WholeNote readers who remember with affection Jim Galloway’s 16 years as Jazz Notes columnist with The WholeNote will be interested to know that the James Cullingham/Tamarack Productions documentary, Jim Galloway: A Journey in Jazz, will receive its premiere (free) live screening at Church of the Redeemer (Bloor and Avenue Rd.) on Thursday, June 28 at 7pm. This will be its only live screening prior to its broadcast on TVO on Thursday July 5 at 10pm. The screening will be followed by a live performance by saxophonist Mike Murley and pianist Mark Eisenman.
Given Galloway’s 23-year relationship as founding artistic director of Toronto Downtown Jazz, it’s fitting that the June 28 screening is under the auspices of TD Toronto Jazz Festival – Church of the Redeemer being one of eight Yorkville area venues, indoor and out, that will be hosting performances during the festival.

The Ken Page Memorial Trust (one of Galloway’s passionate causes) and The WholeNote have been co-presenting twice- or thrice-yearly reunions of the Galloway Wee Big Band, with Martin Loomer at the helm, at the Garage here at 720 Bathurst St., Toronto (The WholeNote’s home base). The hundreds of Galloway fans and WholeNote followers will get a special kick out of the footage in the film from one of those events. But the film also traces a wide geographic arc (Dairy (Scotland), Glasgow, Kansas City, Vienna), as it depicts some of the things that made this remarkable jazz ambassador tick.

Anyone who attended the most recent of those 720 Bathurst events will be particularly pleased at the choice of Mike Murley for the live set that follows the film. Murley guested with the Wee Big Band for this year’s February 15 Garage reunion event, and laid down an evening of the kind of playful, punny, sweetly considerate lines that were a hallmark of Galloway’s own memorable melodic style.

Jim Galloway: A Journey in Jazz will receive its free premiere screening, featuring performances by saxophonist Mike Murley and pianist Mark Eisenman, at 7pm on Thursday, June 28, at Church of the Redeemer, Toronto.

David Perlman can be reached at publisher@thewholenote.com.

Over the course of five seasons and 71 concerts, Pocket Concerts continues to realize their goal of providing an intimate classical music experience. Co-director, violist Rory McLeod, says it’s the immediacy of the music that comes through in the venues they choose, most of which are hosted by local music lovers in their own homes. But there was a slight difference in the June 3 season finale: the hosts’ regular venue being unavailable, their enterprising search for a substitute led them to Only One Gallery, a large space with exposed brick walls in an alley off Brock Ave. just north of Queen, that comfortably seated 60 spread across four widely spaced rows.

The room’s acoustic was electric with a transparency that generated the immediacy McLeod mentioned to me. The choice of music and musicians undoubtedly contributed as well. The two pieces featured in the concert – Schulhoff’s Duo for Violin and Cello and Schoenberg’s string sextet, Verklärte Nacht (Transfigured Night) – were works that McLeod had long wanted to program. Once he had worked out the logistics of bringing together string players from as far away as Halifax and Winnipeg, he was able to go ahead. The disparate nature of the participants made the Sunday afternoon recital into a kind of mini-festival, with Mark Lee, assistant concertmaster of Symphony Nova Scotia, violinist Elizabeth Skinner of McGill, Keith Hamm, principal violist of the COC, Leana Rutt, assistant principal cellist of the Winnipeg Symphony Orchestra, Julie Hereish, assistant principal cellist of Orchestre Symphonique de Québec, and McLeod himself on viola.

Schulhoff’s Duo for Violin and Cello opened the proceedings. Filled with Czech folk music, rhythms and dance, it was a showcase for the ardent playing of violinist Mark Lee and cellist Leana Rutt. Lee foregrounded the rich variety of sound from exposed and plaintive to jagged and rhythmic, from the earthy power of a Roma-flavoured peasant dance to the sensuality of the agitated finale. Rutt’s cello proved a compliant partner, from bittersweet accompaniment to melodic dialogue, all resoundingly live in the space.

Schoenberg’s Transfigured Night is an intense emotional journey inspired by a poem by Richard Dehmer, in which a woman confesses to her lover that she is pregnant by another man, but over the course of a moonlit walk through a bare, cold wood, the lover tells the woman that he will accept the stranger’s child as his own. The level of sensuality in the music rivals Wagner. The shift to D Major, which echoes the man’s acceptance of his lover’s confession, is a broad stroke of hyper-Romanticism, beginning the transfigurative process that occupies the last half of the work. The door to the gallery from the alleyway was open during the concert and, in a kind of pathetic fallacy, a burst of fresh air entered the space to herald the comforting harmonies that follow this key change. Moody, tense and filled with climactic waves in its first half, the piece settles into a lovely upward figure that rises from the strings to set the tone that all will be well in life and art. It was as if, in going on such a powerful, musically complex journey with this work, Schoenberg had reached the limits of conventional tonality.

