Archive for June, 2007


Monday, June 18th, 2007

Sunday, June 17, 2007
Roy Thompson Hall, Toronto

Holy Blossom Temple hired Roy Thompson Hall, The Toronto Symphony Orchestra, and Peter Oundjian to conduct a musical celebration of its 150th Anniversary.

The star of the show was Giora Feidman, clarinetist extraordinaire, who played solo, with the orchestra, and in a trio with TSO ‘s principal clarinet Joaquin Valdepenas, and principal bassist Jeffrey Beecher.

This trio performed the most interesting piece of the evening, “Love of Life” by Ora Bat Chaim. It is of interest that here life is celebrated in quiet, gentle tones. Feidman’s clarinet wheedles soft traditional melodies in a living tone; Valdepenas wails a sweet, lower register harmony, and Beecher pulses, arco and pizzicato, the syncopated rhythms of a walking bassline. Even the occasional upbeat ‘freilach’ passages were delicately etched.

Feidman’s virtuosic rendition of Astor Piazzolla’s “Two Tangos”, scored for solo clarinet and orchestral strings showed his own Argentinean roots as he softly piped the composer’s hot, dancing measures into the twittering web of insistent violins.

Gershwin’s “Porgy and Bess Suite” received a jewsy-bluesy treatment, trademark gentle with the occasional raunchy growl, touched here and there with klezmer laughing clarinet and once, with a funny, spot on ‘shofar’ call.

Feidman initiated the liturgical side of the program with a solo walk through the audience to stage left playing barely audible low register tones that rise to a wheedling, tearful, entreaty. Ever the showman, Feidman got the audience humming a drone that he played against as he mounted the stage, switched to a bass clarinet, and performed with the orchestra the tender and sad, distant tones of Max Bruch’s “Kol Nidre.”

Following the Bruch, the Temple’s resident cantor, Benjamin Z. Maisnner, asked the audience to rise as a congregation to join him and the orchestra in singing a traditional prayer of thanksgiving. Ovations, embraces, and celebratory warmth filled the hall.

BORIS BROTT & BEETHOVEN by Stanley Fefferman

Saturday, June 16th, 2007

Friday, June 15, 2007
Glenn Gould Studio, Toronto

Boris Brott is a genial personality celebrating his 20th season of festive music making. His National Academy Orchestra based in Hamilton, Ontario, currently mentored by half a dozen very accomplished Canadian players such as Douglas Perry on viola, and Corey Gemmel on violin, has seen 900 of its young musicians placed with major orchestras worldwide during the past 20 years. The Beethoven concert Maestro Brott and his youthful orchestra gave us in the intimacy of Glenn Gould Studio was tonic and refreshing.

Brott’s young associate Martin MacDonald conducted the first two movements of the “Eroica”. His style of conducting is extraverted, somewhat in the manner of Yannick Nézet-Séguin. The two hammerstroke chords, the opening theme stated by the cellos, and the chromatic figures played in syncopated rhythm by the violins establish both the tonality of the piece and MacDonald’s firm control of his palette. The version he gave us of Beethoven’s 3rd was high contrast, sharp, and charming in its lack of reserve.

When Brott took over the podium he brought a sense of ease, subtlety and polish to the music. The finale was quite magical in its alternation of passages—delicate and dancelike, slow and reverential, monumental rising towards a deep-rooted climax.

Beethoven’s “Concerto for Piano, Violin, Violoncello and Orchestra in C major, Op 56” known as “The Triple Concerto” has the energy of a form that has no models. It possesses strength and a transcendent freshness similar to the energy of Shakespeare’s “The Tempest.”

The Gryphon Trio merged its excellence beautifully with the National Academy Orchestra under Brott’s baton to give a performance I can only call ‘groovy’, because by the end of it the three soloists, the conductor and many of the musicians were beaming blissful smiles at each other signifying freedom in the groove. Beautiful music.

ROHAN’S CELLO by Stanley Fefferman

Monday, June 4th, 2007

Sunday, June 3, The Music Gallery, Toronto.

Famed and gifted cellist Rohan de Saram performed a program that included four solo pieces, three of which were written for him.

