August 17, 2014
MONTREAL — When a weekend leaves you shaking at the doctor’s with bloodshot eyes and dehydration, it’s not usually because of classical music. This one was an exception. The Orchestre Symphonique de Montréal’s Classical Spree filled Place des Arts with 25,000 people for a musical triantathalon of concerts, and us obsessives, the ones who tried to hear all of them, came to recognize each other by sight and smell.
The programming was excellent despite some unavoidable padding by mouldy or well-connected soloists. Friday’s highlight was a concert version of Leonard Bernstein’s A Quiet Place, his sequel to Trouble in Tahiti that jumps thirty years to see how the family ends up. It’s a dark work, a montage of dysfunction whose hopeful notes of reconciliation are overshadowed — literally, in this minimally-staged production, by her coffin above the stage — because it is suicide that brings the family together.
There are a few versions of the opera, which premiered in 1983. Bernstein reworked it in 1986 to include many parts of Trouble in Tahiti as flashbacks, but there’s no time for any of that on a spree, so we heard the North American premiere of Garth Edwin Sunderland’s edit, commissioned by Nagano last year in Berlin. It zips by at 90 minutes and brings out the contrast between the musically adventurous first act, which takes place between a sardonic wash of half-intelligible commentary from a group of mourners and the tense arrivals of the family — an isolated, angry father, Sam, and his two estranged kids, now adults, who live in a bisexual marriage triangle — and the clearer, more dramatic second and third acts. Baritone Gordon Bintner was electric as troubled Junior — though his character’s connection of mental illness and homosexuality is troubling — and bass baritone Nathan Berg was superb as the desperate and furious Sam. There were no duds in a cast of 14 — not bad — and the OSM winds and brass had a particularly fine outing.
Saturday put the Orford Academy Orchestra with tenor Marc Hervieux, who sounds better in recital than running around an opera, for four of Mahler’s break-up cycle, Songs of a Wayfarer, in a very full Maison. Hervieux’s German has a softness that suited the tender songs best, and conductor Jean-François Rivest’s attentiveness brought out their most delicate textures with the talented ensemble of young musicians, who were brought together only three weeks before the performance. They finished with a totally appropriate whipping of Stravinsky’s Firebird; explosions and stops like a trap door blowing open and slamming shut. Great stuff.
After that we ran to hear a rare concert of Bartok’s exhaustingly youthful Quintet. Special events like the Spree can take programmatic chances, like this one, because they have an unusual flexibility in rooms — there were empty seats even in the Cinquième Salle — and a fantastic selection of musicians. Violinists Vadim Repin and Andrew Wan, violist Neal Gripp, cellist Matt Haimovitz and pianist Andreï Korobeinikov produced a jewel, murky in a few facets, but one of those performances that lodge in your head for years. A strong case for this forgotten piece.
The Spree is a great time whatever my doctor says. It’s a pleasure to jostle through Place des Arts past grandparents and families gathering to see how instruments work up close. We need more of this friendliness in our concerts.
By: Antoine Saito
Read at: The Montreal Gazette
May 29, 2014
Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, announces the first in a series of composition competitions aimed at building the repertoire for cello and unusual ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.
For the 2014 Composition Competition Oxingale Music and Matt Haimovitz join UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. Works should be under ten minutes in duration. There is no fee to submit. For additional details, please see below.
- The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State with the possibility of further performances in 2016.
– Oxingale Music will provide the composer a stipend of up to $500 towards travel and accommodation to attend rehearsals and the concert.
– The composer will be provided an archive recording of the performance, if available.
– The winning composition will be considered for publication on Oxingale Music.
- Submission deadline: October 15, 2014
– Composers of any age or nationality may submit one original work.
– Duration: up to 10 minutes
– Text must be taken from Shakespeare’s Sonnet 8, 30, or 60. Sonnets may be used in whole or in part, individually or combined, at the composer’s discretion.
– Work must be for acoustic cello and un-amplified voices. (No electronics please)
– Works must be submitted electronically via dropbox or other file-transfer method. Please see required submission package contents below. Please do not submit materials via email or postal mail.
Victoria = A3 to C6. Happy to sing in a folky chest register up to D5.
Emily = G3 to B6.
Clemmie = E3 to G6. She is most comfortable A3 to E6.
Please visit Voice’s website where you can listen to recordings and get an idea of the three singers’ blend on different tracks. If you have specific questions regarding the vocalists, please direct your inquiries to Victoria at email@example.com.
Submission package must include:
- Complete submission form (below)
– PDF of full score
– XML or .sib file of full score
– Biography/CV of composer
– Photo of composer
For more information on the artists and Oxingale Music please visit:
- The competition organizers reserve the right not to select a winner.
– By submitting a work to this competition you certify that the composition is original and does not rely on the copyrighted material of any other person.
