Classical and Beyond

How does it happen that a young conductor from Birmingham, UK makes his Canadian debut leading the Kitchener-Waterloo Symphony in a pair of concerts? How is it that a young Taiwanese-American violinist makes his Toronto debut at Mooredale Concerts? And what accounts for a young German-French cellist making his Toronto debut at Koerner Hall? The coincidence of three emerging young professionals all arriving in our area over the next few weeks sparked the above questions (and several more). Their answers in a series of emails mid-January were as diverse as their backgrounds but all shared the common thread of personal connections.

Alpesh Chauhan, the 27-year-old conductor from Birmingham, told me that his management are on very good terms with the management of the Kitchener-Waterloo Symphony and keep in touch sharing information on their clients. The invitation to guest conduct on February 9 and 10 developed out of interest on the orchestra’s part; a grateful Chauhan attributes it to strong trust between the parties.

Twenty-seven-year-old Paul Huang’s route to his February 18 Toronto recital travelled directly through pianist Wonny Song, Mooredale’s artistic director, who is also artistic director of Quebec’s Orford Music Festival. Huang, the recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, told me, “Both Wonny and I have won the Young Concert Artists International Auditions at some point in our careers and Wonny first heard me during a trip to New York and we were introduced through a patron of YCA.” That meeting led to Song booking Huang for his Canadian debut last summer at Orford. “He must have liked what he heard and here I am, making my first visit to Toronto!”

Versatile soloist and chamber musician, 35-year-old Nicolas Altstaedt, was chosen by Gidon Kremer to succeed him as artistic director of the Lockenhaus Chamber Music Festival; and he was selected by Adam Fisher to follow him as artistic director of the Haydn Philharmonic. Altstaedt spoke to RCM executive director Mervon Mehta, who books their concerts at Koerner Hall, in March of 2016 when the cellist visited Toronto with his friend and sometime chamber music partner, violinist Vilde Frang, who was giving a recital at Koerner Hall at the time. Altstaedt expressed his desire to play there and the confluence of this season’s cello series and Mehta’s familiarity with pianist Fazil Say (Altstaedt’s collaborator) sealed the deal for the March 2 recital.

Alpesh Chauhan: Chauhan first discovered classical music at school, when a cello teacher performed in his school assembly in Birmingham. He was instantly hooked, and went home later that day with a cello under his arm, much to the surprise of his parents who were born in East Africa (father in Tanzania and mother in Kenya) of Indian descent (Gujarati). He became increasingly passionate about classical music throughout school and later studied cello at the Royal Northern College of Music, while at the same time conducting friends in concerts he arranged for charity. “That was my first real conducting experience and I knew it was something I wanted to pursue,” he said. “I quickly grew an obsession with the people at the front, and the sound they created from the podium.

“Following several years of training, studying and being mentored by great conductors like Andris Nelsons and Edward Gardner, I have now conducted two concerts at the BBC Proms, a production of Turandot at the Teatro Lirico di Cagliari, the BAFTA-winning children’s film Ten Pieces II with the BBC Philharmonic and a main season concert at the Barbican Centre with the London Symphony Orchestra. I also became principal conductor of the Filarmonica Arturo Toscanini last year.”

Asked specifically which conductors inspire him, Chauhan continued: “I love the gestural genius of such conductors as Carlos Kleiber and Gennady Rozhdestvensky,” he said. “One learns so much about the interaction between conductors and the sounds they wish to inspire (and the success thereof) from both of these conductors. I am very inspired by Sir Simon Rattle too as well as other visiting conductors that I assisted as guests at the City of Birmingham Symphony Orchestra [where he held the position of assistant conductor] including Edward Gardner, Walter Weller and Vassily Sinaisky. A huge inspiration for me was Andris Nelsons who I was assistant to at the CBSO in his period as music director. Some of what I learned from him includes trust and respect of the orchestral musicians, freedom in performance and concert and strength of musical ideas and interpretation.”

Paul Huang: “I was mesmerized by the sound of the violin when I was a kid,” Huang told me. “It was the singing quality and the sound that is so close to the human voice that drew me to the instrument. As a child, I was terribly shy and was not good with words, so playing the violin was a way to express myself without using words!”

I asked who his musical idols were in his formative years and he told me it was a hard question to answer. “But I will say that there are several violinists (mainly the ones from the past) that I would constantly listen to (and still do), people like Kreisler, Oistrakh, Milstein, Hassid and the young Menuhin. Outside of the violin world, Frank Sinatra and Judy Garland are some of the singers that I constantly listen to and find myself feeling so inspired every time I listen to their voices.”

As to what violinists inspire him, he said those violinists who have a strong viewpoint and a voice that is convincing and unique. “I find that most of the violinists from the past generation all have a sound that is so distinctive from each other. They are all inspiring to listen to.”

Nicolas Altstaedt: When I asked Alstaedt what drew him to the cello he told me that his father played the piano a bit as well as the cello. His older brother started playing piano so when he was six he picked up the cello. “Once I started playing, I didn’t think of doing anything else in my life.”

He never “idolized“ interpreters he told me, “though I have certainly been influenced by artists I admired such as Gidon Kremer or Nikolaus Harnoncourt. I have always found deep fascination in the process of composing and creating an artwork. There is a danger in our society in idolizing performers rather than recognizing and understanding the achievements of true creators.”

As to whom he considers to be his musical mentors, he pointed to violinist and chamber musician Eberhard Feltz as the most influential figure in his life for almost ten years. “I met him through the Quatuor Ébène, who have been working with him for a long time. They regularly came to Berlin, staying at my place while i was attending classes for sometimes up to eight hours a day. I started to study with him in 2009 and still see him on a regular basis. He keeps surprising me every time and each encounter leaves food for thought for several weeks.”

Next, I asked each musician to comment on the repertoire they will be performing.

AC: We have a great program for my KWS debut. A flashy overture by Magnus Lindberg, Aventures, which quotes many popular classical music works including Prokofiev’s Classical Symphony and even Berlioz’s grand fantasy-themed Symphonie Fantastique which we perform in the second half of the concert. In between we’re joined by pianist André Laplante for Beethoven’s Fourth Piano Concerto. I have a long relationship with the Berlioz as I conducted rehearsals as an assistant in Birmingham, went on to assist it a couple of times in my time at the CBSO and then conducted it in Scotland in 2016 in a program that also included Debussy’s La Mer!

