Tag: piano

Renée Silberman reviews London Symphonia, The Brahms Effect with Tom Allen; London Symphonia, Beethoven, Shostakovich and Marsh; The Jeffery Concerts, James Ehnes, violin, Andrew Armstrong, piano.

by Richard Young

The Beat Magazine 2025 is thrilled to introduce its newest volunteer contributor, Renée Silberman, founder and director of London’s Serenata Music. Alongside Daina Janitis, who previews coming concerts, Renée will be reviewing selected Classical Music events. Renée offers a roundup of recent Classical Music concerts in her first story for The Beat Magazine.

Dear music-loving friends and those who wish to join this august circle of the concert-going public. I offer you a report on the final three events of the 2025-26 season and hope it will give cause to rejoice in the kind of offerings now regularly available here in London.

In quick succession, London Symphonia presented a pair of concerts showcasing the artistry of their musicians, who performed cleverly curated programs.

On April 18, Graham Lord, principal clarinet and London Symphonia’s String Quartet, explored works from the clarinet repertoire that represent the gamut of expressive language and technical complexity inherent in the instrument’s nature. Without question, musician, raconteur, CBC broadcaster Tom Allen, enriched the experience, having first of all helped shape the evening’s format, and then enlarged upon the historical development of the clarinet in its many aspects – discussing many of its uses, as an orchestral voice, as a solo instrument in art music and jazz, and more.

(Pictured: Tom Allen.)

The first half of the program took us on a tour of the musical magic the clarinet produces with samplings from works by four composers: Gerald Finzi (1901-1956),  Samuel Coleridge-Taylor (1875-1912), Mozart (1756-1791), and Steve Reich (b. 1936). Tom Allen elucidated the characteristics of each piece with his unique combination of knowledge and storytelling skill, always engaging, never didactic. Graham Lord’s consummate musicianship drew the audience in – his sensitivity to style,  especially in the tenderness of the second movement, Larghetto of Mozart’s Clarinet Quintet and in the exhilarating New York Counterpoint multi-voiced tape plus live line – prepared us for the emotional heart of the concert, the Brahms Quintet for Clarinet and Strings in B Minor Op. 115. The Quintet, Brahms’ valedictory work written for Richard Mühlfeld, in Brahms’ opinion, the most outstanding wind player he had ever heard, traverses a grand range of feeling, mood, tones and textures.

There is an elegiac quality, a sense of retrospection, and yet, in this remarkable gift to the generations, the artist’s creative drive evidently had lost none of its energy. On hearing the Quintet, Clara Schumann wrote to Brahms, “The joy that I had survives in my heart, and for that I am grateful.” And so it is that we, too, find renewal in this epic, Protean composition.

On May 2, London Symphonia wrapped up its season with “Beethoven, Shostakovich, and Marsh,” a program of disparate compositional traditions and voices.

Under the leadership of Conductor Tania Miller, the orchestra produced a stimulating journey through time and spirit, a reflection of the type of programming that presents a combination of the contemporary with the tried and true. Moreover, London Symphonia provides a generous opportunity for its members to savour the limelight. This was notable in singling out Laura Chambers, Principal Flute, to take a solo turn in a World Premiere commissioned by the orchestra, with funding support from SOCAN Foundation and the Ohio Arts Council. Composer Alexis Dyan Marsh and flautist Laura Chambers became colleagues at the University of California and have continued a working relationship over the years.

(Pictured: Laura Chambers.)

View of a Cartwheel From An Ascending Plane for Flute Solo and Orchestra is written in six parts, “as a collage of lived experience. The work is woven from three distinct threads: the vastness of the Canadian West grounded in the Manitoban landscape, the evolution of human connection, and the vertical trajectory of personal ambition.” The composition is atmospheric, depicting landscapes and human connections. The element of friendship sets humans in the vast landscape, and may describe the friendship between Marsh and Chambers, linking people to place; furthermore,  Marsh acknowledges her personal motivation in developing her artistry as a composer. Laura Chambers plays with great warmth and vitality, a strong personality within the wind section and in the orchestra.

(Pictured: Alexis Marsh.)

The Chamber Symphony in C Minor, Op. 110a (after String Quartet No. 8), orchestrated by Rudolf Barshai, inevitably reminds citizens of the 21st century of the tragic circumstances in which Dmitri Shostakovich lived. The tale of Shostakovich, and indeed of Rudolf Barshai, who was eventually declared persona non grata in the Soviet Union, is a cautionary one – to endure the horrors of authoritarianism is a problem not strictly relegated to the past. Tania Miller fielded this powerful work with deep understanding – her intellectual energy is supported by kinetic energy which pulsated through her body, a driving force that animated the orchestra. Maestra Miller spoke of the composer’s view that the Eighth String Quartet, the point of departure for Barshai’s orchestration, was in fact a requiem for himself. 1960, the year of the Quartet’s publication, was a time of distress and depression for Shostakovich, for although he believed he had betrayed his principles in joining the Communist Party, he lived in continuing fear of arrest or execution, incessantly hounded by the director of cultural policy, Andrei Zhdanov. No amount of abasement was enough for the Soviet authorities. Shostakovich was trapped in the Soviet Union, and his music conveys his pain. But in the devoted hands of Tania Miller, the music becomes the instrument for vindicating Shostakovich’s suffering.

