2024 - A Year in Review, Musically

Another year has (almost) gone by. Where did the time go? As 2024 draws to a close, it seems like an opportunity to look back on some of the year’s musical events in our little corner of the world.

 

For me, the year got off on a high note when pianist Eric Lu made his debut with the Vancouver Symphony Orchestra at the Chan Centre in Schumann’s Piano Concerto in A minor. A laureate of the 2015 International Chopin Competition and gold medalist of the 2018 Leeds International Piano Competition, Lu is an artist whose musical maturity and insight extend far beyond his young age. His luminous tone and depth of feeling made the performance a memorable one. With the excellent acoustics of the Chan Centre, the Vancouver Symphony Orchestra also shone under conductor Earl Lee in both the concerto and Beethoven’s PastoralSymphony. How I wish the orchestra would give all their concerts there, rather than in the grand but acoustically problem Orpheum Theatre.

 

The most significant news in classical music this year has to be the death of conductor Seiji Ozawa, who had been in frail health since his diagnosis of oesophageal cancer. Music director of orchestras in Toronto, San Francisco, Boston, the Vienna State Opera and the Saito Kinen Orchestra, as well as a regular guest conductor with the Berlin Philharmonic and Vienna Philharmonic, Ozawa left behind a legacy of memorable performances as well as outstanding recordings. A humble man that never thought much about his talent or celebrity, Ozawa had often been overlooked by music critics who perhaps could not get pass his Asian heritage. We should, I think, remember him by how his fellow musicians regarded him. He was beloved by the orchestral musicians who played under him as well as soloists and instrumentalists with whom he regularly collaborated. I regret that I never got to experience his music making in person, but I will always cherish the recordings he left for us in his vast discography. 

 

One statement I read will always remain with me, that Ozawa treated a stagehand with as much courtesy as he did with the most famous musicians. A remarkable man as well as a towering musician indeed. May he Rest in Peace.

 

A Spring visit to New York allowed me to enjoy Turandot and La Forza del Destino (a first time for me!) at the Metropolitan Opera, and Beethoven’s 5^th symphony with the New York Philharmonic. It also afforded me the opportunity to experience the music making of Yannick Nézet-Séguin again, and he did indeed give the Verdian score an exciting and musically insightful reading, in spite of the somewhat dreary and disappointing updating of the staging of this – I have to admit – difficult to stage opera. New York Philharmonic music director Jaap van Zweden also managed to infused freshness and excitement into Beethoven’s all-too-familiar 5^th symphony, a not unremarkable achievement, I feel.

 

Back in Vancouver, it is always a treat when pianist Rafal Blechacz came to town, and his recital this time brought works of Debussy, Mozart, Szymanowski, and of course Chopin. Blechacz’s recital was followed by memorable performances by Yefim Bronfman, Anna Geniushene and Bruce Liu. I first experienced Bronfman’s music making when he was a teenager, and it is gratifying to know that the power and virtuosity of his playing remain as strong as ever. Incidentally, Bronfman and Bruce Liu gave markedly different interpretations of Prokofiev’s Sonata No. 7 in B-flat Major. I would not want to be without either performance, but it was interesting to compare the interpretation of a musician at the height of his maturity and that of one of today’s young lions of the piano. The one thing about Anna Geniushene’s debut recital was her inspired interpretation of Brahms’ monumental Sonata No. 1 in C Major, Op. 1, in her programme of “Opus 1’s” of Clementi, Tchaikovsky, Chopin, Berg, Weinberg, Schumann, and of course Brahms.

 

A sojourn to Seattle was worthwhile indeed, when the Seattle Symphony performed Mahler’s Symphony No. 3under Singaporean conductor Kahchun Wong, who has been making quite a name for himself as a rising star among young conductors. Wong had all the disparate elements of the complex under control, and he inspired the orchestra throughout this incredible journey through the Mahlerian landscape. 

 

The always excellent Vancouver Cantata Singers under Paula Kremer gave the Vancouver premiere of Amy Beach’s Grand Mass in E-flat Major, with soloists drawn from the ranks of the choir. This is a wonderful work in the late romantic idiom that certainly deserved to be performed and experienced. 

