The Glenn Gould School | 2020-2021 Year In Review

THE GLENN GOULD SCHOOL

2020-2021 year in review

Sae Yoon Chon, Ihnatowycz Prize in Piano recipient for 2020-21, performing Beethoven’s “Emperor” Concerto with the Royal Conservatory Orchestra in October 2020 in Koerner Hall.

Top: GGS students performing The Glenn Gould School Spring Opera Lucrezia on the stage of Koerner Hall within plexiglass boxes in March 2021. Bottom: Students on the stage of Koerner Hall during the Royal Conservatory Orchestra’s performance with concertmaster and conductor Jonathan Crowe in October 2020.

A Message from the Dean At the start of the 2020-21 academic year, we knew we were in for a few challenging months. From the outset it was clear that flexibility would be key, and that we’d have to be open to new ideas and innovative ways of doing things. It was imperative that learning outcomes would be the same as they have always been at The Glenn Gould School, but we knew that the way we went about achieving those outcomes would be different.

A foundational pillar of our school is the mentorship of a student by a teacher in a one-on-one lesson. I made it a priority to do everything possible to ensure we could still do those lessons in person. But we also had to make safety our top priority so that students and teachers felt safe. I am pleased to say that when regulations allowed, we were able to make the most of the in-person experience without risk.

What we have also done exceptionally well, as you will read in this Year in Review, is use technology to our advantage. We quickly brought in technical expertise and purchased the hardware required to offer virtual master classes and lessons to keep our students engaged and learning. These new ways of working have been a revelation and I’m sure they’ll continue to be an option long after the pandemic.

The challenges we’ve faced as a school have, in many ways, given our faculty a chance to get to know their students even better. Online classes meant that students and faculty connected from their homes, opening a window into each other’s lives. This created deeper personal relationships which helped fuel the passion and commitment of our teachers and our students and we have emerged stronger because of it.

Of course, donors like you play a vital part in our success and even more so over the last year. Our donor community has truly come to the fore with invaluable support, which not only provides financial relief, but just knowing that there are people who care about music and young artists really inspires and motivates our students. During this time when it has been so challenging to be an artist, your support is even more appreciated.

I wish you well over the summer and look forward to welcoming you back to our concerts and events before too long.

Sincerely,

James Anagnoson Dean, The Glenn Gould School

The Royal Conservatory Orchestra performing Beethoven’s “Emperor” Concerto in Koerner Hall with Sae Yoon Chon, recipient of The Ihnatowycz Prize in Piano for 2020-21.

Students and faculty recording a spring concert in Koerner Hall.

The Royal Conservatory Orchestra The lifeblood of a musician is performance. So, when an easing of restrictions provided an opportunity for the students of the Temerty Orchestral Program to perform as the Royal Conservatory Orchestra (RCO) in Koerner Hall, everybody jumped at the chance.

To ensure safety and the comfort level of the students, the GGS team developed a comprehensive COVID-19 safety protocol that included socially distanced stage seating, plexiglass dividers for winds and brass, and concert dress face masks for the remainder of the orchestra.

“During the pandemic, being in lockdown, it’s been really difficult to try and find the same energy and motivation to work and improve and create beautiful art when I don’t have anyone to play off of,” explains Jacques Forest, 2nd year double bass Artist Diploma Program student. “Being able to tap into that energy and tap into that creative potential that everyone is exhibiting is really just a huge pleasure.”

“I think there is something about knowing we are far apart and that we can do it safely, that actually makes us more relaxed when we’re performing,” said Mr. Crow.

It was October 2020 and travel restrictions were in place, meaning that UK-based Trevor Pinnock was unable to guest-conduct as originally scheduled. Dean James Anagnoson recruited Jonathan Crow, acclaimed Toronto Symphony Orchestra Concertmaster and New Orford String Quartet violinist, to lead the RCO. “Having Jonathan in the role of RCO concertmaster and conductor offered a great learning opportunity for the students,” says Dean Anagnoson. “They had to listen to each other and sometimes watch each other much more closely, just as one would in chamber music, rather than relying on following the person with the baton.”

