{"id":19870,"date":"2014-07-24T13:58:31","date_gmt":"2014-07-24T17:58:31","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=19870"},"modified":"2014-07-24T14:09:50","modified_gmt":"2014-07-24T18:09:50","slug":"emerson-clears-the-air-at-toronto-summer-music-festival-opener","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2014\/07\/24\/emerson-clears-the-air-at-toronto-summer-music-festival-opener\/","title":{"rendered":"Emerson clears the air at Toronto Summer Music Festival opener"},"content":{"rendered":"

\"Emerson-Quartet\"<\/a><\/p>\n

 <\/p>\n

Who:<\/strong>\u00a0<\/strong>Emerson String Quartet
\nWhat: <\/strong>Toronto Summer Music Festival: Opening Night
\nWhere: <\/strong>Koerner Hall, Toronto
\nWhen:\u00a0 <\/strong>Tuesday, July 22, 2014<\/p>\n

“Get out-of-the-way!” I shouted at the traffic impeding my date with the Emerson Quartet<\/a> at Koerner Hall. Who are all these people anyway, and why is half the population of New York City driving in Toronto right now?<\/p>\n

After running over far too many things, I finally made it to the ticket guy, who took some convincing that I would behave myself. I huffed and puffed towards my seat, half crazed and half amazed I made it on time.<\/p>\n

Minutes later, Festival Director Douglas McNabney<\/a> strode towards the podium to announce the official opening of the Toronto Summer Music Festival. He looked oddly serene for someone who has spent the better part of the last year planning one of the biggest classical festivals in Ontario. He must have been pleased at the impressive turn out. Like a 5 p.m. Calcutta commuter train, everyone was on board that night.<\/p>\n

After McNabney\u2019s concluding promise of free champagne after the show, the Emerson Quartet emerged on stage donning James Bond eggshell smoking jackets. In short order they seated themselves, and began squeezing out Beethoven\u2019s Serioso<\/em> like skilled sausage makers dolling out a fresh batch of Bratwurst.<\/p>\n

It was announced a few days before, that an unidentified member of Emerson had a recent medical procedure, requiring them break from their usual standing positions, and perform seated. No bother, as with the unusually large number of classical musicians on the sick list this summer, (most recently Hillary Hahn<\/a>),\u00a0they didn’t cancel.<\/p>\n

After a rocky first movement clouded by intonation issues with Philip Setzer, they gradually loosened into the iconic work. Cellist Paul Watkins, the new face of the group, who curiously sports the exact same shade of gray hair despite being a generation younger, was noticeably more vibrant against the cooler viola and violins. The quartet was redeemed in the 4th<\/sup> movement played with abandon towards and unexpectedly bouncy ending.<\/p>\n

A democratic quartet, Eugene Drucker stepped into the role of first violin to lead\u00a0the highlight of the program: an absolutely enthralling performance of Britten\u2019s\u00a0 String Quartet No. 2 in C major, Op. 36. This piece, written at the height of Britten\u2019s fame after the premiere of Peter Grimes, is perhaps the best of Britten\u2019s chamber works. This piece is a shrine to his obsession with Purcell, and Emerson whipped the chaconnes into a scene right out of a Francisco de Quevedo novella. I must say, Emerson played it the best I have ever heard,\u00a0testimony\u00a0to a composer at the height of his creative powers.<\/p>\n

After an intermission, the hall refilled to the promise of Schubert\u2019s Death and the Maiden<\/em>. It only took a few minutes into the opening Allegro for the audience to be swept away with a carefully crafted narrative brought to near perfection. The four movements breathed and stirred Schubert’s haunting testament to death like a ritual s\u00e9ance. In particular, the combined first and second violins\u2019 silky tones were stunning, further heightened by intimate acoustics of Toronto\u2019s auditory gem, Koerner Hall.<\/p>\n

The Emerson always have a way of playing in the moment, as if the pieces were being composed on the spot. Theirs is an effortless sprezzatura<\/em> that has made them a\u00a0force to be reckoned with. It is clear that Paul Watkins has settled nicely into the dynamic, totally revitalised, and ready for new generation of fans.<\/p>\n

The concert concluded with an encore of the Largo e cantabile from Haydn\u2019s, <\/em>Op. 33 #5 Quartet. <\/em>It was a fitting end to the concert, and a fine How Do You Do<\/em> to the Toronto Summer Music Festival, which looks to be much more interesting this year with the inclusion of modern repertoire.<\/p>\n

The Festival runs July 22 to August 12 at Walter Hall, Koerner Hall and Heliconian Hall.<\/p>\n

For more information on the concerts or to purchase tickets call (416) 408-0208 or go to www.torontosummermusic.com<\/a>.<\/p>\n

Click here<\/a> for an interview with Festival Director Douglas McNabney, on June 30th<\/sup>, 2014 with Musical Toronto.<\/p>\n

Michael Vincent<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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