PH: In general for my recital programs, I want to give audiences a variety of musical styles and a sound world palette which the violin is able to convey. For this program with my duo partner Helen Huang, we will be bringing the Dvořák Sonatina, a piece which Dvořák wrote while in America but very much had nostalgia towards his roots, with several joyful Czech dances throughout the movements. The Prokofiev F-Minor Sonata is perhaps one of the darkest sonatas ever written (like a Russian epic novel). It was written during WWII, a sonata that almost in a way documents history through the notes. In the second half we have prepared two miniature pieces (Sarasate and Kreisler) to lighten up the mood from the dark first half and make a transition to the finale of the program, which will be the colourful and brilliant Saint-Saëns’ Violin Sonata, a piece that is very dear to my heart.

NA: The repertoire for Altstaedt’s recital consists mostly of the works on his recent Warner Classics CD with his Koerner recital partner, Fazil Say. “I met Fazil seven years ago and commissioned a sonata while I was on the BBC New Generation Artist scheme. We started to play recitals and the following program evolved. I have a strong passion for the music at the beginning of the 20th century; Janácek and Debussy are two very different exemplary masterpieces of that period. Shostakovich has been the most influential composer in my childhood and his sonata is very similar to Fazil’s in term of architecture.”

I concluded my virtual symposium by asking each musician the question: What do you find most rewarding and most challenging in your professional life?

AC: I think one of the most important elements of my professional life is the musical and emotional reward I enjoy when playing and conducting live music. The most challenging, however, is the travel and unsettled lifestyle, which can be very tiring. I also find constantly changing repertoire to be a challenge! For example, the week before I conduct the Kitchener-Waterloo Symphony, I will be in Italy conducting Shostakovich 11. I’ll then travel straight to KWS for Berlioz Symphonie Fantastique, followed by the Netherlands to conduct Tchaikovsky 4 and then back to Italy for Shostakovich 10!

PH: Very often when I get together with musicians we ask each other is all the stress, travelling, hours of practising, the nerves of getting on stage night after night, is this really worth it? But the answer at the end is always yes. Because when I see people coming up to me after concerts telling me how much they enjoyed the evening or sometimes how it made their lives more meaningful or even made some positive impact in their lives, for me, that’s what makes everything worth it. I believe music is the most wonderful and powerful way of bridging different roots, different cultures, different languages, different religions and different backgrounds. In the world of music, we are all on this wonderful musical platform where we are all the same and can share something in common and can understand and respect each other on a much deeper level.

NA: It is very rewarding to spend your life communicating with people in the most diverse and powerful language. I am very aware and grateful for that every day. I am currently working on The Seasons by Haydn and it has been a revelation. The same goes for pieces I have already performed like the concertos by Dutilleux and Dvořák and the complete Bach Suite Cycle, that I am playing the following week. To be in touch and discover artworks that widen your awareness on a daily basis is the most wonderful thing to grow in life.

George Li

Last month I did a Q&A with pianist George Li whose Toronto debut recital in Koerner Hall on February 4 has been postponed with no new date announced as of press time. The Q&A prompted a comment by New England Conservatory visual assets manager Andrew Hurlbut who pointed out that Li’s musical education owed a great debt to the NEC and to his studies with Wha Ryung Byun as part of the NEC/Harvard dual degree program. “It seems to me that long through line in his training is at least somewhat responsible for his current well-deserved success,” he wrote in an email. We appreciate and welcome the comments of readers far and wide.

QUICK PICKS

Feb 5: The Kitchener-Waterloo Chamber Music Society is taking full advantage of charismatic clarinetist Dionysis Grammenos’ stint as assistant conductor for the COC’s production of Mozart’s The Abduction from the Seraglio. K-WCMS is connecting him with the popular piano quartet, Ensemble Made in Canada, for a performance of Brahms’ Clarinet Quintet Op.115, another exquisite work from the composer’s last creative output. The performance will be repeated Feb 7 in Toronto as part of the COC’s free noontime concert series.

Feb 11: Anyone who was fortunate enough to experience the electricity of Stravinsky’s Petrushka at David Jalbert’s and Wonny Song’s duo piano Mooredale Concerts recital January 14 need not be reminded of Jalbert’s next appearance in our area. For his K-WCMS solo concert, the Ottawa-based virtuoso will burnish his reputation as one of Canada’s finest pianists with three Prokofiev sonatas – Nos. 2, 3 and 5 – on the same program.

Feb 15: TSO principal violist Teng Li brings her warmth and sensitivity to a program of transcriptions by the celebrated 20th-century violist William Primrose in a free noontime recital at U of T Faculty of Music’s Walter Hall. Lydia Wong is the collaborative pianist.

Feb 16: Leon Fleisher, who turns 90 later this year, conducts the Royal Conservatory Orchestra performing Beethoven’s Egmont Overture, Strauss’ Four Last Songs and Sibelius Symphony No.1 in Koerner Hall. He will give masterclasses in Mazzoleni Hall Feb 11 and 17. Masterclasses with Fleisher are inspirational and memorable, strewn with anecdotes. It’s no surprise, considering his close connection to Beethoven through his teacher, Artur Schnabel, a student of Theodor Leschetizky, who studied with Beethoven’s pupil, Carl Czerny. A few years ago, Fleisher said he once had “the pleasure of performing with three guys named Jascha, Grisha and Bill [Heifetz, Piatigorsky and Primrose]. And it really was a pleasure.”

Feb 22: Music Toronto presents the Apollon Musagète Quartet in a program of Haydn, Arensky and Grieg. The dynamic young Polish quartet made a memorable debut in the Jane Mallett Theatre in November 2015 and their return is eagerly anticipated.

Feb 25 and 26: Canzona Chamber Players give us another chance to hear Brahms’ great clarinet quintet (along with with Hindemith’s) with Canzona co-founder Jonathan Krehm joining Csaba Koczo, Jessica Tong (violins), Robin Howe (cello) and Pocket Concerts’ Rory McLeod (viola).

Mar 1: Lang Lang, recovering from tendinitis in his left arm, will share the keyboard with 15-year-old Maxim Lando (a Lang Lang International Music Foundation Scholar) in a piano four hands arrangement of Gershwin’s exuberant Rhapsody in Blue. Peter Oundjian conducts the TSO. 

Paul Ennis is the managing editor of The WholeNote.

The extra coverage in this double issue of The WholeNote has prompted me to consider its entire nine-plus weeks of listings as fodder for constructing my personal musical winter wonderland. You are welcome to come along for the ride!

