{"id":61436,"date":"2019-07-15T15:25:37","date_gmt":"2019-07-15T19:25:37","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=61436"},"modified":"2019-07-16T11:38:06","modified_gmt":"2019-07-16T15:38:06","slug":"feature-after-40-years-the-festival-of-the-sound-takes-success-in-stride","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2019\/07\/15\/feature-after-40-years-the-festival-of-the-sound-takes-success-in-stride\/","title":{"rendered":"FEATURE | Festival Of The Sound: From A Little Town With A Big Voice"},"content":{"rendered":"
\"Festival
(Photo courtesy of the Festival of the Sound)<\/figcaption><\/figure>\n

T<\/span>ucked away on the picturesque shores of Georgian Bay, the Festival of the Sound<\/a> (FOTS) marks its 40th anniversary with a three-week birthday bash that runs between July 19 through August 10.<\/p>\n

And the reason for its success as one of the country\u2019s premier chamber music festivals is simple, according to artistic director, renowned Canadian-American clarinettist James Campbell who has helmed FOTS for an equally astonishing 34 years.<\/p>\n

\u201cBecause Parry Sound wants it,\u201d the artist says modestly from Bloomington, Indiana, where he recently retired from his 40-year faculty teaching position at Indiana University Jacobs School of Music. \u201cA lot of people ask, how can this all happen in this small northern Ontario town? But it\u2019s the community, as well as the strength of the Board and volunteers that continues to support it. The local residents really do feel they own it, and it\u2019s part of their DNA now. It\u2019s not my festival. I work for them.\u201d<\/p>\n

Those with long memories might recall the FOTS\u2019s earliest roots as the brainchild of legendary Canadian pianist Anton Kuerti, who had purchased a summer cottage in the area, and launched a highly successful three-concert pilot series after sharing his vision with prospective organizers over his own kitchen table in 1979. All concerts for its first 23 years were held in the Parry Sound High School gymnasium \u2014 a non-air conditioned crucible located near two major Canadian rail lines with train whistles often blasting mid-concerts that only forged the residents\u2019 iron resolve. Campbell, who performed during those fledgling years, with Kuerti asking him to take the reins in 1985, still waxes nostalgic about those halcyon days, even flirting briefly with the idea of staging one of this year\u2019s concerts in the Festival\u2019s original locale as a blast to the past.<\/p>\n

\u201cThose nights were incredible in that place; however if we hadn\u2019t gotten a hall, we wouldn\u2019t have survived 40 years,\u201d he says, referring to the Charles W. Stockey Centre for the Performing Arts, 20 years in the making and created to the tune of $8.5 million. The acoustically superior, 400-seat concert venue named after late Toronto philanthropist\/musician, Charles Stockey, has played a pivotal role in the Festival\u2019s development. Opening to great fanfare in July 2003, it allowed the annual rite of summer to virtually double in size almost immediately. \u201cEvery year, the committee would decorate the lobby. They\u2019d tear down the basketball nets, bring in metal chairs, build a stage, and brace for those hot nights,\u201d Campbell reminisces. “…But it was always a lot of fun.\u201d<\/p>\n

\"Jim
James Campbell, Artistic Director of the Festival of the Sound (Photo courtesy of FOTS)<\/figcaption><\/figure>\n

The Festival has since grown by leaps and bounds. It now offers dedicated jazz, folk, and pops weekends, as well as a full menu of ongoing satellite events including panel discussions, films, lectures, musical lake cruises and gala dinners firmly sealing its reputation as one, big audience-friendly party for music connoisseurs.<\/p>\n

\u201cOur mandate is chamber music; however we like to give a choice,\u201d Campbell explains of his inclusive programming. \u201cBasically, we want to present good music […] that can come from any source, including country and rap music. Whatever language you’re speaking, and with whatever accent you’re using, as long as you\u2019re telling the truth, and you\u2019re doing it well so that it communicates with listeners,\u2019 then that\u2019s good music.\u201d<\/p>\n

The FOTS playlist of performers reads like a veritable who\u2019s who of world-class musicians, with this year\u2019s line-up of classical artists including Russell Braun, Campbell, Cameron Crossley, Guy Few, Janina Fialkowska, and Martin Roscoe, as well as acclaimed chamber ensembles: the Gryphon Trio, New Zealand String Quartet, and the Penderecki String Quartet, to name only a few.<\/p>\n

