Features

Q1: The opening work?

In our upcoming Mooredale Series program, pianist Benedetto Lupo will take us on a captivating journey through Nino Rota’s 15 Preludi. Each piece is imbued with its own distinct character and mood, together crafting an evolving narrative that flows through a range of tempos and emotions. We begin with the vibrant “Allegro molto,” transition through contrasting feelings – such as the introspective “Andante sostenuto ed espressivo,” and culminate in the vigorous “Allegro robusto,” creating a satisfying narrative arc.

In contrast, Aleksandr Scriabin’s 24 Preludi, Op.11 presents a fascinating departure from traditional storytelling. While showcasing a wide spectrum of emotions, many of these preludes, like Preludes No.4 and No.18, tend to feel more episodic or fragmented. Rather than adhering to a clear progression, they capture fleeting moments of expression, offering an intriguing contrast to Rota’s cohesive narrative. This approach reflects a broader understanding of musical storytelling, where the absence of a defined arc can evoke a unique emotional experience, inviting the audience to engage in a more impressionistic way

Q2: The concert as a whole? 

Starting the concert with Rota’s preludes sets a tone of accessibility and elegance, offering a light and engaging introduction. As the program shifts into Scriabin’s preludes, the atmosphere deepens, becoming more reflective, intense and emotionally rich, which heightens the listener’s involvement. This order works effectively because it creates a natural progression, both emotionally and technically, allowing the concert to gradually build toward Scriabin’s profound, almost mystical sound world.

From a practical viewpoint, this structure benefits the performer as well. Rota’s preludes, while musically expressive, are less demanding compared to Scriabin’s. This makes them an excellent way to ease into the performance before tackling Scriabin’s more challenging and emotionally charged pieces. The flow of the concert feels organic, with the music growing in complexity and emotional weight.

In essence, pairing Rota’s and Scriabin’s preludes offers a well-rounded journey that moves from neoclassical simplicity and grace to the Romantic intensity and depth of Scriabin’s music.

Q3: Shaping the season?

Looking at the season as a whole, a clear guiding principle emerges: a blend of innovation, tradition, and cross-cultural dialogue. The concert series emphasizes diversity in programming, both in terms of repertoire and instrumental combinations, creating a season that spans multiple musical worlds and styles. The overarching principle is one of balance between contrast and cohesion. Each concert creates its own emotional and stylistic narrative while contributing to a larger season-long exploration of different musical traditions and emotional arcs. Across the season, the audience is taken on a journey through different musical landscapes, from classical and neoclassical to Romantic, contemporary and Latin American influences. The programming invites listeners to experience both the familiar and the new in an engaging, progressive arc. 

Wonny Song is Mooredale Concerts’ Artistic Director. Benedetto Lupo, piano is at Walter Hall, University of Toronto, on October 20, at 3:15pm.

The sweep of this year’s X-Avant festival October 15-19, titled TeXtures, suggests a "hive mind" at work, rather than a single curator. Who else was involved and what was their role? And what was the process over time?

The majority of the festival curation was done by myself, however, like any good curation, you use the strength and expertise of your community. Programming a festival like this requires a delicate dance – creating a lineup that’s both expansive and cohesive. I put a lot of effort into representing a wide array of communities and ensuring that, alongside the expected experiences, there are moments of surprise – those unexpected additions that encourage audiences to open up to new musical styles. Small shifts in programming can have a large impact, and we’re very attentive to community input to keep evolving in a way that resonates with everyone involved.

The spark for TeXtures’ first program at Allan Gardens was Japanese-born artist, composer, and curator. Aki Onda who was born in Japan and resides in New York, and wanted to bring Phew to North America. We agreed that she would be the perfect artist for a cross-Canada tour this year, kicking off in Montreal and concluding in Vancouver, with four stops along the way, one being The Music Gallery. 

Our "Exit Points" program was brought forth by Michael Palumbo, and Tad Michalak, a member of our curatorial team,  deserves a shout-out as well for introducing me to Rafael Toral, one of our resident advisors this year, who adds another unique layer to this festival. The remaining lineup was shaped by the artists I wanted to bring to the Music Gallery this year, choosing people I wanted to prompt with this theme.

You’re going beyond your home base at 918 Bathurst this year – Allan Gardens as mentioned, and also a venue new to the WholeNote team – The Bridge (Ukai Projects) on Adelaide W. for night 4.

Well, 918 is not physically accessible, and our organization  recognizes the importance of addressing this to make our events truly inclusive. Accessibility is a crucial factor in making our spaces welcoming to all communities, especially those who require additional support. It’s something we are continuously working toward improving to ensure that our events are for everyone who wants to attend.

I also believe that effective creation extends beyond just the artist—it’s deeply connected to the setting. Some events truly come alive in smaller, more intimate venues, while others benefit from a larger space to amplify the experience. For me, the process is about making sure the space itself feels right for the concert, as it’s not simply a matter of booking an artist and placing them on a stage. Half of the impact lies in ensuring the venue complements and elevates the performance, allowing the artist and the audience to feel fully immersed in the moment.

Talk about “TeXture” as a theme: does the theme come first or last or somewhere in between for you?

I usually begin programming with a theme; it helps me think outside the box and explore how playful programming can unfold in unique or unexpected ways. For instance, “Texture” emerged from the idea of exploring how texture can be understood not only in music but as a cross-disciplinary tool. It serves as a kind of creative glue, providing cohesion while also prompting artists to consider how their work can interact with and be shaped by textural elements. 

This thematic approach offers a framework for artists to think about their art in new contexts, encouraging them to explore dimensions they might not typically consider. I think it’s a powerful tool to prompt artists and encourage them to think beyond their practice, especially for an experimental music space.

The lineup for the final concert, from Glass Orchestra to Future Proof straddles the Gallery’s history.   

I truly believe that a great community space should be multigenerational, multidisciplinary, and a place where learning, sharing, and growth happen from all sides. It’s about creating an environment where people of all ages and backgrounds can connect, exchange ideas, and learn from each other. This kind of space fosters a dynamic, inclusive community that thrives on diverse perspectives and experiences, ultimately strengthening our collective understanding and creativity. That’s why I think this [articular day is both unhinged, and also perfectly playful. We’ll see how it goes!

In what ways does this year's X Avant reflect what you've brought to the Music Gallery (and what the Music Gallery has offered you?)

When I inherited this festival, it was primarily designed to explore genre. However, I don’t typically program within strict genre streams, which to be honest, was a challenge at first. To address this framework in my own way, I started looking at how to blend communities, reimagine spaces, and explore a single theme to see how various artists might interpret it. This approach has shown me that genres aren’t as rigid as they may seem; in fact, there’s room to create new hybridizations of sound, tracing back to the origins of genres while giving them space to evolve.

Sanjeet Takhar was appointed Artistic Director of the Music Gallery in November 2020.

Barely a week before going to press, we wrote to a handful of individuals responsible for planning concert seasons in our neck of the woods. We explained that we were thinking of launching this feature, ARCS, and were hoping to get enough of a response within the next few days to get it going in this Oct/Nov print issue and then continue it online over the course of the fall.

The Canadian, for the uninitiated, is the train that travels twice weekly from Vancouver to Toronto. While it’s largely marketed as a “cross country” experience, its route also acts as an essential inter-community link for people who live north of the Trans-Canada highway.

It has always been fascinating to observe the processes that Tafelmusik engages in to keep up with the times, while remaining consistent to the principles that have marked the organization since its inception: highly successful concert series with innovative programming; decades of international touring; award-winning recordings; annual education programs, a deep commitment to historically-informed performance practice and scholarship; and inspired and inspiring leadership.