Every good performance of a work by Shostakovich is an almost sacred act that validates yet again all those who were or are caught in a vortex of evil. By contrast, a performance of Beethoven’s  Seventh, which he referred to as “a grand symphony in A Major (one of my most excellent works),” is essential life affirmation! Rhythmic intensity is written into the score, but still, there is a requirement that the conductor will truly sustain the orchestra’s propulsive momentum. Wagner identified the symphony as “the apotheosis of the dance.” Tania Miller danced in joy as she partnered with the buoyant musicians of London Symphonia! The dynamic range, the sophisticated play of key signatures, and the studied wildness of the Finale animated the finale of the orchestra’s 2025-26 season!

On Monday, May 4, The Jeffery Concerts brought its season to a remarkable conclusion with a recital by James Ehnes and Andrew Armstrong.

(Pictured: James Ehnes and Andrew Armstrong.)

Mr. Ehnes is billing the programs this year as a “50th Canada Birthday Tour,” and what a celebration it is! James Ehnes is Canada’s foremost violinist, a peerless artist, dedicated to his profession and a musical ambassador who is renowned for performing on major stages internationally and with a particular commitment to bringing music to communities across Canada.

Ehnes brought his wonderful vitality to a full house at the Wolf Performance Hall with works by Christian August Sinding (1856-1941), Johannes Brahms (1833-1897), Carmen Braden (b. 1985), and Bela Bartók (1881-1945). Each of these pieces is close to Ehnes’ heart, and each speaks in a distinctive voice.

The first movement of Sinding’s Suite for Violin in A Minor, op. 10, set the pace and tone for the recital, beginning as it did with a dizzyingly swiftly moving Presto. For an audience member who began studying the violin at an advanced age, it was both daunting and instructive to watch Ehnes’ bow glide efficiently across the strings. But there was more to the playing than mere technique – The Brahms Violin Sonata No. 3 in D Minor, op. 108, intense and dramatic, reveals a powerful side of Ehnes’ playing style. Two years ago, Mr. Ehnes performed the Brahms Violin Concerto with London Symphonia, and on that occasion, showed, as he did the other night, that these big works with significant content are well suited to his musical personality. The playing is both dazzling and refined.

And there is always an interest in the new, as evidenced in Carmen Braden’s Imaginal. Braden composed this piece in honour of James Ehnes’ fiftieth birthday, to celebrate “…anything that held us together in this crazy world, it’s music, friends, curiosity and caterpillars.” (“Imaginal” cells are the catalysts for the transformation of caterpillar cells into butterflies, according to Carmen Braden). And Bartók’s Rhapsody No. 1 for Violin and Piano, Sz. 86 makes full use of traditional Hungarian verbunkos dances, transforming folk music into high art.

Mssrs. Ehnes and Armstrong finished the program with three encores, which they announced from the stage. Scherzo-Tarentelle by Henryk Wieniawski; La Guitar by Moritz Moszkowski, arranged by Pablo de Sarasate; and La Ronde des Putins (The Dance of the Goblins)  byAntonio Bazzini.

This scintillating, thrilling recital rounded out a remarkable season of music making!

I  encourage one and all to discover the profound satisfaction of hearing extraordinary live performances here in London! There is first-class music to be enjoyed in our city! Come out to some of the wonderful concerts London offers! Support our city’s art scene!

Renée Silberman, May 2026

To learn more about London Symphonia, visit Concerts | London Symphonia

To learn more about The Jeffery Concerts, visit The Jeffery Concerts

To learn more about Serenata Music, visit Serenata Music – Home

Where were YOU in the winter of 2015?

by Richard Young

Previewed by Daina Janitis

(Pictured: London Symphonia Guest Conductor Tania Miller.)

If you recall the disaster of that season – and were part of the London spirit that helped to rebuild – you really should join in celebrating the spirit of resistance and revival that has taken London Symphonia toward its 10th anniversary.

And the program of the final concert of the 9th season – as well as the musicians – of Beethoven, Shostakovich, and Marsh will be an evening of three survival strategies: a spinning cartwheel, a searing letter from a war‑torn city, and a symphony that refuses to stop dancing.

I was the Volunteer Committee Chair in 2015 when Orchestra London formally filed for bankruptcy, ending decades of orchestral history in the city. And I had the joy of seeing London Symphonia incorporated later that year, picking up the tradition that began back in 1937 and continuing as the only professional orchestra to offer a full season in the region. Many current players, including concertmaster Joe Lanza, bridge both eras, having performed with Orchestra London and now with London Symphonia. And the community helped with trust and creativity. The glorious concert space of “The Met” would not have happened without Londoners’ belief in all the gifts of the spirit.

This concert is music about resilience, played by an orchestra that had to prove its own.

(Pictured: LS Principal Flute Laura Chambers.)

