Toronto Symphony Orchestra music director Peter Oundjian is taking on the leadership of the highly regarded Royal Scottish National Orchestra, starting with the 2012-13 season. Oundjian will continue to lead the Toronto Symphony at least until the expiration of his current contract at the end of the 2013-14 season.
It's much too early to tell if he will extend his Toronto contract beyond 2014.
Oundjian's first season in Scotland will include a short, six-week residency. This will increase gradually to eight weeks over the course of his initial, four-year commitment. There are also plans for recordings and touring already in the works.
The maestro replaces French conductor Stéphane Denève, who is leaving the music director's post at the end of the 2011-12 season.
“I am very happy indeed at the news that Peter Oundjian will succeed me as music director of this wonderful orchestra," said Denève in a press release issued by both orchestras this morning. "I have been fortunate to conduct the Toronto Symphony on many occasions and I have seen the great creativity, imagination and dedication that Peter has brought to them.”
The Scottish Orchestra's CEO, Simon Woods, was equally enthusiastic.
“I have known and admired Peter for over a decade, and I am in no doubt that he will bring very special qualities to the RSNO," Woods was quoted in the press release. "He is a musician of enormous integrity whose performances are richly informed by his many years as a chamber musician. His love of making music together with others is something that is apparent in everything he touches, and the results are always deeply musical, communicative and incredibly involving. There are great times ahead for the RSNO and its audiences.”
Oundjian made his début with the Scottish Orchestra in 2002. He has been music director of the Toronto Symphony since 2004 -- during which time he has made huge strides in improving the orchestra's sound and morale, has helped increase audiences and has led the organization's slow return to international touring. The Toronto Symphony has just returned from a six-stop tour of Florida, and will perform its second Carnegie Hall concert under Oundjian in March.
Oundjian, who was born in Toronto but was brought up in England, trained as a violinist at the Juilliard School in new York City. He spent 14 years with the world-renowned Tokyo String Quartet before focal dystonia forced him to stop playing the violin. He turned the misfortune into the start of a conducting career.
Besides his work in Toronto, Oundjian has been artistic director of the Amsterdam Sinfonietta, principal guest conductor and artistic advisor of the Detroit Symphony Orchestra, principal guest conductor of the Colorado Symphony Orchestra, and principal conductor and artistic advisor of the Caramoor Festival. He has conducted major orchestras in Europe including the Tonhalle-Orchester Zürich and the Orchestre Philarmonique de Radio France, as well as visiting the Royal Stockholm Philharmonic Orchestra, Stuttgart Radio Symphony Orchestra and the Philharmonia Orchestra.
Everything we need to know about Western art music has its roots in the 17th and 18th centuries, so we need to spend more time with some of its seminal composers -- and give them a few more credits on the Necessary 100 list.
Today's man: George Frideric Handel, an incredibly inventive, self-reinventive individual, born in Germany in 1685, musically spit-and-polished in Rome and then transplanted to the England of soon-to-be King George I. Handel wrote music for every occasion, both sacred and secular. He died in 1759. He had his own opera company. I'm going to over-simplify in saying that Handel's music is less complex, less intellectual than J.S. Bach's, but makes up for it by being unfailingly beguiling.
How else to explain the zillions of performances of the three sets of works that should be on our Necessary 100 list. There's no reason to sneer at excessive popularity here. I remind myself that it was Messiah and the Coronation Anthems that were my personal introduction to Handel's music -- and introduction that has fostered a lifelong love.
*Water Music In 1717, King George I loved the sound of these three barge-borne suites so much that he asked to hear them again twice. Unlike the Baroque ensembles we hear these days, Handel had a pretty large orchestra at his disposal for this proejct, probably numbering around 50.
Here is Concerto Köln performing the first five minutes of the first suite in Nantes, France in 2006:
*The Coronation Anthems Just before George I died in 1727, he made Handel a British subject. Handel repaid the favour by composing four anthems for the coronation of George II (the last British monarch to not be born on English soil). Handel had a couple of hundred singers and instrumentalists at his disposal for these big, gorgeous pieces.
