From the earliest days of Western musical civilization to the present, Notre-Dame de Paris has played a prominent and pivotal role in many of music’s finest moments and housed some of its most brilliant minds. In the 13th century, Pérotin le Grand, one of the Medieval era’s most respected and influential composers, developed the organum, the first exploration of polyphony in European church music. Through his organa, Pérotin pioneered an entirely new style of music, expanding previously monophonic chants (single lines sung in unison, such as Gregorian chant) into two-, three-, and four-part compositions, thereby paving the way for choral music as we understand it today.

In 1900, more than six centuries after Pérotin le Grand, Louis Vierne was appointed principal organist at Notre-Dame de Paris. By this time the tradition of excellence in church music at Notre-Dame was firmly established, continuously developing and thriving, despite changing social conditions and political unrest. Nearly blind from birth due to congenital cataracts, Vierne studied with César Franck and was assistant to Charles-Marie Widor before obtaining the highly-regarded and equally highly sought-after organist post at Notre-Dame. (To this day, the position of titulaires des grandes orgues is considered one of the most prestigious in France.)

Vierne maintained this high standard, playing hundreds of organ recitals and inspiring generations of future composers and organists through his concert and service playing, powerful and skillful improvisations, and extraordinarily emotive compositions. Vierne was so closely connected to Notre-Dame that he passed away during what was to be his last recital, his 1750th, suffering either a stroke or heart attack on the bench of the great Cavaillé-Coll organ in his beloved church.

Upon entering Notre-Dame de Paris and hearing the organ for the first time, the majesty and grandeur are overwhelming. The enormity of space and sound, working together in perfect synchronicity, produce an unparalleled and profound effect. On January 19 in Toronto, the Choir of St. James Cathedral, led by director of music Robert Busiakiewicz and organist David Briggs (former artist-in-residence at St. James), sought to recreate this powerful atmosphere with their concert The Splendour of Notre Dame, featuring music by composer-improvisers connected with Notre-Dame in the 20th and 21st centuries: Louis Vierne, Pierre Cochereau, Maurice Duruflé and Yves Castagnet.

The first work of the program, Vierne’s Messe Solennelle, Op. 16, is a personal favourite. Written the year before his appointment to Notre-Dame, this piece opened the concert in an extraordinarily powerful way: majestic, imposing, dissonant C-sharp minor played on full organ, answered antiphonally by the choir. Originally composed for two organs and played by two organists (the Grand-Orgue and the Orgue de Choeur), Briggs masterfully adapted the score for solo performance on St. James’s pipe organ, making the necessarily rapid adjustments seamless throughout. The Cathedral choir, although comprising only 18 voices, held their own against Vierne’s weighty writing, maintaining their presence, balance and impressive tuning, even with the Trompette en-chamade blaring from the West end of the building!

One of the finest performers on the international pipe organ scene today, David Briggs followed the Vierne Messe with his own transcription of Variations sur ‘Alouette, Gentille Alouette’ by famed organist and improviser Pierre Cochereau, organist of Notre-Dame from 1955-1984. Cochereau’s improvisations, renowned for their innovation, technical challenges and sheer complexity, are a nightmare for any transcriber – by his own estimation, Briggs spent “about six months, at an average pace of 4 hours to transcribe one minute of music” – and the Cochereau Variations were well over 10 minutes in duration! A piece of staggering complexity, the Variations were astounding in every way: the thought that Cochereau could compose, let alone improvise such a work – and that Briggs had the patience and determination to transcribe it – lent the performance an even higher degree of impressiveness.

Although never titulaire at Notre-Dame (he held an identical post at the nearby Saint-Étienne-du-Mont), Maurice Duruflé was an influential member of the Paris organ scene, an established composer, performer, and teacher whose pupils included Pierre Cocherau. A severely self-critical composer who continually edited his works (there are only 12 published with opus numbers), Duruflé’s Quatre Motets sur des thèmes grégoriens, op. 10 are miniature gems, and the St. James Cathedral Choir shone in their interpretations of these works. As with the Vierne Messe, the choir’s intonation, dynamic contrasts and phrasing were masterfully executed, and Busiakiewicz’s choices of slightly quicker tempi helped compensate for the Cathedral’s relatively dry acoustic; dry, at least, in comparison to the great churches of Paris!

