only the vast white spaces are interspersed with dates that have been scratched out, looking like little scruffs of dirt poking through the snow. And COVID-19 has brought a new gig convention: the courtesy cancellation, when a bandleader calls or emails the other musicians they’d booked on a job to tell them it’s been cancelled.

If the past seven months have taught us anything, it might be that the post-COVID world will move at a different pace than that which came before. Everyday decisions previously motivated by personal, social, and economic factors are now tempered by input from public health officials and other medical professionals attempting to contain and control the transmission of this new and deadly pathogen, resulting in exceedingly cautious and temporally conservative steps forward that have made dining at a restaurant feel like a momentous occasion. While social interactions and public spaces continue to reopen, at least for the time being, those things that were previously taken for granted and assumed to be perpetual have been reframed by the pandemic and forced to undergo a societal reevaluation through a new kind of cost-benefit analysis. 

For public performers and those who make their living within arts organizations, these public health interventions have appeared as doomsday prophecies, requiring unprecedented quick action and the changing of entire business models in mere weeks or months. Although soloists and smaller groups are able to pivot relatively quickly and efficiently, larger organizations – such as orchestras – face a more daunting challenge, having to implement novel guidelines and codes of conduct that ensure the safety of their performers and prospective audiences as the possibility of reopening draws closer. As September approaches and new seasons launch, how are arts organizations grappling with, and managing, these new and essential factors?

In these days of limited performances, for this month’s column I decided to take up a suggestion made by my ever-inventive editor at The WholeNote, and write a story related to some aspect of my own creative work during this time.  

On New Year’s Day of 2020, I had awoken with the inspiration to start a video-audio blog, something that is very new for me. Titled Earth Soundings, my original vision was that for each blog entry I would select a particular natural environment in which to take photos and videos, andf then create the soundtrack in response to the images and my experiences in each specific environment. My overall intention in creating these short nature-based videos was to invite people to take a brief pause in their day to remember and attune to their connection with the Earth, the elements and all beings. A short time of reflection or meditation. At the heart of the project: my desire to contribute in one way toward the restoration of our relationship with nature, for I believe that one of the root causes behind our climate crisis is due to our cultural disconnect from nature.

The guideline I set for myself for these blog posts was to take the photo and video footage on specific days of celebration, connected to either cultural holidays or days on the Earth calendar related to the passing of seasons or phases of the moon. For the music I would select various members of the wider community to collaborate with me.  Initially, I released these videos on my Facebook page Earth Soundings (facebook.com/wendalynvoice), again on days significant in the calendar. The videos are also available on my website soundingherwisdom.ca/earth-soundings. 

September 1, 2020 is fast approaching, and that date has quite some significance for The WholeNote. It was 25 years ago on September 1, 1995 that the very first edition of The WholeNote was introduced to Ontario’s music lovers. As for my association with this magazine, it was 14 years ago, on September 1, 2006 that my first Bandstand column appeared. I asked myself: “What has changed?” The answer: “What hasn’t?”

In that very first column I started by mentioning: “The Canadian National Exhibition has just opened for another season.” It won’t be open this year. I also stated: “For most of us that event is the harbinger of changes soon to come; shorter days, cooler weather, vacations over, back to school, and for many, back to band rehearsals after a summer recess.” No band rehearsals any time soon. Then I stated: “For others in the band community, it heralds the end of a busy round of park concerts.” No park concerts this year. 

So that leaves us with two questions. What were our community bands able to do this summer? Where does it leave our bands for the months to come?

While most club performances are still off the table for musicians, relaxed physical-distancing guidelines have meant that artists have been able to return to some form of live gigs. Near the end of August, I interviewed three different bandleaders – Joanna Majoko, Jenna Marie Pinard and Allison Au – about their recent performances, their quarantine experiences, and moving forward into “the new normal.” 

The Artist: Joanna Majoko
The Performance: Live-to-air concert for JazzFM, as part of the TD Toronto Jazz Festival Summer Concert Series, July 24 
The Band: Joanna Majoko, vocals and percussion; Jeremy Ledbetter, keyboards; Andrew Stewart, bass; Larnell Lewis, drums

Finding balance in quarantine:

“Thankfully, quarantine has not affected my ability to create or practise. It’s been a blessing to have had this time to create a harmonious work environment here at home, and to set up a small home studio and explore and diversify my musical interests, such as getting more comfortable and experienced with recording as well as trying my hand at vocal mixing. I don’t think I would have explored these avenues had it not been for quarantine. The only major aspect quarantine has affected is my ability to perform.”

