Bramwell Tovey and the Vancouver Symphony were in town last night for a one night stand at Roy Thomson Hall. My reason for going was primarily to see Marion Newman sing Ancestral Voices; a work composed for her by Tovey. It’s the composer’s contribution to the sesqui and it deals with the Dominion of Canada’s troubled relationship with the original peoples of this land. The four movements trace an arc from an imagined pre colonial “Arkady” cleverly using a Keats text that deals with a clearly not Canadian imagined state of nature through to Charles Mair’s The Last Bison; a very early warning of what happens when Man and Nature get out of balance. Then comes the most chilling part; an excerpt from a letter in the government archives about residential schools”…separate, isolate, educate; dominate, assimilate; Sow the seeds and forcibly, effectively; Kill the Indian in the child.” It concludes with fragments of letters from Harper and Trudeau cut with parts of the UN Declaration on Indigenous Peoples.
Ancestral Voices
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I’m not sure that I had ever heard anything by Heinrich Schütz before this afternoon but I’m glad that I have now. His St. John Passion formed the first half of the closing concert of the Toronto Bach Festival at St. Barnabas on the Danforth this afternoon. Written in 1666, towards the end of his life ,it’s steeped in the Lutheran tradition. There’s no orchestra. The main burden of the Gospel is taken by the Evangelist as narrator in a style not very far from the Anglican traditional style of singing metrical psalms. The emphasis is on the text; indeed on The Word. Members of the chorus contribute in similar style as Jesus, Pilate and so on. The narrative is interspersed with polyphonic choruses with sparse organ accompaniment perhaps hinting at an even older tradition where the meaning of the words mattered less.
Here’s the news that’s arrived in my inbox this week.
Last night’s Soundstreams concert at Trinity St. Paul’s riffed off the basic idea of Bach’s Musical Offering; getting musicians to create music on a theme with a high improvisory element. The line up was the Gryphon Trio (Roman Borys, cello; James Parker, piano; Annalee Patipatanakoon, violin), SlowPitchSound (aka Cheldon Paterson); turntables, Dafnis Prieto; drum kit, Scott Good; trombone, conductor and Roberto Occhipiniti; bass. Things started out with SlowPitchSound remixing prerecorded fragments of the Musical Offering with live interventions by the trio. It was interesting and fun though whether it revealed “secret messages” I really couldn’t tell. The turntables reappeared between items in the rest of the program in very short fragments that seemed too cursory to have much to say.
This review first appeared in the print edition of 
It’s getting a bit busier again. This afternoon there are a couple of concerts. At 2pm in Mazzoleni Hall you can catch Mireille Asselin and Brett Polegato with Peter Tiefenbach and Rachel Andrist in a painting themed program of lieder, artsongs and chansons called Le travail du peintre. At 4.30pm at Metropolitan United Church Bach’s Mass in B Minor meets German film maker Bastian Clevé’s film The Sound of Eternity. The soloists are Marjorie Maltais, Geoff Sirett, Jennifer Krabbe and Charles Sy plus the Orpheus Choir, Chorus Niagara and the Talisker Players. I suppose it would just about be possible to do both…
operaramblings 