Beat Columns (Live Music)

Jazz musicians earn part of what is laughingly referred to as their “living” by doing what they call “jobbing gigs,” on which they provide all-purpose music for various functions. Guido Basso calls what is generally required on these gigs “jolly jazz”: a variety of familiar songs – standards, bossa novas, maybe even the odd jazz tune – well-played at tempos which are danceable, or at least listenable. Not that anyone at these dos actually listens – the music is generally intended as background to deafening chatter – but just in case. The time-honoured m.o. of these gigs is “faking” – that is, playing umpteen songs without using any written music. Even when all of the musicians involved know a lot of tunes, there is a certain amount of repertorial Russian roulette involved. Nobody knows every song – well, Reg Schwager maybe – but even if you know the given song, it may not come to you until after it’s over and it’s too late. Generally though, faking works and it cuts down on schlepping music and music stands.

But a couple of bullets are added to the faking Russian roulette pistol every December, when seasonal music is thrown into the jobbing mix. Both the risks and stakes suddenly go up as musicians are naturally expected to play Christmas standards – familiar and dear to all – but which they haven’t played for a whole year. (By “Christmas standards” I mean more modern seasonal songs with some kind of jazz element such as Walking in a Winter Wonderland or White Christmas, as opposed to traditional carols which are generally performed by roving choirs or brass ensembles.)

On the face of it, faking seasonal standards doesn’t seem like such a challenge, because we all know how these chestnuts (no pun intended) go, right? But you’d be surprised. Not all Christmas standards are as simple as they seem, some are quite complicated and after a year in mothballs they can prove a little elusive. Even the easier ones – such as Santa Claus Is Coming to Town or Let It Snow – present challenges because they don’t behave like other songs. Often their middle sections – or bridges – go into the key of the dominant, which very few other songs do. And because the bridges often occur only a quarter of the time, they’re harder to remember. I’ve been on many a seasonal gig where a faked Christmas tune is going along swimmingly until the middle is approaching and everyone gets a panicky look on their face which says, “Where the hell does the bridge go?” It’s ironic, but the seeming simplicity of the easier seasonal songs confound jazz musicians who spend the rest of the year negotiating the fiendish complexities of songs such as Lush Life or Round Midnight without a hitch, and maybe that’s part of the problem. Being accustomed to complex harmony, jazz musicians playing simple Christmas tunes are a bit like cryptic crossword experts who have difficulty solving regular crosswords.

There are two harmonically complex seasonal standards though: The Christmas Song, and Have Yourself a Merry Little Christmas, each of them a must-play. Both are ballads and their slow tempos exacerbate the chord change clashes which lurk around every corner. Taken in the key of E-flat, The Christmas Song has two quick and tricky modulations in its first eight bars alone: to the key of G-Major then immediately to G-flat Major. These key changes come as something of a surprise if you haven’t played it in 12 months, but even if you do remember them there are all sorts of chord-change options to trip over before the modulations. Altogether this makes faking Mel Torme’s classic for the first time in a year a sweaty experience.

Have Yourself a Merry Little Christmas may be the best of the lot and is somewhat easier, but still has its scary moments. It’s smooth sailing up until the beginning of the bridge, which can start on one of two chords fraught with conflict for a bassist and a pianist. Again in E-flat, the first chord of the bridge could be A-flat Major 7, or the “hipper” option – an A Minor 7 flat-five chord which has all the same notes save for the all-important root. Notice the roots are a semitone apart, and there’s the rub. As the bridge arrives, a bassist has to make a split-second decision about which root to play, with a 50/50 chance of being dead wrong and sounding like an idiot. If he or she chooses the A and the pianist plays the A-flat chord it sounds awful and vice versa; it’s a game of chord-change chicken. If I had a dollar for every time I zigged when I should have zagged in this situation, I’d be a rich man. The smart solution would be for the pianist to omit the root altogether and leave the choice up to the bassist. But no, that would be too easy, and not many pianists think this way. This may seem like a small detail and it is, but the trouble with these clashes is that they leave you frazzled and jar your concentration, which can lead to further clunkers along the way.

The big problem is that these seasonal faking mishaps occur in a context riddled with expectation, memory and the potential to spoil the seasonal mood. It’s an important time of year and the people at a seasonal gig know all these tunes intimately from years of hearing them on records and in movies, usually in more deluxe versions with strings, choirs, Bing Crosby, etc. Messing up a Christmas tune leaves the band with eggnog on its face and is like messing up a national anthem – everybody hears it right away and sometimes offence is taken. As in, “Who hired these bums and how much are they being paid? They can’t even play White Christmas, for crying out loud!”

But not all the disasters of seasonal gigs come from faking tunes; some of them have to do with the merrymaking of the audience. Here are a couple of Christmas party stories to illustrate this. About 15 years ago guitarist Ted Quinlan hired saxophonist Mike Murley, drummer Ted Warren and me to play a Christmas party, held on the third floor of The Senator, for a small company. Ted is prized for his musical versatility and his whacky sense of humour, both of which came in handy on this gig. After no time at all it became clear that the people weren’t going to pay any attention to the music, all was din. We were playing God Rest Ye, Merry Gentleman when, thinking of the lyrics, I glanced over at Ted, who had a typically maniacal grin on his face. Somehow I knew this meant that he was going to yell out “Satan!” from the carol’s fifth line and when the time came we both bellowed “Satan!” at the top of our lungs. Nobody noticed except the other two guys in the band, who proceeded to join us with “Satan!” in the next choruses. I still don’t know how we managed to get through the tune with all the laughing, but we had to take a break afterwards from sheer exhaustion.

A few years later, singer John Alcorn hired guitarist Reg Schwager and me – his regular band – to play a Christmas party for a small law firm, held in a private banquet facility in a downtown restaurant. It was a fairly intimate party with the people close at hand, some of them even listening to the music. All was going well until we came back from our second break and noticed that suddenly everybody was drunk. Particularly a large East Indian gentleman who really had the lamp shade on, like Peter Sellers in The Party, only louder. Alcorn called Route 66 – not a seasonal song, but a good party tune. As he began singing it, the Indian guy bellowed out “Oh goody, it’s Route 67!” and began dancing a ridiculous teetering boogie only he understood. Reg and I both doubled over laughing, but still somehow managed to keep playing. Alcorn didn’t bat an eye though; his face was a mask of composure and he kept singing as if nothing had happened. That, ladies and gentleman, is professionalism.

So these are a couple of examples of musicians getting their own back amid the minefield of Christmas gigs. A few years ago some of us found a new way of having fun with seasonal music: a mashup game in which we combined the names of Christmas carols/songs with jazz tunes and standards to form wacky new titles. “Hark the Herald Angels Sing Sing Sing,” “Joy Spring to the World,” “Sippin’ at Jingle Bells,” “Silent Night in Tunisia,” “What Child Is This Thing Called Love?” and “O Little Rootie Tootie Town of Bethlehem” were among the first of these; later I expanded the game to include readers and wrote a piece about it. If you’re interested, google wallacebass.com and look for the title “Birth of the Yule” (or use the direct link:
wallacebass.com/?p–4462).

I’d like to take this opportunity to wish everyone a joyous and safe holiday season and a Happy New Year. The latter usually comes with resolutions, some of which are easier to stick to than others. A few years back I resolved to stop taking New Year’s Eve gigs, only to discover they’d disappeared. All New Year’s resolutions should be so easy to keep.

Toronto bassist Steve Wallace writes a blog called “Steve Wallace jazz, baseball, life and other ephemera” which can be accessed at wallacebass.com. Aside from the topics mentioned, he sometimes writes about movies and food.

Here we are, it’s December already, but with many community ensembles still more focused on sesquicentennial projects as the year draws to a close than on events that could be described as special for the Christmas season. Let’s start with two band projects we have recently learned of that warrant mention, both of which have significant historical aspects.

Cobourg: The first of these is the announcement of a CD by the Cobourg Concert Band. Although this CD, Pride of Performance, was officially released on Canada Day at the band’s concert in the Cobourg Victoria Park Bandshell, it did not come to our attention until a few days ago. There are a number of ways in which this CD is special. Not only is it a sesquicentennial project, but it marks the 175th year that there has been a town band in Cobourg. That’s 25 years longer than Canada has been a country. Whether that sets a record for the establishment of a town band in Canada will be left for this Cobourg band to dispute with the Newmarket Citizens’ Band and any others that might claim such a title. Every track on this recording is either a new arrangement of an established work or a completely new composition. All are by local musicians, including some band members. Even the cover artwork was created by contest winners from the local St. Mary’s High School. I hope to see a review of this CD in a future issue of The WholeNote.

(A side note: this band also bears the title The Band of Her Majesty’s Royal Marines Association – Ontario, and is allowed, by royal assent, to wear the uniform of the Royal Marines. How could this be, you might ask. Some years ago a man named Roland White moved from England and took up residence in Cobourg. He just happened to have been an assistant bandmaster in the Royal Marines working under the renowned conductor Sir Vivian Dunn, and had studied conducting under Sir John Barbirolli. When the town band needed a new conductor, there was White to take over, get that royal assent and change the image of the town band to its present pride of Cobourg.)

London: Where else might we look for a sesquicentennial band project? The first place that comes to mind, of course, is Henry Meredith’s Plumbing Factory Brass Band in London. On Wednesday, December 13, 7:30pm at Byron United Church – 420 Boler Rd., London, Ontario – the PFBB will celebrate Canada’s 150th birthday with “The Golden Age of Brass,” featuring music from the 1800s on period instruments. Since Confederation-era music will be highlighted, von Suppé’s exuberant Jolly Robbers Overture, written exactly 150 years ago in 1867, will open the program. Then, band music by big name composers will include Beethoven’s Marsch des Yorck’schen Korps and Mendelssohn’s War March of the Priests. The centrepiece of the program will be the challenging Raymond Overture by Ambroise Thomas.