“Espera, luz, espera (Hope, light, hope)!” composed in 2006 by Santiago Lanchares (Spain, 1952) Rohan describes as “classically written, with Spanish nationalistic elements.” From the sounding wood of his 1690 Guarneri, one hears progressions of scales as well as stirring sonorities of the martial bugle-calls and hammered-on Spanish rhythms. Primarily towards rhythm, the piece is a single dramatic scene with shifting moods expressed by tentative, probing, short riffs, lyrical passages sad as Hebraic prayer, and a determined questioning tone, all supported by a sense of meter.

Scottish composer James Dillon’s “Eos (1999)”, one of the two solos inspired by Greek mythology, Rohan describes in phrases like “strange and unusual in character”; “jagged and awkward writing, rhythmically challenging and variable”; “like the opening ‘alap’ of an Indian Raga, improvised without meter or definite rhythm, like the dawn –Eos–, rhythm creeps in little by little.”

The opening of “Eos” is almost inaudible — bare squeaks, faint hammerings, featherlike whispers of string on bow that build glissando into the squeal of bagpipes and proceed pizzicato into siren wail and long toned quavering drones, intensely focused and shifting like light, dissolving into a jittery whisper as “rosy-fingered dawn” dissolves into bright day.

The late heavyweight composer Luciano Berio was inspired to write parts of “Sequenza XIV” while working with Rohan, who is also expert in playing the Kandyan drum of his native Sri Lanka. From notation received from Rohan, Berio composed rhythmic sections of “Sequenza” in which the bow is not used; the right hand plays 12, 11, and 13 beat rhythms on the belly of the cello, while the left hand fingers hit the strings in a percussive way.

The effect is something like a talking drum that actually seems to be vocalizing in code. The whole piece includes bowing near to and away from the bridge and explosive plucking of strings that develop a rhythmic atmosphere like the carefree feeling of childhood. This from a composer who died in his 78th year before he could finalize some technical details with de Saram.

The final solo, “Kottos (1977),” composed by Iannis Xenakis (1922-2001), is a deliberately noisy piece depicting the fury of the hundred-armed pre-Olympian Titan whom Zeus defeated and entombed alive in the earth. The entombment of Kottos is suggested by horrible grinding sounds, as of hard earth being scraped by glacial force of boulders.

The composer’s performance guidelines indicate avoiding “ a beautiful tone in favour of a sound full of noise…bowing away from the bridge, creating volatile, unpitched sounds…and incorporating an array of glissandi, extremes of register, microtones and polyrhythms that challenge the capabilities of the instrument” and the instrumentalist alike.

David Hetherington and his 1695 Giovanni Grancino joined Rohan de Saram for a program of four duos, concluding with the world premier of “Duet for Cellos (2007)” by Brian Current (Canada, 1972).

In the preconcert ‘illuminating introduction’, moderated by New Music Concerts director Robert Aitken, the two guest cellists spoke about the growth of the modern cello repertoire since Dvorak’s monumental “Cello Concerto (1895)”.

Rohan stressed the abilities of the cello that is sized to approach both the speed of the short stringed violin and the harmonic range of the long stringed double bass. He also stressed the connection between the incremental leap in the virtuosity of modern cellists with the growing interest composers have for challenging this virtuosity.

Both Hetherington and de Saram showed extreme mastery of the instrument’s ability to create new sonorities, play quarter-tones, their ability to bow at blinding speed, and blend into one texture parts played 1/5th of a beat off each other, as in the “Pas de Deux (1996)” by Alexander Shchetynsky (Ukraine, 1960).

Hetherington spoke about Brian Current’s new piece as “classic, in the way it has rhythmic structure and a lot of harmony, though not much melody, and ‘macho’—a venting of aggression,” and not so much exploiting the lyrical abilities of the cello.

Current’s piece, by comparison with the previous duo compositions by Kahrs of Norway and Baggiani of Italy, was serially built on a rhythmic drive that was comprehensible, listenable, and immediately enjoyable.

New Music Concerts closed it’s 06/07 season with this seminal offering that brought five world-renowned works of new music to premier performances in Canada.