February 2003 - Nr. 2
Therapeutic Symphony
On a cold, cold night in January it is good for the soul to be warmed by music. The Toronto Symphony has a wonderful program this winter and one should take advantage of the great variety being offered. All of the offerings can be searched out easily on the net at www.tso.ca. There even is a youth program where young people under 28 can enjoy the symphony for 10 bucks a pop. Check it out!
We went to hear Bach on this cold winter night and were not disappointed. It has been said that baroque music is better in the hands of specialty orchestras such as Tafelmusik (having again great success in Germany just now), but surprise, surprise, the TSO did great. Under the direction of concertmaster Jacques Israelivich, who is also playing a special concert in commemoration of the French German friendship celebrations, one concert of this particular series was to benefit the homeless, which is quite the subject this year in Toronto. The Toronto Home Show also featured a project for the homeless besides reminiscences of the colourful 1950.
Bach’s Brandenburg Concerti did not require a full orchestrated sound, thus focussing on small ensemble playing and the featuring of soloists like Nora Shulman and Julie Ranti, flute, Richard Dorsey, oboe, Barton Woomert, trumpet, and Israelivich himself as violin soloist. And even though there are no historical notes on the concerts other than that they were ordered by an aristocrat who collected concerti, but never had these performed, we know by similar Italian examples that the performing was to have a light and translucent quality. This was admiringly well achieved by Israelivich’s choices. And while the experts might prefer a more traditional approach of a real baroque orchestra, Bach himself, ever the explorer, might have been pleased with this performance and how it turned out.
On the other hand the opener of that evening did not quite fare as well. Metamorphosen by Strauss, who wrote the piece after WWII and its horrors, which he knew about more intimately than some compatriots, is not for everyone and was a strange companion to the 3 Brandenburg Concerti. Disillusioned with the death of the German culture through the countries extreme politics he wrote this piece as symphonic as he ever got in a traditional sense. Somehow Israelivich and the orchestra, bigger than in the Bach concerts, did not manage to change within a range of melancholic and tragic despair. It turned out a bit monotonous. Yet learning about the history of this composition was most interesting.
But no matter what the music, an evening at the Symphony always proves to be most enjoyable, inspiring and thus therapeutic, especially in these times of uncertainties.
New
and old ways were also discussed a few days later when the Symphony invited
media to meet the future new Music Director. Chairman of the Board Bob Rae
was only too pleased to commend the committee that had searched for a while
to find the right candidate. Andrew R. Shaw, CEO and President of the
Toronto Symphony added his pleasure to the proceedings
when
he introduced the new Maestro Peter Oundjian, who was visibly delighted to
have arrived back home in Toronto. He recounted how a local hospital had
saved his life so many years ago as a child, when he was not even dreaming
of entering the field of music.
"He
has earned a reputation for winning the enthusiasm of orchestras, audiences,
and their communities wherever he appears. Peter is the ideal person for the
Toronto Symphony at this stage in its history", said Mr. Shaw.
When
we spoke to the maestro he reiterated his excitement for the future and the
many different programs the symphony is running. We asked him if he is
interested in getting more young people involved. He said that the symphony
is already doing that and that he will of course do his part to contribute
to the goal of reaching new audiences and making it exiting.
We
also spoke to Concertmaster Israelivich and found him to be enthusiastic
about his work at the symphony and the new direction it is taking. The sound
in the Roy Thompson Hall is greatly improved since the refurbishing and it
could probably be said that there are no more bad seats in the house. No
matter where one is located, the sound is now crisp and clear, travels
without reverberating echoes. It just smells still very strong of freshly
furbished woods and people with sensitive eyes should probably not sit in
the high rafters. It is there that the odours are almost fumes and take a
little getting used to. Down on the orchestra level it just smells
pleasantly of fresh woods and all seats are now easily reached via two new
isles that were built in.
The Roy Thomson Hall has now more to offer than ever before. There is something for every one, old and young, and Torontonians should be proud of this exquisite concert hall.
Until next time
Sybille Forster-Rentmeister
Comments to: sfr@echoworld.com
