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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Manfred Honeck, Conductor Vilde Frang, Violin Matthias Goerne, Baritone Eric Cutler, Tenor
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season May 10 and 12, 2019 MANFRED HONECK, CONDUCTOR VILDE FRANG, VIOLIN MATTHIAS GOERNE, BARITONE ERIC CUTLER, TENOR LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 I. Allegro ma non troppo II. Larghetto — III. Rondo: Allegro Ms. Frang Intermission GUSTAV MAHLER Das Lied von der Erde for Baritone* and Tenor† Soloists and Orchestra I. Das Trinklied vom Jammer der Erde (“The Drinking Song of the Earth’s Misery”)† II. Der Einsame im Herbst (“The Lonely One in Autumn”)* III. Von der Jugend (“of Youth”)† IV. Von der Schönheit (“of Beauty”)* V. Der Trunkene im Frühling (“The Drunkard in Spring”)† VI. Der Abschied (“The Parting”)* Mr. Goerne Mr. Cutler May 10-12, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 (1806) Ludwig van Beethoven was born in Bonn on December 16, 1770, and died in Vienna on March 26, 1827. He composed his Violin Concerto in 1806, and it was premiered at the Theater-an-der-Wien in Vienna with Beethoven conducting and soloist Franz Clement on December 23, 1806. The Pittsburgh Symphony first performed the concerto at Carnegie Music Hall with conductor Victor Herbert and violinist Luigi von Kunits in November 1898, and most recently performed it with music director Manfred Honeck and violinist Christian Tetzlaff in June 2015. The score calls for flute, pairs of oboes, clarinets, bassoons, horns, and trumpets, timpani and strings. Performance time: approximately 45 minutes. In 1794, two years after he moved to Vienna from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. -
Journal September 1984
The Elgar Society JOURNAL ^■m Z 1 % 1 ?■ • 'y. W ■■ ■ '4 September 1984 Contents Page Editorial 3 News Items and Announcements 5 Articles: Further Notes on Severn House 7 Elgar and the Toronto Symphony 9 Elgar and Hardy 13 International Report 16 AGM and Malvern Dinner 18 Eigar in Rutland 20 A Vice-President’s Tribute 21 Concert Diary 22 Book Reviews 24 Record Reviews 29 Branch Reports 30 Letters 33 Subscription Detaiis 36 The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views The cover portrait is reproduced by kind permission of National Portrait Gallery This issue of ‘The Elgar Society Journal’ is computer-typeset. The computer programs were written by a committee member, Michael Rostron, and the processing was carried out on Hutton -t- Rostron’s PDPSe computer. The font used is Newton, composed on an APS5 photo-typesetter by Systemset - a division of Microgen Ltd. ELGAR SOCIETY JOURNAL ISSN 0143-121 2 r rhe Elgar Society Journal 01-440 2651 104 CRESCENT ROAD, NEW BARNET. HERTS. EDITORIAL September 1984 .Vol.3.no.6 By the time these words appear the year 1984 will be three parts gone, and most of the musical events which took so long to plan will be pleasant memories. In the Autumn months there are still concerts and lectures to attend, but it must be admitted there is a sense of ‘winding down’. However, the joint meeting with the Delius Society in October is something to be welcomed, and we hope it may be the beginning of an association with other musical societies. -
The Presbyterian Church in Canada Archives
THE PRESBYTERIAN CHURCH IN CANADA ARCHIVES FINDING AID RECORDS OF THE REV. ALEXANDER MACMILLAN AND FAMILY 50 Wynford Drive. Toronto, Ontario M3C 1J7 Telephone: (416) 441-1111 1-800-619-7301 Fax: 416-441-2825 Web: http://www.presbyterian.ca Catalogued by: Bob Anger, August 2002 1 Biographical Sketch of The Rev. Dr. Alexander MacMillan The Rev. Dr. Alexander MacMillan was a minister of The Presbyterian Church in Canada and later The United Church of Canada, and was both nationally and internationally recognized and respected as a hymnologist and expert in the field of hymnody and church praise. He was born in Edinburgh, Scotland, on October 19, 1864, to Thomas MacMillan and his wife Margaret MacMillan (nee Henderson). He had an older step- brother, Thomas (the son of Thomas Sr. through a previous marriage), an older sister, Margaret, and a younger brother, John. He studied at the University of Edinburgh from 1880 to 1884 before attending the United Presbyterian Theological College, "Divinity Hall", in Edinburgh. Through the Student Missionary Society he worked in Canada during the summer and autumn of 1886, visiting and preaching as student minister to the community in Fort Frances in northern Ontario. Shortly after his ordination in 1887, Alexander returned to Canada and accepted a call to the pastoral charge of Auburn and Smith's Hill in Ontario, where he served until September 1891. In 1890, he married Wilhelmina ("Winnie") Ross, with whom he had four children: Ernest (born Aug. 18, 1893), Dorothy (born Aug. 22, 1898), Jean (born Feb. 15, 1901), and Winifred (born Jan. -
