In early 2015, a spate of high quality concerts rarely seen in Toronto, began with the Art of Time Ensemble. On the stage of Harbourfront Centre Theatre, they presented music by Lou Reed, interpreted by some of Canada’s finest arrangers, instrumentalists and singers. Art of Time Ensemble is the creation of its artistic director, pianist Andrew Burashko, a passionate and informed communicator with a love for music that stretches far beyond the borders commonly thought to demarcate music categories.
Andrew’s programs are based on themes. For a 2013 programme titled Franz Schubert, Source and Inspiration, composers of Jazz and Art music were commissioned to arrange for voice and ensemble, a theme from Franz Shubert’s
Piano Trio No. 2 in Eb Major. The trio was played first and then the arrangements were performed by five singers, Carol Pope (Rough Trade), Andy Maize (Skydigers), Gregory Hoskins, John Southworth and Danny Michel.
Andrew often commissions Toronto arrangers, a diverse group of superlative musicians who, though relatively unknown to the general public, never fail to astonish audiences with their ability to bring fresh perspectives to popular war horses. Fortunately, Art of Time is recording many of their pearls.
An Art of Time programme titled What is Sacred, began with Arvo Part’s Stabat Mater, followed by three superb arrangements of songs with religious themes: Wayfaring Stranger, arranged by Gavin Bryars; Pilgrim; and You Are Not Alone. After intermission, Olivier Messiaen’s Louange A L’Eternite De Jesus from his Quartet for the End of Time, and a medley of African American spirituals and Oscar Peterson’s Hymn to Freedom were sung, revival style, by Jackie Richardson.
The evening closed with a beautifully subtle and complex interweaving of six female dancers, choreographed by David Earle to the Miserere by Gregorio Allegri (1582-1652). The Miserere was hauntingly sung by Choir 21 as they stood like angels in the first balcony, sending heavenward Allegri’s plea. All this was much too sublime to be followed by anything else.
Attempts to merge art forms have been vulnerable to dismissal by purists or outright failure in the public marketplace. But Andrew does not merge art forms. He respects their individuallity and his classical discipline protects them from being mistreated. An idea must pass through a stringent artistic filter before it blossoms on an Art of Time stage.
In the twenty years from 1970 to 1990, a few elite ensembles, devoted to mostly white western art music, received the majority of government money. Toronto ensembles have favoured repertoire from one of roughly five established genres of westrn art music: opera, ballet, symphony, choral and chamber. They must submit mission statements in order to be eligible for government funding. These statements put them into a bureaucratic niche that can obligate them to a particular repertoire.
In the the 1990s government arts agencies began to realign their financial priorities in response to social and political pressures, gradually achieving more balanced funding by region and favouring emerging composers, pop music, First Nations musicians, and other minority groups. Each re-allocation made the financial pie smaller, dramatically reducing art music budgets. The recent economic down turn exacerbated a feeling of uncertainty within the arts community. Some ensembles reduced the number and frequency of their concerts, limited or re-directed their programme choices, greatly reduced the fees paid to musicians and began exploring ways to work with other ensembles.
In conjunction with his many artistic friends, Andrew is creating fresh concert experiences for traditional Toronto audiences while attracting new concert goers, young and old, hip and staid. The effect this generational blend has on audiences is immediately apparent. As one takes a seat for an Art of Time concert, there is a frisson in the air rarely felt in other venues. So far Andrew has avoided the malady of uncertainty afflicting other Toronto arts organizations. His large and ever growing audience, aided by a group of faithful collaborators and sponsors, portends a long and healthy future. Andrew’s unique artistic love affair has captured the imaginations of artists and concert goers. Concerts by Art of Time Ensemble have become one of Toronto’s most popular sources of art entertainment.
