BBB-Classical1.jpgBorn at the height of the Cold War in 1958, the International Tchaikovsky competition (held every four years, most recently in 2015) has a checkered history, beginning with its first winner, the American Van Cliburn. Conceived by the Soviet regime to celebrate the pre-eminence of its own musicians in a contest that welcomed contenders from around the world, Cliburn’s first-place finish (the jury included Shostakovich, Richter and Gilels) was acclaimed by music lovers in Moscow and the West. Last year’s competition likely produced the biggest surprise since 1958, although it wasn’t the winner, Dmitry Masleev, a by-the-book Russian.

Lucas Debargue: The surprise was an unheralded Frenchman, Lucas Debargue, who swept through the first two rounds captivating audiences and critics with his playing. Seymour Bernstein (Seymour: An Introduction) was so moved, he sent an email to his list of followers celebrating Debargue’s artistry: “First, the Medtner is unbelievable! But I doubt that anyone will ever hear Ravel’s Gaspard performed like this. The French pianist Lucas Debargue must be in another world. Simply the most miraculous playing. Perhaps because of this alone he may win the competition.”

 Reportedly, though, Debargue faltered in the final round concerto performances (he had limited experience in playing with an orchestra) and was awarded Fourth Prize. More importantly, the Moscow Music Critics Association bestowed their top honours on him, and SONY signed the 25-year-old pianist to a record contract.

And now Show One impresario, Svetlana Dvoretsky, has had the acumen to bring him to Toronto! In what promises to be one of the most exciting events of the season, Debargue and fellow Tchaikovsky winner, Lukas Geniušas, will give a unique, joint recital at Koerner Hall, April 30.

(Debargue’s first CD – which he chose to record live in Paris’ Salle Cortot to preserve a sense of risk and spontaneity – with works by Scarlatti, Chopin, Liszt, Ravel (Gaspard de la nuit), Grieg, Schubert and his own variation on a Scarlatti sonata has just been released. In a brief sampling, I was struck by the ethereal quality in his playing of Scarlatti’s K208/L238 Sonata and the breathtaking articulation of K24/L495. He made K132/L457 his own, ruminative, other-worldly. K141/L422 was Horowitz-like but with fresh emphases. He also found the melancholic quality of Grieg’s Melody from Lyric Pieces Book III and brought an exquisite elegance to Schubert’s familiar Moment Musical Op.94.)

If Debargue’s backstory weren’t true, few would believe it as fiction. He heard the slow movement of Mozart’s Piano Concerto No.21 K467 when he was ten, fell under its spell and into the world of music. He played a friend’s upright piano by ear before beginning lessons at 11 with his first teacher, Madame Meunier, in the northern French town of Compiègne. He credits her with helping him to find his way as an artist, but when he moved to Paris to study literature at Diderot University – yes, he learned English by reading Joyce’s Ulysses – he stopped playing piano (“I had no great guide, no one to share great music with,” he told the BBC), using the bass guitar as a musical outlet. After being away from the piano for years, he accepted an invitation to a competition in his home province. He won and began an intense pupil-teacher relationship with Rena Sherevskaya in Paris at 21.

In a recent interview Debargue gave the German magazine Crescendo right after he recorded his second solo album in Berlin, he was asked if he is living differently now, after the competition: “Externally everything’s changed but internally not. I’m looking for the clarity in my interpretation and I always feel that I need to progress. I’ve always had it that way. It is far more difficult for me to put up with many people around me than to concentrate on the music. Music gives me a new strength.”

Just a few days before his March 24 Paris recital, Debargue graciously took the time to answer a few of my questions via email. His answers were brief, to the point and illuminating:

What is your goal as an interpreter of music?

To find out and then keep as much as possible the spirit of the music I play. Let it live and reach the listener by being clear and expressive.

Which pianists from the past or the present do you especially admire? And why?

Horowitz: for his boldness and freedom. Sofronitsky: for his boldness and freedom. Gould: for his boldness and freedom. I strongly think that no other pianist reached the dimension of Rachmaninov’s playing though. Sokolov and Pletnev are my favorite living pianists. But how can one forget Art Tatum, Monk, Powell and Erroll Garner? Speaking strictly about piano playing they’re the best so far. [Debargue is also a jazzer who’s played clubs in Paris; his Ravinia Festival appearance in August will see him give one classical and one jazz recital on the same day.]

(I asked about two pieces on his Toronto program.) What is your approach to playing Gaspard de la nuit?  

Live it from the inside after having found the right tempo and sound for each note.

And Scriabin’s Sonata No.4?

It’s music of fantasy and terror but one has to be very precise in choosing the right pictures and dynamics for each episode.

Lukas Geniušas: Coming from a musical family, headed by his grandmother, Vera Gornostaeva, a well-known Russian pedagogue, Lukas Geniušas took a more conventional path to his second-place Tchaikovsky finish, which followed second place in the 2010 Chopin Competition. Geniušas, like Debargue, is just 25 years old and also took time to answer my email questions. He told me that his grandmother’s importance in his musical life “both early and current is impossible to overrate.” It went beyond the bounds of music in building a foundation for the overall comprehension of art.

Geniušas told me that he has three goals as an interpreter of music: to create his own personal interpretations without harming the composer’s intentions; to seek moments of spiritual presence in a concert; and to pass on traditions that were passed on to him by his teachers.

He told me that he grew up admiring Richter and Michelangeli. “Somehow, intuitively, I have chosen them to be my favourites among many others whom I listened to on CD and DVD (yes, before YouTube!),” he said. “Their playing still appears to me the most complex, multi-layered and profound. Out of contemporary pianists, I would point to Radu Lupu, Zoltan Kocsis and Boris Berezovsky, who mostly capture my attention.”

When I asked him about his approach to Prokofiev’s Sonata No.7 and the seven Chopin mazurkas he will play in Toronto he told me that he first played Chopin mazurkas under his grandmother’s supervision when he was 11 or 12. He spoke of them as “little jewels” that were like a diary, about how a traditional Polish dance reveals “some of the most intimate shades of feelings” as embodied by Chopin, and how this music was a “particular side” of the teaching experience of his grandmother’s teacher, Henry [Heinrich] Neuhaus, who taught Richter, Gilels and Lupu, among many others from 1922 to 1964.

He called the Prokofiev Sonata No.7 one of the central pieces of 20th-century piano music: flawless in form, matchless in its violent brutality inspired by the outrage of WWII. Instead of taking a stormy virtuosic approach that may mislead the listener with flashy tricks, Geniušas prefers an articulated rendering that conveys its depth of meaning.

With eight CDs to his credit already, Geniušas’ path to an international career is well on its way. The Guardian wrote of his recent Southbank recital that he “plays with a prizewinner’s brilliance, yet with a mature ability to recreate a work’s architecture, and an expressiveness that doesn’t overtly draw attention to itself.” I can’t wait to hear him play the two-piano version of Ravel’s La valse with Debargue, the final piece of their Koerner Hall concert.

Geniušas has been in Toronto before: he came last December (and will return in April) to play for Dmitry Kanovich’s Looking at the Stars project that brings professional musicians to unusual venues. “This experience sweeps beyond words,” he said. “I never expected that performing in hospitals, shelters and jails could be so emotional and inspiring.”