Last month I mentioned the importance of musicianship for ensembles to really tell their story. Well, in this program, Dr. Hank has selected a set of four up-tempo compositions to test the skill of his band’s musicians. One highly regarded composer of the 1800s, famed for his toe-tapping pieces based on popular dance forms of the mid-19th century, was Claudio Grafulla. To demonstrate their skills, the band will play a set of four of his works: Cape May Polka, Freischutz Quick Step, Skyrocket March, and Hurrah Storm Galop. Another seasonal favourite, Johann Strauss Sr.’s famous Radetzky March from 1848, will bring the concert to a rousing close. I’m sure that many instruments from Dr. Hank’s vast collection will be front and centre at this concert.

(Another sidenote: While brass bands have many loyal followers, particularly in England and much of North America, that has not always been the case. With the origin of the brass band movement coming largely from company “works bands” in England, there were often considerable derisive comments about them. Sir Thomas Beecham was famous (or infamous) for two of these comments. “The British Brass Band has its place – outdoors, and several miles away” is perhaps his most often quoted. But the one that drew the most ire was  when he referred to the brass band as “that superannuated, obsolete, beastly, disgusting, horrid method of making music.” However, attitudes gradually changed, and in 1947 Beecham even guest-conducted a mass band concert at Belle Vue.)

Ukraine: Speaking of brass bands, recent Salvation Army news caught my attention. The Salvation Army is represented and active in 127 countries around the world. In many of these countries, Salvation Army groups have brass bands. Ukraine, in particular, is a country where there is a will but not the required leadership to develop the brass band movement. Several attempts have been made over the last 25 years to stimulate interest. While some attempts have been successful, with the political unrest of recent years, these have been difficult to sustain.

Enter Bob Gray, a Toronto high school music teacher, trumpet player and conductor with whom I play regularly, who has been active in the Salvation Army for many years. About six years ago, at the Salvation Army’s music camp at Jackson’s Point, he met two young men from Kiev, a cornet player and a euphonium player. After they had returned to Kiev, Bob decided to look into the SA band situation in Ukraine. After the revolution of 2014, Salvation Army churches throughout Ukraine closed, and now there are only two remaining in Kiev. Having learned of the demise of that Salvation Army movement, Gray decided to try to do something to rectify the situation. Item one on his agenda was language study. For over a year he actively studied in preparation for visits to Ukraine for Salvation Army activities. He went to Kiev for the first time in June 2016, then in May 2017, and again in October 2017. Gray, along with the people he met at Jackson’s Point years ago, are trying to resurrect the brass band movement in the Ukraine and, in particular, Kiev. A survey showed that there were 25 instruments in working order and a few players who were willing to commit time and effort to form what would be a divisional band base in Kiev.

The Salvation Army will be celebrating their 25th anniversary of operations in Ukraine this coming June. It is hoped that the divisional band in Kiev will have its debut during that weekend of activities. The Winton Citadel Band from Bournemouth in the United Kingdom will be the featured band for the festivities. The city of Kiev hosted the Eastern block countries Eurovision Song Festival this past June. During the event many groups entertained in local parks and squares. The Salvation Army provided a musical presentation in Victory Park. Bob Gray was a featured cornet soloist as part of these outreach concerts.

A trip to Belgium: A couple of months ago I heard from longtime friend Colin Rowe that he would be travelling to Belgium. I first met Colin some time around 1984 when we were both playing in a swing band at the Newmarket Jazz Appreciation Society. After that, he played trombone in the Governor General’s Horse Guards Band and subsequently became their drum major. Having moved East some years ago, Colin now has the same duties with the Cobourg Concert Band.

To commemorate the 100th anniversary of the battle of Passchendaele, Veterans Affairs Canada decided to mount a very different form of memorial. Specifically they identified nine recipients of the Victoria Cross from that era and the nine regiments in which they served. Then they selected a living representative of each regiment to go to Belgium, but that person could not be a currently serving member of the regiment. One of those VC recipients was Private Tommy Holmes VC from the 48th Canadian Mounted Rifles. At some time after WWI that unit’s name was changed to the Governor General’s Horse Guards. As the representative from the GGHG, Veterans Affairs selected Colin Rowe. All of regimental representatives, along with the band of the Royal 22nd Regiment, embarked on an RCAF transport for their trip to Belgium on November 5.

Another formerly local musician was Kevin Fleming, who was originally introduced to the GGHG by Colin as a trombone player. Later, like Colin, he continued to play trombone, but became Drum Major of the GGHG. Some time later Fleming transferred to the Regular Force, and a while ago to the Royal 22nd Regiment, nicknamed the Van Doos. Their band was selected as the lead band because Passchendaele was one of that regiment’s battle honours. While there were many ceremonies, the highlight for Fleming was at Passchendaele, with a torchlight parade from the WW1 monument to the town square followed by a concert.

Those who went on that trip commented that it had been meticulously organized by Veterans Affairs, and that on the flight over, they were presented with a six-page detailed itinerary for their ten-day visit to memorials and cemeteries, informing them of the time and place of their every move.

(Aside, again: speaking of Belgium, one significant recent event I attended was a concert by Toronto’s Wychwood Clarinet Choir on November 19. While most of the works performed at their concerts are special arrangements, the opening work, Claribel, was written by Belgian composer Guido Six specifically for his Claribel Clarinet Choir in Ostend. This was a wonderful rousing opening. The arranging talent of choir member Roy Greaves was certainly on display as the choir’s moods traversed from the Irish folk song The Lark in the Clear Air and a Mozart Serenade to three tangos by Astor Piazzolla. Harmonically the choir sounded better than I had ever heard it. Their harmonies were so well blended that one might think that their sounds were coming from a single source.)

Greenbank, Ontario: From the tiny Ontario hamlet of Greenbank, conductor and composer Stuart Beaudoin brought his Orpheus Symphonietta to the small town of Uxbridge for another memorable recent event – a concert featuring his new composition Elegy II: Lament and Tchaikovsky’s Symphony No.5. This was the first performance of his composition which conveys, in musical terms, some of the spectrum of the composer’s emotions arising from world events during his lifetime. It’s an interesting work which bears more listening. This same man will be back two weeks later with his Greenbank Cantorei sine Nomine choir and the same orchestra for a three-hour performance of Bach’s Christmas Oratorio in English.

Flute Street: That other local same-instrument-family group, Flute Street, unfortunately had their most recent concert on the same date as the aforementioned Wychwood Clarinet Choir. Their featured soloist was Christine Beard playing alto flute and piccolo. Those types of same-instrument ensembles would seem to be competing for the same audiences, and it is unfortunate that there is not a central registry to avoid such overlaps. Flute Street’s Nancy Nourse had hoped to have her new contra alto flute, but it wasn’t available on time. She says that it will be the first of its kind in Canada. She intends to unveil it in time for their next concert, possibly in March. It’s an unusual instrument made in Holland. She may even travel there to get it and bring it home.

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

Agnès in George Benjamin’s Written on Skin, and soon to be Isabel in another world premiere by the same composer, Lessons in Love and Violence. Title character in Toshio Hosokawa’s Matsukaze. Ophelia in both Brett Dean’s Hamlet and in Hans Abrahamsen’s song cycle let me tell you. Vermeer’s model in Louis Andriessen’s Writing to Vermeer. The She character in Pascal Dusapin’s Passion. Title character in Gerald Barry’s Alice’s Adventures under Ground. Mélisande in the Katie Mitchell-directed paradigm-shifting production of Pelléas et Mélisande. Berg’s Lulu in productions by Christoph Marthaler and Krzysztof Warlikowski. Voice of Salvatore Sciarrino’s cycle La nuova Euridice secondo Rilke per soprano e orchestra.

This is just a tiny selection of the world premieres and roles brought to life by Canadian soprano of global renown, contemporary music advocate and now also conductor, Barbara Hannigan. She returns to Toronto on November 10 for a Koerner Hall recital programmed around the Second Viennese School and the preceding generation of composers. Dutch pianist, composer and conductor Reinbert de Leeuw will be at the piano. De Leeuw has been music director and conductor of the Schönberg Ensemble since its founding in the mid-1970s. The ensemble, now known as Asko|Schönberg, continues to prioritize new music and perform the works of the 20th and 21st centuries exclusively.

Hannigan is based in Paris, where she lives with her partner, actor and filmmaker Mathieu Amalric. I asked her a few questions via email about the forthcoming Toronto recital and its program consisting of songs by Schoenberg, Webern, Berg, Zemlinsky, Alma Mahler and Hugo Wolf.

WN: Schoenberg’s Four Lieder, Op.2 and Webern’s Five Lieder have poet Richard Dehmel in common. Does this also make Schoenberg and Webern musical siblings? (They sound like it to me, I could be wrong.) Both atonal and Sprechgesang, poetry-driven, rather than songs as we know them from the Romantic and post-Romantic eras?

BH: Dehmel… well, he wrote a very important book in the 1890s called Weib und Welt, for which he was put on trial for obscenity. I mean, we read those poems now and we don’t feel that at all, but in the time, just to try and express sensual feelings, and from the imagined woman’s perspective… WOW! He was using imagery like… reflections in water, a beckoning hand from a window, a kiss outside marriage, a woman pregnant from a man she did not know or love… it was shocking. Dehmel was a huge influence for Schoenberg’s early vocal works (his writing was the reason we have Schoenberg’s Verklärte Nacht) and Berg, Webern and many others. So…is the music related because of Dehmel? Not necessarily. There are images, reflections, a fluidity of the music which was a musical development and style at the time. If it hadn’t been Dehmel it would have been Stefan Georg, who was a later influence for Schoenberg. The tonalities are not yet what I think of as atonal…that came a little bit later. Certainly the Schoenberg Op.2 are closer to Strauss than anything (but better than Strauss!). Webern’s five Dehmel songs are absolutely atonal. They avoid harmonic centre, though their endings always seem to confirm some kind of tonal centre which was elusive for the entire song.

How does the singer make them dramatic, as something unfolding before the audience? We rarely get to hear songs like this in recital, and the Romantic and post-Romantic songs have spoiled us in terms of drama, contrasts, things happening, and big, legible emotions.