All Pocket Concerts include wine and snacks following the music, an intimate impromptu cocktail party that encourages audience and music-makers to interact. So it was I learned that it took only a full day of rehearsal the previous Saturday to prepare for the concert we had just heard; a tribute to the professionalism and musicianship of the performers.

An ad hoc quartet of Hamm, Skinner, McLeod and Hereish performed two encores: arrangements of Nordic folk tunes by the Danish String Quartet. The first, a Danish fiddle tune, flourished in the string quartet format; the second, Peat Dance, had a distinct Scottish feel and an energy which the audience clearly appreciated.

Paul Ennis is the managing editor of The WholeNote.

We are proud and happy to say that yesterday (May 16, 2018) The WholeNote was among the award winners at the annual Toronto Arts Foundation Mayor’s Luncheon at the King Edward Hotel.

The WholeNote was awarded the Roy Thomson Hall Award of Recognition, in support of work within the local music community. Other TAF Award winners include RISE Edutainment (Arts for Youth Award), Ruth Howard of Jumblies Theatre (Celebration of Cultural Life Award), Jivesh Parasram (Emerging Artist Award), and Active Green + Ross and RBC (Toronto Arts and Business Award).

In accepting the RTH award on behalf of The WholeNote, publisher David Perlman spoke to the block by block city-building vision shared by TAF and The WholeNote, as follows:

“I want to acknowledge Allan Pulker, co-founder of TheWholeNote (or Pulse as it was originally known) 23 years ago. His unshakeable belief in the richness and variety of Toronto’s grass-roots music scene is the reason The  WholeNote exists. I also want to thank Sharna Searle who nominated us for this award. It took her three years to persuade us, mind you. We are more comfortable telling stories than being in them.

I can’t name everyone else -- our eight-member core team; 30 to 40 writers  every issue; a five-member listings team who come up with 400-500 live performance listings each month; the 20-25-person distribution team regularly carrying 30,000 free copies per issue to 800+ locations where a deeply loyal readership snatches them up.  

To the finalists and other artists in this room, flag-bearers for countless others for whom the arts are necessary to feel fully alive, thank you for being passionate contributors to all our city’s villages -- street by street , block by block. Thank you for giving us something to write about. And to the Toronto Arts Council and the TAF, the knowledge that you share our belief in a grass-roots music city makes this award very special.

Make no mistake, though: the grass-roots “music city” is at risk. Housing/land cost is displacing artists, along with the rest of the working poor, from our overheated downtown; small-scale live performance venues are disappearing one by one. Outside the downtown, the nurturing  of block-by-block cultural life across our metropolis is a mighty challenge -- painfully slow because it is a process of planting not paving.

It’s astonishing, thinking back, that the breakthrough technology that helped launch this magazine was … the fax machine! Now we must all adjust, almost daily, to the ongoing challenge of dizzying change with all its dangers and opportunities. What a story it promises to be.”

Sometimes, to really capture an accurate snapshot of a city’s music-making, you need to look at what its professional musicians do on their days off.

Take Toronto violinist Edwin Huizinga, for example. Though perhaps most visible for his violin work for Tafelmusik baroque orchestra and Toronto folk band The Wooden Sky, Huizinga is a leader in what he calls Toronto’s “indie chamber music scene.” In other words, like many of the city’s professional music-makers, when Huizinga isn’t performing for other organizations, he self-presents his own concerts – smaller, community-grounded shows, the likes of which are vital to Toronto’s cultural life.

Huizinga, along with violist Keith Hamm (principal violist of the Canadian Opera Company orchestra), is co-artistic director of Stereo Live – a chamber music series based out of Toronto’s historic Campbell House that seeks to provide an alternative approach to rock, bluegrass, and classical chamber music, in an intimate and welcoming setting. Now in its fourth season, Stereo Live has earned a reputation for taking a fresh and innovative look at the programming of local chamber music.

On Monday, May 21, Huizinga and Hamm will present their final Stereo Live show of the 2017/18 season. Featuring violinist Mark Fewer and drinks from Grape Witches, the concert will pair classical music for strings with a selection of natural wines.

In a phone conversation this week, Huizinga talks about how he, Hamm and Grape Witches (wine importer Nicole Campbell and sommelier Krysta Oben) found resonances between indie chamber music and indie wine.