 

Federico Colli is one of those artists who always brings fresh insights into whatever he plays. For his return visit to Vancouver, he performed works by Ligeti, Couperin, Prokofiev, and Ravel. His performance of Ravel’s Le Tombeau de Couperin was scintillating!

 

The highlight of the summer had to be the visit by Sergei Babayan. This towering artist used to be known by many as the teacher of superstar Daniil Trifonov, but he is now very finally known as a great artist and musician in his own right. This time around, he played a highly original programme of transcriptions, from Liszt’s remarkable transcriptions of the lieder of Schubert, to Keith Jarrett’s just as remarkable take on Harold Arlen’s Over the Rainbow. It was a performance of astounding beauty and incredible insight into a wide range of music.

 

The kickoff of the Fall concert season was a recital by Canada’s own Kevin Chen, who had won every major piano competition he entered. This young artist did not disappoint, and his maturity and musicality shone through in works by Chopin and Liszt. His performance of Liszt’s Réminiscences de Don Juan towered over interpretations of some of today’s far better-known young titans of the keyboard. We would surely be hearing more from this young man.

 

Spanish pianists Martin Garcia Garcia made his Vancouver debut in October, with a programme of Chopin, Mompou and Albeniz. His interpretation of Chopin’s Polonaise-Fantasie was the most remarkable one I have heard in a long time, not only for the beauty of his sound, but for the logic he infused into this complex work. He also made a strong case for Chopin’s rarely (never) played Sonata No. 1 in C minor. I was also grateful for introducing me to Mompou’s highly interesting Variations on a theme by Chopin, a highly original set of variations on the familiar Prelude in A Major, Op. 28, No. 7. His playing of selections from Albeniz’s Iberia Suitewas, not surprisingly, to the manner born. 

 

Vadym Kholodenko returned with another remarkable performance of works by Byrd, Saariaho, Beethoven and Chopin. 

 

As much as the entire recital was memorable, I will always remember his interpretation of William Byrd’s First Pavan and Galliard and John Come Kiss Me Now, for the stunning beauty and variety of his sound as well as how well he made these pieces worked on the modern piano. Kholodenko’s playing reminded me of Glenn Gould’s recording of works by Byrd and Orlando Gibbons -- I can think of no higher compliment.

 

It would be remiss of me not to mention the Vancouver Cantata Singers’ moving, inspired and inspiring performance at their annual Christmas Reprise at Holy Rosary Cathedral. 

 

Paula Kremer led the singers in Christmas and Christmas-inspired works, familiar and new, and the choir was in excellent voice throughout the performance. From the opening Ave Maria by Bruckner to Franz Biebl’s setting of the same prayer, it was as if the voices of the choir rose to every corner of the cathedral like incense during Mass. The choir’s performance of Sally Beamish’s In the Stillness and Ola Gjeilo’s Serenity (O Magnum Mysterium) moved me greatly with the music’s inherent emotions as well as the richness of the sound of the choir’s voices. 

 

It is a sad fact that audiences for many live performances have diminished since the pandemic. I hope these memories of concerts be a reminder that no online or recorded performance could ever replace the intimacy, immediacy, excitement, and magic of experiencing a performance live.

 

 

Portrait of an Artist as a Young Man

Pianist Kevin Chen made a remarkable debut in Vancouver Saturday evening, with a programme that effectively highlights not only his not inconsiderable virtuosity, but his depth and musicality.

 

Bravely, I thought, Chen began his recital with Chopin’s Ballade No. 1 in G minor (Op. 23), and managed to bring freshness to a piece that is played almost too often. I have rarely heard the Meno mosso section (m. 68) played so beautifully. He was careful to build the piece to its shattering climax towards the end, carefully pacing the progression of the drama, and thoughtfully gauging the sound, that even the big chordal section at m. 106 - where far too many pianists tend to go “all out” - does not make the rest of the work feel anti-climactic. When it came to the cataclysmic coda, with the clashing octaves and ending of complete desolation, Chen played it at a tempo and with an intensity that was breathtaking.

