The Happenstancers at 21C

Regular readers will be familiar with the Happenstancers.  They are a shifting group of young musicians convened by Brad Cherwin who have been presenting innovative chamber music concerts in an assortment of venues for a few years now.  Last year Brad was selected to curate a concert for Soundstreams at the Jane Mallett Theatre which was very like a Happenstancers concert in many ways with the advantage of exposing the approach to a wider audience.  On Friday night they were back under their own flag at Temerty Theatre as part of the 21C festival.  Which is a long winded way of saying this is a very happening and innovative group who are emerging as a significant player in the Toronto chamber music scene.

Friday’s concert, as you would expect, consisted mostly of 21st century music but in line withe theme of “exploring the space between two people” and in typical Happenstancers’ style there was music from the Renaissace plus Schoenberg’s Verklärte Nacht.  The ensemble consisted of sopranos Danika Lorèn and Reilly Nelson, Julia Mirzoev, Russell iceberg and Christopher Whitley on violin, Hezekkiah Leung and Hee-See Yoon on viola, Peter Eom on cello and Brad Cherwin on clarinets with constantly changing combos across the evening. Continue reading

Broken from the Happenstancers

The Happenstancers latest gig; Broken, played on Friday evening at Redeemer Lutheran. Getting back to their core mission, this concert explored the relationships between baroque music and contemporary repertoire and the plusses and minusses of combining music, instruments and techniques from both.  So, interspersed between sonatas by Johann Rosenmüller; originally scored for strings and continuo but played here by various combinations of oboe/cor anglais, regular and bass clarinet, strings and accordion, we got contemporary pieces.

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almost as soft as silence

Christopher Whitley — Almost As Soft As SilenceNearly a year ago I reviewed Christopher Whitley’s album of pieces for solo violin and electronics Describe Yourself. In the same session Whitley recorded a series of short improvisations for violin using the same 300 year old Stradivarius. The half hour or so of music was recorded unedited in a single take and forms the album almost as soft as silence.

There are fifteen pieces ranging in length from 18 seconds to about four minutes.  They are quite varied in mood and method but tend toward the meditative.  He uses the full range of sounds from the violin.  Sometimes, as in “six” the music is very high and chattery.  For some reason it suggested squirrels discussing philosophy.  Other pieces, like “a5 b5 g5” seem to have an geometrical structure; a series of smooth crescendos are each followed by a very fragmented fade-out, rinse and repeat. Continue reading

Describe Yourself

describeyourselfThere’s a story behind violinist Christopher Whitley’s new solo album Describe Yourself.  Entering the 2017 Canada Council for the Arts. Musical Instrument Bank Competition, he found himself required to offer a Canadian composition.  The chosen piece was Jeffrey Ryan’s Bellatrix.  He was successful and so this album is played on a 1700 Taft Stradivarius and it opens with the aforesaid Bellatrix. Continue reading