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And a final note: a heads-up for creators of new musical works! May 13 is the deadline to submit for The Aubrey and Marla Dan Fund for New Musicals. The Dan Fund is the first ever fund exclusively for the commissioning of new Canadian musical works. The fund offers financial and dramaturgical support to creators in developing new musicals. Ideas that exemplify the most potential will be awarded an $8,000 commission from the Musical Stage Company and a reading or workshop of a draft. Contact the Musical Stage Company for more information.


One of the last tracks on the album is Body and Soul, a standard which all jazz musicians know, but which also happened to be an early influence on Marks: “I used to listen to the jazz programs on radio and when I heard Billie Holiday sing Body and Soul that was it. I started to sing jazz. I remember the moment and where I was in my parents’ house.

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All of the tips we’ve discussed so far are helpful and effective for your independent practice. However, sight reading music with other musicians will quickly take your sight reading to the next level.


Don’t let your sight reading practice sessions turn into your normal practice sessions. Remember that it is your goal to get through your music from beginning to end without stopping and with minimal mistakes. Be disciplined about this and don’t let yourself go back and practice something over and over. If you sight read something that you’d like to master, come back to it later and stay focused on your sight reading goals.

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Asked if, despite the opera’s biases, it is still a work worth being revived, Hinton answered, “Definitely. I think it’s a magnificent work of art.

So Herb had a thing about semantics. This was something I shared – still do today – and my interest in semantics was well established prior to my interest in the CoG.


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Today, there remain aspects of Johann Jacob Froberger’s art that are unknown to the public at large. The Middle Baroque composer’s contrapuntal works, in particular, are relegated to small circles of listeners and scholars – neglected, despite their ingenuity. Charlston understands this all too well. He looks not only to the impressive compendium, the Libro Secondo (an autograph manuscript dating from 1649), but to a fitting choice of instrument: a copy of a South German clavichord, the MIM 2160, as reconstructed by contemporary keyboard maker, Andreas Hermert.


Yes, I realize my views are going to seem radical. After all, doesn’t everyone have to believe something?

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The rapturous melancholy of the melodic style seems single-minded; overabundant instrumental touches paradoxically add to the monotony. Finley, for whom the music was written, rendered it with suitable authority, if not a great deal of colour.


The elder brother, Friedrich Wagner, Richard Wagner's father, after studying jurisprudence in Leipzig, followed his father's profession, and entered the Government Service, in which he rose to a very respectable position. How far his intellectual horizon extended beyond that of a mere actuary in a Stadtgericht is sufficiently proved by his extensive and varied private library, in which especially classical literature was well represented. But the most remark- able thing about him is his enthusiastic love of the theatre. His many duties as an official can scarcely have left him much leisure to devote to the theatrical art, but he had a passion for it which was more than that of a dilettante. The first performance, for instance, of a new play by Schiller continued to be celebrated every year as a family festival; actors were his most intimate friends at home, and he himself had appeared with some success in good amateur performances. In Richard Wagner's father we thus find a strongly marked natural leaning to the stage, which, remarkable in itself, became all the more important for his children in consequence of his early death. He died on November 22nd 18 13, exactly six months after the birth of his son Richard, and very soon afterwards his widow married Ludwig Geyer, a successful actor of that time, and one of the best friends of her first husband. It was Friedrich Wagner who had first induced Geyer to become an actor, and thus, through a peculiar concatenation of circum- stances, Wagner owed it to his father that when he first awakened to conscious- ness he found himself surrounded by the world of the theatre. To Ludwig Geyer I shall return directly. First I must say a few words about Richard Wagner's uncle, Adolf Wagner.

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People who have heard the TSO lately will not be surprised to learn that the instrumental component was fine, from the darkly subtle trombones to the soothing (and late-arriving) violins. Even the harp arpeggio of the final chord was nicely articulated. Yet the totality was too understated to do justice to the words or Brahms’s powerful treatment of them.


I’m not sure the lack of coverage is entirely fair to the the Quebec City-based group, as it’s certainly not lacking for talent. They’ve been led in the past by Bernard Labadie, Jonathan Cohen and Mathieu Lussier, all of whom have led full careers and made significant contributions to the early music field. The group’s members are all perfectly competent players and have enjoyed a lifetime of experience playing orchestral, solo and chamber music in Quebec. The group itself is one of Canadian early music’s stalwarts, having been in operation since 1984 (just five years after Tafelmusik) and now has some 35 recordings to its name. If there’s any reason this group is being held back, I have no idea what it is.

