Choral Music / Classical / Classical Period / Renaissance music

Beethoven’s 9th, Montreal, 200 Years Ago…

by Alexis Desrosiers-Michaud

On this Valentine’s Day, we were treated to a premiere at the concert by Ensemble Caprice and Ensemble ArtChoral: Beethoven’s 9ᵉ symphony on early instruments, conducted by Matthias Maute.

The original program was to have opened with the little-known cantata Hiob by Fanny Mendelssohn-Hensel. Instead, we were treated to two Yiddish pieces, Ernst Bloch’s Yih’yu L’ratzon and a traditional aria calledOy dortn, as well as Gregorio Allegri’s famous Miserere.

The two Jewish pieces feature soprano Sharon Azrieli and her imposing vibrato. Acting as cantor, she announces psalmodies and the choir responds. We don’t know if it’s a microphone or projection problem, but she was barely audible from the back of the audience. All the same, it’s very pretty, and reminds us that this Jewish and Hebrew music is too rarely performed in our concert halls.

The Miserere is a jewel of musical genius that leaves no room for error. Unfortunately, there were mistakes. Firstly, the voices of the quartet perched high up in the Maison symphonique are not homogeneous; those of the men do not vibrate, whereas those of the women do. What’s more, it’s not always right. Then, there’s no change in volume throughout the piece, and as this piece is often repeated, it becomes redundant and loses all its intimacy. Then, in the psalmodies, different notes are accentuated by the choristers, instead of being lightly pressed, and it’s sometimes unclear in the cuts and consonants. In short, this is a fine work, but it would have deserved a more consistent rendering.

The real treat of the first half is Höre auf meine Stimme, written by William Kraushaar, also a chorister in the bass section. Maute warned us that the melody would stick in our heads, and for good reason. Simple without being kitschy, repeated often enough without our noticing it too much, it is supple and expressive. The accompaniment doesn’t impose itself, leaving the choir to sing along, acting as a harmonic carpet. Were it not for a few dissonant chords from the language of Morten Lauridsen and his contemporaries in the a cappella passages, we would have placed this work between the styles of Mendelssohn and Schubert, and on our first listen, this piece seems accessible to most amateur choirs. When will it be published?

According to conductor Maute, this is the first time in Montreal that Beethoven’s Ninth has been played on period instruments. It takes a few minutes to adapt to the new sound, but it’s very pleasant and successful, despite a few lapses in accuracy and precision. The sound isn’t fat, and the loud passages don’t give the impression that Obelix is lifting the Sphinx, but the tension is there. In the first movement, which Maute conducts at breakneck speed, you can hear all the elements of the musical dialogue, and the second really has the feel of a dance, something you don’t get from many other conductors. However, the middle section of this movement is too fast, and the winds don’t keep up. The third movement is certainly not adagio, but very cantabile. One enjoys the phrases without lingering or falling into the moon.

The last movement opens smoothly and lightly. Finally, the cello/bass recitatives are not too heavy! And all is exalted before the entrance of the chorus, with the recitative of bass Dominique Côté. But as soon as the chorus begins, something annoys us: a soprano pierces more than the rest of her section, especially in the high register, which is like saying almost all the time in Beethoven. Once this is targeted by the ear, it’s extremely difficult to ignore. My seatmate, who was also bothered by it, confided to me at the end of the evening that it wasn’t the first time it had happened to this tandem. If you don’t want one person’s work to unbalance a rare, high-level performance, this is something to be corrected.

photos: Tam Photography

Contemporary

New European Ensemble open the 12th edition of M / NM

by Vitta Morales

The Netherlands-based New European Ensemble kicked off this year’s 12th edition of the Montréal Nouvelles Musiques Festival. The opening concert titled “Dynamite Barrel” showcased the work of innovative contemporary composers whose pieces on the night would adhere to this year’s theme: the marriage of music and images.

Heading into this concert with little information, I assumed that this meant music that evokes imagery but that ultimately each listener was to be responsible for their own imaginations. As I would soon see, each of the featured composers would run with this theme slightly differently.

