Tuesday’s lunchtime recital at the Four Seasons Centre was given by soprano Sara Schabas and pianist Isabelle David backed up by some (mercifully concise) musicological/historical background from Robin Elliott. The concert was in two parts. The first celebrated the work of Austrian-Jewish composers active in Vienna in the first third of the 20th century. The second was a song cycle in Yiddish celebrating the Jewish immigrant experience in New York.
The second concert in the OPUS IV series, which took place on Tuesday evening at the Arts and Letters Club, had a similar structure to Sunday evening. The concert was anchored around a major, well known, work. In this case Beethoven’s Kreutzer Sonata with the rest of the programme featuring less familiar material. It was given by the same five instrumentalists as Sunday; Stella Chen and Isabella Perron – violins, Matthew Lipman – viola, Brannon Cho – cello and Kevin Ahfat – piano.
Not so long ago if one wanted to do interesting electronic music things one needed a studio full of enormously expensive equipment, access to which was likely restricted to a fortunate few. Now with a few relatively inexpensive mikes, a laptop and some speakers one can create all kinds of cool stuff and perform it in almost any venue. The recording ‘m going to talk about here was made a few years ago but it’s good and pretty typical of what I’m talking about.
Stella Chen
Last night at Trinity St.Paul’s we got the first of two concerts in the fourth iteration of the OPUS Chamber Music series. Music director and pianist Kevin Ahfat had arranged an impressive group of young string players to join him in a varied and enjoyable programme.
From the United States we had violinist Stella Chen; a Queen Elisabeth Prize winner and Gramophone Young Artist of the Year, and up and coming violist Matthew Lipman. There was Berlin based cellist Brannon Cho. The local talent consisted of and violinist Isabella Perron, as well, of course as Kevin himself.
First up were Ahfat and Lipman with Rebecca Clarke’s Sonata for Viola and Piano of 1919. It’s quite a substantial piece with more than a hint of Debussy, especially in the piano part. The first movement is marked “Impetuoso” but it’s nothing like as frenetic as the second movement; “Vivace”, which is really densely scored. There’s a lovely, lyrical and expressive concluding “Adagio” which culminates in a very involved final section in high romantic style. Some gorgeous playing and great communication between the musicians here. Continue reading
Problematica is an upcoming solo CD with some interesting twists from Canadian cellist+ India Gailey. I can’t call it a solo cello CD because Gailey contributes vocals as well as some truly virtuosic cello playing and there’s lots of electronics and electronic processing involved. There are also some unusual presentation options. There are seven works by younger Canadian composers on the disk and recording engineer John DS Adams of Stonehouse Sound makes a major contribution.
L’Étoile du Nord is an 1854 opera written by Meyerbeer for the Opéra-Comique. It follows on from a series of successful grand operas for L’Opéra de Paris. To some extent it’s an attempt to create something lighter than the early works but the composer doesn’t quite seem able to let go and the work combines comic and serious elements in a way I cannot describe as successful. Format wise it’s pretty much an opéra-comique with no ballet (though some folk/social dancing) and spoken dialogue. Continue reading
I’m guessing that most people are at least somewhat familiar with Berthold Brecht and Kurt Weill’s Die Dreigroschenoper which exists in several English translations including, sadly, the most commonly encountered one; the heavily bowdlerised version used on Broadway, which is source of the awful version of “Mac the Knife” inflicted on an unsuspecting world by sundry crooners. There’s now a very interesting French version which has been recorded for CD
Michael Hersch is a very distinct musical voice. His subject matter tends to be disturbing and his musical style is abrasive. One of his most recent works is the one act opera Poppaea which is based on the life of historical Poppaea after the point at which the Monteverdi opera leaves off. Strictly, it’s not set in Nero’s Rome but rather in a time and place inspired by it. The very effective libretto by Stephanie Fleischmann includes a distinctly non-classical take on space and time. It’s an exploration of overweaning ambition and where it leads which is about as relevant to today’s world as any theme could be.
Unremembered is a cycle of thirteen songs by Sarah Kirkland Snider to poems by Nathaniel Bellows about his childhood in rural Massachusetts. But this is the darker side of childhood. There are ghosts, witches and houseguests freezing to death. It’s not Anne of Green Gables with baked beans!
It’s scored for voices, chamber orchestra and electronics and is pretty eclectic. The voices are Padma Newsome, DM Stith and Shara Worden and none of them perform in a “classical” vocal style. The band is the Unremembered Orchestra, which includes members of ACME, Alarm Will Sound, ICE, The Knights and So Percussion and is conducted by Edwin Outwater of the late lamented Kitchener-Waterloo Symphony.
Ecstatic Science is the fourth album from New York sextet yMusic. They are a young group of really excellent instrumentalists noted for their collaborations with composers who defy easy classification. There is plenty for a composer to work with in terms of palette. The group consists of Alex Sopp – flute, Mark Dover – clarinet, CJ Camerieri – trumpet and horn, Rob Moose – violin and guitar, Nadia Sirota – viola and Gabriel Cabezas – cello. The music on the record is all by young(ish) American composers noted for their eclectic styles. So everybody involved is a first rate classically trained musician who isn’t afraid to go to non-traditional places. Continue reading
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