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It must also not be forgotten that much of what Leonardo saw by intuition, and quite correctly, was laughed at in his time; the world shrugged its shoulders and passed on; the world was right, for it was not yet ripe for his science. Besides, it must be admitted that an artistic intuition can never at once become the common property of all. The mark of a rare individuality will be impressed upon everyone of its creations; its visions are always works of art; they reflect nature, but do not agree with it mathematically. Now and again, it even seems as if genius, at least temporarily, followed the steps of the madman, as if for a time it cast aside the fetters which bind it to earth, and as if its eye perceived a nature - beautiful and glorious indeed, but not of our world. The normal man can no more dispense with his fetters than a ship can throw away its ballast. In this, genius alone — or madness — can follow genius. The wise man stands reverentially aside. Nor can any one foretell when the recognition of any truth will pass from the possession of the few to that of the many. Here, in this book, the question is not one of philosophy, but simply of Richard Wagner's personality, and when we wish to bring a great figure clearly before the view in sharp outline, the strife of opinions may well be put aside. Above all, we must bear in mind that Wagner's thoughts necessarily overstepped the limits of the schools.


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Then the most respectable of all, probably, Harold the black pastor, was being discriminated against even by our own directed church policy. The mutiny of my dream was observable, in 1975, in the ministry itself, and I was sent there with the understanding that bringing unity to this region was right in my wheelhouse.

Reading through only portions of the enormous amounts of CoG fall-out information found online, I am dumbfounded. Again, I do not sit back and laugh; I commiserate. Please recall that I was once a deeply dedicated (the deeply being my assertion, but with living witnesses who could testify to some of the dedication) minister in the old WCG. I recall well that at the time I was in that dedicated mode, nothing said from without could impress me in the least!


The names of some old acquaintances from my WCG years will be brought up in this post. This is due to my continuing amazement at the interest being shown for the bad old days by many who are apparently still in turmoil.

Prutsman’s varied musical upbringing began when he was four and included accompanying his amateur musician father and family friends singing classics of the American Songbook. Later, he augmented his classical studies with gigs in local restaurants and cocktail music in bars. He dabbled in progressive rock but his worldview opened considerably after he moved to San Francisco and started arranging for the Kronos Quartet in the 1990s, which led to his exploration of the relationships between types of music from various traditions.


I dream, as did Bertrand Russell, of a time when belief is finally overcome by education. A time when fear is overwhelmed by knowledge. A time when humans finally stop hating each other because of their traditional divisive sectarianism. I wish all humans could be simple humanists; that we all could guide our actions by the simplest of all moral obligations – the Golden Rule. Little more is needed, other than traffic lights!

Bob Kuhn, former Armstrong follower, as many of you know has an impressive website called closertotruth. Three other websites I appreciate are longhighsurvival, ageofreason, and thebrights.


All three may be recommended as a first general introduction. Tappert's treatise is a marvel of conciseness, and is intellectually stimulating. Pohl's discourse is chiefly concerned with questions of art. Muncker's rather more voluminous work FRANZ LISZT 20 General Introduction As for the countless multitude of criticisms against Wagner scattered in various newspapers, magazines and pamphlets, I have been condemned to read a great many of them, and can testify that it is impossible to conceive a greater waste of time. Nothing is to be learned from them in respect of Wagner. That ephemeral newspaper criticisms, even when collected into a book and striving to continue an existence which is both superfluous and illusory, are quite valueless, is obvious. But even the more serious work of such men as Felix Calm, Kostlin, etc, are a desert region. A strange curse of sterility has always rested upon all attempts, even the most meritorious, to write in opposition to Wagner. This is to a great extent due to the prevailing ignorance concerning Wagner's aims and intentions. What Wagner aimed at, what has been called the "Bayreuth idea" is so great and so far removed from the opinions and principles with which we are imbued by our education that it is really not easy to comprehend all at once.

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Keep in mind here that in 1975, I was still blissfully ignorant of much of the previous year’s mass exodus. Yes, I had helped to “rescue” some “lost sheep” in that eastern seaboard mission for a few weeks in ‘74, but I really did not know the magnitude of the uprising. Years later, looking at the whole Chicago arrangement through disassociated eyes, I could see clearly why headquarters sent me there. And guess what; within a few months there was, in fact, more unity evident. George had enthusiastically joined me in finding a great meeting hall somewhere on the north side of town and Carl went along on some of the planning trips, joining George and me for lunches, dinners and drinks as we worked out the details. I believe we convinced Harold to come along on one finalizing meeting. Then for the two holy days before heading off to the FoT, we met as one large congregation with the four of us pastors sharing the speaking duties. No racial undertones ever seemed to tense up or cause any fear for our African-American members as they ventured bravely out of Chicago’s south side and into “whitey” country.


