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Tms4-3 Cover TMS_4-3TorontoCover2.qxd 2006-04-08 6:35 PM Page 1 CLASSICAL › JAZZ › CONCERTS › CDs, DVDs, BOOKS › INSTRUMENTS SCENA.ORG Spring 2006 •Vol. 4.3 $4.95 Peter Oundjian ON NEW MUSIC PATHS ISSUE 12 JAZZ MOZART AND SINGING MUSIC CAMPS GUIDE SUBSCRIPTION GUIDE CONCERT PICKS OTTAWA, SOUTHERN ONTARIO 0 3 0 6 5 3 8 5 0 4 6 4 4 9 tms_4-2_layout/02-21 2005-11-16 10:21 Page 2 tms_4-3_layout3_/pp2-8 3/30/06 11:39 AM Page 3 May 26-28, 2006 The Historic Empress Theatre in Fort Macleod, Alberta ltural Ex A Festival www.windymountain.ca and Cu ploration of Cham isine Toll Free:be r800-540-9229 Music, Film, Cu Bernadene Blaha May 26-28, 2006 Lise Boutin The Historic Empress Theatre James Campbell in Fort Macleod, Alberta Cifra Steve Franse www.windymountain.ca Gerard Gibbs Toll Free: 800-540-9229 David Hoyt Music of Beethoven, Bartok, Chopin, Dohnanyi, John Lowry Graeme Mudd Farkas, Herzogenberg, Kodaly, Martinu, Schumann Gil Sharon and the Village Music of Hungary and Transylvania Rivka Golani, Artitsic Advisor Fort Macleod is located 1 hour from Waterton Lakes National Park, 30 Minutes from Head-Smashed-In Buffalo Jump UNESCO World Heritage Site and was the location of the filming of Brokeback Mountain. July 1– 8, 2007 St. John’s • Newfoundland & Labrador • Canada 6TH BIENNIAL INTERNATIONAL FESTIVAL Anúna OF CHORAL MUSIC & CELEBRATION OF SONG Special Guest Artists Perform! Attend workshops! Experience choral music from around the globe! Join an exciting international line-up of singers, guest artists and clinicians for this non-competitive, shared extravaganza in choral music. Feel the mystique of ancient Celtic traditions through the music of Ireland’s Anúna. Guest Conductors Guest Performers Deadline for choir applications: June 1, 2006. Download the application form at www.festival500.com. Come Solo! Don’t belong to a choir? Your choir not attending? Come Solo…attend concerts, workshops and Celso Antunes Lyn Williams Buddy Wasisname Mary Lou Fallis perform with the massed choir! Massed Adult Choir Massed Youth Choir and The Other Fellers Tel: (709) 738-6013 • Fax: (709) 738-6014 • www.festival500.com Spring 2006 3 tms_ONTARIO4-3_toc.qxp 2006-04-06 11:28 Page 4 th CONTENTS cene Ontario Edition Spring 2006 Vol. 4.3 Publisher La Scène Musicale / The Music Scene Directors Wah Keung Chan (pres.), Sandro Scola, Joan Gauthier Editor Wah Keung Chan Assistant Editor Réjean Beaucage CD/Books Editor Réjean Beaucage Jazz Editor Marc Chénard Contributors Claire Marie Blaustein, Christopher Bourne, Marc Chénard, John Defayette, Jacques Desjardins, Danielle Dubois, W.S. Habington, Kat Hammer, Felix Hamel, Robert Jordan, Sean McCutcheon, Gordon Morash, Isabelle Picard, Paul Serralheiro, Joseph K. So, Mike Vincent, Jef Wyns Cover Photo Gary Beechey Translators Danielle Dubois Proofreaders Elisia Bargelletti, Danielle Dubois, Sasha Dyck Graphics Christopher Bourne, Albert Cormier, Adam E. Norris, Jean-François Gauthier Website Normand Vandray, Mike Vincent, Linda Lee, Kat Hammer, Marc Galin Admin. Assistant Christopher Bourne, Adam E. Norris Regional Calendar Eric Legault Accounting Joanne Dufour Bookkeeper Kamal Ait Mouhoub Fundraising Gillian Pritchett Volunteers Maria Bandrauk-Ignatow, Wah Wing Chan, John Defayette, Lilian Liganor 6 Peter Oundjian Distribution Ottawa, Southern Ontario TORONTO’S MAESTRO Address 5409 Waverly St., Montreal Quebec, Canada H2T 2X8 Tel.: (514) 948-2520 / Fax: (514) 274-9456 Editorial (514) 274-1128 Advertising NEWS & PERFORMANCE JAZZ Kimberly Krautle (514) 807-5447 Mario Felton-Coletti (514) 948-0509 9 Notes 12 Jazz Books and Mike Webber (514) 667-1059 10 Mozart and Singing DVD Reviews [email protected] • Web : www.scena.org production – artwork : [email protected] 13 Jazz CD Reviews The Music Scene is the English Canada sister publication of La Scena Musicale. It is dedicated to the promotion of classical music and jazz. pring 2006 TMS is published four times a year by La Scène Musicale/The S REVIEWS Music Scene, a registered non-profit organization and charity. Inside, readers will find articles, interviews and reviews. p 16 CD Reviews La Scena Musicale is Italian for The Music Scene. Subscriptions Surface mail subscriptions (Canada) cost $20/yr or $35/2 yrs (taxes included) to cover postage and handling costs. Please mail, CAMPS fax or email your name, address, telephone no., fax no., and email address. Donations are always welcome. (no. 14199 6579 RR0001) 22 Camps Guide Ver:2006-03-31 © La Scène Musicale / The Music Scene. All rights reserved. No part of this publication may be repro- 11 New in Instruments 22 Up in the Old Hotel duced without the written permission of La Scena Musicale / The Music Scene. 