classical-music – The Beat Magazine 2025

Bows Up, Canada! When have you been called upon to protect Canadian unity? And when have you been able to do it by attending a concert?

February 5, 2026 by Richard Young

Previewed by Daina Janitis

On the eve of the 1980 referendum, (PET) Pierre Eliott Trudeau (not PP, that’s for sure) reminded Canadians that they were facing a tipping point: “We must now establish the basic principles, the basic values and beliefs which hold us together as Canadians so that beyond our regional loyalties there is a way of life and a system of values which make us proud of the country that has given us such freedom and such immeasurable joy.”

A quarter-century later, it’s not Quebec making secession noises- it’s Alberta. But if you seize the opportunity to be in the presence of some Alberta talent – certain to bring you immeasurable joy – maybe you can be part of some Canadian culture that keeps Canada together for another twenty-five years.

The Jeffery Concerts on Sunday, February 8, at the Wolf Performance Hall, at a comfortable 3:00 in the afternoon, features two icons of Canadian music – the young violinist Jacques Forestier and seasoned pianist Arthur Rowe. The CBC has already included Jacques in its “Top 30 Hot Canadian Classical Musicians under 30” – and Arthur is …uh …slightly older and already loved by London audiences.

So, who is this Forestier chap? I was about to credit his musical vibe to Montreal – but he’s an Alberta kid, born in Edmonton in 2004 and already starting to learn the violin at age TWO. By the age of 11, he made his debut with the Edmonton Symphony at the Winspear Centre – and remains one of their favourite soloists. I’ll place-name-drop a bit: He’s been at the Curtis Institute on full scholarship since 2022, picked up some pointers at the Mount Royal Conservatory, and been a student-artist at Juilliard.

(Pictured: Jacques Forestier with violinist Itzhak Perlman.)

His parents’ home in Edmonton must be bursting with prizes ~

From the “Olympics” of violinists, the 2018 Yehudi Menuhin International in Geneva (the only Canadian to qualify)
A multitude of medals from major competitions in Canada
Winner of the Joseph Joachim Violin Competition in Germany

And Arthur? He’s my age.

Just kidding. He’s also a world-class talent, Professor and Inspiration Manager at The University of Victoria. But BC is not seceding, so you can be nice to him after the concert- no need to go overboard.

(Pictured: Pianist Arthur Rowe.)

And if you’re new to this classical music thing – and you don’t want to appear like a thickie-thickie dumb-dumb in front of the mates on either side of you – here are a few elitist phrases you can share about the program.

When the Dvorak Sonata in G Major begins, you can ask, “That sounds familiar. Didn’t that performance win Jacques the Joachim competition?” or “I can hear the influence of Dvorak’s American sojourn, can’t you?” Or, “It’s all I can do to keep from humming along with those Bohemian folk melodies.” Don’t forget to mention it’s “intimate and dazzling – I’m going to hold my breath for all 18 minutes of it”

As for the Brahms Sonata in A Major, try this: “Isn’t it amazing- that young man received the Joachim prize – and Brahms actually wrote this sonata for his FRIEND, Joseph Joachim.” (Chuckle warmly at this point). Or involve your seatmate with “I can hardly wait for the Allegro Grazioso of the finale- those Hungarian dance rhythms make me want to kick my red leather boots while holding a perfect squat.”

If you’re not confident in the Strauss Sonata in E-flat Major, you can express relief that Strauss was in his post-Wagnerian phase. You can say, “This is going to be a thrilling capstone for this recital” and poke him or her in the ribs when you hear the “stormy passion” of the Allegro molto appassionato. Or you can just sigh deeply when the final Allegro begins, recognizing aloud the “dazzling runs and double-stops.” Don’t ask me what double-stops are. Google it.

Each of the sonatas Jacques and Arthur are performing is considered a gem of late nineteenth-century Romanticism. Perhaps you can only play them brilliantly when you are young and brilliant.

Don’t miss this opportunity to bear witness to the early career of a Canadian phenomenon. And tell him after the concert that you don’t want a Canada without Jacques Forestier – and Alberta- in it.

IF YOU GO:

What: The Jeffery Concerts presents violinist Jacques Forestier and pianist Arthur Rowe.

When: Sunday, February 8, 3:00pm.

Where: Wolf Performance Hall, 251 Dundas Street, London, ON.

Tickets: Online: https://www.grandtheatre.com/event/jacques-forestier-and-arthur-rowe

By phone: 519-672-8800

In person: 471 Richmond Street, London, ON

At the Door: Credit Card, Debit Card, or Cash.

For more information, visit https://www.jefferyconcerts.com/season2526/index.html

Previewed by Daina Janitis

Daina Janitis previews Lara St. John: The Ancient Flame

January 14, 2026 by Richard Young

by Daina Janitis

“Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.” – Jimi Hendrix

The concert I want to tell you about won’t involve rock, open rebellion, or active protest. It involves Lara St. John, a brilliant violinist, a Londoner, a personality who fills a concert hall, and a champion of honesty whose very presence is a gift to London this Saturday evening at Metropolitan United Church.

Sometimes we just NEED great music.

“Your brain responds to music like it’s a survival tool. When music plays, almost the entire brain ignites. The motor cortex drives your body to the beat. The hippocampus ties melodies to memories. The amygdala unleashes waves of feeling. And in the orbitofrontal cortex—the brain’s reward and decision hub—the same circuitry that flares in OCD lights up with music’s cycles of tension and release.” (Attributed to Harvard Medicine: The Magazine of the Harvard Medical School.)

Listen to Lara and Matt Herskowitz in this video from her Shiksa album. It’s not on Saturday night’s program- but her passion for truth and music will be.

Meanwhile, what has the London kid who picked up a violin and joined her older brother Scott in playing done with all of that talent?