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The opera in question was Médée (Medea) and although Charpentier had to wait most of his life to get a chance to write something like it, the wait was well worth it for the French court. Listening to Médée, the listener can tell right away that Charpentier was able to perfectly imitate the style developed by the old Italian monopolist and, although the opera only ran for a few months, Médée was critically well-received by contemporary audiences.

Interesting to me is the amount of rapt attention given UCG, on the Painful Truth website and several more blogs. Otagosh from New Zealand seems to cover it almost continuously, as do others. Is this interest and microscopic observation based primarily in United’s take-over of maybe half of the original WCG membership in the mid 1990s? Or is it perhaps in the minds of many that UCG might be the so-called “true” church? It does appear obvious that folks making up the general format and readership of the PT site believe there is some true church carry-over concept. I wonder where that true church is perceived to have resided earlier. Was it ever in the WCG, now so maligned? Or maybe in its progenitor, the RCG, before corruption set in?


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Have you seen the Stravinsky Firebird Scream video yet? The North State Symphony orchestra was playing a piece by Stravinsky when they went from pianissimo to fortissimo. A woman in the audience was not ready.

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We can and probably should laugh at much of our past foolishness if we want to find any sanity. Were we all, in the WCG, guilty of many misguided actions and ideas?

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Under tight control that appeared to be effortless, Lang Lang’s pellucid playing dripped with tonal colour. The familiar Asturias (Leyenda) with its repetitive flamenco rhythm was a magnificent spectacle. Granados’ Quejas, o la maja y el ruiseñor was sensitive, beautifully played. Manuel de Falla’s Danza ritual del fuego from El amor brujo was familiar and accessible with Lang Lang slicing and dicing the music for the pleasure of all. It was an event that defied limits.

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As these two stories clearly demonstrate, however, the role of the ethnomusicologist can extend even further than Hood proposes: beyond the role of investigator, participant and reporter, to that of interpreter for the audience and as presenter of received musical traditions. At times it can even encompass roles of musical and dramatic creator, as demonstrated in Lederman’s intercultural co-composed fiddle tunes and scored Around-the-World Jam, and in Marczyk’s dramatic, staged performative reframing of the transformation of Ukraine village women’s lives.


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This year Jam fiddlers will play 35 tunes from 25 different cultural traditions. And Canadian songs take pride of place among those drawn from most of the world’s continents. Leonard Cohen’s Bird on a Wire features in as a tribute to the celebrated late Montreal-born songwriter, as will Jerry Holland’s nostalgic waltz My Cape Breton Home and Pascal Gemme’s Valse Beaulieu.

My job was to thump people hard with the hand of God. If any members of my former congregations are still believers, it’s apparent I did considerable damage! Would that they might listen to me as intently today. Yes, I remember the old biblical advice, “The fear of God is the beginning of wisdom,” but my firm conviction today is quite simply that fear of almost anything, especially phantoms in the heavens, is the most egregious limitation placed on the progress of mankind. My former active devotion to the dogma promoting that fear places me in the ranks of the most detestable and guilty.


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Yes, it is some kind of smoke – a thick smoke screen laid down by a progression of adroit religionists even more artful than Herbert Armstrong! There have been frauds who managed over millennia to brand all newer or smaller groups with the derisive cult label so they, the big names, can stand above all others with pride.

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That being the case, surely the group of dedicated WCG followers who scrambled (or even pre-planned, as has been claimed by some writers) to incorporate under the “United” banner are still carrying on the same work as the old WCG, no matter how well or weakly. After all, wasn’t it the direct aim of the founders of UCG to try desperately to unite believers under the faith once delivered as they were having the original CoG rug pulled out from under them? So how can it be said that they “split” anything any more than Ted caused division by his corruptions? Or more than any disgruntled minister or even HWA in his reportedly corrupt end?


For kids working through the Faber Piano Adventures method, I highly recommend the sight reading books that correspond with each level. Many of my students use these books and they are ideal because are based on the exact same concepts found in the method books. This sets students up for success.

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Once you have made these observations, you’ve set yourself up for success. You’ll find that it’s much easier to sight read when you are mentally prepared for everything that shows up in the music. Things can easily fall apart when you’re sight reading, but a few minutes of preparation can really help you hold it together.


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What is the music communicating? How can you express the music right from the start, even if you’ve never heard it before?


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You may have to drop a hand out and focus on playing a single hand in some passages. You may have to simplify rhythms in order to keep a steady beat.

