Beat Columns (Live Music)

Of the many experiences that point to our collective hunger for dependable post-lockdown life, none has hit quite so close to home for me as seeing post-secondary students get back to classes. Sure, it still feels like a novelty to watch maskless people thunking melons in the grocery store, restaurant patrons trying each other’s drinks, or a trumpet player mercilessly spraying the floor of a venue with spit-valve effluvia. But – as I experienced on an unexpectedly brisk morning in early September, walking across the University of Toronto campus for coffee with a friend – nothing quite says “we’re back” like overhearing two new roommates arguing about whether hanging a Quentin Tarantino poster would be “edgy and transgressive” or “you know, uh, maybe a bit much, like… politically?”

During COVID, we witnessed seismic changes on the club scene: closures, pivots, renovations, and rebrandings. For some organizations, the enforced and recurring lockdowns meant the end: time ran out. For others the lockdowns bought time for necessary rethinking and new developments. 

Spring

It is rare when a show exceeds my expectations and even more rare when many shows do. This spring, three shows blew me away with their – very different – strengths. 

Damn Yankees: my first reaction after seeing the opening-night performance of Damn Yankees at the Shaw Festival was a desire to tell all the cynics, who don’t see the value in remounting the slighter offerings of the Broadway musical canon, to make their way to Niagara-on-the-Lake and take in this show. Yes, this is a slight, rather oddball, musical that gives a Faustian twist to the American obsession with baseball by giving an older fan a deal with the devil to help his home team win. But in the expert hands of director Brian Hill, it is so much more. 

Right from the word go the spirit and heart of this production is right on the money. It could have been cheesy and over the top, but it is not. Hill clearly understands the material inside and out and along with his expert creative team sets exactly the right tone and style so that we are taken along the deliciously comic journey, and at the same time gain an increasing recognition of the simple heartfelt values – love, honesty, loyalty – that lie at the heart of the story. 

As live music venues open up, summer music festivals get ready to party like it was 2019. Here, I am going to focus on just two of them, in no small part based on my own lifelong predilection for the piano.

Festival of the Sound

The roots of this venerable attraction extend back to the summer of 1979 when renowned pianist Anton Kuerti purchased a summer home near Parry Sound and organized three concerts by outstanding Canadian musicians. The enthusiastic response to these programs inspired him to propose an annual concert series, and the 1980 Festival of the Sound became Ontario’s first annual international summer classical music festival. In 1985, James Campbell began his tenure as the Festival’s second artistic director, a position he still holds today.

This year’s festival is not all about the piano, though. It opens Sunday night, July 17, with a joyous celebration of choral music by the Elmer Iseler Singers; July 18’s sold-out evening concert marks the 50th anniversary of the Canadian Brass. Then, after clarinetist Campbell and the Rolston String Quartet perform Brahms’ Clarinet Quintet, among other works on the afternoon of July 19, the festival takes an unusual pianistic turn, hanging its musical summer hat on a piano festival featuring some of Canada’s finest keyboard artists, with 20 concerts underpinning a cleverly designed series of connected recitals. Jazz, personified by Dave Young, Heather Bambrick, Campbell himself, and others, then takes over the last weekend of July.

It is often said that music has a special power to bring diverse people and cultures together. Two events in July occurring just two days apart highlight this truth – one local, one international.

North Wind: On July 16 at Toronto’s Heliconian Hall, North Wind Concerts is bringing together four Toronto-based musicians – each playing different types of wood or bamboo flutes – onto the same stage, for a concert titled “Encircling the World: Flutes II” part of an ongoing series. Combining flutes from Korea (the daegeum played by Jin Cho), from Japan (the shakuhachi played by Debbie Danbrook), from the Anishinaabeg First Nation (the pipigwan played by Rene Meshake), and from Indonesia (the suling played by Andrew Timar), the focus will be on an exchange of musical ideas and approaches to performance.

As artistic co-director Alison Melville explained to me, although many efforts have been made over the past 20 years by classical music organizations to stretch thematically beyond the boundaries of the European tradition, not much has changed when it comes to drawing in new audiences. “There’s something more fundamental that has to happen,” she said. 