As for most musicians’ bios, you’ll need an atlas and incredible patience to follow the list:

She debuted with an orchestra at age 4 – and with Lisbon’s Gulbenkian when she was 10.
AT 12, she toured Spain, Greece, Portugal, and Hungary
She’s studied at Curtis, the Moscow Tchaikovsky Conservatory, the Guildhall, Mannes College, and the New England Conservatory
She has been a soloist with the major orchestras of every continent.
She created her own label – Ancalagon – in 1999
She received the Order of Canada in 2021 – for “service to society and innovations that ‘ignite our imaginations’.”

It was Sting who said, “The truth is like a sword. You have to hold it with an open hand.”

And Lara St. John’s devotion to truth has been as inspiring as her music. In 2019, she told a Philadelphia newspaper that she had been abused and raped as a student at Curtis Institute of Music in 1985. That distinguished school had covered up the crime when she reported it. She is currently finishing a documentary film about the abuse of young music students. Read about the documentary here: https://theviolinchannel.com/lara-st-john-to-release-documentary-about-sexual-abuse-in-classical-music-industry/

Her hope for the documentary, Dear Lara, is not a selfish one: “They need to admit to wrongdoing and take every possible precaution to never let these things happen again. Predator Whack-A-Mole (my term for allowing depraved men to quietly resign, enabling them to simply take their behavior elsewhere) must stop. It’s unconscionable, and it’s everywhere,” Lara appealed.

Saturday’s Program:

Lara’s chosen concerto to perform with London Symphonia is Avner Dorman’s Concerto No.2, which premiered in 2018 when it won the Azrieli Prize. The composer tells an intriguing tale about the piece. The 92^nd Street Y (and Gil Shaham) approached him to write a piece for their Jewish Melodies program. He admits his research surprised him in finding common modes and melodies in Jewish music from various parts of the world. One of these, he said, is the Nigun – a melody that can be sung in Yiddish and understood by an Arabic speaker: “The Nigun has no beginning and no end and is eternal.”

Lara discusses Avner Dorman’s Violin Concerto No. 2, “Nigunim,” with Andrew Chung, Artistic Producer, London Symphonia, in this Behind The Music video clip: https://youtu.be/t6FuSbI_5fw

On Saturday night, London Symphonia will also perform Mendelssohn’s Midsummer Night’s Dream Suite and Aaron Copland’s Appalachian Spring.

It’s January – the month of miserable weather, broken resolutions, and depressing realizations. This year, the news from our neighboring country shatters our trust and brings even more dismay into our lives. And January 27th is the annual International Day of Commemoration in memory of the victims of the Holocaust. Each year, Canadians and individuals all over the world take this opportunity to remember the victims of the Holocaust and to reflect on the dangers of anti-Semitism.

Sometimes, just being in the presence of truth-tellers and creators of incredible beauty can remind us of our power to change the world. Lara St. John and London Symphonia will be at Metropolitan United on Saturday night to keep us from forgetting.

IF YOU GO:

What: London Symphonia presents Lara St. John: The Ancient Flame.

When: Saturday, January 17, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/lara-st-john-ancient-flame

To learn more about Lara St. John, visit https://www.larastjohn.com/

Follow Lara on Facebook https://www.facebook.com/AncalagonRecords and Instagram https://www.instagram.com/stjohnlara/

To learn more about London Symphonia, visit https://www.londonsymphonia.ca/

Previewed by Daina Janitis

Magisterra Soloists: Ten Years of Excellence Enriching London’s Cultural Mosaic

January 8, 2026January 10, 2026 by Richard Young

Previewed by Daina Janitis

Magisterra Soloists are honoured to begin 2026 with their annual Holocaust remembrance concert, dedicated to commemorating the victims of the Holocaust and honouring the survivors on Sunday, January 11, at Museum London.

—

Nine years ago, I picked up the phone. When the call comes from a former student (and former member of the London Youth Symphony), I’m curious to see where innate talent and hard work have taken a person like this. It was a request: “Daina, my Western professor is starting up something unique. She’s brilliant, and the idea is great. Can you help?”

An irresistible request. Through months of meetings with Annette-Barbara Vogel and some of the most brilliant young people in London, Magisterra Soloists International acquired the documentation to become a non-profit charitable organization, with the mission of playing a significant role in invigorating and enriching the local artistic experience.

And what has happened in the last ten years?

Magisterra at the Museum: An annual series of accessible, educational chamber music experiences that strengthen community ties in London.
Sensory Concerts: Inclusive shows for those with sensory sensitivities, led by emerging Magisterra Fellows to promote disability awareness in the arts.
Magisterra in Schools: Outreach reaching thousands of youth, especially in underprivileged and rural areas, with live classical music exposure.
Fellows Mentorship: Trains nearly two dozen young artists in performance and operations for professional careers.
Young Performer’s Award: Annual auditions for local string players, offering stipends and solo spots at events like the Christmas Baroque concert.

What makes a Magisterra chamber concert unique? I’d have to credit that to Annette-Barbara Vogel’s amazing vision and circle of friends in the varied professions of music. Each program is assembled from a trove of world literature, and the performers are assembled for intense days of rehearsal before the concert. The result is a freshness, energy, and connectedness that is breathtaking.

(Pictured: Artistic Director, Annette-Barbara Vogel)

This year’s program for the annual Holocaust Remembrance Concert brings together some chamber musicians you will long remember.

Joining Magisterra’s Artistic Director Annette-Barbar Vogel will be:

Brett Kingsbury: Dr. Kingsbury is a Canadian classical pianist and educator known for his work as a soloist, chamber musician, and professor. He serves as pianist for the Madawaska Chamber Ensemble and holds the position of assistant professor at Western University’s Don Wright Faculty of Music, teaching studio piano, Performance Research, and Piano Literature

Vera Sherwood: Vera is a Russian-Canadian violinist and educator active in the classical music scene, particularly in Ontario. She began her violin studies at the Perm Music School in Russia, continued at Moscow Gnessin High College, and completed her education at the M. Glinka Nizhny Novgorod Conservatory. Her work includes recitals and concerts in Canada, reflecting her transition from Russian training to a prominent role in North American classical music circles.