Apr 8: Gemma New leads her Hamilton Philharmonic in music by Beethoven, Mozetich (with solo harpists Erica Goodman and Angela Schwarzkopf) and Mendelssohn. May 6: Lara St. John joins New and the orchestra as soloist in Korngold’s Violin Concerto. The concert also includes two orchestral favourites: Strauss’ Don Juan and Stravinsky’s Petroushka.

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Kati Agócs’s music has been described as encouraging audience members to listen and be changed. In Tantric Variations, she bases her musical explorations on the word tantric, which means woven together. Using a one-bar motive as the basis, she weaves “a landscape that really goes everywhere you could imagine,” Desoer said. Desoer was originally drawn to Agócs’ music when she performed her Violoncello Duet (I And Thou) and was inspired by all the sounds she didn’t know her instrument could make. Starting with a word referring to the practice of weaving, Agócs is able to both reference the traditional craft as well as evoke the universal idea of weaving strands together to create a unified whole.


Unfortunately the acoustics of the Great Hall vary considerably depending on the placement of the group performing. The acoustics are generally excellent when the group is placed close to the middle along the long wall. That would certainly not be feasible with a 65-piece band. With the band located at the south end of the hall the sound was at times overwhelming. Nonetheless, the performance was memorable.

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You had a great success with the premiere in Vancouver. What do you feel the audience connected with so strongly?


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My sincere effort has been (from the beginning contribution to this blog) to be of help to anyone who might find something positive in my words. That includes the encouragement for anyone capable of taking that step (as a fish with new-found legs) to completely reject the black fishbowl and all its environs.

But Tchaikovsky’s version of the story, a favourite of opera fans the world over, definitely was. This new Canadian Onegin had its world premiere a year ago at the Arts Club Theatre in Vancouver where it won rave reviews and an unprecedented ten Jessie awards. The Toronto production features an almost entirely new cast and is directed by Gladstone who will be working with a new creative team; Hille provides the musical direction.


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Next time, look for some words on the subject of cults. Quite a lot has already been thrown out there in blogland, and I definitely have my views.


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French cellist and gamba player Christophe Coin is one of the leaders of the early-music movement, having studied with Nikolaus Harnoncourt and Jordi Savall before joining the Academy of Ancient Music and forming the Quatuor Mosaïques in the mid-1980s. During the first week of October, Toronto got a chance to experience the strength and subtlety of his tone colour and exemplary musicianship in a series of concerts featuring cello concertos by Boccherini and Haydn which reflected his particular interest in music of the late-18th century. At the midpoint of his visit, Coin gave a revelatory masterclass, which I also attended, to five seasoned musicians, in Jeanne Lamon Hall.


Share this Story: Concert Review: TSO speaks a little too softly with Brahms’s A German Requiem

It has swiftly been embraced by string music aficionados worldwide and is now celebrated in over 45 countries, in thousands of events. Here in Canada, in 2021, Parliament declared the third Saturday of May National Fiddling Day.

Nov 9: The violin-piano Duo Concertante bring their high standards to the music of Haydn, Dallapiccola, Brahms and Franck in their concert presented by the Kitchener-Waterloo Chamber Music Society. Nov 13: K-WCMS’ next presentation, the unusual combination of guitar and flute known as Duo Cavatina, ranges from Bach and Sor to Takemitsu and Piazzolla.


Carl Gustafson had fairly recently been brought to Hinsdale, Illinois to pastor the Chicago (west) group. In this old and expanding domain of Dean Blackwell’s pastorate of the early 1960s (where I met Joe Tkach as a new deacon, once called by Dean Blackwell in my hearing “the hard-headed Russian”), the fourth congregation was the Chicago (black) group, pastored by the late Harold Jackson. Too bad I never got to talk with Harold again in later years; he could have enlightened me quite a lot, I suppose.

Silverthorn Symphonic Winds 2021/2021 season concludes with their “Spring Celebration” on Saturday, May 27, 7:30pm at the Wilmar Heights Event Centre. The program will honour Canada’s 150 years since Confederation with works by Canadian composers and arrangers.


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Then, on May 4 it’s Charles Richard-Hamelin’s turn to shine. The WMCT can be justifiably proud of their prescience in awarding pianist Richard-Hamelin their Career Development Award in April 2021. Only a few months later he became the silver medalist and laureate of the Krystian Zimerman award for the best sonata at the International Chopin Piano Competition. Take advantage of his first Toronto full-fledged solo recital since then, to hear this 27-year-old Canadian whose pianism exhibits the musicianship and maturity of a more seasoned artist.