Many, if not most of its artists, are diehard regulars, thronging each year to the idyllic setting that creates both continuity as well as a musical terra firma for Campbell\u2019s planted, creative seeds to grow and flourish. Its operating budget managed by Executive Director Alison Scarrow-McGarvey has blossomed from an original $60K for a two-week event in 1980 to its current $700K with an expanded three weeks, as further testament to the Festival\u2019s success that has led to its being honoured by the Lieutenant Governor\u2019s Award for the Arts awarded in 1995 and 2013, as well as garnering a Top 100 award from the Festival and Events Ontario every year since 2016. The Festival is also notably the second-largest economic generator in the town of roughly 6,500 residents during winter months, including a box office of 12,000-14,000 tickets sold per year, and eclipsed only by the popular Island Queen boat cruises. \u00a0Scarrow-McGarvey also sings praise for the dedicated volunteer base of roughly 150 that makes the Festival hum each year.<\/p>\n

\"Lydia
Lydia Adams (Photo courtesy of FOTS)<\/figcaption><\/figure>\n

This year\u2019s programming features several dedicated concerts paying homage to the FOTS\u2019s 40-year legacy. An opening night gala concert on July 20 features highlights from the past, as well as the world premiere of \u201cThe Sound: A musical evocation of Georgian Bay\u201d by Eric Robertson and Gary Michael Dault. The new work will be performed by the Elmer Iseler Singers led by Lydia Adams, also celebrating its 40th anniversary this year, and a FOTS pillar with the group having performed nearly every summer there since 1982.<\/p>\n

An ambitious \u201c40 for 40,\u201d being held August 9, features a mind-boggling 40 works representing each year of the Festival presented all day throughout Parry Sound, beginning on the Island Queen and culminating with a grand finale that night at the Stockey Centre.<\/p>\n

\u201cThat\u2019s a crazy day. Often we’ll do something that doesn’t fit the books, and this is one of them,\u201d Campbell says with a laugh. \u201cThat\u2019s been a really nice thing about the festival because it\u2019s allowed me to try these different kinds of projects.\u201d<\/p>\n

\"Boris
Boris Brott, National Academy Orchestra (Photo courtesy of FOTS)<\/figcaption><\/figure>\n

\u201cAnd So We Began\u201d will be a sentimental favourite, comprised of the same all-Beethoven program led by Kuerti 40 years ago to the day on August 5<\/a> featuring cellist Bryan Chen, pianist Sylvie Cheng, violinist Yolanda Bruno, violinist Moshe Hammer, and pianist Glen Montgomery joined by Campbell.\u00a0 But another will be \u201cA Family Affair,\u201d on August 8<\/a>, featuring father-and-son Russian-born pianists, Alexander and Daniel Tselyakov, the New Zealand String Quartet, as well as a performance of Campbell\u2019s own guitarist\/composer son Graham Campbell\u2019s \u201cPender Harbour Paradise\u201d. The piece will premiere at the Pender Harbour Chamber Music Festival in BC this August, proving the apple doesn\u2019t fall from the proverbial tree.<\/p>\n

The festival has also hosted orchestras of note, with the National Youth Orchestra of Canada conducted by Michael Francis performing Mahler 5 during the aptly titled \u201cMahler\u2019s Masterpiece\u201d on July 25<\/a>. The National Academy Orchestra helmed by Boris Brott takes the stage on August 10<\/a> featuring Alexander Tselyakov in Tchaikovsky\u2019s \u201cPiano Concerto No. 1 in B flat minor, Op. 23\u201d \u2014 in fact, Brott\u2019s younger brother Denis stepped in for a touring Campbell as FOTS artistic director for one season in 1991 before subsequently founding his own Montreal Chamber Music Festival in 1995.<\/p>\n

\"Paul
Paul Marleyn (Photo courtesy of FOTS)<\/figcaption><\/figure>\n

Campbell has often taken his shows on the road to other festivals, with this year no exception, with a celebratory concert \u201cFestival of the Sound at 40\u201d slated for Ottawa\u2019s Chamberfest on July 28<\/a>. This year it also welcomes Winnipeg\u2019s Agassiz Chamber Music Festival, among others, marking its FOTS debut, spearheaded by founding artistic director, cellist Paul Marleyn who now teaches at the University of Ottawa. The concert that takes place July 31<\/a>, and titled \u201cBlue Ocean\u201d after Manitoba composer Jim Hiscott\u2019s folk-infused work features Hiscott on button accordion, Marleyn, violinist Karl Stobbe, Roscoe and Campbell, hosted by CBC broadcaster Andrea Ratuski.<\/p>\n

\u201cIt\u2019s a wonderful opportunity to spread the Winnipeg brand further afield,\u201d Marleyn says over the phone from Ottawa, who has performed \u201cfive or six\u201d times at FOTS, with Campbell in turn also having performed with Agassiz numerous times throughout its own 20-year history.<\/p>\n

