7 years ago

Volume 22 Issue 2 - October 2016

  • Text
  • October
  • Toronto
  • Choir
  • Jazz
  • Orchestra
  • Symphony
  • Concerts
  • Arts
  • November
  • Musical
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!

During that period he

During that period he was also principal conductor of the Belgian National Orchestra (1968-1973) and principal conductor of the Dutch Opera in Amsterdam (1973-76). He was first guest conductor of the BBC Symphony (1978-1981) and from 1980 to 1986 he was music director of the Cincinnati Symphony. Later he was principal conductor of the SWF Orchestra in Baden-Baden (1986-1999). He was professor of conducting in Salzburg from 1987 to 1995. He conducted his last concert with the NDR Orchestra in 2014. Normally the above brief outline of his career would not belong here but as many casual music lovers and collectors are unfamiliar with Gielen, his recorded performances, even if they were noticed, could very possibly be passed by without a second thought. SWR Music has issued the first of a ten-part series of Gielen performances, Michael Gielen Edition Vol.1 1967-2010 (SWR19007CD, 6 CDs), a good percentage of which are first releases. There are two pieces by Bach, the Prelude and Fugue Book 1 No.4 BWV849 and an excerpt from Cantata BWV50, followed by Mozart: Symphonies 30, 35 and 36, German Dances, Overtures and Minuets. Haydn’s Symphonies 95, 99 and 104, then Beethoven’s three Leonore Overtures and Coriolan followed by the Triple Concerto with Edith Peinemann, Antonio Janigro and Jörg Demus. Schubert is well represented by music from Rosamunde; the Overture, Ballet Music and the Entr’acte after the third act; Mahler’s transcription for string orchestra of the quartet Death and the Maiden; Intende voci – Offertorium for tenor, mixed chorus, organ and orchestra D963 sung by Thomas Moser, the Slovak Philharmonic Choir of Bratislava and the SWR Symphony of Baden-Baden and Freiburg followed by the Mass No.5 in A Major D678. Usually, in any collection of this kind some performances are less interesting – they have to be. Not so here. Every performance is quietly engaging in tempi, choice of phrasing and subtle variations in volume – not for the sake of doing something differently from accepted practices but because it sounds exactly right, prompting one in each case to hang on to the work with fresh interest. These are performances that invite the listener in and hold her or his interest through to the last note, especially if that person is familiar with other versions. The sound is very good; only one or two pieces have that tight rundfunk studio sound to which the ear quickly adjusts. The Gielen Edition is off to an auspicious start. Talk about great expectations! The American pianist Julius Katchen was signed to English Decca in 1946, just ahead of the LP revolution. As Decca had the very finest engineers behind them in England and elsewhere, they were in the forefront of the trend, getting superior quality discs into the stores with EMI years behind. In the early years of the LP, it seemed that every new Decca release schedule featured Julius Katchen, who it seems could play anything with impeccable authority. Katchen was born on August 15, 1926, in Long Beach, California. His grandmother, formerly on the faculty of the Warsaw Conservatory, was his first piano teacher and his grandfather taught him theory. His mother was also a concert pianist. In 1937, Eugene Ormandy engaged the 11-year-old to play the Mozart D Minor Concerto on October 21, 1937 with the Philadelphia Orchestra, and a month later he performed with the New York Philharmonic- Symphony. Critic Lawrence Gilman wrote: “His fingers are fleet, his conceptions clear and intelligent. He has a musicianly feeling for the contour and flow and rhythm of a phrase and a sense of what is meant by Mozartean style.” He continued his scholastic studies majoring in philosophy and English literature. 1946 found him the toast of Europe in Paris, where inexplicably he was more popular than in his own country. That’s when he signed with Decca. He played the entire piano works of Brahms in recitals and that composer was the backbone of his recorded repertoire: concertos, chamber music and solo piano. His artistry was unique including Bartók (no Bach), Beethoven, Britten, Chopin, Gershwin, Grieg, Liszt, Mozart, Mussorgsky, Prokofiev and Rachmaninoff, Ravel, Saint-Saëns, Schubert, Schumann and Tchaikovsky. He died on May 29, 1969, in Paris. Julius Katchen, The Complete Decca Recordings (4839356, 35 CDs) contains 69 (or more, depending on how you count) performances, every note that he recorded including the 78 rpm discs and an unissued item, Franck’s Prélude, choral et fugue from April 21, 1949. These recordings are clear evidence of his artistry and insights beyond mere technique, documented at the peak of his career. One can only contemplate upon what might have developed in his later years. Assisting artists include conductors: Karl Münchinger, Peter Maag, Piero Gamba, Ataúlfo Argenta, István Kertész, Pierre Monteux, János Ferencsik, Georg Solti, Adrian Boult, Anatole Fistoulari, Ernest Ansermet, Mantovani, Skitch Henderson and Benjamin Britten; pianists Jean-Pierre Marty and Gary Graffmann; violinists Ruggiero Ricci and Josef Suk; clarinetist Thea King; cellist János Starker; and actress Beatrice Lillie. NEW TAFELMUSIK RELEASE BEETHOVEN SYMPHONY NO. 9 Directed by Bruno Weil "Every so often, you come across a performance that renders you powerless to resist, that sweeps you away with it, that reminds you of why you fell in love with music in the first place." –The Globe and Mail Available in stores and at 72 | October 1, 2016 - November 7, 2016

A CELEBRATION OF CANADA’S EMERGING OPERA VOICES THURSDAY, NOVEMBER 3, 2016 5:30 p.m. Cocktails 6:30 p.m. Competition Hosted by Ben Heppner With the COC Orchestra conducted by Johannes Debus, COC Music Director Join us for an elegant evening featuring the Ensemble Studio Competition Tickets at or 416-363-5801 #COCCentreStage PLATINUM SUPPORTERS OPERA UNDER 30 SPONSOR CREATIVE PARTNER

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