I don’t need to make them dramatic. They already are dramatic. I just have to sing them, rather than interpret. I find the idea of “interpretation” very foreign. The emotions are deep, pure, full of instinct and that very Viennese idea of Sehnsucht… longing. It’s all there. I just need to get inside it. And with a pianist such as Reinbert de Leeuw…a huge mentor to me for over 20 years…this is a kind of musical heaven for me. An earthly heaven.

Berg’s Seven Early Songs come across as more varied. The texts are from different poets – but the songs differ musically too, for example the intense, soaring Die Nachtigall vs. the playful Im Zimmer. How do you approach this cycle? Berg is very much “your” composer, if I can put it that way – you’ve sung Lulu of course and your new CD is planned around the character of Lulu.

The Berg are more accessible I suppose. We have to remember that in this late-Romantic period, the song was still the centre of a composer’s expression. Every composer began with writing songs. They developed their harmonic style through the very intimate union of piano, voice and text. And from that, they expanded to larger works. Nowadays things are very different...

Intriguing that there’s Alma, but not Gustav Mahler on the program. We rarely get to hear her in recital. How would you describe her songs? (I thought Laue Sommernacht probably the most melodic song on the entire program?)

The Alma Mahler songs we chose were in part written when she was a student (and love interest) of Zemlinsky. And the songs we present of Zemlinsky were, by the way, written when he was teaching her. They seemed to be in love, before she met Mahler. Honestly, her songs are good but they are not great. They are the weakest on the recital program but we included them because she was such an important figure at that time. A muse, later a patron. She was the lover of Kokoschka and inspired his work, also Klimt, also the writing of Werfel; and the early death of her daughter Manon (with Gropius) inspired Berg’s violin concerto. She was a very, very important figure in the musical world of the early 20th century. These four songs show her potential but she did not develop it. Mahler told her before they married that she had to stop composing. So she only achieved a certain niveau in her work and then she stopped, and became Mahler’s wife. Laue Sommernacht … is it the most melodic? I don’t think so. Die Nachtigall of Berg is more soaring, I’d say. Or Irmelin Rose, the strophic fairytale song of Zemlinsky. And really, what does melodic mean? Something with a tune? I don’t know. I think melodic means something different to everyone.

The concert ends with Wolf’s extraordinary, almost operatic Kennst du das Land. How does a singer conserve the energy, physical and dramatic, up to that point and then deliver that Mignon mini-opera at the end?
I don’t know how other people do it but for me, there is a degree of strategy in the pacing of the recital and then… I count on adrenaline to get me through the final four songs of Hugo Wolf. I love them so much, I love Mignon and her need for secrecy. I just slip into her skin and she carries me through the music; her need to try to reveal herself, without explaining herself, is so powerful that the songs just… pour out. This recital program was devised by Reinbert de Leeuw. As I wrote earlier, my mentor. He is the guide and inspiration for me through this musical journey. And he carries me through it… every rehearsal reminding and insisting that I attempt the most delicate adherence to the composer’s wishes. Always searching for the real pianissimi that the composers demand, rather than the verismo of the earlier part of the 19th century. This world is one of reflection, of suggestion, of intimacy without explanation. And I am so thrilled to bring this program, with Reinbert, to Toronto.

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

Dedicated Toronto operagoers know that operatic activity in Toronto is not confined to the city’s two largest companies, the Canadian Opera Company and Opera Atelier. Numerous smaller companies have helped make the opera scene in Toronto one of the most diverse in North America. There is therefore a pang of sadness whenever one of these companies ceases operations, as did Queen of Puddings Music Theatre in 2013 and as will Toronto Masque Theatre in 2018. Some may have seen on the website for TrypTych Concert & Opera that co-artistic directors Edward Franko and Lenard Whiting will be leaving Toronto and moving to Kenora. To find out more about the history of TrypTych and how the move will affect the company, I interviewed Franko and Whiting last month.

TrypTych was founded in the early fall of 1999 by Franko, Whiting and William Shookhoff. Franko had been working with Nina Scott-Stoddart’s company Opera Anonymous. As Franko says, “The three of us all got together and thought that we should do something together and utilize all our different skills and decided that with the three heads of the beast and the famous Il Trittico [by Puccini] we could convert that to TrypTych and just change the spelling.”

Then, about ten years ago Shookhoff had to pull out of TrypTych due to health reasons, leaving Franko to do the opera side of the productions and Whiting the choral side. But the TrypTych name stuck. (As it happened, Shookhoff recovered and founded his own company, Opera By Request.)

Franko emphasizes: “We were very strong at the beginning about not just being an opera company. We felt that we didn’t want to be beholden to opera even though all three of us had a very strong connection to opera. We were also working with singers from a lot of different musical backgrounds. We thought that singing as a whole isn’t just opera – you have to be able to fit into a lot of categories. That’s why we did cabarets that featured music like jazz, pop and rock and quite a wide range of things. Then we had the classical oratorio side and tried to do some things that aren’t done a lot like Dubois’ Seven Last Words, Gounod’s Messe solennelle, Saint-Saëns’ Mass for Four Voices and even the Widor Mass.”

Whiting explained the reason for this dual focus: “This is part of the reality of what Canadian singers really have to be exposed to. There’s a handful that find a really wonderful opportunity in opera, but if you don’t happen to break into that market you’ve got to find other ways to present yourself and to be diverse.”

TrypTych has presented quite a number of seldom-heard operas over the past 18 seasons, such as Marcel Mihalovici’s Krapp, ou la dernière bande (1961), Hugo Weisgall’s The Stronger (1952), Jack Beeson’s Sorry, Wrong Number (1996), Menotti’s The Saint of Bleecker Street (1954), Quenten Doolittle’s Boiler Room Suite (1989) and the Canadian stage premiere of Verdi’s Oberto (1839).

Franko adds: “One of the big things we’ve been really happy with over the last five years has been our relationship with conductor Norman Reintamm and the Cathedral Bluffs Symphony Orchestra, doing fully staged opera with a 60-piece orchestra at the 600-seat P.C. Ho Theatre in Scarborough. In fact, our shows get the best houses of all their concerts. We’ve done all three parts of Il Trittico now and two one-act operas last year. This December for the first time we’re doing a full-length opera, Hansel and Gretel, with the big orchestra, a children’s chorus and Lenard as the Witch with an LED screen for backdrops.

“A lot of the opportunities that opera school graduates get is singing opera in concert, which is great, but we and the CBSO give them a chance to incorporate all aspects of the art – singing, acting and movement on stage – with a full orchestra. Young people don’t get that chance very often.”

Toronto operagoers will be relieved to hear Franko affirm that “Even after we move north we’re keeping a connection with the CBSO and TrypTych so we’ll be able to do at least one production a year even though we’re far away.” Whiting has renovated the basement of their Toronto base at Trinity Presbyterian Church into a combined rehearsal space and concert/performance space for 125 people, “so there will be no need to rent since we already have space and a good working relationship all round.”

The main reason for choosing Kenora for their move is that is where Whiting is from. As Franko says, “We have a home up there on an island in Lake of the Woods and Lenard has been going back every year so that we now know lots of people in the community.”

Franko makes their goal clear: “TrypTych for us has always been a labour of love. We’ve never made money off it. Our goal now is to develop a real thriving arts company in Kenora that can operate all year round but with a summer focus. We want to work with the community and with young people to really develop a community organization. We want to make a great impact in a small place and give them a boost. We’re thinking of it as TrypTych North.”

On October 28 and 29, TrypTych staged the rarity H.M.S. Parliament (1880), in which the Canadian William Henry Fuller wrote a new libretto for Sullivan’s H.M.S. Pinafore (1878) in order to satirize Canadian politics. “This will also be the first staged production we will do in Kenora,” Franko says. That being said, Franko and Whiting have already made plans for their next production in Toronto. “In February 2019 the CBSO and TrypTych will do Donizetti’sThe Elixir of Love. It will be performed in English because we’ve always been ones to make opera more accessible. We love the form and we want to make people more connected with it.”

Asked what some of the highlights were for them in Toronto, they agree that it was the workshops and the world premiere of Canadian composer Andrew Ager’s opera Frankenstein (2010). “It was a wonderful journey for us to work with him and make that piece come alive.”

Franko also lists the Canadian stage premiere of Grigori Frid’s The Diary of Anne Frank (1972), starring Shoshana Friedman. The production was invited to the Three Rings Festival in Prague and was staged in the gorgeous Spanish Synagogue. “It was overwhelming for me as a producer-director to have my work performed there,” Franko says.

For Whiting, highlights include Stanford’s Stabat Mater (1906), with piano and organ reduction, which Whiting calls “just to die for” and the company’s performance of Bach’s St. John Passion where he both conducted and sang the role of the Evangelist.

A huge challenge for Franko personally was both performing and directing himself in The Tell-Tale Heart (2006) for tenor and three cellos by German-born American composer Danny Ashkenasi, based on the tale by Edgar Allen Poe.

But they are not ready to talk about highlights only in the past tense. “We have at least 15 more years of being able to contribute to the arts scene up north in a really vital way,” Whiting says. “We have the energy and the imagination and the experience from working in Toronto, and we think that it’s time to bring our abilities to the people up north.” And when asked when they plan to retire, Franko states, “The artistic soul never retires.”

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

Mai Tategami began studying the violin at the age of six. As an orchestral player, she was concertmaster of the Seiji Ozawa Ongaku-juku Orchestra and became an academy student and temporary contract member of the Rundfunk Sinfonieorchester Berlin (2012-2015). During the 2015/16 season, she performed with the Beethoven Orchester Bonn as concertmaster. At 28, she won the first edition of the Orford Music Prize in 2016. She makes her Toronto debut with a free Music at St. Andrew’s noontime recital on November 24 and follows that up November 26, when she joins the Rebelheart Collective in Mooredale Concerts’ third program of the season to play the second violin part for a performance of Mendelssohn’s exuberant String Quintet in B-flat Major, Op.87.

