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Everything seems to relate to live musicexperiences in one way or another thismonth. I attended all four concerts in thisyear's New Creations Festival and leavingRoy Thomson Hall on the final night followingthe TSO's exuberant performance of theTurangalfla Symphony I carefully avoidedthe party in the north lobby so as to keep thesounds of Messiaen fresh in my ears. Butarriving home it was time to do someWholeNote homework so I popped a newECM New Series CD (ECM 1887) into theplayer and embarked on a voyage with PeterEotvos and the Netherlands Radio ChamberOrchestra in theform of FriedrichCerha 's CelloConcerto withsoloist HeinrichSchiff. Even withthe half-hour long"ear cleaning" bikeride home Messiaenmust have still beenhaunting me because the first time through thepiece I was sure I heard an ondes Martenot inthe mix. Careful repeated listening has convincedme that it is the unusual use of sopranosaxophone and organ in the corps of the orchestrathat was fooling my ears. Other unexpectedtimbres are produced by bongos andcongas playing Papuan rhythms (according tothe liner notes, I wouldn't have known otherwise)and steel pans (not mentioned in thenotes, but surely any culturally astute Torontonianwould recognize that distinctive sound).This dramatic 36-minute full scale work wasexpanded from a movement commissionedback in 1989 by Schiff and the Wien Modemfestival which now serves as the centrepieceof the three movement concerto. The originalmovement, Phantasiestiick in Cs Manier, isa homage of sorts to the l 6th century Frenchprintmaker Jacques Callot, represented hereaccording to the composer in "micro-structuraltransformations" within an otherwise statictexture. The new outer movements howeverare anything but static - at times strident andat others full oflyrical warmth or poignantlonging. Cerha, born in Vienna in 1926, managedto avoid the "schismatic rivalries" of thepost-1950 musical world and this concertoillustrates why he is Austria's most celebratedliving composer. It is a work grounded in thegrand concerto tradition, a virtuosic showpiecefor the cellist, but thoroughly modern in its ownright and not at all anachronistic. I mentionedCerha's use of soprano sax. The first time Iwas aware of a saxophone in a classical pieceof music was Kabalevsky's second cello concertoin the middle of which it took me a moment(or three) to realize that the dramaticcello line had just been passed to a saxophone.It was an epiphany of sorts to hear this quin-@r~u@~: recordings reviewedEDITOR'S CORNER: May2008tessential jazz instrument in a classical context.I see that one of Cerha 's most recent compositionsis the 2004 Concerto for Soprano Saxophoneand Orchestra. I hope to have the opportunityto hear that some day soon (perhapsat a future TSO New Creations Festival?).The Cello Concerto is paired with a work bySchoenberg's contemporary Franz Schreker:the 1916 Chamber Symphony in One Movement.This forward-looking work does notseem at all out of place here and together theSchreker and Cerha serve as bookends for asnapshot of Vienna which spans the 20th century.In January I had the pleasure of attending aMusic Toronto concert by the Ying Quartet.Their Haydn and Ravel were every bit as goodas you would hope, but what made this concertunique was the inclusion of several selectionsof musical Dim Sum. This is the nickname thequartet of siblings has given to their project toseek out and commission works by composerswho share their Chinese-American heritage. Inthe words of the quartet "At times we haveselected single movement works and at otherswe have selected parts of larger works that wefeel are able to stand alone. This enables theOAvaiG FUGORl Q nlistener to sample atempting variety ofmusic by ChineseAmerican composersin the same waythat the style ofeating dim sumoffers a table ofsteaming, bite-sizedmorsels." On theoccasion of the Music Toronto recital we weretreated to works by Chou Wen-chung, LeiLiang and Vivian Fung (actually a ChineseCanadian-American). On this new Teldecrecording (CD-80690) these are complementedby works by Zhou Long, Chen Yi (incidentallya featured composer on a previous NewCreations Festival), Bright Sheng, Ge Gon-ruand Tan Dun (who will be featured at nextyear's New Creations Festival - is there atheme here?).The final disc I'd like to mention relates to alive performance I attended last fall at thePropeller Gallery. Last month's voyage withJohn Gzowski and Ganesh Anandan 's ShrutiProject reminded me of the home-made instrumentaldisc that came my way several monthslable atl' Ateli er Grigonan , 1 , 1 • 1 SODE(For locations go to $ SELECT ~ ( anada Quebec ~~WWW gr19or1a n comM AY 1 - J UNE 7 2008WWW, TH EWHOLENOTE. COM 59
