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SCRUTINY | 20th-Century Ringer Stands Out In 21st-century Program

By Arthur Kaptainis on May 22, 2015

Saariaho
composer Kajia Saariaho

No question, Kajia Saariaho is a name to contend with. A music lover might fairly congratulate the Royal Conservatory for securing the presence on Thursday night of this 62-year-old Paris-based Finnish composer as part of the 21st Century Music Festival in Koerner Hall.

Or fervently wish the institution had found another superstar.

Count me among the Saariaho skeptics. I have heard notes by the thousands but few that coalesce into meaningful music. She checks off modernist boxes reliably enough, deploying harmonics and glissandi and electronics in respectable proportions. But the thematic and harmonic basics are exasperatingly erratic, when they are present at all.

Tremolos on single notes are abundant. Possibly they had some programmatic justification in Sept Papillons – Seven Butterflies – a piece for solo cello receiving its Canadian premiere. But fluttery effects at low volume could not sustain interest, however masterly the execution by Anssi Karttunen.

This player was joined by the well-regarded American violinist Jennifer Koh in the world premiere of Aure, a duo that involved some bluesy riffs and simple echoes but nothing approaching the mutual engagement (or, to put it more simply, counterpoint) one might reasonably expect from an essay for these instruments. Light and Matter (North American premiere) was a piano trio with much bland octave filigree from the piano (as played by Ieva Jokubaviciute).

There were some resonant interludes early in Frises, a suite for solo violin with electronic elaboration activated by the performer (Koh, aided by Saariaho at the control panel). Alas, the good vibrations were negated by a hoedown etude that was neither original nor clearly referential.

Omar Daniel’s You are where you are, a satirical cycle on the subject of everyday life with words by Yann Martel, created a more positive impression as performed in dishevelled street clothes by bass Robert Pomakov and the Conservatory’s in-house ARC Ensemble (including David Louie at the piano). It must be said, however, that comprehension lingered well below 50 percent. Why not provide the text? Why keep the lights so low?

The best (and most warmly received) music, Jerzy Fitelberg’s String Quartet No. 2, was distinctly of the 20th century. Busy and prolix in the first movement, this score blossomed in its slow middle movement, which seemed to arrange a truce between Shostakovich and Ravel (who was indeed on a jury that awarded the piece a prize). It would be good to hear more by this Polish expatriate, who died in 1951 at 47. Erica Raum, Emily Kruspe, Steven Dann and David Hetherington played with soul and finesse.

The 21C Festival continues through May 24. Tickets and show times can be found here.

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Arthur Kaptainis

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