Leonid Nediak: A student of Michael Berkovsky, Leonid Nediak (b. 2003) already has extensive concert experience. (He made his debut with the Montreal Symphony Orchestra under Kent Nagano in February 2014.)  The grand prize winner of the 2013 and 2014 Canadian Music Competition, both times receiving the highest marks ever awarded in this event, Nediak makes his TSO debut next January playing Mozart’s Piano Concerto No.27 K595 under the baton of Peter Oundjian. At the recent announcement of the TSO’s 2016/17 season, Nediak played Rachmaninov’s Prelude in G Minor, a performance that touched all who were there. If you want to get a sense of this wunderkind before next January, there are two contrasting opportunities in the next few weeks. On Apr 16, Nediak joins with Norman Reintamm and the Cathedral Bluffs Symphony in Beethoven’s kinetic Piano Concerto No.3 Op.37. On May 7, he is the soloist in Rachmaninov’s romantic masterpiece, his Piano Concerto No.2 Op.18, with the Kindred Spirits Orchestra, conducted by Kristian Alexander, the second time Nediak has appeared with this Markham-based ensemble. (In 2014, they performed Chopin’s Piano Concerto No.1 Op.11 together.) In an email exchange, Alexander told me that Nediak played the first movement of the Rachmaninov concerto at a Kindred Spirits audition in 2014. “Leonid played very well, with the right balance of musicality, expression and technique. His performance was convincing and offered qualities that resonated with my interpretational concept about the piece,” he said, explaining the origin of the May 7 concert. Their Chopin collaboration came about just after that audition – Nediak already had it in his repertoire -- and “Leonid’s approach to Chopin’s melodic line was free-spirited and fresh and required a much higher level of elasticity and flexibility from the orchestra than usual.”

Describing Nediak’s qualities as a pianist, Alexander said: “Leonid is a great communicator, able to unlock the emotional content of the piece and unfold the storyline of the composition. He also has a reach and versatile palette of colours, natural sense of phrasing and flawless energy flow.”


Royal Conservatory: Young organ virtuoso Cameron Carpenter brings his contemporary sensibility to Koerner Hall Apr 1. (Two days later, Apr 3, he moves his new custom-designed organ to the Isabel in Kingston, where, four days later, on  ABBB-Classical2.jpgpr 7, the Korean-born Minsoo Sohn, will give a live version of his acclaimed recording of Bach’s Goldberg Variations). Continuing with the Royal Conservatory, legendary pianist/conductor/teacher/mentor, Leon Fleisher, conducts the Royal Conservatory Orchestra, Apr 8. On Apr 12, the current crop of Rebanks Family Fellows performs a free concert (tickets required) in Mazzoleni Hall; on Apr 19, another free concert there is an opportunity to gauge the future as the Glenn Gould School presents its Chamber Music Competition Finals.   

Syrinx presents Ensemble Made in Canada Apr 3 playing piano quartets by Beethoven, Mendelssohn and Omar Daniel at the Heliconian Club. The following week Ensemble Made in Canada travels to Kitchener-Waterloo Chamber Music Society for a double dose, Apr 8 and 9, including more Beethoven, Schumann and John Burge as well as the three pieces the group are doing in Toronto. The group’s cellist Rachel Mercer returns to KWCMS Apr 24 as part of Ménage á six, in a program of string trios by Dohnányi and Schubert along with Brahms’ Sextet No.1. And May 3 Till Fellner (whom I profiled in the March 2015 issue of The WholeNote) also returns to the Narvesons’ house in Waterloo – that “amazing place” – for a recital of works by Schumann, Berio and Beethoven.  

The Cecilia String Quartet is joined by James Campbell at U of T’s Walter Hall for a performance of Brahms’ Clarinet Quintet, a cornerstone of the clarinet repertoire, Apr 4. Sunday, May 1 at 11am, the Cecilia invites children on the autism spectrum and their families to the next in its series of free Xenia Concerts. The one-hour performance, “Bach, Beethoven, and Brahms by the Numbers,” takes place in the Sony Centre’s lower lobby performance space.

The COC orchestra’s top two violinists, Marie Bérard and Aaron Schwebel, give a free noontime concert featuring music by Ysaÿe and Leclair, in the Richard Bradshaw Amphitheatre, Apr 5.

Music Toronto: Apr 5, Duo Turgeon, husband-and-wife duo pianists, perform a heavyweight program that includes a new arrangement of Ravel’s Second Suite from Daphnis and Chloe by Vyacheslav Gryaznov, Lutoslawski’s Variations on a Theme by Paganini and Brahms’ Variations on a Theme by Haydn. Music Toronto is well-known as the hub of string quartet concerts in this city, for bringing the world’s finest ensembles to the intimacy and congeniality of the Jane Mallett Theatre. On Apr 14, Music Toronto’s current season closes with the Berlin-based Artemis Quartet’s highly anticipated Toronto debut.

The TSO: Danish conductor Thomas Søndergård and Swiss pianist Francesco Piemontesi make their TSO debuts, Apr 6 and 8, with Sibelius’ cyclic, texturally rich Symphony No.1 Op.39 and Beethoven’s poetic Piano Concerto No.4 Op.58. Associates of the TSO present the Halcyon String Quartet (TSO principal and associate principal second violins, Paul Meyer and Wendy Rose, and TSO violist Kent Teeple and cellist Marie Gélinas) playing Schoenberg and Mendelssohn, Apr 11. Angela Hewitt remounts her Bach hobbyhorse to perform two keyboard concertos, BMV1052 and 1056 on Apr 13 and 14. (On Apr 16, only BMV1052 will be played.) Peter Oundjian accompanies Ms. Hewitt on all three days and leads the orchestra in Shostakovich’s Symphony No.8 Op.65, written in the shadow of  the horror of  WWII. The exciting composer/conductor Matthias Pintscher follows a performance of his own work, towards Osiris, with Mahler’s perpetually positive Symphony No.1 “The Titan” on Apr 28 and 30. Israeli pianist Inon Barnatan is the soloist in Mozart’s dark-hued Piano Concerto No.24 K491.

WMCT:  The Women’s Musical Club of Toronto showcases the eminent violist Steven Dann, his family and friends, Joel Quarrington and Jamie Parker, in an eclectic recital dubbed  “Dannthology,” on Apr 7. Their 118th season concludes on May 5 with a crowd-pleasing program by Honens Laureate, Pavel Kolesnikov.

The Blythwood Winds’ program on Apr 7 “explores the musical geography of continental Europe, contrasting old-school German romanticism with the French school of the early 20th century.”

In an intriguing concert at Alliance Française Toronto on Apr 8, Belgian pianist Olivier de Spiegeleir, plays works by Bach, Beethoven, Chopin and Schubert that the movies made even more famous.

In the third concert of a Beethoven String Quartet Cycle that concludes next season, Jeffery Concerts presents the Pacifica Quartet, quartet-in-residence at Indiana University, performing the master’s youthful Op.18 Nos.4 and 6 and the incomparable Op.59 No.1 (“Razumovsky”) on Apr 8.

Apr 9, one day after the Conservatory Orchestra’s concert, the U of T Symphony Orchestra (led by Uri Mayer) performs two masterpieces of the orchestral canon, Brahms’ Symphony No.3 and Shostakovich’s Symphony No.5.

Gallery 345 presents the indefatigable cellist, Rachel Mercer, in a solo concert, Apr 13. On Apr 15, the versatile violinist, Andréa Tyniec, joins forces with the sensitive collaborative pianist, Todd Yaniw, in a wide-ranging program of works by Sokolović, Ysaÿe, Piazzolla, Franck and Brahms.    

The dynamic Eric Paetkau leads the Hamilton Philharmonic in Elgar’s ineffable Serenade for Strings and Tchaikovsky’s eternal Symphony No.4 on Apr 16.

Mooredale Concerts presents the infectious Afiara String Quartet in works by Haydn, Mendelssohn and Dvořák (where they will be joined by the redoubtable bassist Joel Quarrington) on Apr 17.