“Nicole and Krysta are friends of mine, and have been for some time,” he says. “A couple of years ago, they reached out to me to be a ‘classical DJ’ for one of their wine evenings, and we started talking about how music – really amazing-calibre classical music – could be paired with really high-quality wines.

“[For this Stereo Live concert,] I sent the Grape Witches the program, and I gave them specific links of recordings that I loved – and we had a lot of conversations about how the music felt to them, and how they reacted to it,” Huizinga explains. “We also talked a bit about the composers’ history and where they grew up, and what was happening at the time culturally. It was a really interesting way to discuss that whole world with another kind of artist. And since they focus on natural wine, there are so many stories that they have about the old ways of producing wine – just like the stories we have in classical music.”

The May 21 concert program features Mark Fewer in solo violin works by Ysaye, Schulhoff, and John Novacek/Atar Arad, as well as a performance by Fewer, Huizinga and Hamm of the Kodaly Serenade for two violins and viola.

“I can’t believe that Mark Fewer is going to headline the event,” says Huizinga. “He’s one of my old teachers, and we have a long history of working together – and now, we work together a lot professionally, which is really nice. And it’s kind of a celebration to have him here, because he doesn’t perform solo very often in Toronto.”

The concert will also feature two students from the Royal Conservatory’s Glenn Gould School, in a performance of the second movement of Ravel’s Sonata for Violin and Cello – a part of Huizinga’s own initiative to support the city’s emerging young performers.

“It’s kind of a full circle story,” says Huizinga. “I went to YAPA, when it was called that  – the Royal Conservatory’s Young Artists Performance Academy – and that’s where I studied with Mark Fewer for five years. Which definitely changed my life, and is probably the only reason I’m still playing violin – and why I’m pursuing jazz and folk music and improvising, and all of that stuff, because he was a person and a teacher who really explored those kinds of things as well, and I’ve always really looked up to him for that. And so my goal for Stereo Live is to always have a young artist opening each show.

“There are so many hurdles with classical music – and one of them is that young artists never perform,” he adds. “As a student, I performed maybe three times a year. And if you actually want to have a career in music – right now, I’m performing 160 concerts a year, or something like that. So now these kids are going to show up, and their parents are going to come too, possibly – and their parents might be inspired to help their kids continue to do what they want to do. And I haven’t met this particular violin student yet, but if he’s interested in continuing his studies in violin and looking for [direction or connections], a 5-minute conversation with Mark Fewer could change his life.”

Ultimately, for Huizinga, it all comes down to cultivating a lively “small-scale” classical music scene – one that is innovating and inviting, and that inspires audiences and performers to engage with chamber music in new ways. And in his mind, continuing to devote time and effort to the “indie” side of classical music is the way to do it.

“I want these events to grow and continue in Toronto,” he says. “I want these little pockets of organic, indie, community, whatever you want to call it, to grow – and to stay alive.”

“Stereo Live presents: Mark Fewer” takes place May 21, 8pm at Campbell House, Toronto. More information can be found at https://www.facebook.com/events/2046580315382339/.

The Tafelmusik Baroque Orchestra closed its season Sunday afternoon with Beethoven on period instruments. It was the fourth iteration of this bill and nearly filled the 1,100-seat Koerner Hall. The program was guest-conducted by Bruno Weil, a distinguished German musician with a well-deserved reputation as a probing interpreter of Viennese classics.

Jeanne Lamon, music director from 1981 to 2014, ceded that title to Elisa Citterio from Italy, who joined the orchestra at the start of this season. On Sunday, Lamon was back as guest concertmaster, so that Citterio could play the Beethoven Violin Concerto: the Mount Everest of violin concertos, and not a work one usually associates with period instruments.

Every classical music lover knows the Beethoven Violin Concerto, but few know the work in a sound the composer himself would have recognized. Citterio and Weil applied themselves to the lofty rhetoric with spirit and without inhibition or apology. Citterio in particular added an indefinable element of soul and serenity that lifted her performance well above the realm of hidebound “authentic” recreation. From her first entry, she revealed a vital engagement with the music that was anything but dry, thanks to her temperament. In the lengthy opening movement (which never sounded long) she scanned the soaring phrases with sensitivity to harmonic underpinnings, and resisted lapsing into mechanical recitation.

The sound of the timpani (kettledrum) a crucial structural element, had a zesty “bite” to it. Cadenzas were not the customary ones by Fritz Kreisler, but composed by Carlo Citterio, Elisa's brother. The siblings collaborated to adapt the cadenzas to her own ideas. (The one for the Finale was just a bit long.)