Marius Barbeau and Musical Performers Elaine Keillor
Marius Barbeau and Musical Performers Elaine Keillor Abstract: One of Marius Barbeau’s important contributions to heightening awareness of folk music traditions in Canada was his organization and promotion of concerts. These concerts took different forms and involved a range of performers. Concert presentations of folk music, such as those that Barbeau initiated called the Veillées du bon vieux temps, often and typically included a combination of performers. This article examines Barbeau’s “performers,” including classically educated musicians and some of his most prolific, talented informants. Barbeau and Juliette Gaultier Throughout Barbeau’s career as a folklorist, one of his goals was to use trained Canadian classical musicians as folk music performers, thereby introducing Canada’s rich folk music heritage to a broader public. This practice met with some mixed reviews. There are suggestions that he was criticized for depending on an American singer, Loraine Wyman,1 in his early presentations. Certainly, in his first Veillées du bon vieux temps, he used Sarah Fischer (1896-1975), a French-born singer who had made a highly praised operatic debut in 1918 at the Monument national in Montreal. But in 1919, she returned to Europe to pursue her career. Since she was no longer readily available for Barbeau’s efforts, he had to look elsewhere. One of Barbeau’s most prominent Canadian, classically trained singers was Juliette Gauthier de la Verendrye2 (1888-1972). Born in Ottawa, Juliette Gauthier attended McGill University, studied music in Europe, and made her debut with the Boston Opera in the United States. The younger sister of the singer Eva Gauthier,3 Juliette Gauthier made her professional career performing French, Inuit, and Native music. -
Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. -
Luigi Von Kunits Mrs
Cabbagetown Preservation Association CPA: Who Are We? Attention All Volunteers ounded in 1988 to encourage the Fpreservation of the architectural and Would-be Volunteers: integrity and historic character of Cabbagetown, the CPA does that and We are also always looking for more people to join in. more. Here’s what we do: There are several volunteer committees that take responsibility EWSLETTER Heritage Preservation Board Members Preserving the architectural integrity and historic character of our neighbourhood Stephen Yeates, Chair for various interesting CPA projects including: • Review applications to Committee of Helen Coltrinari, Vice-Chair Adjustment and the Ontario Municipal Sandie Scott, Treasurer Board, Heritage Walking Tours, Heritage Research, Sue McMurtry, Secretary • Make submissions to regulatory bodies Alan Waterhouse, Past President Cabbagetown Festival Booth, Forsythia Festival, Christopher Dew Tour of Homes Afternoon Tea, C/RP Museum Reveals A Different Beat Heritage Promotion Mary Gallant • Produce quarterly newsletter Newsletter Delivery, etc. David Pretlove s the Cabbagetown/Regent Park Misdemeanours didn’t significantly escalate • Produce special heritage displays Helen Coltrinari museum gears up for its first public from those of 1860, which included one • Organize “Speaker Series” What Rick Merrill Some committees are responsible for an annual event, some a • Manage “Walking Tour” program A exposure at Police Division 51, we “Andrew Adams having in his possession a Toby Schertzer A few times each year, and some on a more frequent basis. We Sheila Schirmer will be giving you teasers of future displays. is this horse and buggy stolen from Dr. Geikie,” and Awards Programs Carol Moore-Ede have a chair person for each of these committees, and this per- The following account of policing shows “a house at the head of Sayer Street, lately • “Restoration Awards” Peggy Weir son connects with our Volunteer Director who is a member of object? • “Streetscapes in Bloom” us a very different Toronto. -
Jaunty Sport Coats Diers) in Our Camp
_________________--..:T:...H~E~J:~E::....'.W~I!-'S~H PO S T Page Five Thursday, July 6, ~944 Thursday, July 6, 1944 , --~----------------------------------~~~--- Page Four THE JEWISH POST dress with the hope that the innate I Silver, of Hudson Bay Junction, ...~~~----------------------------------- '.t_."_~_,,-_.-,,,-".-""-""-"'-.IIIl-"'-a.-a, Dower Expresses Confidence In Ultimate justice of this cause, aided by the Icontributed $50 which was credited M. J. FinkeLstein, K.O. t'D...... o ........ ft. -- -- ----- -- .. - C. E. Finkelstein .ft ..•• m.·•• -.'·.- ..... ••.. ········ft ..... Under the auspices tremendous mfluence of the Pro- to this community. D. A: McOormick COME AND PAY TRIBUTE TO THESE TWO GREAT ZIONIST LEADERS Justice For Jewish Cause In Addressing Palestinian Christian Council, would . of the . .ftft-·-·~ft.