The following text may have been generated by Optical Character Recognition, with varying degrees of accuracy. Reader beware!

THUFSDAY,0CTOIBll13.m16 - turnip!) amateur . 19 More than a beautiful gesture C O ’ O 0 U C . Pianist s approach lflSpll’ed by Canadzan room like Gould and McLuhan lithium: PING! 1 ist, she argues, “Bach's music, being FovflwChmu'ck . conmpuntal. is very egalitarian. it ‘ ° has no hierarchy of sound And it enny iohnson has acquired ‘, 7 ' cit-Helms us to listen more deeply P a rather unusual habit when Glemi Gould felt that most of us can Ev studying videos of famous Mkmedeqflydtanwetwttnfiy musicians. She makes a point of do,” ‘listening' to them with the sound , , ' a ‘ Even more interesting for our sci- § turned on ~ . an aid techâ€"obsessed an“, how- * "lwstchtheirgestmesandphysi- "* , 4 ever,is)ohnson’sdlsooverythatthe ale-pressionsandaskmyselfifthe ‘ “ ,: mudladi'sbwoardm mrmsedngmatdiupwim i ‘. ' andlnventionshmongmanyother 3 the sound,” the Mississauga-based Z, \ " works ofhls) inflows a Mdidamesqm ; pianistexphinedinareoemmmview. 5} \ pattemoflmafltymdreleese ; Tomabeamlfidpstureispanofa x 5, "Heintroducesallthisthematlc .‘ beautifulperfimmnoe,’ g“ ' , iv‘ material and plays with it, but in i lohnson isn’t rem-ring to aflecta~ 51; A -, < , J between there are stretches with no i donsnramierimoremptyeimer- $55 \ »,,E newmamialwhereyoumnproeess , anon, but to an authentic connection \ 5/2 «£- whatyou’veitstheard' between physical engagement and \ 3.11. . W‘ _, ‘ V Being able to respond to that ebb tonal resortmoe shefeels is alltoo rare , A , , A {A and flow is a major reason for the theeedays if; ”a \ ‘ intense satisfaction many listeners And she believes nothing bet- F5. ‘ , g derive from hearing Bach; it’s also i ter illustrates her conviction about . t; “‘ strong evidence for the often~neglect- 3 reclaiming musial authenticity than i \ ‘ ed emotioninhisrmrsic. t the keyboard music of lohann Sebas- ; 2 ' 0 - By not allowing ourselves mind~ tian Bach (1685-1750). On October «a 5 . ful respite from the influx of data l 19, she will present a rare program of if " and aural ‘noise" of society in order 1; Bach's 15 Threeva Sinfonias (BWV "47“ at?” -- to cultivate deep listening “we make ; and?” as part °f me 41st season Of Penny Johnson performs on Oct. 19 at St. Andrew/s Presbyterian Church Noon-Hour Concerts series, which contin- false_assumpnons “bow mu“ of the . esday Noonllour Concerts at ues weekly through December 14 past. lohnson said. One ofthose false 1 St. Andrew's Presbyterian Church in ’ "u“mm assumptions is to label Bach’s music ‘, downtown manner, daily for the music of Bach decades might well have causal both how deeply we listen. For musicians, as cerebral. detached, or unemotional. Anavidpianomidentsinceiheage irm'iguedbyGaild'smulti-dimenâ€" ofdremmealarmthansatisiacflon. itafiectshowdieyplayshowtheycre- 'When1hearpeople saythar.it's of seven in her home town of Sault Ste sional approach, Johnson set out on McLuhan argued that the human ate that special relationship between like a dagger in my heart. There is so ‘ Marie, iohnson became fascinated in her own quest to discover more about brain was not designed to be a con- technique and expression, between much emotion but ‘noise' distracts ‘ high school with the interpretive aes» the social and empathic impact of live stantly absorbent organ; it operates performer and audience.’ us from being compassionate people, thetics of the legendary pianist Glenn music on contemporary audiences most efieaivelyon cyclosof intake and Going back to the dawn of audio 5 perfomtersor listeners" Gould (19324982), calling him a "in. In doing so, she soon encountered release in order to prowss new mate- recording during the late 19th century, lohnson's obvious 'medium" may mendous influence on my musical another Nth-century Canadian pioA rialandmakesenseofit iohnson noted how diflerentiy people be the piano, but like her mentors approadt.’ neer of communication theory, Mar- In environments where humans spoke, gestured and performed. due Glenn Gould and Marshall Mclnhan. But it wan't until after completing shall McLuhan (1911-1900); in fact, are subiected to relentless sensory and tothe limitations clearly sound equip- her “message” about music goes far her doctoral dissertation at the Man- the two men were acquainted and cognitive input ~ most of the Wmem ment, beyond the mechanics of how felted hattan school oiMusic . on the iconic influenmd one another’s approach to world. in fact â€" understanding isofien For much of the previous century. hammers strike resonating strings Polish piano vinuoso and politician. mnveying a meaningful 'message' in processed too superficially, The result "people valued and aspired to clearer insideabigwooden box lgnace Paderewski (1860-1941) she their respective disciplines. of this imbalance is a loss in depth oi diction; they spoke more skrwiy, lis- There are always new moments discovered many other dimensions to While Gould was prophetic in his meaning tened more deeply. The aural expert emerging in even the most familiar Gould's career He was a broadcast meticulous. yet holistic interpretation Where l'm trying to go with this. encewasmore cultivated." piece ‘that will move me to tears." she er. composer, anivigt, humanitarian, of great masters such as Bach, and is that i see electronic media today as But how does is. Bach figure into said. 'There is always more mag'c to writer. critic and theorist. n was Gould McLuhan was similarly prophetic in being more oriented to the visual than Johnson's quest to bring balance and he bond on the page.“ who sparked her careerâ€"lung desire constructing theories of future media. the aural," lohnson said. "and it aflects meaning back to let-century audi» Portirmsofthitfianwappearuipmd- to create a "compassionate listening“ the accelerated pace of technology us in so many ways w how fast we ences" ordyx‘lrtheSeptanber-(mbfl experience for live audiences, “I” and its soda] effects over the past three speak. hmvpreciselywe articulate, and Far from being 'highbrow" or elitA Music Time; 3, E _ . , fE'. , _ E an.“ a ~_E Mifi‘filfi mfl' QWQWhflgmgflzâ€" a: “a“: - A» lEfifiik-n’. .. Et 1&5: ”M’Ja‘ is?“ ’ ' a ‘ , a; A 7; j a , - , ,. ', , ,} up ; ' , Q; “ ' ' ' ..: "fiWepatZ; . 31 $3 _ '~ i , v , ', nil . » giggly "$39,311?“ ‘ ‘5 a; ' f ‘ ' ”Tr-$2. .' ytfitv’f‘rfi $15.2”; i' z if fifffiflfifi 1 ‘ ii 1 ' ' ' 1525051 ail Lag“ “v“ ‘51555 ”it --i§ ~ 4" _ « vi a; . . ‘ E r ‘ aid if”? ‘3 '. f \ . " " , c, '. te‘ r; “5-55 ~“ x1»: , “o A , , gtp'vhi: ‘ iv!“ , «fl, vv , , . , ~ " , f f;- E 3&1? a); 113,51 1 A; E E “$1313“: {hip no. £56323? E. 2:33"? $42,1- ,‘.,' ,, E‘ , A fi.‘)~:" ? 41? “£73”??? «E , I. ‘EE , , , ‘ whiff -, v, , , it? v > " r, a; v ., , ~ ~ - » . ch ,:;, 4‘ ~ ', ,. ; ,.â€"v"» .-; ‘t- 3‘ 2 ,’w"-v you?“ willie-zit, 57 _ ,_ ‘_ .‘> ,Ii*v;.<., A; - , ;. « v - t , A‘ J fisfi'f‘f 0a 4 .,'-f ~, , 53g" 3 ("E “19“; EE EE "iii-_ ; . _. , 3&4; . 4,5. if!” . , E ,l' .E __ E A A pine», , ,, , . NE If,"‘£’ ' ‘. ' 4 . v: iv "in“: 74 ASA-f" S» l L-f- "E155 " ”cw,“ find???" ‘ .‘ 2 if" ifs-t, . a . I, , at; it - , - ‘.' Mm ~ ' , ,. u on: may. ~ , c: 14> has, 5 no.“ ’=€;‘3‘%¢J‘,§' '.’»,.;;,,v, ..- in may 1, ~-.: , a, . 4 - “fig--. -, . ,- , - r ' m"“ "‘""’ «4-- ”"“--4 a """""“ "‘ "‘ M ‘ ‘ " ‘ "“" - . â€".‘. ...~ a...“ "a, A.“ , ,..- "pa-a.» . a E v ~ , - “non-am ~ no" ‘