\u201cJim is such an icon across the country in the classical music world,\u201d the cellist affirms. \u201cHe\u2019s a highly admired artistic director with wonderful people skills and is an inspiring mentor to so many of us with our own festivals. He manages to achieve his vision, and makes everyone feel it\u2019s his or her vision too, and is highly effective but with a very gentle touch. He\u2019s generous with his advice when asked, and does everything very gracefully,\u201d he enthuses. \u201cHis wife Carol also plays a significant role in always providing great feedback and suggestions following each concert, as not only a wonderful partner for Jim, but also an important festival advisor.\u201d<\/p>\n

The FOTS has always prided itself on its mandate for nurturing the next generation of musicians through an impressive line-up of masterclasses, open rehearsals, workshops, and lectures by visiting composers and performers, including its Music from the Inside Out family concerts launched in 2001, ongoing winter series for elementary students, Music Scores, and Strings Across the Sky program that empowers Canada\u2019s First Nations, Inuit and Metis children through the magic of making music with fiddles, violins and guitars.<\/p>\n

It also boasts an impressive track record of commissioning new works, through its initial Discovery Series, a residency program for emerging composers mentored by Gary Kulesha, as well as Stockey Young Artists Program created in 2005. This year the latter is being led by percussionist and artistic director of Continuum Contemporary Music, Ryan Scott, who mentors three invited young composers whose music will be premiered during the \u201cDiscovery Concert\u201d on August 7<\/a>.<\/p>\n

\"Sounding
Sounding Thunder (Photo courtesy of FOTS)<\/figcaption><\/figure>\n

But perhaps one of the biggest feathers in Campbell\u2019s cap is his commissioning last year of the critically acclaimed \u201cSounding Thunder: The Song Of Francis Pegahmagabow,\u201d an interdisciplinary work composed by Tim Corlis with text by Ojibwe poet Armand Garnet Ruffo. Inspired by life and legacy of highly decorated indigenous World War I soldier, political activist, and area resident, Francis Pegahmagabow, a documentary of the complex, 80-minute work\u2019s creative process will be screened August 6<\/a> with both Corlis and filmmaker Earl McCluskie in attendance.<\/p>\n

\u201cThat\u2019s probably one the most important things we\u2019ve done at the Festival,\u201d Campbell says with palpable reverence. \u201cIt\u2019s an extremely powerful work that created a very strong connection with the Objiway Nation on the nearby Wasauksing First Nation. My own personal learning curve was tremendous, and it really spoke to the spirit of Truth and Reconciliation with Canada\u2019s aboriginal communities,\u201d he adds.<\/p>\n

Still in the slipstream of his recent university retirement, Campbell becomes reflective when asked about that perennial elephant in the room \u2014 succession planning \u2014 and when he might be ready to pass the baton to the Festival\u2019s next artistic director, and notably only its third leader in its 40-year history.<\/p>\n

\u201cWhat I\u2019ve learned by my retirement at Indiana University is that you know when it\u2019s time to move on,\u201d Campbell responds. \u201cI\u2019ve had a succession plan in place now for many years, but it keeps changing. However, I do know that when that time arrives, I will be able to recognize it. But that day hasn\u2019t come yet, thankfully,\u201d he adds.<\/p>\n

\u201cWhat I\u2019m most proud of is the fact that the Festival is still here,\u201d he adds of his own illustrious 34-year directorship. \u201cBut I\u2019m also proud of our tenacity, and the determination and love of a small Northern Ontario community that has made this international music festival happen every summer for 40 years. That really gives me a good feeling.\u201d<\/p>\n

The Festival of the Sound runs July 19 to August 10. See\u00a0festivalofthesound.ca<\/a><\/span> for details.\u00a0<\/strong><\/em><\/p>\n

LUDWIG VAN TORONTO<\/i>
\n<\/b><\/h3>\n

Want more updates on classical music and opera news and reviews? Follow us on\u00a0Facebook<\/span><\/a>,<\/span>\u00a0Instagram<\/a><\/span>, or\u00a0Twitter<\/a><\/span>\u00a0for all the latest.<\/p>\n","protected":false},"excerpt":{"rendered":"

Tucked away on the picturesque shores of Georgian Bay, the Festival of the Sound marks its 40th anniversary with a three-week birthday bash.<\/p>\n","protected":false},"author":80,"featured_media":61444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[25164,4967,59],"tags":[1272,1665,19210],"yst_prominent_words":[11623,30185,16239,7712,30166,30199,7412,19718,30197,6616,7410,30200,30169,30170,12857,30198,30173,10171,7677,30174],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2019\/07\/Festival-of-the-sound-2019-cover.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-fYU","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/61436"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/80"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=61436"}],"version-history":[{"count":22,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/61436\/revisions"}],"predecessor-version":[{"id":61530,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/61436\/revisions\/61530"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/61444"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=61436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=61436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=61436"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=61436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}