 

It is truly impressive that an artist so young can have such a mature grasp of Chopin’s Polonaise-Fantasie (Op. 61). Personally, I find this to be Chopin’s greatest and perhaps most elusive works. By this time of Chopin’s creative evolution, he was no longer interested in those long bel-canto melodies that he was known for as a younger composer. The fragmentary, rhetorical nature of the melodic threads make it a challenge for any pianist to convey. From beginning to end, Kevin Chen has a complete grasp of the logic and structure of the work, and infused it with a palpable sense of cohesiveness and organic unity. More importantly, he grasps the desperation and heartbreak that is so inherent throughout the work.

 

On the other end of the musical spectrum, the composer’s Variations on “Là ci darem la mano”(Op. 2) is the product of a very young composer trying to showcase his compositional and pianistic skills. Chen’s stunning rendition of the work made me wonder if this was how young Chopin may have played it. This was the composition that led to Robert Schumann’s now famous preamble of his review of the piece in the Allgemeine musikalische Zeitung, “Hats off, gentlemen, a genius!” It was a performance that dazzled Saturday’s audience with a truly unbelievable virtuosity. At the same time, it was not fast fingers that caught our ears, but always a feeling that technique is there to serve musical ends.

 

The second half of the recital consisted of the music of Franz Liszt, another composer Chen identifies with, with good reasons, as we would find out, in spades.

 

According to Vladimir Horowitz, Liszt’s Ballade No. 2 in B minor (S. 171) is one of his greatest works for piano. From first note to last, it was obvious that Chen identifies with the Lisztian idiom, as well as rises to the composer’s superhuman pianistic challenges. As in Chopin’s Polonaise-Fantasie, Chen understands and conveys the fragmentary, rhetorical nature of this music, and he gave a performance that underscored the beauty and drama inherent in the music.

 

Schubert’s Erlkönig is the terror for any pianist, so I could just imagine how intimidating Liszt’s transcription would be. Chen did not seem to bat an eye at the technical hurdles inherent in the music, but played it with a rousing virtuosity that was irresistible. I think Sergei Babayan was more vivid in making the characters in the lied come alive, but this will surely come with age for Chen.

 

The young pianist gave a deeply felt, beautifully shaped performance of the Sonetto 104 del Petrarca (S. 161, No. 5), from volume two of the Années de pèlerinage, giving the audience a dose of lyricism before the fireworks of the final piece.

 

And what fireworks they were! During Chen’s performance of the Réminiscences de Don Juan (S. 418), I marvelled not only at the incredible musical and pianistic display, but how the young artist was able to highlight and bring alive so vividly the absolute genius of Liszt’s design, something that happens rarely with this work. And no matter how fast the fingers were moving, and how cleanly the passages were executed, Chen never made us lose sight of the beauty and logic behind the notes.

 

After a well-deserved ovation, Chen granted an encore – the calm after the storm – Liszt’s masterful transcription of Schumann’s Widmung, in a reading that is ardent and filled with longing. The “Ave Maria” at the end of the song was stunningly beautiful.

 

From Chen’s playing and from my brief interaction with him before and after the concert, it struck me that this is not only a hugely talented young man, but a highly sensitive one, as well as a musician who is still developing his already considerable musical maturity. I can only wish for him a management who would not exploit his talents, but cherish this rare gift, and allow him the time and space to continue to grow as a musician.

 

From his performance in Vancouver, it seems that the sky is the limit for Kevin Chen.

 

 

An Evening of Astounding Beauty

Sergei Babayan’s Vancouver recital last evening was a wondrous experience of beauty and rapturous emotions. 

 

At first glance, it appeared to have been a long series of seemingly unrelated pieces. At the end of the evening, though, I felt as if I had savoured a most thoughtfully planned, imaginatively and lovingly prepared meal, with one “dish” complementing another in every way imaginable.

 

It is a testament of a great artist that he could capture the listener’s attention – without demanding it – with a single note, or one chord. Babayan did just that with the first of a series of Liszt transcriptions of lieder by Franz Schubert. 