She told me in a mid-October email conversation that she started her musical education at three with the piano. “My teacher gave me some Bach to practise,” she told me. “His music was like a magical world. I have always felt peaceful and relaxed when I play/listen to Bach. He is still one of my favourite composers.” So Bach was the first composer she fell in love with. What about musicians? “I don’t remember which one was the first violinist that I liked, but I loved Itzhak Perlman and Gil Shaham when I was small. They were my superstars, and I fell in love with their brilliant and sweet Romantic sound.”  A few years ago, she had the chance to play with Gil Shaham as a member of the orchestra. “It was one of my great memories as a musician in my life.”

I asked when she knew she would devote herself to music and she told me that there had been two turning points in her life. When she was 12 years old she had to choose which private junior high school to get into. One was the best junior high school in the Osaka/Kobe area, but to get in there she would have had to go to cram school and give up on playing the violin as a professional player. The other was the academy connected to her elementary school. To enter it no cram school was necessary so she could continue practising the violin as much as she wanted. Her other dream was to be a lawyer and to pursue that dream she would have had to go to the best school and forgo studying the violin altogether. After much self-examination, she realized she couldn’t imagine her life without playing music so she decided to go to the academy which would allow her to study and play violin. “I think it was the first decision I made to devote my life to music,” she said.

I asked how winning the Orford Music Prize had changed her life. She was playing in the Beethoven Orchester in Bonn, Germany at the time, she told me, but winning the prize gave her opportunities to play solo and chamber music concerts in Asia and Canada, so she quit playing in the orchestra and concentrated on her music, studying again to get ready for her next step. “I think it was one of the biggest decisions I have made in the past few years,” she said.

At her St. Andrew’s recital she will be playing Mozart’s Violin Sonata K526 and Poulenc’s Violin Sonata with Canadian pianist Jean-Luc Therrien, whom she met at the Orford Music Festival a few years ago. They played an all-Mozart recital together in Salzburg last summer that included K526. The second movement of the Poulenc sonata was the encore piece that evening, but they had so much fun playing it they included it on their Canadian tour. She thinks the audience will enjoy hearing such “totally different style composers.”

She didn’t know the Mendelssohn Quintet until she was asked to play it at Mooredale but she relates to “this wonderful piece” in her own unique way. She explains that Mendelssohn wrote the piece when he was 36, just two years before his death. “He was resting in Frankfurt after spending a very busy few years in Leipzig including his musical trip to England,” she said. “I think he very much enjoyed his stay in Frankfurt, because I could feel his excitement in the music. And the fact that I have been to Leipzig and Frankfurt helps me think of how he liked it there and how it influenced his music. I somehow can feel his happiness and normal everyday life.”

She added: “I’m very much looking forward to playing in Toronto. I’ve never been there but heard many good things about the city. And of course to be able to play with such wonderful musicians is a great honour for me.”

Quartet for the End of Time

“The most ethereally beautiful music of the twentieth century,” Alex Ross wrote in The New Yorker (March 22, 2004), “was first heard on a brutally cold January night in 1941, at the Stalag VIIIA prisoner-of-war camp, in Görlitz, Germany.” Messiaen wrote most of the Quartet for the End of Time, Ross goes on to explain, after being captured as a French soldier during the German invasion of 1940. The premiere took place in an unheated space in Barrack 27 where the German officers of the camp sat in the front row “and shivered along with the prisoners.” Ross concludes: “This is the music of one who expects paradise not only in a single awesome hereafter but also in the happenstance epiphanies of daily life. In the end, Messiaen’s apocalypse has little to do with history and catastrophe; instead, it records the rebirth of an ordinary soul in the grip of extraordinary emotion. Which is why the Quartet is as overpowering now as it was on that frigid night in 1941.”

Pianist Lucas Debargue discussed Messiaen’s Quartet for the End of Time for medici.tv in advance of his Verbier Festival performance of it earlier this year:

“It’s a very challenging piece… but most of the difficulties are musical because you can consider this is a work still impressionist in the writing -- there are some effects with pedalling tonal pedal and right pedal -- some writing of chords with some modal harmonies, but at the same time there is a very moderne aesthetic that Messiaen has already developed. It’s a mature work. He knows exactly what he is doing and he has found his style and how to organize it to create a peak piece. Messiaen himself was very inspired by spiritual matters. He considered himself a very, very strong Catholic and so the whole work is inspired by some mystical subjects. The piece is not the traditional four-movement chamber music piece; it’s in eight movements. And Messiaen says himself it’s like the seven symbolic figures plus another one -- eight -- which symbolizes eternity. And it ends very peacefully with the most melodic movement of all; just the solo violin with piano accompaniment. It’s like a scale to heaven, to the sky. It’s an incredible piece to just go out of this pragmatic, material world. Because it’s all out of here. We are somewhere else, from the first notes.”

Debargue and his cohorts, Dutch violinist Janine Jansen, Swedes Torlief Thedeen (cello) and Martin Fröst (clarinet), have been on a mini-trans-Atlantic tour since recording the Messiaen earlier this year for SONY (release date is November 3). Beginning at the end of May in Stockholm, they’ve performed the Quartet to great acclaim in Wigmore Hall, London and the Verbier Festival, Switzerland. A concert in Quebec City takes place on December 4, the day before their Koerner Hall performance December 5. An appearance in Zankel Hall, Carnegie Hall wraps it up December 7. Jansen, incidentally, is the Perspectives Artist at Carnegie Hall this season. The North American tour’s program begins with Bartók’s Contrasts for violin, clarinet and piano, commissioned in 1938 by Joseph Szigeti and Benny Goodman. Bartók downplayed the piano part as if in deference to the skills of his commissioners but played up the three instruments’ differences in timbre. There is a 1940 recording of the three of them available on YouTube. Szymanowski’s incandescent Mythes for violin and piano completes the first half of the recital.

WCMT Career Development Award

The Women’s Musical Club of Toronto’s Career Development Award (CDA) is presented every three years to an exceptional young Canadian musician (or small ensemble) embarking on a professional performing career. The winner gets $20,000 and the opportunity to give a recital in the Music in the Afternoon concert series. The process for choosing the 2018 CDA winner is now well under way with the recent announcement of the ten candidates under consideration.

Five of them are likely familiar to our readers: Toronto native, mezzo-soprano Emily D’Angelo, well-known to local audiences, took a giant international step forward in March 2016, when she was one of five winners of the 2016 Metropolitan Opera Auditions at 21. Violinists Boson Mo and Blake Pouliot and pianists Mehdi Ghazi and Tony Yike Yang are also familiar fixtures here. Now, on November 4 and 5, another of the CDA candidates gets an opportunity to make his mark in the GTA. Timothy Chooi is the soloist in Bruch’s hugely popular Violin Concerto No.1, a piece that unabashedly wears its heart on its sleeve; it promises to be a highlight of the Oakville Symphony Orchestra’s “50th Anniversary Fireworks” program.

Music Toronto gathers steam

The 46th season of Music Toronto is well under way with four concerts taking place under the umbrella of this issue of The WholeNote, beginning with pianist Benjamin Grosvenor’s highly anticipated return to the Jane Mallett stage on November 7. On November 16, Britain’s brilliant Anglo-Irish quartet, the Carducci, will fly in especially to perform a heavyweight program -- Beethoven’s Quartet No.11, Shostakovich’s Quartet No.4 and Debussy’s Quartet in G Minor -- following the unexpected cancellation (for medical reasons) by the Škampa Quartet. Described by The Strad as presenting “a masterclass in unanimity of musical purpose, in which severity could melt seamlessly into charm, and drama into geniality,″, the internationally-known Carducci Quartet studied with members of the Amadeus, Alban Berg, Chilingirian, Takács and Vanbrugh quartets. A Toronto solo piano recital debut by Timothy Chiu, who is profiled elsewhere in this issue, follows on November 28. And finally the Gryphon Trio, now in its 23rd year, makes its annual Music Toronto visit December 7 with a typically diverse program of Haydn, Mozetich and Brahms.

QUICK PICKS

Nov 5: Nocturnes in the City presents the eminent Czech violinist Ivan Zenaty (who continues the Czech violin tradition he learned from his mentor Josef Suk) in works by Franck, Tchaikovsky and Dvořák (with pianist Dmitri Vorobiev).

Nov 5: Trio Arkel (with guest, cellist Shauna Rolston) paints a musical picture of Russia in the years before the Revolution: Taneyev’s Trio for Strings (1907), Arensky’s Cello Quartet (1894) and Cello Duos (1909) by Glière.

Nov 9: Women’s Musical Club of Toronto presents the Zodiac Trio in a recital geared to their unusual makeup: piano, violin and clarinet. Formed in 2006 at the Manhattan School of Music under the guidance of famed clarinettist David Krakauer and Beaux Arts violinist Isidore Cohen, the trio has made a career out of their unique sound palette.

Nov 12: Pocket Concerts’ ebullient co-directors, pianist Emily Rho and violist Rory McLeod, in a rare duo recital, play music by Kenji Bunch, Brahms and Rachmaninoff.

Nov 15 and 16: Peter Oundjian leads the TSO in an all-Vaughan Williams program showcasing orchestra members Sarah Jeffrey (oboe) and Teng Li (viola) as well as Canadian superstar Louis Lortie (who also gives a solo recital Nov 19 at The Isabel in Kingston). On Nov 23 and 25, Deutsche Oper Berlin general music director Donald Runnicles leads the TSO in Mahler’s biographical Symphony No.6, a massive work the composer wrote as an answer to Strauss’ Ein Heldenleben.

Paul Ennis is the managing editor of The WholeNote.

Often in this column I write about what’s happening in the world of new contemporary music from the composer and presenter perspective – their ideas, visions and inspirations. However, this month I want to focus on those who undertake to bring these ideas to life – the performers. New Music Concerts’ event “Concertos” on December 3 provides the perfect context for this conversation as it will feature three works designed to highlight the role of the solo performer. The concert will present concertos written for soloist and chamber ensemble by composers Robin de Raaff (Netherlands), Linda C. Smith (USA/Canada) and Paul Frehner (Canada), featuring percussionist Ryan Scott, pianist Eve Egoyan and clarinettist Max Christie, respectively. Frehner’s piece, Cloak, is a newly-commissioned work for clarinet and chamber ensemble, so I contacted Christie to find out more about the work from his perspective and also about his extensive career performing contemporary music for a number of the new music presenters in the city.

