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Category Archives: Commentaries & Critiques

Paradise Below Zero, Winter Camping in Killarny Provincial Park.

Calvin Rustrum

Calvin Rustrum

I grew up in Baltimore, Maryland, one of the hot, humid arm pits of North America’s east coast. As I write, I’m in Toronto, in the midst of a polar vortex and it’s cold and dry. When the dark months of Canadian winters arrive, I always think of Calvin Rustrum (1895 –1982), an American writer who championed our northern wilderness and its preservation.[1.]

Rustrum, who learned how to write by reading books, wrote with passion and clarity about the rigors and rewards of  wilderness living. The New Way of the Wilderness (1958), The Wilderness Cabin (1961) and Paradise Below Zero (1968) inspired John Wyre and me, both relative newcomers to Canada, to plan a winter camping trip in the far north.

I sought advice from a forest ranger who had finished his tour of duty in the Canadian wilderness and was now ensconced behind a desk. I told him John and I envisioned camping for a week or two near the southern tip of Hudson’s Bay.

The Ranger looked at me in utter disbelief. No public service training had prepared him for a shnook like me. His eyes told me just how clueless I was. He began reciting the dangers of winter camping 550 miles north of Toronto and quickly disabused me of our plan and suggested we move our venue further south to Killarney Park just 250 miles north of Toronto. This relocation would enhance our camping adventure by cutting night time temperatures in half to a tolerable Fahrenheit 40° below zero.[2.]

Calvin Rustrum in Winter garb, Paradise below zero.

Calvin Rustrum in Winter garb, Paradise below zero.

Following Rustrum’s advice we purchased cold weather clothing: down filled parkas, pants, booties, mummy sleeping bags and scratchy wool longjohns. We had deer skin shooter’s mitts and canvas knee high boots with felt inserts, perfect for snow shoes and warmth. Our heavy utilitarian canvas tent was a rental whose entrance flaps were closed with buttons. A catalytic heater which threw off enough BTUs to heat a small room, was also rented. It would be lit with matches whose heads had been dipped in wax and stored in waterproof containers. We had sun goggles, toilet paper and a week of frozen meals in tin foil containers courtesy of my wife – our drinking water would be made by melting snow.

Our accoutrements in place, we drove north in mid February,1972. Our destination was the southern end of Lake George in Killarney Provincial Park. We arrived and pulled in next to a small wooden Park Service garage and John parked his Land Rover facing the county road. [3.] We put on our Himalayan rated parkas and filled the toboggan with all our gear. Immediately we encountered our first obstacle, a pile of snow, the residue of a plow that had cleaned the garage parking area.

The toboggan must have weighed a couple hundred pounds and we were trying to manhandle it over a bank of snow about 3 feet high, while wearing snow shoes. This was not the beginning I had envisioned. I fervently hoped no Park Rangers would appear to witness our struggles. Finally John and I made off towards the lake. Hauling our toboggan through dense forest was strenuous and we gave up our plan to camp lakeside. We stopped and agreed to pitch our tent where we stood.

Lake George was only about 100 yards away and we were anxious to get onto it.  At this time of year we knew the lake would be safely frozen, besides which, we could see fresh ski plane tracks. We stepped out, leaving the forest for its glaring, sun lit open surface. Snowshoeing is ungainly for beginners. The muscles and tendons of neophytes are susceptible to mal de raquette, an inflamation that can be painful, even debilitating. John and I both lived in the country and had experience on snowshoes. In deep snow and large spaces, snowshoeing imparts an unique sense of freedom.

Lake George is neither the largest or smallest of Killarney’s lakes. Directly to the east is a small lake named after the Canadian wilderness painter and member of the iconic Group of Seven, A.Y. Jackson. Killarney topography includes large granite outcroppings, small mountains, deep forests and mile after mile of great canoeing on its numerous lakes. For city folk, places like Killarney can be awe inspiring, imparting a sense of smallness upon its human visitors that can be disconcerting, even discomfiting. Wilderness, even when managed by goverment, imposes a gravitas of its own.

One of Rustrum’s rules was to dress in layers and carefully monitor body temperature. The problem for winter campers is not in keeping warm, but getting too warm. Perspiration will freeze and kill. Thus, as we warmed up, we opened our parkas, eventually removing them all together. Still warm, we stripped down to our boots. Naked, we faced the warmth of a northern sun. The sound of shuffling snowshoes had ceased. Our breathing had slowed. We didn’t talk. We stood motionless in a kind of rapture, transfixed by Killarney’s vast silence. Too soon the sun began to set and the cold came, fast and penetrating.

