September 21st at 8pm Soundstreams have a choral concert at Koerner Hall. It’s called Choral Splendour and features Soundstreams’ Choir 21 with Meghan Lindsey, Rebecca Cuddy, Owen McCausland and Alain Coulombe in a programme of music by Frehner, Pärt and Vivier. Vivier’s Zipangu will be accompanied by a live dancer and a film created by Michael Greyeyes.
September 30th also at Koerner Hall at 8pm there’s a free concert to commemorate National Truth and Reconciliation Day. Sarain Fox MCs a mixture of the solemn (testimony from a residential school survivor) and the less solemn (Tomson Highway with excerpts from Songs in the Key of Cree), drumming, dancing and the piano quintet version of Ian Cusson’s Marilyn Dumont songs sung by Rebecca Cuddy with the New Orford Quartet and philip Chiu. If you haven’t heard these songs you should and if you have, but haven’t heard this arrangement, see them anyway because this is the best version! This show is free but ticketed and tickets are going superfast.
I think my best recent discovery on the web has been Wigmore Hall’s Youtube channel. There’s a wealth of material in various genres but, from my point of view, the real glory are the song recitals. I’ve seen particularly good ones from Gerry Finley and Sarah Connolly and, more recently, really well thought out programmes from Allan Clayton and Stephanie Wake-Edwards and from Ema Nikolovska. Many readers will remember her “virtual” Toronto Summer Music recital a few months ago. This one is just as good!
Soundstreams last night presented an intriguing double bill of works in Indigenous languages on Indigenous themes at, appropriately, the Daniels Spectrum. First up was Pimoteewin; music by Melissa Hui, words by Tomson Highway. This piece uses English narration with the singing in Cree. It tells the story of the Trickster and the Eagle going to find out where people go when they die. To quote him “Why are my people always disappearing like this?” The Trickster’ tries unsuccessfully to bring the spirits back to the land of the living and finally realises that that’s not such a good idea. Musically it had almost a liturgical or meditative quality with a lot of fairly hushed choral singing behind strong solo performances by Bud Roach and Melody Courage.