Toronto Mendelssohn Choir celebrates singing through three centuries with a gala concert to launch its 2019/20 season

The TMC celebrates its 125th anniversary in 2019 with a gala concert with the Toronto Symphony Orchestra at Koerner Hall. The Choir was founded in 1894 by conductor Augustus Vogt and had its first concert on January 15, 1895 in Massey Hall.  The Choir has performed in the 19th, 20th and 21st centuries, as Toronto went from a city of 200,000 to the Greater Toronto Area of over 6 million. A lot has changed over the years, but the Choir continues to hold annual auditions for all choir members, a practice started by founder Augustus Vogt.The Gala Concert will take place Sunday, October 20, 2019 at 3:30 pm at Koerner Hall. The Choir will be joined by the Toronto Symphony Orchestra, long-time musical partners with the TMC and a youngster at only 97 years old. TMC Conductor David Fallis has put together a program that brings together the three centuries in three major works: Gabriel Fauré’s Requiem, composed in the late 1880s and re-orchestrated by him in 1894, the year of the founding of the TMC; Igor Stravinsky’s Symphony of Psalms, composed in 1930 and one of the greatest choral-orchestral works of the 20th century; and for the 21st century a new commission by acclaimed Cree composer Andrew Balfour. Andrew’s commission for the TMC will set one of the Biblical psalms in Cree, interwoven with words by Indigenous poet Karen Vermette.
More

Categories: 2019-2020 Season and Media Releases.

Toronto Mendelssohn Choir inspired by new venue for Sacred Music in a Sacred Space

David Richards, Toronto Concert Reviews. The Toronto Mendelssohn Choir found a new venue for its annual concerts for Holy Week,Sacred Music for a Sacred Space. The new location, St. Anne’s Anglican Church, has a beautiful Byzantine style structure that dates to 1907 with interior decoration and paintings completed by J.E.H MacDonald and other members of the Group of Seven. Before the concert began many of the early birds in the audience were out of their seats getting closer looks and photos of the iconography on the walls and ceilings The symmetrical shape and the domed ceilings gave a warm acoustic without the excessive decay of Gothic styled churches. The setting was clearly one of Interim Conductor and Artistic Advisor David Fallis’s inspirations for the program.​The first half of the program was clearly designed to set the tone for a meditative experience. Two reflective motets by French composers opened the concert.
More

Categories: 2018-2019 Season and Media Reviews.

David Fallis leads Toronto Mendelssohn Choir in a program of 20th century a cappella works for Sacred Music for a Sacred Space – April 17 and Good Friday, April 19

TMC’s popular annual Sacred Music concerts are intended to provide a moment of calm for patrons with a program of contemplative a cappella music.  For 2019, David Fallis has created a program of 20th century composers with the first half featuring composers from France and Switzerland, while the second half features composers from Eastern Europe and Russia.David opens the concert with Olivier Messaien’s O sacrum convivium – a composition to help patrons step out of time. In his program notes, David remarks that this motet is “a perfect example of Messiaen’s preoccupation with the suspension of the perception of time in music by the use of extremely slow tempos and subtle changes in length of notes, all designed to bring us closer to something outside of time, eternal.”  The first half also includes Poulenc’s Salve Regina and Martin’s Mass for Double Choir, all performed by the 70-member Mendelssohn Singers.The second half of music of the Eastern Orthodox Church will be sung by the full TMC.
More

Categories: 2018-2019 Season and Media Releases.

Sacred Music for a Sacred Space 2019 Program Notes

Welcome to Sacred Music for a Sacred Space. All of the works on tonight’s program come from the 20th century, the first half from France and Switzerland, the second half from eastern Europe and Russia, with the exception of Healey Willan’s masterpiece which concludes the evening.In earlier periods of European musical history, sacred music was often written by composers who essentially earned their living from the church, and one cannot really know how much the composer was writing from a position of deeply held faith, or writing what was required, often brilliantly, much as an opera composer has to be able to create music which is suitable to many situations or characters. As the influence of the church as employer diminished in the late Baroque and Classical periods, less sacred music was written, and the 19th century sees much more emphasis on symphony, opera and chamber music than on sacred music. There are not many Romantic composers whose chief claim to renown is their sacred music, and it is not by chance that the greatest works of 19th century sacred music are Requiems (Verdi, Berlioz, Brahms), in which one muses on death, a human condition not restricted to people of faith.So by the 20th century it is a decided choice for a composer to write sacred music, and many of the composers represented tonight write from a position of faith, if not always entirely orthodox.
More

Categories: 2018-2019 Season and Program Notes.