Being too warm is especially critical at bedtime. To prevent this, we’d sleep nude except for a cap and down filled booties. All our clothes were tucked inside the sleeping bag. The catalytic heater made preparing for bed and dressing in the morning, bearable.

The first night in my sleeping bag I awoke, urgently needing to pee.  In dread,I rehearsed all the moves I’d have to make to get outside. Wearing only my booties and cap, I unzipped the bag and crawled in blackness to the tent door and began unbuttoning the flaps. I realized I hadn’t enough time to enlarge the opening further. Careful not to pull our tent down, I scrambled outside, already colder than I’d ever been. So, this is how 40° below zero feels. I made it to the base of a tree and started to relieve myself. I was already shivering too much to control my aim and come morning I thought, John would find me frozen, attached to the tree by spindly bridges of urine.

With frantic, mincing toe taps, I hastened to the tent, but once inside I couldn’t button the flaps. My fingers were numb and useless. In my sleeping bag, it took five minutes for me to stop shaking. I’ve attempted to calculate just how long I had been exposd to the night air and my best guess is about two minutes. To this day I believe I’d had less then a minute left before succumbing to the cold.

That same night there was a rifle shot just outside our tent. Rustrum had warned us about this, but we were taken off guard none the less. At temperatures such as these, freezing sap expands and finally explodes, sounding much like a 22 rifle going off.

Birds may chirp and loons cry, but the unspeakably mournful song of wolves is beyond a human’s power to express. From an incalculable distance, their atavistic voices carried In the blackness of night over our frozen lake, recalling mysteries which silenced our conversations and gently took us back to the beginning of everything. Their sound and the crack of exploding sap were our nightly bedtime accompaniments.

As the end of our trip drew near, we decided to  drive into Killarney for lunch.  We put the catylitic heater under the Land Rover’s gear box while a ranger skinned a wolf in the garage. We timed our arrival perfectly. In the kitchen, a very large woman was bringing forth her latest batch of freshly baked butter tarts. I’ve eaten all over the world, but let me tell you, this was butter tart heaven. One might suggest that my week in a tent influenced my taste buds. They’d be wrong.

About two months later, I revisited Lake George  with my wife, our young son and daughter and our Great Pyrenees dog Chibi.[4.] The days were warmer and longer. The snow was greatly diminished, but the lake was still frozen solid. We spent a night in the Killarney Inn. The photos below are from that visit.

My family on Lake George with our destination ahead.

My family on Lake George with our destination ahead.

Almost at the top with Lahe George below. Our Great Pyrenees dog Chibi was having the day of his life. Our daughter after all, would make it.

Almost at the top with Lake George below. Our Great Pyrenees dog Chibi was having the day of his life. Our daughter after all, would make it.

The Top.

The Top.

[1.] Rutstrum died on February 5, 1982 in Osceola, Wisconsin. Four years before, in Chips from a Wilderness log Rutstrum wrote: “If you want to do something for me after I’m gone, live so as to not defile the precious earth”.

[2.] During the week I was gone, my wife recorded night time temperatures of 25° below zero F. on our farm 30 miles north of Toronto.

[3] Today, a modern park service visitor centre stands on the former site of this garage and pathways meander through what is now Lake George Campground. The incredible beauty of Killarney Park and specifically Lake George can be seen in a large park service photo gallery on  http://www.ontarioparks.com

[4.] Chibi was named by my daughter after Chibiabos of Longfellow’s poem The Song of Hiawatha which she had memorized.

The musician; the harmony of nature personified. He teaches the birds to sing and the brooks to warble as they flow. “All the many sounds of nature borrow sweetness from his singing.”

Very dear to Hiawatha
Was the gentle Chibiabos.
For his gentleness he loved him,
And the magic of his singing.
Longfellow: Hiawatha, vi.

 

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Man, did you hear that?

A long, long time ago in a land far away, there was a  symphony orchestra. This orchestra was pretty much like any other orchestra. There were string players, brass players, woodwind players and players of percussion instruments. When they weren’t playing, the string players talked about their bows, the brass players talked about their mouth pieces, the woodwind players talked about their reeds and the percussionists looked far away and smiled.

There was a large dressing room backstage for the women in the orchestra and another one for the men. But the percussion players inhabited a room of their own. It was in the basement just around the corner from the boiler. This percussion room was not much bigger than a closet. It was very narrow and at the back were shelves holding drumheads and other things of their profession. The walls were covered with philosophical quotations. One was “Listen don’t hear. Hear don’t listen”.