The orchestra needed to be extremely flexible and focused during the performance. “We had to learn and adapt so quickly, and our antennae are getting used to the ways we have to listen,” said Jonathan Crow.

The concert featured Mozart’s Symphony No. 35 in D Major, K. 385 (“Haffner”), and Beethoven’s Piano Concerto No. 5 in E-flat Major, op. 73 (“Emperor”), with Sae Yoon Chon (ADP ‘21), the latest recipient of The Ihnatowycz Prize in Piano, as the soloist.

“I’m extremely grateful for this opportunity to share music with my colleagues and make music together,” says Sae Yoon. “Since the pandemic happened there have been no opportunities to collaborate with other musicians, so this is very meaningful to me.”

“The entire process was an enriching and enlightening experience for all who were involved” says Dean Anagnoson. “The music was the engine that kept us going and helped us to power through all the nuances of organizing a concert during a pandemic. It really opened our eyes to what is possible while keeping safety as a number one priority.”

A Rare Opportunity during the Pandemic With full orchestra performances impossible for most of the year, GGS sought alternative opportunities for soloists and orchestral players to collaborate and perform in chamber groups. With the cancellation of most of the RCM’s performance season, one of the world’s greatest concert halls was largely available. GGS used this rare opportunity to film several chamber and solo performances in Koerner Hall.

Some highlights include Joseph Johnson, Principal Cello, Toronto Symphony Orchestra, playing with Artist Diploma Program (ADP) piano students to record the Beethoven Cello sonatas; the recording of Pachelbel’s Canon as part of a special Building Beautiful Music email series for donors; all ADP piano students performing their first of two solo recitals in Koerner Hall rather than Mazzoleni Concert Hall in the fall; and a special virtual spring concert featuring alumni and students in a program of spring themed works by Beethoven, Schubert, and Vivaldi.

Reimagining Opera At the start of the pandemic, when the 2020 Glenn Gould School Spring Opera had to be cancelled the day before opening, performing together, let along staging an opera, seemed out of reach. However, despite the challenges and restrictions, GGS’s Price Opera Program was able to produce two operas during the academic year – a feat very few organizations or schools were able to achieve. The unusual circumstances meant that neither production was staged in a conventional manner, which had the additional benefit of allowing students to explore and learn a new process and medium for opera. This inspired great creativity in the production team, and the students – all while ensuring safety remained a priority.

“I am so proud of everyone’s efforts,” said Adrianne Pieczonka, Vocal Chair and Head of the Vocal Department.

“In both instances, our creative team worked week by week, adjusting to the most up-to-date health and safety guidelines. They had to be so fluid.”

Putting student safety first – while staying true to the integrity of the art form – was the goal for the faculty, students, and staff for both of The Glenn Gould School’s operas. Last fall, it was a double bill of Kurt Weill’s The Seven Deadly Sins and William Bolcom’s Lucrezia, and in the spring, Benjamin Britten’s The Rape of Lucretia.

The Seven Deadly Sins and Lucrezia When it became clear that safety protocols and audience restrictions would not allow for live performances in Mazzoleni Concert Hall, the creative team behind The Glenn Gould School Fall Opera began making plans to livestream the performance. However, further regulations around the use of impermeable barriers for singers led the team to consider different options. What emerged was a production that approached the process more like a film, with scenes being shot out of order and with as few people in the hall as possible.

Plexiglass barriers were placed around performers in their scenes, which provided safety and gave them a sense of freedom. A feeling of intimacy was created through intentional camera angles, even while the students were safely distanced.

Mezzo-soprano Ariana Maubach (ADP ’ 21), who played Lucrezia, shared how thankful she was to have the opportunity: “I’m so grateful that the school has been putting the needs of their students first, and to get this role experience and go forward with something like this during such a stressful scary time. I’m just so, so, so appreciative.”

The Rape of Lucretia With a full lockdown in place at the beginning of 2021, it was hard to imagine being able to present The Glenn Gould School Spring Opera at all. Finally, after students had spent months working with coaches via Zoom, they were able to come together to rehearse and perform.