Here is an XXL version of "Zadok the Priest," with the BBC Symphony and Chorus led by Sir Andrew Davis outside Buckingham Palace for the Quen's Golden Jubilee in 2002:
*Messiah In 1741, Handel's Italian operas had gone out of fashion, his opera company was nothing but a pile of debts. Rather than sulk, he took his friend Charles Jennens' collected texts on the promise of Christian salvation and wrote the greatest oratoio hit of all time. 'Nuff said.
Here, for the heck of it, is a Toronto group rehearsing "But Who May Abide the Day of His Coming" in Mandarin:
This afternoon's Aldeburgh Connection concert is all about Campbell McInnes the Lancastershire lad who premiered The Shropshire Lad before moving to Toronto in 1919 to become a lively musical fixture as a performer, teacher and concert presenter. (He died in 1945.)
(According to the Encyclopedia of Music in Canada, McInnes's other notable premieres in England included Vaughan William's Sea Symphony and the Five Mystical Songs.)
Alderburgh Connection pianists and co-artistic directors Stephen Ralls and Bruce Ubukata have invited tenor Michael Colvin and fabulous baritone Brett Polegato to help tell the tale in words and music.
The concert starts at 2:30 p.m. at University of Toronto's Walter Hall. For details, click here.
I don't know the details of today's programme, but it could be that the Five Mystical Songs, which set poems by George Herbert, are on it. They are gorgeous.
Here is baritone Thomas Allen singing the full, original orchestra-and-chorus version, with conductor Leonard Slatkin at the BBC Proms in Royal Albert Hall in 2004:
I'm continuing my cherry-pick through Larry Beckwith's list with Jean-Philippe Rameau's Les Indes galantes. While we're in 17th century France, we need to make two more musical stops to pick up stuff I would like to recommend for the Necessary 100 list: Couperin's pioneering music for harpsichord and a Requiem setting by the nearly forgotten jean Gilles:
*Les Indes galantes, by Jean-Philippe Rameau This piece was billed "ballet héroique" at its revival in 1736, which featured a new fourth act featuring "Les Sauvages" of New France (where a Frenchman and a Spaniard vie for the affections of Indian Zima, who wants nothing to do with the colonists). It is as much opera as ballet, and, while the colonial themes of each act are fascinating from a cultural-history point of view, the music is the real treasure here.
Here are two scenes from a production led by William Christie, featuring soprano Patricia Petibon as Zima (more details about the production here):
*The Art of Playing the Harpsichord, by François Couperin Couperin was a generation older than Rameau, dying in 1733. His greatest musical legacy is a series of four books that laid out the full spectrum of possibilities of those twangy little keyboards. It's not fair to lump so many pieces into the the Necessary 100, so I'm choosing two of the most popular, "Les barricades mystérieuses," performed by Scott Ross on the harpsichord, and "Tic toc choc" as played by Alexandre Tharaud on the modern piano (a challenge, because it was written to be played on two separate keyboards), in a clever 2008 video by Elise McLeod:
*Requiem, by Jean Gilles Here is someone who is nearly forgotten, but who wrote one of the most beautifully crafted settings of the Requiem Mass I have ever heard. Jean Gilles (1668-1705) lived in southern France, ending his short life as the master of music at the cathedral in Toulouse. His setting of the Requiem was used at Rameau's funeral in 1764 and, even more significantly, at the funeral of King Louis XV in 1774. It deserves to be heard much more often.
Here is an elegant 2005 performance by the Netherlands Bach Society:
I wanted to add three more commentaries to the compositions I bolded in Larry Beckwith's Necessary 100 submissions posted yesterday. I'll keep going down the list in coming days.
We're firmly in the Baroque world now. These three picks from Beckwith's list are absolute naturals for this list, due to their enduring popularity, even among people who don't consider themselves classical music listeners.
Henry Purcell: Dido and Aeneas It wasn't until after George Frideric Handel disembarked on the blighty side of the English Channel that audiences got a taste of serious Italian opera. In the meantime, the English had been enjoying masques -- grand entertainments that mixed words, music and dance. Dido and Aeneas, which had its premiere at a girls' school in 1688, was one of the first English operas, meaning that it was meant to be sung all the way through. The piece packs a great story of love and loss into less than an hour. The music is gorgeous -- instrumentally, chorally and in the solo arias. The most famous and haunting aria is Dido's Lament, which has been enjoyed by three centuries' worth of appreciative ears.