This article appears in The WholeNote as part of our collaboration in the Emerging Arts Critics program.

On the evening of Friday June 26, 2020, the Kitchener-Waterloo Symphony (KWS) presented its final Friday night online video broadcast of archival concerts in response to the COVID-19 pandemic. For this performance the KWS showed a pre-recording of Tchaikovsky’s Symphony No.4, conducted by Edwin Outwater, followed by a pre-recording of We’re Not Done Drumming, composed by Laura Sgroi with poetry by Rebecca Thomas. Though originally performed in different concerts, the pairing of the two for this broadcast brought to light the multifaceted issues of colonization, the displacement of Indigenous people – and suggested one path forward for how these issues might be approached in the context of western classical music.

The first movement of Tchaikovsky’s Symphony No.4 opened up with the rich, deep sound of horns in a solemn proclamation of duty and a call to arms. In the aftermath of this opening, the violins entered with a breathless tune that caressed the listeners into a false sense of hope ­– for there was no rest in this first movement. Ever moving with anticipation and anxiety, the winds and strings climbed into a vibrant crescendo met by the grand crashing of percussion.

Tchaikovsky’s second movement ushered in an empty feeling induced by the high, lonely sounds of the oboe’s solitary notes. The violins echoed this call but soon seemed to resonate with a certain cold beauty of their own, lifting the audience up in an empty promise of safety and hope while the high-pitched cries of the winds maintained a desolate sorrow. The third movement offered a shift, emerging with an upbeat lively rhythm – though underscored by the low, deep murmur of the percussion instruments, evoking a sense of something brooding underneath the surface. The fourth movement dismissed this subtle warning and ascended to a climax of horns, cymbals, percussions and winds – a bright and brilliant finish that filtered out into a calm silence.

The feeling of unease that seeps into the shadows of Tchaikovsky’s work is the main discourse of Thomas and Sgroi’s We’re Not Done Drumming. In her opening remarks specifically garnered for this livestream event, Thomas, a Mi’kmaq poet and spoken-word artist, asked the audience to revisit the past and to try and understand the hardships Indigenous people have faced.

The first movement of the collaboration between Sgroi and Thomas was imbued with a majestic quality. The high notes of the clarinets and strong, deep voices of the bassoons created an atmosphere of something magical and far in the distance. When Thomas’s words first appeared in the score, the violins began to create a low dark sound, like the coming of a storm – a deep underbelly over which Thomas recounted an unromanticised history of Indigenous experience. The second movement became more intense as the destruction of Indigenous culture was depicted through the conversation of two distinct voices. Through her words Thomas illuminated the betrayal of Indigenous people: “You locked us in place, enough is enough, you lied, you were pleased with our despair.” Then the violins and cellos entered with a new intensity and Thomas assumed the voice of the settler in the conversation: “you should be pleased we taught you savages how to read.” In the wake of her powerful words the precise notes of the flutes and clarinets in agreement with the rich vibrations of the percussion invaded the space in a depiction of colonial violence.

The third movement brought a new quality to the piece. The violins dragged along a sad melancholy feeling, supported by elongated notes in the winds. But then Thomas proclaimed, “Like it or not, we are in this together,” and warm vibrant horns and guttural drums transported the audience to a place of majesty. We’re Not Done Drumming was a voice for Indigenous people and a call to action.

Tchaikovsky’s Symphony No.4 and We’re Not Done Drumming are two pieces in conflict with one another. Tchaikovsky’s work, created in the late 1800s, is a staple of European classical music – whereas the collaboration of Sigroi and Thomas, composed in 2019, deliberately communicated the oppression of Indigenous people under the guise of westernization. Yet there are glimmers of regret in Tchaikovsky’s music that are brought to light in Thomas’s words, demonstrating the benefits of hearing these pieces back-to-back. The Kitchener-Waterloo Symphony’s decision to configure an evening composed of these pieces was an important statement on remembering our past as we go into our future.

The Kitchener-Waterloo Symphony presented Tchaikovsky’s Symphony No.4 and Sgroi and Thomas’s We’re Not Done Drumming as an online video broadcast, on Friday, June 26, 2020.

Nicole Decsey is a writer and performance artist based in Toronto and Mississauga. She graduated from Ryerson University with a BFA in performance dance in June of 2019 and has been a freelance writer and editorial intern with the Dance Current since December of 2018.