On thewholenote.com I find the LISTINGS tab and click on the indispensable JustASK feature. It’s early in planning my journey so I opt to see the entire listings for the first week in December. (Later in my wanderings, to refine my search I may choose to JustASK specifically for chamber music or piano.) In this case, I decide on a free RCM event, pianist Francine Kay in a Sunday Interludes recital at Mazzoleni Hall on December 3. Chopin’s Barcarolle has always been a personal favourite and its rolling rhythms will get my festive juices running. Besides, the eminent Princeton University faculty member (and Analekta recording artist) will be giving two masterclasses the following Friday in the same space. Depending on what the students will be playing, I may sit in.

My next stop brings me to Koerner Hall on December 5 for a concert I wrote about in the November WholeNote: Messiaen’s Quartet for the End of Time, a 20th-century touchstone, played by some of the newest stars in Europe’s musical firmament. I have high hopes for pianist Lucas Debargue, violinist Janine Jansen, cellist Torleif Thedéen and clarinetist Martin Fröst. Next stop, December 10 (and I still haven’t budged from Bloor Street) I’m looking forward to the return of Khatia Buniatishvili. This time she’s opening with Mussorgsky’s majestic and intricate Pictures at an Exhibition before moving on to Liszt showpieces. (And while I’m waiting, there’s the Rebanks Family Fellowship concert December 6 in Mazzoleni Hall, where young musicians on the cusp of professional careers display their craft.)

Sorry to say, you’ll have to JustASK for yourself for the balance of December. That’s because my annual visit to longtime friends in the cabin they built themselves in the middle of a hundred-acre wood will take me through the month. A festive Christmas feast of turkey and trimmings baked in a wood stove will serve all of us well while a curious, sociable parrot provides live entertainment.

January 4 and 6, Ryan Wang: When Ryan Wang was five years old he performed at Carnegie Hall in the American Protégé International Piano and Strings Competition. A charming child with no pretentious airs, his celebrity shone soon after, in his first appearance on The Ellen Show. When not playing a concerto with the Shanghai Symphony, for example, he enjoys biking, road hockey and Harry Potter in West Vancouver. In a YouTube video made last year, he talks about being a piano prodigy who began playing when he was four. “Kids in school think I’m just a famous pianist,” he says unabashedly. “But I’m just an ordinary kid.” He calls Harry Potter his hero “because he’s brave. And if you’re brave, you can overcome anything … Sometimes life is really challenging, but I never give up and never lose hope.”

Martha Argerich debuted at four, Claudio Arrau at five. Ryan Wang at ten has been on the stage for half his life. The Li Delun Music Foundation presents him on January 4 at the Fairview Library Theatre in recital playing Bach’s French Suite No.6 – his Bach on YouTube is refreshingly without any affect – a Haydn sonata, a Poulenc Villageoise, Debussy’s Arabesque No.1, the two Chopin Waltzes Op.64 and a Bartók Romanian Dance. An excursion to North York may be a New Year’s resolution worth keeping. Two days later, January 6, Wang is the soloist in Beethoven’s Piano Concerto No.2 with the Toronto Festival Orchestra conducted by Dongxiao Xu in the Li Delun Music Foundation’s “New Year’s Concert 2018” at the George Weston Recital Hall.

January 7, Rachel Barton Pine: She began learning the violin at three; at five she “self-identified as a violinist.” At ten, she performed with her hometown band, the Chicago Symphony Orchestra; at 17, she won the Bach International Competition in Leipzig, Germany. At 20, her violin case straps caught in the closing doors of a Chicago commuter train; the accident cost her part of a leg and mangled a foot. Her determination and discipline from her years of violin study brought her all the way back musically. On January 7, she performs the first Sunday Interludes concert of the year in Mazzoleni Hall.

January 10 to 21, Mozart @ 262: I’m back on Bloor again for some of this next part of my private winter festival. I am about to come face to face with the TSO’s Mozart @ 262 Festival that begins January 10; it will be the TSO’s 14th annual celebration of that prodigy’s genius, and the final one with Peter Oundjian (the festival’s creator) as TSO music director. Roy Thomson Hall (three performances), Koerner Hall (two) and the George Weston Recital Hall (one) will all be involved. On January 17 and 18 concertmaster Jonathan Crow and principal violist Teng Li will be the soloists in Mozart’s Sinfonia Concertante for violin and viola K364/320d in what might very well be the single highlight of the festival.

Oundjian’s sole conducting gig, however (January 19 to 21), is the one program I’m most focused on, though (and the only one that’s in all three venues). Anchored by Mozart’s exhilarating final symphony, No.41 in C Major “Jupiter,” the concert showcases two talented young Canadian artists. Charles Richard-Hamelin will weave his colouristic alchemy in the Piano Concerto No.23 in A Major K488 – the understated grandeur of its Adagio served as the main theme of Terrence Malick’s film The New World, underscoring the pristine beauty of its first act. And Adrian Anantawan will be the soloist in the Rondo for violin and orchestra K250/248b “Haffner,” and the Adagio for violin and orchestra K261. Anantawan, who grew up in Toronto, was born with no right hand, only a stunted appendage with tiny stubs instead of fingers. At nine he took up the violin, which proved to be a great equalizer for him. Needless to say, it changed his life. Now in his early 30s, he works with cutting-edge technology to help others; he’s also given a TED Talk. He told CNN in 2013 that “it’s never about the technique or technology that is important, but the desire to live life authentically and creatively. We often forget even ‘traditional’ musical instruments are technological adaptations in their own right – they are tools to manipulate sound in a way that we couldn’t do with our bodies alone.”

January 11, Brentano and Dawn Upshaw: I plan on abandoning Mozart to take advantage of a rare opportunity to hear Schoenberg’s pivotal String Quartet No.2 when Music Toronto presents the Brentano String Quartet and soprano Dawn Upshaw in the Jane Mallett Theatre. Completed in 1908, the quartet’s extreme late-Romanticism loses its harmonic bearings by its final movement, a change that can be considered the beginning of atonal music. The third and fourth movements are settings of poems by the symbolist poet Stefan George. Alex Ross in The Rest Is Noise talks about the extraordinary moment in the fourth movement when the soprano sings the line I feel the wind of another planet and then the “transformation,” I dissolve in tones, circling, weaving … The Schoenberg is preceded by Respighi’s intimate, lyrical setting of Shelley’s Il Tramonto. Before intermission, the Brentano (without Upshaw) will interweave Webern Bagatelles with Schubert Minuets before performing Argentine-American Mario Davidovsky’s String Quartet No.4 (1980), a piece I look forward to hearing for the first time.

The next morning, January 12 at 10am, Upshaw will give a masterclass in Mazzoleni Hall. I’ve marked my calendar. Maybe I should just move to Bloor Street!