Christie began by explaining how he sees his role as a performer. “My job is to observe the language of the composer and then utter it. Every voice is unique, whether a performer’s or a composer’s. I don’t try to make my voice suit the music, I just try to hear and understand the piece and bring it out from the potential into the actual. That is often fun for me. I love puzzles. A new piece is a puzzle to solve. I don’t think that’s the composer’s intention, it’s just part of learning music of any era.”

Christie says that the musical language in Frehner’s Cloak makes sense to him. “He’s done a good job of choosing the multiphonics for the opening section, which is extremely mysterious yet approachable from a performance standpoint. The title, Cloak, is a hint; it’s word play really. There’s a masked quality to the opening, whereas the thematic material from the later movements could almost be from a noir thriller soundtrack What’s mysterious for me right now is what’s going on with the ensemble while I’m playing these long, held notes. Sometimes you get something to work on and it’s really hard, and you’re working on the hope that you hit 60 to 70 percent -- and if I can’t get 90 to 100 percent of this piece, I’m just bad. It’s definitely the kind of writing that makes you realize how wonderful it is to encounter a composer who writes that well for your instrument. It makes you look good and therefore you have a better chance of making him look good.”

Christie has been an active performer within the contemporary music community over the years as an ensemble member of Continuum, Esprit Orchestra and New Music Concerts. I asked him what it was about new music that sparked his interest and had him pursue a career with such commitment. “A huge part of what used to be my profile in so many groups was just my willingness to try stuff, and my flat-out refusal to give up on the hardest pieces. As you keep working in a particular area you get pegged as a such-and-such type of player. I’m pretty much at home with any era of music where the clarinet is involved, but I’ve come to accept this designation because it’s at least partly true.”

There is often a lot of additional pressure performing new music due to the usual constraints of limited rehearsal time being compounded by the challenge of the music itself. Christie enjoys rising to the challenge. “If something is difficult, I work hard to get inside the piece. I’m not so good at faking it.” Asked what he meant by “faking,” he explained. “Faking is doing things not being asked for, and most players do it. Sometimes it’s a necessary evil or skill to be able to come up with something. I once played a piece with a passage that was so hard that by the concert I realized I was never going to play it exactly right. So I composed something myself that took on the character of what was written. Not that what was written was impossible or wrong. What matters is that the character of what you’re playing reflects what the composer was after. A few years ago NMC played a concert of music by Jörg Widmann, an excellent clarinetist, composer and conductor. He realized how difficult a certain section was that had a large number of notes per second. During rehearsal, he admitted it – there was a recognition from this great musician that [while] we were mimicking an effect he had written out in great detail .... in fact he was just asking for an effect that was similar to what was written. That’s a good composer – when they recognize that what they’ve written is beyond the possible. It stretches you towards the impossible and makes you creative enough to solve some of the issues. That kind of faking is totally legitimate.”

Currently, Christie is only performing contemporary music with New Music Concerts, an ensemble that over the years has given him many opportunities to work with some of the great composers of our era. I asked him what experiences have stood out, and even though there have been so many, he immediately mentioned Elliott Carter. He had performed Carter’s solo clarinet work, GRA, and due to this experience, he had the opportunity to record it for the Naxos label. “Carter signed my copy of the piece and thanked me for the performance. Being able to record it was me putting a stamp on a particular piece – here’s one of the standards of how the piece can go. I hope it has had some influence, because it’s a great piece.” He also mentioned working with Pierre Boulez, commenting on how clean and crisp he was as a conductor, as well as with Michel Gonneville. “Being part of NMC has meant working regularly with Bob Aitken. He has tremendous knowledge and experience and his patience with me is all part of what makes NMC great.”

The “Concertos” concert includes a performance by Eve Egoyan of Path of Uneven Stones by Linda C. Smith. Egoyan has had a busy summer schedule and has just returned from a European solo recital tour. A recent residency in Quebec City gave her the opportunity to be involved in the creation of an intuitive interface for the piano that “explores the frontiers between notes played, those heard and those transformed until they meet the imaginary.” Elliott Carter’s 2011 String Trio is also part of the program, along with Ryan Scott performing the Canadian premiere of Robin de Raaff’s Percussion Concerto.

Beyond his role as an outstanding percussionist, Scott is also the artistic director of Continuum Contemporary Music, which will be launching its new season with “Urgent Voices” on December 8 and 9. This event is Continuum’s contribution to the commemoration of Canada 150, and they are doing so with a series of compositions by Anna Höstman, James Rolfe, Ann Southam and Scott Wilson that combine stories, reflections and dreams using song, spoken word and multimedia. They are also weaving in the honouring of Glenn Gould’s 85th birthday. While film is shown of Gould performing music from Bach’s Well-Tempered Clavier, Book 2, Steinway’s latest player piano innovation called the Spirio will interpret Gould’s finger depressions and releases to recreate a live rendition of the original performance.

Additional Highlights

Esprit Orchestra’s November 19 concert offers an opportunity to hear Concerto for Violin and Orchestra by French composer Marc-André Dalbavie, with a performance by Véronique Mathieu. Mathieu is another performer who has made the performance of contemporary music a priority, particularly music by Canadian and American composers. The program also features works by Icelandic composer Daníel Bjarnason, as well as by Canadians Douglas Schmidt and Ana Sokolović.

The Thin Edge New Music Collective presents “Sensing” with three shows at the Canadian Music Centre on November 11, featuring music by composers Höstman, Scime and Morton Feldman. Arraymusic has two events coming up – the first on November 22 is a celebration of the music of Wilhelm Killmayer, an underappreciated German composer whose surreal music is ardently supported by Array’s artistic director Martin Arnold. Then on December 2, American Sarah Hennies will perform her piece Gather & Release for vibraphone, sine waves, field recordings and bilateral stimulation. Her music is an immersive psycho-acoustic experience often realized by an endurance-based performance practice.

And finally, as we prepare to enter that ambiguous state of “holiday time,” Soundstreams presents a more edgy twist to the usual stream of music one hears. Their Electric Messiah returns for the third year December 4 to 6, with a special performance on November 24 by their resident artist, sci-fi turntablist SlowPitchSound. This will be part of a behind-the-scenes look by SlowPitchSound and other Messiah performers at what goes into the making of this fast-growing holiday favourite.

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

Clubs have traditionally been the lifeblood of a city’s jazz scene. It was certainly that way for this “old dog” in the early part of my career, during the heyday when Toronto boasted numerous longstanding clubs such as George’s Spaghetti House, Bourbon Street and Basin Street, the Montreal Bistro and Top O’ the Senator, which presented both international and local jazz six nights a week.

If measured by this yardstick alone the health of jazz in Toronto now, with just three major clubs presenting the music on a multi-night-per-week basis – The Rex, Jazz Bistro, and the Home Smith Bar – can be called into question. However, it’s not as bad as all that, because in recent years new ways of hearing live jazz have arrived, thanks to the persistence and ingenuity of the jazz community at large – those who play the music, those who are trying to learn to play it, those who enjoy listening to it, and those who present it. These new models include:

Student Jazz Concerts at The Rex

For the past several years, Monday nights at The Rex have been given over to sets by student ensembles from the jazz programs at U of T and Humber College. These generally begin with three different U of T ensembles starting at 6:30pm and playing for 40 minutes each, followed by the Humber groups at about 9:30pm. I began teaching (and, unusually, also playing in) a jazz ensemble at U of T last year, which brought me into direct contact with this scene, and I liked what I saw and heard right away. Playing in a real club setting, one where their teachers often perform, brings out the best in the students, and I wish this opportunity had been on offer when I was a jazz student. Mondays are not a prime night out but I urge local jazz fans to attend, not just to support the students – which is worthy in itself – but because you will hear some interesting and sincere music. Both schools are brimming with young talent; in essence you will hear the future of the music in Toronto, a future I feel confident is in good hands after hearing some of these young people play.

Big Bands Are Back

Well, sort of. Phil Nimmons retired his big band years ago and following the deaths of Rob McConnell and Dave McMurdo, it seemed the future of big-band jazz in Toronto was in peril. Starting and running a big band in these times is perhaps the ultimate jazz labour of love, but John MacLeod has persisted in doing so with his Rex Hotel Orchestra, which has performed at its namesake club on the last Monday of every month for years now. The lion’s share of the arrangements are written by MacLeod in an eclectic style reflecting both modern and traditional elements, featuring stellar ensemble work and plenty of solo room for some of Toronto’s best players carrying on in the tradition established by those mentioned above. The band has produced several recordings and its latest, The Toronto Sound, will be released at a gala concert at the Old Mill on November 6, which I will be attending. Kudos to John MacLeod for his perseverance and talent in guaranteeing that high-quality big-band jazz can still be heard around these parts.

But there’s more. Three days after the Old Mill event, November 9, the Wee Big Band will be heard in concert in the Garage at the Centre for Social Innovation, 720 Bathurst Street, starting at 7:30pm. The band has been a Toronto fixture for years and has survived the death of its founder-leader Jim Galloway and several of its key players, such as lead-alto stalwart Gordie Evans. But it continues in the capable hands of Martin Loomer, its longtime rhythm guitarist and principle arranger, or perhaps I should say transcriptionist. The band’s repertoire consists mostly of early big-band classics from masters like Fletcher Henderson, Don Redman, McKinney’s Cotton Pickers, Duke Ellington, Benny Moten, Count Basie, Jimmie Lunceford and many others, all lovingly transcribed by Loomer and played with authenticity and spirit by the musicians. It’s not possible to hear this kind of music performed live very often anymore and I for one look forward to the November 9 concert.

