DESKTOP
TABLET (max. 1024px)
MOBILE (max. 640px)
Retourner au début
Ludwig Van
Toronto Montreal

Les Violons du Roy sound fine in modern mode

Par Arthur Kaptainis le 16 septembre, 2017

Crédit photo: Pierre-Étienne Bergeron

Les Violons du Roy venture far and often from their historical core of baroque and classical repertoire. On Friday the Quebec City squad opened its Montreal operations (and the Bourgie Hall season) with a program of four works from the 20th century, one from the 21st and a 19th-century score that most music lovers would classify as timeless.

In charge was young Romanian-born Andrei Feher, who was recently appointed music director of the Kitchener-Waterloo Symphony in Ontario (where he will perform in a facility named after his teacher at the Montreal Conservatoire, Raffi Armenian). Both his sure perception of musical mood and his accomplished technique were apparent.

The lone standard from the string-orchestra repertoire was Elgar’s Introduction and Allegro of 1905, with the Quatuor Arthur Leblanc playing the solo roles. This was not a sepia-toned Edwardian treatment but an active and forceful performance in which the orchestra of 14 sounded no less incisive than the front four.

There were many interesting sonorities in Pierre Mercure’s Divertissement of 1957, another work for string quartet and orchestra, written at the behest of the Samuel Lapitsky Foundation. Quiet dissonances in the Adagio testified to the ability of Les Violons to adapt to a neoromantic as well as neoclassical idiom. Violist Jean-Luc Plourde produced handsome solos in Elgar and Mercure and his LeBlanc colleagues (violinists Hibiki Kobayashi and Brett Molzan and cellist Ryan Molzan) all added personal touches. The angular rondo of the Mercure made for a bracing finish.

Fiery rather than warm

The evening began with Nino Rota’s Concerto for Strings of 1965 (revised in 1977), a work with a fetching Scherzo of the Valse triste type and an Aria that starts as a tribute to the famous Air from Bach’s Orchestral Suite No. 3 before exploring other styles. The finale was animated by Feher’s exact accelerations and slowdowns.

At a few points, the intense sound of Les Violons du Roy brought to mind the adjective “fiery” rather than “warm.” But the latter quality was abundant in Morton Gould’s melancholy Elegy of 1980 and Beethoven Quartet Op. 135 in Feher’s own expansion.

There were, inevitably, beauties, with the LeBlanc players sitting in as extras and Feher putting down his baton to soften corners in the slow movement. But much of the act of listening to a great string quartet in an inflated version is dedicated to editing out the spurious doublings.

Yannick Plamondon

There could be no complaints about the most modern piece on the program, the introduction of Yannick Plamondon’s Wihtikow, which will soon be a song cycle on the difficult subject of missing and murdered Indigenous women. We heard the searing two-minute number twice, once at full volume and then at pianissimo.

The crowd (including a cohort of visiting students from Carleton University) responded positively to this brief but powerful piece. We eagerly await the complete work, but Plamondon should consider authorizing the introduction and “echo” as a freestanding instrumental diptych.

The concert was given as a tribute to Man and his World and dedicated to the memory of Gilles Tremblay, who provided the soundscape for the Quebec Pavilion.

VOUS AVEZ AIMÉ CET ARTICLE? Lisez aussi:

OSM, captivante et émouvante Huitième de Mahler, par Caroline Rodgers

Orchestre symphonique de McGill: découvertes et talent au concert inaugural, par Jeanne Hourez

 

Arthur Kaptainis

Arthur Kaptainis

Arthur Kaptainis has been the classical music critic of the Montreal Gazette since 1986 and wrote for the National Post 2010-2016. His articles have appeared in Classical Voice North America and La Scena Musicale as well as Ludwig Van. Arthur holds an MA in musicology from the University of Toronto.
Arthur Kaptainis
Arthur Kaptainis

Arthur Kaptainis

Arthur Kaptainis has been the classical music critic of the Montreal Gazette since 1986 and wrote for the National Post 2010-2016. His articles have appeared in Classical Voice North America and La Scena Musicale as well as Ludwig Van. Arthur holds an MA in musicology from the University of Toronto.
Arthur Kaptainis
Partager cet article
lv_montreal_banner_high_590x300
comments powered by Disqus

Ludwig Van Montreal

CRITIQUE | L'OSM à Bruxelles : un crescendo vers le sublime

Par Dominique Joucken le 21 mars, 2019

Après Paris, Bruxelles. L’OSM était de passage, hier soir, dans la capitale de l’Europe et de la Belgique. Un de nos collaborateurs était présent au Palais des beaux-arts.
Lire tout l'article Commentaires
Partager cet article
lv_montreal_banner_high_590x300

REVIEW | Wan, Nagano, OSM: Seldom-heard Ginastera is a tour de force

Par Arthur Kaptainis le 24 février, 2019

What to do on a Saturday night? For many Montrealers, the answer appears to be: hear the OSM under Kent Nagano.
Lire tout l'article Commentaires
Partager cet article

CRITIQUE | Twenty-Seven: un mariage vocal hors conventions

Par Michel Joanny-Furtin le 24 mars, 2019

Il y a eu Roméo & Juliette, Héloïse & Abélard. Désormais, il y aura Gertrude & Alice grâce à Twenty-Seven qui relate, sur une partition originale de Ricky Ian Gordon, un amour féminin aussi fort que toutes les histoires d’amour du monde, peu importe leur genre.
Lire tout l'article Commentaires
Partager cet article
lv_montreal_banner_low_590x300
lv_montreal_ssb_atf_300x300
lv_montreal_ssb_high_300x300
lv_montreal_ssb_mid_300x300
lv_montreal_ssb_low_300x300
lv_montreal_tsb_high_300x700
lv_montreal_tsb_low_300x700
lv_montreal_ssb_atf_300x300
lv_montreal_ssb_high_300x300
lv_montreal_ssb_mid_300x300
lv_montreal_ssb_low_300x300
lv_montreal_tsb_high_300x700
lv_montreal_tsb_low_300x700

We have detected that you are using an adblocking plugin in your browser.

The revenue we earn by the advertisements is used to manage this website. Please whitelist our website in your adblocking plugin.