Jeunesses Musicales Canada 60
Analekta AN 2 9927-8
Since the founding of Jeunesses Musicales du Canada 60 years ago in 1949 by Gilles Lefebvre following a meeting with Father J.H. Lemieux, Anaïs Allard-Rousseau and Laurette Desruisseaux-Boisvert, the admirable organization has been supporting young artists embarking on their concert careers through concert tours, scholarships, competitions, and just plain good advice on the various options available to them. Many acclaimed Canadian artists have played the JMC circuit – no wonder then that this two CD compilation features a plethora of world class Canadian JMC talent extracted from a number of previous Analekta releases.
Space prevents me from naming everyone, so here are my gems. The set kicks off with a gut wrenching performance of a man's heart breaking by bass Joseph Rouleau (with the Royal Opera House, Covent Garden) in “Elle ne m'aime pas!” from Verdi's Don Carlos. Violinist James Ehnes is perfect in the Adagio from Bach's Sonata in G Major BMV 1021. Ensemble Caprice's take on Vivaldi's Concerto in C major RV 533 is surprisingly successful in its spirit. It is a joy to hear pianist Anton Kuerti as the accompanist to violinist Angèle Dubeau in Schubert's Sonata for violin and piano in D Major. The Gryphon Trio's rendition of Piazzolla's The Four Seasons of Buenos Aires meticulously captures the quality of the composer's own performances.
I only wish more contemporary music had been included (even though harpist Valerie Milot is excellent in Salzedo's Scintillation). Also, performance dates would have made the liner notes more complete.
This is a fine release to enjoy time and time again, and a fitting tribute to JMC's 60 years of work with Canada's finest musicians.
Early, Classical and Beyond
Jeunesses Musicales Canada 60
Time/After Time: A Jazz Suite
Sonavista Records (firstname.lastname@example.org)
Audaciously taking on nothing less than a history of our sad planet, from the big bang to its potential post-apocalypse, veteran local drummer Geordie McDonald has put together a multi-faceted two-CD set that melds futuristic, multi-ethnic and contemporary improvisations.
“Time/After Time” is an instrumental parable that begins with a brief electronically propelled explosion and ends with more than 12½ minutes of McDonald’s inventive polyrhythms on drums and ancillary percussion including a bell tree, claves, oversized cymbals, woodblocks and rain sheets. The suite encompasses the skills of 18 [!] of Toronto’s top improvisers plus New York-based trombonist Roswell Rudd, whose inventive brays and slurs perfectly fit the primitive-modern CD the drummer organized.
Organized is the key word since McDonald only composed one track. The others are group improvisations or themes written by the other players such as alto saxophonist/Shuffle Demon Richard Underhill; trumpeter/Flying Bulgar David Buchbinder; baritone saxophonist/educator David Mott; and inventive flutist and bass clarinetist Glen Hall.
A perfect example of this contrapuntal concordance both in writing and playing occurs on Hall’s Tribal Survival. Accompanied by vibrating resonations from John Rudel’s congas and Rick Lazar’s doumbek, the vamping horn section plus staccato hocketing from vocalists Maryem Tollar and Sophia Grigoriadis, the trombonist splutters cross tones throughout, working up to a climax of staccato, flutter-tonguing.
Further Rudd duets that include a low-pitched, plunger-and-slurs face-off with Mott, and Buchbinder and the trombonist advancing their version of modern tailgate styles, confirm that McDonald recruited the perfect crew for this project.
Olivier Messiaen once opined that birds were probably the greatest musicians to inhabit our planet, and they have indeed been inspiring many a composer and musician for centuries. With this disc, Michael Lewin pays homage to our feathered muses with a fascinating and entertaining mixture of works for solo piano.
Music by a rich array of composers is found here, and the diversity works brilliantly. There are whimsical offerings by Hoffman, MacDowell and Jensen; touches of delicate melancholy by Grieg, Granados and Schumann; and Rameau and Daquin are tastefully played on a Steinway concert grand. Transcriptions of Glinka, Saint-Saëns, Alabieff and Stravinsky are included, of which the Danse infernale from Firebird is most grand; and Messiaen himself is exquisitely represented by The Dove, written when he was twenty. Lewin also knocks off an enthusiastic rendition of the Joplinesque Turkey in the Straw and it fits the program to perfection.
The pacing of this ‘piano aviary’ is delightful and Lewin plays to dazzling and touchingly expressive effect. Highlights for me are the Messiaen and Schumann, and his renditions of Ravel’s Sad Birds and Cyril Scott’s Water Wagtail, but I will listen to this entire disc repeatedly with great pleasure. Kudos also to the designer of the booklet in which this CD is housed – the design with its rich colours and elegant illustrations is as impressive as the music within.
This is a thought-provoking, intriguing film about an extremely controversial subject. The argument of this DVD is set down in the enclosed notes: “It was a matter of national and socialist pride when, in November 1945, the new Communist Government of Poland asked for, and received, the heart of Chopin previously buried in Paris. Against this background, a woman called Paulina Czernika approached the Polish Minister of Culture, claiming to have some love letters from the composer to her great-grandmother, the Countess Delfina Potocka. At first curious, but eventually alarmed, the Ministry began a witch-hunt against Madame Czernika. For while it was true that there was an historic figure called Delfina Potocka – she was the only lover to whom Chopin dedicated any music – these letters were said to be pornographic, anti-Semitic and thoroughly damaging to the image of the composer as a Polish hero which the Communist government wished to promote. Czernika ‘committed suicide’ on October 17, 1949 one hundred years to the day after the death of Chopin. Or was she murdered, and if so, why? Were the letters in fact forgeries? And what was the truth about Delfina Potocka?
