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Poulenc: Sextet. Strauss: Metamorphosen (arr. Leopold). Brahms: Piano Trio Op. 8. Varied artists. Walter Corridor, July 28. Introduced by Toronto Summer time Music.
Justly recognized for its stellar recitalists and ensembles, Toronto Summer time Music is not any much less valued by its loyal public for bringing collectively artists from right here and afar to play mix-and-match chamber packages. A profitable instance was the penultimate night live performance, Friday in Walter Corridor.
The good curiosity was Richard Strauss’s Metamorphosen for 23 Solo Strings — as carried out, paradoxically, by a squad of seven, together with the Rosebud String Quartet. This 1996 association by the Austrian cellist Rudolf Leopold apparently has some scholarly justification, a rating having been found in Switzerland that implies a septet was what Strauss initially had in thoughts.
Effectively, the proof of the pudding is within the enjoying, and this was an awfully heat and intense efficiency, the part-writing clear, the tempo pressing, the phrasing expressive, and the balances simply. In a matter of seconds, I finished questioning what was lacking, captivated as an alternative by what was there. Rank this rendition of the valedictory masterpiece as a seven out of seven.
The opener, Poulenc’s Sextet for Piano and Wind Quintet, didn’t fare as effectively. Gamers included nice orchestra professionals, who gave the impression to be projecting with a symphonic sonority in thoughts. The composer’s mild wit and sentiment got here throughout as raucous. Nonetheless, there have been a number of interludes of calm, some supplied by pianist Stéphane Lemelin.
After intermission, the stage rely went down to 3 for Brahms’s Piano Trio Op. 8, given not within the authentic model of 1854, as some on-line sources alleged it will be, however within the slimmed-down and in any other case much-improved revision of 1889. Coordination was not at all times impeccable, however the gamers — Andrew Wan, violin; Desmond Hoebig, cello; Michelle Cann, piano — have been united of their deeply romantic view of the music. Cann gave the impression to be within the driver’s seat, fashioning expressive slowdowns that (fortunately) by no means led to inertia.
There was some amusing fussing earlier than the efficiency as Wan judged his bench to be insufficient, heading backstage for one which gave the impression to be similar. The viewers chuckled sympathetically however remained admirably quiet between actions. The standard of listening at TSM is as excessive because it comes. Halls are packed, and ovations are appropriately strong.
Creative director Jonathan Crow appears to have successful on his arms. What’s going to subsequent summer season carry? Extra of the identical would do fairly properly.
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Arthur Kaptainis has been the classical music critic of the Montreal Gazette since 1986 and wrote for the Nationwide Put up 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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