Reviews

Summer Solstice Chamber Music Festival: Ensemble Made in Canada

Ensemble Made in Canada

Frank Bridge

Mozart: Piano Quartet No.2 in E-flat major, K.493
Frank Bridge: Phantasy Piano Quartet in F-Sharp Minor
Fauré: Piano Quartet No.1 in C minor

Ensemble Made In Canada

First Baptist Church, Edmonton
June 18, 2019

 

For Mark Morris’ review of the opening concert in the 2019 Summer Solstice Chamber Music festival, click here.

Edmonton Symphony Orchestra: The music of Harry Potter

Edmonton Symphony Orchestra

Robert Bernhardt, Master Wizard of the Edmonton Special Obliviators (ESO). Photo by Cheryl McCartney

 

 

 

 

 

 

The Music of Harry Potter

Winspear
June 23, 2019

Conductor: Robert Bernhardt

 

The  Daily Planet’s intrepid reporter went to the Winspear on Sunday afternoon, June 23, in disguise (using a Polyjuice Potion) as a music critic for the  Edmonton Journal.

Read his report on the proceedings here.

Edmonton Symphony Orchestra: Tchaikovsky, Rachmaninov, and Rimsky-Korsakov

Edmonton Symphony Orchestra

Kay Nielsen: Scheherazade (late 1910s)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tchaikovsky: Swan Lake Op. 20 (excerpts)
Rachmaninov: Rhapsody on a Theme of Paganiini Op.43
Rimsky-Korsakov: Scheherazade Op.35

Sara Davis Buechner (piano)
Conducted by Alexander Prior

Winspear
Friday June 14, 2019


The approach of the Edmonton Symphony Orchestra’s Chief Conductor Alexander Prior to Russian music has by now become pretty clear. He does not subscribe to an overtly Romantic view of composers like Tchaikovsky or Rimsky-Korsakov, but instead looks for those elements in the music that the largely Romantic interpretations of conductors in the West have hidden.

This is, in part, a result of his St. Petersburg Conservatory training, with its residue of the more vital precision of such conductors as Mravinsky and Kondrashin. It has also meant that he has sought a more Russian style of brass playing – more open and brash – to this kind of music, one which really suits it, and the brass players have responded.

For someone like me, who usually finds, for example, Swan Lake a little too much to take, his style demands a reassessment of the music. So it was in the last of this season’s ESO Friday Master’s series concerts at the Winspear, on June 14, which featured his own selection from Swan Lake. As always, he elicited clear textures from the ESO – it is one of the great virtues of his conducting – and he didn’t let the music linger about, as in the Dance of the Little Swans (Act II, No.13, Part 4).

The kitsch elements of the Act I No. 5 Pas de deux finale were played for all their worth – Tchaikovsky letting his hair down – which completely dispelled any jaded view of the ballet. The seventh Dance of the Swans sounded almost like Dvořák, music for English gentlemen riders, their gallop getting more and more stately.

The Act IV Entr’act led into a very deliberate build-up, the brass and percussion highlighted in the Act IV Scene – indeed, the prominence of the percussion throughout the concert was emphasized by placing them rear centre on the stage. There was an epic swagger to the Act IV finale that followed on, very big and bold and brassy, almost raucous from the cymbals – this is indeed how the Russian State Symphony Orchestra play it, not afraid of being slightly over-the-top, as if presenting some Soviet-style epic.

This terrifically exciting ending to a performance that suggested a foretaste of modernism in the music, brought prolonged cheers from the audience, especially for the brass – perhaps the longest ovation I have yet heard for the ESO, and it was well deserved. And how appropriate that the concert should have started with Lidia Khaner playing that famous opening oboe phase, indeed her swan song with the ESO, as she is retiring for other activities at the end of this season.