One key ingredient often missing is a primary focus on the music itself. How do people from different cultural backgrounds actually approach playing the music, and when, and why? “What instruments do you play that are like mine? If I listen to the way you play your instrument, how can that inform me about how one plays music, and even in understanding what music is?” Even though different fundamental techniques may be used when it comes to different wind instruments, exploring common elements, such as how to play with air, for example, can be informative. Regarding drawing in new audiences, people familiar with the music of their own culture are more likely to attend a concert such as “Encircling the World: Flutes II”; in so doing, they will be exposed to other approaches to music-making, traditions that they otherwise wouldn’t experience.

Live music, it seems, is finally, reliably, and consistently back. Barring some unexpected, novel calamity (imminent asteroid impact? Lake Ontario bursting into flames?), this will likely be the last time that I begin my column with the obligatory nod to the pandemic that seemed so necessary throughout the last 28 months. To those who continue to read my pieces: thank you. There was a point, early in the pandemic, when I thought I was going to have to do something truly depraved, like going to law school and getting a real job; thankfully, that grim reality has not come to pass. 

So, to the music.

Revival House

On July 22, keyboardist Aaron Davis plays at Revival House in Stratford, as part of the Stratford Summer Music Festival. For those who may be unfamiliar, Davis has been a longtime fixture on the Canadian music scene, as a performer (with the likes of the Holly Cole Trio, Measha Brueggergosman and the band Manteca), an arranger (for the likes of Alison Krauss, Natalie McMaster and Eliana Cuevas), and a film composer with over 100 titles to his name. A newish resident of Stratford, Davis has assembled a compelling roster of musicians, including Ben Wittman on drums, Dylan Bell on bass, John Johnson on woodwinds, Lori Cullen on voice, Suba Sankaran on voice and keyboards, and Maryem Hassan Tollar on voice and shakers. With Davis’ deft touch on the piano and his penchant for nuanced, interesting orchestration, expect a compelling evening of music that evokes the best from his highly capable collaborators.

Music in the Barns

Creating musical events in unusual spaces is one of the signature features of Music in the Barns, an organization founded in 2008 by violist Carol Gimbel. At the time, Gimbel had an artist studio in the Artscape Wychwood Barns building which was renovated from several large early 20th-century TTC streetcar garages to create a multi-use facility that contains individual artist studios, a farmers market, a greenhouse, an event space and arts organization offices. On June 2, Music in the Barns is staging a celebratory post-Covid return with different events happening in the various Barns’ spaces to create a multi-sensory experience for the audience. 

Anchoring the evening will be a concert to finally celebrate their 2019 album – Music in the Barns: Bolton, Godin & Oesterle (newfocusrecordings.com). As Gimbel explained to me during a recent phone conversation, they had previously championed the music on the album during their concerts at the Barns, and after recording it and spending many hours editing it, they never had a chance to do the album-launch concert properly before the lockdowns began. This concert will therefore be the chance for an extended evening of celebration with all those who worked on the album. 

Toronto Summer Music (TSM) is back, bigger than ever – July 7 to July 30 – with “Inspirations” as its theme. Toronto’s go-to summer classical music event will present an ambitious program of 26 mainstage concerts. Eight of them will showcase the TSM Academy Fellows and Mentors, highlighting one crucial aspect of the festival’s mandate – to offer high-level training to emerging musicians. The details of those eight Regeneration concerts will be announced in June; the contents of the other 18 were made public in late April.

I took the opportunity in early May to discuss the “Inspirations” theme with TSO concertmaster Jonathan Crow, now in his sixth year as TSM’s artistic director. (This interview has been edited for length.)

WN: In the festival release, you describe inspiration as “deeply motivating moments that connect us to one another.” Given that the backbone of Toronto Summer Music is the TSM Academy with its Mentors and Fellows, there is clearly a wealth of inspiration to be had, in any TSM season, in terms of teachable/performing moments. But how did you make the leap from that to basing the whole festival on that theme?

JC: I don’t think the leap came about because of one specific moment, but rather from thinking about how we’ve put together themes these last five years at TSM. There are so many things that come into play when tying music together – the specific reasons for the composition, the actual inspiration of the composer, the meaning of music to the artists… I thought it might be interesting to explore more explicitly the reasons behind how we program great music.

It seems that the resurgence of music theatre is for real this time. After so many short-lived restarts and sudden heartbreaking lockdowns, it is invigorating to finally have almost too many shows to see! Music theatre and dance are now back live in theatres and in the parks for a summer season packed with a wide variety of shows for audiences to choose from.

