All those who weren't there . . .you missed out . . .  Freelance contributor Sara Krahn reviews the WCMS's Nordic Festival concert.

The WSO’s Nordic Festival has so far impressed its audiences with major works by leading Scandinavian composers, notably Sibelius, as well as Sigur Ros’ former frontman Kjartan Sveinsson. The festival has just passed its halfway point, and it’s time for audiences to enjoy some major works by Edvard Grieg – what’s a Nordic Festival without Norway’s number one romance man?

The Winnipeg Chamber Music Society’s middle-of-the-week concert on October 29 was nothing short of a perfect, sentimental evening. A program of unashamed romantic nostalgia, it was ideal for mellowing out attitudes against those increasing threats of snow.

The program began with Danish composer Gade’s Trio in F major. This trio is just another reason why I’m excited about the Nordic Festival – prominent composers such as Niels Gade too often go unrecognized by the general music public, bulled over by those canonic giants of Romanticism. Gade’s Trio in F major notably draws influence from Brahms, Mendelssohn and Schumann, but it also boasts its own lyrical quality. The trio is clearly the work of a confident and established composer, and I am uncomfortable admitting that this is my first time ever hearing it. I found myself listening with special attention to the piano lines – they were like water, fluidly supporting the strings while at the same time enveloping the entire piece. David Moroz was a master at making the sweeping filmy gestures look effortless.

 

Following Gade’s Trio was a shorter work by one of Sibelius’ prized pupils Einojuhani Rautavaara (hats off to Moroz who mastered the pronunciation in his introduction of the work). Summer Thoughts, for violin and piano, had more of a surreal quality about it, embracing a variety of 20th C. styles. Violinist Gwen Hoebig was lovely, artfully allowing the work’s mystical personality to become her performance.

 

Edvard Grieg’s Quartet in G minor, op. 27 was, of course, the program finale. This deeply passionate and autobiographical work is one of the reasons Grieg enjoyed his reputation as Norway’s most celebrated composer. In a letter to a friend, Grief wrote “I have recently finished a string quartet which I still haven’t heard. It is in G minor and is not intended to bring trivialities to the market. It strives towards breadth, soaring flight and above all resonance for the instruments for which it is written.”

 

The Clearwater quartet’s performance was spectacularly alert and expressive. Undergirding the work was the gradual metamorphism of a single motive. The quartet’s elegant playing recreated this motive again and again through all sorts of violent spasms, tender bowing, and excited rhythms.

Performances such as this are powerful in their ability to reinvent a moment. Although the nature of the music allows us to daydream about ourselves in any number of fantastic scenarios, the true power of an effective performance lies in its ability to fixate our imaginations within our present circumstances. The audience is encouraged to enjoy themselves in the given moment, wherever they are, listening to some spectacular music. The Clearwater quartet (Gwen Hoebig, Karl Stobbe, Daniel Scholz, Yuri Hooker) did nothing short of champion this level of performance.

 

The only flaw in last night’s concert was the miniscule audience. I suppose this was largely due to the Wednesday night time slot. I can obviously only speak for myself - as student in my early 20’s, who had the opportunity to do any number of things last night, my only regret in choosing to go the WCMS concert is that I didn’t bring friends.

 

Sara Krahn is a music student at the Canadian Mennonite University. She is a freelance contributor for  Classic 107.