And what a dazzling group of talents our London orchestra has brought together in these nine years. Laura Chambers is the LS Principal Flute. Her solo work, ensemble contributions, and innovations are renowned across Canada- but did you know …

  • She’s a lover of the outdoors. Her performance of Stravinsky’s Rite of Spring for an audience of over 30,000 at sunset in the Nevada desert is her most memorable to date.
  • She’s a passionate educator. Laura’s studio of students spans in age from 5 to 85, and she is welcomed as a guest clinician at schools, music camps and festival workshops throughout Canada.
  • In addition to her performance and private teaching, Laura is a PhD candidate at York University, where her research is focused on the recontextualization and sustainability of classical music in today’s world.
  • She currently holds a sessional lecturer position at the University of Toronto and is a faculty member of the Royal Conservatory of Music’s Oscar Peterson’s School of Music.

And because you supported us for the last nine years, LYS has thrived. You can now be part of a world premiere- the flute concerto that Laura Chambers commissioned from Alexis Marsh just for Laura by London Symphonia.

(Pictured: Composer Alexis Marsh.)

Alexis Marsh, a Canadian composer from Winnipeg, built her career in Los Angeles, scoring films and series like TNT’s Animal Kingdom, animated feature Next Gen, and numerous indie projects. She’s used to writing music that lives inches away from the camera, following tiny facial expressions and shifts in mood. A concerto lets that language move into the open, onto a stage.
You’ve heard Laura Chambers in countless moments this season—now imagine an entire work tailored to the way she phrases a single line. The concerto’s title, View of a Cartwheel from an Ascending Plane, sounds like a film shot: a spinning shape seen from above, slowly receding.

And Tania Miller is one of London Symphonia’s favourite guest conductors. Of course, the musicians like her; they know what it means to rebuild something, and so does she. In her writing on leadership, she talks about being “the fuel and the fire,” about creating a spark and then “sometimes letting them play and standing back to enjoy the performance. She sees orchestral work as a “collective search for the meaning in the music,” emphasizing fresh ideas and connection rather than top‑down control.

(Pictured: Tania Miller.)

She is a builder herself, renewing ensembles, most famously as music director of the Victoria Symphony for 14 years, where she developed a reputation as a visionary leader and innovator. She was the first woman to lead a major Canadian orchestra, appointed to Victoria at 33, and now directs the Brott Music Festival and its training programs, all of which underscore her comfort with change and institution‑building. She’s a creative risk-taker — leaving a secure position in Victoria to become, as one article suggested, a guest conductor for hire exploring ‘uncharted waters.

Beginning to sound like a feminist manifesto? No apologies from me- but even the Old White Dead Guy pieces chosen for this program are exciting expressions of resistance and revival.

Shostakovich’s Chamber Symphony Op. 110a came to life as a string quartet dashed off in three days in bombed‑out Dresden, dedicated ‘to the victims of fascism and war’ and packed with his own musical initials like a secret signature—a grief‑stricken protest from someone who knew all about other kinds of terror. It was a piece written amid literal rubble, carrying both an official dedication to war’s victims and a coded act of resistance from a composer who knew about other kinds of terror in his life under Stalin’s iron rule.

Ludwig Van’s Seventh? He composed it in 1811–12, and it was first heard in Vienna in 1813 at a benefit concert for soldiers wounded at the Battle of Hanau, one of the late‑war clashes that helped drive Napoleon’s army out of German territory. No wonder the symphony feels like resistance turned into rhythm—an entire orchestra insisting on life while a collapsing empire limps away in the background.

Its rhythms carry little melancholy. Wagner called it “the apotheosis of the dance” – and other musical worthies of the time said it was “exuberant,” “boisterous,” and “life-affirming”. Don’t we need something right now to remind us that we can choose to dance in the face of pointless war and the threat of domination?

Londoners … every ticket bought since 2015 has been a small act of faith, and on this night the orchestra pays that faith back in music about survival, defiance, and hard‑won joy. You helped the rebuilding – now come to the concert and celebrate this local source of pride.

IF YOU GO:

What: London Symphonia presents Beethoven, Shostakovich, and Marsh

When: Saturday, May 2, 2026, at 7:30pm.

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

Tickets: Beethoven, Shostakovich, and Marsh | London Symphonia

Previewed by Daina Janitis

Magisterra Masterworks featuring the Magisterra Piano Trio, Thursday, March 5.

by Richard Young

Previewed by Daina Janitis

Here is the poster for Thursday night’s Magisterra Concert. So, you already know lots about it- but I’ll tell you more!!!

First, though, I’m going to come clean about what may keep people from flocking to some exquisite chamber music- and in THIS city, that is one opportunity among a flood of riches.

It’s PARKING, isn’t it???

Almost sixty years ago, when we came to London, I was vaguely amused by the horrified mentions of PARKING in the city- the warnings about downtown dying if those malls were built in the suburbs offering free space for cars. And now- I’ve also become the kind of Aged Karen who would hurl epithets at City Council from the gallery, bewailing what I must pay to park my Mazda close to the classical music event I want to attend.

I’m going to offer a few suggestions for the similarly enraged:

  • Point your car to Fullarton St. between Talbot and Ridout. Use the street- it’s after 6:00 p.m. and barely a block from Museum London
  • Make an evening of it. Yaya’s Café has replaced the Rhino- and offers an intriguing Thursday night African meal until 7:00 p.m.