This time, the decision was made to film the opera ‘in concert’, without any staging and with each performer behind a plexiglass barrier. The format meant that the students had to focus on their singing, gestures and the libretto to tell the story.

The opera was captured in one long shot, which streamlined efforts and simplified postproduction.

“Being able to be in this plexiglass moment, making art with people, it’s an experience that is unlike any other,” said 2020-21 Rebanks Fellow bass-baritone Korin Thomas-Smith, who plays Collatinus, while Jordan de Souza (ADP ‘22), baritone, who plays Tarquinius, explained that “the whole thing is pretty electric. It’s one thing knowing the music on surface level, it’s another delving into it, knowing it. Being taught it by someone like Maestro Gordon Gerrard (Music Director), was a gift.”

This production challenged the students in new ways. They had to be adaptable to perform in the most unusual circumstances.

Yet they approached the process with positivity, determination and grace. Ultimately, their performances superseded any of the restrictions placed on them.

“This was a strange and peculiar year, but also a very special year,” says Ms. Pieczonka. “We remained adaptable, pushing creative boundaries and thinking outside of the box, all while delivering the high standard experience and instruction synonymous with GGS. We learned things that we will take forward into the future of opera and how we do things as a school.”

The cast of Lucrezia during the filming of The Glenn Gould School Fall Opera double bill.

Rehearsal of The Rape of Lucretia and some of the technology used to capture it on film.

Teaching with Technology Large monitors, cameras, computer carts and great webs of cables were the new tools of learning at GGS this year. Last summer, the school made an investment to create several tech-enhanced spaces with computers, 32-inch screens, webcams, audio interfaces, headphone amps and adapters, microphones, mic stands, carts and cabling, as well as software. Four studios were specially outfitted for private lessons and master classes, and a fifth mobile setup created for use in either Temerty Theatre or Mazzoleni Concert Hall. Platforms like Zoom and Audiomovers ensured that students could continue to benefit from the exceptional learning opportunities at GGS. Faculty such as pianist John Perry and cellist Hans Jørgen Jensen, who couldn’t cross the border, continued their lessons remotely. The new technology also allowed students access to master class artists from around the world who wouldn’t necessarily have been able to travel to Toronto: trombonist Ian Bousfield from Bern; cellist Tsuyoshi Tsutsumi from Tokyo; and harpist Alexander Boldachev from Moscow.

“It’s definitely unusual, but something to get used to,” said first-year horn player Noah Hawryluck (‘24) after he performed in a virtual master class for David Cooper, Principal Horn of the Chicago Symphony Orchestra.

“I’m really impressed with how much I can get done. I was

expecting it to be less personable, but it ended up being amazing. I learned so much and I’m super happy. I never even thought I would get to play for David Cooper since he’s always in Chicago. It was a really unique opportunity, and I was super grateful to be able to play for him.”

“The study of classical music can appear to be at odds with the fast-moving developments in technology,” says Associate Dean Barry Shiffman. “Our school’s namesake, Glenn Gould, proved that the embrace of technology, when married with the tradition of classical music, can achieve great results. We’ve used his inspirational vision as we pivoted to provide the best experience possible during this difficult time. While we all look forward to a return to in-person activity, the amazing changes brought about by online technology will have a lasting impact.”

Nothing will replace in-person instruction, but the global pandemic has necessitated the quick adoption of technology to create viable alternatives until in-person visits can resume. However, as we continue to adapt, adjust our expectations, and embrace new ways of learning, virtual teaching has opened doors to how we can teach in the future and involve more pedagogues from around the world.

Horn student Noah Hawryluck (BMus) and collaborative pianist Victor Cheng in a virtual master class with David Cooper of the Chicago Symphony Orchestra.

Pianist Alexander Malikov (ADP ‘21) readies himself for a master class with acclaimed pianist Jeremy Denk.

