The Cathedral Bluffs Symphony Orchestra ends their season with a program titled Photos At An Exhibition. Naturally, the atmospheric Mussorgsky-Ravel work is on the menu, which additionally features a concentrate on brass within the type of a horn concerto.
“All the pieces is a giant sound on this live performance,” says CBSO Music Director Martin MacDonald. “It’s large and daring.”
On this system is:
- Ian Cusson: Tableau Vivant (2018)
- Glière: Horn Concerto (Samir Abd-Elmessih, french horn)
- Mussorgsky-Ravel: Photos at an Exhibition
We spoke to CBSO Music Director Martin MacDonald and horn soloist Samir Abd-Elmessih in regards to the season-ending live performance.
Interview: The First Half
Opening this system is Canadian composer Ian Cusson’s Tableau vivant, primarily based on a 1958 play by Michel Marc Bouchard of the identical title (in English, The Story of Teeka). MacDonald notes that the work is written with a storytelling voice as an orchestral concerto.
“It’s just below six minutes lengthy. It’s a chunk of massive vibrant storytelling,” MacDonald says.
The unique story revolves round a ten yr outdated boy on a Quebec farm enjoying along with his goose.
“It’s additionally a difficult piece for us as effectively,” MacDonald says, noting frequent key and time adjustments. “It’s a really stunning piece.”
Reinhold Glière’s Concerto for Horn and Orchestra in B-flat main, Op. 91
Reinhold Glière accomplished his Concerto for Horn and Orchestra in 1951, and it was premiered the identical yr by Russian horn participant Valery Polekh with the Leningrad Radio Symphony Orchestra.
Polekh, in actual fact, had performed a key function within the creation of Glière’s Opus 91. The 2 had met on the Bolshoi Theatre in 1950. The horn participant approached Glière throughout a break in a rehearsal of the composer’s ballet The Bronze Horseman.
Their dialog was temporary, however centered on Polekh’s suggestion that Glière write a concerto for the horn. Glière, evidently intrigued, stated he’d give you one thing in his free time. Polekh would subsequently meet with Glière to indicate him the horn’s capabilities. A few yr later, Glière accomplished the piece.
It could go on to turn out to be one of many composer’s greatest identified and most lauded works. The fashionable French horn, with its valves and different nineteenth century developments that allowed for a full vary of notes, was a relative newcomer to the orchestral household, and it’s nonetheless not usually used as a solo instrument. Glière’s Concerto has turn out to be one of many key works within the horn repertoire.
Glière wrote the piece in a neoclassical model, with a Romantic sensibility. It consists of three actions, with a normal cadenza written by Polekh in a virtuosic mode.
A Concerto For French Horn
Why select a horn concerto?
“Initially, Samir. He’s a improbable horn participant,” MacDonald says. “We’re actually fortunate to have him.”
Samir Abd-Elmessih is a busy musician, presently performing with CBSO, the Etobicoke Philharmonic Orchestra, and Orchestra Toronto. That’s on high of a full-time profession as a trainer.
“It retains me busy,” Abd-Elmessih says.
The orchestral world could be a small one, and it seems that MacDonald and Abd-Elmessih had been engaged on their Grasp’s levels at McGill College on the similar time. Samir would additionally research for a time on the Glenn Gould College, in addition to non-public instruction with Christopher Gongos. Affiliate Principal Horn of the TSO, and UofT school member.
“Even once we had been doing our Grasp’s collectively, he was an actual famous person at McGill,” Martin says. “I wished to characteristic him within the orchestra as a soloist. I like going exterior the piano and violin concertos once we can,” he provides.
“We had been speaking in regards to the Mozarts, and we had been speaking in regards to the Strausses,” MacDonald remembers.
Glière’s concerto was Abd-Elmessih’s suggestion to MacDonald. “He was interested by one thing a bit bit off the crushed observe,” Samir says.
MacDonald went house to take heed to the concerto, and was satisfied.
“For horn gamers, it’s a bit extra well-known,” Abd-Elmessih says. “It’s acquired a lot of good melodies.”
“There’s these nice large tunes for the orchestra, and a few lush orchestrations,” Martin says. “The opposite nice profit to us as effectively, a minimum of we hope, is that it encourages youthful horn college students,” he provides.
The instrumentation features a full brass part, harp and percussion together with the standard strings.
“It offers the orchestra one thing to do as effectively,” Abd-Elmessih says. “He fortunately agreed.”
The work can be fairly difficult. “I discovered it after I was in college, and carried out it at a scholar recital, however I haven’t actually labored on it since then. It’s saved me busy all yr.” Samir provides. “Simply attending to play a chunk like that is pretty particular,” he says. “There are some issues within the third motion that I’m actually wanting ahead to. It’s nearly like film music.”
It’s not the primary time he’s stepped in entrance of the orchestra as a soloist, however naturally, CBSO programming works by a variety of soloists every season.
“To be in entrance of the orchestra is kind of distinctive,” Samir says. “I normally simply sit on the again.”
“We’re actually having fun with enjoying it,” Martin provides.
Second Half: Photos At An Exhibition
After the Horn Concerto, the live performance finishes with the enduring Mussorgsky-Ravel orchestration of Photos At An Exhibition.
“It’s an attention-grabbing live performance when it comes to pacing, particularly for the brass,” notes MacDonald.
Ravel’s orchestration notably makes good use of good, wealthy instrumental colors, various the instrumentation between the ‘image’ sections and the promenades. After all, that features the signature brass-heavy Nice Gate of Kyiv part.
“It’s probably the most thrilling finales in all orchestral music,” he says. “It raises the hair proper on the again of your neck.”
The piece contains fast adjustments in tempo and temper to maintain all of the orchestra members on their toes, and a variety of standout solos.
“Now we have a gorgeous alto sax solo,” MacDonald notes, “carried out by Steve Fox.” He additionally notes The Ox Cart part, the place the second trombonist will carry out it on the euphonium, and the piccolo trumpet solo within the half titled Samuel Goldenberg and Schmuyle.
“It’s an amazing piece for the orchestra to do,” he says. “You get an amazing palette of orchestral flavours.”
As a particular characteristic, and consistent with the theme of this system, items of scholar artwork work (not thematically associated to the music) will likely be displayed within the foyer earlier than the efficiency, throughout intermission, and following the live performance.
“It’s our season finale,” he notes. “It’s an effective way to blow the roof off.”
CBSO can even be revealing the small print of their 2025/26 schedule— the fortieth anniversary season for the orchestra — on the live performance.
- Discover extra particulars and tickets for the Might 24 efficiency [HERE].
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Anya Wassenberg is the Toronto Metropolis Editor at Ludwig Van. Beforehand, she was a contract author with a specialty in tradition and journey for 3 a long time, and a inventive writing teacher for Ontariolearn.