 

Right at the outset of Der Müller und der Bach, he drew the audience into the Schubertian sound world with the depth of sound and depth of feeling of his playing. In the major section that follows, he evoked an unearthly beauty from the Steinway piano. I was captivated by the richness of his playing of the piano’s lower registers in his performance of Aufenthalt. In the well-known Auf dem Wasser zu singen, he played with the kind of liquid sound, with one note melting into the next, that one so rarely hears except in the greatest artists, a true cantabile. 

 

Babayan wisely planned the programme so that the moods of the different lieder balance one  another. The frightening intensity of Die Stadt was contrasted with the eerie and obsessive evenness of the spinning wheel in Gretchen am Spinnrade. At times, it appears that there were three hands playing the different textures of the music. The sombre atmosphere of the foregoing works was again tempered by the joy of Ständchen “Horch! Horch! Here, Babayan fully exploited the sonorities of the instrument to produce an infinite palette of colours. In the most frightening and desperate Erlkönig I have ever heard, Babayan produced a sonority of a different kind, changing the timbre and colours of his playing to bring out the various characters of this brief but devastating drama. Throughout this first group of pieces, there was the artist palpable awareness of the vocal line of each lied. 

 

The artist continued to treat us to various aspects of the Lisztian sound world, from his ardent playing of Liszt’s transcription of Schumann’s Widmung, to the delicate, even fragile beauty of the Hymne de la nuit, and to the song-like “Romance” in E minor “O pourquoi donc”.

 

Manuel Ponce’s Intermezzo No. 1 provided the perfect sorbet to cleanse our palate before the second group of works by Rachmaninoff. In the Ponce, Babayan highlighted the almost popular music quality of the work, by playing with much flexibility of both sound and rhythm.

 

It is well known that Mr. Babayan has a special affinity with the music of Sergei Rachmaninoff, and his playing of four transcriptions of and by pieces Rachmaninoff amply demonstrated that. 

 

In Volodos’ transcriptions of Where beauty dwells and Melody, Earl Wild’s transcription of Dream, and Rachmaninoff’s transcription of Kreisler’s justly famous Libesleid, Babayan masterfully demonstrated his complete identification with and an understanding of both the Rachmaninoff idiom and sound, highlighting the transcendent beauty of the composer’s music by playing with a richness and an infinite variety of sound colours. In the Libesleid, he played the music with a fantasy-like flexibility, as well as a breathtaking lightness that was quite stunning.

 

The magic continued after the interval, with a range of pieces by many different composers, beginning with four Canción by Federico Mompou, playing these lovely miniatures with a beguiling simplicity and disarming directness that is both refreshing and charming. 

 

Babayan introduced me to work unfamiliar to me - Chinar es by Armenian composer Komitas, transcribed by Villy Sargsyan. He obviously felt strongly with this music, and played it with a meditative, almost hypnotic quality that draws one right inside the music. He followed this with a beautiful performance of Sibelius’ The Spruce, reminding me what an effective composer Sibelius is for the piano.

 

The second half continued with Keith Jarrett’s famous transcription of Arlen’s Over the Rainbow, underscoring the beauty and inventiveness of Jarrett’s harmonic colours, without ever losing sight of the melody. This introspective work was followed by a colourful reading of Jesús Guridi’s La carrasquilla, from his Danzas viejas, and a ravishing performance of Grieg’s Ein Traum. He then gave an exciting and rhythmically impregnable performance of Albeniz’s Malagueña, followed by a return to the music of Komitas, playing his Berceuse with the utmost delicacy and sensitivity. 

 

As if to prevent jolt us from our reverie, Babayan then played Paul Hindemith’s Einletung und Lied, highlighting the more angular and harshness of the composer’s music. 

 

This was followed by a performance of Stephen Reynolds’ Chanson d’automne, with playing of delicacy, even fragility. Poulenc’s Hommage à Edith Piaf followed, with playing of fantastic freedom and an almost improvisatory quality. Babayan then gave us his own transcription of Fauré’s Au bord de l’eau, with again the most beautiful cantabile that successfully evoked this music of sublime drift – the nonchalant flowing of water. He returned to Poulenc, and plunged into Les chemins de l’amour, highlighting the quality of Parisian popular music by playing with charm, freedom, and freshness. Babayan remained in Paris with Alexis Weissenberg’s transcription of Charles Trenet’s En avil à Paris, bringing out all the Gallic charm of this music. The concert concluded with a delightful romp through Maurice Whitney’s transcription of Gershwin’s Oh lady, be good! Here the artist ingeniously highlighted the melodic inventiveness of Gershwin as well as the composer’s unique and unmistakable rhythmic qualities. 