The pieces are set out to represent locations, sonic evolution, historical periods, or a mixture of the three. Sometimes this was done, as it routinely is when it comes to new chamber music, by pushing the limits of textures and timbre; meaning that they contained all the florid passages, extended techniques, mixed orchestration, and meterless moments you would expect. For those who found this fatiguing, the piece Cyan Saturn, inspired by Miles Davis’ Bitches Brew, provided some nice contrast as it contained some compositional conventions of jazz fusion which made for something a bit different.

Regardless, most of the pieces of the night would couple their music with images projected onto a screen and essentially require the players of the New European Ensemble to “score” the images live. In one piece this meant recontextualizing old Looney Tunes scenes; on another occasion, a Bollywood film; and at the very end, a surf rock piece superimposed with Thai music set to shadow puppetry.

When the musical scoring lapsed into what I would consider dense, pointillistic, or meterless soundscapes, I was much more tolerant of any shrieks and squeals when I could see they were in accordance with what was happening on the screen. The brain is funny that way. At other moments I felt some dense soundscapes overstayed their welcome. I can wholly admit that contemporary chamber music asks important questions of established practices when it goes down this route; my gripe is that it always seems to be the same questions. And they’ve been asked for more than a few decades at this point. Overall I would say the New European Ensemble interpreted for us some very interesting music, but I wasn’t about to rush to the merch

photos: Marie-Ève Labadie

Classical / Modern Classical

OSM | Payare and Weilerstein: Passion for Two From Prokofiev to Ravel

by Alexandre Villemaire

On the eve of Valentine’s Day, February 12 and 13, the setting couldn’t have been more propitious for the pairing of Rafael Payare and Alisa Weilerstein on the Maison Symphonique stage.

If Maurice Ravel’s Daphnis et Chloé can be deliberately associated with the idyll of love, both in its subject matter and in its music, Sergei Prokofiev’s Symphony Concertante for Cello, with its eclecticism and biting, percussive sounds, could appear out of step with the program’s aesthetic. On the contrary, the works were highly complementary in terms of timbral language, dynamics and passionate playing.

Opening the evening, Sergei Prokofiev’s Symphonie concertante. Written between 1950 and 1952, this mature three-movement work by the Russian composer is a reworking of an earlier cello concerto that was roundly criticized. Prokofiev’s language is textured and composite, drawing on the full range of the cello’s sound, as well as orchestral and rhythmic sonorities and passages reminiscent of jazz. At the podium, Payare was as fiery as ever, but more restrained than usual in his gestures for this complex score, where the orchestral interventions are velocity-laden in terms of texture and technique. Payare’s direction was precise and the orchestra of great intensity.

The second and third movements (Allegro giusto and Andante con moto) particularly appealed to us, respectively for their virtuosity, their use of dynamic orchestral effects and their folk accent in the cadenza of the second movement, where Alisa Weilerstein demonstrates the full range of her technique and the possible interplay of her instrument with evocative ease. Even if what sounds false to the ear is in fact well calculated, written and conveyed with naturalness. The cello lines are as swift as the orchestral lines, blending with the different sections in a rich, inventive orchestration. On stage, Alisa Weilerstein transports us into a world of her own, where she doesn’t just play the music. She is the music. She embodies a character like an actress on a stage, where her facial expressions and gestures are as significant as the accompanying music. The audience gave her a standing ovation for several minutes.

The second part, dedicated to the music of the ballet Daphnis et Chloé, plunged us into a dreamlike, colorful world. Here, Payare becomes a painter before a blank canvas which he paints with precision. Even if we’re dealing with repertoire that’s all too familiar, it’s always a delight to see the dynamics and colors imagined by Ravel unfold. The arrangement of the choir, which was installed higher than usual due to the recording, was also interesting. It’s a nice touch, too, to have the rows of choristers enter successively during the introduction, to simulate the effect of voices arriving from afar and gaining in power. A minor criticism: the processional effect would have had even greater impact if this entrance had been sung without a score! For the rest, the choir’s interventions were excellent, delivered with fine control of nuances and dynamics. In the orchestra, Rafael Payare danced across the stage, instilling vigor and character into the various orchestral forces, both in the more diaphanous moments and in the thunderous, brassy passages reminiscent of the language of George Gershwin. The astonishingly complementary and passionate interpretation of the evening’s two works richly deserved the thunderous applause of a packed Maison symphonique, and gave the orchestra great material for their forthcoming album releases, which we look forward to discovering.

