November, 2004 - Nr. 11
On my travels…
Music as tonic
There is no doubt about it! After a busy day we often are tired and do no longer feel much like going out. It means rushing home, getting supper ready somehow, or rushing even more to get changed and out the door again to make it to a restaurant before the event of our choice starts.
I often felt that way, even if I only had to get through traffic and find a parking spot - and I don’t even do the driving - and find the seat in which to sink to hibernate for the next hour and half or so. Feeling drained and listless is not an uncommon experience for a lot of people in our hectic world.
No matter how much I have to rush to a concert it does not take much more than 3-5 bars into the music and I perk up! The music starts to permeate my beingness and refreshes my spirit, I feel alive again, and the tiredness is gone!
Just last week we made it barely in time to the Glenn Gould Studio for the season opener of Via Salzburg, my favourite string orchestra under the direction of talented soloist Mayumi Seilern. We slid into our seats and the houselights went down. We were bushed, having had a hard time finding convenient parking.
After a brief speech by the CEO of Via Salzburg the concert started with a vigorously delicious offering (Sonata for Strings No. 6 in D major) by Giochino Rossini (1792-1868). I was revived within minutes and interested in tasting more of this exhilarating fare.
Before the 3rd movement had come to an end I had forgotten all about a difficult day and was eager to listen learn and explore, something that usually happens at the concerts of Via Salzburg.
Another serenade for strings, this time by Josef Suk (1847-1935), with quite a different flavour kept us motivated. This time the emotional impact was romantically ebullient, flirtatious and exuberant with room for thoughtfulness.
After this engaging piece it definitely was time for an intermission, for a glass of wine or a coffee, and/or buying a CD, for listening to some of the music lovers, students and executive types that frequent the Via Salzburg concerts. All were most happy and spoke only in the most complimentary way about the concert. And, there was not a tired face in the house!
Via Salzburg lovers are used to getting a surprise now and then. Mayumi Seilern is always exploring and searching for unusual musical contributions, while pleasing her own varied interests. This time she landed another winner: James Crabb!
Who is James Crabb? If you love accordion music, no, not the polka variety, more the kind you have already heard with Quartetto Gelatti for instance, then you know that I mean classical accordion.
This brilliant master accordion player has performed with a lot of the world’s best orchestras and conductors, and can boast regular cult following. Having him come from Europe to play an extraordinary selection was a culinary delight indeed! We learned all about an Argentinean composer, who dared to part with the traditional ways of creating and interpreting the sacred Tango. When his life was threatened in New York with a gun while being interviewed on radio he decided to move to Paris. He explored whole new ways to express emotions for the "Nuevo Tango", but he also composed other classical music, like a Cello Sonata for Mstislav Rostropovich.
Seeing James Crabb tickle the ivories on his immense classical accordion on the one side, while playing yet another melody on the buttoned other side, is like watching him make love to the instrument. Fast and smooth in movement, deeply emotional in interpretation, his playing of Tangos had the audience in awe and full of admiration.
While all pieces where played with the string orchestra, one tango was played by Mayumi Seilern and him together. He had created all arrangements and this one let Mayumi shine with technical skill rarely required. The speed alone was neck braking.
No wonder then that at the end of the performance there was a lasting standing ovation for Mayumi Seilern’s Chamber Orchestra and her guest artist.
The orchestra has a few outstanding musician (they vary at times) and some of them show extraordinary promise for bigger things. My personal favourites to watch are the young cello player Carina Reeves and the principal viola Richard O’Neill. They have a temperament that is extrovert in style, while fitting in very well with a team of players.
There is still time to come on board for the season. The
next dates are December 9 and 10 with Christmas concerts. In February there
will be a Gala Fundraiser at the downtown Toronto BMW dealership. For more
information on attending or making a deductible contribution call
416-972-9193 or go to
www.viasalzburg@sympatico.ca .
Toronto Symphony Triumphant Season Opener
The Toronto music world had much anticipated Peter Oundjian’s opening season and was not disappointed. The symphony was somehow energized and more enthusiastic than we had seen and heard the players in a while. And while visiting Europeans snobbishly wrinkle their noses at our acoustics (what is wrong with it…nothing that we can perceive or find noteworthy!!) we delight in our newly improved and very aesthetic symphony hall. I love standing in the lobby and look through the vast glass windows onto the various vistas the glass structure allows. The diverse architecture around Roy Thomson Hall is most interesting.
