Claude Vivier’s Musik für das Ende had to wait until 35 years after the composer’s death for its first fully staged performance. That happened last night at Crow’s Theatre under the auspices of Soundstreams. It forms the main and concluding part of a really interesting show directed by Chris Abraham.
The first part of the program is a monologue, Il faisait nuit, of Vivier returning to his Paris apartment and describing his life and his final composition. Written by Zack Russell and brilliantly played by Alex Ivanovici it’s a French/English piece based on extensive discussions with people who knew Vivier and is said to capture his verbal and physical mannerisms with uncanny accuracy. It also introduces us to key design elements of the evening. We, the audience, are lining the walls of a “black box”. The set is created by lighting effects and there is an electronic sound track. It’s a very immersive experience. Continue reading
Soundstreams have announced an intriguing line up for the 2017/18 season. There are five main stage shows plus three in the Ear Candy series. For vocal music fans there’s a lot to like starting with a multi-media presentation of Claude Vivier’s Musik für das Ende. Stage director Chris Abraham and music director John Hess combine with Choir 21 to create a “ritual” about exile, immigration and “otherness”. Performances will be at Crow’s Theatre with a run from October 27th to November 4th 2017.
There was a sort of mini Schoenberg Fest at the TIFF Lightbox yesterday. First up we got Topher Mokrzewski and Adanya Dunn with Claude Vivier’s Hymnen an die Nacht and five pieces from Schoenberg’s Pierrot Lunaire. The Vivier was a very apt choice; a piece of CanCon in the spirit of the Schoenberg. Topher may not like Schoenberg but he certain;y knows how to play it and Adanya, in my opinion, is at her considerable best in music of this type. Good start.
Conductor Brian Current and the Glenn Gould School New Music Ensemble presented three pieces, one of them a world premiere, today in the Richard Bradshaw Amphitheatre. The performances were prefaced by a really rather informative and informal chat by Brian on “how to listen to contemporary music”. It was engaging and totally non-patronising.
And so to the music. The first piece was Marco Stroppo’s 1989 piece élet… fogytigian, dialogo immaginario fra un poeta e un filosofo; a piece evoking an imaginary dialogue between a Hungarian poet and an Italian philosopher who never actually met, or so the composer told us. The first movement was bright and aggressive, very much in the European manner of the 70s and 80s with the second even more explosive before, in the third movement, settling into an exploration of string colour. The composer explained this as being like three walls of a house, painted different colours, slowly rotating. It’s the kind of piece one needs to hear more than once.