“Broadway To Tin Pan Alley”, HPO recalls the era Reply

Review by Danny Gaisin

It’s a century since the armistice ended the Great War. Even my young(er) wife can recall the Second World War and the music written and performed then, can still evoke memories of those years. It was the period of RagTime with its emphasis on synchopation and the 2 or 4/4 beat made popular by Scott Joplin. It was also the heyday of Tin Pan Alley (28th between 5th & 6th Avenues) where sheet music was promoted and published. The HPO’s amazing maestra Gemma New invited the Royal Hamilton Light Infantry Band to add colour, drama and pomp commensurate with the occasion

Soloist & maestra with the H.P.O. & Bach Elgar

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Bach Elgar Choir vocally remembers & recalls WWI Reply

Review by Judith Caldwell
A World War I Centenary concert was presented by the Bach Elgar Choir on with soloists Cassandra Warner, mezzo-soprano, and baritone Alexander Dobson.  The concert was inspired by McMaster University’s archive of Canadian material from the era including letters written by soldiers and replies , plus a selection of Canadian music published during the war.  The first half of the concert featured sheet music from the McMaster collection.
In 1914, before the advent of radio or television in homes,  ordinary people would buy the sheet music of popular songs to take home and play on the piano (in nearly every home) and sing along with the family. 

 the Bach Elgar voices

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‘Folly in Love’; Hammer Baroque’s Art Week contribution Reply

Review by Judith Caldwell

As part of Hamilton Arts Week, Hammer Baroque presented an in-concert version of Alessandro Scarlatti’s opera “Folly in Love”, Alessandro is now less famous than his son Domenico, but back in the day he was celebrated as a major composer of opera in the period before Handel and Gluck.  His ‘Gli equivoci nel sembiante’ was composed in 1679 when he was only 18 years old,  it is a pastoral comedy of love and yearning, a mischievous and jealous sibling and a long lost brother who looks just like our hero.

The HAMMER BAROQUE ensemble musicians

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‘Israel in Egypt’; Handel’s oratorio – by Bach Elgar Reply

Review by Judith Caldwell

Handel’s Israel in Egypt is rarely performed because it is such a formidable undertaking requiring a double choir of 80 voices at the very least; an accompanying orchestra, six soloists and a very courageous conductor.  The Bach Elgar Choir teamed up with The Grand River Chorus to make a double choir of 110 voices which was accompanied by a 25-member orchestra who managed to sound much bigger than their numbers suggested.  Originally Handel wrote a 45 minute opening act of lamentation for the death of Joseph, but this was not well received by his first audience.

The combined performers for Handel’s ‘ISRAEL in EGYPT’

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Handel’s “SAMSON”; not just a concert – an experience Reply

Review by Danny Gaisin
Handel composed twenty-nine oratorios but one composition stands so far out from the pack as to almost render the others insignificant. Everyone knows ‘Messiah’, but ‘Esther’ is also a creative work and so is SAMSON! Composed in 1741, it is a respectful and empathetic retelling of the Old Testament’s last ruling judge before the establishment of King David (Judges 13-16). The work is ambitious to stage; difficult to perform; and more than just diversion for the audience – it’s an experience. Statistics: – MASTERWORKS of OAKVILLE has assembled thirty-two musicians; seventy-seven choir members; four soloists and eleven members of St. Andrew’s Children’s Choir chamber team. 

The MASTERWORKS orchestra & choir awaiting maestro Demuynck

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Bach Elgar Choir does Gilbert & Sullivan Reply

Review by Judith Caldwell
The Bach Elgar Choir, plus soloists Julie Ludwig, soprano, mezzo Jennifer Enns-Modolo, Thomas Macleay, tenor and baritone Jesse Clark presented a wonderful, fun evening of Gilbert & Sullivan at the Cotton Factory on Sherman. The evening began with accompanist Krista Rhodes and conductor Alexander Cann playing the Overture from the Mikado as a piano duet. This established the bare bones approach, high lighting accomplished musicianship, which characterized the evening. Rhodes is often overlooked when it comes to accolades because she is frequently not noticed, so it was a real treat to hear her in the duet.

The Bach Elgar choir doing some “G & S” excerpts

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