The House Concert

The old model of the salon concert has been revived in recent years, as an alternative to bigger clubs which can be crowded, noisy and expensive. Increasingly, dedicated fans are staging intimate concerts in their own homes, offering a unique up-close jazz experience. By necessity the audience size is small and the concerts are sporadic, which only makes them more special. Perhaps the greatest success story of these is the Jazz in the Kitchen series presented by John and Patti Loach in their spacious Beaches home, which is uniquely equipped for musical presentation. Opposite their large open kitchen is a music room sporting a wonderful Steinway grand and perfect natural sound that encourages the non-amplified jazz on offer. The audience is generally limited to 35 or 40 paying guests who sit very close to the band – Mark Eisenman’s trio plus shifting guests including John Loach on trumpet – and simply listen, enjoying both a real jazz experience and the verbal byplay between the musicians. The series started about four years ago and is always sold out. October 22 will be the 40th concert in what looked at first to be a risky proposition. I’m sure there are others run along the same lines, such as JazzNHouse in the Ottawa area, which I’ll experience for the first time when Mike Murley’s trio plays there on October 28 (also sold out).

A New Jazz Festival

The Kensington Market Jazz Festival made its debut in September of 2016, the brainchild of star singer Molly Johnson – long a neighbourhood resident – ably abetted by her organizational partners in crime, performers Ori Dagan and Genevieve (Gigi) Marenette, plus an army of volunteers. This year’s festival, a weekend affair held September 15 to 17, significantly built on the promise and success of the first one. Well over 300 local musicians performed in various small venues in the tight streets of Kensington in a dizzying array of one-hour concerts running from solo piano and guitar to trios and larger groups in various styles, all well- and enthusiastically attended. The recipe is simple, inclusive and refreshingly non-corporate – keep it small, because small is good, present “all jazz as we know it” played by local musicians of many generations, and use the vibe of the ’hood, its unique food, local businesses and “streetness” as a feel-good backdrop. As to the finances, I have no idea how they make it work, but there are ticketed events and free events; it’s cash only and all of it goes to the musicians save for a small percentage to cover costs. I played one concert in the first festival and two this year, enjoying each immensely while being paid very fairly. It was a pleasure to walk the streets and see so many musical friends all packed together so happily; this is an event which puts “festive” back into the jazz festival. Congratulations to Molly and company for their leap-of-faith vision in bringing this unique festival to Toronto at a time when the city desperately needed it.

CDs Galore

The self-financed CD is another way jazz artists can continue to reach and expand their audience, and good locally produced jazz records have spread like wildfire in recent years. One can barely keep up. These involve a leap of faith in that the outlay involved cannot often be recouped, but musicians keep making them anyway as a means of documenting their art. Even ones who have nothing left to prove, like PJ Perry. Now 75, a JUNO-winner and recent recipient of the Order of Canada, PJ has long been one of the best alto saxophonists in the world, although he doesn’t have that profile because he plies his trade in the relative isolation of Edmonton. His latest release, just out, is Alto Gusto, recorded live during two nights at Edmonton’s venerable Yardbird Suite. But here’s the real leap of faith on his part: while he had played with each member of the rhythm section – veteran Los Angeles pianist Jon Mayer; drummer Quincy Davis, originally from Michigan and until recently based out of Winnipeg, and yours truly on bass – the three of us had never even met before this gig. PJ just knew the chemistry would somehow work and it did, about two bars into our hasty rehearsal. The result is a very hard-swinging, inventive record, an honest portrait of musicians creating music in the moment.

As long as jazz has enough people – musicians, fans and presenters – who believe in it enough to make these leaps of faith, it will continue to evolve and flourish. Perhaps not as in the “good old days,” which are past, but by creating some good new days. 

Toronto bassist Steve Wallace writes a blog called “Steve Wallace –
jazz, baseball, life and other ephemera” which can be accessed at wallacebass.com. Aside from the topics mentioned, he sometimes writes about movies and food.

Celebrity success in classical music is a strange amalgam. In very few disciplines do we give as much focus to the medium-like, necromancing qualities that a good performer must have. Using training, taste, research and the occasional séance, an interpreter must form a personal connection with composers who are most often long-dead, and emerge with an interpretation that is ingeniously creative and original, yet faithful to the written score.

The duty of the classical performer is similar in many ways to that of an actor who takes a script, often written by someone else, and absorbs the on-page style and personality of a character while fusing it with an individual, personal energy. A play script, much like a musical score, can be read without hearing it live, but the deeper meaning that can be wrung from the page through practice and experience is what separates the “pros” from the “Joes.” And, if one is lucky as well as good, he or she may be fortunate enough to be discovered and swept up through the ranks into the realm of the classical music elite, just as can happen for actors.

This link between performing as a musician and as an actor is likely the closest parallel we can find within the arts – in no other discipline is pure interpretation the primary focus and determinant of artistic achievement. Imagine, for example, if we bought a copy of There’s Gonna Be a God Damn Riot in Here!, the famous film of Charles Bukowski’s 1979 Vancouver poetry reading, only to find someone else reading his poems! In the same way, we cannot conceive of a person whose exclusive role might be to meander around art galleries, exhibits and openings to explain the works using great, erudite phrases and explanations. Certainly we have art critics, professors, curators and gallery owners, but they do not look at a Mapplethorpe photograph or Basquiat painting, stand there and tell us what to see, and expect to be thought of on the same artistic plane as the artist himself.

Since the late 19th century, when the roles of composer and performer began to exist independently, the classical musician as performing interpreter has existed in this rather paradoxical grey area. Where Beethoven, Liszt and countless others wrote the music they played, today’s batch of internationally renowned soloists with legendary technique may not have written a single note on staff paper since their student days. There are, of course, notable exceptions, including Leonard Bernstein, John Adams and Pierre Boulez, though these are often conductor-composers rather than instrumental virtuosi.

Modern academies and conservatories are compartmentalized, welcoming young, talented students to learn “more and more about less and less,” as the saying goes. When we ask “What are you studying?” they do not reply “Music,” but rather “Composition” or “Collaborative Piano” or “Conducting.” We categorize, break down and divide the encompassing art into smaller, easy-to-market bites, thereby enabling the young musician to become a rather pigeonholed, although superiorly skilled, superstar “[fill in the blank].”

This is the old-yet-new world of classical music in the 21st century, a roster consisting of a relatively small number of highly specialized, jet-setting superstars who tour the globe, guest-starring with the world’s top orchestras. Managed by a few artist agencies who book their clients in a manner reminiscent of pop music – the biggest venues in the biggest cities, for the biggest fees – the names are revered, and they need not be in good form, either. Recently Lang Lang, who is recovering from an injury to his left hand, took the stage with a teenage prodigy who literally served as his left-hand man for the performance.

Mind you, the phenomenon of the superstar performer is not a bad thing for the propagation of classical music. Superstars attract hype, and hype fills seats, which ultimately brings the music to a wider audience. Toronto is fortunate to host a spectrum of marquee artists from the international scene every year, which continues to foster interest in the revival and performance of music from long ago. This November is no exception. Here are some highlights from the early music world:

Angela Hewitt

Legendary Canadian pianist Angela Hewitt makes an extended stop in Toronto this month, playing a solo recital at Koerner Hall and two concerts with the TSO. (I wonder if her Fazioli piano will travel with her to each venue?)

On November 12, Hewitt’s Koerner Hall recital, her third such appearance, will be an all-Johann Sebastian Bach program, which is part of her three-year exploration of the composer. Works include three Partitas (No. 3 in A Minor, BWV827, No. 5 in G Major, BWV829 and No. 6 in E Minor, BWV830) and the Partie in A Major, BWV832. This concert will be preceded at 7pm by a talk by Rick Phillips. According to the RCM box office, tickets are sold out, but industrious ticket seekers may dig some up through secondhand sources such as scalpers, rush tickets or StubHub.

The Toronto Symphony then features Hewitt as director and soloist on November 18 and 19 in a concert of works by Bach and Mozart. It will be interesting to hear how the modern grand-piano-with-orchestra instrumental approach to Bach and Mozart will come across, particularly in contrast with Hewitt’s solo recital. Will the TSO’s leader attempt to temper the Romantic tendencies of the full orchestra, or will we hear a more scaled-down, “HIP”-style performance?

Kristian Bezuidenhout

Speaking of Mozart, Tafelmusik welcomes South African-born, London-based guest director and fortepianist Kristian Bezuidenhout from November 9 to 12, as he leads the orchestra through an early Classical-era program which includes Mozart’s Concerto for Piano in A Major K414 and symphonies by Mozart and two of his mentors, Carl Philipp Emanuel and Johann Christoph Bach.

This performance will pair exceedingly well with the Hewitt/TSO concerts, as one ensemble interprets Mozart through a modern orchestra looking back in time, the other as a Baroque ensemble looking ahead. Both orchestras have deep roots in this style of music and it will be fascinating to hear the different approaches each group takes towards very similar repertoire.

In addition to his concert appearances, Bezuidenhout (who also plays the harpsichord and modern piano) will lead a masterclass on November 11 at Jeanne Lamon Hall, which is free and open to the public.

Ensemble Masques

Originally formed in Montreal, the international Baroque chamber group Ensemble Masques makes their Toronto debut on November 18 at St. Thomas’s Anglican Church. A classical supergroup featuring players from Collegium Vocale Gent, Tafelmusik and the English Concert, among others, this team of experts will perform a concert of music by Telemann. (Readers west of Toronto will be interested to know that Ensemble Masques will be performing the same program on November 16 in the Music Room of the Kitchener-Waterloo Chamber Music Society.)

Georg Philipp Telemann was enormously prolific, writing well over a thousand works, and was one of the most celebrated composers of his time before falling into relative obscurity. According to Ensemble Masques’ recent press release, their concert looks to “wipe clean generations of misunderstanding that kept Telemann in the shadows. Where Bach looked heavenward, Telemann’s genius was for life here on Earth. A brilliant observer of the world around him, his music translates all facets of human experience into works that are full of humour, wit and infinite invention.”

For modern audiences familiar with the contrapuntal density of Bach and the rhythmic vitality of Handel, Telemann’s music might seem rather simple and transparent. But do not be fooled. Hiding within Telemann’s massive oeuvre are works of remarkable beauty, and Ensemble Masques is undoubtedly well-equipped to put these pieces on public display. In advance of their Toronto appearance, explore their latest recording of Telemann’s Theatrical Overture-Suites on the Alpha label.

