Volume 29 Issue 1 | September 2023
Bridges & intersections: Intersections of all kinds in the issue: the once and future Rex; philanthropy and music (Azrieli's AMPs); music and dance (TMChoir & Citadel + Compagnie); Baroque & Romantic (Tafelmusik's Beethoven). also Hugh's Room crosses the Don; DISCoveries looks at the first of fall's arrivals; this single-month September issue (Vol. 29, no.1) bridges summer & fall, and puts us on course for regular bimonthly issues (Oct/Nov; Dec/Jan; Feb/Mar, etc) for the rest of Volume 29. Welcome back.
Bridges & intersections: Intersections of all kinds in the issue: the once and future Rex; philanthropy and music (Azrieli's AMPs); music and dance (TMChoir & Citadel + Compagnie); Baroque & Romantic (Tafelmusik's Beethoven). also Hugh's Room crosses the Don; DISCoveries looks at the first of fall's arrivals; this single-month September issue (Vol. 29, no.1) bridges summer & fall, and puts us on course for regular bimonthly issues (Oct/Nov; Dec/Jan; Feb/Mar, etc) for the rest of Volume 29. Welcome back.
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
La cathédrale engloutie, with weighty,<br />
powerfully tolling chords.<br />
Debussy himself is represented by a scintillating<br />
performance of L’isle joyeuse.<br />
Rounding things out are the grotesque,<br />
un-lullaby-like Berceuse by Thomas Adès<br />
(one of Pion’s teachers), arranged by Adès<br />
from his opera The Exterminating Angel, and<br />
Pion’s own Balcony on a Wednesday Night –<br />
slow, sentimental and almost jazzy.<br />
Michael Schulman<br />
Saint-Saëns <strong>Volume</strong> Four – Duos for<br />
Harmonium & Piano<br />
Milos Milivojevic; Simon Callaghan<br />
Nimbus Records NI 8111 (chandos.net/<br />
products/catalogue/N%208111)<br />
! The harmonium,<br />
for which the works<br />
here were originally<br />
written and/<br />
or arranged, was<br />
developed and<br />
refined in France in<br />
the second half of<br />
the 19th century. Its<br />
subsequent popularity<br />
resulted in many compositions for solo<br />
harmonium, duets with piano and larger<br />
ensembles, as well as arrangements of other<br />
works. The modern classical accordion easily<br />
replaces the harmonium as it creates a similar<br />
sound in almost the same way, by pressing the<br />
buttons/keys and moving the bellows to push<br />
air over vibrating metal reeds. Both instruments’<br />
singing reed sounds perfectly match<br />
the vibrating, at times more percussive, sound<br />
of the piano strings.<br />
Playing the harmonium part on classical<br />
accordion is the renowned Miloš Milivojević,<br />
and playing piano is Simon Callaghan. Both<br />
also arrange here. Camille Saint-Saens’ Six<br />
Duos Op. 8 for Harmonium and Piano (1858)<br />
is beautiful. The Scherzo fast piano part<br />
features Callaghan’s amazing playing of the<br />
repeated notes within its melodic lines, accompanied<br />
by lush accordion chordal transitions.<br />
Chorale opens with a very Romantic piano<br />
part showing off Callaghan’s amazing ability<br />
to create dramatic balance between hands.<br />
The alternating accordion lines are breathtaking,<br />
especially when both instruments play<br />
together, leading to a softer closing extended<br />
cadence. A calming Cavatina has slow piano<br />
chords under Milivojević’s superb bellowscontrolled<br />
lush held note “singing” accordion<br />
melody, from high held notes to lower<br />
contrasting ones. Three other Duos, and works<br />
by Guilmant and Franck are also included.<br />
The Milivojević and Callaghan duo performances<br />
are tight, balanced and expressive.<br />
Tiina Kiik<br />
MODERN AND CONTEMPORARY<br />
The Water Cycle & Tango Inoxidable<br />
Organum Vulgarum<br />
Independent (amichaibenshalev.<br />
bandcamp.com/album/the-water-cycletango-inoxidable)<br />
! Canadian-born<br />
musician/teacher/<br />
composer Amichai<br />
Ben Shalev was<br />
raised in Israel and<br />
lived in Buenos<br />
Aires from 2005<br />
to 2020 where<br />
he graduated in<br />
2012 from the Manuel de Falla Conservatory<br />
specializing as a bandoneon soloist under the<br />
tutelage of Rodolfo Daluisio. His career there<br />
included collaborations with contemporary<br />
tango composers and international appearances.<br />
In 2020 Amichai moved to Montreal<br />