 

Throughout the evening, there was not a single moment that I doubted that we were in the presence in the greatest of artists. Babayan played this panoply of contrasting, and played every single one of them masterfully. Hearing the different works presented, I had the feeling that I was beholding different leaves of the rose window of Paris’ Notre Dame Cathedral, each of the leaves with its unique beauty, making up a whole that is greater than the sum of its parts.

 

 

Sergei Babayan is an artist whose playing transcends the instrument. 

 

Throughout the evening, I often felt that I was not hearing notes, but colours and emotions. It was truly an evening to savour and remember for a long time to come.

 

Bruce Liu's Return to Vancouver

Even with the proliferation of music competition all over the world, the International Chopin Competition in Warsaw remains at the pinnacle in terms of the extremely high level of playing and its track record of being a career launchpad for some of today’s most legendary artists. That said, any artist is only as good as his or her last performance, and any artist would, every time he or she steps on stage, continues to have to prove him or herself. The greater the fame, the more the pressure for an artist to continue to develop and to play “well”.

 

Judging from Bruce Liu’s performance in Vancouver’s Orpheum Theatre yesterday, he has developed into a more mature and insightful artist since his sensational win in Warsaw two years ago, and the performance was, by every standard, very well played indeed. 

 

In Haydn’s Sonata in B minor, Hob XVI:32, Liu successfully highlighted the elegance as well as the mock pathos that is so unique to the composer. His fleet, stunningly accurate fingerwork and rhythmic acuity infused the performance with a breathtaking lightness. In the central Tempo di Menuetto movement, he very successfully contrasted the courtly elegance of the outer sections with the gentle sturm und drang of the minore section. Liu took a daring tempo in the presto third movement, with its canonic opening, giving it the feeling, fun and excitement of a cops and robbers chase, and highlighting the composer’s added layer of humour by setting it in the “serious” key of B minor. 

 

Liu played Chopin’s Sonata in B-flat minor, Op. 35, in his Vancouver debut recitals, and I was very curious to hear if and how his conception has changed in the intervening years. It was a stunning performance of great depth and feeling. I believe Liu feels the music even more than he did in his previous performance, both in Vancouver and in Warsaw during the competition. The sound is now deeper, and the drama and contrast more acute. I think, in time, he could bring out even more the violence and volcanic passion so inherent in the music. One hallmark in his playing – and this was true throughout the recital – is the utter clarity he brought to the playing no matter how thick or complex the texture. One thing that struck me two years ago, was the utter stillness he infused into the funeral march. This feeling of frightening stillness was even more apparent in yesterday’s performance. I was stunned by his sweeping and breathtaking playing of the “weird” (in the very best sense of the word) final movement, evoking so much Anton Rubinstein’s description of the “effect of wind over the graves” – a great achievement indeed for so young an artist.

 

As if to dispel the doom and gloom of the Chopin, Liu finished his first half with Kapustin’s Variations, Op. 41, with its influence of both jazz and popular music and, as Ruth Enns’ excellent programme notes indicate, “exploring styles ranging from swing to blues to bebop.” Liu did not pretend that the music was greater (or lesser) than what it was. Under his hand, it was a performance that was, for lack of a more sophisticated word, simply fun, and it was difficult to tell if the artist or the audience enjoyed the playing more. 

 

The young artist’s playing of the works from Rameau’s Pieces de clavessin showcased the pianist with all his Gallic charm and elegance. Liu made no apologies for playing these works on the piano, and infused the music with a generous range of colours. It may not have been “authentic” or “historically aware”, but it was certainly beguiling and gorgeous playing. In Le poule, Liu so successfully evoked the clattering quality of the harpsichord, as well as the lively pecking character of the work. 