QUICK PICKS

In addition to these international headliners, there are a number of other talents, both local and foreign, playing Toronto this month. Here are a few.

Nov 4 and 5: Cor Unum Ensemble - “Music from the Early Italian Baroque.”

Cor Unum Ensemble is one of Toronto’s newest groups, an orchestra and chorus comprised primarily of students and graduates from the University of Toronto’s Early Music program. This talented, homegrown group of players presented Bach’s St. John Passion last year and their take on music by Monteverdi, Gabrieli, Frescobaldi and other Italian composers from the early Baroque should be on point as well.

Nov 10: “At the Heart of Bach - Christian Lane plays CCDP.”

Winner of the 2011 Canadian International Organ Competition, American organist Christian Lane plays an all-Bach program on Christ Church Deer Park’s 1982 Karl Wilhelm tracker organ. This instrument, a perfect match for Bach’s inimitable organ music, should be like putty in Lane’s hands.

Nov 19: “Musicians on the Edge: Jazz Standards of the Seventeenth Century.”

Rezonance Baroque Ensemble presents a concert of 17th-century tunes with a focus on ensemble improvisation. With a continuo section of Ben Stein, whose doctoral work focuses on the ancient art of partimento and the development of improvisation, Erika Nielsen and David Podgorski, the bass lines in this concert should be tight and groovy.

Dec 1: Upper Canada Choristers – “Charpentier’s Messe de Minuit.”

Christmas comes early this year, particularly for Charpentier fans, as Upper Canada College’s choristers perform Charpentier’s Messe de Minuit pour Noël and Kodály’s Christmas Dance of the Shepherds. Charpentier’s mass is a time-tested masterpiece that will bring in the Christmas season with style.

While it might seem rather early to mention Christmas, another month of seasonal favourites will be upon us before we know it! To keep up to date on all the Messiahs, oratorios, concertos and other Baroque things happening in the city, check out next month’s column. Until then, drop me a line at earlymusic@thewholenote.com.

Matthew Whitfield is a Toronto-based harpsichordist and organist.

Heading into the month of November remembrance, I’ve highlighted two performances: the first is by Chorus Niagara and the Orpheus Choir, and the second by the Toronto Symphony Orchestra with guests. The major works in these two performances commemorate two very different wars separated by 100 years, World War I and the war in Afghanistan. War continues to inspire stories, and to invoke teaching, reflection and discussion. But as we head towards Remembrance Day, it is worth reflecting on the fact that sonic remembrance has the power to evoke things that words alone can not. There are many options available to listeners across the region, particularly early in the month, to experience this, in the offerings of great composers and musicians alike.

Later in the month, on November 22, Dr. Hilary Apfelstadt, an icon in the choral world, director of choral activities and professor of conducting at the University of Toronto, releases her new book on the life of Ruth Watson Henderson, I Didn’t Want To Be Boring. Apfelstadt’s book tells the story of this remarkable musician, gathered through interviews over several years. With over 200 choral works, Watson Henderson’s story is anything but boring.

Lastly, at the tail end of my “quick picks” I have included a few early holiday concerts. Make sure you check out the full listings and get your tickets early. Holiday performances often sell out and are amongst the most fun performances you can find anywhere!

Last Light Above the World: A War Litany

November 4 at 7:30pm, Chorus Niagara presents the world premiere of Last Light Above the World: A War Litany by Allan Bevan. “I scoured war diaries,” shares Bevan on the Chorus Niagara Facebook page, “looked at war art, read letters and other war correspondence, and delved into the large body of poetry written by people involved.” From these sources, Bevan created a story of a couple. “He has gone off to battle, and she is left to consider it. They become the conscience of the work, the ones who portray the human cost of the war.” Shaw Festival actors Hailey Gillis and Colin Palangio bring this couple to life.

Robert Cooper helms these performances with the Orpheus Chamber Orchestra and soloists Maeve Palmer, soprano; Lillian Brooks, mezzo-soprano; Anthony Varahidis, tenor; and Alexander Bowie, bass. Bevan has written the soloists as “spirits” who represent the “dead” referred to in the famous lines of John McCrae’s In Flander’s Fields “We are the dead…” Bevan continues: “Last Light does not pretend that there are easy answers, it is not a simple comforting… In the poetry of WWI, generally speaking, war is neither glorified nor vilified, it is simply recorded: all its horror, sacrifice, as well as its unexpected beauty, compassion and forgiveness.”

The Orpheus Choir of Toronto, also conducted by Robert Cooper, performs the same work in Toronto on November 5 at 3:30pm, Grace Church on-the-Hill.

Afghanistan: Requiem for a Generation

It has been almost 16 years since the official, Parliament-sanctioned intervention by the Canadian Forces in Afghanistan began. In those days of constant war headlines and combat deaths, our country was at war on the other side of the planet. Afghanistan was a war unlike others, constantly changing and evolving, fought against an often unstructured and asymmetrical enemy. For those of us who read the news here in Canada, this war also strongly shaped our country in the last decade and a half. The war in Afghanistan has opened discussions on a great number of complex issues like post-traumatic stress disorder (PTSD), the role of the Canadian Forces in international conflicts, military investment, American imperialism, racism, child combatants, pacifism and so much more.

Art, music included, has done much to allow and facilitate some of these conversations,with its power to evoke contemplation and create change. Into this discussion, on November 9 and 11, we insert Afghanistan: Requiem for a Generation, including 130 choristers from the Toronto Mendelssohn Choir, 50 from the Toronto Children’s Chorus, guest musicians from the Canadian Forces, the Toronto Symphony Orchestra and soloists. The first half of this concert also features Canadian Forces guests on pipes, bugle and text.

Tania Miller, music director of the Victoria Symphony Orchestra, takes the helm for these performances. Miller was the first woman to lead a major Canadian orchestra, ever, and her tenure began the year following the start of the war in Afghanistan. She is joined by Measha Brueggergosman, soprano; Allyson McHardy, mezzo-soprano; Colin Ainsworth, tenor; and Brett Polegato, baritone.

The words come via Suzanne Steele, Canada’s war poet, who served in Afghanistan. Jeffrey Ryan put the words to music, including text from the requiem mass, alongside Steele’s poignant words which are often set in repetition: “if we could give you two days, just two days...;” “My son, my daughter, can you hear me?”

In the breaking open of lives lived and lost during war, music can help bridge the experiences and provide a united focus. Ryan describes his music as “a love letter. Not just to one person…but to each of us, to our country, and to a generation that will be paying for this war emotionally or financially (looking after the injured and next of kin) for another generation.” As Ryan concludes in the program note: “Afghanistan: Requiem for a Generation marks one particular war for one particular generation, but its message is universal and timeless.”

On a Canadian National Treasure: Ruth Watson Henderson

Ruth Watson Henderson has had a storied career as a performer on piano and organ. Having served 29 years as the accompanist of the Toronto Children’s Chorus, with the Festival Singers under Elmer Iseler, and as a church musician, her prolific contributions to choral music have been incomparable. Dr. Hilary Apfelstadt has spent years interviewing and researching Watson Henderson for her new book I Didn’t Want To Be Boring.

To commemorate the book launch, the Canadian Music Centre is hosting a concert on November 22 featuring soprano Amy Dodington, accompanied by Watson Henderson herself, and joined by members of the Elmer Iseler Singers and the Exultate Chamber Singers as well as by Apfelstadt. Three days earlier at Kingsway-Lambton United Church, November 19, Dodington will sing Watson Henderson’s Prayer of St. Francis accompanied by the composer herself in an unofficial book launch and 85th birthday celebration.

In an excerpt, Apfelstadt describes Henderson: “Initially a highly gifted young solo pianist, Ruth became a collaborative artist whose work with choral ensembles led to her development as a composer whose music is frequently sung and respected for its craftsmanship and expressivity. And along the way, she embodied the term “working mother” as she raised a family of four, built a career as a practising musician and successful composer, and held a church music director position until the age of 80. As I write, she is 84 and still composing music. Hers is a remarkable story.” The paperback copy of the book is available in stores November 22.

QUICK PICKS

Nov 4, 7:30pm. The Guelph Chamber Choir presents “Celebration 150.” The Guelph choral community’s contribution to Canada 150 commemorations brings together five regional choirs: the Guelph Chamber Choir, Guelph Community Singers, Guelph Youth Singers, Rainbow Chorus of Waterloo/Wellington and the University of Guelph Symphonic Choir.

Nov 10, 8pm. The Kingston Road Village Concert Series presents “Remembrance Day Concert with Scott Good and Friends.”

Nov 11, 8pm. Barrie Concerts presents “Songs from the Great World Wars,” featuring the UTSC Concert Choir and conducted by Lenard Whiting.

Nov 11 and 12, 8pm. That Choir presents their annual first concert of the season “That Choir Remembers,” featuring the music of Eric Whitacre, Eleanor Daley and more.

Nov 12, 4:30pm. The Cathedral Church of St James presents “Service of Remembrance,” featuring the large choral work of Sir Charles Hubert Hastings Parry, Songs of Farewell, a collection of six songs composed in accapella polyphony. These songs will be presented as part of a religious service.

Nov 15 and 16, 8pm. The Toronto Symphony Orchestra presents “Oundjian Conducts Vaughan Williams.” Marking one of the signature performances of the TSO with Oundjian at the helm in his outgoing year as music director, the orchestra is joined by Louis Lortie, piano; Sarah Jeffrey, oboe; Teng Li, viola; Carla Huhtanen, soprano; Emily D’Angelo, mezzo-soprano; Lawrence Wiliford, tenor; Tyler Duncan, baritone; and the Elmer Iseler Singers.

Nov 29 to Dec 3, Tafelmusik Baroque Orchestra and Chamber Choir presents “Four Weddings, a Funeral, and a Coronation.” Promising a Baroque-inspired soundtrack to festivities, these performances mark the first choral performances for Tafelmusik this season. Musical celebrations written by Purcell, Lully, Handel, Pachelbel, John Blow’s Anthem for the Coronation of James II and Charpentier’s Messe des morts are all on the program.