The evening’s joyful exploration of Notre-Dame’s 20th-century choir and organ music came to a rousing conclusion with the performance of Yves Castagnet’s Messe Salve Regina, based on and including excerpts from the great 11th-century Gregorian chant. Castagnet is the current Organist of the Orgue de Choeur at Notre-Dame where, since his appointment in 1988, he accompanies daily masses and plays choral accompaniments; he is also a gifted composer, as his Messe demonstrated! Demanding a great variety of timbres, textures and sonorities from both organ and choir, Castagnet’s love of Notre-Dame, its instruments and its choirs shines through his music, as both organ and choir play equal roles in the declamation and interpretation of the traditional Latin Mass texts.

Clearly demanding and intricate but never superficial or indulgent, the Messe Salve Regina was a splendid way to conclude a concert that did exactly what it promised to do: bring the splendour of Notre-Dame and its inimitable traditions and musical pedigree to Toronto. For a little while, it felt as though we too could turn around and savour the stunning rose windows of that great gothic structure.

The Cathedral Church of St. James presented “The Splendour of Notre Dame” on January 19, 2018 in Toronto.

Matthew Whitfield is a Toronto-based harpsichordist and organist.

I wasn’t sure what to expect after the interview I did with Richard Rose on the Tarragon Theatre’s production of Hamlet for the December/January issue of The WholeNote. How much music would there be and how many songs? Even the director wasn’t sure at that point as, although there had been a preliminary exploratory workshop of the idea, he didn't know how or in which direction the show would grow once in full rehearsal.

As it turns out, it is much closer to a traditional Shakespeare play than I expected. Rather than a rock musical, it is much more what the director described: “a radio play meets a rock concert,” yet it is staged, not on a traditional set but on a narrow strip of stage in front of the “band setup.” For furniture: simple chairs with some basic props, memorably the rapiers and daggers for the  excellent slow motion duel at the end.

The script is totally Shakespeare’s Hamlet, pared down nicely to the essential with particularly good cutting in the second half when Hamlet comes back from England and Laertes from France, including a cleverly succinct staged scene of Hamlet on shipboard switching the letter carried by Rosencrantz and Guildenstern, speaking the words he writes to Horatio.  

The rock music underscoring mostly makes the story clearer, underpinning emotions, freeing the actors to surf and soar on and over the music and letting the words take flight. Microphones took away the need to project, so the words could be spoken in whispers when necessary in great intimacy – or shouted – all reaching the back of the theatre.

This was particularly true of the “Rogue and Peasant Slave” soliloquy, where Hamlet berates himself for his inability to revenge his father after watching the passionate performance of the First Player (the commanding Jack Nicholson) in the previous scene. The passion, anger and black humour of Hamlet’s soliloquy was fully realized by the excellent Noah Reid, with music building to a point where it felt like he almost might burst into song.

Unfortunately, the scoring doesn’t always work that well. After the magnificence and complete understanding of this sequence, the more famous soliloquy, “To Be or Not to Be,” falls flat, too quiet, too little music, and not enough urgency. The same can be said for the characters’ music themes, which sometimes worked well, but at other times – as in the church organ accompaniment created for Cliff Saunders' Polonius (to highlight his sententious sermonizing) – got in the way of the performance.

Even though not always perfect, what was effective was the constant presence of the music throughout the show – music all composed, arranged and played live by the incredibly versatile ensemble. Other highlights included a wonderfully eerie atmospheric soundscape for the ghost, and an effective mini rock-opera for the “play within the play,” Beau Dixon standing out as both demure Player Queen and Judas-style rock and roll murderer.

Part of the fun of the production is watching the performers’ smooth transitions from character to musician and back again, almost as if a rock band had decided to put on Hamlet. Even Hamlet plays the keyboard in his first appearance. Laertes is glued to his guitar until he returns to Denmark to find his sister has gone mad, and Rachel Cairns as Rosencrantz is a great find, easily switching from playing various instruments to embodying Hamlet’s old school friend, with her mobile speaking face and great physicality. At the same time, more could have been done with the idea of Ophelia’s songs beginning as sweet love tunes at the beginning. I had expected them to appear much more strange and haunting in the mad scenes, given Tiffany Ayalik’s experience as a throat singer and vocoder player. It was also a pity that Gertrude and Claudius were not involved in the music-making at all, although Claudius (Nigel Shawn Williams) did effectively command the band to play and stop during the court scenes.

Opening night was an exciting high energy performance and the younger people in the audience were particularly thrilled (though some of the older were not). The original concept of director Richard Rose and music director Thomas Ryder Payne of Hamlet’s rage finding a voice through rock music is fulfilled to a great extent. In many ways this production made me think of Neil Munroe’s controversial Hamlet’s Room back in the 1990s at Theatre Plus: radical experimenting with a well-known classic, bringing it into our times to make a Hamlet for today.

