Late works by Kaija Saariaho on CD

There are three late works by Kaija Saariaho on the disk.  Indeed I think the orchestration of the Saarikoski Songs is pretty much the last  music she wrote. Those songs are settings of rather depressing texts about environmental destruction by Finnish poet Pentti Saarikoski and were written originally for voice and piano between 2013 and 2020; an orchestral version being created in 2020/1.  There are five songs.  “LLuonnon kasvot” (The Face of Nature) is the story of the destruction of ancient forests told by the voices of extinct birds.  There’s a lot of high vocalise; almost screaming with quite dramatic orchestration.  “Jokaisella on tämänsä” (Everyone will have their own this) depicts a society where everyone holds to their own truth.  It’s dramatic, high and, again, almost screaming against shimmering orchestration.  “Kaikki tämä” (All of this) – is a brooding and much more lyrical piece offering some hope amid environmental destruction.  “Lintu ja käärme” (Snake and bird) is pretty weird with declamatory vocals over an orchestra hammering on A.  “Sumun läpi” (Through the Mist) has interstitial time petrifying into mountains of mist.  There’s a long brooding orchestral introduction prefacing a lyrical vocal line.  The last two songs were composed during COVID and seem to reflect the spirit of the times.  The performance is by Anu Komsi (soprano) with the BBC Symphony Orchestra conducted by Sakari Aramo and it’s a live recording.

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The Happenstancers – Die Nacht/Der Mond

The Happenstancers; this time consisting of Brad Cherwin – clarinets, Peter Eom – cello, and Joonghun Cho – piano, performed at Arrayspace on Saturday night.  The programme, entitled Die Nacht/Der Mond, was built around two of that relatively rare species; the clarinet trio, with various pieces by contemporary composers rounding out the line up.

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The Happenstancers at 21C

Regular readers will be familiar with the Happenstancers.  They are a shifting group of young musicians convened by Brad Cherwin who have been presenting innovative chamber music concerts in an assortment of venues for a few years now.  Last year Brad was selected to curate a concert for Soundstreams at the Jane Mallett Theatre which was very like a Happenstancers concert in many ways with the advantage of exposing the approach to a wider audience.  On Friday night they were back under their own flag at Temerty Theatre as part of the 21C festival.  Which is a long winded way of saying this is a very happening and innovative group who are emerging as a significant player in the Toronto chamber music scene.

Friday’s concert, as you would expect, consisted mostly of 21st century music but in line withe theme of “exploring the space between two people” and in typical Happenstancers’ style there was music from the Renaissace plus Schoenberg’s Verklärte Nacht.  The ensemble consisted of sopranos Danika Lorèn and Reilly Nelson, Julia Mirzoev, Russell iceberg and Christopher Whitley on violin, Hezekkiah Leung and Hee-See Yoon on viola, Peter Eom on cello and Brad Cherwin on clarinets with constantly changing combos across the evening. Continue reading

Where Her Music Blooms

Wednesday’s concert in the RBA was a challenging programme of song by contemporary women composers presented by soprano Ariane Cossette and pianist Brian Cho.  Kaija Saariaho’s Quatre instants sets four related poems by Amin Maalouf.  In some ways it’s in the same sort of psychological space as their L’amour de loin; love at a distance, love requited and unrequited, love sensual and quasi-spiritual, but musically it’s very different.  It’s much more abrasive and (mostly) less lyrical.  Sometimes its really busy and quite angry.  It’s also very, very complex and often quite loud, demanding great skill and stamina from both performers.  The piano part features loads of trills and arpeggiation and the vocal line has awkward intervals and even screaming.  It was handled really well.

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A most unusual cello recital

Anyone familiar with the work of cellist Peter Eom, who performed on Wednesday in the RBA, would not have been expecting a collection of Bach and Britten pieces.  They might have been surprised though by the floor layout, which featured six “cello stations”.  Peter’s introduction stated that his recital was titled Primordial because he wanted to suggest rituals, dreams and surrealism and he wanted us to take the recital on whatever terms we, or our subconsciousnesses, chose but to experience it as a single whole played end to end.

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Broken from the Happenstancers

The Happenstancers latest gig; Broken, played on Friday evening at Redeemer Lutheran. Getting back to their core mission, this concert explored the relationships between baroque music and contemporary repertoire and the plusses and minusses of combining music, instruments and techniques from both.  So, interspersed between sonatas by Johann Rosenmüller; originally scored for strings and continuo but played here by various combinations of oboe/cor anglais, regular and bass clarinet, strings and accordion, we got contemporary pieces.

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Saariaho – complete music for piano and harpsichord

Kaija Saariaho wrote surprisingly little music for solo piano or harpsichord.  Over her 40+ year composing career it amounts to a little under an hour of music and it has now been recorded by Tuija Hakkila who had an association with the composer dating back to 1982.  The disk, Touches, contains eight pieces.  Five are actually for solo piano with one piece for piano and cello (Anssi Karttunen) and two for harpsichord and electronics.

Most of the solo piano music is quite meditative though with a rhythmic flexibility that kind of comes and goes.  It’s complex but not in your face.  Arabesques et adages though is a bit different.  It was composed as a set piece for a piano competition and so, as you would expect, it’s got lots of technical challenges.  It’s fast and complex and louder than much of the other music. Continue reading

Three Islands

Three Islands is a UoT Opera show that opened at the Sandra Faire and Ivan Fecan Theatre at York University on Thursday night.  The show is conceived and directed by Tim Albery who has wrapped two 20th century English language one act operas in a wrapper crafted from Kaija Saariaho’s Tempest Songbook.

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Ariel’s Hail from Tempest Songbook (Saariaho): Prospero – Ben Wallace, Ariel – Aemilia Moser

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Being Pascal Dusapin

dusapin1Saturday evening, at Redeemer Lutheran, the Happenstancers offered up a palindromic tribute to Pascal Dusapin.  As it was a palindrome I shall review it from the middle outwards.  Let us take the interval as t=0.  Then at t=+/-1 we heard Two Walkings from singers Danika Lorèn and Hilary Jean Young.  Two songs; “How Many Little Wings” and “Kiss My Lips She Did” came before the break and the rest; “May June”, “A Scene in Singing” and “It Seems To Be Turning Music” after.  And, of course the singers swapped positions at the break!  This is extremely interesting but fiendishly difficult music with the unaccompanied singers trading snatches of phrases and half thoughts in a complex atonal musical language.  I’m actually in awe that anybody can actually perform a work like this but they did, and very well.

At t=+/-2 we got works for clarinet (Brad Cherwin of course), cello (Peter Eom) and singer.  At t=-2 it was Danika with the evocative Canto and at t=+2 an equally effective account of Now the Fields from Hilary.  It’s always interesting to hear art song with something other than piano especially when the works are as complex and challenging as these. Continue reading

Late June

danikalA couple more things coming up this month.

  • June 17th/18th/19th Toronto Operetta Theatre are presenting Oscar Straus’ A Waltz Dream at the St. Lawrence Centre for the Arts.
  • June 19th at 4.30pm Opera Revue have a Father’s day show at the Emmett Ray.
  • June 24th the Happenstancers have a concert at 918 Bathurst.  It’s Pierrot themed with Danika Loren singing the obvious Schoenberg work plus moon themed music by Saariaho, Sokolovic and the Saskatchewan Songbird herself.  One not to miss IMHO
  • June 25th at Crow’s theatre Soundstreams are presenting Noam Bierstone and guests in Percussion Theatre. It’s described as “a curated concert experience exploring the concept of instrumental theatre: the music doesn’t just accompany an action, the music is the action”