Azrieli Music Prizes Volume II: Jewish Music from Canada


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So you read “New Jewish Music” and you think, well, Israel.  At least I did at first.  But the richness of the Canadian musical landscape embraces a wide range of excellent music both pop and classical and this disc (I haven’t heard volume I) serves to illustrate my point. These three works, two for instrumental soloist and orchestra and one for soprano and orchestra are indeed imbued with music that takes its inspiration from the folk traditions common to Jewry around the world.

The musical radar of Canadian producers is truly astounding.  One need only peruse the wonderfully organized Canadian Music Centre web site to get a flavor of which I speak.  You will find classical music by many composers, not just Canadians.  And the range of styles runs the gamut from the experimental (in traditions largely unheard in the United States) to more traditional sounding pieces all of which sound quite substantive to these ears.  Frank Horvat’s “For Those Who Died Trying” made my “best of 2019” list for example.

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So back to the disc at hand.  More about the amazing Azrieli Foundation and their various projects is worth your attention.  Their efforts are indeed wide ranging and include the arts most prominently along with their other humanistic endeavors.  The disc includes the 2018 prize winning works by Kelly-Marie Murphy and Avner Dorman along with an arrangement by François Vallieres of the late elder statesman of Canadian music, Srul Irving Glick (1934-2002).

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Photo from composer’s website

Murphy’s “En el Oscuro es Todo Uno” (2018) is for cello, harp and orchestra.  The soloists are the duo Couloir whose album was reviewed previously in these pages.  Its four movements comprise essentially a double concerto (has anyone else done a double concerto for this combo?).  The varied moods in this tonal and melodic work draw the listener in and beg to be heard again.  The piece won the 2018 Azrieli Music Prize.  It is a major work by an established composer whose star continues to rise.

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Avner Dorman photo from the composer’s web site

The second work is Avner Dorman’s “Nigunim” (Violin Concerto No. 2) (2017) with the great Lara St. John on violin.  Winner of the 2018 Azrieli Prize for New Jewish Music, this concerto is a delight to the listener as well as a showcase for a talented soloist.  Imbued with references to Jewish folk music, this piece is a melodic delight.  Like the previous work, the listener will likely find themselves returning for another hearing.

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Srul Irving Glick photo from the composer’s web site.

The disc concludes with a lovely setting of some of the much beloved texts from the biblical Song of Songs titled, “Seven Tableaux from the Song of Songs” (1992).  It was originally scored for soprano and piano trio and arranged for this recording for soprano, piano, and string orchestra by François Vallieres.  Glick was known both for his concert and his liturgical works.  These texts have inspired countless composers and will doubtless inspire many more with the beauty of the words.  Soprano Sharon Azrieli is very much up to the task and delivers a heartfelt and lyrical performance.

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Photo of Boris Brott form the orchestra’s web site

Last but not least the Orchestre Classique de Montréal under the direction of (too little known conductor) Boris Brott deliver a sensitive and nuanced approach to these works.  All in all an extremely entertaining disc that will likely appeal to a wide audience regardless of religious or political affiliations.  This is just great music making.

 

Couloir, a Wonderful New Cello and Harp Duo


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This is an beautiful album.  The main attraction is the world premiere recording of Serere (2012) by James B. Maxwell in two versions separated by a shorter piece by Nico Muhly.  Ravello Records brings us a wonderful Canadian duo, Couloir consisting of Ariel Barnes on cello and Heidi Krutzen on harp.

Maxwell, a Canadian composer, is new to this writer but the present work suggests that there is good reason to pay attention to this artist.  I’m not sure of the wisdom of two versions of the same piece on one disc but it does allow for close comparison.  It is basically an intimate and episodic piece of chamber music which is filled out with some electroacoustic material in the second version.  I don’t mean to sound dismissive because this is an engaging and enjoyable listen and a piece which seems to contain a certain depth and wisdom which suggests a well crafted work.  Both versions are clearly challenging from a technical aspect but all seems to be integrated in service of the music and not simply empty effects.  The second version of course has a fuller sound due to the augmentation of the electronics.  Both versions benefit from multiple listens and I certainly don’t intend to set this disc aside for a bit.

This is actually my first encounter with Nico Muhly’s work.  I have certainly heard of him but I am not familiar with any of his other work so I have nothing against which to compare the present piece except in the context of this disc.  Given that, this briefer piece, Clear Music (2003) is also finely wrought and engaging.  Maryliz Smith plays celeste on this track.  It functions basically as an interlude here but it does help clear the palate (so to speak) without taking the listener too far out of the musical context.

The recording from 2012 in Vancouver, British Columbia is clear and pleasant and the performances are simply wonderful.