A Tribute to Anton Kuerti. Jane Coop, piano; Laura Pudwell, mezzo-soprano; Barry Shiffman, violin; Douglas McNabney, viola; Joseph Johnson, cello. Toronto Summer Music Festival, Walter Hall. August 3.
In a feel-good evening for the classical piano community, Toronto Summer Music’s sold-out tribute concert to Anton Kuerti attested to the lasting legacy of the pianist, who had been stricken with a stroke nearly four years ago. The audience numbered piano professors, concert pianists, and other performing artists from all corners of the Greater Toronto Area, with some coming from as far away as Montreal and British Columbia—and for those not in attendance, CBC was on-site to record the concert for future radio broadcast.
As forecasted, Kuerti was among the audience. Maintaining a calm, poised demeanor throughout the evening, suffice to say his presence was the binding force for the evening’s musical line.
The concert saw pianist Jane Coop joined by an additional performer with each passing piece, all of which hold professional, sentimental associations with Kuerti’s career. In the evening’s musical pastiche, Coop began with a solo performance of Beethoven’s Seven Bagatelles Op. 33, followed by the Mozart Violin Sonata in E minor, K. 304 with Barry Shiffman, then the two Gesänge Op. 91 by Brahms in the company of Laura Pudwell and Douglas McNabney. The Schumann Piano Quartet No. 2 in E-flat Major closed the evening, as Shiffman, McNabney, plus Toronto Symphony Orchestra principal cellist Joseph Johnson joined forces with Coop. With his head-bobbing mirroring that of his Montreal Symphony Orchestra counterpart Brian Manker, Johnson’s playing injected a refreshing dose of fun to an event meant to celebrate a living musical giant.
The mood post-concert was one of collective celebration and reflection, amongst the audience as much as among the evening’s musicians. Douglas McNabney was happy to see where Toronto Summer Music stands since ceding its artistic directorship to Jonathan Crow: “Seeing a full house like this just gladdens my heart. I’m so thrilled with what Jonathan has done—I passed on the torch to a younger guy with all the energy it takes to keep it going!”
Barry Shiffman is innately familiar with Kuerti’s playing, to the point of having heard the pianist perform every piece on the programme. “Anton is a towering figure, not just in my life but in the life of Canadian music. He also is a very close personal friend. […] In fact, even specific choices I did of fingering, extensive glissandi, the portamenti,… were because of things Anton had asked me to do when we performed this last. It was just so lovely to have him there, [it was] incredibly moving.”
Joseph Johnson’s reflections conveyed a humanity that shone through his playing. “I remember meeting [Kuerti] when I first got here nine years ago. Just to be able to do something like this, even though it’s a little tiny thing compared to all he’s done, is pretty amazing. I’m just deeply, deeply honoured; not only to play with Jane, but to have him in the room.”
How to summarise a tribute performance in five ideas? Look no further than to Jane Coop: “Huge, huge memories. Big privilege. Warm feelings. Nervous. But really happy to be here.”
Over the course of the evening, Kuerti received endless well-wishers, and the pianist even exchanged words with a select few. Many remarked upon his healthy appearance and outfit, topped off with a cream-colour scarf with chevron accents. “That’s his new trademark,” pointed out his partner Catherine Berthiaume who, mirroring her role in Kuerti’s recovery, could be found for much of the evening under the piano great’s outstretched arm.
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