Works by Beethoven, Mozart, Milhaud, Revutsky, Liszt and Rachmaninoff. Illia Ovcharenko and Jon Kimura Parker, pianists. Koerner Corridor, July 6, 2023.

That Koerner Corridor was full Thursday for the opening of Toronto Summer time Music is a credit score to each the group and town it serves. And, in fact, a credit score to Illia Ovcharenko and Jon Kimura Parker, the pianists within the highlight, as solo artists and collectively.

OK, another credit score, to TSM inventive director Jonathan Crow, who assembled a festive however not frivolous program. Presumably sensing that his high-end-rowdy crowd would want some settling down, he decreed that the night would start with Beethoven’s “Moonlight” Sonata, the primary motion of which is universally well-known for its ambiance of placid focus.

The leadoff artist was Parker. Lingering on the very first beat, this veteran Canadian took a gradual, subjective and rubato-rich view of the Adagio sostenuto marking. I can’t disguise my perception that regular triplets create a extra hypnotic impact. There have been expressive hesitations additionally within the Allegretto second motion, and a minor slip within the trio. All cylinders have been firing within the finale, with its aggressively climbing arpeggios and explosive sforzando chords.

Parker then picked up a microphone to introduce Ovcharenko — an task he might deal with with authority as inventive director of the Calgary-based Honens Worldwide Piano Competitors, which Ovcharenko received final October. His first task was as soloist Mozart’s Ok. 414 Concerto within the not-uncommon chamber association with string quintet standing in for orchestra.

It’s exceptional how little is misplaced on this model, with strings stationed in entrance of the piano quite than the reverse. One thing in expression may even have been gained within the exposition of the Andante, which the quintet — Crow and Yura Lee on violin, Milena Pajaro-van de Stadt on viola, Ani Aznavoorian on cello, Michael Chiarello on bass — performed with the utmost radiance. If the piano disappeared for a minute, it quickly reestablished an eloquent presence, with a lot gracious dialog within the finale.

One other Steinway was rolled out throughout intermission for the primary two-piano choice, Darius Milhaud’s Scaramouche. Stuffed with boisterous syncopations within the outer actions and delicate interaction within the central Modéré motion, this could be the right summer season competition piece, particularly when performed with such exuberance and musicianly consciousness of the wealthy sonics that may be achieved with well-matched devices.

Then got here a solo set for Ovcharenko, beginning with a pair of Preludes — Op.7 No. 1 and No. 2 — by Levko Revutsky, 1889-1977, a Ukrainian composer whose arch-romantic type could be in comparison with that of Scriabin. Ornamental writing in the precise hand was ample, however not overwhelming. Darkish harmonies stored curiosity eager.

Ovcharenko performed these items with the eagerness of a compatriot and the readability of a virtuoso. Much more of the latter high quality was on show in Liszt’s acquainted La Campanella. Scales don’t come way more brilliantly articulated. If I longed for barely slower tempos, this might need been to maintain my sense of amazement at bay.

This system, as printed, ended with one other pas de deux, Rachmaninoff’s Suite No. 2 Op. 17, this time with Ovcharenko on primo. This four-movement compendium of martial rhythms and hovering tunes packs plenty of notes into 25 minutes, all of them performed justice on this remarkably sustained and stereophonic efficiency. Is that finale a bit of prolix? Effectively, prolix with one thing to say!

As an encore, the duo performed the “Hoedown” from Aaron Copland’s Rodeo. Too dangerous one thing Canadian couldn’t have been discovered. A recording by Luba and Ireneus Zuk presents some helpful examples. Oh, effectively. There have been cheers throughout. TSM is off to begin.

[Updated July 7, 2023: A previous version incorrectly spelt Illia Ovcharenko’s name. It has since been corrected.]

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Arthur Kaptainis has been the classical music critic of the Montreal Gazette since 1986 and wrote for the Nationwide Submit 2010-2016. His articles have appeared in Classical Voice North America and La Scena Musicale in addition to Ludwig Van. Arthur holds an MA in musicology from the College of Toronto.

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