ARION BRINGS BACH INTO BOURGIE HALL BEAUTIFULLY

 Arion's all-Bach program moved us into joyous rapture and contemplation in their concert, titled “Bach Ombre et Lumière” (Bach: Shadows and Light). Oboes and bassoon stole the sonoric show in the first piece, “Sinfonia de la cantate Am Abend aber desselbigen Sabbats”. 
Mathieu Lussier is outstanding on the bassoon and as co-artistic director with Ms. Guimond, he beguiles with his talents.

Nuria Rial

Spanish, solo soprano, Nuria Rial stirred us with her pure voice that emoted so stunningly with her two performances with the orchestra before and after the intermission. “Zerfliesse, mein Herze” from the "Passion of Saint Joan" was subtly interpreted with restraint and profound sorrow. She also came back to mesmerize us with her evocatively expressive tones and impeccable phrasing when she sang “Cantate ich habe genung”. The words in these two works seemed to be a call for death by Bach as he makes peace with the lord. The instrumental works in the program were performed with Arion’s signature understanding of nuances, dynamics and timing necessary to capture all the movements’ own rhythms and musicality in rondeaux, minuets and bourées.

Hank Knox

Claire Guimond

Hank Knox on the harpsichord and organ and Claire Guimond on flute delighted us. "Suite No 1 in C major" contrasted to the  more serious mood "No 2 in b minor" offered a great showcase for sprightly moments and dark ones too. Bach was born in 1685 and dies in 1750. These works truly embodied his profound spirit that embraced life’s darkness and light.  A well-deserved standing ovation with lots of ‘bravos' seemed to go not just to the musicians, but to Bach himself.  Nice touch of English spoken in explanations. Thank you M. Lussier!

Call 514-355-1825 for tickets to their next concert that features Handel, with guest conductor Boris Begelman, and organ soloist, Jean-Will Kunz.

“MOZART: THE DAWN OF REVOLUTION CONCERT “ LED BY THE BRILLIANT ALEXIS KOSSENKO

Alexis Kossenko

Location: Bourgie Hall, Montreal, January 12, 2 p.m.

Arion Baroque brought passion to the podium with conductor and flautist, Alexis

Kossenko 

What an exciting concert – not just because of the magnificent musicians’ performance of a well-knitted program, but because, conductor, Alexis Kossenko understood each work and made it his own  sinew and soul. Wafting hands, bending knees, tilting his head with eyes so expressive with each phrase performed, the French conductor showed how compositions by Gossec, Mozart, Devienne and Haydn are meant to be interpreted.

Mr. Kossenko’s virtuoso flute playing was flabbergasting – as heard in his stunningly sensitive performance of Devienne’s “Concerto no. 7 in E Minor”. At one point, it seemed like he was playing two notes simultaneously as he blew into his flute beautifully matched with superfast finger dexterity  This opening Allegro was played with robust attack by the orchestra, yet not a note went wayward. The timing between flute and orchestra was impeccable.

My favorite work was a new surprise for me and others. A perfect composition, François Joseph Gossec’s “Symphony no. 2 in E-flat Major” is so stirring in contrast with subtlety in the opening Largo, and drama in the final Allegro without overkill, this work reveals why this Mannheim school-influenced composer was a darling among the French aristocratic, and why he was considered the father of the symphony in France. The saintly sonority and godly balance between string and winds flowing into the five uninterrupted movements makes its own epiphany: there is perfection on earth and you can hear it.

And then there was Mozart – specifically heard here in “Symphony Concerto in E-flat major”. The blend of flute, oboe, bassoon and horn was a shew-in for Arion’s Co-artistic, director Matthieu Lussier to arrange. The story on this piece is it was lost but then came to light in contemporary times, but the composer of it remained a mystery. The work though impeccably performed was not a stand-out composition. Mr. Lussier is a brilliant bassoonist and he polished of lightning-speed passages with panache. I must signal the stunning tone and playing of the oboist whose name was not featured in the program notes, and it should have been.