Photo Credit: Antoine Saito

Africa / classique / période moderne

OSM : Angélique Kidjo chante Glass

by Rédaction PAN M 360

Beethoven dépeint poétiquement les chants d’oiseaux et le murmure des ruisseaux, alors que Janácek, en fin observateur, oppose la quiétude de la vie sylvestre au monde conflictuel des humains. De son côté, Glass s’inspire de poèmes africains évoquant le mythe de la création du monde et celui des dieux du royaume d’Ifé. La musique nourrit l’imaginaire d’Angélique Kidjo qui donne vie aux légendes avec sa voix puissante et profonde.

While Beethoven poetically depicted birdsong and rippling streams, Janácek, a stark observer, contrasted the stillness of forest life with the conflict-filled world of humans. Meanwhile, Glass drew inspiration from African poems that tell of the creation myth and deities of the ancient Ifé Empire, fuelling the imagination of Angélique Kidjo, who brings these legends to life with vocal depth and power.

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Jazz

ONJ | Tirolien with Strings Brings Down the House

by Vitta Morales

I will waste no time in saying that Malika Tirolien with the ONJ was among the best concerts I’ve been assigned. It is only February, but I suspect it will go down as one of my favorite shows of the year. And the reason why it boils down to this: Tirolien and company treated us to fantastic performances of solidly crafted songs that were then elevated by great arranging from Jean-Nicolas Trottier.

Tirolien, armed with a rhythm section, three backup singers, a string orchestra, and horns, performed songs from her 2021 album Higher, in addition to a few other selections from a separate project called Gemini Crab. Already, the songs from Higher in their original form are groovy, synth heavy, and high energy. (Due in part, no doubt, to it being co-produced by Michael League of Snarky Puppy). In an interview with Tirolien, our colleague Varun Swarup quite astutely wondered how much more grandiose these songs could get. This would be answered immediately. These arrangements, and in particular their use of strings, equated to a lightness and floating quality in the more gentle moments of the music, but they were equally up to the task of adding a satisfying density and dissonance when required. As concerns the horns, they provided some heft and weight, making the groovier moments even more so. In the words of Tirolien herself, Jean-Nicolas “found a way to elevate the music without losing its core identity.”

Musically, the show and compositions had a bit of everything. Quintuplet grooves, 12/8 shuffle, synth lead solos, a saxophone battle, politically fueled rap, belted high notes, creative tempo changes, a shredding guitar solo, and even some light choreography were all seen before the night was over. And, most importantly, it all worked. It really worked. Going over my notes, I looked to see if there were any fair criticisms that were worth mentioning. In the end, I decided that including any nitpicks would feel a bit forced. And this is because my takeaway from the evening wasn’t “Wow, what a great show; but it would have been nice to clean up elements X, Y, and Z.” Rather, my takeaway was, “Wow, what an exceptional show from all involved.”

Alternative / Post-Rock / Prog Rock

Steven Wilson au MTelus

by Rédaction PAN M 360

Connu pour son éthique de travail intense, Steven Wilson est l’un des artistes les plus acclamés et prolifiques du Royaume-Uni. Auteur-compositeur, multi-instrumentiste et leader de groupe, Wilson est passé progressivement du statut de musicien culte avec Porcupine Tree, Bass Communion, No-Man et Blackfield à une reconnaissance plus large en tant qu’artiste solo à succès au XXIe siècle. Ses albums Grace for Drowning (2011), The Raven That Refused to Sing and Other Stories (2013) et Hand.Cannot.Erase. (2015), un album conceptuel mêlant rock progressif et pop, ont tous marqué son ascension. Il a poursuivi avec 4½, un mini-album de six titres, avant de sortir en 2017 To the Bone, qui reflète son amour pour la pop progressive. Il a continué cette exploration en fusionnant divers genres pop sur The Future Bites en 2021, suivi d’un album enregistré en isolement, The Harmony Codex, en 2023.

