The MCO took its audience by storm last night, with a whirlwind tour through some truly dynamic repertoire for string orchestra.

 Sara Krahn, Classic 107's freelance contributor, was at Tuesday night's Manitoba Chamber Orchestra with guest conductor Scott Yoo. Read the rest of her review here.

 

I’ll admit I was both wary and excited after spying on the program the world’s most notoriously over-played piece of classical music (and, surprise, one of my favorite works of all time). I’m talking, of course, about Vivaldi’s Four Seasons. Last night, however, the popular set of violin concertos was forced to share the limelight with a few other musical wonders. The MCO’s second program of the season featured internationally acclaimed violinist and conductor Scott Yoo, as well as a lesser known chamber music gem by English composer Hubert Parry, and a debut composition by Winnipeg-born Randolph Peters.

 

In keeping with their commitment to showcasing Canada’s emerging musical talents, the MCO kicked off their program with a brand new work by Randolph Peters. Peters is largely known for his work in the entertainment industry, composing hundreds of scores for film, radio, dance and theatre.

 

Last night, the MCO’s audience was treated to a debut of his newest composition for string orchestra, Everything That Rises. Peters himself prefaced the piece, announcing that the music was produced specifically for last night’s performance. According to Peters the work was inspired by the anonymous quote, “Everything that rises must converge.”

 

The composition’s musical trajectory works through the process of bringing together orchestral idioms with the exotic patterns of a violin solo – Karl Stobbe pulled off a wonderfully eccentric performance. To draw from Peters’ opening statement, the solo part is meant to contrast with the underlying orchestral workings. As the piece builds, the soloist’s ‘outsider’ status converges with the orchestra, so that they are eventually both drawn into the same final dramatic gesture – the impression was one of a rising flood. The resulting musical experience was enthralling, and, sadly, not long enough.

 

Peters’ composition was immediately followed by Hubert Parry’s An English Suite. This distinctly English work transported us back exactly a century to 1914. A highly accessible six movement suite, this inviting repertoire is a lesser known feat in classical music, and a valuable addition to concert-goers experience of the string orchestra.

 

I found myself especially drawn into Yoo’s conducting during this stage of the program. His precise, minimalist gestures accented certain lines and idioms within the music that would have otherwise escaped my attention. To be honest, the English Suite was a little too cozy for my pallet, but I was completely engaged by Yoo’s treatment of the work and found myself intently watching his gestures to see which parts he would choose to accent. Consequently, I was drawn into areas of the music that I would not otherwise have ventured to explore on my own listenership. This, in my opinion, is the mark of a talented conductor.

 

The night’s feature work, Vivaldi’s Four Seasons further showcased Scott Yoo as an enigmatic soloist and maestro all in one. Suddenly, Yoo was not only addressing the orchestra, but he was actively listening, responding and communicating with every engaged member in the room.

 

I apologize for resorting here to a vague adolescent vocabulary, but I have to gush that this guy was seriously intense (hello to the entire ‘Summer’ Concerto No. 2). The precision, control and vivacity that Yoo’s musicianship endowed to The Four Seasons resulted in one of the most engaging and sophisticated performances of the work I have ever experienced.

 

The MCO’s smart, well-rounded program offered a wide spectrum of musical thought on the colorful and innovative treatments of string orchestra. This included unique solo performances and an inspiring, multi-talented guest artist of the highest caliber. Once again, Winnipeg’s iconic chamber orchestra fiercely asserted itself as an ingenious force in this city’s thriving musical community.

 

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