As Czernika encounters publishers and persons in authority, we are privy to selected personal, confidential and intimate details from the composer’s letters. The events revealed in the letters are enacted, in chronological order, by a thoroughly believable cast.
In his book Chopin the Unknown, Polish music scholar, conductor and composer, Matteo Glinski delves deeply into the Delfina Potocka affair (Assumption University of Windsor Press, 1963). Glinski’s credentials are impeccable and of this book, Roman V. Ceglowski, President of the International Chopin Foundation, wrote “I think it is the most provocative study on Chopin in our times” and commended it to Chopin scholars. Glinski quotes convincing evidence of Chopin’s character and his “elusive secret” all lending authenticity to the Delfina letters.
Is Palmer tipping his hand by entrusting the roles of Paulina Czernika and Delfina Potocka to the same actress in this unusual production?
Pianist Yundi (he has dropped the use of his last name Li!) is an almost mythical celebrity in China. Since winning the Chopin piano competition at the young age of 18, he has captured the hearts of the people of China, and has a busy international performing schedule, much to the credit of his highly emotional and theatrical performance style. So how then to portray him on film, without the finished product becoming an advertorial to the young pianist?
Director Barbara Willis Sweete’s approach is brilliant – her premise seems to be to present him in a series of contrasting milieus: Yundi on tour in China versus Yundi in Berlin preparing for a recording/concert with the Berlin Philharmonic; The youthful serious soloist Yundi working with the senior witty Maestro Seiji Ozawa; Yundi as a child accordionist versus Yundi the young classical star; Yundi the classical pianist performing with Jay Chou, the pop star keyboardist; His family lovingly reminiscing about his childhood while also lamenting with justifiable sadness that he just doesn’t visit them enough now. Only the segment with Yundi playing ping pong with TSO conductor Peter Oundjian seems idiosyncratic and out of place. Be prepared to be shocked as well – Yundi practiced up to eight hours a day as a child and some of the teaching methods employed are questionable too!
This is a beautiful flowing film that gives a well rounded portrait of the globetrotting pianist as a young man. The high Rhombus production standards are maintained – the visuals, storyline and editing are seamless. Bonus tracks of Chopin performances are an added treat. Fans and critics alike will enjoy, and also at times be disconcerted, by this superb Canadian made documentary.
Editor’s Note: Yundi’s latest CD release is the complete Chopin Nocturnes on EMI Classics (6 08391 2).
During my period in music retail many years ago, I was once asked by a customer, “I need a disc of operatic arias, but I don’t want the singing, only the music”(!). I’ve undoubtedly told this story before, and I repeat it now only because it ties in so well with this new EMI recording titled “Fantasy – A Night at the Opera” featuring flutist Emmanuel Pahud with the Rotterdam Philharmonic under the direction of Canadian conductor par excellence Yannick Nézet-Séguin.
As the name suggests, this disc comprises an attractive collection of opera arias as arranged for flute and orchestra. While the operas from which they are derived are familiar, such as Verdi’s La Traviata, and Bizet’s Carmen - the arrangers are decidedly less so, and contrary to what one might think, not all date from the 19th century. For example, the Fantasy on Mozart’s Magic Flute, was composed by Robert Forbes (born in 1939), and the paraphrase from Tchaikovsky’s Eugene Onegin was written by Guy Braunstein, born as recently as 1971. Also included on the disc is a sensitive (and unarranged) performance of the lyrical Dance of the Blessed Spirits from Gluck’s 1762 opera Orphée et Eurydice.
Not surprisingly, Pahud has no difficulty in meeting the technical demands of the virtuosic and high-spirited writing inherent here, while the Rotterdam Philharmonic, under Nézet-Séguin’s competent baton provides a tasteful and strongly supportive accompaniment.
While most of these arrangements wouldn’t really be classified as Great Music, the disc is nevertheless entertaining and diverting, a true showcase for Emmanuel Pahud’s talents, and proof indeed that Nézet-Séguin is just as at home with this lighter more flamboyant repertoire as he is with music of a more serious nature. Recommended.
André Laplante by now can be referred to as Canada’s ‘national treasure’. He is a well established artist especially in the Romantic repertoire and has a worldwide reputation with critics comparing him sometimes to Richter and Horowitz. This new recording for the Analekta label tackles Liszt in an ambitious, rarely recorded program of the first book of the 21 year old Liszt’s romantic wanderings with Countess Marie d’Agoult.
Liszt met the Countess in 1832 in Paris, a married woman 6 years older, but this did not prevent one of the century’s most famous and productive love affairs from developing. Three years later Marie left her family and ran off with Franz to Switzerland, later to Italy. There were 3 children born out of this union, among them Cosima who eventually married Richard Wagner.
As we listen, the pieces vary in character from invocations of natural beauty (Lac de Wallenstadt), literary associations with Byron, Schiller, Goethe, Senacour (Vallée d’Obermann), to force of nature (L’Orage), pastoral melodies (Pastorale, Eglogue) and homage to Swiss history (Chapelle de Guillaume Tell).
Many of the pieces even appear improvised. We can just see after a day of admiring the majestic Swiss countryside, Liszt composing on the piano and playing to his object of affection. Often the quiet, self searching beginnings develop into passion with great intensity.
To capture the many layered complexities of this set, Laplante is the ideal choice and this recording shows it. Being an unassuming, introspective personality, his performances have insightful sensitivity, but never overt emotionalism, dazzling power and virtuosity that never is meant to show off and rich imagination characteristic of a great artist.