Sara Davis Buechner

Sara Davis Buechner was the soloist in Rachmaninov’s Rhapsody on a Theme of Paganini. She is a flamboyant player, with flamboyant playing, attacking both the music and the Steinway, and she can produce a really big and emphatic sound. One’s reaction to her interpretation probably depends on how much one enjoys a performance where the pianist shows the magnificence of the pianistic arts rather than the mysteries of the music.

There’s lots to be said for such virtuosity, especially in a showcase piece like the Rachmaninov. The opening was slightly mawkish, steel-fingered, just right for a colourful approach. Much was fast and furious (with one stumble along the way that in no way interfered with the flow), with, for example, the Dies Irae really hammered out. The orchestra played to match (a wonderful kind of zombie tone from orchestra leader Robert Uchida in the solo just before the return of the Dies Irae).

Where Davis Buechner’s performance was less effective was when the music was more introspective – there was nothing delicate, for example, in the lovely Variation 18. Earlier, in those passages that suggest more of the mystical side of Rachmaninov, there was plenty of rippling colour, but little mystery (in contrast to the orchestral playing). Why that should be is not clear – she is certainly capable of playing with sensitivity (as she shows in her recordings of, for example, the music of Stephen Chapman, or the Mozart on her website). It is as if the demands of her more virtuosic, massive style (which requires precision, an element of rigidity) make it difficult for her to switch to a loosening of the strict tempi, a freeing up of the phrasing, to allow that delicate touch to appear. If she could find that touch in such music, the combination with the strength of the virtuosity would be formidable.

Audiences, of course, love such virtuosity, especially when combined with a little stage flamboyance, and her reception was a reminder of how much she is appreciated in Edmonton, where she is a frequent performer.

The concert ended with another war-horse, Rimsky-Korsakov’s Scheherazade. Right from the beginning, Prior instilled rethinking into such a familiar piece: the opening was very slow (apart from one short-lived accelerando), creating a sense of drama, an intensity, an anticipation that really worked. Gradually that pent-up energy started to be released, in a big orchestral sound. In the second movement there was notable horn playing from the two principle horn players, as well as some fine massed violin sound in what is in its own way a showpiece for orchestra. Robert Uchida contributed with a very poignant violin solo in the final movement, where there was again a tension and drive. The whole thing almost persuaded me that the main theme doesn’t recur too many times, and that there isn’t enough variety in the tone of the four movements, but not quite: but it did mean it was a performance that this critic sat through with pleasure, rather than with mere fortitude at having to hear it yet again.

All in all, a powerful way to end the season.

Edmonton Symphony Orchestra Vivaldi The Four Seasons

Edmonton Symphony Orchestra

 

Marc Chagall: detail from The Four Seasons, mosaic, 1974

Vivaldi: The Four Seasons

Robert Uchida (violin and leader)
Members of the Edmonton Symphony Orchestra

Winspear
May 6th, 2019

The Edmonton Symphony Orchestra have continued their series of pairing music and beverages for shorter concerts with Vivaldi’s The Four Seasons, in an unusual Monday concert. Billed as ‘Vivaldi and Vino’, and sponsored by The Italian Centre, it saw a very full Winspear, and an enthusiastic audience that cut across just about all the generations – the formula is clearly proving popular.

The  performance was a fine one, and you can read Mark Morris’ review for the Edmonton Journal here.

Edmonton Metropolitan Chorus: all Allan Bevan concert

All Allan Bevan choral concert

Allan Bevan

 

 

 

 

 

 

 

Edmonton Metropolitan Chorus
Concordia Symphony Orchestra
Conductors: Allan Bevan, Danielle Lisboa
Janet Smith (soprano)
Kimberley Denis (alto)
RJ Chambers (tenor)
Michael Kurschat (baritone)
Timothy J. Anderson and Dawn Sadoway (actors)

Winspear
Monday, April 15, 2019

For Mark Morris’ review in the Edmonton Journal of the concert, and of Allan Bevan’s new work, Ancient of Days, for four soloists, two actors, chorus and orchestra, and based on Blake texts, click here.