Finally, don’t let this under-the-radar concert presented by Music at St. Andrew’s/Austrian Embassy/Austrian Cultural Forum slip by. Austrian cellist, Friedrich Kleinhapl, and German pianist, Andreas Woyke, bring their romantic European sensibility to Mendelssohn, Franck, Beethoven, Piazzolla and Gade, Apr 22. Steve Smith wrote this about their September 2009 NYC recital: “Mr. Kleinhapl and Mr. Woyke supported their idiosyncratic vision of Beethoven with unimpeachable virtuosity and a thrilling unanimity of spirit. The intensity with which they listened and responded to each other’s impetuous gestures was its own reward, but they also shed new light on these familiar pieces.”

Paul Ennis is the managing editor of The WholeNote.

Classical_Banner.jpg2106-Classical_1.pngThe youthful and adventurous Danish Ensemble Midtvest (EMV) makes its Canadian debut, March 13, as part of Mooredale Concerts’ current season. Mooredale’s artistic director, cellist Adrian Fung told me via email how he first met the group: “My Afiara Quartet tours Denmark every two years, each time playing over 20 cities. It was on one of these trips that I met the EMV, which is managed by the same energetic gentleman (Oliver Quast) who builds our successful Danish tours.”

Based in Herning, which is in the centre of west Jutland (hence the “midwest” reference), in the Herning Museum of Contemporary Art (HEART), EMV consists of five string players, a pianist and a wind quintet. As Fung pointed out, “They bring an incredible flexibility to their playing, as the size of their ensemble shrinks and expands to the benefit of the repertoire and their programming. Think of a team of chefs that each have their specialty, but only called to the fore when the menu calls for it.”

Their Walter Hall concert will see six members of EMV joined by American clarinet virtuoso, Charles Neidich, “a celebrated luminary of the clarinet” as Fung dubbed him, in a program that focuses on the ensemble’s piano-wind nexus. Danish composer Carl Nielsen’s  Fantasy: Pieces for Oboe and Piano Op.2 opens the recital and I was able to get a sense of it by sampling EMV’s cpo CD, Neilsen: Complete Chamber Works for Winds. I was struck by the richness of Peter Kristein’s singing tone on the oboe in the Romance and look forward to hearing him and pianist Martin Qvist Hansen live. Mozart’s Quintet for Piano and Winds in E-Flat Major K452 stands at the pinnacle of writing for piano, oboe, clarinet, bassoon and horn. I have been in love with it since childhood when my father introduced me to the Angel LP with pianist Walter Gieseking and the Philharmonia Wind Quartet that included the legendary hornist Dennis Brain.

Two months after Schubert finished writing Die schöne Müllerin, he took the 18th song in the cycle (Faded Flowers) and used it as the basis of a set of variations, Introduction and Variations on “Trockne Blumen” for Flute and Piano D802 Op posth.160. A solemn introduction leads into the gentle bucolic theme and as the variations progress the flutist is called on to convey beauty, tempestuousness, vulnerability and propriety. Flutist Charlotte Norholt, who will perform the work here in March, said before EMV’s first appearance at Carnegie Hall in 2012 (in a Danish video available on YouTube) that “the quest for musical excellence is the driving force of this ensemble.”

For Brahms’ Clarinet Trio in A Minor Op.114, cellist Jonathan Slaatto joins pianist Hansen to welcome back special guest Neidich for this enduring late-in-life masterpiece that was inspired by the same clarinetist (Richard Mühlfeld) who led Brahms to write his equally memorable clarinet quintet and sonatas. Slaatto, in that same YouTube video from 2012, expressed part of what makes EMV (and any good ensemble) tick when he said, referring to finding a suitable tempo, that your own view of any piece is subordinate to the view of the group as a whole.

Fung told me that he “was lucky to nab EMV on the same trip they are playing New York’s Carnegie Hall (their third appearance with them).” I suspect the Mooredale audience will agree after hearing their March 13 concert.

2106-Classical_3.pngMaxim Vengerov. On March 11, the universally acclaimed violinist, the extraordinary Maxim Vengerov, makes his first recital appearance in Toronto since a right shoulder injury and recovery from surgery forced him to suspend playing for four years in 2007. His Roy Thomson Hall concert with pianist Patrice Laré, presented by the Montreal Chamber Music Society, will include Franck’s emotionally rich classic, Sonata for Violin and Piano in A Major, Ysaÿe’s devilishly difficult, unaccompanied Sonata for Violin No.6 as well as music by Brahms and Paganini.

I got a sense of Vengerov’s journey back, which involved an assiduous rehab and reinvention of his violin technique from much reportage on the Internet, particularly Laurie Niles’ revelatory interview published on January 9, 2013. In that interview, Vengerov also spoke of his close relationship to cellist/conductor Mstislav Rostropovich and pianist/conductor Daniel Barenboim, both of whom he got to know as a teenager.

Of Rostropovich, Vengerov says he was “like a musical father, he was so close to my heart; I think it was his great musicianship and also understanding of the violin repertoire, of the stringed instruments, that helped us to build an incredible chemistry that I had with no one else.”

Barenboim, Vengerov says, would “view a piece of music as an instrumentalist, as a pianist, from the harmonic point of view, from the orchestration, colouring,” whereas Rostropovich had an “instant connection with the composer, with the soul of the composer,” imagining he was the composer himself performing the music.

Of course Vengerov himself has conducted successfully (as anyone in the audience in October of 2012 at Roy Thomson Hall was only too aware, for his historic double role as soloist/conductor with the TSO in an exceptional performance of Rimsky-Korsakov’s Scheherazade), but the violin remains his “first source of communication with the audience – no doubt my first love.”

Vengerov looked at the time when he couldn’t play as beneficial to deepening his musical knowledge. “I think I have more colours to my violin playing than before, for the fact that I hear it somehow differently.” He also discovered, after surgery, that he had to change his technique so that he moves much less; he had been putting too much physical effort into his playing. Working with quite a lot of pain forced him to relax his playing. “If I had pain, that meant I was doing something wrong,” he said.

All in the service of the music, of “the great heritage Beethoven, Brahms, Shostakovich, Tchaikovsky left for us. We have to deliver these great works in the best possible way that we can. We have to find a very personal approach to them. Every soloist nowadays has to try to say something unique, something personal. Otherwise, if you’re playing just another performance of Brahms’ concerto, why do we need to hear that? That is the great lesson that Barenboim taught me…Just study the score…I want to really hear your Sibelius, your discovery, based on your new, detailed knowledge of the musical score.”

Takemitsu in Kyoto. An unexpected delivery of a DVD recently rekindled memories of Toru Takemitsu, who won the Glenn Gould Prize six years before Pierre Boulez. The DVD, Kyoto, is a quasi-documentary, part travelogue, atmospheric portrait of a place and a lifestyle, made in 1968 by the Japanese master filmmaker Kon Ichikawa (The Makioka Sisters) with a soundtrack by Takemitsu, then in his late 30s. Its 37 minutes are densely packed with artfully composed images that treat a rock garden, a Buddhist temple and a royal villa with the same aesthetic respect as that given to the people who walk the city’s streets. Takemitsu’s music, mysterious and quietly surprising but always filled with a deep humanity, acts as the foundation that illuminates these images. With a modernist sensibility always conscious of a cultural past, his score is an essential component of this fascinating piece of cinematic art. The handsomely packaged DVD is available from Many years ago, I was fortunate to be invited to watch Takemitsu at work one afternoon supervising the marriage of music, sound design and image in Marty Gross’ exquisite Bunraku film, The Lovers’ Exile. Takemitsu’s attention to detail, personal warmth and humility made a lasting impression.


