Beethoven and Shostakovich

Wednesday’s lunchtime concert at Heliconian Hall; part of Toronto Summer Music, featured two pieces of chamber music by Beethoven and Shostakovich. The first was the third movement of Beethoven’s String Quartet No. 15 in A minor, Op.132. It was played by Justin Saulnier, Ashley Tsai, Bill Ko and Claire Park. It’s an unusual movement, especially taken out of context. It intersperses intricate, very slow passages where phrases are passed between the players without too much in the way of obvious clues for where the music is going. It’s profound and quite ethereal. These sections arr interwoven with livelier sections where the “cues” are more obvious. I would think it’s difficult to get just right at the best of times and for what amounts to a “scratch” quartet to handle it as well as they did is admirable. It feels like the sort of music that one needs to play with the same colleagues for twenty years! Incidentally, the same team is playing all four movements of this work tomorrow at noon.

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Lieder Nachmittag

Thursday’s RBA concert featured members of the Ensemble Studio singing German Lieder.  First up were tenor Angelo Moretti and pianist Kimly Wang with Beethoven’s An die ferne Geliebte.  Although this is probably the first true “song cycle” in German I feel it doesn’t get done nearly as often as the better known Schubert and Schumann cycles and it’s really pretty interesting.  I think it was also my first time hearing Angelo sing in German and he’s really very good.  This was a well articulated, rather beautifully sung set with equally skilled accompaniment. Continue reading

Marcel d’Entremont in recital

To Walter Hall on Saturday evening to hear a recital by tenor Marcel d’Entremont.  I was intrigued by the programme; English song; art and otherwise, with the resources of a piano quintet for accompaniment.  It’s quite rare for an art song recital to have more than just piano accompaniment so this looked promising.  I wasn’t disappointed.

Proceedings began with three of Beethoven’s Irish Songs scored for voice and string trio (Here Aaron Schwebel – violin, Rory McLeod – viola and  Guillaume Artus – cello).  I wasn’t familiar with these songs and they are really rather jolly and were nicely done.  Two Irish ballads of the sort that people mistake (sometimes) for “traditional” (but no Tom Lehrer) followed.  Marcel has the style down pat (or Pat) for these.  Think all those best selling recordings of Irish tenors from the 78 era. Continue reading

The First Viennese School

Wednesday’s recital in the RBA was given by UoT Opera.  It consisted of a series of arias/scenes drawn from the operas of Mozart, Haydn and Beethoven creatively staged by Mabel Wonnacott.  It was lively and a lot of fun and the vocal standard was very high, especially for so early in the academic year.

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Another nostalgic re-release

Following on from the du Pré cello concerto recordings I was also fortunate enough to get my hands on another Warner Classics remaster of old EMI recordings.  This one consists of the Barenboim/Klemperer recordings of the five Beethoven piano concertos and the Choral Fantasia recorded with the New Philharmonia Orchestra and the John Allis Choir back in 1967.  I used to own these on vinyl decades ago.  Now they are available as a three SACD set.

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A Fidelio in two halves

I have long been of the opinion that Beethoven’s Fidelio is structurally flawed.  The first and second acts are so different intone and dramatic intensity that it never seems quite to hang together.  Tobias Kratzer obviously shares this view but being smarter than me finds a way to leverage it.  For his production at the Royal Opera House in 2020 he takes the two acts and effectively makes the second a commentary on the first.  It’s worth quoting his own words:

Like no other opera, Beethoven’s Fidelio falls into two unequal halves.  Act I is a historical melodrama on freedom and love in the post-Revolutionary era.  Act II is a political essay on the responsibility of the individual in the face of the silent majority, a musical plea for active empathy.

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OPUS IV part2

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.

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High musical values in the COC’s Fidelio

The COC opened its 2023/24 season on Friday night with Matthew Ozawa’s production of Beethoven’s 1805 attack on corruption and tyranny; Fidelio.  Ozawa gives it a contemporary American setting with all the action playing out on a sort of multi-level rotating cage.  It’s pretty effective and efficient in allowing scenes to succeed each other quite seamlessly.

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Isidore Quartet

TSM Wednesday night in Walter Hall featured the Isidore Quartet (Adrian Steele and Phoenix Avalon – violins, Devin Moore – viola and Joshua McClendon – cello).  The first half of the programme featured two new works plus the first four fugues from Bach’s Art of the Fugue.

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