Edmonton Symphony Orchestra: Prior premiere

Edmonton Symphony Orchestra
Robert Hammerstiel: From the cycle ‘Winterreise’: The Crow, 1996 woodcut on paper, 100 x 70 cm, private collection: source

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Bruch: Romance for Viola in F major Op.85

Schubert, orchestrated Prior: Die Winterreise excerpts

[Beethoven: Symphony No.6 in F major, Op.68 Pastoral, not reviewed]


Edmonton Symphony Orchestra
conductor: Alexander Prior

Winspear
Sunday, March 31, 2019


First, apologies for the delay in this review: your reviewer was indisposed with the cold-flu bug that has passed from student to student in his classes.


There is a very long tradition of arranging Schubert – everything from a capella choral arrangements to guitar to Liszt at the piano to jazz and harmonica. My favourite ‘arrangement’ is the haunting and powerful 1978 Schubert-Phantiase for Orchestra by the Austrian composer Dieter Schnebel, based on the Piano Sonata in G major, D. 894.

It was one of a series of re-imaginings by Schnebel of older works into a cycle called Arrangements, and what he wrote about that series could be transcribed word for word about the new orchestral arrangement of selections from Winterreise by the Edmonton Symphony Orchestra’s Chief Conductor Alexander Prior, which was premiered in the Winspear on Sunday, March 31:

“The intent here of Arrangements” Schnebel wrote, “is not only to knock off the crust of convention but also to open up the potential of the past, to carve out, as it were, its perhaps still undiscovered possibilities – in other words, to penetrate to levels which could not possibly be experienced or even come to light before today.” (translation by John Patrick Thomas)

What Schnebel has done for a Schubert piano sonata, Prior has very much done for the Schubert cycle, for although their sound worlds have their differences, both composer have clearly been aware of the great tradition of Viennese music. The uncanny thing about both works is that the music can often sound, in these arrangements, like the work of later Viennese composers – Mahler in the case of Schnebel (the whole work is like some hallucinatory dream of Mahler’s music, without changing a note of the Schubert), Mahler and Strauss, and onward to the contemporary Viennese HK Gruber in the case of Prior. What they both, in their different ways, make one vividly realize is how consistently, how strongly, that Viennese line stretches back to Schubert himself.

What Prior has done is left the actual vocal lines of the Winterreise songs alone – and very well sung, they were, too, by the young award-winning American baritone John Brancy, who has certainly developed vocally since we saw him as Papageno in Edmonton Opera’s 2015 Magic Flute. Prior has concentrated in creating a contemporary, 21st-Century orchestral accompaniment to those vocal lines that both compliments them, and comments on them. One of the arrangements’ great virtues is how well they do match the import of the words.

Before going further, though, a confusion needs to be cleared up for those who are reading this and who attended the concert. The words were very usefully (and attractively) presented in a booklet insert. Unfortunately, five of the 12 poems  in the printed text (out of Schubert’s original 24) were not in fact arranged or sung, and others were done in a different order. Even worse, no-one told the audience, who were understandably bewildered, floundering around trying to find the right words, or giving up.

Here, for those who were there, are the seven songs in the order that they were played:

Gute Nacht (Goodnight)
Der Lindenbaum (The Lime Tree)
Wasserfluth (Torrent)
Die Krähe (The Crow)
Das Wirthshaus (The Tavern)
Die Nebensonnen (The Phantom Suns)
Der Leiermann  (The Hurdy-Gurdy Man)

Prior uses a very large orchestra, including an on-stage piano, a big compliment of percussion, and the distinctive sound (half horn, half trombone) of the Wagner tuba. The work starts with a kind of dream-like nostalgic state (entirely appropriate for the wanderer going off into the winter’s night) of an off-stage out-of-tune piano. The feel of what is to come is created by the wide range of orchestral effects in that first poem, Gute Nacht, from the use of deep brass, through sense of a Russian march inside a toyshop, and some slightly incongruous clapping from members of the orchestra, to lovely orchestral stands on “Love loves to rove – God made it so”, and finally a Mahlerian whoop in the final verse, compellingly sung by Brancy. What was immediately obvious was how well judged the sheer sound of the orchestra, and the placement of its louder moments, were – Prior always allows the voice to be heard, the vocal line to ultimately be paramount.