Jutta Puchhammer: Let me try to condense her bio! Jutta Puchhammer-Sédillot is a Viennese-born violist renowned for her exceptional performances and dedication to the viola repertoire, now residing in Canada. She has served as a full professor of viola and chamber music at the Université de Montréal since 2002, with prior teaching at institutions like Juilliard, Curtis Institute, and international festivals including Orford Music and Sarasota. Puchhammer-Sédillot has also led masterclasses worldwide and held leadership roles such as president of the Canadian Viola Society (2006-2014) and the International Viola Society since 2020.She earned the International Viola Society’s Silver Alto Clef Award (2019), the highest honor from IVS, where she has served as president since 2020, plus the Maurice Riley Prize (2006) and Canadian Life Achievement Award (2022).

Miriam Stewart-Kroeker: The versatile Canadian cellist from Hamilton, Ontario, is known for her work with regional orchestras and chamber ensembles. A graduate of Wilfrid Laurier University (Honours BMus in Cello Performance and Chamber Music Diploma) and McGill University (MMus with Matt Haimovitz), she studied under Paul Pulford and the Penderecki String Quartet. Founding cellist of the Andromeda Piano Trio and Kestrel String Quartet, she performs regularly in prominent Southern Ontario series, including Kitchener-Waterloo Chamber Music Society, Guelph Connections, and Toronto Chamber Players. Her Banff Centre residencies, chamber awards, and innovative events like “Yoga with Cello in the Park” highlight her engaging, community-focused artistry that resonates locally.

THE PROGRAM:

Blues for piano by Simon Laks

Simon Laks (1901–1983), known for surviving Auschwitz as conductor of the prisoners’ orchestra, composed this likely in the interwar period amid his Parisian output of chamber works and songs. The “Blues” evokes a moody, syncopated idiom fitting his blend of Polish lyricism and French elegance.

Sinfonia Concertante op.68 by Walter Braunfels

The piece spotlights virtuosic interplay among the soloists against a string backdrop, evoking a “curmudgeon grotesquery” alongside hearty peasant vigor and high emotional torque. Its edginess and folk-lyric passages reflect Braunfels’ influences from Berlioz, Mahler, and Schoenberg, while rooted in his conservative tonal world.

Quintet No. 1 by Ernest Bloch

The opening Agitato surges with a gruff motto theme amid whirling rhythms and anxious microtonal shadings, cycling Brahmsian motifs into thorny, powerful exchanges. A haunting Andante mistico offers lyrical respite with long-breathed lines, flowing into the Allegro energico finale’s rippling currents and consoling C-major close. Extended techniques like harmonics, sul ponticello, and col legno amplify its raw, visceral string writing.

Every time I attend a Magisterra concert myself, I thank the fates for that phone call nine years ago.

What Magisterra has developed in our relatively small “City of Music” is a testament to the incredible powers of music. I was going to quote Martin Luther about those powers, but Billy Joel fits the bill about Magisterra: “I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by.”

IF YOU GO:

What: Magisterra Soloists present Silenced, Survived, Holocaust Remembered.

When: Sunday, January 11, 2026, at 3:00 pm.

Where: Museum London – 421 Ridout St. N

Tickets: Purchase your tickets at the door or click the following link to buy them in advance: https://tr.ee/KN2HMuPE7C

For more information about Magisterra Soloists, visit https://www.magisterra.com/index.php

Follow on Facebook https://www.facebook.com/MagisterraSoloists

Follow on Instagram https://www.instagram.com/magisterrasoloists/

Previewed by Daina Janitis

London Symphonia brings Broadway shimmer and gospel fire into the concert hall

December 5, 2025December 5, 2025 by Richard Young

Previewed by Daina Janitis

Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!

Care to glance at The Sounds of Home program?

Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.

“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.

(Pictured: Alexandra Kane.)

Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.

If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.

(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)

Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.

(Pictured: Tiffany Deriveau.)

Tiffany Deriveau All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.

(Pictured: Trevor Patt.)

Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.

And there’s a choir too – the London Gospel Collective!

Who are they? Let’s ask them:

We are a diverse, spiritual community uniting through the power of worship and gospel music.
We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.

Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

When: Saturday, December 6, 2025, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/sounds-home

Previewed by Daina Janitis

Daina Janitis previews the London Youth Symphony’s Old Friends and Overtures, November 29.

November 28, 2025 by Richard Young

Previewed by Daina Janitis

“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma

And looking at this recent photo of the London Youth Symphony on that beautiful stage at The Met below, these words resonate.

(Pictured: London Youth Symphony.)

They bring back sweet memories: Taking my stoic 12-year-old son and his bassoon to an audition with conductor Jerry Summers over 30 years ago. Wondering how he’d get through the chosen piece, some scales on that gigantic piece of pipe, and then a piece of sight-reading. When he was accepted, there were cheers from his nerdy parents and a chocolate cake at Sebastian’s on Richmond.

And then his mom started over 30 years of volunteering for London’s youth orchestra, thankful for what orchestra playing provided for her own kids.

Oh, the Londoners in LYS whose performances continued to enrich our lives ~

String players like Alex, who went on to Montreal’s Symphony.

Andrea, who is now part of the Montreal ensemble she created: collectif9.

Susan, who left London to study at Oberlin and was principal cello in Louisiana before returning to London to teach and inspire.

Becky, who played in a Polish salt mine- and the Krakow Cathedral – but now delights audiences in Kitchener-Waterloo.