Sunday, January 14, David Jalbert and Wonny Song: these two top-rank Canadian pianists return to U of T’s Walter Hall and Mooredale Concerts following their acclaimed 2014 appearance there, for “Piano Dialogue,” a program inspired by dance, theatre and visual art. Rachmaninoff’s Suite No.1 for two pianos and his four-hand arrangement of Tchaikovsky’s Sleeping Beauty Waltz share the stage with Milhaud’s Scaramouche Suite for Two Pianos and Stravinsky’s kinetic Petrouchka, also for two pianos. Elsewhere in this issue Alex Baran writes in his DISCoveries Keyed In column about Jalbert’s latest CD of music connected to what Jalbert and Song are playing in their recital: “[The CD] shows why he’s considered one of the younger generation’s finest pianists. His performance of Dance russe from Petrouchka explodes into being with astonishing speed and alacrity. Jalbert possesses a sweeping technique that exudes ease and persuasive conviction.”

January 23, Stephen Hough: In October 2016 the brilliant British pianist Stephen Hough revealed on BBC Radio 4’s Desert Island DIscs that he discovered he liked playing the piano when he went to visit his aunt’s house and could pick out more than one hundred nursery rhymes on her piano. After much pestering, his parents bought him a cheap second-hand piano from an antique shop. So began the storied career of this polymath, whose first novel, The Final Retreat, is to be published in March 2018. On January 23, he makes his fourth appearance for Music Toronto since 1996 with a program mixing four Debussy works (two of which, Images Bk 1 and II, appear on his latest Hyperion CD, anticipating the centenary of the composer’s death in 1918) with Schumann’s rapturous Fantasie Op.17 and Beethoven’s colossal Sonata in F Minor, Op.67, “Appassionata.” The next morning, Hough will make the trek north to Mazzoleni Hall for a public masterclass. Having been to two of these, I have no doubt it will be an insightful and inspirational experience.

January 27, the Dover Quartet: The Dovers came to wide attention in 2013 when they won the Banff International String Quartet Competition. I wrote about their memorable Beethoven concert at Toronto Summer Music in 2016: “Musically mature, vibrant and uncannily unified in purpose and execution, the youthful players brought passion and grace to the first two movements [of Op.132], took a decisive approach to the fourth and emphasized the rhapsodic character of the finale.” Chamber Music Hamilton, a top-flight regional series, is presenting the young Americans in a recital of Schumann’s Second, Ullmann’s Third and Zemlinsky’s Second String Quartets, Sunday January 27 at 2pm at the Art Gallery of Hamilton.

January 30, RCM and Hot Docs Ted Rogers Cinema (although the name has changed, the address remains Bloor Street) present Stefan Avalos’ compulsively watchable Strad Style, a film I saw at Hot Docs 2017. The documentary chronicles the improbable but triumphant story of a reclusive Ohio violin maker, Daniel Houck, whose confidence that he can produce a copy of “Il Canone,” the Guarneri violin built in 1742 that Paganini played, carries him through an eight-month journey that threatens to be derailed more than once. A violin aficionado who loves listening to old masters like Oistrakh and Heifetz and idolizes violin makers Amati, Guarneri and Stradivari – all from Cremona, Italy – Houck suffers from bipolar disorder but functions with medication. He befriends Razvan Stoica on Facebook when he discovers the Romanian-born violinist has won the Strad Prize at a Salzburg festival and offers to make him the Canone replica. There is magic stuff here.

After the screening Jonathan Crow will bring out his own Guarneri for what promises to be a fascinating show-and-tell Q&A. And that’s why I’ll be there.

And on into February: The astounding young pianist Daniil Trifonov continues his homage-to-Chopin tour February 1, with a sold-out concert at Koerner Hall. I’m lucky to have a ticket but unlucky to miss the St. Lawrence String Quartet’s annual Music Toronto visit the same evening. Fortunately I can attend the SLSQ’s masterclass in Mazzoleni Hall the next day at 10am.

In 2008, clarinetist Dionysis Grammenos became the first wind player ever to be named European Young Musician of the Year. Two years later at 21, having been guided by Bernard Haitink, Christoph Eschenbach and Robert Spano, he made his conducting debut with the Vienna Chamber Orchestra. Johannes Debus hired him as assistant conductor for the COC’s 2018 production of Mozart’s Abduction from the Seraglio February 7 to 24. “You find in him a musician who exudes an enthusiasm for music from every single pore and who equally has the talent to communicate and share his enthusiasm and euphoria with others – no matter if it’s about an audience or fellow musicians,” Debus says. Grammenos’ appearance at noon on February 7 in the Richard Bradshaw Amphitheatre with Ensemble Made in Canada (they will perform Brahms’ late masterpiece, the sublime Clarinet Quintet in B Minor Op.115) is the last stop in my winter festival.

Given the abundance of live music available to all of us in the Toronto area, there’s an ad hoc personal winter festival out there for the making for every musical taste. How? JustASK.

Paul Ennis is the managing editor of The WholeNote.

Mai Tategami began studying the violin at the age of six. As an orchestral player, she was concertmaster of the Seiji Ozawa Ongaku-juku Orchestra and became an academy student and temporary contract member of the Rundfunk Sinfonieorchester Berlin (2012-2015). During the 2015/16 season, she performed with the Beethoven Orchester Bonn as concertmaster. At 28, she won the first edition of the Orford Music Prize in 2016. She makes her Toronto debut with a free Music at St. Andrew’s noontime recital on November 24 and follows that up November 26, when she joins the Rebelheart Collective in Mooredale Concerts’ third program of the season to play the second violin part for a performance of Mendelssohn’s exuberant String Quintet in B-flat Major, Op.87.

She told me in a mid-October email conversation that she started her musical education at three with the piano. “My teacher gave me some Bach to practise,” she told me. “His music was like a magical world. I have always felt peaceful and relaxed when I play/listen to Bach. He is still one of my favourite composers.” So Bach was the first composer she fell in love with. What about musicians? “I don’t remember which one was the first violinist that I liked, but I loved Itzhak Perlman and Gil Shaham when I was small. They were my superstars, and I fell in love with their brilliant and sweet Romantic sound.”  A few years ago, she had the chance to play with Gil Shaham as a member of the orchestra. “It was one of my great memories as a musician in my life.”