Finally, Haydn’s “Symphony No. 85”, “La Reine”. Dashingly dotted by rhythms both turbulent and tender with rapid scales that embody the traditional French overture also featured the popular French song, “le gentile et jeune Lisette”.  Romance, Minuet and Vivace form a collage of exciting movements where drama, anxiety and sweetness fall perfectly into sequential variation. Perfection!

Contact www.arionbaroque.com to get tickets to Arion’s next concerts in February. Bach is the biggie on the program. Call 514-355-1825.

SCHUMANN, directed by Christian Berger

Paavo Jarvi

Was Schumann a crazed composer whose genius manifested itself on the pages bursting with musical notations? That's the question conductor Paavo Jarvi asks. Was he mad? Four symphonies masterfully played by the Kammerphilharmonic Bremen at Pier 2 

are performed in a former shipyard turned concert hall in the port of Bremen. Jarvi brilliantly and passionately explains Schumann, the man, by uncovering and analysing the complex seemingly unrelated transitions that take place in passages in his symphonies. Praised for his lieder and piano music, Schumann can now rest easy knowing that this conductor is probably his greatest champion when it comes to extolling the mind, heart and intensity behind the musical matter of this great, mercurial composer. Jarvi describes Schumann's music as being neurotic and extreme. He will continue to remain enigmatic, tragic and sorrowfully misunderstood. So herein lies the answer in its finality: Schumann died in a mad house in his mid forties; he didn't belong in this mediocre dispassionate world. However, far less romantic was the fact the syphilis got to him, and his mind went nuts.

 Thank Goodness his music lives on. 

ALAN PARSON'S NIGHT TO SHINE - THE SECRET IS OUT

Concert Review
July 4th, Salle Wilfred Laurier, Place des Arts

It was a spectacular sound and light show with all the fury and fabulous fuzzy sounds one would expect from Alan Parson's intricate engineering and compositions colliding and intercepting in a confluence of appealing melodies. The seven musicians were beyond compare; the vocals were outstanding -- as exciting as the instrumentation. 

The brilliant band: lead singer, P.J. Olsson, guitarist Jeff Kollman, keyboardist, Dan Tracey, bass guitarist, Guy Erez, vocalist and saxophonist, Todd Cooper, drummer, Donny Thompson Sonic sensations -- each and everyone of them.

The opening number off his  latest album, "Secrets" referenced the galaxy. Indeed the entire concert seemed to reflect endless time and the mystery of it all.
"Time forever, time gone. Time is flowing like a river. Who knows where we shall meet again?" This was a line from one song , and it seemed to be the poignant anthem for the concert.
 Parsons sang three songs. His child-like voice is soft and gentle as are the lyrics. He sang about no regrets,  love and  the confluence of lives with time flowing as heard in  Miracles -- a track on   "Secrets".
Limelight gave us the copiously powerful vocals with  these emboldening lyrics: 
"Nothing's gonna change my mind, Limelight shining on me, telling the world who I am ".
 One loudly brash song offered this defiant lyric: "I wouldn't care what you do; I wouldn't want to be you." There is a pugnacious punch in many of his instrumental arrangements and in the lyrics too.
Parsons, himself was loudly bolstered by the instrumental collective saxophone, bassist,  three guitars, drums, and keyboard -- all plugged in and super loud. 
One stunning instrumental featured ghoulish flavours and vibrational sound effects.  It seemed to emulate the cacophony and chaos of the world. It was mesmerizing and the crowd went nuts at the end.
One of the two lead singers sung a moving song whose lyrics resonated with everyone:: "If it's getting hard to face everyday, don't let it show; though it's getting hard to take what they say, just let it go."
 The band played non-stop for over well over an hour. the stamina and musical prowess of the artists awesomely engaged us with the signature sounds that  can only be made by the great Alan Parsons. I wish the lyrics had been up on a super, as often the instruments drowned out many lyrics. I also wish Parsons had enlightened the audience more about his new album. Sadly when the members of the band were introduced at various times, it was very difficult to hear their names. The instrumentals were overstated but the talking was very understated. Still, it was a gorgeous cluster of Parson's signature sounds whose intricate compositions hold their own secrets that only geniuses can unravel.
Parsons is a quiet man; his music is where we hear  speaks and the whole world hears.