– Payment of stipend will be made in the form of reimbursement of expenses. Documentation of expenses must be received no later than 30 days after the premiere.
– Archive recording may be used for promotional purposes only. Any commercial use or public broadcast must be approved separately.
– By submitting a work to this competition you certify that there is no legal impediment to Oxingale Music acting as publisher for this work. If any conflict exists, please disclose it on the submission form. Oxingale Music reserves the right not to publish the winning composition.
General inquiries can be sent to firstname.lastname@example.org Please do not email submissions.
May 23, 2014
Montreal Chamber Music Festival: Bravo Beethoven
Thursday, May 22, 2014, St. George’s Anglican Church
It was billed as “Bravo Beethoven,” but it might just as well have been called “Bravo Denis Brott.” For even though the distinguished cellist, who founded the Montreal Chamber Music Festival 19 years ago and has since served as its heart and artistic director, was laid up at home with a bad cold, the music that was made at St. George’s Anglican Church on Thursday night was the ideal that Brott had envisaged: teamwork and technique, all combined into a series of performances that illuminated Beethoven with eloquent poetry and stunning beauty.
Throughout the evening, the phrasing was linked to a compelling musical flow in which violinist Giora Schmidt, violist Marcus Thompson, cellist Matt Haimovitz (subbing for Brott as if he had been the intended cellist all along), and pianist Angela Cheng explored the dimensions of the music with the kind of ensemble playing. Continue reading
May 15, 2014
‘AKOKA: REFRAMING OLIVIER MESSIAEN’S QUARTET FOR THE END OF TIME’
David Krakauer, clarinetist; Matt Haimovitz, cellist; Jonathan Crow, violinist; Geoffrey Burleson, pianist; Socalled, electronics
This brilliantly inventive recording pays tribute to Henri Akoka, the Algerian-born clarinetist who egged on Messiaen to compose when both were prisoners of war in a German camp during World War II. Framing a vivid rendition of the “Quartet for the End of Time” are two musical flights of fancy, an improvisation by the extraordinary clarinetist David Krakauer, and an electronic remix of the quartet by Socalled. (Fonseca-Wollheim)
Read at: The New York Times
May 11, 2014
On the cold and rainy night of January 15, 1941, in the unheated Barrack 27 of Stalag VIIIA in Görlitz, Germany, an audience of some 400 prisoners-of-war and guards listened in rapt silence as four musicians, performing on ramshackle instruments, gave the first performance of one of the great chamber works of the 20th century. While it is doubtful that even the most devoted practitioner of historically-informed performance would want to recreate the premiere of Olivier Messiaen’s “Quatuor pour le fin du temps” (“Quartet for the End of Time”), this amazing backstory adds even further resonance to a work of stunning originality, power and spirit. (For the full story, Rebecca Rischin’s “For the End of Time: The Story of the Messiaen Quartet” is highly recommended.)
What’s that? You’ve never heard Messiaen’s Quartet? Well then, you’re in for an extraordinary musical experience, one which will grow with each hearing. In eight movements, variously scored for one, two, three or all four instruments, Messiaen combines his favorite preoccupations, such as birdsong, rhythmic and melodic symmetry, synesthesia (e.g., musical rainbows) and fervent, sentimental Catholicism into perhaps this incredibly original composer’s most accessible large-scale work. Not for nothing has the Quartet appealed over the years to audiences steeped in psychedelia, mysticism, minimalism, new age philosophy, eastern religion and just about every other alternative life- or musical style associated with adventurous youth.
On their splendid, just-released 2008 live concert recording (with violinist Jonathan Crow and pianist Geoffrey Burleson), clarinetist David Krakauer and cellist Matt Haimovitz have framed the Quartet with a works that pay tribute to the remarkable clarinetist of its premiere, an Algerian Jew named Henri Akoka. As prologue, the four musicians collaborate on a mostly-improvised, electronically-enhanced piece (credited to Krakauer) called “Akoka,” transforming elements of the Messiaen into a Klezmer-ish lament and dance filled with clarinet smears, cello scrapes (much like those Matt Haimovitz employed in his celebrated version of Jimi Hendrix’s “Anthem”), scratchy violin off-beats and strummed piano strings.
For the epilogue, Canadian producer Socalled (Josh Dolgin) “merges live samples of the musicians with old radio broadcasts, hiphop, cantorial singing and markers of time…” into a piece called “MEANWHILE…” Of all the album’s ten tracks, this will probably age least well, especially its rapped passages. For the present, it’s a stimulating modern commentary on a great musical work.