I asked when she knew she would devote herself to music and she told me that there had been two turning points in her life. When she was 12 years old she had to choose which private junior high school to get into. One was the best junior high school in the Osaka/Kobe area, but to get in there she would have had to go to cram school and give up on playing the violin as a professional player. The other was the academy connected to her elementary school. To enter it no cram school was necessary so she could continue practising the violin as much as she wanted. Her other dream was to be a lawyer and to pursue that dream she would have had to go to the best school and forgo studying the violin altogether. After much self-examination, she realized she couldn’t imagine her life without playing music so she decided to go to the academy which would allow her to study and play violin. “I think it was the first decision I made to devote my life to music,” she said.

I asked how winning the Orford Music Prize had changed her life. She was playing in the Beethoven Orchester in Bonn, Germany at the time, she told me, but winning the prize gave her opportunities to play solo and chamber music concerts in Asia and Canada, so she quit playing in the orchestra and concentrated on her music, studying again to get ready for her next step. “I think it was one of the biggest decisions I have made in the past few years,” she said.

At her St. Andrew’s recital she will be playing Mozart’s Violin Sonata K526 and Poulenc’s Violin Sonata with Canadian pianist Jean-Luc Therrien, whom she met at the Orford Music Festival a few years ago. They played an all-Mozart recital together in Salzburg last summer that included K526. The second movement of the Poulenc sonata was the encore piece that evening, but they had so much fun playing it they included it on their Canadian tour. She thinks the audience will enjoy hearing such “totally different style composers.”

She didn’t know the Mendelssohn Quintet until she was asked to play it at Mooredale but she relates to “this wonderful piece” in her own unique way. She explains that Mendelssohn wrote the piece when he was 36, just two years before his death. “He was resting in Frankfurt after spending a very busy few years in Leipzig including his musical trip to England,” she said. “I think he very much enjoyed his stay in Frankfurt, because I could feel his excitement in the music. And the fact that I have been to Leipzig and Frankfurt helps me think of how he liked it there and how it influenced his music. I somehow can feel his happiness and normal everyday life.”

She added: “I’m very much looking forward to playing in Toronto. I’ve never been there but heard many good things about the city. And of course to be able to play with such wonderful musicians is a great honour for me.”

Quartet for the End of Time

“The most ethereally beautiful music of the twentieth century,” Alex Ross wrote in The New Yorker (March 22, 2004), “was first heard on a brutally cold January night in 1941, at the Stalag VIIIA prisoner-of-war camp, in Görlitz, Germany.” Messiaen wrote most of the Quartet for the End of Time, Ross goes on to explain, after being captured as a French soldier during the German invasion of 1940. The premiere took place in an unheated space in Barrack 27 where the German officers of the camp sat in the front row “and shivered along with the prisoners.” Ross concludes: “This is the music of one who expects paradise not only in a single awesome hereafter but also in the happenstance epiphanies of daily life. In the end, Messiaen’s apocalypse has little to do with history and catastrophe; instead, it records the rebirth of an ordinary soul in the grip of extraordinary emotion. Which is why the Quartet is as overpowering now as it was on that frigid night in 1941.”

Pianist Lucas Debargue discussed Messiaen’s Quartet for the End of Time for medici.tv in advance of his Verbier Festival performance of it earlier this year:

“It’s a very challenging piece… but most of the difficulties are musical because you can consider this is a work still impressionist in the writing -- there are some effects with pedalling tonal pedal and right pedal -- some writing of chords with some modal harmonies, but at the same time there is a very moderne aesthetic that Messiaen has already developed. It’s a mature work. He knows exactly what he is doing and he has found his style and how to organize it to create a peak piece. Messiaen himself was very inspired by spiritual matters. He considered himself a very, very strong Catholic and so the whole work is inspired by some mystical subjects. The piece is not the traditional four-movement chamber music piece; it’s in eight movements. And Messiaen says himself it’s like the seven symbolic figures plus another one -- eight -- which symbolizes eternity. And it ends very peacefully with the most melodic movement of all; just the solo violin with piano accompaniment. It’s like a scale to heaven, to the sky. It’s an incredible piece to just go out of this pragmatic, material world. Because it’s all out of here. We are somewhere else, from the first notes.”

Debargue and his cohorts, Dutch violinist Janine Jansen, Swedes Torlief Thedeen (cello) and Martin Fröst (clarinet), have been on a mini-trans-Atlantic tour since recording the Messiaen earlier this year for SONY (release date is November 3). Beginning at the end of May in Stockholm, they’ve performed the Quartet to great acclaim in Wigmore Hall, London and the Verbier Festival, Switzerland. A concert in Quebec City takes place on December 4, the day before their Koerner Hall performance December 5. An appearance in Zankel Hall, Carnegie Hall wraps it up December 7. Jansen, incidentally, is the Perspectives Artist at Carnegie Hall this season. The North American tour’s program begins with Bartók’s Contrasts for violin, clarinet and piano, commissioned in 1938 by Joseph Szigeti and Benny Goodman. Bartók downplayed the piano part as if in deference to the skills of his commissioners but played up the three instruments’ differences in timbre. There is a 1940 recording of the three of them available on YouTube. Szymanowski’s incandescent Mythes for violin and piano completes the first half of the recital.

WCMT Career Development Award

The Women’s Musical Club of Toronto’s Career Development Award (CDA) is presented every three years to an exceptional young Canadian musician (or small ensemble) embarking on a professional performing career. The winner gets $20,000 and the opportunity to give a recital in the Music in the Afternoon concert series. The process for choosing the 2018 CDA winner is now well under way with the recent announcement of the ten candidates under consideration.

Five of them are likely familiar to our readers: Toronto native, mezzo-soprano Emily D’Angelo, well-known to local audiences, took a giant international step forward in March 2016, when she was one of five winners of the 2016 Metropolitan Opera Auditions at 21. Violinists Boson Mo and Blake Pouliot and pianists Mehdi Ghazi and Tony Yike Yang are also familiar fixtures here. Now, on November 4 and 5, another of the CDA candidates gets an opportunity to make his mark in the GTA. Timothy Chooi is the soloist in Bruch’s hugely popular Violin Concerto No.1, a piece that unabashedly wears its heart on its sleeve; it promises to be a highlight of the Oakville Symphony Orchestra’s “50th Anniversary Fireworks” program.

