An Evening of
Brahms and Schubert Sonatas James Parker, piano La
Maison des Jardins, Laval
Lorraine and Oliver
Esmonde-White are on a mission to repersonalize classical music. For
the past four years the Esmonde-Whites have presented a panoply of
Canada's best musicians in the intimacy of their Laval home. The
audience is limited by the space to about forty people, but extra
concerts are often scheduled to meet demand. Piano technician by
day, cultural activist and impresario by night, Oliver dreams of a
network of Quebec music-lovers organizing concerts in their homes.
"We're trying to create an alternative to the impersonal and
sometimes acoustically unsatisfying events in huge concert halls.
Our experience is more like what you hear on your stereo: the artist
literally in your own living room." The Maison des Jardins is four
years old and has proven artistically and financially viable. The
audience gets to appreciate the artist up close, the artist sees his
or her audience, and earns a welcome fee as well. On Saturday,
October 18, I attended a recital by Canadian pianist James Parker,
who is also a member of the Griffin Trio, familiar from recent CBC
broadcasts. Hearing Schubert and Brahms played on a full Steinway
grand just a few feet away is an experience to remember. After the
concert, Parker expressed his satisfaction with the home recital
experience, commenting that some of the piano sonatas on his program
were undoubtedly first performed in just such a setting. Upcoming
Maison des Jardins concerts include MSO flautist Tim Hutchins and
pianist Janet Creaser Dec. 12 &13, Poulenc's Histoire de Babar
for children Dec. 28, Marc-André Hamelin Dec. 29 & 31, André
Laplante Jan. 9 & 10, 1998, and soprano Lyne Comtois in a
Spanish and Latin American program Jan. 23 & 24, 1998. The $49
ticket price includes recital, a light buffet, dessert and coffee. A
fund raiser to endow the "music in the home" project featuring
Oliver Jones, Gilles Vigneault and Alain Lefevre will be held Feb.
6, 1998, at the Monument National, rue St-Laurent, Montréal. For
concert information and tickets, contact La Maison des Jardins, 693,
chemin du Bord-de-l'Eau, Ste-Dorothée, Laval, 514-629-1572, Fax:
514-667-2948. Martin Kamela
Brahms: Trios and
Sonatas Musica Camerata Montreal Redpath
Hall
On Oct. 18, 1997,
Musica Camerata continued their centennial commemoration of the
death of Johannes Brahms with two of his lesser known trios and the
Third sonata for violin and piano at McGill University's
beautiful Redpath Hall, an ideal venue for chamber music. In the
Trio for piano, violin and horn, op. 40, horn player John
Zirbel introduced just enough hunting-horn brassiness to conjure the
forest images which inspired Brahms. His tone generally had a
graceful liquid character, although he occasionally overpowered the
violinist Luis Grinhauz. Grinhauz frequently had a raspy tone and in
faster sections tended to attract attention with both squeaky notes
and vigorous gesticulations. The horn player struggled to maintain
equal footing with the violin, and the piano was forced into the
background. There were moments of great beauty, particularly in the
second movement, when the three musicians played together but
elsewhere there was a disjointed feeling.The Violin and piano
sonata, Op. 100, also performed by Grinhauz, suffered many of
the same problems, though there was unity more often than in the
Trio, Op. 40. Pianist Berta Rosenohl continued to play
solidly. Cellist Leo Grinhauz gave a good finish to the performance
with his remarkable leadership in the closing Trio for piano,
clarinet and cello, Op. 114. Finally the group worked together. The passionate Adagio
and energetic final Allegro were at times brilliant. The only
problem was occasional breathiness from the clarinetist, Michael
Dumouchel. Jonah Lynch
Mendelssohn: Violin
Concerto Holst: The Planets Joshua
Bell, violin. Charles Dutoit, conductor. Montreal Symphony
Orchestra
The MSO's
forgettable concert of Oct. 14, 1997, opened with the premiere
performance of Bela Bartok's Three village scenes played with
verve and excitement in the first and third movements, split by a
lovely lullaby sung over particularly well-played violin and harp
harmonies. Unfortunately, the warm-up was better than the main
piece. After a somewhat decent first movement, Joshua Bell in the
Mendelssohn Violin Concerto scrambled to finish the piece
quickly to cut his losses. Initially Bell's nicely controlled
vibrato and sincere emotion overcame the few sour notes of the
opening passages.Unfortunately in later and less prominent virtuosic
passages, squeaky notes were bountiful. It was as if he had
perfected only the showy cadenzas, neglecting less obvious arpeggios
and fast runs. Mendelssohn's ingenious continued bassoon note at the
end of the first movement, written to forestall applause after a
thrilling conclusion, was an unnecessary precaution in this tepid
performance. It went from bad to worse with off-pitch doublestops in
the second movement and a slow, forced, lifeless finale. Bell
quickly left the stage, but was forced to return as the crowd
inexplicably gave him an ovation. Holst's The Planets was
considerably more enjoyable, although it sometimes lacked impetus.
The first and last movements were undoubtedly the best; some of the
themes elsewhere shone, particularly the majestic "Jupiter", but it
was really in the severity of "Mars" and mystery of "Neptune" that
the orchestra was best. From the col legno introduction to
the brassy climaxes and martial 5/4 meter, "Mars" was a model of
intensity. The offstage chorus used in the ethereal "Neptune" sang
impeccably and to great effect. Jonah Lynch
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