Richard Strauss was the element of memory in Der Lindenbaum, complete with cow bells, and snatches of the main Schubert melody heard in Mahlerian phrases. Wasserfluth saw a prominent xylophone, a return to that toy shop and the clapping, and big build up before dying away, again with a sound Mahler would have recognized, for the final line. Die Krähe takes the fantasy world a stage further, with saw and flexitone, and a high G for the baritone, and planted itself firmly in the surrealistic topsy-turvy sound world of HK Gruber’s marvellous Frankenstein.

Das Wirthshaus is perhaps the mostly obviously Schubertian arrangement of the cycle, with a lovely opening, a gorgeous solo violin moment, and a slow, stately build-up until a snare-drum cuts in to link us with the more contemporary tone. Die Nebensonnen opens with a horn quartet, again evoking Mahler, and reinforcing the phantom sunset world of the poem.

Finally, and most effectively, is Der Leiermann, where the image of the old hurdy-gurdy man evokes something worldly but other-worldly. Prior evokes sleigh-bells, but then turns the vision into something more nightmarish, ending with an off-stage snare drum, beating out a death march into the distance to close the cycle (which was the right idea, but was a little too long to be perfectly judged for the effect).

What Prior has conjured up both pays homage to the Schubert song-cycle, while at the same time creating what is essentially a new work, a kind of musical evocation of, a commentary on, the original. It is startling, entertaining, questioning, in its own right, firmly of the 20th-Century while magicking a kind of musical Pensieve, drawing memories out of the bowl from past eras, and making them relive in the present.

I can see some purists hating it, but I loved it, first for giving  different depth and angle to Schubert’s settings, second for evoking those great Viennese traditions, and third for creating such a modern, multi-faceted, both reverend and at the same time a little outrageous, sound world.

Next will be Prior’s long anticipated violin concerto, commissioned by the Edmonton Symphony Orchestra. It is to be premiered on Friday May 31 by Simone Porter, and will be repeated on Saturday June 1.

Finally, a word for the performance that preceded the Prior/Strauss. Bruch’s Romance for viola and orchestra is not exactly regular fare (it was here receiving its ESO premiere) but it deserves to be better known. It is a kind of hot dreamy lazy days by the river with strawberries and cream piece, reverie rather than nostalgia, and one point unexpectedly and effectively matches bassoon against the solo instrument. The ESO’s young violist, Clayton Leung, well deserved the opportunity – he is so energetically involved with Edmonton musical life – and he made the most of it, with a beautiful ending in the music, the solo playing, and the orchestral sound. Good choice all round!

 

 

Edmonton Symphony Orchestra: Tamsin Little in Szymanowksi’s second violin concerto

Edmonton Symphony Orchestra
Karol Symanowski

  • Beethoven:  Symphony No. 2
  • Mendelssohn:  The Fair Melusina Overtu
  • Szymanowksi: Violin Concerto No. 2
  • Forsyth: Atayoskewin The Dance

Tasmin Little (violin)
conducted by Rune Bergmann

Winspear
March 23, 2019


First, apologies for the delay in this review: your reviewer was indisposed with the cold-flu bug that has passed from student to student in his classes, and which he mistakenly thought he had avoided…


 


The last three weeks saw two major Edmonton Symphony Orchestra events in the Winspear. The first was the ESO debut of the mega-star violinist Tasmin Little on March 23rd. The second was the world premiere of Alexander Prior’s startling orchestral arrangement of a selection of songs from Schubert’s Winterreise a week later on March 31 (review to follow).