On October 6 the German Consulate sponsored the opening Master Series and gave a reception to celebrate Germany’s National Holiday, which was actually 3 days earlier.
Like
last year it was a pleasant affair with most noteworthy German-Canadians in
attendance and welcomed by Dr. Klaus Rupprecht, our Consul General. He was
ever ready to talk to his guests and we marvel at his ability to shake hands
and make pleasant comments to everyone.
At the reception
We were certainly reminded that his was the 15th anniversary of a falling wall, which makes the German National Holiday a day of unification. Next year is the 15th anniversary of the actual unification.
After freely available delicious German wine and a sumptuous buffet of delicacies most people stayed for a remarkable concert. Ludwig van Beethoven’s Violin Concert in D Major, Op. 61 is an all-time crowd pleaser, but when played by a young and talented musician like James Ehnes we can totally understand what Beethoven means when he says: "Music is the mediator between the spiritual and the sensual life."
James Ehnes has a unique technique, which allows him to be strong and confident even in the high registers as well as tender and lyrical. Highly expressive he delivers an engaging, yet not too romantic version of the violin concert. I found out that older audience members prefer a much more romantic interpretation, while younger members of the audience liked the slightly crisper style of the Ehnes version. I found it different from other ways of presentations, but lacking in nothing that moves the spirit.
Piotr Ilych Tchaikovsky’s Symphony No. 6 in B Minor, Op. 74, also called the "Pathetique", rounded out this magnificent program.
The evening was sponsored by the Canadian-German Festival, and was certainly a most becoming way to promote German culture in this country. The other venues also invited much interest, if not always agreement or admiration among art lovers. Unfortunately we were not able to attend any of them, other then the ones we reported on last time.
However, we went to another TSO concert in the following weeks, this time for the Russian Master pieces. A very young conductor, Yannick Nezet-Seguin, replaced Emmanuel Krivine, who took ill. Already in the opening Russian Easter Festival Overture, Op 36, by Nikolai Rimsky-Korsakov we were convinced by his vigorous style of conducting that the evening would be delightful. After the overture we expected an equally wonderful Violin concerto No. 1 in D Major by Sergei Prokofiev with the TSO’s concertmaster Jaques Israelievitch on solo violin. Somehow this confidence was not to be rewarded. Was it because the piece was not as familiar or that the soloist did not come across as passionate as we expected, there was no standing ovation, even though the technically difficult piece was played with much skill.
Yet Dimitri Shostakovich’s Symphony No. 5 in D Minor, Op. 47 brought the house to its feet. This must have been very rewarding for the orchestra and its guest conductor.
For all the wonderful program choices, if you are not a subscriber yet, go to www.tso.ca and keep up to date with the symphony.
Autumn Splendour
One weekend in October we managed to catch up with one of our favourite tenors, Mark DuBois. In the newly refurbished town hall of his Hockley Valley community he delivered a spirited concert to a busload of older people, who had come out to see him and the still glorious colours of fall.
Mark DuBois
up close and personable
The songs he chose to deliver were thoughtfully chosen for a mature audience, and aimed to please with reminiscences. There was truly something for everyone: Autumn Leaves, You raise me up, the White cliffs of Dover and many other terrific arias and songs, including the Brahms Lullaby sung by his young daughter Elizabeth.
For
laughs he delivered Novello’s "And her mother came too", as well as a
rendition of his famous tenor persiflage, you know, about the one with the
big handkerchief. Well, let it be known that he sounds as good as Pavarotti
to us, and we admit, his handkerchief is truly bigger!
His
special guest star was Kelly Walker, a former Dominican monk. His
inspirational songs and stories were most welcome by the audience, and his
banter with the tenor was funny fare indeed.
Karen Moore accompanied Mr. DuBois for a song or two and received flowers for her efforts, as is customary in the world of music.
After rousing and appreciative applause the audience was treated to lovely country baking and coffee, before everyone got motorized to go home again and appreciate, perhaps for the last time the glorious colours only our Canadian fall can produce.
This quaint venue should be the home of regular intimate recitals ad variety programs.
Until next time
Sybille Forster-Rentmeister
Comments to: sfr@echoworld.com
