In both cases, Godwin Friesen was the soloist. Initially, his instrument was placed at the centre of the orchestra, somewhat in keeping with his atypical role: a solo truly interwoven with the orchestral discourse, whose individual performance blended more than in a \u201cnormal\u201d concerto for piano and orchestra.<\/p>\n\n\n\n
Secondly, we are dealing with a work closer to the modern or post-Romantic orchestrations developed at the beginning of the previous century and revisited in the middle of that same century by the Greek composer, in 1947. This time, we see a more melodic, more conformist inclination, except perhaps for the peculiarity of presenting two soloists in the context of a composition that is easier to play. Namely, concert pianist Godwin Friesen and OSM solo flutist Timothy Hutchins.<\/p>\n\n\n\n
The technical demands of the late composer, who was very prolific, were therefore somewhat less demanding for this second performance of his works in the same Vir\u00e9e. In my opinion, the performance was flawless, a proper work whose objective is clear: to allow two excellent musicians, one an emerging soloist and the other a veteran, to express themselves.<\/p>\n\n\n\n
We were then treated to a delightful Pastorale served as the main course by the OSM and Rafael Payare, Beethoven’s most reassuring symphony. It was composed between 1805 and 1808 by the famous composer, who was disappointed with the urbanization of Vienna, which he found detrimental to its natural surroundings. Two and a quarter centuries have passed since then, with the results we all know\u2026<\/p>\n\n\n\n
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PROGRAM<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n Artists<\/strong><\/p>\n\n\n\n Rafael Payare, conductor<\/p>\n\n\n\n Timothy Hutchins, flute<\/p>\n\n\n\n Godwin Friesen, piano<\/p>\n\n\n\n <\/p>\n\n\n\n Works<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n M\u00edkis Theodorakis, Sinfonietta for flute, piano, and string orchestra (22 min)<\/p>\n\n\n\n Ludwig van Beethoven, Symphony No. 2, The Song of the Earth, \u201cPastoral\u201d (38 min)<\/p>\n\n\n I preferred the excerpt from M\u00edkis Theodorakis’ Sinfonietta for flute, piano, and string orchestra, performed Saturday evening at the Maison symphonique, to the more violent, rhythmic, virtuosic, and unique fourth movement of his Symphony No. 2, Le chant de la terre, performed last Wednesday at the Olympic Stadium. In both cases, Godwin Friesen was the […]<\/p>\n","protected":false},"author":36,"featured_media":142974,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[8152],"tags":[9434],"genre":[3111,4426,3117],"salle":[],"ville":[],"class_list":["post-143041","gig_review","type-gig_review","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques-de-concerts-en","tag-viree-classique","genre-classical","genre-periode-classique-en","genre-modern-classical"],"acf":[],"yoast_head":"\n