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1 Volume 30, No. 1 Volume 30, No. 1 1 Toronto Early Music News Is a news bulletin of the Toronto Early Music Centre (TEMC). Opinions expressed in it are those of the authors and may not be endorsed by the Toronto Early Music Centre . Unsolicited manuscripts, letters, etc. are welcome, as is any information about early music concerts, events, recordings and copies of recordings for review. Subscription is free with membership to the Toronto Early Music Centre. For rates and other membership benefits, please call 416­464­7610, send e­mail to [email protected] or write to us at the Toronto Early Music Centre (TEMC), PO Box 714, Station P, Toronto, ON M5S 2Y4. Web site: www.torontoearlymusic.org Toronto Early Music Centre Board of Directors Frank Nakashima, President Michael Lerner, Secretary Kathy Edwards, Treasurer John Edwards Jenni Hayman Paul Jenkins Michael Lipowski Sheila McCoy Janos A. Ungvary The TEMC gratefully acknowledges the support of the City of Toronto through the Toronto Arts Council, the Church of the Holy Trinity, Montgomery’s Inn. 2 Volume 30, No. 1 Contents of Vol. 30 no. 1 News Items.............................................4 Speak Up................................................4 Email News and Updates...........................5 TEMC Renewal.........................................5 Dolmetsch Recorders for Sale....................6 The TEMC Vocal Circle...............................6 Toronto Viol Circle....................................7 CD Reviews............................................11 DVD Reviews..........................................22 Contributors: Frank Nakashima; Paul­James Dwyer Editor: Frank Nakashima Graphic Designer: Sam Brushett Volume 30, No. 1 3 News Items Speak Up! The Toronto Early Music NEWS welcomes your commentary! Please include your name, city of residence, e­mail address, and phone number with all correspondence. Send to: Toronto Early Music Centre, PO Box 714, Station P Toronto, Ontario M5S 2Y4 e­mail: [email protected] The Toronto Early Music NEWS reserves the right to edit letters for clarity, style, 4 Volume 30, No. 1 Email News And Updates If you would like to be notified of upcoming concerts, early music news, and updates, by e­mail, just let me know by contacting me at my NEW address – [email protected] – and I’ll add you to my list. Try it. Just make sure that my e­mail address is included in your list of “contacts” so that the junk mail filters don’t block me out. Keep up to date with this special service. If you don’t like it, or if there’s more than you can handle, don’t worry. It’s just as easy to cancel. Have You Been Wondering If Your TEMC Membership Has Expired? If you can’t remember, or if you’ve lost your membership card, just give me a call 416­464­ 7610 and leave a message, or send me an email: [email protected] – I’ll check your membership status and then let you know. If your membership has expired, and you would like to renew, please fill out the form at the back of this newsletter and mail it to: PO Box 714, Station P Toronto ON M5S 2Y4 – Make sure to include your cheque or credit card number. We now accept American Express. If you would like to make a payment by telephone (using any credit card – Visa, MasterCard, or American Express), please cal me, Frank Nakashima, at 416­464­7610, leave a message to tell me the best time to call you back. Thank you very much! Volume 30, No. 1 5 The TEMC Vocal Circle The Toronto Early Music Centre’s www.Medieval.org “Vocal Circle” usually takes place The web’s largest reference for on the last Monday of the month, European Medieval and at 7:30 p.m. Renaissance music since 1994 NEW LOCATION: 96 Barker Avenue, offers the answers to many Toronto M4C2N6 diverse questions relating to early 2 blocks N of Mortimer (note: music, complete lyrics of becomes Lumsden on E side of Guillaume de Machaut; Woodbine), 1 block W of Woodbine explanations of Pyt hagorean Admission to this circle is FREE to tuning and hexachords; listings of members of the TEMC. Otherwise, scores, sources, instrument the cost is $5.00 per session for builders; CD reviews and some non­members. performer and composer discographies, not to mention a Theoretically, the Vocal Circle was discussion forum. Wow! meant to be a symposium or forum for historical choral/vocal performance but, in actuality, it is a Clarnan Editions non­performing, recreational reading group. This is intended to Clarnan Editions on 235 Baxter be a certified stress­free, Lane in Fayetteville AR musically­friendly environment. 72701 was founded in 1982 by While musical training and vocal Barbara Garvey Jackson (PhD ability is helpful, anyone who has musicology Stanford), who edits an interest in this fascinating, little­ and publishes historic 17th and known, and rarely­performed 18th­century music by mostly repertoire to drop in and try women composers, ... at the singing, or even just listen! moment, almost 100 titles! Please note that this is a scent­ www.clarnan.com free environment. Please refrain from wearing cologne, perfume, aftershave, or scented products. Thank you. If you have any questions, please feel free to call me, Frank Nakashima, anytime at (416) 464­ 7610. Also, please try to keep me informed as to your voice type and your intentions to attend (or not) so that I can conscientiously plan the evening’s singing. 