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Volume 7 Issue 3 - November 2001

  • Text
  • Toronto
  • November
  • Jazz
  • Theatre
  • December
  • Symphony
  • Arts
  • Quartet
  • Wholenote
  • Glenn

The transcriptions are

The transcriptions are taken from cantatas and organ chorale preludes, the only exception being a lovely rendering of the Siciliano from Bach's Flute Sonata in E flat made by Wilhelm Kempff, a master pianist known for lyricism and spirituality rather than virtuosic bravura. His style sets the tone for this album. Hewitt's elegant phrasing, clear voicing and passionate articulation reveal why she is considered one of today's leading interpreters of Bach on the piano. Qne of the most sublime works here arranged is the soprano aria Die Seele ruht in Jesu Hiinden from Cantata No.127. Unfortunately, what is luxuriously ravishing in the original, the intertwining.of the soprano voice with the oboe obbligato in the same register, becomes sentimental and ineffective in Harold Bauer's transcription. In her delightful liner notes, Hewitt explains that, for her, hearing Bach's music in these arrangements can shed a different light on his "surprising" harmonic progressions. To her credit, she includes the texts of the absent vocal lines in her notes. This disc is not for everyone - ·some might prefer to stick to the originals, while others might actually look for something more creative in an arrangement. Yet with such beautiful piano playing, this disc does provide most enjoyable listening. Angela Hewitt will perform Mozart's Piano Concerto No. 22 with the TSO on. Thursday, Nov.29 and Saturday, Dec.l at Roy Thomson Hall. On April 16, 2002, ,she can be heard· in recital at Glenn Gould Studio. Pamela Marg/es Couperin: Concert dans le gout theatral Capriccio Stravagante Orchestra; Skip Sempe Naive E8820 (Full Price) If you wish to sample various aspects of French Baroque music in theatrical sty le, you would do well to choose this recording, which offers a wide variety of music performed with obvious enthusiasm and affection: an or­ ·chestral overture, ritoumelle and dances; airs de cour for one or two voices; 'a capella' canons for three voices; and a. passacaille for two harpsichords. This is an excellent program, linked .to the Eighth Concert of Les Gouts Reunis and based on the premise that "if ever Couperin had written a tragectie lyrique ... " The 'ease and grace' and 'voluptuous perfume' of Couperin's music, as Debussy described it in 1913, is at its most evident in the smaller ensemble performances here. While the orchestrar pieces reveal a relaxed elegance in many small details, the tutti sound is a bit muddy and overblown, and the ensemble isn't always clean. Extraneous noises caused by close microphone placement in the continua section unfortunately disturb two beautifully played sections for flutes and bass. But Canadian soprano Karina Gauvin sings beautifully, and the smaller continua section accompanies throughout with great character and sensitivity. Sopranos Sandrine Rondot and Isabelle Desrochers and bass Vincent Lecomier also display their talents to great advantage. While I admir!! this project and find mucb to enjoy in this recording, I confess I was put off by some of Sempe's presumptuous remarks in the self-interview which appears alongside Gaetan Naulleau's excellent notes. Oh well. It's still a nice CD. Alison Melville Feast The Caliban quartet of bassoonists w/special guest Bill Douglas BIS Northern Lights BIS-NL-CD-5012 (Full Price) The Caliban 50 Wholenote N OVEMBER 1, 2001 - D ECEMBER 7, 2001 tl~C~J/:6a)lQ\(()..ri

9riginally released in 1996, this CD has been . the rhythmic drive· and vitality one would dere-mastered for enhanced quality, but the reper- mand and a flare that only a player like Joel toire is unchanged. Of the nine tracks, seven Quarrington could add. are by Canadian composers. Evergreen mem- The grand finale of this program is a tranber Mark Duggan composed Evocation ... gentle- scription of the popular violin showpiece falling rain, a sound painting, and Jali's Dream Zigeunerweisen by Sarasate. There is simply no where kacapi zither and steel pan provide strik- way to describe the mastery and musicality in ing sonic contrast. Steel pan is also featured in this performance. Quarrington captures all of John Wyre's Islands of Silence. Palace, by Ev- the Gypsy flavour that one would expect from a ergreen founder Jon Siddall, juxtaposes two violin and actually adds something that makes lively outer sections with a mysterious and slow one think that perhaps it was originally written middle movement underpinned by a bass drum for double bass. pulse. L'Angoisses des machines by Quebecois In my opinion this recording may confirm Alain Thibault reflects the anguish of its title. what many people have been saying for years: The two remaining tracks, by American Lou Joel Quarrington is the finest classical double Harrison, are /bu Trish a relatively traditional- bass player in the world today, period. style gamelan piece, and Threnody for Carlos Joel Quarrington will perform Raymond Chavez· where the rich alto saxophone playing Luedeke's Concerto for Double Bass with the of Ernie Tollar is superimposed on the tapestry TSO on November 22 at the Massey Hall of gamelan sounds. NUMUFEST. Although on one level the music speaks for Troy Milleker itself, the inclusion of even a few liner notes would likely enhance the musical experience for IV. INDIE LIST many listeners. Nevertheless, we can still enjoy this compilation of great music played so well Continuum 1 on these unusual instruments. The Evergreen Continuum Contemporary Music Ensemble; Club will perform the Thibault piece and Rosemary Thomson, conductor Harrison's Threnody at the final concert of the CR-CD 9801 (Full Price) Massey Hall NUMUFEST on November 24. Annette Sanger For an ensemble recognized · Virtuoso Reality for its develop- Joel Quarrington & Friends ment of contem- Jacques lsraelievit

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
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