Media

December 4, 2017

On the history of Christmas carols and brass bands

2017-18 Season

“The typical carol gives voice to the common emotions of healthy people in language that can be understood, and music that can be shared by all.” Percy Dearmer (1867-1936)

The singing of Christmas songs and carols with music for brass instruments goes hand-in-hand – like mistletoe and eggnog, or turkey and cranberry sauce. Christmas carols date back to pagan times, originally used to mark the end of one season and the start of the next. As Christianity grew, carols gradually developed a link to the birth of Jesus, but the association to paganism remained in the shadows and the singing of carols was prohibited at times. In the 19th century, the Victorians reinvented Christmas as a sentimental festival of good cheer with families and friends and the carol enjoyed a renaissance. Many new carols and songs, in a pseudo-traditional style were written, and there was a conscious shift from the nativity story to a focus on the more secular, festive pleasures of Christmas like the winter solstice, eating, drinking and Santa Claus. By the end of the 19th century, small English parish churches began the Christmas Eve practice of lessons, prayers and a short sermon mingled with a variety of carols. It was later expanded to a festival of nine lessons and carols, made popular around the world in the 20th century by King’s College, Cambridge in England.

November 30, 2017

Meet a Member: Anne Longmore, Toronto Mendelssohn Choir

2017-18 Season

Mike Rowan, Chorus America.

Toronto Mendelssohn Choir director of marketing and community outreach Anne Longmore has an unusual dual career—college professor and arts administrator, thanks to a big move.

“I worked for a year and a half in Dubai with my family, and taught some marketing classes at Canadian University Dubai where my husband was working,” recounts Longmore. “When I came back to Toronto, I wanted to work in the arts, but also look for an opportunity to teach part-time.” She teaches at Humber College, which offers a post-graduate certificate program in public relations, in addition to her work with TMC.

After obtaining her master’s in arts administration and working for some of Toronto’s large cultural institutions, Longmore was happy to combine her personal passion for singing and working for an arts organization that makes a difference in society. She also increasingly enjoys opportunities to lead seminars and webinars where she can share practical advice for those just starting out with a stretched budget or staff. Says Longmore, “I love to help other professionals understand how to make the ideas that you read about actually happen.”

Longmore spoke to Chorus America president and CEO Catherine Dehoney about trends in marketing and arts administration programs in our latest edition of ‘Meet A Member.’

November 29, 2017

Toronto Dominates Classical Music Nominees At The 60th Annual Grammy Awards

2017-18 Season

Michael Vincent, Ludwig Van Toronto. The 60th annual Grammy Awards have announced the complete list of nominees.
This year, three Toronto artists/presenters represent the only Canadians nominated over the 10 classical music categories.
Soprano Barbara Hannigan is nominated for in the Best Classical Solo Vocal Album category for her 2017 album release, Crazy Girl Crazy featuring music by Gershwin, Berg & Berio with Orchestra Ludwig. The Toronto Symphony Orchestra and Toronto Mendelssohn Choir are both nominated for last year’s recording of Handel’s Messiah with Andrew Davis, (conductor) Noel Edison (chorus master) and soloists: Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall. TSO Messiah album producer, Blanton Alspaugh, also has a nod for producer of the year.

November 27, 2017

TMC Announces winner of the 2017 Debbie Fleming Prize for Choral Composition

2017-18 Season

Toronto composer Joannie Ing has been awarded the Debbie Fleming Prize for Choral Composition for her composition The Good News Carol.  This is the third year of the TMC’s Choral Composition Competition for emerging Canadian composers.  For 2017, the competition called on unpublished Canadian composers to submit a sacred or secular work for the Christmas season, not more than five minutes in length, for SATB, either a cappella or accompanied by organ.

November 12, 2017

The Toronto Symphony Remembers…

2017-18 Season

Jeff Mitchell, Toronto Concert Reviews. (T)he Toronto premiere of an hour-long work entitled Afghanistan: Requiem for a Generation, by Vancouver-based composer Jeffrey Ryan, with text by Canadian poet Suzanne Steele, who spent time with the Canadian Light Infantry in Afghanistan between 2008 and 2010.  Her “observations of a Canadian battle group’s road to war and that of their loved ones, before, during and after war”, as expressed through her vivid and graphic poetry, set the stage for the dramatic and visceral music composed by Ryan.  The work is written for orchestra, vocal soloists, as well as adult and children’s choruses. Each of the soloists were exceptional, singing music that was not as lyrical or melodic as one often hears in a requiem but that was, at turns, percussive, violent, plaintive and emotionally raw, even at its quietest moments.

November 10, 2017

Toronto Symphony Orchestra lifts war into art with Afghanistan: Requiem for a Generation

2017-18 Season

John Terauds, Toronto Star. Art loves conflict and resolution, while the real world muddles along in the sludgy mass between the two. But art, carefully applied and administered as it was by the Toronto Symphony Orchestra on Thursday night, can lift that sludgy mass up and turn it into something almost as beautiful as neat resolution.

November 10, 2017

Toronto Symphony Remembers Afghanistan War With Deeply Moving Tribute

2017-18 Season

John Terauds, ludwig van Toronto. The second half of the program belonged to Ryan and Steele’s 60-minute Requiem, with full orchestra and four vocal soloists augmented by the always-excellent Toronto Mendelssohn Choir and Toronto Children’s Chorus. Soprano Measha Brueggergosman, mezzo Allyson McHardy, tenor Colin Ainsworth and baritone Brett Poegato did excellent work with what was often difficult singing, bringing genuine emotion to the text.

November 10, 2017

Review: Afghanistan: Requiem for a Generation

2017-18 Season

John Gilks, operaramblings. It’s a new piece by Jeffrey Ryan that sets lines from the Latin Requiem Mass combined with words by poet Suzanne Steele who joined up with the PPCLI on a tour of duty in Afghanistan.  So there are structural resemblances to the Britten work but whereas in the War Requiem we have a clear delineation between sections of the mass (for soprano and chorus) and Owen’s poetry (for the baritone and tenor), in Afghanistan: Requiem for a Generation the two parts are blended and there’s an underlying narrative.  Generally, the Latin is given to the adult and children’s choruses and set quite lyrically while Steele’s words are given to the four soloists with generally more abrasive, sometimes atonal music and sometimes even, spoken.  Steele’s texts are redolent of the discomfort and danger and, sometimes, the essential pointlessness of the Afghanistan campaign.  There’s a longing for home and a sense of wonderment at Nature but never, thankfully, bogus nationalism or sentimentality.

September 29, 2017

Review: A Triple Concerto & A German Requiem with the TSO

2017-18 Season

Jenna Simeonov, Schmopera. The TMC sounded spectacular under the direction of Noel Edison, as did the solo singing by Braun and Wall – Wall in particular filled the Hall with her stunning soprano.