But equally inspiring- the LYS musicians who used their talents in other fields ~

Steve, who adds fire to the local community orchestra while completing his epidemiology degree.

Sharon, who started her own Suzuki school to help generations of little ones flourish.

Ana, a dedicated therapist who also plays her violin in LCO.

Mary, the oboist- member of the first LYS over 60 years ago, still sets that tuning A for the community orchestra.

So why am I indulging in personal memories as the first LYS concert of Season 2025-26 begins?

Because I find the power of the music these young people rehearse, the energy that their conductors and mentors provide their efforts, and the willingness of the audience- even non-family members – to offer them applause, one of the most powerful beacons of hope in a world that is showing the distressing speed at which values can be lost.

Only this past weekend, some of you might have seen this demonstration by some gentlemen across the Wortley Road Bridge in London.

This group announces on its website that The Second Sons is a men-only, Canadian white nationalist group. The group operates chapters throughout Canada, using gyms as meet-up spots and to train their fitness via martial arts. The group appears publicly in white masks and sunglasses, similar to the Patriot Front, and has adopted a modified version of the Red Ensign as its logo.

What would they and their “Remigration Now” banner make of the LYS kids (and their supportive families), whom you can hear this Saturday night? What would they learn from the Kims, Lees, Sanatanis, Wongs, and Smiths who create beautiful harmony and stirring rhythms with notes put together by composers around the world?

Overall, the discipline and collaboration required in classical music ensembles nurture well-rounded individuals who are socially aware, emotionally mature, and cognitively equipped, qualities that are invaluable for sustaining democracy and community life. This makes the London Youth Symphony’s first concert not only a musical event but a celebration of these deeper civic and personal benefits.

But as Daniel Barenboim reminded us, “An orchestra is not an orchestra without the musicians, but the musicians are not an orchestra without the audience.”

(Pictured: Argentine-Israeli classical pianist and conductor, Daniel Barenboim.)

Among a gazillion other accomplishments, Daniel Barenboim worked with the late Palestinian scholar to create a youth orchestra of young Israeli and Arab musicians. This ensemble was created to show that music can break down barriers once thought insurmountable. Their commitment is to showing that bridges can be built if we listen to each other’s narratives. You won’t be hearing the West-Eastern Divan Orchestra on Saturday night, but you WILL be part of building bridges and bearing witness to young people merging their right and obligation to create something exquisite for each other and for you.

(Pictured: LYS Conductor, Ben Bolt-Martin.)

And what scores will LYS Conductor Ben Bolt-Martin be bringing to life with his baton- and his dedication to London’s musicians? Some of them will be familiar to you – and I’ll even add some links to previous performances if you’d like to get your expectations ready:

There’s “Nimrod” from Enigma Variations — Elgar

Elgar’s “Enigma Variations” began almost as a private joke at the piano, when he started improvising little musical caricatures of his friends to amuse his wife after a long day of teaching and routine work. Each variation is a musical “portrait gallery,” where you can actually hear personalities, inside jokes, and even remembered conversations, yet the whole piece is wrapped around a secret hidden theme that Elgar claimed, “goes through and over the whole set, but is not played” and that he took to his grave without ever explaining. The “Nimrod” was written about a friend, but its slow, gentle start and rise to glorious sound have made it a favourite selection for funerals!

And what about Capriccio Italienne -Tchaikovsky?

Peter Ilyich’s love life was the pits at that time, but Tchaikovsky’s Capriccio Italienne was composed during that dark and turbulent time in his life, bursting with the vibrant energy of the Roman Carnival he witnessed firsthand. The piece captures the bright colours and lively folk tunes of Italy as Tchaikovsky absorbed local street music and dances, creating a joyful, almost theatrical celebration of a city that stirred something vital in his sensitive soul.

And are you ready for Academic Festival Overture – Brahms?

Will you catch its irony? He offered it as a thank-you for a new degree – an honorary doctorate- and gave the bigwigs a rousing potpourri of boisterous student drinking songs rather than a solemn academic piece. He used four drinking songs and ended with “Gaudeamus igitur,” a centuries-old student anthem meaning “Let us rejoice, therefore, while we are young,” capturing the mischievous, playful spirit of youth amid a formal academic celebration.

I‘m sure we’ve all heard this one, too – Overture to Der Freischütz – von Weber

Are you ready to take the risk of Weber’s overture to “Der Freischütz”? It stands out for how it dramatically sets the scene for the opera’s dark romantic tale of supernatural bargains and moral struggle, weaving together actual themes and motifs from the opera—especially the eerie diminished seventh chord associated with the devil figure Samiel and the lyrical hunting horn calls—into a vivid musical narrative.

Your openness of mind, your willingness to learn, and your celebration of some of London’s most inspiring young artists are gifts that you have the power to give and receive by your presence. An orchestral performance is a collaboration between the conductor, the musicians, and the audience. It is a shared experience where everyone involved becomes a part of something greater than themselves. It is a connection of souls, united by the power of music.

IF YOU GO:

What: London Youth Symphony presents Old Friends and Overtures.

When: Saturday, November 29, 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: At the Door or https://lys.ticketspice.com/old-friends

Previewed by Daina Janitis

I Looked at all Those Smiling Faces all Members of the Toronto Symphony Orchestra …And They Looked So Excited to be Playing BACH!

November 19, 2025November 19, 2025 by Richard Young

Daina Janitis previews The Jeffery Concerts: TSO Chamber Soloists Play Bach, November 23.

Full disclosure, I took piano lessons without whimpering – but even if I put on a scruffy coat, hunched over, and had unravelling gloves on my hands – I never got into a Glenn Gould state of mind to understand the lure of JS Bach.

But then I found the confession of a man who stuck with music teaching and performance – and explained the appeal of Bach to people with souls!