2106-Classical_2.pngMusic Toronto: If you’re quick off the mark you may be fortunate enough to hear the eminent British pianist Steven Osborne Mar 1. On Mar 10 the exuberant Montreal string ensemble, collectif9, performs a diverse program including Geof Holbrook’s Volksmobiles, from collectif9’s CD of the same name which Strings Attached DISCoveries’ columnist Terry Robbins praises elsewhere in these pages. Mar 17 the ebullient Quatuor Ébène’s strong program begins with Mozart’s delightful Divertimento K136, moves to Debussy’s Quartet in G Minor (a piece they own) before concluding with Beethoven’s immortal String Quartet No.14 Op.131. Apr 5 Duo Turgeon, husband-and-wife duo pianists, perform a heavyweight program that includes a new arrangement of Ravel’s Second Suite from Daphnis and Chloe by Vyacheslav Gryaznov, Lutoslawski’s Variations on a Theme by Paganini and Brahms’ Variations on a Theme by Haydn as well as pieces by the Russian Valery Gavrilin and the Canadian Derek Charke.

Royal Conservatory: I wrote in my last column about the talented young Norwegian violinist Vilde Frang and her Koerner Hall debut Mar 2. She’s followed Mar 4 by Canadian violinist Karen Gomyo, Swiss cellist Christian Poltéra and Finnish pianist Juho Pohjonen in an appealing program of Mittel-European fare. On Mar 20 Paul Lewis performs his first solo recital in this city since his remarkable Toronto debut with the Women’s Musical Club in the fall of 2013. In this upcoming Koerner Hall concert, he focuses on Brahms (Four Ballades Op.10; Three Intermezzi Op.117), Liszt (the transformative Après une lecture du Dante, fantasia quasi una sonata, “‘Dante Sonata” from Années de pèlerinage, Italie) and Schubert (the enchanting Sonata D575). On  Mar 29 the current crop of Rebanks fellows are on display in a recital in Mazzoleni Hall, which is also the venue Apr 7  for chamber music by Haydn, Berg (the uber-Romantic Lyric Suite) and Dvořák (the charming Piano Quintet No.2 Op.81) performed by the Musicians from Marlboro. In Koerner Hall on Mar 30 violinist Augustin Dumay and pianist Louis Lortie bring their powerful musical gifts to sonatas by Beethoven (“Spring”), Franck and Richard Strauss.

Perimeter: Best known as artistic directors of the Chamber Music Society of Lincoln Center, husband-and-wife cellist David Finckel and pianist Wu Han bring their considerable performing talents to the Perimeter Institute Mar 10, in a program of music by Richard Strauss, Chopin, Messiaen, Glazunov and Albéniz.

Nocturnes in the City: Pianist Adam Zukiewicz plays Beethoven and Liszt Mar 13. (One evening earlier, Mar 12, Zukiewicz plays a similar program at St. Basil’s Church.) The Czech-based Epoque Quartet plays Vivaldi, Jezek and others at the Praha restaurant Mar 27. Notable Czech pianist and Smetana specialist, Jan Novotný, makes a welcome visit to Toronto for a recital that includes music by Smetana, Schubert and Mozart.

Kitchener-Waterloo Chamber Music Society: The final weekend of the Attacca Quartet’s Haydn 68 series takes place Mar 18, 19 and 20; since their last appearance in the KWCMS Music Room, the quartet has a new violist, Nathan Schram. (My Q & A with the KWCMS’ Jean and Jan Narveson and interview with former Attaca violist Andrew Fleming appeared in The WholeNote’s November 2013 issue as the complete Haydn string quartet cycle began.) Mar 24 cellist Rachel Mercer and pianist Angela Park perform the complete Mendelssohn works for cello; on Apr 3 they join violinist Elissa Lee and violist Sharon Wei, their partners in Ensemble Made in Canada, for a Syrinx concert of music by Beethoven, Schumann and Omar Daniel.

Academy Concert Series presents Mozart’s masterful Sinfonia Concertante K364 for violin, viola and orchestra, and Beethoven’s first sonata for cello and piano, Op.5 No.1, transcribed by nineteenth-century arrangers for string sextet and cello quintet, respectively, Mar 19. Also Mar 19, Jeffery Concerts presents the TSO Chamber Soloists – Nora Shulman, flute, Teng Li, viola, Jonathan Crow, violin, Heidi Van Hoesen Gorton, harp, and Joseph Johson, cello, in a program of music by Françaix, Saint-Saëns, Debussy, Ravel and Jongen.

The TSO: Stéphane Denève, principal conductor of the Philadelphia Symphony Orchestra, leads the TSO in a crowd-pleasing program Mar 23 and 24 that features the charismatic Jean-Yves Thibaudet as soloist in Saint-Saëns’ exotic Piano Concerto No.5 “Egyptian.” On Mar 31 the TSO presents the Victoria Symphony conducted by Tania Miller with Stewart Goodyear as soloist in Grieg’s lyrical Piano Concerto. Soprano Carla Huhtanen, poet Dennis Lee and narrator Kevin Frank join conductor Earl Lee in two afternoon Young People’s Concert performances Apr 2 of Abigail Richardson-Schulte’s musical treatment of Lee’s iconic children’s classic, Alligator Pie. It would be a surprise if Gabriela Montero didn’t improvise her own cadenza in Mozart’s sublime Piano Concerto No.20 K466 when she appears as soloist with the National Arts Centre Orchestra under its new conductor Alexander Shelley Apr 2; two of Richard Strauss’ most exciting tone poems, Don Juan and Death and Transfiguration open and close the concert.

Massey Hall/Roy Thomson Hall presents Chopin champion Yundi in his first Toronto recital in a decade Mar 19; the famously conductorless Orpheus Chamber Orchestra features Pinchas Zukerman as soloist in Mozart’s Violin Concerto No.3 K216, a masterpiece of gallantry and lightness, and in Beethoven’s tender First Romance, Mar 20.

Canzona presents the XIA Quartet – Edmonton Symphony Orchestra concertmaster Robert Uchida and Toronto Symphony Orchestra members, violinist Shane Kim, assistant principal violist, Theresa Rudolph, and principal cellist, Joseph Johnson, playing music by Bartók, Debussy and Schubert, Mar 20 at St. Andrew by-the-Lake, on Toronto Island, repeated Mar 21 on the mainland.

Three years ago, Rashaan Allwood was the very rare recipient of a perfect 100 in his ARCT Royal Conservatory exam. Now he’s a U of T student with an upcoming free recital Mar 26 at Walter Hall of piano music inspired by birdsong and nature – Messiaen, Ravel, Liszt, Granados and others.

Last month I wrote about Andrew Burashko, Art of Time Ensemble’s founder and artistic director; the group’s unmissable next concert, “Erwin Schulhoff: Dada, Jazz and the String Sextet: Portrait of a Forgotten Master,” takes place Apr 1 and 2 at Harbourfront Centre Theatre.

Following their playing of Mendelssohn’s engaging String Quartet No.2, U of T Faculty of Music ensemble-in-residence, the Cecilia String Quartet is joined by James Campbell for a performance of Brahms’ Clarinet Quintet, a cornerstone of the clarinet repertoire, Apr 4.

The COC orchestra’s top two violinists, Marie Bérard and Aaron Schwebel, give a free noontime concert featuring music by Ysaÿe and Leclair, in the Richard Bradshaw Amphitheatre, Apr 5

Paul Ennis the managing editor of The WholeNote.

2105-Classical.jpgTwo brilliant young European violinists make their local debuts in February. In winning the 2001 Queen Elizabeth Competition, Latvian violinist Baiba Skride joined such luminaries as Oistrakh, Kogan, Laredo and Repin in the fiddling firmament. The Guardian recently called Skride “a passionate heart-on-sleeve player.” Now 34, she will appear with the TSO in Brahms’ richly sonorous Violin ConcertoFebruary 17 and 18.