Home – Yaya’s Café

Contact Info

    So, what else do you need to know?

    Piano trios? Three pianos on that small auditorium stage?

    Au contraire, mon frere… as famous poet George Carlin used to say.

    A piano trio is a small chamber group of three musicians – piano, violin, and cello – playing together as equal musical partners. In a piano trio, each instrument has its own voice: the piano provides richness and colour, the violin often sings the melody, and the cello adds depth and warmth. Composers have admitted they love writing for piano trio because this intimate setting lets listeners hear every musical “voice” clearly, like three characters in a vivid, wordless conversation. 

    And the ones chosen for Thursday night are masterpieces:

    Beethoven’s Piano Trio in E‑flat major is an early piece from his “new kid in town” years in Vienna. It’s bright and energetic, with clear tunes that bounce quickly between piano, violin, and cello, plus a gentle, slow movement and a witty, fast finish.

    Brahms’s Piano Trio in B major is big, warm, and emotional. It opens with a long, singing melody, then moves through music that can feel stormy one moment and comforting the next, always with rich, lush harmonies.

    Turina’s Piano Trio No. 2 is a short, colourful work with a strong Spanish flavour. In just three movements, it shifts between dreamy, atmospheric writing and lively, dance‑like rhythms that give the trio a vivid, distinctive character.

    (Pictured: Magisterra Solists violinist and music director, Annette-Barbara Vogel.)

    You know that violinist and music director, Annette-Barbara Vogel, is brilliant- but her guest musicians are certainly no slouches!

    Anya Alexeyev, born in Moscow into a family of concert pianists, trained at the prestigious Gnessin School and Moscow Tchaikovsky Conservatory before earning a scholarship to the Royal College of Music in London, where she won major prizes. She has appeared as a soloist with leading orchestras, including the Royal Philharmonic, BBC Philharmonic, Moscow State Symphony, St. Petersburg Philharmonic, and Quebec Symphony.

    (Pictured: pianist Anya Alexeyev.)

    She is a genuine musical explorer who has recorded widely for international labels, yet she is equally passionate about unearthing hidden gems of the piano repertoire. In Magisterra’s trio, she brings the depth of a truly global career together with a restless musical curiosity.

    Three things about Belgian cellist Tom Landschoot are especially intriguing for concertgoers: he has an international solo career, is a sought‑after teacher, and he has a deep chamber‑music pedigree.

    • Landschoot has appeared as a soloist with orchestras across Europe, North and South America, and Asia, including the National Orchestra of Belgium, the Frankfurt Chamber Orchestra, and symphonies from Taiwan to Ecuador, with performances broadcast on radio and television worldwide.
    • He has held a leading professorship at Arizona State University, is on faculty at elite summer institutions such as Meadowmount, and will join the Cleveland Institute of Music as Professor of Cello in 2026
    • And … be still my heart … 
Tom Landschoot has been involved in interdisciplinary public service projects through his music, such as raising funds and awareness for the need of building an orphanage and hospital in Tamil Nadu, India. As part of this humanitarian project, Landschoot was featured in a documentary film of a cellist performing across India, integrating photography, culinary, journalism and original music compositions.


    (Pictured: cellist Tom Landschoot.)

    And on this day, when wars are beginning yet again, when there is so much to mistrust and fear in our world, let’s be grateful for the wonderful people who bring us music in this chaos  
    


    IF YOU GO:

    What: Magisterra Soloists present Masterworks featuring the Magisterra Piano Trio.

    When: Thursday, March 5, at 7:00pm.

    Where: Museum London, 421 Ridout St. North, London, ON.

    Tickets: https://www.eventbrite.ca/e/magisterra-at-the-museum-masterworks-piano-trios-tickets-1647395346829?aff=oddtdtcreator

    Previewed by Daina Janitis

    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?

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

    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!

    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

    The Jeffery Concerts Bring Jewels of Chamber Music to London for Another Season

    by Richard Young

    By Daina Janitis

    Just so you know, I took notes at a recent London Health Coalition meeting on how to reach Gen Z to persuade them that privatization of Ontario health care will hurt THEM in the future. The guest speaker, Angie Cavallin, made several suggestions to us, aged relics on ZOOM screens who can’t even recognize when we’ve muted ourselves:

    • Use digital platforms they favour- TikTok, Instagram, Discord, and X.
    • Leverage relatable memes, short videos, and hashtag campaigns (???)
    • Frame messaging to create clear personal stakes.

    SO, I watched TikTok for a few precious hours I’ll never get back … but don’t want to put this wrinkled mug on a video selfie. “Necessity is the MoFo”… you know … so imagine this:

    Baby Boomer Daina and Gen Z Madison (#2 favourite name of the generation) talking about the Jeffery Concert at Metropolitan United on Sunday, October 19th, 2025, at 3:00 p.m.

    Daina: Madison, are you going to the second Jeffery concert of this season on Sunday afternoon? It’s a unique chance for Londoners to hear world-class chamber music – and if you’re still a student, your ID gets you in free at the door!

    Maddie: Jeffery? What’s he play? I’m lowkey interested …

    Daina: No, Maddie. He’s dead.