My Extraordinary Year at GGS

by Alexander Malikov

Despite the very difficult situation the world is facing, The Glenn Gould School persevered tremendously. From day one of the pandemic, the administration and staff worked tirelessly to organize a system of safety protocols that would allow the students to use the incredible facilities that The Royal Conservatory has to offer. In my own experience, the transition was seamless. The spring semester of 2020 finished successfully as all programs switched to the Zoom platform. I remember how it felt for the first time – surreal.

With hopes that the pandemic would be over in just a few months, little did I realize that we were entering a whole new era of digital learning and performing. The best-quality equipment for online lessons was waiting for us in the studios.

My lessons with James Anagnoson and John Perry continued online with the same vigor and level of detail as before.

Performance classes were carefully worked out to allow a safe space for everyone to take part. Master classes, an integral part of The Ihnatowycz Piano Program, were run with great success. So much work was put forth to allow the experience to be just as informative and engaging as it would have been in person.

One the most complex setups I took part in was the fall opera, when Temerty Theatre was transformed into a fantastic movie studio. The biggest highlight, however, was the opportunity to play in Koerner Hall. The pianists were fortunate to play the first of their required recitals in this world-class venue. In addition, several of us were asked to participate in a project celebrating the 250th anniversary of Beethoven’s birth. This involved us in a recording of Beethoven’s works for cello and piano with Joseph Johnson, the principal cellist of the Toronto Symphony Orchestra. An incredible experience.

I cannot thank The Glenn Gould School enough for everything it has given me as an Artist Diploma Program student. I will miss and cherish my time here and will always be proud to have been a part of a very unique institution.

Select Student and Alumni Achievements Congratulations to all our students for a remarkable year at The Glenn Gould School. The following highlights a few special achievements by students and alumni in the Bachelor of Music, Performance (Honours) program (BMus), the two-year Artist Diploma Program (ADP) for graduate students, and the post-graduate Rebanks Family Fellowship and International Performance Residency Program.

CURRENT STUDENTS • Michael Bridge (2020-21 Rebanks Fellow, accordion) Named 2021 Career Development Award Winner by Women’s Musical Club of Toronto.

• Godwin Friesen (ADP, piano) Featured during the Saskatoon Symphony Orchestra’s Beethoven 250th birthday celebration – “Beethoven 250 at Home” – with a recorded performance of Piano Sonata No. 23 in F minor, Op. 57 (Appassionata).

• Alexander Malikov (ADP, piano) Won 2nd prize at the recent Walled City Music International Piano Competition – held online this year.

• Alexander Malikov (ADP, piano) and Jessy Kim (2020-21 Rebanks Fellow, violin) Both winners of a Sylva Gelber Music Foundation Award, which supports young Canadian musicians who are pursuing or about to embark on a professional career in classical music performance.

• Winnipeg’s Virtuosi Concerts launched its “Safe at Home Manitoba” online concert series in early February, featuring cellist Yuri Hooker (Winnipeg Symphony Orchestra Principal) and David Liam Roberts (BMus, cello).

• Mariya Orlenko (BMus, piano) and Michael Song (BMus, cello) Named laureates of The Hnatyshyn Foundation’s 2020 Developing Artist Grants – for the Classical Music (Piano) and Classical Music (Orchestral Instrument) categories, respectively. These are awarded to the most promising students enrolled in post-secondary educational or training institutions.

• Isabella Perron (BMus, violin) and David Liam Roberts (BMus, cello) Michael Measures Prize winners – first and second, respectively. Both were also finalists for this years’ Eckhardt-Gramatté National Music Competition, to be held in September 2021.

• Brian Woods (ADP, piano) Advanced to the finals of the Neapolitan Masters International Piano Competition.

ALUMNI & STUDENTS • The Royal Academy of Music and Glenn Gould School’s recording of Józef Koffler’s arrangement of J. S. Bach’s Goldberg Variations (under the direction of Trevor Pinnock) was released on October 9, 2020 (LINN Records). This recording was the result of a May 2019 visit to London, which also included a performance at London’s Wigmore Hall.

According to the review in The Herald (Scotland), “It is almost impossible to imagine seasoned professionals performing it better.”