According to BBC Music Magazine, the 29-year-old Norwegian, Vilde Frang, “has the knack of breathing life into every note.” Frang will give a recital at Koerner Hall, March 2, with Michail Lifits on piano. Her program begins with Schubert’s Fantasy in C Major for Violin and Piano D934, another masterpiece from the last year of the composer’s life, and moves through Lutoslawski’s Partita, commissioned by Pinchas Zukerman in 1985, before concluding with Fauré’s ever-popular Violin Sonata No.1. Frang began her musical education at four, played Sarasate’s Carmen Fantasy with the Oslo Philharmonic Orchestra, conducted by Mariss Jansons, when she was barely 13, and was thrust into the limelight when she was named Credit Suisse Young Artist of the Year in 2012. A recording contract and worldwide touring were the result.

It’s illuminating to hear both violinists talking about inspiration and interpretation in interviews readily available in cyberspace. Skride told Tobias Fischer (on April 20, 2006) that interpretation “means giving my opinion to the audience, while at the same time respecting what the composer might have wanted. It’s a combination of my personal beliefs and the composer’s probable intent.” Her interpretive process, she continued, is “almost always emotional. Of course, there are certain things you have to know about and naturally you do get your facts straight while preparing. But 99 percent is intuition, absolutely.” Her approach to performing live is “simply giving everything you have in that very moment.”

In a YouTube video biography made shortly after her Credit Suisse honour, while soaring on her violin in rehearsal for Bruch’s Violin Concerto No.1 with Jakub Hrůša and the Philharmonia Orchestra, Frang spoke of the importance she places on trusting her instincts,  how it’s crucial to take in things and let yourself be inspired. “Inspiration is really the most important thing,” she said. “I use my instrument as a tool [to transform inspiration]. Whether you hear Dietrich Fischer-Dieskau, a wonderful horn solo or the sound of the sea, it’s something you can actually work with.”

Later that year, on August 1, 2012, Frang spoke with Laurie Niles of about what brought her to the violin. “My father is a double bass player, and my sister is also a double bass player – my mother isn’t a musician, actually. But I watched my sister play in youth orchestras, when I was small, and obviously I thought I was the next one in line, in the double basses family! To me it was a natural thing, but then my father made this argument: our family had a Volkswagen, which was a very tiny car. He said, ‘Can you imagine, when we go on holiday, with three double basses? There is no chance the whole family will get space in the car!’

“So he made me a smaller instrument. It was made of cardboard – there were no strings on it. So I could put my Little Twin Star stickers on it, and Hello Kitty stickers – but the fact that it didn’t make any sound – I found this to be very frustrating! I had to ‘play’ on it for almost a year until I finally got a violin which was alive, which made sound.

“I remember the moment I got the violin that was real, that was really living and alive – I’ve never practised so inspired in all my life, as I did the first couple of days with that violin! I was in seventh heaven, I was so happy.”

Niles asked Frang, who began with the Suzuki method, how she  connected with Anne-Sophie Mutter (See my November 2014 column in The WholeNote for more on Mutter and her foundation): “I first played for Anne-Sophie Mutter when I was 11-years-old,” she said. “After that, she asked me to keep her updated, and she followed my development. I kept sending her recordings and tapes of my playing, and letters about how I was doing. It was obviously a very inspirational thing for me, because I knew that she was always there watching, somewhere. When I was 15, she invited me to Munich to audition for her again, and then I was taken into her foundation, her Freundeskreis Stiftung, or Circle of Friends Foundation, and I was also given this Vuillaume instrument.

“Ms. Mutter has also been a great, great mentor to me over all these years. I did a tour with her in 2008, and we played in Carnegie Hall and the Kennedy Center in Washington. I played the Bach Double with her. Of course, I learned a lot from this experience, not only playing for her, but playing with her. I think the most important was that she encouraged me to always trust my own instincts and follow my own voice. That is her top priority, and that’s the message she wanted to give, which I think is a wonderful thing.

“But more than any other musician I know, she is extremely focused on exploring the musical score, in order to get as close as possible to the composer. Many people might consider her to be very free, but actually she has the most authentic and strictest approach that I know of. I think that is why she allows herself to have that amount of freedom. The more you know the piece and the better you know the score, the more freedom you actually have yourself.”

Hamelin past and future. Marc-André Hamelin’s Music Toronto recital on January 5 had a blissful component running through it from Liszt’s Bénédiction de Dieu dans la solitude to the Schubert Sonata in B-flat D960 and the well-chosen encore, Messiaen’s Prelude “The Dove.” For me, this emotional line reached its apex with the sublime second movement of the Schubert which had a profundity that reminded me of the last three Beethoven sonatas. There was a serenity to Hamelin’s playing that was more pronounced than when he played at Koerner Hall the previous March. At times he seemed to slow the music just enough that you could feel it palpably.

During the conversation I had with him in November (see my article in the December 2015-January 2016 issue of The WholeNote), Hamelin described his  relationship with Mendelssohn’s Piano Concerto No.1, which he will perform with the TSO on February 25 and 27. “I learned it very early,” he told me. “I remember the first time I played it was with Skrowaczewski and the Montreal Symphony. I believe it was somewhere like 1990 or ’91. It’s certainly not the deepest piece ever written but it shows consummate craftsmanship. And it’s also very entertaining for audiences. And in some ways quite touching.” Louis Langrée, famous for his stewardship of the Mostly Mozart Festival, his career blossoming as music director of the Cincinnati Symphony Orchestra, will conduct.

Quick Picks

2105-Classical2.jpgFeb 4 The last time I heard the Annex Quartet, they showed their sensitive musicianship supporting Jan Lisiecki in the chamber versions of Beethoven’s Piano Concertos Nos. 2 and 4. Their solid Music Toronto recital includes string quartets by Janáček, R. Murray Schafer and Mendelssohn. Feb 18 The irrepressible St. Lawrence String Quartet makes its annual visit to Music Toronto with works by Haydn, Samuel Adams and Schumann. Mar 1 The distinguished British pianist Steven Osborne performs two Schubert Impromptus D935 (fresh from his sparkling new Schubert CD) and a selection of Debussy and Rachmaninoff, in his Music Toronto return.

Feb 5 Conductor Eric Paetkau’s contagious energy and musicianship guide the eclectic group of 27 in Finzi’s bucolic A Severn Rhapsody and a trio of French works including Dubois’ Cavatine for Horn featuring the TSO’s Gabe Radford. The dynamic Nadina Mackie Jackson is the bassoon soloist in the world premiere of Paul Frehner’s Apollo X.

Feb 11 An ingenious piece of animation, The Triplets of Belleville is filled with cultural references that fly by with terrific panache, Sylvain Chomet’s 2003 film has rightly become a classic. Composer Benoît Charest leads Le Terrible Orchestre de Belleville and special guest Nellie McKay in the live performance of his infectious, original score for the film (rooted in 1930s vaudeville/jazz) accompanying this special screening at Roy Thomson Hall.

Feb 12 Cellist Rachel Mercer follows up her well-received CD of Bach’s unaccompanied cello suites with an exciting concert of music for solo cello at Gallery 345, beginning with one of those Bach suites. Mercer then moves from Cassadó’s early 20th century suite to contemporary pieces by Andrew Downing and the world premiere of Darren Sigesmund’s Solo Suite.

Feb 13 Celebrate the Year of the Monkey with the TSO as the great violinist Maxim Vengerov is the soloist in the Butterfly Lovers Concerto. Long Yu, artistic director of the China Philharmonic Orchestra and music director of the Shanghai Symphony Orchestra, conducts. Feb 22 The Associates of the TSO present works by Françaix, Janáček and Brahms for various combinations of flute, oboe, horn, bassoon and two clarinets. Mar 2 Seven soloists from the TSO’s ranks (including the ubiquitous Teng Li) showcase their talents when the TSO presents music by Paganini, Vivaldi and Haydn (his elegant and tuneful Sinfonia Concertante in B-flat Major for the unusual combination of soloists, violin, cello, oboe and bassoon).