    Maddie: Bummer.

    Daina: Gordon Jeffery was one of those amazing “characters” of London. A lawyer who joined the family firm, but his heart was in music. He practised law but played the organ at St. Peter’s Cathedral. In 1947, he bought an abandoned church in East London – Beecher United – and renovated it into a concert hall and teaching studios. He even had a Gabriel Kney organ installed there. He had an orchestra, a choir, and started a Music School.

    Maddie: If I WAS interested, could I see it?

    Daina: Sorry, no – an arsonist set fire to it in 1968. Jeffery bought the old Town Hall further east on Dundas, renovated it as well, and called it The Aeolian Hall. He also purchased and donated countless music scores to Western, Wilfred Laurier, and Windsor. He scoured Europe for string instruments, too, now part of the Music Instrument Bank at Western.

    Maddie: So, what are these Jeffery Concerts if he’s dead?

    Daina: Well, as tough as it may be to understand what a “benefactor” is these days, Gordon Jeffery left a whacking sum of money to some old friends when he died – with the directive that they work to bring fine chamber music to London for the benefit of its citizens.

    Maddie:  Music for a small room?

    Daina: Not really. Chamber music is a type of classical music designed for a small group of musicians—usually two to eight players—who each play unique parts. Because of its small size and close communication between players, chamber music is often called “the music of friends,” resembling a musical conversation where each instrument takes turns sharing and responding to ideas. This intimacy allows listeners to feel more connected to the performers and the music itself.

    Maddie: I’m shook. And these friends did that in London for FREE?

    Daina: That’s the mission of not-for-profit organizations – and the board of today’s Jeffery Music Foundation continues to create an annual series of world-class chamber concerts at very low prices – and free for students.

    Maddie- So if I show up on October 19th … what am I going to see? – a classical concert. Yeet!

    Daina: Well, this one is officially called “Accademia de Dissonanti and Elinor Frey, cello with Joseph Lanza, violin and Mélisande McNabney, harpsichord.”

    Maddie: “Dissonan …”  Did you mean they don’t sound good together? Big Yikes!

    Daina: Not at all. Their brilliant co-ordinator, Elinor Frey, decided to call her group that because of a historic connection: Accademia de’ Dissonanti refers to the learned society of the same name founded in Modena, Italy, in the early 1680s. Its meetings stimulated discussions on music, poetry, and other subjects connected to the d’Este family.

    (Pictured: Elinor Frey)

    Maddie: And this Frey lady? What’s her fire?

    Daina: She’s a phenomenon! Or … she has RIZZ! She was born in Seattle but now makes Montreal her home base. She’s a cellist, does major research, and is a “gambist.” She’s performed all over America and Europe and received dozens of grants and prizes for her work- including a Fulbright. She’s got degrees from McGill, Mannes, and Juilliard.

    And at THIS concert, she’s including a few beloved local guys – Joe Lanza on violin and Joe Phillips on double bass. Both are world-class musicians!

    Maddie: But am I going to LIKE any of this Broke stuff? Any season from Vivaldi?

    Daina: Yes- but no season. You’ll hear TWO concertos by Vivaldi – one in D Minor and the other in G Minor. The Big Viv taught music in Venice- and wrote those as delightful stuff for his students- full of in-jokes and amusements. There is also a harpsichord toccata- yes, the tinny piano – by JS Bach and a cello concerto by CPE.

    (Pictured: Antonio Vivaldi, 1678–1741)

    Maddie: And they’re not going to be boring?

    Daina: How could CPE Bach be boring? That cello concerto … C.P.E. Bach’s Cello Concerto in A minor is a significant work characterized by its blend of Baroque and Classical styles, with an overall tone of emotional intensity and dramatic flair typical of the Sturm und Drang movement. It features a powerful, virtuosic first movement in 3/2 time, a deeply moving and introspective slow movement in C major (6/8 time) with a dramatic dialogue between solo and orchestra, and a finale that is a fast, energetic march. The concerto showcases the cello’s full range and expressive capabilities, with frequent shifts between turbulence and lyricism. Sorry … I got carried away …

    Maddie: Touch grass, lady – I’m still not sure …

    Daina: Hon, I’ll get back to what you are going to experience at The Met on Sunday – a close emotional relationship with amazing chamber musicians, some real stress relief. Some brain stimulation that is guaranteed to improve your memory, creativity, and problem-solving skills.

    Just watch the musicians closely – they’re leading and following without a conductor and probably experimenting with phrasing, dynamics, and interpretation. They’re creating community- and during that concert, you’re part of it.

    Maddie: SLAY – I’ll be there!

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

    To purchase tickets for this concert, please contact the Grand Theatre online at https://tickets.grandtheatre.com/11649, by phone at 519-672-8800, or in person at 471 Richmond Street. Single tickets are also available at the door.

    Students with a valid ID are welcome free of charge.