Ethan Hein is a music technology and music education professor- somewhere – and his personal admission hits the right note. Here’s what he has to say about Bach and his music:

(Pictured: Ethan Hein, The Ethan Hein Blog)

“I’m not a big classical music guy for the most part, but I never get tired of Bach. This stodgy eighteenth-century Lutheran doesn’t seem a likely inspiration for a hipster electronica producer like me. There aren’t too many other wearers of powdered wigs in my record collection, and Bach is the only one in the regular rotation.

Why? When I studied jazz guitar, I was encouraged to learn some Bach violin and cello music. I learned a lot about music theory that way, but I had a surprising amount of fun, too.

Why is Bach’s music so much cooler than anything else of his time and place? There are plenty of beautiful melodies and interesting thematic developments in other Baroque music, but they’re usually buried under tweedly curlicues. I get exhausted from all the jumping up and down between adjacent scale tones.

You never get the sense that Bach is just throwing notes at you to fill the space between ideas. This spare, economic quality shows most clearly in his solo instrument stuff. The single lines spell out both the melodies and the chord progressions clearly, using the spaces between the melody notes to deploy fragments of basslines or arpeggios. Bach gives your imagination just enough data to easily fill in the rest. Leaving notes out is a great way to draw in the listener. It invites us to participate in our heads.

Bach has huge geek appeal. He favored puzzle-like musical forms, canons and fugues, where the melody gets repeated as its own accompaniment. Bach’s music is dense with references and quotations of other works, and of itself. Bach’s love of recursion inspired Douglas Hofstadter to write a whole computer science book about him (and Gödel and Escher.)

See: http://www.quora.com/Book-Summaries/What-are-the-main-ideas-and-highlights-of-G%C3%B6del-Escher-Bach/answer/Ethan-Hein

Bach was a great quoter of the popular music of his time and place: hymns and regional dances. Since most of the music he was paid to write was for church services, it’s no big surprise that Bach did so much reworking and embellishing of hymns.

You couldn’t ask for a better education in what it means to embellish a theme than to hear Bach’s lines superimposed on the simple hymns. No wonder jazz musicians love him so much; the effect is similar to the way Charlie Parker sounds improvising on a showtune. (Bach was known in his lifetime as an improviser, which adds to his jazz cred.)

There’s something very algorithmic about the rule-oriented forms he wrote in, the canons and fugues, all that complex counterpoint. Every note that Bach ever wrote is on the web in MIDI format. http://www.jsbach.net/midi/index.html His music sounds pretty decent when played by robots (though it’s livelier when it’s played by humans.)

Bach wasn’t very highly regarded in his lifetime outside of a small, devoted circle of groupies. He didn’t hit the cultural big time until a hundred years after his death. He’d probably be amazed now at his elevated stature.” (Ethan Hein)

(Pictured: TSO Chamber Soloists)

And who are the musical powerhouses that will be playing Bach on Sunday afternoon?

Their bios with details of performances, awards, and recordings can be found on websites- but what do you NEED to know?

Jonathan Crow is their “curator.” He’s also been the concertmaster of the TSO since 2011, but travels the world concertmastering for other orchestras. He teaches violin at the University of Toronto and is an avid chamber musician – a founding member of the Orford String Quartet.

What is it with oboes and London, Ontario? Sarah Jeffrey is a London girl who plays that instrument superbly. You’ve heard the oboe jokes, haven’t you?

Oboist: Did you hear my last recital?

Friend: I hope so.

Oboe: “An ill wind that no one blows good.”

Sarah, however, has been praised for her “exquisite solo work,” her “luscious tone,” and her sensitive musicianship. She’s Principal Oboe of the TSO, a teacher at the Royal Conservatory, and mom of two kids.

Kelly Zimba Lukic joined the Toronto Symphony Orchestra as Principal Flute in 2017 – but leaves a trail of US orchestras in her debt. She’s celebrated as an innovative and inspiring teacher as well as a performer. Previously a flute fellow at the New World Symphony, she has performed with the Chicago, Pittsburgh, and Detroit Symphony Orchestras.

And Christopher Bagan? He’s another tough one to squeeze into an X (formerly Twitter) post. He’s a Doctor of Musical Arts (specialising in Schonberg) who performs baroque with equal fluency. If you’ve heard the tinkle of a harpsichord at the Canadian Opera Co., it was Christopher.

Is there anything else you should know before you get to the church, on time at 3:00 p.m.? Visit: https://youtu.be/IunEDER6Mws

Only that the Brandenburg Concerto #5 – the piece that will feature the whole ensemble – is incredibly beautiful. The link above leads to a Chicago Symphony chamber performance- but T-Rex Hand Position Up – our Canadian musicians will dazzle!

IF YOU GO:

What: The Jeffery Concerts: TSO Chamber Soloists Play Bach.

When: Sunday, November 23, 2025, at 3:00pm.

Where: St John the Evangelist Church, 280 St James Street, London, ON

Tickets: Single Ticket Price: $40. Online at https://www.grandtheatre.com/event/toronto-symphony-orchestra-chamber-soloists? or at the door

Student tickets: Available for free with a valid ID by emailing jefferyconcerts@gmail.com

For more information about The Jeffery Concerts, visit https://www.jefferyconcerts.com/season2526/index.html

Follow on Facebook: https://www.facebook.com/thejefferyconcerts

Previewed by Daina Janitis

Tango with London Symphonia and Payadora this Saturday, November 15th

November 13, 2025November 13, 2025 by Richard Young

Previewed by Daina Janitis

(Pictured: Members of Payadora Tango Ensemble – Mark Camilleri, Drew Jurecka, Rebekah Wolkstein, Elbio Fernandez, and Joe Phillips.)