Feb 17 The hip, Brooklyn-based orchestral collective, The Knights, make their Koerner Hall debut, joined by violinist Gil Shaham, whose warm playing should illuminate Prokofiev’s Violin Concerto No.2, in all its angularity and dark beauty. Feb 26 Koerner Hall gives us the rare gift of hearing violinist Christian Tetzlaff, his sister, cellist Tanja Tetzlaff and pianist Lars Vogt performing piano trios by Schumann, Dvořák and Brahms. Richard Haskell praised them in these pages last September for their “conducive music-making in the three Brahms piano trios.” Andras Schiff’s monumental Feb 28 recital in Koerner Hall is sold out. Those lucky enough to have tickets (myself included) can look forward to a program memorable for its inclusion of the final piano sonatas by Haydn, Beethoven, Mozart and Schubert. Mar 4 Much-in-demand (especially since she received the Avery Fisher Career Grant in 2008) Canadian violinist, Karen Gomyo, teams up with well-regarded cellist, Christian Poltéra, and talented young Finnish pianist, Juho Pohjonen, to perform trios and sonatas by Haydn, Janáček and Dvořák. All four of these events are presented by the Royal Conservatory.

Feb 19 The charming Trio Arkel (TSO members violist Teng Li and cellist Winona Zelenka, COC concertmaster Marie Bérard) move into their new venue, Jeanne Lamon Hall at Trinity-St. Paul’s Centre, with a program including Gubaidulina’s exhilarating String Trio, Kodály’s Serenade for Two Violins and Viola and Beethoven’s glorious Quintet for Strings, Op.29 “The Storm.” Joining them for this and a repeat concert in London, Feb 29, presented by the UWO Don Wright Faculty of Music, will be violinist Scott St. John and violist Sharon Wei.

Feb 20 Also in London, Jeffery Concerts presents the award-winning cellist Yegor Dyachkov and longtime chamber music partner, pianist Jean Saulnier, in works by Brahms, Schumann and Janáček.

Feb 23 Charles Richard-Hamelin, who finished second in last year’s prestigious Chopin competition in Warsaw, will give a COC free noon-hour concert of a selection of Chopin’s last piano works at the Richard Bradshaw Amphitheatre. Based on his thrilling performance of Chopin’s Sonata No.3 at Mazzoleni Hall on January 15, I urge you not to miss it.

Mar 3 The Women’s Musical Club of Toronto’s talent-laden season continues with the widely acclaimed Daedalus String Quartet performing Sibelius’ String Quartet in D Minor “Voces Intimae” Op.56. Montreal native, clarinetist Romie de Guise-Langlois, joins them in James MacMillan’s powerful lament, Tuireadh, and Brahms’ sublime Clarinet Quintet in B Minor Op.115

Paul Ennis is the managing editor of The WholeNote.

Classical 1Daniel Hope has built a substantial international career as an acclaimed violin soloist, chamber musician and music festival curator. A champion of contemporary music and an advocate of the classical canon, his musical curiosity cannot be pigeon-holed. He was the violinist with the legendary Beaux Arts Trio for six years and is currently associate artistic director of the Savannah Music Festival. He is a prolific writer (with three German-language books to his credit) who has devoted much of his time over the last 15 years to the study and preservation of music by composers murdered by the Nazis. He has worked with the brilliant, Oscar-winning German actor, Klaus Maria Brandauer, on  projects combining music and the spoken word, including a look at Stravinsky’s A Soldier’s Tale through the prism of war and peace.

Hope’s father, author Christopher Hope, was an outspoken critic of apartheid. Those beliefs forced the whole family to leave South Africa in 1974 when Daniel was six months old. They moved to London, where his mother took a job as Yehudi Menuhin’s secretary, later becoming his manager.

January 28 Hope returns to Koerner Hall for his third Toronto concert in 16 months following memorable appearances September 30, 2014 as soloist in Max Richter’s Vivaldi’s Four Seasons Recomposed, and April 8, 2015 when his singing tone contributed greatly to the Chamber Music Society of Lincoln Center’s performance of Mahler and Brahms piano quartets. His upcoming recital “Yehudi Menuhin @ 100” with pianist Sebastian Knauer is a tribute to the man in whose house he grew up and with whom he performed many times during Menuhin’s last ten years.

The program consists of music dear to Menuhin’s heart. He and Glenn Gould famously recorded J.S. Bach’s Violin Sonata No. 4 in C Minor, BWV 1017. The next piece on the program, George Enescu’s Impromptu concertant reflects the fact that Menuhin studied with Enescu from the age of 11, a mentorship that led to the two becoming lifelong friends. Menuhin speaks about him on YouTube: “Enescu will always be my guiding light as a man, as a musician.” Menuhin also had great affection for the next piece on the program, Mendelssohn’s Sonata in F Major, which Menuhin was instrumental in publishing for the first time in 1953.

The Walton Violin Sonata was commissioned by Menuhin in the late 1940s. It’s followed by Ravel’s “Kaddisch” from Deux mélodies hébraïques. Hearing Menuhin play it on YouTube from a recording he made when he was 20 is a very moving experience. He lets the music speak for itself; his playing is serene yet paradoxically forceful. Bartók’s Romanian Folk Dances, which conclude the program, acknowledge Menuhin’s devotion to the Hungarian composer (Menuhin commissioned the Sonata for Solo Violin from Bartók). All in all, a splendid way to evoke Menuhin’s spirit.

Hope and Menuhin: I spoke briefly with Hope backstage after his  Soundstreams concert last year and he told me a little about growing up in Yehudi Menuhin’s house and what an extraordinary influence it was on his life, how it was absolutely incredible in so many ways.

“That it happened completely by accident, that was the thing. My parents are not musicians at all; they have no musical training. But we were kind of thrown into this musical environment and then Menuhin himself, of course, but also the people who came to that house, who played with him, who came to work with him. The amalgamation of musical styles in that house was something out of this world. You would have on the same day Rostropovich and Ravi Shankar. Or Wilhelm Kempff and Oscar Peterson.

“So you had great, great music, the essence of music. And as a result, it took me until I was 10 or 11 to actually realize there were different categories of music. I didn’t understand that. I heard amazing music and this music amazed my ears. And the fact that it happened to be Indian music or it happened to be a Beethoven sonata didn’t make a difference to me. It was just fascinating.”

When Hope was four he announced that he was  going to become a violinist. I asked how he came to that decision.

“It came about,” he said,” because of absorption. It was hearing the violin, it was seeing the violin. There were violins everywhere; there were real violins, there were images of violins. He had the most incredible collection of Paganini original concert posters. He had sketches and drawings of Paganini everywhere. Hundreds of them. So, wherever you looked you saw an image of a violin or a violinist.

“Plus you had him always with a violin, you had violinists who came in there. So I heard this sound all the time so it wasn’t perhaps so much of a surprise when I announced that this is what I wanted to do but it did throw my parents slightly a curve because they didn’t really know how to deal with that. And it was out of the question to go to my mom’s boss.

“Because I could have said the next day, ‘I want to be a fireman or an astronaut or something.’ So ... four-year-old child, whatever. So they decided instead to find a teacher who lived around the corner. And that was the next bit of great luck. This lady happened to be one of the great, great pedagogues of children. We didn’t know that. We just asked a few people who said, ‘This lady’s pretty good with kids.’ Sheila Nelson was a groundbreaking teacher. And she was the one who made this happen actually.

“Menuhin, much later in life, took a real interest, but only when I was 16 or something. So I had to make my way and I had to learn how to practise and meet the teachers that defined the way I played and the way I worked. And it was through my last teacher, Zakhar Bron, the great, great teacher, that Menuhin became quite interested because [Bron] had great success with Maxim Vengerov and Vadim Repin, at the time, 15-, 16-year-old kids. And I think he was curious to see what could Bron have done. And that’s when I went to play for him when I was 16 and it was a mixture of shock and delight because [I was] the little kid who always ran around the house, who was very close to him (he was like a family member to us). Suddenly it changed and we became kind of teacher-student, mentor, colleague.”