    By Daina Janitis, The Beat Magazine 2025 Classical Music Writer

    Daina Janitis Reflects On London Symphonia’s Opening Night: Mozart, Ravel, and Beyond.

    by Richard Young

    by Daina Janitis

    So, I warned you in my Bio, didn’t I – I’m not an academic musician – English Lang and Lit graduate – and I’m doddering past 80 years of age. And reviews of concerts seem sort of pointless to me. If you were there, you know what it sounded like- and if you weren’t, you don’t need any shade of schadenfreude thrown at you for having missed a unique experience (although I have high praise for the crew that videotapes the London Symphonia concerts-the experience is worth trying). So, “The Husband” and I huffed up the stairs to the balcony and positioned ourselves where we could see David Jalbert’s hands on the keyboard – all of us “Displaced Persons” kids took piano lessons when our families were let into Canada… we know where to sit.

    Yes, the music was spectacular – but it was only part of the experience. With London Symphonia concerts at “The Met,” you get something unique on the concert evening- something that deserves thanks and acknowledgement, while empathy, respect for diversity, and liberal education are becoming crimes and vices in the elephantine country south of us.

    You know those rooms set aside for “Big Givers” in theatres and performance halls where they can get a free glass of musty Chardonnay and schmooze with others of that generosity level? AT OUR Met, the London Symphonia musicians, guest artists, and the conductor are ready to chat with you and to answer any dumb question you might have.

    After Saturday night’s concert, I was able to hug Ted and Renee of Serenata Music and thank them for their generosity in helping the Symphonia bring to London someone like Jalbert. I walked over to a gaggle of Western Music students who were still jumping up and down with the excitement of the music. I cornered two of them – a toque and hockey shirt on one, a BIG waxed mustache and sleeveless tee (no sombrero) on the other – to thank them for making the concert even better with their presence. I also told them I was grateful for being in Canada together- were we in Chicago or Memphis, ICE agents might have seized them both at the exit. I could tell Ben the Cello that, should I ever become deaf, I could enjoy concerts fully just by watching his face. And I could hug Cosette the Conductor, telling her how much I loved Kooba (I know, after showing the other half of my Spanish- “Ola!”). “The Husband” had to get all expert, shaking her hand and thanking her for “a wonderful master class in orchestral conducting.”

    (Pictured: Cosette Justo Valdés. Photo Credit: Lia Crowe)

    And the music – a totally shared experience, no matter what your level of “expertise.” Cosette the Conductor, dressed in traditional black, led the audience in singing along with “O Canada.” She had brought to the program two pieces by Cuban composers – and in the second, after she explained its inspiration – the double-bench horse-drawn carts in Cuba that haul farmers, water, crops, and appliances – every clack of Tim Fancom’s percussion brought that musical scene to life. And although Cosette said that “Canada is my home” after six years, those unmistakable Cuan dance moves enhanced her conducting of the piece.

    (Pictured: David Jalbert. Photo Credit: Julien Faugère)

    And David Jalbert’s performance of Ravel’s Concerto in G major? It left the audience breathless – not only for Jalbert’s genius and technical skill, but through, I believe, the musical “community” Ravel’s writing for orchestra and piano creates in the three-movement piece. The first begins with Jalbert’s hands posed in a criss-cross on the keys while a jazzy chorus of clarinet, trumpet, bassoon, and trombone joins him in some sensuous music- and that harp suddenly adds brushstrokes of mystery. Don’t even ASK about how perfect his rapid trills were! The second movement assured us that Jalbert can handle anything – a solo piano beginning that eventually is joined by the English horn and the other instruments in rising tension. And the final presto movement did what a French composer, Louis Fleury, said it should do: be “an unstoppable onslaught, spurred on by the shrieks of the clarinet and the piccolo, the donkey brays of the trombone and occasional fanfare flourishes in the brass.” How that wonderful Canadian pianist had the energy to play a Prokofiev rumble of pure delight as an encore – we OWE him!

    (Wolfgang Amadeus Mozart, 27 January 1756 – 5 December 1791)

    Do you want to know about the Mozart Symphony #39 in E-flat Major? Brace yourself for more stories of musical heroes. Wolfgang died at the age of 35, and within two months of his final years, composed THREE symphonies- 39, 40, and 41. Number 39 was the introduction, so to speak, that culminates in his “Jupiter” (#41). But Wolfie- no oboes??? The London Symphonia clarinets took the limelight in the bold and heroic first movement. In the second, third, and fourth movements, the 18th-century composition took us through dialogues of instruments in our city’s brilliant small orchestra, ending in something that’s been called “the 18th-century equivalent of a hoedown”.

    If you couldn’t make it- and are curious about how all of that anticipation and joy can be in one symphony – DO invest in the London Symphony “Video on Demand” concert purchase on their website. If you’re as cheap as I am, here’s a freebie from Frankfurt:

    Okay for now, but don’t you dare miss the full experience of “Payadora” on November 15, 2025, in the London Symphonia 2025-2026 series.

    For more information about London Symphonia and the 2025-2026 Season, visit https://www.londonsymphonia.ca/

    Reviewed by Daina Janitis, The Beat Magazine 2025 Classical Music Writer

    London Symphonia Opening Night – the ONLY Night – and I can hardly wait!

    by Richard Young

    Previewed by Daina Janitis

    This is one of many 2025-26 season first concerts- opportunities I hope to tell you more about soon – but this one is special. “Classical” music is my passion to hear live and to write about. Not because I’m a musician or an instructor, but because I’m committed more than ever to the shared experience of being at a concert played or sung by London’s formidable talent pool. The energy and emotion felt by the players are felt by everyone in the audience – it’s a shared experience that increases the pride and identity of our city.