Hamlet, music directed by Thomas Ryder Payne, runs January 2 to February 11 in the Tarragon Main Space at 30 Bridgman Ave., Toronto.

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

JabFung, a project helmed by bassist Julian Anderson-Bowes and Richmond Hill-born, LA-based drummer Anthony Fung, has emerged in recent years as one of Toronto’s leading presenters of collaborative jazz residencies. Anchored by the core rhythm section of Anderson-Bowes and Fung, the group’s past performances have featured excellent local and international guest musicians, including saxophonist Kelly Jefferson, pianist James Hill, guitarist Andrew Marzotto, French vibraphonist Simon Mouiller, and, for two nights at The Rex this past July, the eminent American saxophonist George Garzone.

The group’s latest residency, which took place at the Rex on December 18 and 19, continued the local/international trend, as Anderson-Bowes and Fung were joined by the LA-based pianist Isaac Wilson, who was a classmate of Fung’s at Berklee, and Cuban-born alto saxophonist Luis Deniz, a Humber College faculty member and mainstay of the Toronto jazz scene. In its current iteration, JabFung proves itself to be a rarity: a special project with the chemistry of a working band, capable of putting on an exuberant, thoughtful performance, and of displaying both virtuosity and sensitivity in equal measure.

On the second night of their two-night engagement, the group’s playing was convincing and assured from the opening bars of the first set, which began with an arrangement of Duke Pearson’s “Is That So?” that featured tight, focused solos from all band members, including a winning turn by Fung over a 7/8 vamp in the song’s penultimate section. The set continued with Wilson’s “Prized Possessions,” a medium-tempo, straight-eighths piece that showcased the strong relationship between Wilson and Fung, whose intuitive comping was both supportive and propulsive. “Opus Something,” a slow 3/4 composition of Anderson-Bowes’, morphed organically into a pulsing, triplet-heavy feel during Deniz’ confident, searching solo. Deniz’ work was also exemplary on Fung’s “A Call For Peace,” in which the saxophone solo began as an exploratory, communicative duet with Wilson, satisfying both in its harmonic and rhythmic sophistication.

The second set, like the first, featured mostly original material, including Deniz’ elegant “Marta,” Wilson’s bubbling, odd-metre “Bring it Back,” and “Tarnished,” another Wilson tune, on which Anderson-Bowes took an outstanding solo, displaying a well-developed sense of phrasing and a strong command of the bass’s upper register. It is a credit to the band’s maturity that such a relatively quiet moment was given the same attention as anything else on the program, and that the resulting solo – articulate, melodic, and displaying a clear sense of direction – was just as engaging as the more bombastic solos of the saxophone and piano.    

What emerged, during the performance, is that one of JabFung’s great strengths is its attention to detail, and many of the evening’s most compelling moments were the result of airtight shifts in texture, time signature and dynamic level. There is always a risk, at the performances of the young and the technically gifted, that excitement can lead to high-volume monotony; happily, this was far from the case during the quartet’s show, which recalled, at certain points, the telepathy of Ari Hoenig’s small ensembles, and the joyful reciprocity of Danilo Pérez, John Patitucci and Brian Blade’s trio playing.

Nowhere was this attention to detail more evident than during the evening’s final number, an arrangement of Thelonious Monk’s “Boo Boo’s Birthday,” which toggled back and forth from energetic up-tempo to medium swing, and which, in the wrong hands, could have easily become a repetitive, predictable blowing vehicle. Instead, the time-feel changes allowed the group to showcase its superb dynamic command, and for Deniz and Wilson to execute some of the most interesting (and fun) solos of the night. It should come as no surprise, perhaps, that a group co-led by a bassist and a drummer might prioritize group interactivity over individual heroism, but the result – an absorbing performance, equal parts serious and ebullient – seems well worth the effort.

JabFung performed at The Rex in Toronto on December 18 and 19, 2017.

Colin Story is a jazz guitarist, writer, and teacher based in Toronto. He can be reached through his website, on Instagram and on Twitter.

Every year in mid-December, audiences gather at churches and concert halls throughout North America to hear performances of Handel’s Messiah, the 1741 masterpiece that, although written for Lent, has become synonymous with the Christmas season. First performed in Toronto in December 1857, it was also the first work performed in Massey Hall when it opened in 1894, with hundreds of singers and players and thousands of attendees.