May 27: VOCA Chorus of Toronto takes on Carl Orff’s hair-raising masterpiece Carmina Burana. Other selections include a world premiere setting for two marimbas of Ola Gjeilo’s The Spheres. Torq Percussion Quartet joins Elizabeth Polese, soprano, Michael Nyby, baritone, and Christopher Mayell, tenor, for a sure night of choral fire.


Question: where does the “mainstream” designation take hold? Would you say Anglicanism has made it to mainstream?

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Imagine my surprise to find that someone had decided the line needed fixing because it was important to avoid any connection between spring and the likely time when Jesus was born. Amazing misapplication and lack of logic!


Apr 2: Since my article in our March issue on the Church of the Holy Trinity’s Piano Bravura series, 18-year-old Tony Yike Yang has been selected as one of the 30 competitors (and the youngest) for the 15th Van Cliburn International Piano Competition. Don’t miss this opportunity to hear him before he heads down to Fort Worth TX in May. His formidable program includes Mussorgsky’s Pictures at an Exhibition and Chopin’s “Funeral March” Sonata.

Not only to PurpleHymnal but to thousands of others who might have seen in me a solid connection to truth which later crumbled and ceased to exist. Our connection is what crumbled; it did so because I finally discovered that the truth I wanted so much apparently had never proven to exist.


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With respect for the person and work of the late founder of the CAIC website, Jan Groenveld, I still must offer critical comments here. Finding no open method of contacting those who now run the site, I hope they might encounter this writing and perhaps consider some foundational thoughts. It is also my sincere hope that whoever is carrying on the work begun by Ms. Groenveld is doing so with the utmost care and deep concern for the many who are seeking answers. I humbly submit alternative views.

One week later, November 12, “A Concert from the Balkans” in the Chapel at Windermere on the Mount (1486 Richmond St, London) includes works by Hans Gál (Five Intermezzi for string quartet), Bela Bartók (Duos for two violins) and Rudolf Matz (Andante e Allegro for four violins), alongside Mendelssohn’s Octet. From Gál’s intensely personal and Romantic musical language to Bartók’s joyfully folkloric violin transcriptions, it’s music that was shaped by the highly diverse cultural and political influences of early 20th-century southeastern Europe.


Many such examples of correcting texts or lyrics could be cited, and most of them are now quite as laughable. That’s right, Mr. Becker, I choose to laugh about it all now.

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The New Orford String Quartet, founded in July 2009, takes its name from the trailblazing Orford String Quartet whose 26-year career ended in 1991. The New Orford’s pedigree is impressive: violinists Jonathan Crow and Andrew Wan, respectively concertmasters of the Toronto Symphony Orchestra and Orchestre Symphonique de Montréal; Eric Nowlin, principal viola of the Detroit Symphony Orchestra; and Brian Manker, the OSM’s principal cello. Their concert April 23, the finale of Mooredale Concerts’ current season, is the quartet’s third appearance with Mooredale since 2021.


It also has many colonial biases. So part of the job here is to do the opera and let its beauty be heard and soar and not be afraid to cast light on its biases; not to pretend the opera is an Indigenous creation – it is definitely created by two white settler guys – but to try to open up a more inclusive representation in the show.

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How fast is the music intended to go? Do you think you can go that tempo on your first try? Be sure that you can feel the pulse of the music in your body before you begin playing.

It’s a bit weird for me, without context, to read about people and events. One post was a very serious and strained letter from a fellow named Joel Meeker to some legal eagle. I know nothing at all about Joel. Perhaps he’s related to George, maybe a son who was very young when George and I were colleagues.


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To my way of thinking, there are incredible numbers of ways to be right. The most egregious way of being wrong is in mistreating one’s fellow humans. I don’t give a damn about trying to please any god!

Outside the academic world, two concerts from the Music Gallery’s Emergents series presents opportunities to hear the latest from young creators. The concert on April 7 offers performances by Castle If, the electronic composer Jess Forrest who works with a collection of analog synthesizers to create soundworlds inspired by the pioneers of electronica, and Laura Swankey, an innovative improvising vocalist. The May 5 Emergents concert features performances by The Toronto Harp Society, whose mandate is to encourage new works for the harp by Canadian composers, and Toronto’s newest saxophone duo Stereoscope Duo, with Olivia Shortt and Jacob Armstrong. They too share a passion for developing repertoire for their instruments, while also mixing in electronics and collaborations with dancers.