    Opening Night, London Symphonia

    October 4, 2025, at 7:30, Metropolitan United Church

    (But as Londoners, let’s call it “The Met” – The Met halfway between Toronto and Detroit)

    (Pictured: Opening Night Guest Artist, Canadian pianist, David Jalbert.)

    And on the program …

    Augusta Holmès, La Nuit et l’Amour

    Rodrigo Prats, Canta el Carretero Cuando Dan Las Seis
    Ravel, Piano Concerto in G Major 
    Mozart, Symphony No. 39

    First, David Jalbert- the guest artist. The Canadian is ranked “among the best 15 pianists of all time” by the CBC. Critics have strived to explain what makes him unique: “In an age of knuckle-busting keyboard technicians fixated on a single era, composer or concerto, it is a great pleasure to encounter an artist of Jalbert’s stature for whom the piano is simply a transcendent means of human expression” (WholeNote)” His recordings are already legendary- Prokofiev, Faure, the Goldberg Variations, and on Saturday night, he’s performing Ravel.

    In an interview with Andrew Chung, Jalbert admits that he’s like an actor, changing characters with every composer that he plays. Ravel, to him, is an “old friend” who “never ceases to amaze”. The concerto he’ll perform with London Symphonia is only twenty-two minutes long- but it’s “an astonishing piece” with French themes, touches of flamenco, and hints of American jazz.

    And I can’t omit this detail about Jalbert. In the “dark times”, when Orchestra London musicians were regrouping through “We Play On” into the stunning ensemble we know today, Jalbert offered to perform with them – refusing to take a fee!

    You can watch Andrew’s interview in its entirety here https://youtu.be/4BlZrRFSPAc?si=sz0R3wCFSwmfylD4

    You know by now that London Symphonia has no permanent conductor. An exciting new conductor is invited for every program- and this opening night has an upcoming young Cuban-born maestra on the podium.

    (Pictured: Opening Night Guest Conductor, Cosette Justo Valdés.)

    Cosette Justo Valdés has conducted in a mind-boggling number of cities around the world. She is Honorary Director still of the symphony of Santiago, Cuba where she spent nine years, but her contributions to Canadian culture through music are particularly interesting: “Through her daring, innovative programming with the Vancouver Island Symphony Ms. Valdés has quickly ignited new passion in her audiences, inspiring them to engage personally not only with living, contemporary music but also with rarely heard historical works. As an ongoing part of her artistic agenda in Vancouver Island, Ms. Valdés proudly continues to give a powerful voice to the works of women composers and composers from Native Canadian and American heritage.”

    I promised myself I would not drag current politics into notices about London’s rich classical music scene – but with every new announcement and curtailing of DEI, cutting of support for the arts and education, and ridicule of “wokeness’ – I’m breaking that promise. As Thom Hartmann reminds his fellow Americans, “[The old Democrats] knew that politics is not just about what laws are passed but about what stories a nation tells itself about who it is. They knew that culture is not an afterthought; it is the riverbed through which politics flows.”

    London Symphonia is one of London’s most valuable forgers of our Canadian culture. This opening night concert will add to our cultural fabric – and level up your internal immunity to the noise pollution of social media and politics.

    What: London Symphonia Opening Night

    When: October 4th, 2025

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

    For more information and to purchase tickets, visit https://www.londonsymphonia.ca/

    Previewed by Daina Janitis

    Meet London Chanteuse Laurraine Sigouin

    by Richard Young

    Laurraine Sigouin, a bilingual jazz singer and Forest City London Music Award winner, has performed at top London venues like Aeolian Hall, the Home County Music and Arts Festival, and the popular Jazz for the People concert series. The following is an edited Q&A from The Beat Magazine 2009’s interview with Laurraine. 

    Could you tell me about your upbringing and your early musical endeavours as a child and teenager? 

    I grew up in Cochrane, Ontario, as the youngest in my family. I am proud of my French-Canadian roots. Surrounded by music from an early age, I began playing piano early and developed a lifelong passion for music. 

    What brought you to London? 

    At nineteen, I left home to study Music and French at the University of Western Ontario. This marked the beginning of my journey in both the arts and education. 

    Could you tell me about your career in education? 

    I had a fulfilling career teaching Music at Kensal Park French Immersion School in London. I am very grateful for the many years I spent sharing the joy of music with my students. 

    Can you cite some highlights of your teaching career?

    When I first started teaching music, I taught the entire program from Kindergarten through Grade 8. It was such a joy to guide students from their very first music lesson all the way to their final band concert. Watching each child develop their skills and grow in confidence — in their own unique way — was incredibly rewarding. Being part of that full journey was one of the true highlights of my teaching career.

    I loved all our concerts, but one of the most meaningful traditions was taking my Junior Choir — often 100 to 120 children — to perform at Parkwood Hospital. The tradition began when my father was a resident there and continued long after he was gone, right up until my final year of teaching.