Here is Canadian mezzo Laura Pudwell -- a frequent and welcome performer in Toronto -- at her very best in Dido's Lament, from a recording made with Le Concert Spirituel:
Vivaldi: 'Winter' from The Four Seasons The violin concertos that we know as The Four Seasons are but the tip of Vivaldi creative iceberg. We hear these pieces far too often, but there's also a reason for that: this is instrumental at its most inventive and evocative. These concertos come from a book of 12, known as Op. 8, published in 1725. Vivaldi added the title "Il cimento dell'armonia e dell'inventione" -- the melding of harmony and creativity -- something that turned out not to be just marketing hype.
There were little descriptive sonnets included for each concerto. The breaks correspond to the different movements. Here is a rough English translation for Winter:
Shivering, frozen mid the frosty snow in biting, stinging winds; running to and fro to stamp one's icy feet, teeth chattering in the bitter chill.
To rest contentedly beside the hearth, while those outside are drenched by pouring rain.
We tread the icy path slowly and cautiously, for fear of tripping and falling. Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up. We feel the chill north winds course through the home despite the locked and bolted doors... this is winter, which nonetheless brings its own delights.
This is Renaldo Alessandrini leading soloist Francesca Vicari and the Concerto italiano period-instrument orchestra in what we should call the X-treme Baroque interpretation of all three movements of Winter, a.k.a. the Violin Concerto in F-minor, RV 297:
J.S. Bach: Suites for Unaccompanied Cello Here is another set of pieces -- six suites -- that hardly needs an introduction. We don't actually know when Bach wrote them. The earliest surviving score dates from 1726. The seductive music means it hardly matters (and for a fascinating story of one man's growing obsession and fascination with these pieces, get your hands on Montrealer Eric Siblin's 2009 book, The Cello Suites).
Here is Toronto Symphony Orchestra cellist Winona Zelenka performing the Sarabande from Suite No. 2:
I received my first list of 100 pieces yesterday, from Toronto violinist, teacher and Toronto Masque Theatre founder, Larry Beckwith.
It's not too hard to pick composers, but it's a major challenge to pick individual pieces. Thee are only a couple of composers from Beckwith's list I would not have included. I've bolded those specific pieces that would have been on my list (and I'm adding commentary, text translations and video clips, for the first three).
Heeeere's Larry, being perfectly chronological (the commentary is mine):
From the lists you've already received, it seems important to make the distinction between personal taste and some sort of objective idea of pieces that are valuable or "necessary". There are those pieces that have special meaning in one's life because of a particular performance one heard, or the circumstances - a love affair, the death of someone close, etc - that surround it. These are 100 pieces off the top of my head that I would deem "necessary" to anyone who really wanted to know something deep and essential about the Western classical music tradition (I think the 19th century is over-rated....I don't see Rossini, Donizetti or Bellini as having been innovative in any way, neither were Tchaikovsky or Puccini...lots to argue about!) The last 2 entries may be subjective, but I grew up with a composer in the house who I admire greatly!...and Stardust, well, that's an incredible song with alot of meaning for me:
*HIldegard: Ordo virtutum *Machaut: Messe de Notre Dame *Dufay: Adieu ces bons vins de Lannoys *Ockeghem: Requiem *Josquin: Ave Maria
*Gesualdo: Madrigals, book VI -No ordinary rules of musical theory apply in thiese mesperizing polyphonies. Even Igor Stravinsky felt compelled to make a pilgrimage to this tragic madman's haunted, abandoned castle. Here is No. 17, "Moro lasso al mio duolo" led by Alan Curtis:
I die, alas, in my suffering, And she who could give me life, Alas, kills me and will not help me.
O sorrowful fate, She who could give me life, Alas, gives me death.
*Palestrina: Missa aeterna christi munera *Byrd: Cantinones sacrae (1591)
*Tallis: Spem in alium -The legendary motet written around 1570 for 40 individual voices (eight groups of five voices) is the ne plus ultra of polyphony, and one of the most awe-inspiring pieces of music every written, anywhere. The video comes with bonus visuals of Ely Cathedral, which is just north of Cambridge (Tallis was organist at Canterbury Cathedral):
I have never put my hope in any other but in You,
O God of Israel
who can show both anger
and graciousness,
and who absolves all the sins of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness
*Monteverdi: Orfeo -Claudio Monteverdi didn't invent opera, but is the only member of the Italian "New School" of composers whose operas have survived. These men looked back to Antiquity to find a way of maximizing drama by blending music and text in a stage play. I would rate the Marian Vespers of 1610 as highly as Orfeo, but it's time for something secular.