 

It is the hallmark of a great work that every artist would bring something different to it. I am sure the presenters of the concert did not plan for two consecutive recitals to include Prokofiev’s Sonata No. 7 in B-flat Major, Op. 83, arguably the composer’s towering masterpiece. Let me say that I would not want to be without the experience of either Yefim Bronfman or Bruce Liu’s performance. Yesterday, Liu brought to the work a lightness in touch and a panther-like spring, a quickness in the changes of mood, without lessening the impact of the weight of the music. In the first movement, he did not fall into the trap of playing the opening too fast, thereby maintaining the rhythmic integrity of the work. He engaged a great deal of una corda pedal throughout, giving the music a wider range of colours than Bronfman did. Liu’s playing of the third movement was exciting indeed, played with absolutely rhythmic acuity, and he had to his advantage a young man’s energy and enthusiasm for the work not yet “seasoned” by experience. From beginning to its cataclysmic final chords, it was a performance that took one’s breath away, and got the audience to stand and cheer. 

 

And cheered they did, prompting Liu to grant three very different encores – a calm and reverential Bach/Siloti’s Prelude, a spirited Waltz in D-flat Major, Op. 64, No. 1 (the so-called “Minute Waltz”), and a performance of Erik Satie’s Gnossienne No. 1, with the artist’s hallmark beauty of tone and with some truly beautiful turn of phrases.

 

Looking at the hour-long lineup for autographs and photographs with the artist, Bruce Liu’s popularity has not lessened with time. While it is true that success at the Chopin Competition would almost guarantee many first opportunities for any young artist, but as conductor Zubin Mehta said, and I paraphrase, it is easy to get a first invitation, but to be invited back after that first performance is the real test. If Bruce Liu continues to develop as an artist and musician, there is every indication that he would be invited again and again in any of the musical capital of the world. 

A Weekend of Music - The Vancouver Cantata Singers and pianist Federico Colli

What a musically rewarding weekend in Vancouver this has been: the Vancouver Cantata Singers’ performance of what was probably the Canadian premiere of Amy Beach’s Grand Mass in E-flat Major, and a sensational recital by the wonderful pianist Federico Colli!

 

With all the attention given to women composers these last few years, the music of Amy Beach has not received quite as much attention as that of Florence Price. I know of some of Mrs. Beach’s beautiful piano music, and a piano concerto which gets occasional performances. Certainly, her compositions deserve to be heard, and I am very grateful to Paula Kremer for programming this very beautiful and moving setting of the Mass.

 

Not knowing anything about the composition, I was at first quite surprised to learn (from the excellent notes) that it was composed as early as 1886/1887. To my ears, this would explain the relatively conservative harmonic language of the work, with hints of Mendelssohn in the choral writing, and Schumann in the writing for orchestra, especially the strings. Curiously, the orchestral introduction to the Agnus Dei was harmonically extremely advanced, with passages that even almost foreshadows Wagner’s orchestral writing in the later Ring operas. 

 

I found it intriguing that such a grand work would have no brass instruments, but I subsequent learned that for practical consideration, the orchestral parts had been re-written for chamber orchestra, with the organ very effectively taking over what would have been played by the brass section. 

 

Saturday’s performance was outstanding in every respect. Paula Kremer conducted the choral and orchestral forces with authority, and a palpable sense of commitment and love for the music. Members of the Allegra Chamber Orchestra acquitted themselves more than admirably in the demanding orchestral writing. The solo quartet of Benila Ninan, Melanie Adams, Andy Robb and Peter Alexander, drawn from the choir, delivered performances, both individually and as an ensemble, of great musicality. The Vancouver Cantata Singers is certainly one of the city’s finest choral ensemble. Beach certainly gives equal attention to both soloists and choir, and members of the choir delivered a performance that lived up to their usual very high standards. Particularly memorable and moving for me was Andy Robb’s singing of the Graduale, as well as the performance of the “Et incarnatus est de Spiritu Sancto” section of the Credo.

 

At the Vancouver Playhouse Sunday afternoon, Federico Colli gave a truly scintillating performance of a demanding programme – both performance and audience - of works by Ligeti, Couperin, Prokofiev, and Ravel. Even at his Vancouver debut, it was evident that Colli is one of today’s most original thinking musicians. His performance last Sunday confirmed this initial impression. 