Given the tremendous number of performances offered to modern audiences, it is not uncommon to find truncated and modified interpretations of Handel’s oratorio, often billed as the “Christmas portion” or the “Easter portion,” with the occasional hodgepodge medley of movements thrown in (hello, “Hallelujah” chorus!). As you may have noticed in The WholeNote’s 2017 Messiah preview, there are also a number of ‘outside the box’ interpretations taking place this year, from arias-only concerts to electronic mashups, ensuring that every type of listener has access to Handel’s music, even if only in part.

Despite the temptation to go window shopping through these myriad options, there is something profoundly satisfying about hearing Messiah in its entirety, performed in its unabridged, three-hour original form. Tafelmusik does this every year in what is now an annual tradition, culminating in their sing-along Messiah led by Herr Handel (a costumed and in-character Ivars Taurins) himself, a massive (and massively fun) concert that gives choral aficionados from across Toronto the opportunity to be a part of the action.

An old adage says that “absence makes the heart grow fonder,” and Tafelmusik’s Wednesday performance of Messiah, led by Ivars Taurins, proved that to be true. A number of years have passed since I went to a live concert of Handel’s oratorio, in which time I had the privilege to study Historically Informed Performance and work with a number of renowned experts in the field. My early music brain, much like the Grinch’s heart, has grown three sizes since my first Messiah concert, and this return to the work as a concert piece was one of the highlights of my musical year.

From the opening orchestral chords to the closing Amen, Taurins’ interpretation, much like his style of leadership, was light, agile and energetic. The Sinfonia, a relatively brief French overture, was delightfully precise, and the relatively quick tempi taken throughout the entire oratorio ensured that there was dramatic continuity and musical flow from beginning to end. The dance-inspired forms which dominate Baroque music shone through, the essential gestures so well-articulated that I could see every slur, bow mark, and over-dotted note in my mind’s eye, a remarkable feat of focus and endurance on the part of the performers that brought every note to life. Pauses between movements were kept to a minimum: the opening chord of a recitative and aria immediately followed the conclusion of a chorus, the next chorus following closely behind, which not only maintained the narrative flow of Messiah but prevented the concert from extending into its fourth hour.

If Taurins’ conception of Messiah, with its obsessively worked-out details and sheer velocity, increased the demands on performers, it was not noticeable that evening. Soloists, chorus and orchestra met the challenge head-on, not once sounding insecure or uncertain. Indeed, the majority of those onstage have played and sung Messiah many times before, their expertise adding a level of surety and confidence that was not lost on this listener. Melismatic passages flew through the air with fleetness, fugal textures were clearly audible, and every musical aspect implied in the score was manifested in marvelous sound.

Within this overall standard of excellence, a few moments deserve special mention, the first being the on-the-spot adaptations made by the singers to accommodate ailing countertenor soloist James Laing who, being ill, was ‘replaced’ in multiple places. Soprano soloist Joanne Lunn sung the entirety of “He shall feed His flock,” thereby turning the soprano/alto duet into a range-testing solo, and choral countertenor Simon Honeyman saved the day by taking over for the magnificent alto/tenor duet “O death, where is thy sting?” Despite these impromptu adaptations (one of the perils of live performance!) the level of musicality was uncompromisingly high. The other (less nail-biting) highlights included what might be the best “Rejoice greatly” I’ve heard, a roof-raising “The trumpet shall sound” sung by baritone Brett Polegato, and an “And He shall purify” that showcased the Tafelmusik Chamber Choir at its finest, the challenging melismatic passages dashed off with apparent ease. (Of course, the “Hallelujah” chorus was expertly done as well, the audience standing at attention, some smiling at their immediate recognition of this famed moment in the context of its much larger whole.)

Regardless of whether you prefer your Messiah in whole or in part, performed in historical style, arranged in electronic modernity, or sung as in the “good old days” by a massive choir and orchestra, I encourage you to take time this year to explore this grand oratorio. Handel’s score is uncompromisingly delightful from beginning to end and we are fortunate to have ensembles such as Tafelmusik here in Toronto, consistently delivering delightful and excellent interpretations. It is rare to hear a live performance that is virtually flawless from beginning to end, much less when it involves three hours of constantly-changing music, but that is what we were treated to on Wednesday night – a marvelously nuanced overview of a quintessential Baroque masterpiece.

Tafelmusik presented Handel’s Messiah from December 13 to 16 at Toronto’s Koerner Hall, followed by a December 17 sing-along Messiah at Toronto’s Massey Hall. For information on upcoming performances of Handel’s Messiah, please visit our listings.

Matthew Whitfield is a Toronto-based harpsichordist and organist.