Is there a heaven? And if there is, may I put in a request to end up here for eternity – with Antonio Banderas giving me tango lessons: https://youtu.be/6lAKlYTQVKY?si=cr3HQPzb1PvaROj-

Tango did not begin in a sad dance studio in Brooklyn. Tango is a passionate, provocative music and dance style that began in the working-class bars and brothels of Buenos Aires and Montevideo in the late 1800s, emerging from a melting pot of African, European, and local influences. Born where desire and melancholy intertwined, tango quickly became infamous for its sensuality and daring social dynamics—people danced close, in smoky rooms where the music’s erotic undertones mirrored the pulse of the city’s nightlife. It swept into the salons of Paris and beyond, transforming from a sultry scandal to an international sensation, all while keeping traces of its rebellious origins. (All right, while I fan my fevered brow, I’ll admit I got this history through AI research)

Tango’s music is syncopated rhythms played on bandoneon, violin, piano, and double bass – sometimes with voice that punches even higher on the emotional gauge.

Tango was danced by immigrants, misfits, and the marginalized in port neighbourhoods. Its lyrics and notes embody carnal passion. Its performance scandalized polite society but, naturally, fascinated them as well.

Today, Tango Nuevo renews the music and the dance for its sensuality, nostalgia, and emotional storytelling. It blends high drama, cultural fusion, and the thrill of improvisation. Check out this instructional video on dancing Tango Nuevo: https://youtu.be/2mtoTyMns8o?si=ENxIAGDhyPUjduGd

Who are the members you’ll hear – and later meet- of Payadora? The brilliant musicians were drawn together in 2013 by their love of this unique music. And their ensemble’s name? A payador is a male improvising poet-musician in South America, particularly Argentina and Uruguay (the feminine form is Payadora). These musical vagabonds roam the countryside, improvising verses, often accompanied by a guitar, to respond to rivals in a musical contest known as a contrapunto.

So, at The Met (corner of Wellington and Dufferin), how will you be hearing and seeing?

Our beloved composer-in—residence, Scott Good, will conduct members of London Symphonia and the musical powerhouses of Payadora.

(Pictured: London Symphonia’s Composer-In-Residence, Scott Good.)

Rebekah Wolkstein is the founder and leader of Payadora. She holds a doctorate in Violin Performance from U of T, plays in a classical string quartet- and excels in klezmer/Yiddish swing!

(Pictured: Rebekah Wolkstein, founder and leader of Payadora. Photo by Peter Yuan.)

Joe Philips– our hometown boy who lives here and is principal bass of London Symphonia – was born in Toronto. He also plays classical guitar and has appeared with orchestras and musical artists too varied – and many – to mention. I’ll just pop in Joel Quarrington’s name and Shane Cook’s, and the TSO, and Le Violons de Roi.

(Pictured: Joe Phillips, principal bass of London Symphonia.)

Drew Jurecka, an impressive jazz and classical violinist, began as the record producer of Payadora’s albums. His gifts on viola, saxophone, clarinet, and mandolin have made him a valued addition to performances by Jeff Healey, Jesse Cook, Stewart MacLean, and Alex Pangman. He’s composed movie scores- and takes time to teach at Humber College, where he’s created the only jazz strings program in Canada.

Drew is also the group’s bandoneon player – what is that, you ask? According to a post from the Los Angeles Tango Academy, “The bandoneon is a large, rather complicated concertina originally developed in Germany for churches that could not afford organs.”

(Pictured: Drew Jurecka playing the bandoneon. Photo by Karen E. Reeves.)

This monster of reed instruments has no keyboard, so it’s not the accordion we all conspire to keep Uncle Heinrich from playing at Christmas. It’s got 71 buttons, 38 for the right hand and 33 for the left. The musician uses both hands to push and pull air through bellows.

And for Mark Camilleri, music is life. Mark’s entire professional life embraces music, and he has had a wonderfully varied career for over 35 years. As Marvin Hamlisch put it, “Mark Camilleri, or ‘Mr. Canada, as I call him, is a one-man does-it-all musical powerhouse, whether he’s conducting, playing keyboards, or arranging.”

Mark has conducted countless shows for Mirvish, worked with film directors, and performed from the Vatican to the Oprah Winfrey show. He’s shared the stage with Andrea Bocelli, Celine Dion, Annie Lennox, and Eric Clapton.

And the vocals!

Elbio Fernandez is apparently known as El pequeño gigante del tango” (the little giant of tango) – but I’m not judging. Born in Uruguay, he is now a Canadian who performs around the world.

(Pictured: Payadora vocalist, Elbio Fernandez. Photo by Peter Yuan.)

And this Saturday, at 7:30pm, you can dream of being young, lithe, sensual, and worthy of someone asking you to tango.
To quote Sherman Alexie, ”If you really want a woman to love you, then you have to dance. And if you don’t want to dance, then you’re going to have to work extra hard to make a woman love you forever, and you will always run the risk that she will leave you at any second for a man who knows how to tango.”

IF YOU GO:

WHAT: LONDON SYMPHONIA CONCERT
Payadora – The Soul of Tango
London Symphonia, Scott Good, conductor, Payadora Tango Ensemble.

WHEN: Saturday, November 15, 2025, at 7:30 pm. Doors open at 6:30pm

WHERE: Metropolitan United Church, 468 Wellington St, London, ON.

SUBSCRIPTIONS & TICKETS: Ticket packages start at $155 for a 3-concert General Admission subscription and $212 for Reserved Seating, plus fees and HST. 5-concert packages are also available. Individual adult tickets range from $55 General Admission to $75 Reserved Seating, plus fees and HST. Family Flex packs and free student tickets are also available. In-person subscriptions and tickets can be purchased online now at londonsymphonia.ca.

Subscriptions to all concerts, including the Family Concert, and individual concert rentals are available on London Symphonia’s Watch and Listen video on demand channel.

Find out more at londonsymphonia.ca.