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Dreams usually seem this nutty and disconnected – actually more so – but this one at least had ample reason to lollygag in my subconscious. As I gained full consciousness on this particular morning, I realized I needed to write these things down for reflection. Obviously the reading I’ve been doing of late has put me into a reflective mood.

Have we lost all dictionaries and good sense? Or have we developed newer meanings, as yet unwritten, that give “good” cults respectable titles while giving “bad” cults an apparent slur by calling them what they all are?


In the dream: The Powers-That-Be at church headquarters were sending me on a ministerial mission, back to my original home area. Rumblings of mutiny were supposedly advanced in the congregation and I was proposed as the one best equipped to bring unity and peace to the group. Arriving at my destination for a first “look-see” at a congregation I had not visited in many years, I was unimpressed by the mix of tired-looking, old guard stalwarts and the new youthful converts, many of whom seemed to wander about distractedly. Some of the younger congregants, though dressed in the requisite attire and looking dutifully uncomfortable, had earphones in place and were obviously hearing tunes from a device. Others were perched casually on a surrounding brick wall near the meeting room, playing chess or scrabble, anything but studying their bibles and exhibiting dedicated Sabbath conduct.

No, I’m sure the above heading doesn’t strictly relate to the term legalism as typically used, but I thought I’d toss it out there. The reason the odd header came to mind goes back to 1963 and my introduction to the way the RCG treated words. It was a cavalier approach to the words others had written and a kind of abuse of copyright. This is probably why I see it as bordering on the legal field.


We must therefore start with unity as a form, that is, as a formula; for reason has something geometrical, a tendency to regularity in its way of constructing. Any variations which we may discover later on will still be intelligible, if they are only reducible to an original "scheme," which is fixed, once for all. Is not actual life, in its purely external course, in a certain sense a scheme, in which the individuality utters itself, not in its own unclouded nature, but in accordance with the type which surrounding circumstances have impressed upon it? The schematic method of treatment is therefore not without a certain inner justification. I intend in this Introduction to offer a very simple scheme by which the reader may obtain a convenient preliminary survey of Wagner's life. I purposely call it a scheme, in order to emphasize the fact that such a reduction of the end- lessly complex threads of life to a few simple lines is a more or less arbitrary operation of the reason. In the succeeding sections of the chapter I shall enter more into particulars, whereby the scheme will lose its sharp corners and become recognizable in its real nature, as a mere instrument for the construction of the image. The less we load our memories with dates and names, the more vividly will the picture form itself in our minds. A single date, and a single number will for the present suffice to give a preliminary view of Wagner's life. Both the number and the date happen to be such that they impress themselves easily upon the memory at once, without any particular mnemotechnical artifice.

To sum up, let me use a simple analogy. Religion, to me, is a disease, of which Armstrongism is a minor strain. As with physical maladies, some people contract virulent strains and die; others fight off major illness and live long, happy lives. Some are exposed to AIDS or other horrible strains and suffer no ill effect; others get germs through simple blood transfusions (are totally innocent) and die painful deaths.


Softness reigned at the start, of course, as the violas and cellos traced their lines with the audio equivalent of a dotted line and the Toronto Mendelssohn Choir whispered “Selig sind” with the utmost intimacy. There were sturdy fugues and stirring outbursts to come, but the 145 choristers as prepared by Noel Edison made their effect more with quiet expression than with force.

It’s important to recognize that sight reading music is a very different skill from the normal practice that you do when you are learning and polishing music. You likely won’t sight read the same level of music that you play.


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At the time, the subject of human trafficking was in the air. As Mori says, “Aaron and Colleen were talking about something that was more of an issue in 2006 than now, although it’s coming back with the war in Ukraine. With the fall of the Soviet Union came poverty in certain areas and with that came crime including human trafficking.

Unsuk Chin: There will be plenty of opportunities at 21C to hear the music of featured composer Unsuk Chin. On May 24, the Canadian Opera Company Orchestra will perform her work snagS&Snarls in Koerner Hall and on May 27, her Piano Étude will be performed in a concert in the Temerty Theatre that also includes works by Alexina Louie, Raphael Weinroth-Browne, Kotoka Suzuki, and Aaron Parker. Chin will also join Canadian composer Chris Paul Harman as mentors for Soundstreams’ Emerging Composers Workshop with the final concert featuring world premieres by the six composers on May 26.


Sure, the premise is completely foolish – today! But since a concept of belief in a supreme commander (with ten commandments and countless amendments) began for all of us thousands of years ago, we actually accept the foolishness and somehow let it pass for reason.

Immediately after this original composition by a band member, there was a dramatic switch to Five Pieces of Dmitri Shostakovich. Here again it was not the entire band, but a trio of violin, clarinet and piano. After the performance the violinist returned to the flute section and the pianist to the trombone section.


