A Lucie Horsch and MCO double bill
A few years back we filmed our first concert with teenage Dutch recorder player Lucie Horsch. While she was relatively unknown at the time, the video went viral — earning over 200,000 hits.
Today, she is a leading ambassador for the recorder, which has claim to being the most beguiling classical instrument ever invented. The Decca-signed virtuoso is the “latest big thing in recorder playing” (The Guardian) who possesses “fearsome virtuosity and superb technique” (BBC Music Magazine). At the MCO, we can’t help but feel sorry for those who missed her past two concerts with us. Nearly everyone is obliged to play the recorder in elementary school. But where most of us squawked and hooted, Horsch flutters and trills with the graceful agility of a master quickly in the making.
Speaking of birds, sparrow songs can be overhead in Lucie’s home performance of Bach’s Bourrée Anglais (from Partita BWV 1013) in this online concert. These are the sorts of charming, natural details we sometimes get with home recordings. Also on the program is Lucie’s performance of Louis Andriessen’s exotic Sweet from inside the sanctuary of a beautiful and wonderfully resonant Dutch church.
Our 20 May online concert is also rich with performances, filmed at Crescent Fort Rouge, highlighting members of our orchestra. This includes two baroque duos from violinists Karl Stobbe and Rachel Kristenson. It further includes Tchaikovsky’s mysterious Lensky’s aria for oboe and piano and Glick’s Old Toronto Klezmer, with the stellar Caitlin Broms-Jacobs performing the oboe part in both cases.
How uplifting to have this opportunity to spotlight our cherished orchestra players at this, the second concert of the MCO’s 2020-21 Spring and Summer Festival! We’ve sorely missed regularly getting together as a band, just as we’ve sorely missed seeing you. This makes our online concerts — produced safely in adherence to government protocols — all the more overdue and fulfilling until we can resume regular concerts.
Click below to add a Household Ticket to your cart (only one ticket required per household). This ticket allows you to invite up to five other households to view this event!
The concert begins at 7.30pm CDT on MCO's YouTube channel on May 20th. Household tickets for casual buyers are $20; all MCO subscribers are automatically given access to this concert. Click here to add a ticket to your cart (only one ticket required per household!) or call the MCO Ticketline 204-783-7377. The MCO will then send you a private link for accessing the concert a few days before the event. Please don't hesitate to get in touch if you have any questions.
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Manitoba Chamber Orchestra
Anne Manson, Music Director
Karl Stobbe, Concertmaster
7.30pm CDT, 20 May 2021
Lucie Horsch (2+5), recorder
Karl Stobbe (3+4), violin
Rachel Kristenson (3+4), violin
Momoko Matsumura (6), viola
Minna Rose Chung (6), cello
Paul Nagelberg (6), bass
Caitlin Broms-Jacobs (1+6), oboe
Madeline Hildebrand (1+6), piano
1. Lensky's aria for oboe and piano from Eugene Onegin
2. Bourrée Anglaise from the Partita (BWV 1013)
3. Excerpts from Sonata in D Major for Two Violins, Op. 3 No. 6.
4. Excerpts from Duos for Two Violins, Op. 49
5. Sweet for recorder
6. Old Toronto Klezmer Suite
Srul Irving Glick
MCO season sponsor / CN
Concert sponsor / LBL Holdings — 60th Anniversary
Music Director sponsor / Ron & Sandi Mielitz
Concertmaster sponsor / Raymond Hébert
MCO at Home sponsor / Christianson Wealth Advisors, National Bank Financial
21-year-old Lucie Horsch is one of today’s outstanding talents on the international music scene, already in great demand as a solo recorder player, performing with baroque ensembles, symphony orchestras and in recital.
In June 2020, Lucie received the very prestigious Dutch Music Award, the highest honor bestowed by the Dutch Ministry of Education, Culture and Science to a musician working in classical music.
In the very recent seasons, Lucie did her debut with the Royal Concertgebouw Orchestra under Ton Koopman and Hong Kong Philharmonic Orchestra under Benjamin Bayl, toured with the Orchestra of the 18th century in the Netherlands, in Japan with the B’Rock Orchestra and in Europe with the Academy of Ancient Music and Richard Egarr. Other orchestras she has worked with include the Los Angeles Chamber Orchestra, Manitoba Chamber Orchestra, Ensemble LUDWIG, Residentie Orkest, Arnhem Philharmonic, Staatsorchester Kassel, Lapland Chamber Orchestra, Uppsala Chamber Orchestra, Combattimento, Apotheosis or Anima Musicae.