Music Toronto gathers steam

The 46th season of Music Toronto is well under way with four concerts taking place under the umbrella of this issue of The WholeNote, beginning with pianist Benjamin Grosvenor’s highly anticipated return to the Jane Mallett stage on November 7. On November 16, Britain’s brilliant Anglo-Irish quartet, the Carducci, will fly in especially to perform a heavyweight program -- Beethoven’s Quartet No.11, Shostakovich’s Quartet No.4 and Debussy’s Quartet in G Minor -- following the unexpected cancellation (for medical reasons) by the Škampa Quartet. Described by The Strad as presenting “a masterclass in unanimity of musical purpose, in which severity could melt seamlessly into charm, and drama into geniality,″, the internationally-known Carducci Quartet studied with members of the Amadeus, Alban Berg, Chilingirian, Takács and Vanbrugh quartets. A Toronto solo piano recital debut by Timothy Chiu, who is profiled elsewhere in this issue, follows on November 28. And finally the Gryphon Trio, now in its 23rd year, makes its annual Music Toronto visit December 7 with a typically diverse program of Haydn, Mozetich and Brahms.

QUICK PICKS

Nov 5: Nocturnes in the City presents the eminent Czech violinist Ivan Zenaty (who continues the Czech violin tradition he learned from his mentor Josef Suk) in works by Franck, Tchaikovsky and Dvořák (with pianist Dmitri Vorobiev).

Nov 5: Trio Arkel (with guest, cellist Shauna Rolston) paints a musical picture of Russia in the years before the Revolution: Taneyev’s Trio for Strings (1907), Arensky’s Cello Quartet (1894) and Cello Duos (1909) by Glière.

Nov 9: Women’s Musical Club of Toronto presents the Zodiac Trio in a recital geared to their unusual makeup: piano, violin and clarinet. Formed in 2006 at the Manhattan School of Music under the guidance of famed clarinettist David Krakauer and Beaux Arts violinist Isidore Cohen, the trio has made a career out of their unique sound palette.

Nov 12: Pocket Concerts’ ebullient co-directors, pianist Emily Rho and violist Rory McLeod, in a rare duo recital, play music by Kenji Bunch, Brahms and Rachmaninoff.

Nov 15 and 16: Peter Oundjian leads the TSO in an all-Vaughan Williams program showcasing orchestra members Sarah Jeffrey (oboe) and Teng Li (viola) as well as Canadian superstar Louis Lortie (who also gives a solo recital Nov 19 at The Isabel in Kingston). On Nov 23 and 25, Deutsche Oper Berlin general music director Donald Runnicles leads the TSO in Mahler’s biographical Symphony No.6, a massive work the composer wrote as an answer to Strauss’ Ein Heldenleben.

Paul Ennis is the managing editor of The WholeNote.

Joshua Bell began taking violin lessons when he was four years old after his mother discovered that he had stretched rubber bands across the handles of his dresser drawer to pluck out music he had heard her play on the piano. Several decades later in January 2007, Bell performed incognito as a busker at a public transit station in Washington DC. More than 1,000 people passed by but only seven stopped to listen. He collected $52.17 from 27 people (including $20 from the one person who recognized him). Now in his 50th year, the celebrated American virtuoso returns to Toronto for a recital in Koerner Hall on November 4. The program, with the gifted Italian pianist, Alessio Bax, includes sonatas by Mendelssohn, Grieg and Brahms, as well as additional works to be announced from the stage. But the concert is sold out (one of several in that category this season) so unless you’re already a ticketholder (or one of the fortunate few able to secure rush seats on the day of the recital), you’ll miss the chance to hear the musician who has become only the second music director (after Neville Marriner) of the Academy of St. Martin in the Fields chamber orchestra.

There is consolation the following afternoon, however. After winning the Cello First Prize and Gold Medal at the XIV International Tchaikovsky Competition in 2011 at the age of 22, Narek Hakhnazaryan was named a BBC New Generation Artist in 2014 and welcomed by the world’s most prestigious venues. His concert (75 minutes with no intermission) on November 5 in Mazzoleni Hall at 2pm is FREE (ticket required). Mentored by Mstislav Rostropovich, this is Hakhnazaryan’s Toronto recital debut after several orchestral performances, including the TSO in 2015. “I try to be honest with the composer’s music,” he told an interviewer last year. “I don’t really show off or do anything for the audience. The scores don’t need any changing because they are genius already. The musician is just the narrator, and the script is already written. It’s all about how you read it. It’s like Shakespeare: there’s millions of actors doing different things with his original works.”

Still on the subject of the Royal Conservatory’s new season, making their Canadian debut October 20 at Koerner Hall, the Khachaturian Trio (pianist Armine Grigoryan, violinist Karen Shahgaldyan and founding member, cellist Karen Kocharyan) has been active since 1999, taking the name of their Armenian countryman Aram Khachaturian in 2008. Their handful of recordings focus on the music of Armenian modern composers as well as Khachaturian, Tchaikovsky, Arensky, Babadjanian and Shostakovich. The program for their Toronto recital includes Tchaikovsky’s intense, demanding, symphonic Piano Trio in A Minor, op. 50, “In Memory of a Great Artist”; Rachmaninoff’s Trio élégiaque No. 1 in G Minor, the composer’s personal memorial to Tchaikovsky whom he called the most enchanting of all the people and artists he had ever met (“His delicacy of spirit was unique.”); Khachaturian’s Adagio of Spartacus and Phrygia from Spartacus Suite No. 2, Op.82b (the music for the Spartacus ballet from which this suite was taken is among Khachaturian’s most acclaimed works); and Babadjanian’s richly romantic, melancholic Trio in F-sharp Minor.

Music in the Afternoon

Violinist Lara St. John and pianist Matt Herskowitz open the Women’s Musical Club of Toronto’s 120th season on October 5. What began in 1899 when a group of women musicians and music lovers met to share their passion has become Music in the Afternoon, a five-concert series on Thursdays in Walter Hall. After performing Franck’s justly celebrated Sonata in A Major for violin and piano, written as a wedding present for famed Belgian virtuoso Eugène Ysaÿe in 1886, St. John and Herskowitz will play selections from her Shiksa CD (2015). Its 14 tracks feature traditional folk tunes from the Jewish diaspora, Eastern Europe, the Balkans, the Caucasus and the Middle East, reimagined for the concert stage by contemporary composers. When St. John does a similar program two weeks later, at Wolf Trap outside of Washington DC, the program will include John Kameel Farah’s Ah Ya Zayn (Levant), Matt Herskowitz’s mashup of Hava Nagila, Nagilara (lsrael), Serouj Kradjian’s Sari Siroun Yar (Armenia), St. John/Herskowitz’s Adanáco and Martin Kennedy’s Czardashian Rhapsody (Hungary). That’s the kind of music the Toronto audience can expect, followed perhaps by an encore like the rambunctious Oltenian Hora, which St. John calls  “improvised Romanian violin tricks, twists and turns.”  

