8 years ago

Volume 8 Issue 5 - February 2003

  • Text
  • Toronto
  • February
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  • Jazz
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  • Faculty

C. J>. E. JIACH Complete

C. J>. E. JIACH Complete Flute Cnnce.11os J14Md1: l'Y.i.11114~ f'hJh:· f• #iu tll1 .t::u:i~nt.i li:..-i·lff:\blkm mm as highly mannered is, in this instance, intended as a compliment. He swells, sighs and surges his way through these performances in a near hysterical frenzy of timbral modulations and microtonal inflections more commonly heard in contemporary music. Gallois' radical interpretations are not without justification, as Bach was a strong advocate of the Do'ctrine of Affections (Affektenlehre), which promoted the use of forceful rhetorical contrasts. Bach's demanding concertos met with such a lack of enthusiasm from h·is Monarch that he arranged a number of them for other instruments. In his transcription of the A major concerto for harpsichord, for example, one may find many more ornaments than are present in the original version. Though it may simply be that they were added due to the harpsichord's relative deficiency in projecting a sustained tone, Gallois has incorporated these later embellishments in his performances. He does not go so far however as to replicate Barqque pitch standards. The unidentified musicians of the virtuoso pick-up ensemble known as the Toronto Camerata respond with commendable alacrity to the interventions of Kevin Mallon, though occasionally unsteady tempos (quite noticeably so in the D minor concerto) hint at some editorial prestidigitation behind the scenes. Daniel Foley Ovation, Volume 2: Archer; Morawetz; .Papineau­ Couture; Forsyth; Schafer CBC Records PSCD 2027-5 (5 CDs) . CBC's companion set to the second installment of the Canadian Music Centre's Canadian Composer Portrait series (reviewed in the November 2002 issue of Whole­ Note) is now available. Featuring shorter or excerpted works spanning three, four, and in some cases five; decades in the careers of these distinguished composers, Ovation 2 goes a long way in fleshing out the portraits. The set includes some familiar works, such as Morawetz' Overture to a Fairy Tale and Forsyth's Three Metis Songs from Saskatchewan, but I am particularly happy to see the inclusion of a number of works in historic recordings that were not previously available on compact disc. Of particular note are Violet Archer's playful Divertimento for Saxophone Quartet, (performed by the Swinging Bovines?!) and the meditative and virtuosic finale from Sonata for Unaccompanied Cello (written for and performed by Shauna Rolston); Oskar Morawetz' Four Contrasting Moods (with pianist Francine Kay, who was chosen by the composer to premiere the work); Jean Papineau-Couture's Trois Caprices (with Steven Staryk and Lise Boucher), Quatuora cordes No.2 (Orford Quartet) and the late (1997) Trio (in an unfortunately lowfidelity recording of the premiere performance by the Hochelaga Trio just a few months before Papineau­ Couture's death at the age of 83); Malcolm Forsyth'sJubijee Overture (Edmonton Symphony/Uri Mayer); and three orchestral works by R. Murray Schafer, In Memoriam Alberto Guerrero (Vancouver Symphony/Mario Bernardi), Son of Heldenleben (Montreal ~ymphony { Franz Paul Decker) and East (National Arts Centre/Mario Bernardi). Modestly priced as a double this box of 5 CDs is essential for anyone with an interest in Canadian concert music. David Olds Listen to the Lambs 'Nathaniel Dett Chorale Marquis Classics 7 74718 12932 l The Nathaniel Dett Chorale was founded in 1998 by Brainerd Blyden­ Taylor for the "dissemination of Afrocentric choral music" . It is

fitting, that the repertoire on this first commercial recording is devoted to the choir's namesake, R. Nathaniel Dett, born in 1882 in Drummondville (later Niagara Falls) Ontario, which had earlier in the century been a key destination for those escaping slavery. Dett received several degrees in European-based classical music in the United States and also studied with Nadia Boulanger in Paris, but he was able throughout his career as a composer to skillfully harmonize these compositional forms with the traditional music of his heritage. Many of the selections on this CD are based on spirituals, some set in the form of motets or anthems, such as the title track, Listen to the Lambs, in · which the composer juxtaposes musical passages with dynamics that convey the sharp sting of grief, with a contrasting middle section imparting a sense of soothing comfort.· The choir handles these emotional contrasts deftly, alternating between biting attacks and a human warmth that shines through the suffering. Another piece, The Chariot Jubilee is a unique setting of Swing Low, Sweet Chariot with many variations that keep returning to the anchor of the familiar tune with a solid foundation provided by Christopher Malone on guitar· Dawes on organ. Baptism has a Benny Green first came to lovely, soulful tune,· which Dett attention when he worked wit? Betty learned at the knee of his maternaf Carter for four years and with Art grandmother and adapted for choir Blakey from ~ 987-89. It was B~tty . with the rhythm of a lullaby. · who taught him not .only to thmk Thanks to Brainerd .Blyden- about the cho'.d changes, but also ~o Taylor, for introducing and inter- relate the 17ncs of the son~ to his preting these works so beautifull . own expenence~ and tell his story D . W.yll through the music. Russell Malone zannees 1 .. f. ·grew up p aymg a vanety o IT!USIC, but eventually jazz became his main focus. In 1988, at age 25, he was Benny Green and Russell hired by organist Jimmy Smith, went Malone on to back Harry Connick Jr . .from Jazz At The Bistro . 1990-1994, after which he spent four Telarc CD-83560 One of the highlights of the recent International Association for Jazz Education Conference held here in Toronto was a duo performance by pianist Benny Green and Russell years working with Diana Krall before branching out on his solo career. . These two musicians obviously enjoy each other and the duet setting is ideal, allowing them the freedom to play off against each other without constraint. The CD was recorded at The Bistro - no, not the one in Toronto, this one is in St. Louis - and is a nicely balanced · set of familiar and not-so-familiar treasures. The interplay between Green and Malone has that sense of urgency, intimacy and spontaneity that is one of the supreme joys to be found ·when two musicians playing at the top of their game come together. Jim Galloway Music of Christos Hatzis: Everlasting Light; Footprints in New Snow Various Artists CBC Records MVCD 1156-2 This latest recording of Christos Hatzis' music is really a "Two for One" special, containing two CDs

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