ALUMNI • Barbara Croall (HARTC ’95, piano) Named an Officer of the Order of Ontario.

• Adrian Fung (The Glenn Gould School Quartet-inResidence 2012-2016 / Afiara Quartet, cello) Appointed Senior Vice President, RCM Learning Systems.

• Rossina Greico (ADP ’20, piano) Signed with Polyphony Arts (UK) and released two recordings – the first, an all Chopin program featuring 4 Scherzi and 24 Preludes, and the second featuring 3 Beethoven Sonatas.

• Angelica Hairston (Performance Diploma Program ’15, harp) Featured on National Public Radio’s From the Top “Where Are They Now” episode. Angelica spoke about her founding of Challenge the Stats, an organization that exists to empower artists of color and advocate for justice.

• Nahre Sol, also known as Alice Hwang (ADP ’17, piano & New Music Fellow 2018-19) Released Alice in Wonderland – her debut album of original works for keyboard. Featuring a mix of compositions for solo piano, synthesizers, and prepared piano, this recording was selected as “disc of the week” for the October 25th broadcast of CBC Music’s In Concert.

• Min-Jeong Koh (Quartet-in-Residence 2010-2012 & Cecilia Quartet, violin) Appointed RCM Program Development Leader (String Instruments). Her work will include the development of a new performance and pedagogy stream in the Artist Diploma Program.

She will also serve as a member of GGS and Taylor Academy faculty in violin and chamber music.

• Mezzo-soprano Ema Nikolovska (PDP ’15, violin) Performed an art song recital from Wigmore Hall, which was livestreamed on January 4.

• Jennifer Routhier (Vocal Scholar, 2019-20) Won the City of Brandon Best Performance of the Commissioned Work Prize along with 2nd Prize, at the 43rd Eckhardt-Gramatté National Music Competition (E-Gré), in late September.

• Jonelle Sills (ADP ’18, soprano) Invited to participate in Vancouver Opera’s Yulanda M. Faris Young Artists Program for 2020-21. While needing to follow a different format this year, this program will still provide participants with training and mentorship as well as unique opportunities for performance experience.

• Hillary Simms (ADP ’20, trombone) Performed Tomasi’s Trombone Concerto with the National Arts Centre Orchestra during its livestream event on October 31. In September, Hillary also appeared on the NACO’s online Lunch Break series.

• The Canadian Opera Company appointed Amplified Opera to its newly developed “Disruptor-in-Residence” program. Co-founded by Teiya Kasahara, Marion Newman, Asitha Tennekoon (ADP ’16, tenor) and Aria Umezawa, Amplified Opera seeks to put diverse artists at the forefront of productions that resemble and address the experience of BIPOC artists.

• Jean-Luc Therrien (ADP ’20, piano) Announced as a 20/21 Debut Atlantic artist, with several September performances.

• Rolston String Quartet’s 2020 release, Souvenirs, was included in BBC Music Magazine’s annual list of “best chamber music recordings”. The Rolston String Quartet features Luri Lee (ADP ’13, violin), Emily Kruspe (ADP ‘15 / 2017-18 Rebanks Fellow, violin), Hezekiah Leung (ADP ’14 / 2020-21 Rebanks Fellow, viola) and Jonathan Lo (2013-14 Rebanks Fellow, cello).

• Jonelle Sills (ADP ’18, soprano) and Asitha Tennekoon (ADP ‘16, tenor) Performed on Against the Grain’s A Little Too Cozy – a single episode digital project intended to launch a full web series. Posted in early November, this project features music composed by GGS faculty member Kevin Lau. • The following students were included on CBC’s 2020 “30 hot Canadian classical musicians under 30” list: o o o o o o o

John Sellick (ADP ’20, viola) Hillary Simms (ADP ’20, trombone) Jean-Luc Therrien (ADP ’20, piano) Bryn Lutek (ADP ’18, percussion) Jonelle Sills (ADP ’18, soprano) Ron Cohen Mann (ADP ’17, oboe) Ema Nikolovska, mezzo-soprano (PDP ’15, violin)