    It was truly the highlight of the year for me and for many in the choir. When my father lived there, the kids were especially excited to go and sing for him. Jake Levesque accompanied those concerts as well, adding his warmth and musicianship to the experience.

    How long have you been playing music professionally?

    I’ve been performing since 1997, when I started working with Mosaic, a vocal trio alongside Catherine McInnes and Jake Levesque.

    Do you consider yourself a full-time or part-time musician? 

    Most of my days revolve around music in one way or another; it takes up a huge part of my life, whether I’m preparing for a concert, teaching my grandchildren, playing the piano, learning a new song, or just listening.

    In addition to vocals and piano, do you play any other musical instruments? 

    I didn’t pursue wind instruments as a performer, but during my music studies at Western, I gained enough of a foundation to teach them. I found immense joy in guiding students through their first notes, and helping them grow musically was a true privilege.

    What have been your musical influences over the years? How would you describe your musical style? 

    My musical tastes are quite diverse and eclectic, so it’s hard to pinpoint specific influences. I’m drawn to a wide range of styles, and I think that variety naturally shapes how I connect with music. I listen to a lot of Radio-Canada and love discovering artists or songs I haven’t heard before. That constant sense of discovery is what keeps music exciting for me.

    My songbook draws inspiration from a wide variety of styles, including jazz, Latin, cabaret, bossa nova and samba, contemporary Québécois pop, French-Canadian traditional music, and Cajun music. It features artists and bands like Harmonium (Serge Fiori), Robert Charlebois, Charles Aznavour, Serge Gainsbourg, Édith Piaf, Henri Salvador, Pink Martini, Beausoleil, Zachary Richard, and Compagnie Créole. I also cover songs written by my very talented friends Steve Hardy and Jake Levesque — some of which are the result of collaborative songwriting projects.

    Tell me about the various groups and musicians you have played with over the years. 

    My performance career includes many years singing with London Pro Musica, as well as performing with the vocal trio Mosaic. Mosaic recorded two albums and appeared at major events, including the Montreal Jazz Festival and Home County Folk Festival. 

    In 2004, Jake Levesque and I founded Enchanté to celebrate our Francophone and bilingual repertoire. The duo grew into a vibrant musical family featuring some of London’s finest jazz musicians. I am honoured that Enchanté received the 2025 Forest City London Music Award for Jazz Vocal (Solo/Group). Making music with this group remains one of the greatest joys and highlights of my life and musical career. 

    Do you have any memories of the late Jake Levesque you would like to share?

    There are so many special memories. I met Jake in 1997 when we formed Mosaic. We rehearsed two to three times a week, and we always had so much fun when we worked together. That same spirit carried into our time with Enchanté as well.

    Jake also accompanied all my ensembles at Kensal Park. As school concerts approached, our weekly Enchanté rehearsal time was often dedicated to arranging and going over music for my school choirs. And he did all of that with joy.

    My students could hardly contain themselves when Monsieur Levesque walked into the gym — it was like a rock star had arrived. He always spoke en français and never missed a chance to encourage and celebrate their talent.

    A beloved school tradition was ending our Concert des Fêtes with Jake’s performance of Linus and Lucy. Former students still tell me that every time they hear it, they think of Monsieur Levesque — for many families, it became a holiday highlight.

    He gave his time and talent with such generosity.

    What are some of the musical venues where you have performed? 

    I have performed at many of the city’s beloved venues, including Aeolian Hall and Ironwood Kitchen and Grill, and at events such as the London Jazz Festival, Jazz by the Bog, the Springbank Garden Concert Series, The Aeolian Jazz and Musical Arts Festival, and le CFA-Forum provincial. 

    Are you working on any special projects or have any upcoming gigs you would like readers to know about? 

    A special project that I’d like to mention is a recording of the compositions that Jake and I wrote together. We were thrilled to collaborate with Christoph Babin (sound engineer), Stephen Holowitz (piano), Paul Stevenson (trumpet), Jesse Grandmont (fiddle), and Leah Grandmont (fiddle). Their musicianship is truly extraordinary, and we were absolutely thrilled with the results. The recording is available on my Bandcamp page. if you search for my name on the Bandcamp site  https://bandcamp.com/, you’ll find our songs there.

    I also have an upcoming porch concert on September 1 on Elmwood Ave in Old South. Stephen Holowitz will be joining me on piano, and Paul Stevenson on trumpet. It’s open to the public, so if anyone would like more information about that or future events, you can find me on Facebook by searching my name or Enchanté and follow me on Instagram at @Laurrainesigouin.

    In addition to your musical endeavours, are you involved with any other arts organizations or activities in London? 

    At the moment, I’m not involved with other arts organizations in London. Between my musical work, supply teaching, and family life, my days are pretty full. That said, I’m always open to new collaborations or opportunities within the arts community.

    Is there anything else you think our readers should know about Laurraine Sigouin, the musician, and Laurraine Sigouin, the individual? 

    Today, I find joy making music with my grandchildren, supporting my oldest as he learns violin and teaching piano to my younger ones, and continuing to share my love of music both in performance and at home.