But it’s the performance of the Quartet that commends and rewards most of our attention here. Not that there aren’t excellent alternative versions in the current discography, but this one can take its place with the best of them for both individual and ensemble excellence. To cite just a few examples: The quiet central passage of the 2nd movement, “Vocalise, for the Angel Who Announces the End of Time” has rarely been as mesmerizing. David Krakauer’s superb rendition of the 3rd movement clarinet solo, “Abyss of the Birds,” is filled with personality, subtly reminding us that for all its mellow mellifluousness, the clarinet was also the instrument par excellence of the red light district, the shtetl and the Roma encampment. And Matt Haimovitz’s modulation of both tone color and vibrato in the sublime 5th movement duo, “Praise to the Eternity of Jesus” are wondrous to hear — artistry of the highest order.
Messiaen’s Quartet for the End of Time is best experienced live — what great work isn’t? In the meantime, and for keeps, this fine, imaginative CD is highly recommended, and will fit right into your shelf next to your Mahler, your Moby, your Moondog and your Mozart. At least that’s where it is on my shelf.
By: John Montanari
Read at: JohnMontanari.com
April 29, 2014
Vier von fünf Sternen verlieh der Kritiker des «Guardian» dem ersten Konzert des Sinfonieorchester Basels – eine Note, die in diesem Sektor Seltenheitswert geniesst. Andrew Clements titelt enthusiastisch «minimalist works maximise power and excitement» und betont Dennis Russell Davies Fähigkeit, «to showcase the strengths of his orchestra, the depth of its string tone, liveliness of its woodwind and security of its brass.»
Jenes Konzert wurde vorab von der BBC beworben – etwa mit einem kleinen Intermezzo für Klavier zu vier Händen von Dennis Russell Davies und Pianistin Maki Namekawa – und anschliessend live übertragen (es kann online nachgehört werden). Dies generierte sogar zusätzliche Konzertbesucher. Zwei Tage später nämlich verriet beim Konzert inBasingstoke eine britische Dame den Basler Tourbegleitern am CD-Verkaufstisch, sie habe das Konzert am Radio gehört und sofort entschieden, dass sie dies unbedingt live hören müsse. Deshalb sei sie extra nach Basingstoke gekommen.
Beeindruckte Besucherinnen und Besucher
Selbst die «Freunde des Sinfonieorchesters Basel» sind für einige Tage nach London gereist. Suzanne Pollak-Daicker (71), seit ihrem zwanzigsten Lebensjahr Exilbaslerin, hält sogar von ihrem Wohnort Liechtenstein aus Kontakt zum Orchester. Nach dem Konzert in der Cadogan Hall erzählt sie, dass ihr John Adams’ «Harmonielehre» zwar ein wenig zu laut, ein wenig zu aggressiv erschien. Doch sie sei grosser Fan von Arvo Pärt; und dass sie bei dessen Klavierkonzert «Lamentate» auch noch Dennis Russell Davies Frau, Maki Namekawa, am Klavier erleben durfte, «ihr edles Spiel, und wie sie mit dem Orchester gekämpft hat», das habe sie sehr beeindruckt.
Es ist ein freundliches, offenherziges Publikum, das hier den Baslern begegnet. Ob in den riesigen Mehrzweckhallen von Coventry und Basingstoke, ob in der edlen Londoner Cadogan Hall oder in der urchigen ehemaligen Lagerhalle «Corn Exchange» in Cambridge (die atmosphärisch der Basler Kaserne sehr nahe kommt); überall erntet das Orchester jubelnden Applaus. Nicht selten sprechen Konzertbesucher die Orchestermitglieder direkt nach den Konzerten an, um ihnen ihre Begeisterung und ihren Dank mitzuteilen.
Schöne Ansprache des Chefs
Dies hat nicht nur mit der Musik zu tun, die auf dem Programm steht: Minimalmusic ist zwar beliebt, weil sie tonal komponiert ist und schöne Atmosphären schafft, aber sie ist längst nicht so ein Zugpferd wie etwa eine Beethoven-Sinfonie.
Der Erfolg hat vor allem auch mit dem Orchester und seinem Chefdirigenten zu tun. «Harmonielehre war eine richtige Bombe», lobte Davies sein Orchester nach dem ersten Konzert.
Und nach dem dritten Konzert gab er gleich einen ganzen Apéro aus. In seiner Ansprache sagte er seinen Musikern: «Wir haben hier ein Publikum, das gekommen ist, um diese Musik zu hören. Und was sie hören ist weit über dem, was sie erwartet haben. Und das hat damit zu tun, wie das Sinfonieorchester Basel mit der Musik umgeht: Mit Leidenschaft, mit Können, mit Geduld, wenn Geduld gefragt ist, und Disziplin. Ich bewundere das, und ich bedanke mich sehr.»
All das motiviert nachhaltig. Selbst nach einer staubedingten, unfreiwillig langen Busfahrt von drei Stunden, nach der es ohne Abendessen direkt auf die Bühne von «The Anvil» in Basingstoke geht, spielen die Basler ein hervorragendes Konzert voller Energie – und steigen anschliessend ohne Murren direkt wieder in den Bus, um die Rückfahrt ins Hotel anzutreten – schmerzende Rücken und steife Beine ob des langen Sitzens ungeachtet.