28 Ontario Subscription Guide ISSN 1703-8189 (Print) ISSN 1703-8197 (Online) Canada Post Publication Mail Sales Agreement No. 40025257 29 Previews The Music Scene The Music NEXT ISSUE - SUMMER 2006 For Advertising: Summer Music Festivals • Summer Readings • Careers Street Date: June 7-15, 2006 Advertising Deadline: May 15, 2006. (514) 948-0019 Visit ads.scena.org for details. http://ads.scena.org 4 Spring 2006 tms_4-3_layout3_/pp2-8 2006-04-05 17:16 Page 5 4JHOVQGPSNVTJDMFTTPOTUPEBZ JXLWDU EDVV GUXPV SLDQR ZRRGZLQGV EUDVV PRUH %5$03721 %85/,1*721 &$0%5,'*( 0$5.+$0 0,66,66$8*$1257+<25. 26+$:$ 277$:$ 675$7)25' :$7(5/22 ORCHESTRA\BAND\KEYBOARD\CHAMBERMUSIC\VOICE\CHOIR\OPERA\ELECTROACOUSTICWORKS #ANADIAN -USIC #ENTRE WWWMUSICCENTRECA #OLLECTING DISTRIBUTINGANDPROMOTINGTHE WORKOF#ANADASPROFESSIONALCOMPOSERS ,)34%.50 %XPERIENCEWHATgSINSCORE 3T*OSEPH3TREET 4ORONTO /NTARIO-9* 4 & INFO MUSICCENTRECA tms_ONTARIO4-3_pg18-20b.qxp 2006-03-30 11:43 Page 6 BY CLAIRE MARIE BLAUSTEIN FOR MANY CONDUCTORS, setting foot on the podium is comparable to standing on the peak of Mount Olympus. Like the all-powerful Zeus, they appear impossibly distant from both players and audience members. Not so with conductor Peter Oundjian whose passion and warmth are palpable, even from the nosebleed seats of Roy Thomson Hall. Peter Oundjian ON NEW MUSIC PATHS A tms_ONTARIO4-3_pg18-20b.qxp 2006-03-30 11:38 Page 7 His climb to the podium has not been the most direct. Oundjian spent most of his musical career as a violinist in the Tokyo String Quartet but focal dystonia forced him to trade his bow in for a baton. “I stopped playing because I had a condition with my left hand that prevented me from having free- dom of movement. I had no choice but to stop playing, and I always had a passion for conducting. So it turns out that you never know where you’re going to have a silver lining. I can’t say that I’m glad that happened to my hand, but if it hadn’t happened, I would never be doing what I’m doing.” Oundjian first tried his hand at conducting and even in terms of response, it’s getting quicker at the Caramoor Music Festival in New York in 1995. and quicker. A closer relationship is developing, He made a splash at his premiere with the St. Louis musically, between myself and the players. Symphony in 1998, and served as music director of › What are you looking for in the sound? Amsterdam’s Nieuw Sinfonietta from 1998-2003. You’re looking for an enormous number of sounds Last year he returned to his native Canada to – more and more colours, more and more sensi- become music director of the Toronto Symphony tivity, more impulsiveness sometimes. The music Orchestra (TSO), but he nevertheless continues to dictates what you’re looking for in the sound. But maintain an active guest conducting schedule. At what I’m looking for, that whatever I’m picturing in the time of this interview, he was on the road in my head, I can get across and they can respond to Paris, to conduct the Orchestre Philharmonique de that. I think this is what’s developing – a kind of Radio France. Even through the phone, the distance instant sensitivity not only to sound, but delicacy between us was traversed as Oundjian spoke can- of phrasing and the making of a magical moment didly and engagingly about his transition to con- that is way beyond just sound. It’s a level of sensi- ducting, the New Creations Festival, and his hopes tivity that only the greatest orchestras really pro- for the orchestra. duce. TMS: Do you find that the focal dystonia affects › What do you feel is your role is in the orches- your conducting? tra’s interaction with the community? It seems PO: It doesn’t affect anything except when I play that you interact extensively with the audience the violin, which I actually just did for a fundraiser during concerts. last week. It’s always frustrating when I play the vio- In the concert halls, I try to make people feel wel- lin, because my fingers go into a spasm. But that’s come – to slightly de-formalize the introduction of why they call it focal – because when I play the it, though certainly not the music-making. piano, it doesn’t affect me at all, and it doesn’t Christoph Eschenbach [conductor of the affect anything in my daily life or conducting. Philadelphia Orchestra] used the term “raising the › What drew you to conducting? invisible curtain”, and I think that’s really good, When you’ve made music for people for that many actually. years, you’re addicted to it. I needed to find anoth- It’s also informing the public of what the Toronto er outlet, and I had always a passion for it – I had Symphony really stands for, and not what they’re studied conducting when I was young – so it was going to do, but what they already have done. We kind of the obvious thing.
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