Tasmin Little has announced that she will be ‘stepping down’ from the concert platform for good in the summer of 2020, so Edmonton was fortunate to have the opportunity to hear her live in the last year of her concert career. She told me that her retirement (at 53-years old) is just from the concert stage: she wanted to leave while she is “at the top of her game”, and to free up time for teaching and other projects. She would particularly like to continue to create film documentaries about music – she did a documentary on one of her favourite composers, Delius, for the BBC, and has initiated other innovative projects, such as her free CD download The Naked Violin,  which won the 2008 Gramophone/Classic FM Award for Audience Innovation.

There was an element of audience innovation here in the Winspear, as Little brought with her one of the finer, but still lesser-known, violin concertos, the Violin Concerto No.2 by the Polish composer Karol Szymanowski. She has been exploring Szymanowski’s music recently, recording some of the chamber works and both the concertos for the Chandos label.

Written in 1933, it doesn’t have the exotic passionate ecstasy of the first violin concerto of 1915-1916, which is (for me, at least) an even finer work. Written at a time when he was continuing to explore Polish folk music, it doesn’t really belong to style of his final period, either, when in works like the Symphonie concertante (Symphony No.4, 1932) for piano and orchestra, he moved to a sparer, more neo-classical idiom.

Indeed, to call it a work imbued with folk-song would be both correct and misleading. For that would imply a concerto built on folk melodies and folk styles; instead, Szymanowski melds the folk inspiration (especially scales and rhythms) into his own brand of a rich, yearning exoticism. There are echoes in this concerto of his masterpiece, Karol Roger (King Roger, 1918-1926) and its mood has something of the mystical tone of that opera.

It’s a work that suits Little, for she has the rich tone to bring out that yearning expressiveness, knows the right amount of vibrato to make the cantabile lines soar with the sense of mystical ecstasy, and has the technique to make light of the considerable virtuoso difficulties. For the soloist plays almost continuously in what is an extended one-movement work, has to ride over often thick orchestral textures, and there’s some fiendish double-stopping in the cadenza.

However, it is definitely not a show-off technical fireworks work (perhaps one of the reasons it is less often heard), and there was absolutely nothing flashy about Little’s playing, just a submergence in the music: Szymanowski came first.

The ESO, under a conductor who himself works in Poland, Rune Bergmann, supported her well, but were not at their best, sounding at times a little insecure in the music and the idiom. Nonetheless, I am very glad to have heard Tasmin Little live, and especially in this concerto. It was an imaginative choice to bring to Edmonton, and she then delighted the audience in a showpiece Bartok encore.

The surprise in the concert was Malcolm Forsyth’s satirical The Dance from his suite Atoyoskewin (Cree for ‘Sacred Legends’). There’s quite a lot of Copland in it, and a little bit of Bernstein, but if it does have derivative elements, it is tremendous fun in its own right, with whirling-dervish woodwind writing, lots of drumming and other percussion, real drive, and sometimes a whooping bass. It is very effectively crafted, and the ESO made the most of it – a suitable prelude to the Szymanowski, especially as it has it own nod to country fiddling.

The concert ended with Beethoven. Bergmann’s interpretation of the Symphony No.2 is  bit like the conductor: genial and jovial, with some quite slow tempi, attractive and playing down any dramatic elements. Again, the orchestra were not quite as refined as they have been in some recent concerts. There were much more effective in Mendelssohn’s Fair Melusina Overture, Op.32, which opened the whole concert, and it was good to hear the work, with its delicate scoring, and lovely sinuous Rheingold-ish river music.  But I suspect it was Tasmin Little we had all come for, and the audience were not disappointed.

