Volume 27 Issue 2 - November 2021
Live events on the up and up while creative live-and livestreamed hybrids continue to shine. October All-star Sondheim's Follies at Koerner Hall headlines the resurgence; Zoprana Sadiq brings MixTape to Crow's Theatre; Stewart Goodyear and Jan Lisiecki bring piano virtuosity back indoors; Toronto Mendelssohn Choir's J-S Vallee in action; TSO finds itself looking at 60 percent capacities ahead of schedule. All this and more as we we complete our COVID-13 -- a baker's dozen of issues since March 2020. Available here in flipthrough, and on stands commencing this weekend.
Live events on the up and up while creative live-and livestreamed hybrids continue to shine. October All-star Sondheim's Follies at Koerner Hall headlines the resurgence; Zoprana Sadiq brings MixTape to Crow's Theatre; Stewart Goodyear and Jan Lisiecki bring piano virtuosity back indoors; Toronto Mendelssohn Choir's J-S Vallee in action; TSO finds itself looking at 60 percent capacities ahead of schedule. All this and more as we we complete our COVID-13 -- a baker's dozen of issues since March 2020. Available here in flipthrough, and on stands commencing this weekend.
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instrument twitters, faster 6/8 section flute<br />
duet, and happy rhythmic repeated melodies<br />
building to an unexpected silent pause.<br />
Behemoth, in five short movements (1976)<br />
by Alexandra Pierce is a unique modern tone<br />
poem inspired by the Book of Job from the<br />
Old Testament, and by humanity’s struggle<br />
with existence. The opening more-atonal,<br />
full-orchestral scary movement repeats<br />
snare “pops/clicks” throughout. The second<br />
movement is bouncy and delicate with<br />
contrasting temple blocks. Colour change in<br />
the fourth, mainly featuring the percussion<br />
section, which leads to a fun final movement<br />
with a jazz-tinged full orchestra build with<br />
closing horns.<br />
Blundell leads the orchestra to top-notch<br />
performances. Short (30’22” minutes in<br />
length) but sweet!<br />
Tiina Kiik<br />
Joan Tower – Strike Zones<br />
Evelyn Glennie; Blair McMillen; Albany<br />
Symphony; David Alan Miller<br />
Naxos 8.559902 (naxosdirect.com/<br />
search/8559902)<br />
! Joan Tower is<br />
considered one of<br />
the most prominent<br />
living American<br />
composers. In this<br />
Naxos release we<br />
hear three world<br />
premiere recordings<br />
featuring the<br />
eminent percussion virtuoso Evelyn Glennie,<br />
pianist Blair McMillen and the Albany<br />
Symphony Orchestra.<br />
The title track, Strike Zones, is a concerto<br />
for percussion and orchestra where Glennie’s<br />
masterful technique is able to come alive with<br />
a dazzling display of fireworks. Whether it<br />
is an impressive solo on the high hats or a<br />
dramatic build-up on the drums, Glennie’s<br />
performance is able to shine above the<br />
enchanting accompaniment in the orchestra.<br />
The piece SmalI, for solo percussion, is a<br />
meditative, almost ritualistic work that evokes<br />
a misty woodland scene at dusk. Next, the<br />
piano concerto, Still/Rapids, is aptly titled<br />
as its two movements depict the dramatic<br />
duality inherent in water for its ability to<br />
achieve both calm and violent characteristics.<br />
Lastly, the solo piano work, Ivory and Ebony,<br />
is a high-energy yet elegant piece with moods<br />
shifting from agitated to triumphant.<br />
The performances on this release are top<br />
notch, and Tower seems to know the abilities<br />
of her performers in a profound way. For<br />
a vibrant and exciting display of technical<br />
wizardry, give this disc a listen.<br />
Adam Scime<br />
Trios from The City of Big Shoulders<br />
Lincoln Trio<br />
Cedille CDR 90000 203<br />
(cedillerecords.org)<br />
! This CD’s press<br />
release calls them<br />
“revered Chicago<br />
composers,”<br />
although Chicagoborn<br />
Ernst Bacon<br />
(1898-1990) lived<br />
nearly all his<br />
life composing and teaching elsewhere.<br />
Conversely, Michigan-native Leo Sowerby<br />
(1895-1968) spent most of his life as an<br />
organist-choirmaster in the “City of the Big<br />
Shoulders” (a line from Carl Sandburg’s<br />
poem Chicago).<br />
Bacon’s 31-minute Piano Trio No.2 (1987)<br />
begins with a gloomy, wandering Lento. In<br />
Deliberate March Time sounds like an oldfashioned<br />
hiking song. The sauntering strings<br />
and shimmering piano runs of In an easy<br />
