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Volume 20 Issue 1 - September 2014

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Beat by Beat | Classical

Beat by Beat | Classical & BeyondConversationswith VivaldiPAUL ENNIS“You know, my piece doesn’t erase the Vivaldi original.It’s a conversation from a viewpoint. I think this isjust one way to engage with it.” – Max RichterThe opening notes seem to emanate from otherworldly ether,tentatively falling into the familiarnotes that begin The Four Seasons,but there’s something quite differentthat’s engaging us. In a November 2012interview with NPR’s Audie Cornish,German-born, British composer MaxRichter elaborated on the openingbars of his recomposition: “I tookthe opening motif, which I alwaysthought was a dazzling moment inthe Vivaldi, but in the original it’s onlyfour bars. I thought, ‘Well, why don’tI just treat this like a loop, like somethingyou might hear in dance music,and just loop it and intensify it, and cutand paste – jump-cut around in thattexture, but keep that groove going.’”The essence of the music that wasonce the most recorded piece in the classical music catalogue is therebut it’s got a contemporary feel, definitely not staid, bursting withenergy, but not the heightened propulsion of Il Giardino Armonico,for example. In fact the clarity of violinist Daniel Hope’s crystallineplaying is inviting.The synth effects are so subtle they’re barely discernible but theirpresence is palpably modern, sleek and beguiling. The combinationof the bones of Vivaldi’s original and the cloak Richter has wrapped itin make for a 21st-century experience that is pleasingly addictive, thekind of piece you put on repeat and listen to over and over and over. Itnever feels like it’s too much, its novelty easily trumped by its freshness,its mysteries slowly revealing themselves after five, six hearings.Less than two weeks before he was to perform Richter’s FourSeasons Recomposed at the Ravinia Festival in Chicago, the acclaimedBritish violinist Daniel Hope participated in a live YouTube chat onJune 10, 2013. (In addition to a versatilesolo career, Hope was a memberof the distinguished Beaux Arts Triofrom 2002-2008.) Now more thana year later, in anticipation of theSeptember 30 Toronto premiere of theRichter work, I’m watching the genuinelyengaging Hope patiently answerquestions.“The fact that Max Richter waswilling to recompose The Four Seasonswas incredibly brave and I think he’sdone a fantastic job,” he begins. “Iwas contacted by [him] about oneto one and a half years ago and toldabout wanting to recompose The FourSeasons,” he continues. “The first thingI said was ‘What’s wrong with theMax RichterOur spectacular2014-2015 cOncert seasOnseasOn subscriptiOnsOn sale nOw!Save 35% or more with ourpopular 6-concert packageOrder online today at spo.caor email spo@spo.ca torequest a copy of our FREEseason brochurescarboroughphilharmonicOrchestra@spOGreatMusicHalloween trick or treatSaturday November 1, 2014Festive Music for theHoliday seasonSaturday November 30, 2014Music from France, canada,south asia & More!Saturday January 17, 2015a canadian panoramafor windsSaturday March 20, 2015an italian FestivalSaturday March 28, 2015Masterworks of beethovenand brahmsSaturday March 20, 2015an Ontario government agencyun organisme du gouvernement de l’Ontario20 | September 1, 2014 – October 7, 2014 thewholenote.com

Donizetti’s Don Pasquale, U of t opera, november 20132014.2015season highlightsEarly Musicsuzie leBlanc & Daniel Taylor perform Handel’s Love DuetschaMBEr Musiccecilia string Quartet, New Orford string Quartet,Gryphon Trio, NEXus, atar arad, russell Braun,st. lawrence string Quartet & Monica WhicherWOrkshOp/MasTEr class/lEcTurEBarbara hannigan, hans abrahamsen,paul Griffiths, Ben heppner, catherine Wyn-rogers,Johannes Debus & richard BellisJazzJerry Bergonzi, Dave liebman & ralph alessiOpEraHMS Pinafore & Postcard from MoroccoNEW Music FEsTivalExchange concerts featuring guest composers/musiciansfrom chengdu, Guizhou, Beijing & hong kongDownloaD oUr 2014-15 season brochUre at WWW.Music.uTOrONTO.cato orDer tickets, call the rcm box office at the telUs centre at 416-408-0208The Faculty of Music gratefully acknowledges the generous support of our presenting sponsorswww.music.utoronto.cathewholenote.com September 1, 2014 – October 7, 2014 | 21

Volumes 21-25 (2015-2020)

Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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