National Arts Centre Orchestra | Keiko Devaux: Listening Underwater (Carrefour Commission); Mozart: Piano Concerto No. 22 in E-flat Major, K. 482; Beethoven: Symphony No. 5 in C Minor, Op. 67. Alexander Shelley, conductor; Yeol Eum Son, piano. May 16, 2024, Roy Thomson Hall, Toronto.
As I stood in the long line to get into Roy Thomson Hall, there was a palpable sense of excitement for the sold-out concert. The National Arts Centre (NAC) Orchestra and their conductor, Alexander Shelley, was back in Toronto for a send-off concert before they embark on their 99th international tour since their 1969 founding to Japan and Korea.
Shelley, affable and energetic, opened the evening with remarks about the orchestra’s upcoming tour and Beethoven’s Fifth Symphony, in particular. Not only did he recount the premiere of this symphony in a four hour long concert in 1808, but he illuminated the revolutionary idea of this symphony. That is, it is a transformation from C minor to C major, from darkness to light, from struggle to emancipation.
First Half: Keiko Devaux & Yeol Eum Son’s Mozart
But first, the concert opened with Canadian composer, Keiko Devaux’s Listening Underwater, a vivid and evocative composition inspired by whale communication and hydro-acoustics. The full orchestra, including a good assortment of percussion instruments, was on hand to create a marvellous aquatic soundscape.
Some of these effects were created by air blown through instruments, and a variety of tremolos in the strings and brass. The piece unfolded very organically, and Shelley allowed the music to breathe naturally. The harmonic pacing was gradual, but there were many elements that kept my interest. I thought the use of string solos and string micropolyphony was very effective. It is a poignant and cinematic piece, that will certainly make a splash on their tour.
Following was Mozart’s Piano Concerto No. 22 in E-flat major, marking Yeol Eum Son’s Toronto debut. Although the number of musicians was reduced for the Mozart, I felt that it could have been trimmed further for a better classical balance. Son’s approach to this piano concerto was of joy, but with delicacy, poise, and refinement. The string sound was a bit too lush to match Son’s interpretation. It was a bit jarring when there were short dialogue phrases between the soloist and orchestra.
She handled the exposed passagework full of scales and arpeggios with clarity and control. Son clearly has an affinity for Mozart. The audience responded enthusiastically with a standing ovation, and was rewarded with an encore — a charming performance of the first movement of Mozart’s Sonata No. 16 in C major.
Beethoven’s Fifth
After intermission, was, of course, Beethoven’s Fifth Symphony. Shelley conducted this piece from memory. Unimpeded by the conductor’s stand, Shelley was able to connect more with the musicians. He clearly revelled in conducting this masterpiece.
Having studied this piece and heard it numerous time myself, this performance was fresh and exciting. Shelley approached the first movement with a robust tempo, and lingered little at the end of phrases. There was always a sense of forward direction and drive.
He highlighted the wind instruments very well, and the contrasts within the movement were effective. On occasion, some of the inner musical voices were a bit hidden. Nevertheless, Shelley found many lyrical moments in the first movement and conveyed them beautifully. This extended into the second movement, where Shelley used less of the baton and more hand gestures to shape the music. The fugato in the third movement took flight and was exciting.
As famous as the opening motif of this symphony is, the crux of this piece really lies in the fourth movement. Shelley delivered on what he had promised in his opening remarks. That this symphony is a thrilling journey. It was truly a musical manifestation of emancipation. So much so, that Shelley conducted the ending completely without his baton.
It was a triumphant performance! The audience rose once more with thunderous applause and was treated with two encores.
Best wishes for their journey!
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