walk are briefly interrupted by sudden,<br />
stormy dissonances. Gravely expressive is a<br />
rumination for cello, marked “as if quietly<br />
singing,” over piquant piano chords, followed<br />
by Allegro, a syncopated foot-stomper with<br />
country fiddling and bar-room piano strides<br />
and riffs. Commodo provides a gentle interlude<br />
before the final Vivace, ma non presto<br />
based on the folksong Green Mountain. It’s<br />
really quite a trip!<br />
Sowerby’s three-movement, 37-minute<br />
Piano Trio (1953) is made of much sterner<br />
stuff. Slow and Solemn is granitically<br />
ponderous, despite a not-“slow,” not-<br />
“solemn” middle section. Quiet and serene<br />
paints a misty cityscape with a daydreaming<br />
piano and tender violin until the movement’s<br />
title is belied by markedly increasing tension<br />
and volume. Fast; with broad sweep lives<br />
up to its name – it’s a perpetuum mobile of<br />
heavily rhythmic melodies culminating in a<br />
powerful, final accelerando.<br />
The internationally acclaimed, Chicagobased<br />
Lincoln Trio delivers everything these<br />
disparate works could ask for, including vivid<br />
colours, dramatic expressivity and sensational<br />
virtuosity.<br />
Michael Schulman<br />
Leo Sowerby – The Paul Whiteman<br />
Commissions & Other Early Works<br />
Andy Baker Orchestra; Avalon String<br />
Quartet<br />
Cedille CDR 90000 205<br />
(cedillerecords.org)<br />
! In 1946, Leo<br />
Sowerby, dubbed<br />
“Dean of American<br />
Church Music,”<br />
received the Pulitzer<br />
Prize for his oratorio<br />
The Canticle of<br />
the Sun, one of<br />
his large body of<br />
religious-themed compositions. He also<br />
composed many secular orchestral and<br />
chamber works.<br />
While still in his 20s, Sowerby, already<br />
a much-performed composer, created<br />
two jazz-infused works for bandleader<br />
Paul Whiteman’s Revolutionary Concerts.<br />
The 11-minute Synconata premiered in New<br />
York in December 1924, just one month after<br />
the debut of Gershwin’s Rhapsody in Blue,<br />
another Whiteman commission. The enthusiastically<br />
received, colourfully scored music –<br />
downbeat, upbeat and raucous – prompted<br />
Whiteman to commission Sowerby for a<br />
second, much more ambitious work.<br />
The grin-inducing music of the fourmovement,<br />
25-minute Symphony for Jazz<br />
Orchestra “Monotony” (1925) depicts the<br />
eponymous status seeker of Sinclair Lewis’<br />
satirical novel Babbitt at the theatre (Nights<br />
Out), an illegal Prohibition-era cocktail<br />
party (Fridays at Five), church (Sermons)<br />
and a concert (Critics). It’s great fun, tuneful<br />
and rhythmically vivacious. Yet both works,<br />
awkward fits for standard symphony orchestras,<br />
disappeared. (Rhapsody in Blue required<br />
re-orchestration for symphonic performances.)<br />
For these world-premiere recordings,<br />
Chicago music-theatre and classical instrumentalists<br />
were recruited to form the Andy<br />
Baker Orchestra, with Baker conducting.<br />
The Illinois-based Avalon String Quartet<br />
contributes three works imbued with the<br />
ingratiating spirit of folk music: the nineminute<br />
Serenade for String Quartet (1917),<br />
the 29-minute String Quartet in D Minor<br />
(1923) and, with Canadian pianist Winston<br />
Choi and bassist Alexander Hanna, the brief<br />
Tramping Tune (1917).<br />
A thoroughly delightful disc!<br />
Michael Schulman<br />
Pēteris Vasks – Oboe Concerto; Vestijums;<br />
Lauda<br />
Albrecht Mayer; Latvian National<br />
Symphony Orchestra; Andris Poga<br />
Ondine ODE 1355-2 (naxosdirect.com/<br />
search/ode+1355-2)<br />
! The newly<br />
released album of<br />
music by Latvian<br />
composer Pēteris<br />
Vasks features the<br />
first recording of<br />
his oboe concerto<br />
written for the<br />
centenary celebrations<br />
of Latvia’s independence in 2018 and<br />
performed by one of the today’s leading oboe<br />
soloists, Albrecht Mayer.<br />
Accompanied by the Latvian National<br />
Symphony Orchestra under the baton of<br />
Andris Poga, Mayer dazzles with his technical<br />
facility as well as his beautiful interpretive<br />
phrasing, bringing this programmatic work<br />
to life. With a familiar feel akin to the rhapsodic<br />
Vaughan Williams concerto for oboe<br />
and string orchestra, this pastoral concerto<br />
46 | <strong>November</strong> <strong>2021</strong> thewholenote.com