Features

In May 2019 The WholeNote had a call from Lauris DaCosta, on behalf of The Hymn to Freedom Project, asking if we’d give permission for  our Feb 2013 cover, featuring Jackie Richardson and Joe Sealy, to appear in a music video project featuring Oscar Peterson’s Hymn to Freedom. (That particular WholeNote cover was for a story by Ori Dagan called Africville Revisited). We were delighted to be asked, and sent the cover along.

DaCosta explained that for many years in the United States, Lift Every Voice and Sing has been the American “Black national anthem.” But Black history is Canadian history too, and she believed we should have a Canadian anthem for that, because getting people to sing together is a very good way of getting people to engage with that history. Her idea was that Peterson’s  Hymn to Freedom could be that anthem. With pianist Oliver Jones, who was a good friend of Peterson’s, and with Oscar’s wife Kelly Peterson, the plan was born. A stirring new choral arrangement was done by Corey Butler, musical director of Toronto Mass Choir, and it premiered in Waterloo in March 2019.

Fast-forward to January 2021, we were excited to learn that the video project was completed and available for sharing. Along with the anthem, the video The Many Roads to Freedom features an extraordinary range of images – historical through contemporary – offering “glimpses of the integral, extensive influence and part that Black Canadians have played in the building of our country, Canada.”

Of late, the topic of  mentoring has been on my mind. Your Dictionary defines a mentor as “someone who guides another to greater success,” but one of my favourite quotes on this topic comes from flutist and composer, Robert Aitken: “You can only teach a person two things: how to listen, and how to teach themselves.” Particularly in this latter sense, I have experienced the joys and benefits of being mentored at various points of my life, as well as opportunities to “pay forward” what I have learned. 

Particularly memorable, in the former category were my high school band teacher, my graduate school advisor, my trainer as a new recruit at CBC Radio in 1973, and Glenn Gould, whom I worked with often in the ensuing years. 

Then, as my professional career developed, one detail of my personal history seems to have forecast how my own involvement in the role of mentor would evolve. In 1969, while still a university student, I had the good fortune to be named as a Fellow by what was then the Woodrow Wilson National Fellowship Foundation (now The Institute for Citizens & Scholars). The panel of examiners for the Foundation was charged with the task of finding scholars entering graduate schools, whom they felt possessed the potential to become outstanding future teachers. I suppose, in retrospect, those perceptive examiners were on to something, although teaching “on the job” has always come naturally for me rather than as a formal profession.

At the beginning of January, I received a call from a friend of mine – a drummer – who was in the process of applying to the Master of Music program in jazz at the University of Toronto. Had he been applying last year, he might have asked me to play with him for his live audition. This year – in the midst of January’s stringent lockdown protocols – he asked me to play on his audition video. This prompted a simple question: what does auditioning for a music program in the physically distanced winter of 2021 entail?

Many WholeNote readers – whether you’re a professional musician, community orchestra member, chorister, or the best damn Betty Rizzo that ever graced the stage of an Elgin County high school – will have some experience with the audition process, in a general sense. For what this usually looks like in an academic context – and how things are different this year – here is some background, drawn from my own experiences as a university music student, as well as two years spent as the admissions and student services manager at the RCM’s Glenn Gould School, from 2015 to 2017. 

Postsecondary music program auditions are generally relatively simple affairs: applicants come to a room at an appointed time, play selections from a repertoire list assembled by the school, have a brief interview with the audition panel, and leave. The composition of the audition panel is, typically, dependent on the instrument group auditioning, and usually involves both faculty representatives (e.g. piano faculty for piano auditions) and representatives from academic leadership (e.g. a program head). The panel takes notes, discusses the auditions, and makes recommendations to an admissions committee, which then embarks on a lengthy administrative process that addresses itself to merit-based financial aid, program number targets, teacher requests, offers of acceptance and waitlist, and other decisions. 

One of Canada’s busiest conductors is just back from Hong Kong, where she conducted Don Quixote from a COVID-proof orchestra pit. She spoke with Lydia Perović via Zoom from her home in Guelph.

LP: Hi Judith Yan! Oh, what’s that artwork behind you? 

JY: This here is a print of Jackson Pollock. But then this round one here, this is our favourite. It’s by a Guelph-area artist, Chelsea Brant; we have two of her works. She’s fabulous. And this one over here, that’s by Amanda. [Yan’s partner Amanda Paterson, the artistic director of Oakville Ballet and Oakville School of Classical Ballet] And then there’s the dog, have you met the dog? Mexxie, come here buddy, come say hi! He’s the best. 

(Mexx the black and white Shih Tzu comes into the frame, checks out what’s going on.)

What were the last eight months like for you? I expect you had a busy start to the year, and then mid-March happened! 

When it became apparent that the pandemic was not going to be a two-month event and was in fact going to be with us for many months, Tricia Baldwin asked herself, “What can we do to amplify the voices and creativity of artists, students, creators and educators?” As the director of the Isabel Bader Centre for Performing Arts in Kingston, Ontario (known simply as “The Isabel”), Baldwin, and her colleagues, recognized not just a need, but an opportunity. The result is the IMAGINE project.

“This COVID-19 period is an excellent time for artists to immerse themselves in artistic ‘R&D’ to explore new collaborations, styles, concepts and performance practices and come out of the pandemic with enriched artistic voices,” Baldwin told me. With performance demands severely curtailed, many artists have time now to dig into projects and ideas that they might not normally have the energy and brain space to pursue. As well, performing has taken on new dimensions, hastened by the pandemic, with online presentations and streaming increasingly becoming the norm.

Baldwin and her colleagues wanted to offer The Isabel, with its state-of-the-art lighting, video and audio equipment – along with the acoustical beauty the hall is renowned for – to artists so they could learn new skills and ways of presenting their works. “We see this as an incubator, not only for new works but for new performance practices and processes,” said Baldwin. “We want to give people a safe space to work in so they can take artistic risks and try out different media.”

When the call for applications went out via getacceptd.com, The Isabel was initially planning to offer five or six spots in the program. However, they got such an enthusiastic response from the artistic community, receiving applications from a range of musicians, performers and educators with interesting ideas, that Baldwin approached the Kingston-based Ballytobin Foundation to increase the funding. Ballytobin willingly stepped up, and the result was that The Isabel was able to offer spots to 20 different groups/artists.