St. John told Laurie Niles on violinist.com (November 5, 2015) that the idea for Shiksa had been percolating for a long time – since her first trip to Hungary when she was 11 years old. “I was astonished by all the music everywhere and thought that maybe I had been kidnapped by some Canadian family, because I felt like I belonged there. Since that time, and especially since my year of living in the Soviet Union when I was 17, I’ve been fascinated with songs and music from many cultures in, shall we say, that general area. The borders are always changing, but the music is the one thing that folks always respond to and recognize.”

U of T Faculty of Music/TSO

As Toronto audiences have come to recognize from the many appearances in the recent Toronto Summer Music Festival by the concertmasters of Canada’s two major symphony orchestras, Jonathan Crow of the TSO and Andrew Wan of the OSM, the two are consummate, generous musicians dedicated to conveying their joy in the music they play. And despite their considerable commitments to their principal orchestral roles, they still find time to come together for several concerts each season with the New Orford String Quartet, where they alternate in the first and second violin positions. Such is the case when the U of T Faculty of Music presents the New Orford on October 5 in Walter Hall. Ravel’s wistful, melancholic String Quartet in F Major, arguably the most performed string quartet of the 20th century, shares the stage with Tchaikovsky’s moving String Quartet No.3 in E-flat Minor and Steven Gellman’s Musica Aeterna (1994).

Faculty of Music free noontime concerts continue on October 19 with Crow joining his colleague Joseph Johnson, TSO principal cellist, to play music of Ravel and Kodály. Johnson’s TSM Shuffle Concert last August was enlightening and entertaining, with the personable cellist’s onstage patter illuminating his impeccable playing of selections from Bach’s solo cello suites mixed in with works for two, three and four cellos! Brooding, intense and sedate Bach contrasted with showpieces featuring Viennese musical twirls and swoops and Lisztian Hungarian rhapsodies, all smoothly led by Johnson at his collaborative best.

On October 30 Johnson teams up with the Gryphon Trio’s pianist, James Parker, in a U of T recital at Walter Hall with a substantial program comprising Debussy’s rapturous Sonata in D Minor, Beethoven’s densely packed, forward-looking Sonata No.2 in G Minor, Op.5 and Brahms’ bold and passionate Sonata No.2 in F Major Op.99.

Marc-André Hamelin 

Crow and Johnson’s day jobs with the TSO find them supporting Marc-André Hamelin in Ravel’s ingenious one-movement Concerto for the Left Hand on October 25 and 26. It was the most successful of the works commissioned by Austrian pianist Paul Wittgenstein after he lost his right arm during World War I. When Wittgenstein first saw the long solo cadenza that opens the piece he said: “If I wanted to play without the orchestra, I wouldn’t have commissioned a concerto.” But Ravel refused to change a note. When I spoke to Hamelin last winter he confirmed my suspicion that Ravel’s one-movement concerto in D Major was a piece he really enjoyed playing. “Very much so,” he told me. “Although I’ve also for the first time recently played the G Major [in Montreal with the OSM and Kent Nagano]. Can you believe? And that’s worked out well. I would like to offer a program in which I play both in a single evening. Which is perfectly fine.” Indeed, that would be quite a program.

This time, however, under the baton of visiting Spanish conductor Juanjo Mena (principal conductor of the BBC Philharmonic), the TSO program is augmented by the Canadian premiere of Alberto Ginastera’s expressionist, dance-driven Ollantay, inspired by a pre-Columbian Inca poem and sounding like Aaron Copland’s music transposed to the Argentine landscape. Mena’s Chandos recording of this and other Ginastera works is considered by its publisher Boosey & Hawkes to be definitive. The major work of the evening is Schubert’s Symphony No.9 “Great,” an extensive melodic and rhythmic quilt that deserves its apt nickname. Schubert began writing the symphony in the year after he heard Beethoven’s Ninth and inserted a quote from the Ode to Joy melody into the middle of the last movement of it. See if you recognize it when you hear it.

On September 25, 2017, Glenn Gould would have been 85. To mark the occasion, the TSO is presenting a tribute concert to him on September 22 and 23 with two works of great significance to his biographical and musical legacy. 

Siegfried Idyll

In July 1982, just weeks before suffering the stroke that led to his premature death on October 4, 1982, Gould began recording Wagner’s Siegfried Idyll in its chamber version for 13 instruments. It was released by Sony on a CD that also included Gould’s own piano transcriptions of other Wagner works, but it was Gould’s role as conductor (of Siegfried Idyll) that caught people’s attention. The recording was stunning in its transparency, rigorous in its controlled Romanticism and finely balanced as a large chamber work. The orchestral version of this piece is one of the programmatic keys to the TSO tribute this month. Remarkably, four members of the current TSO participated in the Gould recording, among them associate concertmaster Mark Skazinetsky. He graciously took the time to fill WholeNote readers in on the nuts and bolts of that historic occasion.

WN: What are your memories of the recording sessions of Siegfried Idyll?

MS: First of all was the fact that I was going to work with GLENN GOULD himself! It was a hot summer day and he came dressed in a heavy coat, wearing gloves, kind of looking a little strange, but when he started to talk he struck me as being a very kind and friendly, respectful person.

WN: How much rehearsal time was there?

MS: We didn’t have much rehearsal time but everyone could sense something very special and unique was happening and that made the rehearsal more effective.

WN: Do you recall Glenn Gould’s approach? Any specific instructions?

MS: Glenn Gould’s approach was very unique. At first we thought that all the tempi were very slow, or slower than we expected. But as we were getting deeper into the music it started to make more and more sense. His interpretation of this piece was so sincere and deeply felt that it “infected” us very much. He was asking for very long lines and phrases and that made the whole piece like one big painting. The end result was amazing!!!

Brahms Concerto No.1

Glenn Gould was 22 when he first recorded Bach’s Goldberg Variations for Columbia Masterworks in 1955. Jan Lisiecki is now 22 and a graduate of the Glenn Gould School of the Royal Conservatory. His fourth recording for Deutsche Grammophon, Chopin Works for Piano and Orchestra, was released last March. For his part in the TSO Gould tribute, Lisiecki will play Brahms’ Piano Concerto No.1 in D Minor, Op.15, the same work that prompted Leonard Bernstein to address the audience in Carnegie Hall on the evening of April 6, 1962, when Gould played it with the New York Philharmonic. Bernstein said that he could not agree with Gould’s “remarkably broad tempi and frequent dynamic departures” but that “Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith.”

I asked Lisiecki about his relationship with Gould and what he thought about Bernstein’s pre-performance words.

WN: When did you first become aware of Glenn Gould?

JL: I cannot even describe a particular moment when I became aware of Glenn Gould. He seems to have been a part of my musical life from the very start, and is inseparable from it in my view.