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia

To learn more about Payadora, visit http://payadora.com/

Follow Payadora on Facebook https://www.facebook.com/payadora

Previewed by Daina Janitis

London Symphonia presents Payadora – The Soul of Tango, November 15th at Metropolitan United Church

November 11, 2025 by Richard Young

Experience tango like never before when the award-winning Payadora Ensemble performs with London Symphonia in a concert sure to entertain. Payadora – The Soul of Tango is a genre-crossing celebration of rhythm, melody, and cultural connection that takes you on a vibrant journey from Argentina across Eastern Europe, exploring the music, song, storytelling, and dance behind this multidimensional art form that continues to captivate the world. Scott Good, London Symphonia’s Composer-In-Residence, will conduct.

Based in Toronto, Payadora has been officially endorsed by the Argentinian Consulate in Toronto for its authentic representation of the spirit of tango. The members combine their collective background in classical, jazz, and global music traditions to create their distinctive sound.

The group was founded in 2013, and its members are sought-after musicians in the Canadian chamber music scene, including Rebekah Wolkstein (violin, vocals), Drew Jurecka (bandoneon, violin, mandolin), Joseph Phillips (double bass, guitar), Mark Camilleri (piano), and Elbio Fernandez (vocals).

The superstar group has combined their deep knowledge of tango with their classical, jazz, and world music backgrounds to create something entirely new. Together with London Symphonia, this dynamic concert will dig deeper into the meaning of tango as an art form, telling stories of resilience and grace with an unwavering respect for tradition. “Over the past 13 years, Payadora has developed its musical personality from one that closely studied and emulated the great tango masters, to one that performs across Europe, North and South America to great musical acclaim,” said Andrew Chung, Artistic Producer, London Symphonia. “They have created a special London Symphonia concert version of the music they love so much, and we can’t wait to perform with them.”

(Pictured: Andrew Chung, Artistic Producer, London Symphonia.)

“It is with the greatest admiration that I see longtime Payadora member and London Symphonia principal bass, Joe Phillips, bringing together his favourite groups to celebrate this soulful music,” Chung added. “With Uruguayan roots and a lifelong love for this music, singer Elbio Fernandez’ extraordinary voice sings with the intensity and passion of the very best tango performers”

Listen to members of Payadora talk about their November 15th appearance with London Symphonia in this video clip: https://www.facebook.com/share/r/17Rrfcrzs1

The soul of tango may have originated in Argentina and Uruguay, but it has long captivated the world with its mix of melancholy, passion, longing, and embrace.

“We are excited to perform with London Symphonia,” said Rebekah Wolkstein, leader of the group. “This concert offers a vibrant and wide-ranging journey through Argentine and Latin-inspired music. From the dramatic sweep of tango classics by Mores, Piazzolla, and Gardel to contemporary works by Payadora members Rebekah Wolkstein and Drew Jurecka, the evening blends tradition with innovation. The program also features folkloric Argentine styles and theatrical songs, showcasing the emotional storytelling at the heart of this music. We hope you will join us. It’s going to be a great evening!”

IF YOU GO:

WHAT: LONDON SYMPHONIA CONCERT
Payadora – The Soul of Tango
London Symphonia, Scott Good, conductor, Payadora Tango Ensemble.

WHEN: Saturday, November 15, 2025, at 7:30 pm. Doors open at 6:30pm

WHERE: Metropolitan United Church, 468 Wellington St, London, ON.

Subscriptions to all concerts, including the Family Concert, and individual concert rentals are available on London Symphonia’s Watch and Listen video on demand channel.

Find out more at londonsymphonia.ca.

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia

To learn more about Payadora, visit http://payadora.com/

Follow Payadora on Facebook https://www.facebook.com/payadora

Leave Your Halloween Worries In The Hands of Orlac – A Gothic Experience!

October 29, 2025 by Richard Young

by Daina Janitis

Admit it. Halloween is not your favourite holiday. But what worries you most about it?

That the neighbours in your suburb have decorated their housefronts with draperies, gravestones, witches that move and cackle – while rolling their eyes at your miserable single pumpkin on the porch?
That you’ll run out of candy early- and some irrepressible toddler will peer through a crack in your drapes and yell, “They’re in there!!! I can see them!” to the horde following?
That your teenage children claim they’re just going out for nostalgic fun- but their goodie bags clink oddly when they return home … late …

The solution to every Halloween worry has been provided this year by the talent and imagination of Scott Good! Scott is the local genius who dispenses music as the Composer-in-Residence of London Symphonia.

(Pictured: Dr. Scott Good, Composer-in-Residence of London Symphonia.)

I hope you’ve met Scott- and even heard some of his compositions, but he keeps pretty modest about being “a composer, conductor, concert designer and trombonist whose music is driven by the desire to create beauty, evoke emotion, and play with groove. With a belief in the power of art to enable cathartic events, he has worked with a rich community of musicians, orchestras, ensembles, choreographers, actors, and artists to create intense, emotional, live performance experiences.” I Googled that

And his latest stroke of genius? Creating a score for a 1924 silent movie, the classic The Hands of Orlac. The “creepy movie” leaves ample space for the composer to utilize dissonant and esoteric sounds. With soloists Greg Oh and Stacie Dunlop, and strings from the incredible YAPCA school, our composer’s imagination has run wild! Scott has mixed in local and Toronto artists who play accordion, saxophones, trumpet, trombone, and harp – as he calls it, a dream band of over fifty live musicians!

Scott Good invites you to attend The Hands of Orlac – A Gothic Experience in this video clip https://www.facebook.com/share/r/17J1QPqK4h/

And the movie that’s on the screen at The Met? Movie buffs praise it as a psychological tour de force. Paul Orlac, a concert pianist, loses his hands in a dreadful train accident, but a clever surgeon replaces them with the hands of an executed murderer (Oh, how I wish Marty Feldman could have done the fetching.). Director Robert Wiene, after the success of his The Cabinet of Dr. Caligari (1920), created this masterpiece of “body horror” just waiting for London’s composer and musicians to make this silent film scream again.