In recital Lucie forms a duo with French lutinist Thomas Dunford. The duo is invited to perform in such venues as Wigmore Hall, Het Concertgebouw Amsterdam, the Philharmonie Essen, Brucknerhaus Linz, Auditori in Girona or Tokyo’s Bunka Kaikan and Asahi Concert Hall. Another key duo partner is harpsichordist Alexandra Nepomnyashchaya. Lucie’s festival appearances include the Rheingau Musik Festival, Budapest Spring Festival, Festspiele Mecklenburg-Vorpommern, MDR Musiksommer, Hindsgavl Festival, Musiksommer am Zürichsee in Switzerland or the Thüringer Bachwochen. In 2017 she was featured on the German TV program ‘Stars von Morgen’ (stars of tomorrow) hosted by Rolando Villazón, where she also got a chance to perform with the show’s famous host.
Lucie is an exclusive Decca Classics artist. Her debut CD featuring concertos and other works by Vivaldi received the 2017 Edison Klassiek Award. Her second album, Baroque Journey, recorded with the Academy of Ancient Music and Thomas Dunford, featuring works by Sammartini, Bach, Marin Marais and Händel among others reached the No. 1 in the UK Classical Charts and was awarded the prestigious OPUS KLASSIK prize in Germany in 2019. For Deutsche Grammophon, Lucie has mastered the premiere recording of Leonard Bernstein’s ‘Variations on an Octatonic Scale’ together with cellist Kian Soltani.
Born into a family of professional musicians, Lucie began to study the recorder at the age of five. Only four years later, her televised performance of Brahms’ Hungarian Dance No. 5 at a popular concert on the Prinsengracht canal caused a national sensation. At the age of eleven, after winning many competitions, she moved to the Sweelinck Academie at the Amsterdam Conservatory, where she studied the recorder with Walter van Hauwe. Also a talented pianist, she first studied with Marjes Benoist and is now in Jan Wijn’s class at the Amsterdam Conservatorium. She was a member of the National Children’s Choir for seven years, performing with conductors such as Sir Simon Rattle, Mariss Jansons and Jaap van Zweden. In 2014, she was chosen to represent The Netherlands in the Eurovision Young Musician contest and in 2016 she was awarded the prestigious Concertgebouw Young Talent Award, in the presence of Sir John Eliot Gardiner.
Lucie plays on recorders made by Seiji Hirao, Frederick Morgan, Stephan Blezinger and Jacqueline Sorel, made possible by the generous support of the Prins Bernhard Cultuurfonds.
Lensky’s Aria, from Eugene Onegin (arr.for oboe and piano)
Peter Il’yich Tchaikovsky
Eugene Onegin (1877-78) is Tchaikovsky’s most popular opera. The principal characters are Onegin, a young, handsome yet already jaded man of the world, and Tatyana, a lovely, shy woman given to romantic daydreams. She becomes infatuated with Onegin, but he rejects her coldly. Years later, after she has married an older man and gained maturity and strength, it is Onegin who falls in love with her. Although Tatyana admits she still loves him, she remains steadfast in her marriage and sends the heartbroken Onegin away. In this touching aria, Vladimir Lensky, on whose fiancée the heartless Onegin has made unwelcome advances, awaits with trepidation what proves to be a fatal duel with Onegin.
Johann Sebastian Bach
The bourrée is a lively French folk dance originating in the Baroque period. Numerous composers of tat era created examples of it, including Handel (Water Music, Music for the Royal Fireworks) and Bach (several suites for different instruments), as well as later composers such as Emanuel Chabrier.
Sonata for Two Violins in D Major, Op. 3 No. 6
Leclair founded the French school of eighteenth-century violin playing, one which added elegance and refinement to the brilliance of the earlier Italian school. He began his career as a dancer and composer. Only gradually did he add playing the violin to his repertoire. Centred in Paris, he won renown for his performing and teaching abilities, while his cultured yet demanding music for violin has long occupied a treasured place in the repertoire. Among his published compositions are nearly 50 sonatas for violin, the opera Scylla and Glaucus, and 12 concertos for violin and strings. Published in 1730, his Opus 3 consists of six sonatas for two violins. No. 6 alternates tender, intimate musings with the lively rhythms of the dance.
