Kelly-Marie Murphy: Curiosity, Genius, and the Seek for Petula Clark; Ludwig van Beethoven: Piano Concerto No 5 in E-flat Main, Op. 73 “Emperor”; Pyotr Ilyich Tchaikovsky: Symphony No. 5 in E Minor, Op. 64. The Royal Conservatory Orchestra, Peter Oundjian, conductor; Stewart Goodyear, piano. Carnegie Corridor, New York, NY, Might 7, 2024.
The Royal Conservatory Orchestra, made up of scholars on the Glenn Gould Faculty, carried out at New York’s Carnegie Corridor to a virtually full home on their very first look on the enduring stage. Accompanied by conductor Peter Oundjian and pianist Stewart Goodyear — the latter each RCM alum and present artist-in-residence — the orchestra performed in prime kind, lit up by the energetic power of younger musicians.
The RCO is able to each energy and pleasant subtlety, as this system revealed. It started with Kelly-Marie Murphy’s Curiosity, Genius, and the Seek for Petula Clark.
In her personal notes, the composer says, “For this piece, I needed to discover the distinction between the general public notion of Glenn Gould (quirky, odd, ingenious, obsessive), and the way Glenn perceived himself (an everyday man with many pursuits; presumably sporting an inexpensive go well with).”
The work was commissioned in 2017 by the Toronto Symphony Orchestra with the help of the Authorities of Canada and the Glenn Gould Basis in celebration of Gould’s eighty fifth birthday, and by the way, the seventieth anniversary of his debut with the TSO. The identify comes from a radio documentary the place Gould detailed chasing radio relays, and Petula Clark’s hit tune “Who Am I?” in Northern Ontario.
Consistent with its whimsical inspiration, the single-movement piece careens from effervescent to excessive drama on the flip of a dime. The orchestra stored up the tempo, with a particular point out to the enlarged percussion part (notably Parker Olson on timpani) that Murphy retains busy all through the piece.
Subsequent up was Beethoven’s Piano Concerto No. 5, referred to as “the Emperor”, though the composer himself didn’t give it that epithet. After a rapturous greeting from the group, Stewart Goodyear acquitted himself along with his traditional mixture of impeccable approach and vivid interpretation. The RCO was a worthy accomplice within the concerto, characterised by its heroic fashion and navy components. Of particular notice was bassoonist Jason Stephens in his conspicuous solo through the Adagio un poco mosso, and your entire orchestra for its fireplace within the last Rondo: Allego ma non troppo.
After intermission, the orchestra returned for Tchaikovsky Symphony No. 5 in E Minor, Op. 64, and was greater than prepared for each its lyricism and drama. The symphony showcases the RCO’s very high quality woodwind and brass sections, with some notable mentions: Gillian Derer (flute), Tai Yokomori (oboe), Wolfgang Scheitinger (bassoon), and Santiago Oviedo-Reina (clarinet). The latter’s passionate efficiency was significantly memorable.
The brass part delivered the requisite energy, with particular point out to French horn participant Katrina Dunkle and her riveting work as a soloist. The Finale, which ranges from the Andante maestoso (E main) to Allegro vivace (E minor) to Meno mosso (E main), gave the live performance an appropriately monumental end.
All through, conductor Peter Oundjian stored tempo with the orchestra’s power, an ever smiling and upbeat chief.
Particular point out additionally has to go to the viewers, which, sometimes for a scholar or youth orchestra, was stacked with boisterous household and pals. It’s the one time the place it’s acceptable to whoop and holler within the hallowed live performance corridor. The power of the live performance was excessive, and contributed to a sense of optimism within the room – together with outdated Toronto-style triple standing ovation.
The journey was a special day organized to mark the final season of Dr. Peter Simon’s tenure as President of the Royal Conservatory of Music. He’ll be retiring as of September.
The calibre of the orchestra, and the success of the journey, is a becoming tribute to his legacy in constructing the group again into the internationally acknowledged establishment it’s at present. The way forward for classical music in Canada is in superb palms.
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Anya Wassenberg is a Toronto Metropolis Editor at Ludwig Van. She is an skilled freelance author, blogger and writing teacher.