 

Ligeti’s Musica Ricercata was a first hearing for me, and without the aid of a score, I cannot really say more than the fact that he gave a pianistically impregnable and musically committed performance. I am grateful to Colli for this first hearing of the score.

 

In the works by Couperin that followed, Colli dispelled any suggestion that such pieces should be the exclusive domain of the harpsichord. His performance was elegance and musicality personified, with every note like a droplet of water projected to the far reaches of the hall. Prokofiev’s Vision fugitives, Op. 22, presents a wide range of colours and emotions, and Colli very effectively highlighted the distinctive characteristic of each piece within the set. His performance of Ravel’s Le Tombeau de Couperin – Ravel’s artistic effort to create something new by returning to the old - was simply sensational, and showed his towering command of the piano, with an infinite palette of colours under his fingers as well as a shimmering sound that emanated from the Steinway. The word that came to mind at the end of the concert was - effervescent.  

 

Perhaps to dispel the mood created by the “serious” programme, Colli played an encore that was pure fun, as well as a pure display of musical showmanship, in the best sense of the word – pianist Fazil Say’s transcription of Mozart’s Rondo alla turca – playing that brought the audience to its feet. It was, as they say, just what we needed. Certainly, Colli is a pianist I would go and hear anytime and anywhere.

 

With summer just around the corner – even though it does not feel like it yet – and the impending conclusion to the current concert season, we can be justly grateful for the many indelible musical experiences we have had this year. I was sad to see that Colli did not have a bigger audience at the Playhouse – this was a performance that deserved to be heard by many. It appears that many arts organizations have more difficulty filling halls since the global pandemic. Perhaps too many people have become too used to enjoying their music at home. I do hope that more and more people would begin to venture out and experience the magic and excitement of live performances – for me, there really is no substitute.

Yefim Bronfman Returns to Vancouver

There is a well-known YouTube video of a very young Yefim Bronfman playing in a masterclass for pianist Gina Bachauer. At the end of Bronfman’s performance, Bachauer was ask what she wanted to say to the young performer, upon which she replied, “I have nothing to say. God Bless you.” This brief video probably shows both what kind of a person Bachauer was, as well as the enormity of Bronfman’s talents. 

 

I first heard Bronfman many years ago when he substituted for an indisposed Gary Graffman. Bronfman came on stage and simply stunned the audience with his performance of Saint-Saens’ Piano Concerto No. 2 in G minor. I immediately bought a ticket for the subsequent performance, and I have never yet missed any performance every time Bronfman visits Vancouver.

 

It has been many years since Bronfman had given a solo recital in Vancouver, and last night, he once again reminds us why he is one of today’s most outstanding musicians and artists. Bronfman has an absolute command of every facet of playing the piano, and there is nothing technically that is beyond him. At the same time, even in the relatively large space of Vancouver’s Orpheum Theatre, he was able to draw the audience in with the intimacy of his playing. Hearing him last night, I was reminded of Arthur Rubinstein, in the absolutely natural way he presents the music, without histrionics, and with simplicity and sincerity.

 

The opening work, Schubert’s Sonata in A minor, D. 784, was a case in point. Bronfman presented the beauty and emotional core of the work, simply and without affectation but with great beauty and depth of feeling. The Andante sang out in the most songful manner, and the Allegro vivace suitably ferocious. 

 

In Schumann’s Faschingsschwank aus Wien, Op. 26, Bronfman brought out the absolute exuberance of the music, as well as its kaleidoscopic gamut of emotions, and carried us along in his very personal journey through the five movements of the work. 

 

Conductor and composer Esa-Pekka Salonen wrote Sisar for Mr. Bronfman, and the pianist gave a performance of absolute conviction, from the capricious, dream-like opening to the more energetic and playful later sections. 

 

Bronfman’s performance of Chopin’s Nocturne in D-flat Major, Op. 27, No. 2, again reminded me of Mr. Rubinstein, playing of great beauty, with sentiment and yet not sentimental, and projecting the bel canto melody right to the last row of the auditorium.