Read more about the Jazz Fest HERE

 





           

International Festival of Jazz Explodes Stunningly

International Musicians Make their Mark

Montreal's International Jazz Fest  celebrates its 40th years by dazzling audiences with iconic world-class international artists. There are fifty indoor concerts in 11 different venues in and around the Quartier du Spectacles. Seventeen countries are represented in the VIP line-up of  solo artists and groups, including legendary musical masters and up-and-coming artists  for the audience to discover. The styles are eclectic, innovative, and some -- reassuringly familiar. The palette is as colourful as Montreal itself. 

                                                downtown concert venues

             For programming, concert locations and tickets, visit the website

                                         www.montrealjazzfest.com

Verdun Now on the Musical Map!

This year, there’s some pretty exciting news for jazz genre lovers about the International Festival of Jazz. The festival has enlargened its sphere of performance venue as it brings fabulous live concerts to Verdun. Wellington Street explodes into a hot bed of jazz fest enjoyment, with performances by great local musicians whose talents can finally be appreciated by the Verdun crowd of festival fans. No more having to go downtown to hear great local artists.

“The idea was, if you don’t want to come to the Jazz Fest, the Jazz Fest will come to you,” said Laurent Saulnier, Vice President of Programming for the festival.

Verdun is not just celebrating its first on-site Jazz Fest concerts, but it's now also home to the first satellite set-up for the festival.

Saulnier also highlighted the total local aspect to this year’s festival, He noted that making local artists and areas the focal point this year “just made sense”. 

Crowds enjoying artists performing in Verdun

   

Webster and 5 for Trio

Wow! This French rap artist delivers the gritty goods with passion and authenticity. His themes are about love, xenophobia, racism and everyday oppression. His band plays to perfection with rhythms that punch Webster's messages.

 DJ Fade Wizard

                                                                                ___________________________________

                                                  

SESQUIALTERA

This six-piece band is delightfully unique in the waltz music it brashly performs. Its vintage spin fires up the rhythms and sounds of the world, mixing Columbia pasillo and Brazilian chorro in waltz beat that brings nostalgia to anyone dancing feet. The brass band's  leader, Aurelien Tomasi plays a passionate clarinet like there's no tomorrow. Tuba, trombone and tympani make it all sparkle.

___________________________________

Photo credit for the following photos: Edward Acheampong

Linda May Han Ho Quintet

Linda May Han Ho Quintet brought ecstatic joy to Verdun audiences. Born in Malaysia, raised in Australia and living now in New York, she play bass and composes. She's currently the bassist for the Pat Matheny quartet. A fascinating musician, she just finished her 4th album, Walk Against the Wind. It's a masterpiece.

                                                    ___________________________________


                 Downtown outdoors concerts: a review of two

Eric Truffaz Quartet

Eric Truffaz blows that trumpet, and the world stops to listen

Jazz trumpeter  Eric Turfazz  lit up Place des Festivals blowing his trumpet to titillate while treating us all to his compositions from his landmrk album, Bending New Corners. Truffaz should change his name to Truejazz, because his trumpet playing merits to blast into his name. The concert included  his friends who added their own taut twist. We enjoyed them all: guest rapper NYA, and long-time musical companions: bassist Marcello Guiliani, drummer  Marc Erbetta and pianist Benoit Corboz              
                                    
                                                        ________________________

Mississippi Heat

The name says it all. This  blues powerhouse gang gets the Afro-American beat into a Mississippi heat wave that embraces all the down-south flavours you can imagine. The band hails from Chicago but their  soulful appeal is world-wide. Songwriter and harmonica player Pierre Lacoque is a god.

                                                                       ___________________________

 Read about the press conference with Alan Parsons and my review of his concert.

 https://sntravelandartswithoutborders.blogspot.com/2019/07/parsons-pressconference-july-3-rd.html#.XR85A497nIU

https://sntravelandartswithoutborders.blogspot.com/2019/07/alan-parsons-night-to-shine.html#.XR845o97nIU