Here is Cecilia Gasdia as La Musica, singing the Prologue in a 1998 production of the opera at the Teatro Goldoni in Florence, led by René Jacobs:
From my beloved Permessus I come to you, illustrious heroes, noble scions of kings, whose glorious deeds Fame relates, though falling short of the truth, since the target is too high.
I am Music, who in sweet accents can calm each troubled heart, and now with noble anger, now with love, can kindle the most frigid minds.
I, with my lyre of gold and with my singing, am used to sometimes charming my mortal ears, and in this way inspire souls with a longing for the sonorous harmony of heaven's lyre.
From here desire spurs me to tell you of Orpheus, Orpheus who drew wild beasts to him by his songs and who subjugated Hades by his entreaties, the immortal glory of Pindus and Helicon.
Now while I alternate my songs, now happy, now sad, let no small bird stir among these trees, no noisy wave be heard on these river-banks, and let each little breeze halt in its course.
*Monteverdi: Vespers (1610) *Monteverdi: Madrigals, book VIII *Carissimi: Jephte *Schutz: Musikalische exequien *Purcell: Dido and Aeneas *Purcell: Te Deum and Jubilate *Corelli: Violin sonatas, op. 5 *Couperin: Lecons de tenebres *Charpentier: Medee *D. Scarlatti: Piano Sonata, L. 224 *Vivaldi: "Winter" from The Four Seasons *Handel: Solomon **Handel: Giulio Cesare *Bach: Klavierubung III *Bach: Trauer-ode *Bach: Cello Suites *Bach: St. Matthew Passion *Bach: Well-Tempered Clavier, books I and II *Rameau: Les indes galantes *Haydn: String quartet, op. 76, #2 *Haydn: Trumpet Concerto *Haydn: Symphony #104 *Mozart: Piano concerto in D minor *Mozart: Don Giovanni *Mozart: Clarinet quintet *Mozart: Jupiter Symphony *Beethoven: Violin Concerto *Beethoven: Symphony #9 *Beethoven: String Quartet, op. 131 *Beethoven: Piano sonata, op. 109 *Schubert: Die Winterreise *Schubert: String Quintet in C major (I agree with Scott!) *Schubert: Symphony #9 *Weber: Der Freischutz *Schumann: Piano Quintet *Mendelssohn: Elijah *Berlioz: Symphonie Fantastique *Chopin: Preludes for piano *Brahms: Haydn Variations *Brahms: Piano pieces, op. 118 and 119 *Bizet: Carmen *Dvorak: Serenade for Strings *Verdi: La Traviata *Verdi: Otello *Wagner: Tristan und Isolde *Mussorgsky: Pictures at an Exhibition *Mahler: Symphony #5 *Widor: Toccata for organ *Ives: Three Places in New England *Stravinsky: Rite of Spring *Ives: Concord Sonata *Stravinsky: Agon *Debussy: La Mer *Debussy: Pelleas et Melisande *Debussy: Preludes for piano, books 1 and 2 *Ravel: Trois poèmes de Stéphane Mallarmé *Strauss: Elektra *Schoenberg: Moses und Aron *Joplin: Treemonisha *Prokofiev: Romeo and Juliet *Berg: Violin concerto *Berg: Wozzeck *Janacek: Jenufa *Weill: Mahagony *Gershwin: Rhapsody in Blue *Gershwin: Porgy and Bess *Shostakovich: Lady MacBeth of Mtsensk *Bartok: Miraculous Mandarin *Bartok: String Quartet #5 *Messiaen: Quartet for the end of time *Messiaen: Turangalila Symphony *Duruflé: Requiem •Duruflé: Ubi caritas •Barber: Adagio for strings •Bernstein: West Side Story •Howells: Collegium Regal Service •Elgar: Dream of Gerontius •Copland: The Tender Land •Britten: War Requiem •Miles Davis: So What •Lutoslawski: Symphony #4 •Boulez: Le marteau sans maitre •Billy Strayhorn: Take the "A" train •Berio: Sinfonia •Berio: Sequenza for Soprano •Stockhausen: Stimmung •Maxwell Davies: Diary of a Mad King •Schafer: Patria Cycle •John Beckwith: Sharon Fragments •Hoagy Carmichael: Stardust
The Cecilia String Quartet, in residence at the Royal Conservatory of Music's Glenn Gould School this year, is celebrating a four-album deal the Montreal's Analekta label at Mazzoleni Hall tonight, starting at 7:30 p.m. Label head Mario Labbé will be there to help kick off a rich programme of music by Mozart, Dvorak and Shotakovich.