Schrecksekunde beim Saitenriss
Sogar eine gerissene Cellosaite bringt die Basler nicht aus der Ruhe: Als beim gestrigen Konzert in der Cambridge Corn Exchange dem Solisten Matt Haimovitz bei Philip Glass’ 2. Cellokonzert «Naqoyqatsi» die tiefste Saite riss, die er zuvor noch intensiv bearbeitet hatte, um seinem Cello ein gefährlich drohendes Grummeln zu entlocken, da zückte Stimmführer David Delacroix vorbildlich eine passende Ersatzsaite aus dem Jackett. Noch auf der Bühne wechselte Haimovitz die Saite, und binnen weniger Minuten konnte das Konzert weitergehen, als wäre nichts gewesen.
April 29, 2014
There were two puzzles about this concert, which was part of a UK tour by the Basel Symphony Orchestra focused on American minimalist music. The first was: why on earth it was presented in the bright neo-Byzantine elegance of Cadogan Hall? Minimalist music needs dim light and a groovy ambience. In the Roundhouse this concert would have been packed; the audience at Cadogan Hall was barely passable.
The second was the music itself. Cognitive scientists tell us we’re hard-wired to enjoy repetition in music. Which is true, but only up to a point. Minimalism delights in going beyond that point, with results that can be maddening or intriguing or moving, or all three at once.
That’s a recipe for emotional exhaustion, and to avoid that, minimalist music needs performances which are sympathetic and sensitive rather than merely accurate. The Basel SO certainly did their three pieces proud. In Philip Glass’s Cello Concerto No 2 they were joined by cellist Matt Haimowitz. He shaped the cello’s keening phrases with such care that they seemed like the outpourings of genuine lyricism, which repeats only to intensify. Continue reading
April 27, 2014
This week we revisit some of Team Triad Arts’ choice recent interviews, and get a musical look at this Earth Day Weekend. Guitarist David English is one of the performers at the Piedmont Earth Day Fair, and we’ll join him in conversation with David Ford, and learn about the art of building the cigar box guitar. Our celebration of Mother Earth continues with Mark Freundt. He’s conducting the 4th annual presentation of the Missa Gaia (Earth Mass). Then we’ll get a little silly & confusing with author Lemony Snicket – that is, if he even shows up. Mr. Snicket crafted the wildly popular “A Series of Unfortunate Events” novels, and now he’s inking out his peculiar craft in the world of detective fiction. We keep the pen close to paper with acclaimed graphic novelist Hope Larson, and a look at her adaptation of “A Wrinkle in Time.” Then we wrap things up with acclaimed cellist Matt Haimovitz. Matt explores the sonic limits of the cello from Bach to Hendrix with indie rock detours along the way. … Continue reading
April 28, 2014
This was the second of three concerts by the Basel Symphony Orchestra at Cadogan Hall as part of this venue’s Zürich International Orchestra series. Though not billed as such, each programme features what might be loosely described as minimalist music. All three works played in this second programme derived from works that were written other than for the concert hall.
By far the best known of these is John Adams’s The Chairman Dances, which uses music from the opera, Nixon in China, with driving ostinatos juxtaposed with irregular accents and rhythms, and with colourful orchestration and subtle percussion effects. Dennis Russell Davies led his smallish and efficient orchestra in authoritative fashion.
Philip Glass’s Cello Concerto No.2 is a re-working of music written for the 2001 film, Naqoyqatsi: Life as War. The work, which falls into seven sections, was first performed by Matt Haimovitz, with this conductor, in 2012. For the most part, the soloist is rewarded by music that has a lyrical quality: sometimes he seems to be making a commentary on the orchestral part, which often consists of rather less eloquent repetitive material. Two of the movements, ‘New World’ and ‘Old World’, comprise a dialogue between cello and light percussion, which makes good contrast with the heavier forces employed elsewhere. Haimovitz’s playing was remarkably beautiful throughout, despite the many demands made on his technical prowess.
Michael Nyman’s Prospero’s Books derives from his music for the eponymous film. It comprises five movements as heard in this performance: these were not listed in the programme and which contained a rather confusing short essay on the score by the composer. Here again were repetitive phrases drummed out by the ensemble adorned by single instrumental comments, in contrasting metres and rhythms. But there was a distinct lack of contrast between the movements, four of which proceeded at a similar tempo, though this was occasionally varied; and the material seemed to be carefully constructed rather than creatively inspired; in the end this and the rest of the programme left an impression of continually stunted compositional growth. The hall was not much more than half full, but all the performances were greeted with much enthusiasm, it seems fair to report.
By: Alan Sanders
Read at: Classical Source