Now Hear This New Music Festival

Now Hear This new music festival
New Music Edmonton
March 21 – 24, 2019

organetto (portative organ)


March 22
Holy Trinity Anglican Church

Anna Pidgornas Teach Your Daughters
Anna Pidgorna (voice), Roger Admiral (piano), Arlan Vriens (violin)

Holy Drone Travellers with Mustafa Rafiq Untitled
Mustafa Rafiq (guitar), Matt Meeker (bass, trombone, synth), Bhuyash Neupane (tablas, vocals)

Ryan Hemphill’s Duet for Electric Guitar and Electric Bass
Ryan M. Hemphill and Nico Arnáez

Reinhard von Berg Visions
Reinhard von Berg (organ)

Hypercube:  various works
Chris Graham (percussion), Andrea Lodge (piano), Erin Rogers (saxophones), Jay Sorce (classical & electric guitar)


March 23
Holy Trinity Anglican Church

Katelyn Clark: Song of Sibyls
Katelyn Clark (organetto with electronics)


This year’s four-day Now Hear This New Music Festival, put on by New Music Edmonton, opened on Thursday March 21 with what looked to be a very interesting concerts at the Theatre Lab, Allard Hall, MacEwan University, and which, alas, I could not attend. All the works were responses to real environments in some form or another. Sound artist Raylene Campbell’s Landing 23 used sample accordion textures, field recordings, and electronics to evoke the experience of the desert. The Olm: violinist Jeanna Turner and viola player Caitlin Richards are two recent mothers, and their works evoking the experience of early parenthood included echoes of real sounds, while Terri Hron’s 2017 work Nesting, reflects a long interest in the inspiration of birds. The suite of pieces, which I have heard on YouTube, integrates movement, sound, and video, bringing the wild life of the forest onto the stage, with an evocative mixture of live instrumental sounds and acoustic recordings.

I did, though, get to Friday evening’s concert in Holy Trinity Anglican Church – or at least part of it. We were warned in the intermission that the final section of the program, to be played by the New-York based group Hypercube, would include very loud sounds, and earplugs were offered to the audience. I decided long ago, after experiencing very loud rock concerts in smaller venues, and over-decibeled blasts through earphones, never to put my hearing at risk again if I could avoid it. I reckoned that if ear-plugs were being given out, discretion was the better part of being a music critic, and left before Hypercube started.

The highlight of the rest of the concert was Anna Pigorna’s moving Teach Your Daughters, for voice, prepared piano, and violin. Pigorna, now in her mid-30s, was born in the Ukraine, but raised in Canada, and much of her work has explored her Ukrainian heritage, both in her compositions and in the development of her folk-based singing style. Teach Your Daughters is one of a cycle of songs which she is currently working on, incorporating that folk tradition.

It was inspired by an uncanny parallel that she discovered when recording folk songs in the Ukraine. One of those folk songs, which turned out to be widely popular, described how a woman was raped, and then tied to a tree and burnt to death. While Pigorna was in Ukraine, an 18-year old, Oksana Makar, was raped, strangled, and burnt, and died three weeks later in hospital, in a case that attracted international attention and protest.

Teach Your Daughters was the first music I have heard by Pigorna, and, quite apart from its emotional impact, it suggests an original voice exploring new syntheses of influences. Her anger at the events lies mainly in the instruments, with a rather glassy, edgy sound to the prepared piano (played by Roger Admiral, who so often champions new music in Edmonton), and high harmonics in the violin (both were amplified), played by Arlan Vriens, who also at one point vocalizes. Pigorna herself sang the vocal part, with vocal lines very much in the folk tradition.

It was moving and effective, though it really would have been useful to have had some idea of the texts. The amplification was also unbalanced, to Pigorna’s disadvantage as she was sometimes drowned out by the two instrumentalists.

In the same concert, the trio Holy Drone Travellers were an interesting and enjoyable synthesis of east and west, with a piece titled Untitled that followed the pattern of classical Indian rāg, but with the timbres of synthesizer (providing, in part, the drone), and a trombone that initially sounded like Tibetan horns. Add a distorted guitar and table, and you have an interesting mix. Particularly impressive was at one point a very slow acceleration from Bhuyash Neupane on tabla, metronomically and microscopically accurate.