-. Closing Meeting Of Edmonton Hadassah soon result 1n the abrogatlOn of the· AIR COOLED A. M. Shinbane Zionist Organization White Paper and the resumption Fmkelstein &Company of free immigration into Palestine in OLLEGE of Canada Barristers, Solicitors, Notaries. Etc. K.C. John. D. Dower, western vice-, faith and confidence in British ideals, C THEATRE sufficient time to aid the remnant.s HERZl -FREIMAN ME DRIAl Midwestern Region MAIN at TELEPHONE president of the Zionist Organization justice and fair play, the Jewish of war-torn European Jewry. * 218 PORTAGE AVE. WINNIPEG Principal CHURCH 53696 TUESDAY - 8.30 p.m. - TALMUD TORAH AUDITORIUM of Canada, was the guest speaker people have gone ahead with' a Speaker Mrs. Henry Bloomfield was re _. _ ...o __ cue.vo & u ow_. U 45;' U _ U _ • ..."...... __ U wo u W & •• _. at ·the annual meeting of Edmonton tremendous project in the re-estab elected president for the coming =----'F~R"I.":,c:'s"A~·r".,~M~O:oN~.,~JU~L~Y_7~,_'8"-,-'1'.!!O_ ~ ".IIII""."''iII.'''.III''.-''.''''''''1-'''''''•• '' ............. -
Boston Symphony Orchestra Concert Programs, Season 104, 1984-1985
BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85 PRE-SYMPHONY CHAMBER CONCERTS Thursday, 10 January at 6 Saturday, 12 January at 6 VYACHESLAV URITSKY, violin HARVEY SEIGEL, violin MICHAEL ZARETSKY, viola MARTHA BABCOCK, cello TATIANA YAMPOLSKY, piano . BRAHMS Sonata No. 2 in A for violin and piano, Opus 100 Allegro amabile Andante tranquillo—Vivace di phi—Andante Allegretto grazioso (quasi Andante) Mr. URITSKY and Ms. YAMPOLSKY SHOSTAKOVICH String Quartet No. 13 in B-flat minor, Opus 138 Adagio—Doppio movimento—Tempo primo Mssrs. URITSKY and SEIGEL, Mr. ZARETSKY, and Ms. BABCOCK Baldwin piano Please exit to your left for supper following the concert. The performers appreciate your not smoking during the concert. Week 10 Johannes Brahms Sonata No. 2 in A for violin and piano, Opus 100 Some composers have maintained that the violin is the instrument that comes closest to reproducing the singing quality of the human voice. Whether or not Brahms ever espoused this view, his violin sonatas give tacit assent: they are among the most lyrical of all his chamber compositions, and the first two, at least, emphasize this fact by actually quoting from his own Lieder. Brahms spent the summer of 1886 in the splendor of Switzerland, on the shores of Lake Thun, a place that proved to be so congenial to his mood that he returned for the two following summers. His first stay saw the completion of three chamber works: the second cello sonata, Opus 99, the second violin sonata, Opus 100, and the third piano trio, Opus 101. -
Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence
A HISTORY OF THE ROYAL (TORONTO) CONSERVATORY OF MUSIC PIANO EXAMINATIONS, 1887-2015: THEIR IMPACT AND INFLUENCE TATIANA VOITOVITCH-CAMILLERI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Tatiana Voitovitch-Camilleri, 2019 ii ABSTRACT Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students’ progress through its Examinations, recently retitled as The Certificate Program. The Conservatory’s internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions. -
Classical Music Criticism at the Globe and Mail: 1936-2000 Colin Eatock
Document generated on 09/28/2021 8:13 a.m. Canadian University Music Review Revue de musique des universités canadiennes Classical Music Criticism at the Globe and Mail: 1936-2000 Colin Eatock Volume 24, Number 2, 2004 Article abstract This article is a study of developments in classical music criticism at the URI: https://id.erudit.org/iderudit/1014580ar Toronto-based Globe and Mail newspaper from its inception in 1936 to the year DOI: https://doi.org/10.7202/1014580ar 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their See table of contents role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the Publisher(s) city; and 1987-2000, when critics began to address social, political, and economic issues governing classical music, and to question inherited cultural Canadian University Music Society / Société de musique des universités assumptions about the art form. canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Eatock, C. (2004). Classical Music Criticism at the Globe and Mail: 1936-2000. Canadian University Music Review / Revue de musique des universités canadiennes, 24(2), 8–28. https://doi.org/10.7202/1014580ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2005 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Boston Symphony Orchestra Concert Programs, Season
SECOND CONCERT OF THE ELLIS COURSE MECHANICS HALL . WORCESTER Thirty-first Season, J9H-J9J2 MAX FIEDLER, Conductor frogramm* of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, NOVEMBER 28 AT 8.00 i COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says " Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.