When I found myself singing the well-known old song and stumbling over lilies as others sang the printed replacement word of autumn, I didn’t know what to think. Someone later explained that Jesus wasn’t born in spring, when there would be lilies about, therefore the word was simply changed to autumn to fit with when He was actually born. Even as a minimally educated teen, I found this incredible. Yet if it was the way this wonderful church wanted it, so be it!

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However, there are many books dedicated to sight reading. If you prefer to have a more regimented approach to your sight reading practice, a sight reading book might be help for you.


Give me a heart, a mind, a woman's soul into which I can plunge my whole self, which can grasp me entirely — how little should I then require from this world " (L, ii. 19). And this heart, this mind, this soul he now received; that was the happiness of the years in Triebschen, the happiness of his life for which he had waited so long, and, strange to say, Franz Liszt it was in very deed who gave it to him! Cosima Liszt, the daughter of the friend in whose breast his art had found a first home twenty years before, became Wagner's wife. Three human beings, and only three, played such a decisive part in Richard Wagner's life that if any one of them had been wanting it would have shaped itself in an essentially different way; they are: Franz Liszt, King Ludwig, and Cosima Liszt. All others, even the greatest, are of secondary importance; secondary I mean with respect to the grandeur of Wagner's aims, and to the incalculable importance of his achievements for German art. Even the greatest talent only fills a place which another would have filled a little better or a little worse; but these three figures are the pillars on which the work of his life reposes. Especially is this true of the last of the three; for to her it was reserved to continue his life's work after his death. Whether we should ever have known festival plays without Cosima Liszt is doubtful; they would certainly have ceased after 1883, and so the great deed of Bayreuth would have died away without result, almost as completely as did Tristan in Munich. An innovation such as that of the Festival performances requires a long time to strike into the soil, and before it can begin to exercise a modifying influence upon the aesthetic tastes of whole nations. Only one person was competent to continue the task of Bayreuth.

Conductor Mark Saresky states that he has only been with the band for nine years and couldn’t say when it was first established. One thing is certain: he has an impressive spectrum of musical talent and imaginative programming! Stay tuned for their next concerts which are tentatively scheduled for December and next April.


So Armstrongism didn’t reach the all-important “mainstream” designation. Then again, old Herb isn’t necessarily done just because he’s dead! Many popes and other ancient religious leaders lived, pontificated and died long before their legacy spread to become the powerful forces the various main cults are today. Saul of Tarsus started a cult based on this-and-that, rumor, fantasy, etc, and established it on his letter writing and salesmanship skills.

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Nobody will think the worse of a Bach, a Mozart, or a Beethoven because their general education was scanty; nevertheless we cannot help feeling that these great artists are to some extent excluded from the pale of the highest culture by this circumstance, and forced to remain within their own limited domain of music. This fact was most painfully felt, and had especially fatal consequences for art, directly composers were led, in the necessary course of musical evolution, to the drama. How differently would a Mozart have chosen his subjects if he had possessed a wide education! With what authority would he have laid down the law to wretched hack librettists — if indeed he had required librettists at all! Richard Wagner enjoyed essentially the same kind of education as, for instance, Goethe and Schiller. When Wagner's mother married Ludwig Geyer, the family moved to Dresden, where Geyer was permanently engaged at the theatre. After Geyer's death they returned to their home in Leipzig. In Dresden Wagner attended the celebrated old Kreuzschule; in Leipzig the Nicolaigymnasium. He then matriculated at the Leipzig university as a student of music and philosophy. Such a programme denotes, not precisely a learned education, but a thorough and wide one.


That appears to be the gist of the website’s content. And maybe that’s what she found desirable. Perhaps she saw the “old-time religion” practiced by millions of folks wanting simply a “form of godliness” as a good thing.

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Do you get where I’m going with all these questions? Isn’t it about time everyone takes a step back so the intrigue and the futility of it all can be seen in perspective? Your life is worth more than this, is it not? Mine certainly has been worth more since dumping the whole shootin’ match!


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The COC has cast Indigenous men and women to make up the Land Assembly. In addition new characters have been added to the opera to present a more informed history of the Métis and Indigenous people. The previously unattributed opening vocal line is now delivered by a character known as The Folksinger, to be sung by Jani Lauzon, a singer of Métis heritage.


Without the cocoon of belief surrounding any questions, I now can perceive quite different answers. Now I have to wonder whether anything I did from 1963 to 1976 was of real value in any way. Frankly, I doubt it. Then again, that word “anything” deserves more leeway. Surely a few things I did or said in those thirteen years can still be credited in some small way as good things.