 

I had heard Bronfman perform Prokofiev’s Sonata No. 7 in B-flat Major, Op. 83, years ago in one of his previous visits to Vancouver, and I knew we would be in for a treat. It was much more than Bronfman’s absolute command and technical control of this complex, transcendentally-difficult  score, but it is the way he drew this infinite variety of sound colours from the beautiful Steinway piano. In the second movement, Bronfman’s playing seemed to exude a kind of hypnotic effect with the music. And he really threw caution to the wind with the frenzy of the 3^rd movement, thrilling us with his truly stunning playing of the toccata-like movement. The sound, or rather the pulse of this music, lingered in my mind long after the evening was over.

 

After such a performance, of course there were cheers and bravos from the audience, who were impressively attentive during the course of the evening. Bronfman graciously granted two encores – a rippling and songful performance of Schumann’s deceptively simple Arabeske, Op. 18, and a rip-roaring romp through Rachmaninoff’s Prelude in G minor, Op. 23, No. 5, bringing out the power and sweep of the opening and closing sections, without taking away the melancholy of the middle section. I was completely swept away by the tremendous power and energy he put into and drew from the music.

 

Bronfman’s last appearance in Vancouver was with the Vancouver Symphony Orchestra in a towering performance of Brahms’ towering Piano Concerto No. 2 in B-flat Major. It was a privilege to have heard this towering artist again, and I, for one, am already looking forward to his next visit. 

A Stirring Mahler 3rd in Seattle

It has indeed been a treat this season, to be able to hear performances of not one but two Mahler symphonies – the 5^thearlier this season, and now the monumental 3^rd. No stranger to Seattle audiences, conductor Kahchun Wong came with an impressive list of accomplishments, and indeed proved to be an extremely talented young conductor. And joining the Seattle orchestra in this memorable performance were mezzo-soprano Julie Boulianne, members of the Seattle Symphony Chorale, and the Northwest Boychoir. 

 

Right from the outset, Wong brought out truly outstanding playing from every section of the orchestra, with the horn solo at the outset establishing the mood of grandeur and a real sense of urgency. Wong maintained the forward impetus throughout the gigantic first movement, with the oft-recurring trumpet calls with its almost primeval sound. There was also a palpable sense of weight in the string playing, especially in the prominent bass parts. 

 

Wong shaped the opening Tempo de Menuetto movement with the requisite Viennese lilt, preparing the listener for that beautiful chord played by the violins and harps at measure 28. The L’istesso tempo section was played with that typically Mahlerian combination of humour and pathos. This tone of irony continued on in the third movement, with outstanding playing especially by the wind section. 

 

Julie Boulianne has a beautifully dark quality in her voice so appropriate for the fourth movement. I did, however, feel that there was an emotional detachment and a want of depth of feeling in her singing that evening. I could not help but miss the emotional depth with which Maureen Forrester sang this movement. Wong and the orchestra supported Boulianne’s vocal lines with great sensitivity, and again, I loved the weight and tone, the sense of “substance” in the string playing. 

 

The fifth movement was just wonderfully done all around, with members of the Seattle Symphony Chorale and Northwest Boychoir aptly capturing Mahler child-like vision of heavenly bliss, a theme he explores to even greater effect in the Fourth Symphony. For me, Boulianne’s singing captured the mood of this movement to much greater effect than she did in the fourth movement. 

 

The crowning glory of the entire symphony, indeed, one of the greatest symphonic endings in Mahler (except for the final movement of the Ninth Symphony), has to be the Langsam movement. I have to again comment on the beautiful string tone of the orchestra as well as Wong’s incredible sense of timing and pacing – what a great feat for such a young conductor. There was a feeling of organic unity in the music, and not merely a series of beautiful episodes. At the end of the performance, there was an almost audible sigh from the entire audience, almost as if all of us were holding our breath throughout the past half hour. 

 

This performance is an amazing accomplishment for such a young conductor, not just in terms of holding the orchestra together, but in having an organic view of the entire work, from beginning to end, and of pacing the performance the way he did. I believe, with a piece like Mahler’s 3^rd, a conductor must be able to see the way clearly before him, but at the same time lose himself within the music, to lose and find himself at the same time. With time, as he is able to lose himself more into, and surrender himself more to the emotional core of the music, I believe the results might just be transcendental.