6 Volume 30, No. 1 —San Francisco's Summer Bach Grammy Award Festival—this 30­minute film explores the work from the Charpentier's La Descente perspectives of ABS musicians d'Orphée aux Enfers. At the who perform it each summer. recent (57th) annual Grammy Interviews with ABS Music Awards, this recording became Director Jeffrey Thomas, violinist the 2nd win by an early music Elizabeth Blumenstock, bassist ensemble in the Best Opera Steven Lehning, flutist Sandra Recording category! It was also Miller, oboist Debra Nagy, the first win in ANY category for trumpeter John Thiessen, and an American ensemble on period others, illuminate the work’s instruments! (I hope I've history, musical structure, and understood this correctly ­ FN) artistic challenges as well as the rewards of revisiting it annually in www.BEMF.org performance. Admired for its colossal Toronto Viol Circle dimensions and encyclopedic stylistic variety, the Mass in B Toronto Viol Circle presents Minor is in many ways the workshops for viols, featuring pinnacle musical work of the visiting guest coaches, which are Baroque Era. During the last open to viol players at all levels of years of his life, Bach handpicked experience with classes tailored to pieces from more than 35 years the needs and interests of the of his compositions for inclusion in registrants. the Mass in B Minor compilation, a work left for posterity as the Contact: [email protected] epitome of his ideals and inspiration. Documentary Drawing instrumental and vocal Bach's Mass In B Minor: soloists from its annual Academy—the educational Anatomy Of A Masterwork component of the Festival—the performances in Bach’s Mass in B 30­Minute Film Provides an Minor: Anatomy of a Masterwork Overview of the Mass by the ABS feature the ABS Academy Festival Musicians Who Perform It Each Orchestra and the American Bach Summer… Choir directed by Jeffrey Thomas. The American Bach Soloists (ABS) announce the YouTube release of their documentary Bach's Mass in All Bach All The Time B Minor: Anatomy of a http://allofbach.com/en/mobile/ Masterwork Every Friday, a new recording by (americanbach.org/youtube). Netherlands Bach Ensemble with Using footage from the 2014 ABS special guests, performing over Festival & Academy 1,000 Bach works! Volume 30, No. 1 7 Tafelmusik Triumph Down Under Emma Kirkby Complete Recitals Tafelmusik Baroque Orchestra’s triumphant three­week House of DECCA 4787863 This 12­CD Dreams tour of Australia and New collection brings together Emma Zealand has just wrapped up, Kirkby's complete L'Oiseau­Lyre garnering rave reviews and recitals in a single set. The audience ovations. From February world's most popular period­ 19 to March 6, Canada’s most instrument soprano, Kirkby's active touring orchestra pure, crystalline sound defined performed its international co­ how vocal music of the baroque production to enthusiastic, sold­ and earlier eras should sound for out houses in eight Australian a whole generation or more. cities including Perth, Melbourne, Accompanied mostly by Anthony Sydney, Canberra, Adelaide, and Rooley, the set features works by Brisbane, as well as Auckland, Purcell, Handel, Bach and Mozart New Zealand. House of Dreams as well as rarely recorded works was also seen across the United by Edwards, Campion, Dowland, States in 2013 during an eight­ Morley, Ferrabosco and many city tour which included more. Presented in a capbox with performances in New York and at 44pp booklet with tracklists, rare Walt Disney Concert Hall in Los photographs, an essay by Lindsay Angeles. More information about Kemp and original album covers. the Australia and New Zealand Lindsay Kemp writes: ''Even 2015 tour, including photos and today, nearly half a century after interviews, is available at performing styles in music of the Tafelmusik’s website. Renaissance, Baroque and Classical periods underwent a House of Dreams was conceived, major upheaval thanks to what scripted and programmed by has become known as "the early Tafelmusik double­bassist Alison music movement", there are few Mackay, and takes the audience alumni of that revolution (some to five European houses where conductors excepted) who could baroque music and art intersect. be considered stars recognised in Tafelmusik musicians perform the the wider musical world. That entire House of Dreams Emma Kirkby is one, and that she programme — which includes the has maintained that status music of Bach, Handel, Vivaldi, without compromise to the style Purcell, and Marais — from and principles of music­making memory against a backdrop of with which she started out, is stunning images and paintings by testimony not just to the Vermeer, Canaletto, and Watteau, distinctive pure colouring of her while narrator Blair Williams voice, but to a steady artistic weaves together the threads integrity, personal modesty and connecting each of the houses.
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