I challenge you to make the artistic components of the music a priority when you are sight reading. The notes and rhythms will come over time, but make it your aim to make genuine, beautiful music from the beginning, wrong notes and all.


In the interest of achieving continuity and forward motion in your sight reading, it’s likely that there will be times that you’ll have to leave something out, just to keep the music going. You will have to make instantaneous decisions about how to prioritize what you play.

You don’t need any special material in order to sight read. You really can just sit down at your piano and start reading from any book that you have around.


Beginner’s Guide To Learning The Piano With Flowkey – Flowkey is my favorite online piano tutorial app. It teaches you to play all of your favorite music on the piano from classics to movie themes to pop music and more. It also features interactive piano courses to help you learn piano basics.

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Lohengrin — had lived in the imagination of the author for years before he wrote them. Amidst the in- extricable tangle of influences at work no one could find out the cause which most contributed to its appearing in the particular year 1847. It is not even always possible to distinguish cause and efFect from one another. Rienzi for instance one might suppose to have been influenced directly by his experiences at the Paris Grand Opera, but in fact Rienzi was half finished when he first went to Paris. In the second half of his life such unauthorized attempts would lead still more astray. For example, if one tried to connect Tristan with the first, Die Meistersinger with the second, Der Ring des Nibelungen with the third, Parsifal with the fourth period, it is true that the dates of completion of these works would afford some justification to such a view. But in reality the composition of each of them was spread over a number of years: Die Meistersinger from 1845-1867, Der Nibelungenring from 1848-1874, Parsifal from 1854-1882. Only Tristan was written within one period, 1 854-1 859. Let the scheme therefore be taken for what it is — a convenient means of obtaining a preliminary survey of Wagner's life and of fixing it in the memory. First Epoch 1813-1849 The house in which Wagner was born.


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Here we were, in the mid 1970s, still gradually adapting to the need to practice racial equality in this land of the free, etc, and part of my “mission” was to see that all the players in the ministerial group could get along and cooperate. And within the mix was a segregated congregation! Apparently, as I was surreptitiously told without clarity, the white pastors were not making enough effort to locate meeting halls for the holy days, and other potential occasions, where all members in the Chicago area could meet together.

Gerald Finley, a Canadian living in in the United Kingdom, called on the Almighty with a firm and ringing baritone. It cannot be a coincidence that the third and (especially) sixth movement – those involving him – had the sharpest sense of excitement.


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Schoenberg regarded Brahms highly and analyzed his music when he taught composition, calling him “the progressive” who paved the way for the future of music. Don’t miss this unique opportunity to hear some of the best musicians on the planet.

If the leaders of the church were going to take liberties with composers’ written words, which was unethical and probably illegal, at least it should never have been done without clear and meaningful reason. This very subject of changed lyric lines was a huge part in my excitement over the new hymnal that came out in the early 1970s.


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We humans cannot even hear our own ludicrous words clearly when we are in this lock-down mode of operation. Witness the last paragraph of the Ken Giese post of November 26, 2021. I do not personally know this man but I’ve heard of his devotion and strength, his Godliness. Yet this letter did, in fact, force laughter from me. The man could not hear his own words ringing in his ears as he wrote glaring contradictions into his resignation letter.

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Pay attention to the answers given by these “people” who thought they were inflicting harmful or deadly electric shocks to a stranger. At point 1:38 we have someone who has personal ethics outside the “group think” as to obedience to perceived authority.


You can see that there is a lot to think about when sight reading! This list should also help you to see why it’s a good idea to start with a level of music that is already comfortable for you. This way, all of the answers to these questions will be very straight forward. Hopefully, there will be no surprises and many of these things you’ll be able to answer and observe in a matter of seconds.

Rattle brings the BPO, one of the world’s great orchestras, to RTH for two distinctively different concerts. The first – on November 15 – will open with Boulez’s Éclat.


Fung first heard the piece live when he was about 15 or so (and a student at different chamber music festivals), performed by various faculty musicians coming together to give the work a reading. His relationship to it has continued to evolve: “From first as a listener, to having played both Cello I and Cello II parts with my own quartet (Afiara) and as a guest with other quartets, the work has opened up several unexpected riches with each performance. I have had the privilege of welcoming incredible guest cellists in my role in Afiara, learning especially from the late Marc Johnson of the Vermeer Quartet, my mentor Joel Krosnick of the Juilliard String Quartet, Denis Brott of the first Orford Quartet and Bonnie Hampton.