Watch the Official DVD Trailer for The Hands of Orlac here https://youtu.be/6RwYXaTN_CY?si=9zOeaWaCLqbOWmr0

Underscoring – see, I did a “music” there – the actions are groundbreaking ideas familiar today. Body identity, medical transplant science, expressive and unsettling visuals that prefigure psychological thrillers on Netflix.

So, how could attending this cathartic experience on October 31^st be perfect? Why not unleash your own creativity and bring a Goth element to the audience? You may be too old to go trick-or-treating, but why not trick yourself out to make the event totally immersive?

Remember the basic canon of Goth fashion –

BLACK is essential.
Layer on the textures- lace, leather, velvet
Chokers, heavy necklaces, an abundance of bats…yes, bats
Chains wherever you can tuck them.
Dramatic makeup – eyeliner, dark shadow, bold, deep lipstick
Hair that’s dyed or streaked, backcombed from roots to ends.

The Globe and Mail has described Scott Good’s music as having “a kind of majestic bestial reality.” When will you ever get a chance to be part of a really majestic and bestial concert experience like THIS, again?

If You Go:

What: Forest City Film Festival presents The Hands of Orlac – A Gothic Experience

When: Friday, October 31, at 8:30pm

Where: Metropolitan Church, 468 Wellington St, London, ON

Tickets: $35 – $80. https://fcff.ca/hands-of-orlac/?fbclid=IwY2xjawNu0JxleHRuA2FlbQIxMABicmlkETFWVU9ueXVOMXlIMXVUNFE1AR5vhjEdvgdoHLDhGaEb2MThzvf5qZn1nUDnkQZEpWYjhXpE5mq6A3-gkDXWDQ_aem_wFG3mBxB1pzcvLmreHV8tQ#buynow

For more information about London Symphonia, visit https://www.londonsymphonia.ca/

For more information about the Forest City Film Festival, visit https://fcff.ca/

Meet The Bohemians, London’s Newest Community Choir

October 19, 2025October 19, 2025 by Richard Young

by Richard Young, Publisher & Content Manager of The Beat Magazine 2025

There’s a new community choir in town called The Bohemians, and it has a well-articulated mission.

“Our mission is to bring people of all ages together and through the joy of singing, create a welcoming, supportive, and non-competitive choir community that nurtures connection, learning, health, and happiness,” says Lesley Andrew, the choir’s Artistic Director and Conductor. “Our mandate is to perform at community fundraising events. All ages and vocal abilities.”

The choir was formed by Lesley in response to Art Fidler’s call for acts to perform at the Groovin’ for Good London Food Bank fundraiser in September at the Palace Theatre. Consisting of Silver Spotlight Theatre and The Artful Players members, the choir performed Queen’s epic tune, Bohemian Rhapsody.

“At the request of various choir members, we have kept the group together,” says Lesley. “One member, Carol Wilks, thought of the name, and it stuck. It suits our repertoire and our musical philosophy. We have opened membership to include people of all ages. We are now an official choir.”

Lesley brings some very impressive credentials to his position.

She performs everything from opera to jazz, oratorio to musical theatre, and has made soloist appearances with orchestras around the world. An active performer, Lesley is also in much demand as a voice and drama instructor through her studios, Dream In Progress Productions. Her theatre/television credits include the Stratford Festival, Windsor Lite, Huron Country Playhouse, the Guelph Spring Festival, The Tonight Show, Oprah, Donny and Marie, and much more.

(Pictured: Lesley Andrew, Artistic Director and Conductor of The Bohemians.)

“Lesley is the heart of this choir. We are in the unique position to have a leader who is also a professionally trained singer, has been on world tours, and has her own records. It is a unique position for our choir, as we will have the opportunity to perform with Lesley and learn what it is like to sing with a professional,” says Dawn White, the choir’s President. “Members of the choir also have the opportunity to sing duets with Lesley, which will also be an amazing experience.”

“Beth Zuwala, our Assistant Director and Conductor, and media guru, is also an incredible talent who is highly trained with the voice of an angel, and she will also provide some great experience for choir members who want to sing with a partner during our concerts, if the occasion arises! The choir will then be provided with a myriad of experiences to learn from, and it will elevate our performances and fun, and allow us to sing a variety of music under Lesley and Elizabeth’s tutelage,” Dawn adds.

Currently, the choir has approximately thirty members, although a few have had to take a brief leave of absence until after Christmas, as they are in various theatre productions that are quite time and energy-demanding.

“We are hoping to get entire families involved, “ says Lesley. “Our members range in age from twenty to eighty and come from all walks of life. For some, this is their first time singing in a choir, and others have much experience with community theatre and various choirs.”

The Bohemians’ repertoire is accessible and diverse and includes pop, show tunes, folk, and rock. Selections include Queen’s Bohemian Rhapsody, For Good from the show Wicked, The Climb, Let the River Run, and Fight Song.

“To date, even before we were an official choir, The Bohemians have performed three times publicly to rave reviews,” says Lesley. “We’d like to perform where fundraising is needed, or at community events needing entertainment. We’ll be performing a few ‘flash mobs’ as well and will be entering the Kiwanis Music Festival.”

“We would like to consider The Bohemians as a welcoming group of musically-minded people, gathering to not only sing, but to socialize and meet new people. It’s also an awesome way to train your voice, as each rehearsal is like a group voice lesson,” adds Lesley. “Those interested in joining The Bohemians are always welcome.”

Contact bohemian.choir@gmail.com or message the choir on Facebook https://www.facebook.com/profile.php?id=61580064927636

“We will be connecting to my website (www.dreaminprogress.com) and will be posting regularly on our Facebook page,” Lesley says.