I also enjoyed Edmonton composer and organist Reinhard von Berg’s four movement organ piece, Visions, though its rather stark colours and (in the company it was keeping) its relative lack of contemporary effects would not have been everyone’s cup of tea.

Many years ago, von Berg was a boy in the 6th Edmonton Scout Group, who were charged with carrying the flag to the altar at Holy Trinity Anglican Church. While doing so, Onward Christian Soldiers was played on the organ, the first time that Berg had heard a pipe organ. He knew there and then he had to become an organist. And here he was, all those years later, not only playing it, but playing his own composition on it.

The organ was updated last year, with a new set of pipes above the entrance doors on the west end of the aisle (the other pipes are in the choir area), and von Berg’s piece was ideal for showing off the antiphonal possibilities. For the movements are each quodlibets, where two or more already defined tunes are combined in counterpoint. In Visions those tunes are based on the tunes from the Anglican Hymnal, and inevitably there were echoes (both intellectually and occasionally musically) of Ives, another composer who loved such hymn juxtapositions. Von Berg’s palette is generally sparse – often the second tune was given just in a single line, rather than harmonized, which worked well when given to one or other of the set of antiphonal pipes. There’s quite a wide variety of effect, if not colour: the high twittering of one hymn against bass stops for the other in the second movement, a little harmonic tower-building, and some anger in the third (shades of Messiaen here), harmonic overlapping effects (with the pulse and oscillation of overtones) and little decorations in the quiet, contemplative fourth movement, where the influence of Messiaen returned in bird calls.

The Saturday afternoon concert on March 23rd at Holy Trinity was a mixture of opposites. The one work was the Song of Sibyls created by Canadian keyboard player Katelyn Clark for the organetto, the small medieval portable organ that can be carried around by the player. It’s mixed with electronics and video, and the work is based on a medieval Catalan drama setting a prophecy describing the Apocalypse.

Opening and closing with the sound of tiny finger-bells, the music, with the organetto ranging from pipe sounds to extended harmonic effects, was generally slow, meditative, often rather beautiful, and certainly mesmerizing, especially in the peaceful surroundings of the church. I would have been quite happy just to have had that side of the multi-media presentation.

Unfortunately, it was combined with a video back-projected onto a big screen. The first 30 minutes or so was the most boring video I have ever seen. Apparently set in somewhere like Iceland (empty, blasted, dead grass landscapes with the occasional mountain and waterfall, and some broken down buildings), it was poorly shot, handheld, with very long takes, and washed out colour. There were two women. Then eventually there were three women. All looked around. Slowly. There was a moment of drama in the second 30 minutes when the three were seen skinny-dipping in a pool, but that seemed so out of place with the rest of the video that its significance was unclear. It then reverted to looking around slowly. And near the end, the woman with the hat actually took her hat off. This was a highlight.

Maybe I was jaundiced, since, as it turned out, I was coming down with the vicious cold that has delayed my posting this review. But I did so enjoy the aural side of this work, which had none of the amateur self-indulgence of the video. Readers can judge for themselves – the work can be seen on YouTube.

Alas, because of that cold, I had to miss the final concert on Sunday, March 24, which I very much wanted to hear. There were three world premiers – one by Pigorna, one by the distinguished Cuban composer Evelin Ramón, and one by Toronto-based Monica Pearce, whose work The Flag was recently chosen as winner for the Creative Women at the End of the First World War Composition Competition.

With new music one rightly expects quite a wide variety of quality – that inevitably on the cutting edge – but certainly the music I heard heard in this, the eighth Now Hear This Now Festival, was of a consistently higher quality than in some past Now Hear This festivals – and that does not include works I did not hear, but know, such as the powerful Love Songs by the Montreal-based Ana Sokolović, who won Classical Composition of the Year at the 2019 Junos, and which was performed by Helen Pridmore in the Saturday night concert.

New Music Edmonton is, one feels, getting the formula right, with a wide appeal for what they are putting on.