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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Confluence’s Centuries of Souls II

On Friday evening at Heliconian Hall Confluence Concerts presented a concert entitled Centuries of Souls II.  It was built around two longish works; Tomás Luis de Victoria’s Missa Gaudeamus and Eugène Ysaÿe’s Sonata for solo violin op.27 no.2.  The individual movements/sections of these two pieces were interleaved along with a couple of Indian mantras, some plainchant, some lute pieces and the Stravinsky Pater noster to make a pretty coherent programme with its roots in various traditions of chant. Continue reading

Celebrating Kurt Weill

Saturday night Confluence presented a concert curated by Patricia O’Callaghan of a selection of works by Kurt Weill.  Now I have.a bit of a love/hate relationship with Weill which will likely colour this review.  Broadly speaking I love his earlier work, especially the collaborations with Brecht, but I’m just not into the Broadway stuff at all with a few exceptions such as Street Scene which has at least a bit of an edge.  I also thoroughly dislike some of the American translations of the Brecht pieces that do all they can to take the edge off. Continue reading

Schmaltz and Pepper CD launch

It’s quite a story really.  Schmaltz and Pepper started life in November 2023 and played their first gig exactly a year ago.  They have become, dare I say it, a bit of a cult and their first CD is now on the street in CD and vinyl (really!?!) format with digital to come.  My review of the CD is here.

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Sighs Too Deep For Words

Friday evening at Heliconian Hall saw the second of two performances of Confluence Concerts’ Sighs Too Deep For Words: A Canadian Valentine.  It was an all Canadian concert featuring songs and spoken word including two world premieres and a performance of Omar Daniel’s 2005 piece Neruda Canzones.

The spoken word pieces, read beautifully by Alison Beckwith, ranged from Lucy Maud Montgomery to Margaret Atwood.  Some pieces straightforwardly celebrated romantic love and others came at it a bit sideways!  Songs by Canadian composers were well represented With Derek Holman, Jeffrey Ryan and John Beckwith all represented.  Anaïs Kelsey-Verdecchia performed (with Christopher Bagan) her own setting of “The Lark in the Clear Air” and Patricia O’Callaghan gave us her setting of “Some by Fire” with Chris again at the pianio, Andrew Downing on bass and a backing group.  So many styles!  No-one could say that Canadian music is samey or boring. Continue reading

For a’ that

There can be few poets whose work resonates as widely as that of the Ayrshire ploughboy and philanderer Robert Burns.  His influence has been felt from Bengal to Massachusetts and beyond.  Celebrating that influence was the the point of Confluence Concerts’ Robert Burns – A Passion for Freedom curated by Alison Mackay which played at Heliconian Hall on Friday and Saturday evenings.

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Amor con Fortuna

Tuesday evening the Diapente Renaissance Vocal Quintet gave a concert at Heliconian Hall of 16th century music from Spain (so music in the reign of Philip II for any Braudel fans out there).  It was surprisingly varied.  This was the age of the Italian madrigal so tha’s a big influence but with a definite Spanish twist.  Quite a few different composers and two principal genre; the villancico (which lives on in modern Christmas carols) and the ensalada; which is generally about catastrophe (brought about by sin of course) where everything turns out OK because the Virgin Mary shows up.  A lot of the music was unaccompanied but some pieces were accompanied by either guitar or vihuela (a kind of lute).  It was pretty varied with some pieces having significant solos for one or more singers, some having quite complex polyphony and others more strophic, almost folk song like, structures.  Plenty enough variety to sustain about 80 minutes of music.

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Sing to Me Again

Apocryphonia has been around for three years or so but Sunday evening at Heliconian Hall was the first time I managed to catch one of their concerts.  I like that they don’t do mainstream repertory, rather seeking out much less well known works, and Sunday was no exception.  It was actually a collaboration with Syrinx Concerts and the show was in two parts.  The first part featured baritone John Holland and tenor Alexander Cappellazzo with pianist Ivan Estey Jovanovic performing 20th century songs mostly from Eastern Europe and the Caucasus while the second featured works from the same area arranged for oboe (Caitlin Broms-Jacob) and piano (Madeline Hildebrand).  I say “mostly” because each half included a piece by Toronto’s Srul Irving Glick.

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