Dec 3, 3pm, the Harmony Singers of Etobicoke present their holiday concert, including many pop and classics favourites. The choir is also singing We’re in the Same Boat Now, written by former Premier Bob Rae. The Singers also provide an annual scholarship to a student at the Etobicoke School of the Arts who performs with the choir. This year, that recipient is Martina Myskohlid.

Dec 5 and 6, 7:30, the Toronto Mendelssohn Choir presents “Festival of Carols” featuring the Salvation Army Canadian Staff Band. The often-sold-out concert is being presented over two nights to accommodate extra patrons. 

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

So far it’s been an odd fall here. Into the third week of October, it’s well past Thanksgiving, yet Toronto is still reaching daytime high temperatures we typically experience in June. There hasn’t even been a whisper of nighttime frost in town. The geraniums still bloom vigorously and peppers continue to redden on my north-facing balcony garden. Endless summer? Dire climactic implications aside, I for one am thankful for this cold weather reprieve, soon to be over, I suspect.

The GTA’s first Festival of Arabic Music and Arts (FAMA), presented by the Canadian Arabic Orchestra, will be well under way by the time you read this. The festival’s first concert was held at Koerner Hall on October 28, featuring a double bill with Iraqi guitarist, singer and composer Ilham Al-Madfai and the Toronto world music group Sultans of String. Ever since its establishment in 2014 the professional CAO has sought to connect expatriate Arabs with classical Arabic musical culture in order to maintain this heritage in the hearts and minds of the present community in Canada, as well as to safeguard it for future generations. At the same time, the orchestra also seeks to engage with non-Arab Canadian communities. FAMA shows both objectives at work.

Arabic Music in Toronto: Rob Simms and George Sawa

To gain further insight into Arabic music today, in both the Arab world and here in Canada, I called Rob Simms, associate professor at York University’s Department of Music, a Canadian ethnomusicologist and multi-instrumentalist specializing in Middle Eastern and West African traditions. Simms reminded me of the devastation to cultural life impacting large swathes of Iraq and Syria as a consequence of the recent invasions and sustained armed conflict in those countries. One of the results of this upheaval has been the displacement of millions of Iraqis and Syrians, many finding themselves as refugees in foreign lands – including recently, Canada.

Aleppo, Syria, one of the oldest continuously inhabited cities in the world, is a prime example of this cultural devastation. It is considered an important centre of Arabic traditional music, historically supporting renowned practitioners of muwashshah, qudud halabiya and maqam (religious, secular and poetic-musical genres). Aleppo was also known for its sammi’a, a cadre of influential cultivated music connoisseurs. This ancient web of music production, patronage and appreciation has been tragically disrupted as a result of the current civil war.

I then followed up on the phone with longtime Toronto resident George Sawa, a renowned scholar, qanun (Arabic zither) player and music educator who holds a doctorate in historical Arabic musicology from the University of Toronto. Born in Alexandria, Egypt, the multi-award-winning Sawa has over 50 years’ experience in Arabic music performance, history and theory. “I arrived in Toronto in 1970 to study at U of T,” he recounted. One of the draws was the university’s Robarts and Faculty of Music libraries, which according to Sawa “contain one of the best Arabic music collections in the world.”

What was the Arabic music scene like in 1970 Toronto? “At the time Arabic music was mostly encountered in cabarets and in clubs which featured belly dancing,” Sawa told me. He immediately sought to enrich the scene.

“In 1971 I founded a trio playing traditional Arabic music. Not long afterward, CBC radio recorded for broadcast a concert of Christmas carols sung by (leading contralto) Maureen Forrester, with me on qanun. The trio increased into a quintet, appearing in concert and on CBC over the next few decades. It became known as the Traditional Arabic Music Ensemble.” Sawa also served as the music director of Toronto’s Arabesque Dance Company & Orchestra from 1996 to 2005.

Today one of Sawa’s performing projects is Alpharabius, “an ensemble dedicated to exploring the musical interactions of the rich cultures of the Mediterranean. The group is named after one of the great philosophers of classical Islam, al-Farabi (d. ah 339/ 950 CE), who was renowned as both a musical theorist and a practicing musician… The ensemble is a collaboration of musicians trained in the classical Arabic and Western medieval musical traditions.”

He concluded our conversation by observing that the GTA’s “Arabic community has grown considerably in the past few decades. For example, I think it’s very significant and healthy that before securing support from Canadian Arts Councils, the Canadian Arabic Orchestra initially sought patronage from local Arabic businesses who believed in what they were doing. More power to them!”

Charbel Rouhana, oudist

November 3, FAMA in co-production with Festival du Monde Arabe de Montréal presents Charbel Rouhana, the Lebanese composer, singer and oudist accompanied by the Canadian Arabic Orchestra at the Jane Mallett Theatre, St. Lawrence Centre. This program will be repeated November 5 at the Monument National in Montreal.

Possessing ancient roots, the oud – often placed into three general groups, Arabic, Turkish and Persian – is at the core of much of the traditional music played throughout the Middle East and in regions influenced by its people. The oud, which has numerous morphological variants highly dependent on region of origin, typically today has 11 or 13 strings grouped into five or six courses.

Its performance tradition has been particularly long-maintained in Iraq, where a popular saying honours its high value to the culture: “In the music of the oud lies the country’s soul.” The instrument was once common in Iraqi households, something like the guitar in Canada or the USA. Following the 2003 invasion of Iraq and the overthrow of the Ba’athist regime however, the increasing power of Islamist extremists who consider secular music to be haram (sinful, forbidden) has forced many oud players and teachers to cease playing publicly, or even forced them into exile in order to pursue their oud-related careers.

Already a virtuoso of the instrument, several decades ago Rouhana established a new method of playing the oud. Published in seven volumes, it has been adopted by the National Conservatory of Music in Lebanon and by other music institutions, securing his standing among today’s leading masters of the Arabic oud. Rouhana is also a prizewinning composer: in 1990 he was awarded first prize in the Hirayama Competition for his work Hymn of Peace. He has appeared in concert with classical Hindustani bansuri (bamboo flute) virtuoso Hariprasad Chaurasia, and also with many other leading musicians.

FAMA Concerts

In addition to the November 1 FAMA concert at the Revue Cinema mentioned in my previous column, featuring the outstanding female Syrian oud player and singer Waed Bouhassoun, and the November 3 Charbel Rouhana concert referred to above, there are a several more FAMA concerts in the first half of November. Here are some highlights.

November 4, the group Golan, its members hailing from Tunisia, France and Palestine, takes the stage at the Lester B. Pearson Theatre in Brampton. Leader Hubert Dupont, Golan’s double bassist, gathered like-minded musicians from all over the Mediterranean, arranging a musical exchange between elements of contemporary European music, jazz and Arabic traditional music. Pascal Rozat wrote in France Musique that Golan is reaching for “an ideal of musical fraternity as much as a hymn to freedom, for an ‘oriental journey’ different from others.”

November 9, FAMA, in partnership with the Native Canadian Centre in Toronto and in association with the Aga Khan Museum and the Arab Community Centre of Toronto, presents the world premiere of Origins at the Aga Khan Museum. Tagged “Indigenous/Arabic,” this new production by the Canadian Arabic Orchestra in collaboration with poet and singer Hassan Tamim and St’at’imc (a.k.a. Lillooet) singer-songwriter and dancer Laura Grizzlypaws is perhaps the most ambitious of the FAMA offerings.

Origins showcases similarities as well as cultural divides between the people of two continents through dance and music, “in the spirit of truth and reconciliation and… peace and harmony through the cross-cultural medium of music.” In addition to Grizzlypaws and the Canadian Arabic Orchestra, Origins presents whirling dervish performers of Rumi Canada for part of the program, enhancing the spiritual journey theme of the work.

November 12, FAMA moves to Mississauga’s Hammerson Hall, at the Living Arts Centre. Iraqi-born Naseer Shamma, among the world’s top oud masters, headlines the concert accompanied by the Canadian Arabic Orchestra. Titled “On the Way to Baghdad,” the concert is billed as a veritable masterclass in classical Arabic music.

Born in 1963 in Iraq, Shamma received his diploma from the Baghdad Academy of Music in 1987. He has composed music for TV, films and plays since. In 1998 he established the Arabic Oud House in Cairo, as well as in Tunis and Dubai. His scholarly research consulting old manuscripts on Arabic music has aided in his reconstruction of the Al-Farabi (c. 870-951 CE) model oud, which can produce an expanded tonal range of four octaves, giving the player a vast improvisational terrain.

QUICK PICKS

The Aga Khan Museum hosts four concerts in addition to Origins: Nov 4: “Fleur Persane by Perséides” featuring Amir Amiri (santur) and Jean Félix Mailloux (double bass); Nov 18: “Haram with Gordon Grdina” is an evening of indie-rock meets jazz and electronica; Nov 25:” All Rivers at Once: The Israeli-Iranian Musical Initiative” is described as “jazz-like arrangements of traditional Israeli and Iranian folk songs.” The ensemble, directed by pianist Noam Lemish, includes Saeed Kamjoo (kamancheh), Pedram Khavarzamini (tombak) and Amos Hoffman (oud). Dec 2: “Nazar by Turkwaz,” the Toronto quartet of world music divas Maryem Hassan Tollar, Jayne Brown, Sophia Grigoriadis and Brenna MacCrimmon. Expect Arabic, Balkan and Turkish folk songs in tight arrangements with a sprinkling of new charts.

Nov 22: 12 noon, the COC’s World Music Series continues with “Arabic Coffee House.” The Al Qahwa Ensemble, with Maryem Hassan Tollar (vocals), Demetri Petsalakis (oud), Ernie Tollar (flutes) and Naghmeh Farahmand (percussion), animate the Richard Bradshaw Amphitheatre of the Four Seasons Centre for the Performing Arts.

I’ll be sure to attend this concert of longtime local practitioners of Arabic and related music, bookending what promises to be an extraordinarily chockablock month of Arabic music in the GTA.

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