The percussionists hung their concert clothes on nails and the unspoken challenge was to wear them for at least one season of concerts and tours before having them cleaned. Jacket armpits were inspected for shredding. A player whose jacket lining had dissintegrated beyond repair was considered the winner. Of what,  was not clear. No one ever admited to having his tails dry cleaned.

To some people the percussionists were weird. They were a clique and didn’t hang out much with other players. They seemed to disappear into their closet at odd times. Whispers suggested they were involved in subversive activities. Occasionally undefined odors immenated from the room. A few orchestra members, though never able to prove anything, harbored suspicions, but only the cleaning staff and the stage hands knew what was going on and they weren’t talking.

Percussionists thought their closet adventures helped them play better and experience the music more powerfully. Upon exiting, they felt loose and believed they heard things in the music they’d never heard before. Their playing tended towards the dramatic, a kind of “If you got it, flaunt it”, attitude.

On one concert, a percussionist played triangle during the entire first movement of  Haydn’s Military Symphony. Once he began to play, he just grooved on quarter notes. It must have been sublime, only one of the conductor’s eyebrows arched. Then there was the deep military drum suspended in the bowl of a kettle drum and played in unison with another smaller drum for the Debussy Fetes from Three Nocturnes. That one got a glare from the concert master and a look of puzzlement from the conductor. The same guy played the Dies Irae in Verdi’s Requiem on two bass drums simultaneously with croquet balls attached to broom handles. The guest conductor was too terrified to say anything.

But the numero uno “Man, did you hear that?” moment came in New York City’s most famous music hall. The orchestra’s timpanist began the 3rd movement of Mahler’s 1st Sympony twice as fast as written. The life of the principal bass player flashed before his eyes and the conductor’s mouth began moving in strange ways.

Someone said, “If you can remmber the sixties, you weren’t there”. Perhaps, but some things can’t be forgotten. Did you ever hear that?

 

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SCENES from ARRAY MUSIC HALL

Scene I, 15 December 2013.

The televised concert specials from New York City are predictable. They feature everyone I’ve heard before and didn’t want to hear again. Over and over, the same pastiche of music hall tripe, broadway warbles and symphonic war horses featuring the only pianist, cellist and singer in the world.

On the Toronto home front, creators of concerts besides being more modest, have considerably fewer formulaic thoughts and produce resoundingly successful entertainments of high artistic merit without Big Apple budgets, celebrity hype and hyperbole.

Case in point, the recent Array Music Benefit, 15 December www.arraymusic.com. My ticket to ride included dinner! All delicious and all prepared by Array Music supporters and staff. The best chicken wings I’ve tasted in this hockey, wing and beer society and that’s saying a lot. Array space was set up cabaret style with tall round tables and scattered seating. The entertainment was in three short, but riveting parts, each followed by ample time for drinks, eats and schmoozing.

Though Marie Joseé Chartier is known for her choreography, dancing and leading her own dance company, http://www.chartierdanse.com, she is also no mean chanteuse. Marie Joseé sang two a cappella songs. The first one, during which she flirted with me, was by Rogers and Hart, Everything I’ve Got, made famous by Blossom Dearie. The second was La Vie en Rose, the Edith Piaf hallmark. Moving with ease through and around her audience in a wispy white floor length dress, Ms Chartier made both songs memorable with enchanting, unaffected performances.

Patricia O’Callaghan, www.patricia-ocallaghan.com, sang Zu-Potsdam Unter Den Eichen by Kurt Weill and Wonderful Widow of Eighteen Springs by John Cage. Reading Wikipedia I learned O’Callaghan was an exchange student in Mexico when she decided that rather than becoming “either a rockstar or a nun” she would combine both these ambitions by becoming an opera singer. This non sequitur in and of itself endeared her to me. She studied opera singing at the University of Toronto and became infatuated with cabaret music. I think her voice is lovely and she is a fine musician. Wonderful Widow of Eighteen Springs was the best of many I’ve heard over the years- true to the score with no vibrato and rendered in time, the closed piano accompaniment played clearly and with delicate authority by percussionist David Schotzko. A beautiful taste of Cage and an example of impeccable ensemble performance. Schotzko also played drumkit on the Weill and Gregory Oh played piano normally.

In the midst of the evening Array Music Artistic Director, percussionist and composer Rick Sacks sang his Rap styled song I Does Art , written in response to a long forgotten uproar over some art censorship in Toronto during the early 1980s. Rick continues to surprise me. I love this song and its performance was reality itself, both poignant and humorous. I learned he had at least three more songs in his oeuvre and if they are anywhere near as good as I Does Art, he needs to record them.

