The Orchestre Symphonique de Montréal (OSM), under the direction of conductor Dalia Stasevska and violin virtuoso Randall Goosby, presented a program on Wednesday evening featuring composers Thorvaldsdottir and Price, as well as Bruch and Dvořák.

Anna Thorvaldsdottir’s Archora, commissioned by several major orchestras and premiered in 2022, opened the concert with a spellbinding 20-minute soundscape. Designed to evoke a textured universe, the work transports the audience into an exploration of the ensemble’s sonic and energetic potential.

From the very first notes, the hypergraves invade the space, creating an imposing, palpable sound mass. The screeching cymbals add an organic dimension, while the winds click their keys and use their breath to amplify the work’s mystical atmosphere. All this adds up to an almost living narrative. Then the organ, with its imposing presence, amplifies the impression of immensity, of a room larger than ourselves. The twenty minutes passed with great fluidity, like a single wave that sweeps over us. The apparent stability of the sounds, achieved by the interweaving of the musicians’ breaths, gave a superhuman impression.

American soloist Randall Goosby then took to the stage to deliver a straightforward performance, carried with finesse by his great mastery of the instrument. Max Bruch’s “unforgettable” Violin Concerto No. 1, though somewhat frustrating for the composer in its eclipsing power over his other concertos, remains a landmark work in the German Romantic repertoire. Tonight, in the “Adagio”, Goosby was able to express the full intensity of this inner romance. It was in the third movement, however, that the soloist really came into his own. He unfurled himself in the passionate, dancing themes that hint at Bruch’s Hungarian origins, as well as in the final, technical passages. These playful accents resonated particularly well with his light, easy-going playing. A young virtuoso who didn’t overwhelm us with his musicality, but whose technique and ease are impressive.

Florence Price’s Adoration opened the second half in an orchestrated version for violin and orchestra by J. Gray, putting a second female composer in the spotlight. This short piece was particularly well suited to Randall Goosby, who effectively conveyed the emotional charge through his straight but honest playing. However, an OSM concert is no exception: just as he was about to raise his bow, Goosby was interrupted by the telephone of an audience member who was listening to the recording of his performance of the first part at full volume. With humor and patience, he lowered his bow and said: “You can play it again if you want”. But no sooner had he started to play than a cricket buzzer sounded in the hall. Fortunately, the crickets were out of place, but they gave the audience a good laugh.

Although the concertante gave the evening its title, it was Dvořák’s Symphony No. 8, fiercely conducted by Dalia Stasevska, that stood out as the highlight. Dalia Stasevska’s conducting was particularly noteworthy for its emphasis on drastic contrasts of nuance and the exaggeration of certain rhythmic passages. This symphony, with its bucolic atmosphere, was thus deployed through moments of lightness, straight trumpet lines and the exaggerated popular character of certain dancing themes. The fourth movement, which opens with a flamboyant trumpet call and ends with groovy chromatic passages, ended the concert on a welcome note of youthfulness.

Photo credit:  Randall Goosby – Kaupo Kicks ; Dalia Stasevska – Antoine Saito