That was the beginning of 60 concerts Hope performed with him.

“Starting from that moment on, until his death, his last concert. That was a period of about ten years; going on the road with him, studying with him, then playing in the evening, playing the concerts. That was the ultimate because you could learn so much in a lesson but nothing actually prepares you for that moment when you go out and play, when you perform.

“And do the great concertos with him, you know, the Elgar, and the Bartóks – the things that he had, you know, he’d met the composers and he’d worked with them – was just incredible.”

Hope’s January 28 concert precedes the international release of his new CD, My Tribute To Yehudi Menuhin, by just a few days. There are many parallels between its contents and the program of the Koerner Hall recital. The CD includes Mendelssohn’s Violin Concerto in D Minor which Menuhin resurrected after one of the composer’s relatives presented it to him in 1951. There are works by Bartók and Enescu. There is an homage, Unfinished Journey, by Bechara El-Khoury, written ten years after Menuhin’s death. There are three tributes to Menuhin, by John Tavener, Steve Reich and Hans Werner Henze, part of the Compassion project that Menuhin undertook with violinist  Edna Michell.

Quick Picks

Dec 2 The Kitchener-Waterloo Chamber Music Society presents pianist Alexander Tselyakov and the Canadian Sinfonia Chamber Musicians in Hummel’s Piano Quintet Op.87 and an intimate setting of Chopin’s Piano Concerto No.2Dec 9 Duo Concertante’s pianist Timothy Steeves goes it alone in a performance of four diverse Haydn sonatas. Dec 16 K-WCMS celebrates Beethoven’s birthday with the Penderecki String Quartet’s program of two of the composer’s most riveting quartets, Op.59 No.3 and Op.132Jan 27 Mozart’s birthday is acknowledged in a diverting program by Trio+ that includes the piano Sonata K457, two trios (K502 and K542) and the poignant Sonata for violin and piano K304, reputedly Albert Einstein’s favourite piece to play. Jan 30 André Laplante studied with Yvonne Hubert in Montreal and no doubt had the same experience as all of Hubert’s students; she would sit on her student’s right and, with her left hand, play all the right-hand passages flawlessly. Laplante’s K-WCMS program consists of crowd-pleasing jewels by Schubert, Ravel, Liszt and Chopin.

Dec 10 The iconic Gryphon Trio begins the third decade of its annual Music Toronto association with a program that includes an early Beethoven trio (Op.1 No.3), a world premiere by Vincent Ho (Gryphon Realms) and Arno Babajanian’s Piano Trio in F-Sharp MinorJan 14 The compelling JACK Quartet brings their contemporary focus to works by John Luther Adams, John Zorn and Iannis Xenakis. Feb 4 Music Toronto’s season continues with the Toronto-based Annex Quartet, whose program includes Janáček’s powerful Quartet No.1 “Kreutzer Sonata”, R. Murray Schafer’s Quartet No.5 “Rosalind” and Mendelssohn’s Quartet No.2

Jan 17 A period ensemble that plays on gut strings with classical bows, the London Haydn Quartet brings a quintessential classical program to Mooredale Concerts’ first event of the new year.  Their performance of the same program – Mozart’s sublime Clarinet Quintet in A Major, K581 (with guest clarinetist Eric Hoeprich), Haydn’s String Quartet in Bb Major, Op. 50, No.1, and Beethoven’s String Quartet in D Major, Op. 18, No. 3 – was called “revelatory” by the New York Times last year. The review went on to praise “the earthy, warm sounds of the gut strings [that] blended beautifully throughout” and the “myriad details of shading and contrast, and beautifully calibrated phrasing.”

Jan 18 Pianist Christina Petrowska-Quilico heads a stellar group of chamber musicians in this Associates of the Toronto Symphony Orchestra concert with the intriguing title “Colours in Music: Composers with Synaesthaesia.” The sensation of experiencing sounds as colours manifests itself in a wide-ranging program of works by Liszt, Ellington, Sibelius and Caravassilis.

Jan 1617 The TSO’s “Mozart @ 260” features a representative sampling of the great composer’s creative output: the overture and two arias from Don Giovanni, his “Jeunehomme” piano concerto (with French pianist Alexandre Tharaud) and his final symphony, all conducted by Bernard Labadie. Jan 2728 The musical treasure that is Barbara Hannigan returns to the TSO in a performance of Dutilleux’s Correspondances. Hannigan and Dutilleux had a very close artistic relationship which the singer touched upon in CBC RADIO 2’s This Is My Music recently. Peter Oundjian also leads the orchestra in Berlioz’s ever-fresh Symphonie fantastique, which will share the stage with Richard Strauss’ buoyant Horn Concerto No.1 on Jan 30. The TSO’s principal horn, golden-toned Neil Deland, is the soloist.

Jan 30 Winner of the 1998 Tchaikovsky Competition, 40-year-old Russian pianist Denis Matsuev puts his poetic and virtuosic talent on display in a program that begins with Schumann’s Kinderszenen and Kreisleriana before concluding with Rachmaninov’s Etudes-Tableaux Ops.3,6 and 9  and Sonata No.2. As we go to press the Koerner Hall concert is almost sold out. Act quickly.

Daniel Hope performs “Menuhin @ 100” at Koerner Hall, January 28. 

Paul Ennis is the managing editor of The WholeNote.

Dang Thai Son and Yike (Tony) Yang at the end of the 2015 Chopin CompetitionToronto and Canada have been abuzz recently with the announcement of pianist Charles Richard-Hamelin’s second-place finish in the 17th Fryderyk Chopin Competition in Warsaw. It’s the first time a Canadian has won a prize in that prestigious event. In addition Richard-Hamelin won the Krystian Zimerman Prize for best performance of a sonata for Chopin’s Sonata No. 3 in B Minor, Op. 58. The Women’s Musical Club of Toronto was justly proud. It was the same sonata that won him their Career Development Award last April. In fact at the initial concert of their 148th season October 15, the WMCT announced that Richard-Hamelin had just made the finals.

Even mainstream media picked up on the historic nature of the award, the story made sweeter by the (perhaps) more unexpected news that 16-year-old Toronto high school student Yike (Tony) Yang, who finished fifth, became the youngest prizewinner in the history of the gruelling competition. One of Yang’s teachers, former Chopin Competition winner (1980) Dang Thai Son (the subject of The WholeNote’s February 2000 cover story), was one of 17 jury members. Martha Argerich (whose final vote mirrored the top two finishers -- Seong-Jin Cho of South Korea was awarded first place), Garrick Ohlsson, Yundi and Adam Harasiewicz were other former winners among the jurors. Richard-Hamelin’s second place puts him in the distinguished company of Vladimir Ashkenazy, Mitsuko Uchida and Ingrid Fliter.

Yulianna Ardeeva: This month’s listings are brimming with young talent. In a coincidence of rare serendipity, Yulianna Ardeeva, who placed first in the previous Chopin competition in 2010, is the guest soloist with the Orchestre Symphonique de Montréal (OSM) at Roy Thomson Hall on November 25. On her website you can get a sense of the crisp articulation that will undoubtedly serve her well here in Stravinsky’s elegant Capriccio for Piano and Orchestra. Kent Nagano will also lead the orchestra in Shostakovich’s profound Symphony No.10.

Alexander Seredenko, who won first prize in the Canadian Chopin Piano Competition in 2014 is the soloist in the latest instalment of Rob Kapilow’s ongoing TSO series “What Makes It Great?” Rachmaninoff’s justly popular Piano Concerto No.2 will be explored by the engaging Kapilow and the up-and-coming Seredenko.