Dixon Road

Starting off the season with a city-wide bang is The Musical Stage Company’s Marquee Festival encompassing a number of initiatives all built around the central idea of “turning points” in people’s lives. The biggest project, and one that has been in development for several years, is the world premiere of the musical Dixon Road by Fatuma Adar, which will take its first bows in the  High Park Amphitheatre (in association with Canadian Stage) June 1-19. Originally commissioned by The Musical Stage Company with funding from The Aubrey & Marla Dan Fund for New Musicals and developed as part of Obsidian Theatre’s Playwrights Unit, Dixon Road is a deeply personal story for its creator and one that many other children of immigrant parents will identify with. 

Dixon Road tells the story of a Somali family who fled the civil war in their homeland in the 1990s to find a new home in Canada, specifically in the neighbourhood around Pearson Airport near Dixon Road and Kipling Avenue now known as Little Mogadishu. Central to the musical is the dynamic between the father learning to navigate his new world and create a new identity for himself while his daughter – now growing up in Canada – starts to have dreams of finding new opportunities of her own. Adar based the book on her own experiences living on Dixon Road. She has also written the score (both music and lyrics) drawing on music that was popular in her community growing up, including R & B, hip-hop, contemporary musical theatre and traditional Somali melodies. I am excited to see Dixon Road and hope that this is just the beginning of an outpouring of new shows by new storytellers. 

For what feels like the first time in a long time, Toronto’s musical community is once again a busy and bustling place. Even a quick glance through this issue of The WholeNote will reveal a plethora of exciting and vibrant performances in a wide range of styles and genres, a welcome return after a stark, unpredictable and unsettling couple of years.

Although the broader world is not yet entirely back to normal, one has the sense that this spring’s increase in concerts is setting the stage for an even larger and more comprehensive reopening next season, planting seeds that, should the conditions be accommodating enough, will grow into an unprecedented artistic flourishing not seen since the early 20th century, with composers and performers creating a new Golden Age for both music and the Arts in general.

Utopian idealism? It is worth remembering that the greatest periods of artistic creativity and genius are often preceded by times of great social and political unrest, whether the Thirty Years’ War in the 17th century or the two World Wars in the 20th. Given these precedents, it is not unreasonable to consider that the years following the COVID-19 pandemic will be times of profound artistic reflection and expression. It is with optimism and gladness, therefore, that this column looks at upcoming performances that have me enthused, across a wider range of genres than I usually do. It’s a personal and by no means comprehensive list of all that is taking place this month and next, but personal and somewhat more eclectic than usual is a good place to begin for anyone looking to jump back into the musical swim of things.

I recently bumped into violinist Larry Beckwith, Artistic Producer of Confluence Concerts, who told me he had an idea for a choral story. We were at New Music Concerts’ tribute evening, at Longboat Hall, honouring NMC’s founding artistic director, flutist Robert Aitken who has just stepped aside after 50 extraordinary years. Beckwith’s story idea was, however, for someone else who put in 50 years service to our musical scene, transforming it as he went! 

This May, Beckwith reminded me, is the 20th anniversary of Nicholas (Niki) Goldschmidt’s third, and most triumphant, Toronto International Choral Festival, titled “The Joy of Singing (in the Noise of the World).” As Dawn Lyons described it in our May 2002 cover story, the festival was designed, with typical Goldschmidtian understatement, “to fill May 31 to June 22 with choral music from across Canada and around the world.” (“Fill” is no exaggeration: audiences aside, there would end up being over 1,000 active participants in the event! By 2002, the 94-year-old Goldschmidt (born in Austro-Hungary in 1908) was without equal in the art of organizing a really festive festival!

He had arrived in Toronto in 1946, invited to head up the University of Toronto’s new opera school, the first in the country. He was astounded by the talent he found waiting for him on the first day he walked into the Conservatory. “Soon he needed a marketplace to display his fine crop of young Canadian singers,” Dawn Lyons wrote, “a place for them to see, hear, work with and take their measure against singers from around the world.” The Goldschmidt solution? Found the Canadian Opera Company! “It was the beginning of 50 years of creating what we would now call cultural infrastructure…” Lyons wrote: “If the word festival is in the title, and the program bulges with acknowledgment of partnerships, look for Niki in the credits.”