WN: How has he been important to you?

JL: There are many inspirational aspects about Mr. Gould. For one, I love his answers to interviews. They were different, insightful and fun. I also like his approach to making music, and adhering to the principle that if there’s nothing new to say, then there’s no point in performing or recording it. He was also never afraid to break with the tradition, and as a result, completely changed the way the entire world sees and experiences some music.

WN: What do you think of Bernstein’s famous words to the audience before Gould and the New York Philharmonic performed Brahms’ First Piano Concerto?

JL: I actually think these words could have been spoken at many other concerts, and that it is frankly not a surprise that a conductor and soloist don’t get along. After all, each musician is very individual, and when you add in someone’s personality (their amenability and openness, or lack thereof), musical disagreements do occur.

WN: How long have you been playing the concerto?

JL: This concerto is actually very new to me, and I performed it for the first time in Warsaw only on August 12. My “debut” with this work was a full immersion, too, with live broadcast on radio, YouTube and TV recording.

WN: What is your approach to it?

JL: I’m not sure how I can answer this question in words. I invite the audience to listen and assess for themselves. :-)

WN: Have you played much Brahms in concert?

JL: I have included Brahms in my recitals before, but my closer association is with Schumann. In fact, I recorded one of Schumann’s last works for the piano, his Introduction and Concerto Allegro Op.134 for Piano and Orchestra, which inspired Brahms when writing this concerto.

I’m reasonably certain that TSO conductor Peter Oundjian will address the Roy Thomson Hall audience before the Brahms concerto is performed. And I’m also confident that Lisiecki will have a few words to say at its conclusion. The prospect fills me with great anticipation.

Mooredale Concerts Season Opener

Again this summer my musical life in Toronto was bound up in the Toronto Summer Music Festival, the first under artistic director Jonathan Crow. This year – the festival’s 12th edition – was primarily a celebration of chamber music performed almost entirely by Canadian-born or Canadian-resident musicians. It was a roster driven by the notion of celebrating Canada’s sesquicentennial. The overwhelming artistic success of TSM was an affirmation of the high level of talent our country has produced. The total audience of 15,000 was a 20-percent increase over last year and included several sellouts and many near sellouts in both Koerner and Walter Halls. I was fortunate to take in 15 concerts, three masterclasses, two open rehearsals, two “Conversations” and two “Kids Concerts,” less than half of what the extensive program offered. Visit www.thewholenote.com for my TSM concert reports.

Two of the sold-out programs, “The TSO Chamber Soloists” and the “Tribute to Anton Kuerti,” had a direct connection to Mooredale Concerts (of which Kuerti is artistic director emeritus). The TSO players, under the leadership of TSO concertmaster Jonathan Crow, will open Mooredale’s new season on September 24 at Walter Hall.

Crow will be joined by Teng Li, principal viola; Joseph Johnson, principal cello; Jeffrey Beecher, principal bass; Michael Sweeney, principal bassoon; Neil Deland, principal horn; and Miles Jaques, clarinet.

Their diverse program features the Françaix String Trio, Nielsen’s Serenata in vano, CNW69, Till Eulenspiegel’s Merry Pranks, Op. 28, by Richard Strauss and Beethoven’s Septet in E-flat Major, Op. 20. The Nielsen is a quintet for clarinet, bassoon, horn, cello and double bass; the quintet arrangement of the Strauss uses similar instrumentation with the violin replacing the cello.  

Crow was gracious enough to answer several questions about the TSO Chamber Soloists (TSOCS) and the program of the Mooredale recital.

WN: What was the impetus behind the origin of the TSO Chamber Soloists?

JC: There are a couple of different reasons behind the TSOCS, but foremost for us is a chance to present TSO players in a more intimate setting, as we generally only get to interact with our audiences in a very large space. There is something very special about a chamber music setting that allows audiences to get to know their favourite musicians more as individuals, and also allows us to have a little more creativity in our own interpretations. There is also so much great chamber music repertoire that we want to play, and having the chance to do it with a regular group of TSO players only helps us to feel more connected when we get back to the orchestra!

WN: How many concerts do you do over the course of the year?

JC: Personally? Too many to count! The TSOCS does four concerts a year at RTH before TSO shows, and perhaps three or four more touring concerts every season. The schedules of all the players are too complicated to allow for much more than this unfortunately.

WN: How was the upcoming Mooredale recital conceived? Did it begin with the Beethoven Septet and move outward from there?

JC: We like to mix well-known chamber works with other wonderful but lesser known works, and one of the goals of the TSOCS is to feature all the parts of the orchestra, not just the string section! The Beethoven Septet is one of the great works of all time for strings and winds and was an obvious choice for this show, after which we looked at other works that would complement the Beethoven to fill out the program. For this concert we focused on works that would be composed in the same style as the Septet – fun, upbeat music that doesn’t take itself too seriously!

WN: How would you characterize the Francaix String Trio?

JC: This piece always makes me think of a champagne cork popping out – it’s such a light and bubbly piece! Extremely fun to play, and very enjoyable for audiences.

WN: The Serenata in vano, CNW69 by Carl Nielsen is new to me. Can you tell us something about it?

JC: The TSOCS did this work a few years back at RTH – Nielsen himself referred to it as “a humorous trifle.” In his words: “First the gentlemen play in a somewhat chivalric and showy manner to lure the fair one out onto the balcony, but she does not appear. Then they play in a slightly languorous strain (Poco adagio), but that hasn’t any effect either. Since they have played in vain (in vano), they don’t care a straw and shuffle off home to the strains of the little final march, which they play for their own amusement.”

WN: Are you playing the quintet version of Till Eulenspiegel? Such a joyful piece. Do you recall the first time you ever heard it? Or played it?

JC: Yes! This is an amazing arrangement of one of the great orchestra pieces of all time! I first did it at the Montreal Chamber Music Festival probably about 15 years ago. It’s a virtuosic showpiece for the five players and has all the excitement of the orchestral version, but the intimacy of a chamber ensemble – everything we aim for with the TSOCS!

WN: What is your approach to Beethoven’s Septet?

JC: We tend to think of Beethoven as a very serious composer, but sometimes I think we miss some of the humour and lightness in his compositions. This piece is truly a serenade, and we like to think of it as something perhaps a little lighter than many of the Beethoven symphonies that we play so much. In a way I think it presents a different side of Beethoven – a side of a composer who wasn’t yet deaf and didn’t yet have any idea about the loss that would inflect so many of his later works.

Paul Ennis is the managing editor of The WholeNote.