Anastasia Rizikov, another gifted prodigy, now 16, gives a recital at Glenn Gould Studio, November 28. It will be interesting to see if she performs Albéniz’ Triana, which earned her first place at the Jaén International Piano Competition in Spain earlier this year, as well as a special prize in the Obligatory Spanish Work category. This piece is scheduled for inclusion on her upcoming Naxos CD, to be released next March, 2016.

Phil and Eli Taylor Academy: Speaking of prodigies, the COC is featuring three young pianists from the RCM’s Phil and Eli Taylor Performance Academy for Young Artists, in a noontime free concert, November 26: 11-year-old Leonid Nediak, who won the Canadian Music Competition (age 7 to10) in 2013 and made his OSM debut in 2014; 12-year-old Raymond Huang; and Richard Chao Gao, who appeared at RTH in the Emanuel Ax-curated “Pianorama” last February. The fall edition of the Taylor Academy Showcase Concert November 21 at Mazzoleni Hall is already sold out, so this is an opportune moment to get a sense of the young talent on the rise in our city without having to wait for the Taylor Academy’s next showcase in the winter of 2016.

Jan Lisiecki: No reference to prodigies would be complete without noting the sublime Jan Lisiecki, now 20, whose December 6 Koerner Hall recital is sold out. I’m happy to say I already have my ticket and I’m looking forward to hearing Lisiecki (and his pellucid, singing tone) perform, among other works, Chopin’s Preludes Op.28, Mozart’s Sonata No.11 in A Major K331 and Mendelssohn’s Variations sérieuses in D Minor, Op. 54.

Peter Jablonski, now 44, who makes his Toronto debut at the Jane Mallett Theatre November 10, began studying drums at five and piano at six. He played the Village Vanguard with Buddy Rich and Thad Jones when he was nine, earning praise from Miles Davis. He then made his solo recital and orchestral piano debut at eleven in Sweden before establishing a distinguished professional career in the U.S. and U.K. in the early 1990s. His Music Toronto program is unusually rich and varied, moving from Szymanowski and Chopin to Grieg, Rachmaninoff, Scriabin and Leonard Bernstein’s transcription of Copland’s El Salón Mexico.

Schulich School. Richard-Hamelin, currently studying with André Laplante, received his master’s degree from the Yale School of Music in 2013 and a bachelor’s degree in performance from McGill’s Schulich School of Music in 2011. Another Schulich tie-in: celebrating the Schulich School’s tenth anniversary, the McGill Symphony Orchestra, led by conductor Alexis Hauser, makes its Koerner Hall debut November 17.

Highlighting the evening will be Brahms’ resplendent Double Concerto in A minor, Op.102 with violinist Axel Strauss and cellist Matt Haimovitz as soloists. Strauss’ Naxos recording of Volume 2 of Enescu’s violin and piano music caught the attention of Terry Robbins in last June’s WholeNote. He called the CD “exceptional” and Strauss “terrific”in his Strings Attached column. The opportunity to hear the internationally acclaimed Haimovitz is always welcome. All three artists are on the Schulich School faculty. The evening begins with John Rea’s Over Time. Rea, a two-time recipient of the Jules Léger Prize for New Chamber Music, will attend the concert. Closing out the program is Shostakovich’s forceful Symphony No.5, with its contagious rhythms that careen from sarcasm to triumph.

And speaking of student orchestras, ten days later, Tania Miller, music director of the Victoria Symphony, leads the Royal Conservatory Orchestra (the RCM’s own student orchestra) in its fall Koerner Hall concert. Their program opens with Traffic Jam, by the Banff Centre’s “emerging composer” and composer-in-residence of the Victoria Symphony, Jared Miller. Concertmaster Heidi Hatch, a Glenn Gould School scholarship recipient, is the soloist in Bruch’s Scottish Fantasy, a delightful mashup of Scottish folk songs and German Romanticism. Mahler’s memorable Symphony No.5 completes the evening.

Grosvenor’s ReturnLast month I profiled the extraordinarily talented young British pianist, Benjamin Grosvenor. His return visit to the Jane Mallett stage October13 exceeded all my expectations. For a report on the concert, please read my blog on

Charles Richard-HamelinQUICK PICKS

November 5 The Cecilia String Quartet’s Music Toronto concert includes Mendelssohn’s String Quartet Op.44, No.2 which is featured on their newly released Analekta CD. The quartet series continues November 26 with the Toronto debut of the young Polish ensemble, the Apollon Musagète Quartet, playing Dvořák and Schubert.

November 6 Beethoven’s under-appreciated Symphony No.4 is the featured work in a diverse program by the energetic group of 27 under the direction of the effervescent Eric Paetkau that also includes works by Purcell, Burge and Glazunov.

November 8 Marquis Classics recording artist, flutist Susan Hoeppner, and TSO principal oboist, Sarah Jeffrey, are joined by pianist Jeanie Chung in a program of works by Ginastera, W.F. Bach, Ibert and others in Mazzoleni Hall.

November 8 The superb string trio, Trio Arkel, includes Haydn and Beethoven in its Kitchener-Waterloo Chamber Music Society (K-WCMS) recital. November 9 finds the Arkel in Heliconian Hall playing a similar program.  November 12 the COC free noontime concert series features them again in the Beethoven Trio Op.9, No.3 as well as Michael Oesterle’s Warhol Dervish.

November 10 Legendary musicians flutist Suzanne Shulman and harpist Erica Goodman perform “An English Midday Serenade” at McMaster University in a free lunchtime concert that includes music by Vaughan Williams, Handel and Elgar, among others.

November 11 Nocturnes in the City presents the celebrated Zemlinsky String Quartet in a program of works by Dvořák, Janáček, Suk and Shostakovich

November 12 The K-WCMS series continues with the Zemlinsky String Quartet. The esteemed Czech musicians include the first of Beethoven’s late string quartets, his Op.127, in their program. November 18 rising star violinist Francesca Anderegg gives a solo recital featuring Bach, Ysaÿe and Kreisler. November 21 the versatile Ottawa-based pianist, David Jalbert, mixes and matches Satie, Poulenc and Stravinsky in his “Soirée Parisienne.”

November 12 and 14 Michael Sanderling, of the musical Sanderlings (father Kurt, brothers Thomas and Stefan) and conductor of the Dresden Philharmonic, leads the TSO in Mahler’s Symphony No.4, perhaps the composer’s most popular symphony. November 18 and 19 Peter Oundjian takes back the baton for Rimsky-Korsakov’s crowd-pleasing Scheherazade, with concertmaster Jonathan Crow as violin soloist. Principal clarinetist Joaquin Valdepeñas brings his gorgeous, full tone to Weber’s Clarinet Concerto No.1. Dec 2, 3 and 5 Crow returns to the spotlight for Tchaikovsky’s Violin Concerto, that enduring romantic icon, while Oundjian conducts another of the composer’s masterpieces, his Symphony No.6 “Pathétique.”

November 14 The Dover Quartet caught everyone’s attention when they won the Grand Prize and all three Special Prizes at the 2013 Banff International String Quartet Competition. Their concert in Kingston’s Isabel Bader Centre for the Performing Arts should be worth the trip.

November 15 The Windermere String Quartet performs Russian works by Alabiev and Glinka as well as Beethoven’s great “Razumovsky” Quartet Op.59, No.2.

November 25 André Laplante brings his secure pianistic sense to Schubert’s Moments Musicaux (Nos.1,2 and 6) and Three Petrarch Sonnets by Liszt as part of the Toronto Mendelssohn Choir’s “German Romantics” program.

November 29 Canadian superstar violinist, James Ehnes, is the soloist in Lalo’s virtuosic Symphonie Espagnole with the Niagara Symphony Orchestra. 

 Paul Ennis is the managing editor of The WholeNote.

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