L’Histoire du Soldat

Most music lovers have probably heard the music from Stravinsky’s L’Histoire du Soldat in either orchestral or chamber arrangement but it’s rare for the work to be given in its full staged form but that’s how it was presented (more or less) last night at Koerner Hall by the Toronto Summer Music Festival in association with LooseTEA Music Theatre.  That form includes a narrator, an actor (originally three actors, nowadays usually just a single actor/narrator) and dancer.  Plus, of course, the band; violin and bass, clarinet and bassoon, cornet and trombone, piano.

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Afghanistan: Requiem for a Generation

Last night’s TSO program started off with a sort of Remembrance Day pot pourri; pipes, bugles, a bit of poetry, an excerpt of Vaughan Williams in between and finally a rather beautiful account of The Lark Ascending with Jonathan Crow playing the solo from high up in the Gallery.  Once upon a time the TSO would do Remembrance Day by performing an appropriate work or works, Britten’s War Requiem for example.  I think that might actually be a more effective way of remembering.

Jonathan Crow_The Lark Ascending (@Jag Gundu)

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A German Requiem

It was an unusual double bill at the TSO last night; the premiere of Alexina Louie’s Triple Violin Concerto and Brahms’ A German Requiem.  The concerto is an interesting piece.  It’s got a layered, shimmery quality that sounds quite modern without going off into territory that would frighten the punters.  It also makes excellent use of the three virtuoso soloists for whom it was written; Jonathon Crow, Yosuke Kawasaki and Andrew Wan; concertmasters respectively of the the TSO, the NAC Orchestra and l’Orchestre Symphonique de Montréal.  It clever plays the combinations of having soloist dialogue with soloist and soloists dialoguing individually and collectively with the orchestra.  Very enjoyable.

Jonathan Crow, Yosuke Kawasaki, Andrew Wan, Peter Oundjian (@Jag Gundu)

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Decades – the 1930s

The TSO’s Decades project has now reached the 1930s; very much home ground for me musically.  Last night’s program explored different aspects of the music making of the period, including serialism, in a varied show of why this is not “music to be scared of”.  It was also Sir Andrew Davis’ first appearance in his role of interim music director and supreme leader for life of the TSO.

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A rather odd night at the symphony

BoulezI went to see the TSO last night because there was a Boulez piece programmed that I wanted to hear.  It was a rather odd evening.  It kicked off with Morawetz’ Carnival Overture Op.2.  This was I suppose the designated Canadiana.  It’s a roughly five minute piece that sounds like the Brahms of the Academic Festival Overture crossed with Dvořák.  Too much brass and cymbals for my taste.  Then came about ten minutes of faffing about reorganising the stage for the Boulez followed by Peter Oundjian coming out and making one of those cringingly apologetic speeches for programming something “difficult”.  I hate this.  If an orchestra, opera house or chamber ensemble is going to program atonal, serialist or what you will music (and they should) by all means explain how it works in a program note but don’t patronise the audience and, above all, don’t apologise.  If it needs an apology why are you programming it?

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Toronto Summer Music Festival 2017

The line up for this year’s Toronto Summer Music Festival, the first with Jonathan Crow as Artistic Director has been announced.  It’s the usual mix of orchestral, chamber, piano and small scale vocal music for the most part.  This being the sesquicentennial year it’s heavy on CanCon and, as in previous years, there are academy programs for both singers and instrumentalists.

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Almost the Last Night of the Proms

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Yes, those flags are stuck to my head

Last night’s Toronto Summer Music Festival concert, continuing the the me of “London Calling” was titled (Almost) the Last Night of the Proms and was a sort of recreation of that weird fusion of music and retro imperialism that hits the Albert Hall once per year.  I went because I was curious.  Toronto is no longer terribly British and it’s also notoriously buttoned down.  Koerner Hall is a 1200 seat concert hall with no promenade space.  The concert wasn’t the celebratory conclusion of eight weeks of promenading.  Could it remotely match the atmosphere of the Last Night and, if not, would there be musical merit enough to make it worthwhile?  The answer, sadly, is not really though some people did try.

 

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