Selections from Duos for Two Violins, Op. 49
Glière carried forward the folk-based style of nineteenth-century Russian nationalist composers such as Balakirev, Rimsky-Korsakov and Borodin. After studying composition at the Moscow Conservatory with such major figures as Anton Arensky and Sergei Taneyev, he was appointed to that institution’s faculty and taught there for more than 20 years. Among his earlier, private pupils was the brilliant composer (and fellow Ukrainian), Sergei Prokofiev.
The conservative, colourful and melodious style that he maintained with little development throughout his career safeguarded him from the persecution that regularly befell the more adventurous and modernistic of his Soviet contemporaries such as Shostakovich. His catalogue of music includes three symphonies (the last of which retells in truly epic fashion the legend of the mighty warrior Il’ya Muromets’), operas, ballets, various works for small instrumental forces, and concertos for cello, horn, violin and, unusually and intriguingly, for wordless coloratura soprano.
He composed the compact (average length, two minutes) and immediately attractive 12 Duos for Two Violins in 1909. He continued in their intimate, two-instrument mode with the 8 Pieces for Violin and Cello, Op. 39, and the 10 Duets for Two Cellos, Op. 53. Today you will hear three of the Op. 49 Duos: the solemn No. 1 (with a tempo marking of andante), the exhilarating No. 5 (vivace) and the restless yet deeply expressive No. 10 (con moto).
Andriessen composed this striking and exceptionally demanding piece for solo recorder in 1964. He dedicated it to the celebrated Dutch recorder soloist and conductor, Frans Brüggen. Brüggen championed the recorder on a global basis. Not only did he perform the early music which constituted its original repertoire, but also commissioned new works to keep the instrument relevant in the music of today. In Sweet, Andriessen called for a variety of “extended techniques” that result in sounds that help to redefine the instrument. And then there’s that astonishing “interruption” …
Old Toronto Klezmer Suite
Srul Irving Glick
Toronto’s Glick was one of Canada’s most prominent and prolific composers, having written some 200 works in most major forms including chamber, oratorio, orchestral, vocal and choral. He joined the Canadian Broadcasting Corporation in 1962. He worked there with distinction as a classical music producer until 1986, then launched an award-winning career as an independent producer. His many honors included the Governor General’s Medal and membership in the Order of Canada.
His music is performed regularly in Canada, in the USA and abroad. A great many of his works appear on recordings and are published in Canada, the USA and the United Kingdom. He received hundreds of commissions from great artists and institutions, including Jon Vickers, Maureen Forrester, Canadian Brass, Oxford and St. Lawrence String Quartets, Toronto Mendelssohn Choir (3), Elmer Iseler Singers (4), Toronto Symphony Orchestra, James Campbell, Anton Kuerti, and Steven Staryk.
Graduating from the University of Toronto in 1955, at first he practiced an abstract, contemporary style of composition. After further study with composers such as Frenchman Darius Milhaud, he decided to pursue a different approach. One that reflected his Jewish roots. He developed an idiom that combined traditional Jewish materials and classical traditions into an openly emotional, folk-tinged style of music.
He composed this appealing suite for chamber ensemble in 1998 and dedicated it to his mother. The four movements present vivid, often nostalgic sketches of life in his home city in the days of his youth. They show the influence of Klezmer music, which Wikipedia defines as “an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions.” If you’ve seen the classic Broadway musical Fiddler on the Roof (1964), you’ve heard Klezmer music.
Glick’s suite opens with a visit to Kensington Market, a large, bustling area crowded with food stalls, shops, and art spaces. The mood switches completely in the second movement. In sorrowful tones, it recalls the young composer’s visit to Roseland Cemetery, where he unexpectedly discovered the resting place of a brother who had passed away before the composer was born. The third movement, United Baker’s Dairy Restaurant, set in a moderate waltz tempo, portrays an encounter—possibly an amorous one—at that establishment. It’s still in business after 109 years. The finale, The Rabbi’s Wedding at the Palmerston Street Shul, shows first, the warm solemnity of a Jewish wedding ceremony, then the joyous celebration that follows.