Tickets are only $10. As of 8:15 am, there were 20 seats still left. For details, click here.
The young quartet, which had already been building a fine reputation, won the Banff International String Quartet Competition last summer, then acquired a new cellist, Rachel Desoer, right afterward.
I just found out that current Star plans are to shut down this blog and several others, in a rationalization move that will incorporate them into larger blogs.
In other words, all my stuff here will become part of a larger all-music blog to which anyone at the Star will be able to contribute news, information, reviews and gossip relating to any genre of music.
I've never seen traffic reports from my blog, so I have to take my boss at his word that Sound Mind has not generated a lot of traffic.
My life will not change. But yours, dear, gentle reader, will.
I know I don't like messing about in unfocussed blogs and tend to avoid general ones like what the Star is planning. Is it the same case for you?
It's fun to start something on the spur of the moment. It's another to make it work. The submissions and suggestions for my list of The Necessary 100 pieces of music (thanks to Daniel Shapiro for the title) are coming in -- see the comments at the bottom of yesterdays post, plus more below.
I'm going to keep posting your submissions, and provide one suggestion a day. Then, when it feels like we're reaching some sort of critical mass, I'll start getting this little beast of a list organized.
I was thinking it would be fun to try to convince a music downloading service to offer a Necessary 100 package at an attractive price. But let's see how things go, first...
SUBMISSIONS VIA EMAIL:
From Daniel Shapiro: The challenge to choose the Necessary 100 may indeed be too challenging, at least for those of us with jobs and lives to live, but I offer the following:
1. Mozart's Clarinet Concerto, which I think is simply the most beautiful full-length classical piece. Period.
2. J.S. Bach's A Musical Offering. This isn't Bach's finest work (I've no idea how to choose that, and I'd take Bach's work alone if I could have only one composer), but it displays a command of counterpoint that never fails to astonish me. As a sometime composer, I know that trying to make a worthwhile extended contrapuntal section is tremendously difficult; in this piece, Bach does five-part counterpoint, and in one short section six-part. Having worked for a long, tortuous period to achieve three- and four-part counterpoint, I listen to this simply awestruck.
(Here are flutist Marc and harpsichordist Pierre Hantaï to give us a taste of the main theme and ricercar (a 3):)
3. Leonard Cohen's New Skin for the Old Ceremony. (If we are choosing full-length works including operas, albums of song belong here (what about The Who's Tommy?), and not just individual songs. I am not a big Schubert fan, but if someone chose the Winterreise as a group, I think we'd have to let them.) The individual songs are extraordinary pieces, but together form a kind of look into the soul, dark and light, brutal and sensitive, that seems to me unparallelled.
4. Bob Dylan's Highway 61 Revisited. The collection of songs here are the epitome of what makes this songwriter's canon so great. The extended metaphors of the title song and "Desolation Row," the harsh but empathetic attitude embodied in "Like a Rolling Stone," "Ballad of a Thin Man," and "Queen Jane Approximately," and the sheer exuberance in melody and rhyme of practically every song on the album makes this necessary.
5. Beethoven's Fifth Symphony. I once heard an overnight FM host object to playing some of the great "warhorses" (his word) of classical music, because we've heard them so often; I recall thinking that we listen to them over and over because they repay the time and effort. He was referring to Grieg's Piano Concerto (lower down on my own list, but surely in there somewhere), but the notion applies to this, in my opinion as in many others', simply the greatest symphony in the repertoire. Yes, the Ninth is magnificent, the Eroica is extraordinary, and I have a warm spot for the rich and surprising Seventh (and the Fourth is my pocket fave, the one I like when the others are just too much), but the Fifth rings down the centuries with a greatness unlike the others; it's on a separate plane. What is more thrilling than its opening four notes, more surprising and striking than the oboe obbligato, more satisfying as a complete orchestral meal?