Three delightful songs by Allen Cole were next: Falling in Love with You and the Clam Song, both from an Array Music commission titledThe Wrong Son; and The Girl in the Picture from The Girl in the Picture, another Array Music commission. Patricia O’Callaghan sang Falling in Love with You and The Girl in the Picture  accompanied by Greg Oh at the piano. The Clam Song was sung by Rick Sacks with accompanyment by David Schotzko on bongos and wood block.

The entire evening was a culinary, social and musical success.  Sacks has plans for the Array Music space infrastructure, including among other things, HD audio and visual recordings of concerts and an elevator. Array Music is just three blocks from my home so it is taxi and TTC free. A boon by any standard. It is becoming the venue of choice for some of Toronto’s most interesting and talented performers.

My wife and I joined two friends for an early dinner at Boland’s Open Kitchen on  New Year’s Eve. Our easy patter lighted upon art galleries in Toronto and I admitted to being an infrequent visitor, knowing little about today’s artists and their output. One of our dining companions, Joanne Tod, is a well established and successful Canadian artist presently specializing in portraiture though during her long career, she has created work in many mediums. Joanne is a regular art gallery visitor, but opined that many young artists latch onto the latest fad and stay there, unable or unwilling to take risks. Assuming the role of  music critic, I offered pretty much the same opinions about some keyboard percussion music.

Scene II, 9 December, 2013.

The concert  given in Array Music by Dan Morphy, his duet partner Ed Squires and TorQ colleague Adam Canpbell, www.torqpercussion.ca began with  Eric Richards’ The Unravelling of the Field arranged by Dan Morphy for two vibraphones from the original score for one pianist playing from two grand staves in four simultaneous, but different tempi. This work has been performed with many combinations of resonant percussion instruments, all, including Morphy’s rendition, engaging and musically satisfying in every respect.

Following the Eric Richards work were the four keyboard percussion pieces that prompted my comments to Joanne Tod, . For the most part, they were based on patterns as if influenced by the music of Steve Reich. Reich himself was influenced by percussion music and percussion technique, so the composers of these works, all trained percussionists, are condemned to comparison with the more famous works of Reich, whether or not he had any influence at all upon them.

It’s the patterns that plug my ears. Pattern music is aggravating because of their forms, usually A-B-A with no attempt at transitioning. The rhythms, though sometimes complex, are laid out like dictionary entries, one riff after another, often without any discernable relationship and interminably long. The harmonies are simplistic, without any frisson to tweak one’s ears.  No more than a measure goes by before I sigh, slide a bit in my seat, get comfortable and wait for the end. A sort of trans Pacific flight mentality.

There is a sub text to the foregoing. Years ago I visited the emminent percussionist John Beck in his studio at the Eastman School of Music. John was working on a Henry Cowell trio I had recently played that contained a prominent xylophone part. John said the part was difficult to learn because it contained no patterns. I held my tongue because its lack of patterns was precicely why I had found it easy to learn. I had the same experience with the xylophone part in Messiaen’s Oiseaux exotiques. Seiji Ozawa once turned to me and asked, “Is the xylophone part to Oiseaux exotiques difficult?”  I knew he had scheduled the work for his orchestra on an up coming concert and knowing patterns to be every drummer’s raison d’etre, I had to hesitate before answering “No”.

After intermission came the music of Ken Shorley www.kenshorley.com. Ken Shorley, a percussionist and composer new to me, is a former student of Trichy Sankaran, a master of Karnatik music who teaches at York University in Toronto. As Shorley announced, his compositions are influenced by the classical music of South India. He incorporates the vamps or brief motifes used by mridagam players in extended solos, but only as starting points. His works are not arrangements. They are fresh, inventive creations which to a great degree, conceal their heritage. There were moments of surprise, delightful quirks. I never had the sense that Shorley was padding his music. This was clean and lean music trimmed of fat and artifice. And they were all played from memory by Shorley, Adam Campnell and Dan Morphy.

Music of Ken Shorley:

About Time (tambourine trio) – 2011
Helix (darabuka, frame drum, caxixi/tala bells) – 2012
Three Into Five (frame drum trio) – 2002 (rev. 2012)
Cobra (gongs, bells, frame drum) – 2012
Sarvalaghu (solkattu, jawharp) – 2011
Root Cellar (wastebasket, triangles, tin cans, shakers) – 2011
The Bright Side (darabuka, riq, cajon/caxixi) – 2010
Monk’s Drum (darabuka trio) – 2011

 

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