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4 years ago

Volume 9 Issue 4 - December 2003

  • Text
  • Toronto
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as L 'alba Separa, with

as L 'alba Separa, with a text by Tos- is art song delivery in the service of to forge his new idiom from Polish and John Zorn. The criteria for inti 's friend, patriot and poet Gabriele the cabaret genre. folklore, fusing characteristic tea- clusion are that compositions build D' Annunzio, demands sustained pas- While occasionally too polite and tures of 'Goral' (highland) music witfi upon Jewish musical materials ot sion. In Vorrei morire! Heppner dis- cultured, Stilwell nevertheless ofters his own original musical language. deal with the quandaries of Jewish plays the intensity of his sound even consistent artistry that suits her in- Writing in his own voice, Szyman- life and history. ' in quiet passages. His Goodbye! is strument. Support comes in fuH col- owsky employs an incredible rhyth- The first CD features selections irresistibly ardent. our and feeling from the ensemble mic liberty in the context of whole- ·from Kurt Weill's The Eternal Road, Heppner doesn't shy away from of piano, violin, accordion, bass and , tone and pentatonic figures: The CD a magister.ial 6-hour pageant. A pothe unabashed sentimentality of songs percussion. Pianist Robert Kortgaard also features the two isolated Maz- gromerupts and the Jewish commulike Pierrot's Lament, which is es- offers several solo tracks of exqui- urkas of Op. 62 which happen to be nity gathers in a synagogue to await pecially moving in the dialogue with site playing in Reger's Con Moto last works the ailing composer man- its fate. While waiting, they recall the solo violin. But he does resist tum- and Hollander's Melodie Perverse. aged to complete before tuberculo- their people's history from Genesis ing them into operatic tours de force, Among the mostly 20th century sis stopped his earthly journey. onwards. Weill, born into an emieven though they do provide plenty . repertoire, Schumann's Du bist wie Hamelin is incredible in exploring nent German-Jewish clerical famiof opportunity to display his ringing eine Blume seems out of place until the emotional centre of each mazur- ' ly, had the deep knowledge to pull Italianate fortissimo. Even the exqui- Stilwell places it squarely in the ethos ka and turning each single miniature this off. He hoped the pageant would site Lasciami!, with its soaring me!- of the rest of the programme. This into a poetic expression of compos- mobilize American public opinion to odies and distinctive harmonies rem- compilation is, at first blush, adven- er's love for his native Poland. His save Europe's Jews. iniscent of Puccini, is contained in turous for Stilwell ·but she and the performance has all the necessary· scale, in spite of its recitative-like cabaret band under Peter Tiefen- virtuoso qualities but at the same time passages and operatic structure. bach's direction make it memorable. is never detached from musical im- Although Tosti wrote pis accom- . Alex Baran agination and sensibility. paniments for piano, singers from Michelle Assay Eshghpour Caruso and Bjoerling to Pavarotti have traditionally sung them with orchestra. fleppner's arrangements, by Kurt Weill -The Eternal Road ' TWENTIETH CENTURY Steven Mercurio (who recently AND BEYOND (highlights). wrote a new ending for Puccini's Turandot), and Michael Rot, sound Szymanowski -The Complete delightfully authentic, subtle,

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