Known for an intense work ethic, Steven Wilson is among the U.K.’s most acclaimed and prolific artists. As a songwriter, multi-instrumentalist, and bandleader, Wilson made a gradual transition from cult status with Porcupine Tree, Bass Communion, No-Man, and Blackfield to mainstream success as a charting solo artist in the 21st century with 2011’s Grace for Drowning, 2013’s The Raven That Refused to Sing and Other Stories, and 2015’s Top 40 prog-pop concept album Hand.Cannot.Erase. He followed with a 4½, a six-track mini album, and in 2017 released To the Bone, a collection that reflected his love of progressive pop. He continued that exploration with a meld of varying pop genres on 2021’s The Future Bites, following with an album recorded in isolation, 2023’s The Harmony Codex.

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Classical / Modern Classical

Echoes of Africa that resonate very well

by Frédéric Cardin

Last night saw the Orchestre classique de Montréal’s concert Échos lointains d’Afrique (Africa’s Distant Echoes) featuring soprano Suzanne Taffot. The programme for this evening, under the musical direction of Kalena Bovell, an American conductor originally from Panama, included works by Afro-descendant composers: the British Samuel Coleridge-Taylor, the Americans George Walker and William Grant Still, the Quebecer David Bontemps and a number of Spirituals.

The main course of the evening was the creation of David Bontemps’ song cycle, Le deuil des roses qui s’effeuillent (Mourning for the roses that are falling apart). This evocative title comes from the pen of Haitian poet and author Jacques Roumain, whose 80th birthday we were commemorating in 2024. In nine texts beautifully set to music by Bontemps, soprano Suzanne Taffot has brought to life subtle, warm, sometimes melancholy landscapes in a musical language steeped in the stylistic roots of the tiny Caribbean country. Sinuous lines, swaying, syncopated rhythms, but in a light, sober sound architecture. By paying this fine tribute to his own Haitian roots, Bontemps has confirmed his status as a rising star of modern Quebec composition. That said, we would have appreciated it if the texts had been projected onto the large empty wall behind the orchestra, so that we could have fully immersed ourselves in the beauty of this inspiring poetry, the vocal writing not always allowing the words to blossom with all their potential clarity (and the dim light preventing us to read them in the paper program). Suzanne Taffot’s voice is beautiful, with a wide register that demonstrates a natural ease in all pitches.

There were lovely Novelletten by Coleridge-Taylor, a British Romantic composer of Sierra Leonean origin, and very pleasant Danzas de Panama by William Grant Still, with their simple melodies treated with sober refinement. George Walker’s Lyric for Strings was perhaps the most impressive, with its restrained, elegantly constructed pathos. A sort of Barber Adagio, more sparing of affect.

A few moments of pure vocal grace rounded off the evening when Suzanne Taffot returned to the stage to perform four spirituals, warmly arranged by Moses Hogan and Hugo Bégin. The audience was won over, if it hadn’t already been, by Deep River, Give Me Jesus, Sometimes I Feel Like A Motherless Child and He’s Got the Whole World in His Hands.

Kalena Bovell led the ensemble with a sincere commitment, in a direction combining precision and emotional suggestiveness.

A highly successful evening in front of a packed Pierre-Mercure Hall (which should be enough to call into question certain recent statements criticising programming based on diversity in classical music).

Alternative Rock / nu-métal / post-grunge

Deftones au Centre Bell

by Rédaction PAN M 360

Pionniers du mouvement nu-metal des années 90, Deftones mêlent leurs influences individuelles pour créer un hybride artistique de metal alternatif qui équilibre beauté et brutalité. L’un des premiers groupes à alterner riffs lourds et chants hurlés avec des passages plus éthérés et des voix murmurées, ils ont rapidement dépassé la scène nu-metal, influençant une génération de musiciens avec leur trilogie d’albums certifiés platine : Adrenaline (1995), Around the Fur (1997) et White Pony (2000), considéré comme un album majeur du genre. Dans les années 2000 et 2010, le groupe repousse encore plus ses frontières sonores, s’éloignant des structures de chansons grand public au profit d’ambiances de plus en plus expansives, comme sur Deftones (2003), Diamond Eyes (2010) et Gore (2016). En 2020, ils entament leur quatrième décennie en tant que groupe avec leur neuvième album, Ohms.