Tempos were brisker than usual, as Weil cultivated heightened clarity and transparency of inner parts while faithfully tracing the drama. In Beethoven’s “Pastoral” Symphony No. 6, which ended the program, the vernal score sounded freshly-minted, especially the outer movements. Weil conducted the opening stanza almost as a sequence of upbeats, the pungent woodwinds springing to life. The “Awakening of joyous feelings upon arrival in the countryside” was actually joyous, not too heavy.

Though the three middle movements didn't scale the same heights, the Finale again showed Weil as a fount of rhythmic and stylistic energy, a musician to his fingertips. Meanwhile, the Tafelmusik orchestra gave every indication that it likes (even loves) what it does. As it gets set to embark soon on a three-week tour to Australia, one can only wish that its spirit will persist – alongside the relationships with Elisa Citterio and distinguished guest conductors such as Bruno Weil.

Tafelmusik presented “Beethoven Pastoral Symphony,” featuring violin soloist Elisa Citterio and guest director Bruno Weil, on May 3 to 6 at Koerner Hall, Toronto.

Stephen Cera, a pianist, journalist and concert programmer, played recitals with Jacques Israelievitch not long before the untimely death of the late TSO concertmaster. He lectures widely about music, writes about international classical music events for MusicalAmerica.com, and maintains a blog at www.stephencera.com.

Gerald Finley has a baritone which casts a bass shadow. A voice dark and ripe and opulent that doesn’t lighten gladly, but the ear won’t mind two hours of it because Gerald Finley the dramatic interpreter and wizard of inflection comes with it.

Finley and one of the most in-demand accompanists today, Julius Drake, presented a German and Russian program at Koerner Hall this past Sunday, April 22. The first part assembled poems by Goethe set to music by Beethoven and Schubert, two almost exact contemporaries (the older man died 1827, the young one the year after) whose songs however belong to two different eras. Beethoven is not known for his vocal music and next to Schubert’s songs his come across as plainer, simpler melodies, playful or curious rather than stirring. In Finley’s hands the songs grew to become little scenes, delivered smoothly in his precise enunciation.

Schubert’s Goethe was a different Goethe. The set was capped with arguably the best known Schubert song, the infanticidal Erl King, but began with the long Prometheus lied, D 674. The Prometheus of this poem is defiant, not yet punished by Zeus, proudly creating humans after his own image. At the time of its creation the song could have signified political rebellion against the powers of the state, or personal rebellion of young creative men against their fathers, but the text has lost much of its resonance for audiences of our time and is potentially overlong and self-important. Not here: again, Finley worked his magic with the text and the song became a meaningful cri de coeur.

An den Mond (To the Moon) stood out from the set by its languid pace and silvery lyrics, while An Schwager Kronos (To Coachman Chronos) swept though in a gallop.

The secondhalf, all-Russian, was shared between Tchaikovsky and Rachmaninoff. Tchaikovsky’s four songs came out as positively moderate next to the Rachmaninoff set. Rachmaninoff gives the pianist a lot to do, and is no stranger to a sweeping cinematic statement. An orchestra might have been present in the downers-with-high-dramatic-peaks O nyet, molyu, ne ukhodi! (Oh No, I Pray, Don’t Leave), O, dolgo budu ya (In the Silence of the Night), and Na smert chizhika (On the Death of a Linnet) but it was indeed just these two men onstage. A lot of chiaroscuro is required there, which Finley created through sensitivity to the text rather than vocal timbre (which stayed consistently as dark as plush velvet). Julius Drake from the keyboard supplied Romantic excess where Rachmaninoff calls for it.

One number in the Rachmaninoff set was actually fun: Sudba (Fate) – a song in which the singer voices more than one persona, in the vein of Schubert’s Erlkönig – had Finley (and us with him) delighting in the onomatopoeic sound of fate knocking on various people’s doors. The final song in the official program was the astonishing and astonishingly exaggerated Vesennye vody (Spring Streams), which starts by cranking up to 10 and stays there for its remaining two minutes. But Finley and Drake made it sound almost natural.

The encore was reserved for songs in the English language – Barber, Copland, Healey Willan, and a Britten arrangement of The Crocodile, a folk song recounting how a man ended up eaten up by the gigantic reptile and spent ten years inside it, “very well contented.”

As was the audience on this night.

Gerald Finley and Julius Drake presented a recital program on April 22, at Koerner Hall, Toronto. They continue to tour this program to Washington DC, Georgia and NYC. Finley will have an extra stop in Montreal, with pianist Michael McMahon (Info).

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