6. Antonio Vivaldi's Four Seasons. Again, we listened to it too many times, but it got played so much because it's so terrific. From the traditional versions to the Nigel Kennedy and Il Giardino Armonico re-imaginings, the range and the delight of this sequence of pieces continues to enthrall new listeners. And, if you come to it without the jaded ear most of us older listeners have acquired, you'll hear anew its wonder and mastery.
7. Joni Mitchell's Blue. A series of songs so personal they'll have the hair on the back of your neck standing on end. Strong melody, instrumentation that shows the beginnings of her interest in jazz without losing the lightness of pop songs, yet songs that have real weight.
8. Hector Berlioz's Harold in Italy. Berlioz's masterpiece, I think, and so much better than the rest of his work that it belongs here. If I ever chose to learn to play the viola, it would be to play this. What melodic invention! What sheer pleasure in the sound of life!
9. Gordon Lightfoot's "The Wreck of the Edmund Fitzgerald." When I first heard this, I was simply floored. The recreation of mediaeval ballad style, complete with daring rhymes ("too rough to feed ya" and "been good to know ya" reminded me of no one so much as Geoffrey Chaucer) and the even more daring tactic of letting the simple melody take care of itself, as a ballad will. I separate it from the album it was on not because there were no other good songs (Lightfoot's catalogue of wonderful songs is second to no one's), but because it's just such an unbelievable achievement of mature songcraft, that every time I hear it I am astounded and captured by it.
I don't really have time to fill in ninety-one more items, but I would like to include more Bach, along with Brahms, Prokofiev, Schumann's string quintet, albums by the Beatles (Rubber Soul or Sergeant Pepper), Phil Ochs (Rehearsals for Retirement), Gershwin (Concerto in F and Fred Astaire's album of song stylings, perhaps), Handel, Haydn, Miles Davis's Kind of Blue, Dave Brubeck's Time Out, Randy Newman's Little Criminals, Shostakovich, something by Poulenc, and — well, you see why I have to stop now.
From Canadian Opera Company Orchestra tuba Scott Irvine:
I'm not even going to try to limit myself to 100. Sometimes I need the bombast and swagger of stuff like Walton's Crown Imperial, or the intimacy of Feldman's chamber works. Bach plays a big role, as does the music of Vaughan Williams, (that's where you and I first got into contact). I'm also a string 4tet junkie, so Beethoven looms large as well. And of course, I've been in the COC Orchestra for over 25 years, so Mozart, Puccini, Strauss and Wagner have to figure in there somewhere.
So I will name just one piece -- number 1 on my list, above everything else. It's the first CD I would grab in case of fire:
Schubert - String Quintet in C major, D956
Here's the music, as performed by our very own Penderecki String Quartet, with cellist Roman Borys, earlier this year:
MY DAILY SUBMISSION Because of the jumble in my head over this little game, I'm going to do this chronologically, so that my eensy little brain can keep my own list straight.
Early Music: Libro Vermell de Montserrat If nothing else, this collection of 10 devotional songs and dances compiled in the 14th century in the Catalan monastery in Montserrat (home to a shrine to the Black Virgin) serves to remind us of how dancing does not have to be confined to deafening clubs in the Entertainment District. This simple music, written in one or two parts, was not meant to be listened to but meant to be sung and enjoyed by anyone who had made the pilgrimage to Montserrat. This is music that's all about life.
Here is "Stella Splendens" and "Los Set goxs recomptarem" (The Seven Joys):
John Terauds started at the Toronto Star as a freelance writer in 1988, and has been on staff since 1997. He began writing on classical music in 2001, and has been the full-time classical music critic since 2005.
He is also the organist and choir director at St. Peter's Anglican Church, a parish founded in 1863 in downtown Toronto.
If he's not listening to, writing about or playing music, it means he's either asleep, unconscious, walking his dog -- or all of the above.
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