As one of the progenitors of the ’90s nu-metal movement, Deftones embrace their individual influences to create an artistic, alternative metal hybrid that balances beauty and brutality. As one of the first groups to alternate heavy riffs and screamed vocals with more ethereal music and hushed singing, they quickly evolved beyond the nu-metal scene, influencing a generation of musicians with their trio of platinum-certified early albums: 1995’s Adrenaline, 1997’s Around the Fur, and 2000’s seminal White Pony. In the 2000s and 2010s, they pushed their sonic boundaries even further, departing from mainstream-friendly song structures in favor of increasingly expansive atmospherics on sets like 2003’s self-titled effort, 2010’s Diamond Eyes, and 2016’s Gore. In 2020, they kicked off their fourth decade as a unit with their ninth album, Ohms.

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Dance-Pop / DJ set / Électronique

The Bloody Beetroots au Théâtre Fairmount

by Rédaction PAN M 360

Initialement signé sur le label Dim Mak du célèbre DJ Steve Aoki et souvent comparé stylistiquement aux superstars électro françaises Justice, The Bloody Beetroots — qui est en réalité un projet solo de Sir Bob Cornelius Rifo — a suscité un grand intérêt dans la blogosphère musicale à partir de 2006 grâce à ses remix et productions. L’apparence masquée de l’artiste à la Daft Punk a également attiré une attention médiatique considérable. Rifo a commencé à établir le Bloody Beetroots DJ Set comme un acte de performance au début de 2008 avec une courte tournée américaine, incluant un passage au South by Southwest et plusieurs concerts à Los Angeles, où il est apparu aux côtés de Aoki. Après quelques EPs, le premier album des Bloody Beetroots, Romborama, est sorti en 2009. Rifo a ensuite passé les deux années suivantes à promouvoir l’album avec une tournée intensive, et au printemps 2010, il a donné à son groupe live le nom de Bloody Beetroots Deathcrew ’77.

Initially releasing music on celebrity DJ Steve Aoki’s Dim Mak label and often compared stylistically to French electro superstars Justice, the Bloody Beetroots — technically a solo project of one Sir Bob Cornelius Rifo — generated significant buzz in the music blogosphere from 2006 onward with both remix and production work. The Italian artist’s masked appearance à la Daft Punk also garnered significant media attention. Rifo began to establish the Bloody Beetroots DJ Set as a performance act in early 2008 with a short American tour that included a stop at South by Southwest as well as numerous club gigs in Los Angeles, where he appeared alongside Aoki. Following a handful of EPs, the Bloody Beetroots’ first album, Romborama, was released in 2009. Rifo then spent the next couple of years promoting the record with an extensive touring schedule, and by spring 2010 he had named his live act Bloody Beetroots Deathcrew ’77.

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Glam Rock / humour / spoken words

Ninja Sex Party au MTelus

by Rédaction PAN M 360

Le duo new-yorkais de comédie musicale Ninja Sex Party propose des hymnes humoristiques et accrocheurs mêlant le rock des années 1980 et l’attitude glam metal à des grooves souvent synthétiques et orientés vers la danse. Composé de Danny Sexbang (Leigh Daniel Avidan) et Ninja Brian (Brian Wecht), le duo s’est construit une base de fans fidèles grâce à ses vidéos en ligne et à des albums comme NSFW (2011) et Strawberries and Cream (2013), tous deux classés numéro un au Billboard dans la catégorie Comedy Albums. Bien que l’humour et leurs personnages satiriques de héros nerds soient au cœur de leur projet, ils abordent la musique avec sérieux, comme en témoigne leur série d’albums de reprises Under the Covers, où ils apposent leur touche à la fois espiègle et sincère sur des morceaux de a-ha, Van Halen, Boston et bien d’autres.

New York musical comedy duo Ninja Sex Party make humorous, hooky anthems that combine ’80s rock and hair metal posturing with often synthy, dance-oriented grooves. Centered around their ironic alter egos, the duo of Danny Sexbang (Leigh Daniel Avidan) and Ninja Brian (Brian Wecht) have built a loyal fan base with their online videos and albums like 2011’s NSFW and 2013’s Strawberries and Cream, both of which hit number one on Billboard’s Comedy Albums chart. While humor and playing up their satirical, nerd-hero personae are their primary focus, they take their music seriously, as evidenced by their ongoing covers album series Under the Covers, in which they put their cheeky, yet still heartfelt stamp on tracks by a-ha, Van Halen, Boston, and others.