I encourage readers of this article to visit Art of Time Ensemble web site for a complete list of its programmes, artists and videos.
http://artoftimeensemble.com
Robin Engelman 
Art of Time Ensemble
In early 2015, a spate of high quality concerts rarely seen in Toronto, began with the Art of Time Ensemble. On the stage of Harbourfront Centre Theatre, they presented music by Lou Reed, interpreted by some of Canada’s finest arrangers, instrumentalists and singers. Art of Time Ensemble is the creation of its artistic director, pianist Andrew Burashko, a passionate and informed communicator with a love for music that stretches far beyond the borders commonly thought to demarcate music categories.
Andrew’s programs are based on themes. For a 2013 programme titled Franz Schubert, Source and Inspiration, composers of Jazz and Art music were commissioned to arrange for voice and ensemble, a theme from Franz Shubert’s
Piano Trio No. 2 in Eb Major. The trio was played first and then the arrangements were performed by five singers, Carol Pope (Rough Trade), Andy Maize (Skydigers), Gregory Hoskins, John Southworth and Danny Michel.
Andrew often commissions Toronto arrangers, a diverse group of superlative musicians who, though relatively unknown to the general public, never fail to astonish audiences with their ability to bring fresh perspectives to popular war horses. Fortunately, Art of Time is recording many of their pearls.
An Art of Time programme titled What is Sacred, began with Arvo Part’s Stabat Mater, followed by three superb arrangements of songs with religious themes: Wayfaring Stranger, arranged by Gavin Bryars; Pilgrim; and You Are Not Alone. After intermission, Olivier Messiaen’s Louange A L’Eternite De Jesus from his Quartet for the End of Time, and a medley of African American spirituals and Oscar Peterson’s Hymn to Freedom were sung, revival style, by Jackie Richardson.
The evening closed with a beautifully subtle and complex interweaving of six female dancers, choreographed by David Earle to the Miserere by Gregorio Allegri (1582-1652). The Miserere was hauntingly sung by Choir 21 as they stood like angels in the first balcony, sending heavenward Allegri’s plea. All this was much too sublime to be followed by anything else.
Attempts to merge art forms have been vulnerable to dismissal by purists or outright failure in the public marketplace. But Andrew does not merge art forms. He respects their individuallity and his classical discipline protects them from being mistreated. An idea must pass through a stringent artistic filter before it blossoms on an Art of Time stage.
In the twenty years from 1970 to 1990, a few elite ensembles, devoted to mostly white western art music, received the majority of government money. Toronto ensembles have favoured repertoire from one of roughly five established genres of westrn art music: opera, ballet, symphony, choral and chamber. They must submit mission statements in order to be eligible for government funding. These statements put them into a bureaucratic niche that can obligate them to a particular repertoire.
In the the 1990s government arts agencies began to realign their financial priorities in response to social and political pressures, gradually achieving more balanced funding by region and favouring emerging composers, pop music, First Nations musicians, and other minority groups. Each re-allocation made the financial pie smaller, dramatically reducing art music budgets. The recent economic down turn exacerbated a feeling of uncertainty within the arts community. Some ensembles reduced the number and frequency of their concerts, limited or re-directed their programme choices, greatly reduced the fees paid to musicians and began exploring ways to work with other ensembles.
In conjunction with his many artistic friends, Andrew is creating fresh concert experiences for traditional Toronto audiences while attracting new concert goers, young and old, hip and staid. The effect this generational blend has on audiences is immediately apparent. As one takes a seat for an Art of Time concert, there is a frisson in the air rarely felt in other venues. So far Andrew has avoided the malady of uncertainty afflicting other Toronto arts organizations. His large and ever growing audience, aided by a group of faithful collaborators and sponsors, portends a long and healthy future. Andrew’s unique artistic love affair has captured the imaginations of artists and concert goers. Concerts by Art of Time Ensemble have become one of Toronto’s most popular sources of art entertainment.
I encourage readers of this article to visit Art of Time Ensemble web site for a complete list of its programmes, artists and videos.
http://artoftimeensemble.com
Posted by robinengelman on May 1, 2015 in Commentaries & Critiques, Contemporary Music, Unassigned
Tags: Andrew Burashko, Art of Time Ensemble, Franz Shubert, Gregorio Allegri, Olivier Messiaen, Oscar Peterson