and in 2022 founded the contemporary music<br />
ensemble Organum Vulgarum for bandoneon<br />
and string quartet/quintet to explore this<br />
instrumentation’s sonorities.<br />
Amichai’s seven-movement contemporary<br />
composition The Water Cycle, is inspired by<br />
the continuous movement of water on earth<br />
and in the atmosphere. Heat opens with<br />
ascending string intervals moving to higher<br />
bandoneon held notes, with faster lines as<br />
the water gets warmer, to an amazing closing<br />
with a held high note and a slightly rippling<br />
ending. Evaporation has lower pitched held<br />
notes, fades and swells creating musical evaporation.<br />
Chill has sharp “freezing” bandoneon<br />
accents contrasting with longer lower<br />
“puddle” strings. Precipitation features<br />
pizzicato string raindrops, low held note<br />
thunder blasts, and bandoneon bellows<br />
shakes increasing the storm effect. Brilliant<br />
tight ensemble playing and interpretation of<br />
Amichai’s reflective “watery” music reminiscent<br />
of summers at the lakeside.<br />
Amichai expresses two common tango<br />
aspects, “Desolado” (solitary and sad)<br />
and “Reo” (rough) throughout his Tango<br />
Inoxidable. His virtuosic playing is featured<br />
here as bandoneon bellows create a wave<br />
effect, followed by dramatic string lines and<br />
bandoneon rhythms. Quieter remorseful<br />
bandoneon lines lead to intricate musical<br />
conversations with the strings.<br />
The Organum Vulgarum instrumentalists’<br />
performances meld together memorably, at<br />
times amazingly, almost sounding like one<br />
instrument. Amichai’s sonority explorations<br />
are unforgettable.<br />
Tiina Kiik<br />
Montréal Musica<br />
Marc Bourdeau<br />
Centrediscs CMCCD 3<strong>2023</strong> (cmccanada.<br />
org/product-category/recordings/<br />
centrediscs)<br />
! Like so many<br />
things in life, the<br />
inverted U-shaped<br />
curve best represents<br />
the ideal<br />
balance of exposure<br />
and mystery within<br />
a solo recording.<br />
Too much unveiling<br />
leaves nothing to the imagination in its<br />
fulsome exposition. Conversely, an unwillingness<br />
to unmask and musically disclose (the<br />
so-called “warts and all”), can come across<br />
as coy and not revelatory enough to strike<br />
a personal connection between artist and<br />
listener. But, when the forces align and an<br />
appropriate balance is struck, there is often<br />
magic contained within the performance<br />
that follows. Such is the case with Montréal<br />
Musica, a fine new recording by respected<br />
pianist, chamber musician and pedagogue<br />
Marc Bourdeau on Centrediscs, the record<br />
label of the Canadian Music Centre.<br />
Spanning nearly a century of Canadian<br />
composition linked together not by style,<br />
genre or epoch, but rather uniformly tethered<br />
to the island of Montréal where Bourdeau<br />
calls home, this excellent <strong>2023</strong> release is<br />
notable for both its beautiful fidelity and<br />
acoustic capture of the instrument, as well<br />
Bourdeau’s bold decision to be stylistically<br />
agnostic and take on a mixed bag of<br />
intriguing repertoire whose only point of<br />
connection is the geographic origin of the<br />
composers. Although on the surface there<br />
may be little that unifies the music of Claude<br />
Champagne and Oscar Peterson, in the skilled<br />
hands of Bourdeau, the angles are found<br />
despite the stylistic discrepancies, and repertoire<br />
and artistry coalesce nicely to form<br />
a compelling and unified musical statement.<br />
Other composers represented include<br />
François Morel, André Mathieu, Jacques Hétu,<br />
John Rea, Denis Gougeon, Rachel Laurin and<br />
Marc-André Hamelin.<br />
Andrew Scott<br />
Colin Eatock – Choral and Orchestral Music<br />
Sinfonia Toronto; Soundstreams’ Choir 21<br />
Centrediscs CMCCD31023 (cmccanada.<br />
org/product-category/recordings/<br />
centrediscs)<br />
! Following up on<br />
the Canadian Music<br />
Centre’s release<br />
of Colin Eatock:<br />
Chamber Music<br />
in 2012 (CMCCD<br />
17812) this second<br />
volume features<br />
Eatock’s orchestral<br />
and choral works in performances by Sinfonia<br />
44 | <strong>September</strong> <strong>2023</strong> thewholenote.com