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Country

Nate Smith au MTelus

by Rédaction PAN M 360

Nate Smith est un chanteur et auteur-compositeur country doté d’une voix chaleureuse et profonde, ainsi que d’un talent pour raconter les joies et les défis de la vie quotidienne. Il n’a connu le succès à Nashville qu’à sa deuxième tentative, après avoir reçu un rappel puissant de ce qu’il aimait dans sa ville natale. Sa musique, empreinte d’une forte charge émotionnelle, adopte une approche naturelle et discrète qui met en valeur la puissance de sa voix, tandis que l’honnêteté de son interprétation s’accorde avec la sincérité de ses textes. Il s’est d’abord fait connaître grâce à One of These Days, une chanson profondément personnelle devenue virale, avant d’enchaîner avec des succès indépendants comme Sleeve et Under My Skin, qui lui ont valu de signer avec Sony Music. Il a ensuite confirmé son talent avec I Don’t Wanna Go to Heaven, un tendre récit d’amour à long terme. En 2023, il a sorti son premier album éponyme Nate Smith, porté par le single Whiskey on You, classé au Billboard Hot 100 et Hot Country Songs. L’album s’est hissé dans le Top 30 du Billboard 200, suivi de l’EP Through the Smoke. En 2024, il a dévoilé son deuxième album, California Gold, mené par le single Bulletproof.

Nate Smith is a country singer and songwriter with a rich, warm voice and a gift for stories about the joys and challenges of everyday life. He didn’t find success in Nashville until his second try in Music City, after he was given a powerful reminder of what he loved about his hometown. Smith’s music is strongly emotional but has a natural, low-key approach that complements the strength of his instrument, and he communicates an honesty that meshes with the home truths of his lyrics. He first made a name for himself when his deeply personal “One of These Days” became a viral success, and independent hits like “Sleeve” and “Under My Skin” led to his signing with Sony Music and scoring another success with the tender tale of long-term love, “I Don’t Wanna Go to Heaven.” In 2023, he released his full-length debut, Nate Smith, anchored by the Billboard Hot 100 and Hot Country Songs single “Whiskey on You.” The album cracked the Top 30 of the Billboard 200 and was followed by the EP Through the Smoke. In 2024, he delivered his sophomore album, California Gold, led by the single “Bulletproof.”

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classique / post-romantique

OSM : Wagner et Debussy – De l’amour à la mer

by Rédaction PAN M 360

Dans ce programme, l’alto, avec ses sonorités profondes et émouvantes, exprime la douleur de la séparation qui résonne dans l’œuvre de Wagner et dans le Concerto de la compositrice canadienne Cassandra Miller, créé en 2023 par Lawrence Power. Quant à Debussy, il dépeint la mer à travers des touches impressionnistes, mêlant nostalgie et rêve, pour un voyage sonore fait de subtiles sensations. Une expérience musicale à la fois intense et poétique, à découvrir absolument!

This program highlights the viola’s deep, expressive voice in Canadian composer Cassandra Miller’s Concerto, a poignant reflection on separation premiered in 2023 by Lawrence Power, and an excerpt from Wagner’s Tristan and Isolde, both poignant reflections on separation. Meanwhile, Debussy paints a vivid portrait of the sea with impressionistic colours, immersing listeners in a nostalgic and dreamlike soundscape. Enjoy a musical journey that is both powerful and poetic.

Programme

Hector Berlioz, Le Corsaire, Ouverture, op. 21, H 101 (8 min)
Cassandra Miller, I cannot love without trembling, concerto pour alto (25 min)
Richard Wagner, Tristan und Isolde, WWV90 : Prélude et mort d’Isolde (17 min)
Claude Debussy, La mer, trois esquisses symphoniques pour orchestre, L. 109, CD 111 (23 min)

Program

Hector Berlioz, Le Corsaire, Overture, Op. 21, H 101 (8 min)
Cassandra Miller, I cannot love without trembling, Concerto for Viola (25 min)
Richard Wagner,  Tristan und Isolde, WWV90: Prelude and death of Isolde (17 min)
Claude Debussy, La mer, trois esquisses symphoniques pour orchestre, L. 109, CD 111 (23 min)

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