UW Gazette, September 17, 1997 Conducted by Jan Narveson September 9 noon: The WLU noon-hour concerts began with out-of-the-way music as Lakshmi Ranganathan, veena, came to the Recital Hall for a concert of South Indian music; Vasan Rajalingam, mrudhangam, provided the percussion. Over the past few seasons we have taken in several concerts of sitar music, and it was interesting to note the differences, which were also discussed by this performer. There were no less than five pieces of her program, whereas it is quite possible for a sitarist to use up an entire 50-minute period such as this with just one raga. One had less sense of free- wheeling inventiveness, and more of a real organization of contrasting material, reminiscent of western music. We were intrigued at one of the pieces, Jalandara, which employs exactly the notes of the Boogie-Woogie, and even the rhythm takes on a truly jazzy flavor ere long. The program points out that it's a 20th century piece, so the composer was likely incorporating a western influence rather than vice versa. If that's so, then it was quite a fascinating exercise in musical exportation. The other pieces had enough variety to make for an interesting program, and Ms. R. is a precise and warm player, with a keen and clear sense of rhythm, which seems to be the strong point of the south Indian style. Good show. Saturday: The K-W Symphony opened its season with an all-Beethoven program, which began with the Leonore Overture No. 3 in a very solid performance that benefited from Larry Larson's portentous off-stage trumpeting, and later from the finesse of our new concertmaster Steven Sitarsky and this night's visiting Associate, Jeremy Bell, who got the coda off to an unforgettable start. Next came the concerto, Beethoven's beautiful Concerto No. 4, and with pianist Anton Kuerti playing on his own Steinway, in the soloist's role, any concert is well ahead of the game. Indeed this was a wonderful account of this very special score, even better than the last time we heard him play it. The opening chords were shaped with great sensi tivity, and the whole of the great opening movement was suffused with a thoughtful glow, though there are also a number of rather virtuosic passages that Kuerti has a very special way with - "diaphanous" comes to mind. The weight and intensity of the astonishing slow movement, and the folksong-like rhythms of the finale were absolutely right; in fact, in general it would be hard to better this performance at any point, and Komatsu and the orchestra were right with him all the way. After intermission, Komatsu took on the mighty Symphony No. 7, and we were delighted with the results, especially in the first two movements. He got the dance-like impetus of the first movement to perfection, and the splendid climaxes rang out most convincingly. The famous Allegretto offers a special challenge, and again we thought his idea of it totally convincing, with the sombre - but, importantly, not despairing - harmonies and the insistent rhythmic gait measured to superb effect. The scherzo, a sort of grand con summation in the super-charged minuet vein ˆ la Haydn, was rendered in spirited style by our players, though we thought the astonishingly contrasting trio needed a bit more character. The finale of this work is surely the wildest thing ever conceived in the classical era, and Komatsu took it at blistering speed. The problem here is that it is nearly impossible to achieve real definition at such velocities, so it's a bit of a trade-off. There's no denying the impact of doing it like this, which simply electrified the audience - who responded with one of the longest standing ovations we can recall ever seeing in the Centre (longer even than the well-deserved one for Kuerti in the first half). The evening reminded one that Beethoven isn't the least bit over-rated, nor even overplayed: with three of his greatest works, in sumptuous and splendiferous performances, we were all in musical heaven for the evening. Congratulations to all concerned. And how fortunate that the CBC was on hand to capture it all. Sunday: The Faure Trio were familiar faces for several years running at KWCMS Music Room, but had been away for quite a time (two years, it seems); so their return was a welcome one, especially because of the distinctive interest of their program. In Haydn's Trio #20, the warmth of their sound and the nuanced rendition of these graceful lines made this an attractive performance. A less sprightly trio than some, its rather thoughtful demeanor was discerningly conveyed here. The Saint-Saens Trio No. 1 is a singular piece, especially in its two middle movements, both featuring tricky rhythms and novel sonorities, nicely rendered by the Faure. (In fact, this piece is an interesting precurser to Faure's own chamber music.) After intermission, there was the evening's mystery piece - a Trio in A Major that may be by Brahms, though there's no positive identifying evidence of its authorship, other than that it sounds so much like Brahms and is of such high quality that it's hard to see who else could have written it. We'd say that in point of harmony, general construction, and the contours of its themes, it's certainly Brahmsian. Its melodies, generally speaking, don't quite have the grabby quality that the main themes of his published trios do. But the very committed performance of this ensemble gave them a good hearing, and above all they succeeded in making us feel that the whole was greater than the sum of its parts. It certainly works as a whole structure. A couple of slightly awkward passages suggest that if it is by Brahms, he would have intended to work on it some more. All that said, we were impressed by the meltingly lovely sounds of Sharpe's cello playing, and the high level of musical perception throughout. They're a fine team, and made for a most in teresting and beautiful evening. And we'll hope we won't have to wait quite so long for their next performance. Forthcoming Thursday-Saturday: K-W Symphony Pops concerts open with what is usually a close-of-season show: veteran Brian Jackson conducting the "Last Night of the Proms" - Elgar's Pomp and Circumstance March No. 1, Parry's Jerusalem, Danny Boy, and the rest. 578-1570 for ticket inquiries. Saturday: Alexander Tselyakov, piano, at KWCMS Music Room. This brilliant Russian won the gold medals at the Israeli national and Japanese international competitions, had been a professor at the Moscow Conservatory, playing all over the then Soviet Union, and has astounded audiences in the K-W area several times since being discovered in 1995. Here he brings his gifts to bear on Chopin, Nocturne Op. 27/1; Waltz 64/2; Etude 25/10; Debussy, Estampes; Faure, Waltz-Caprice in A; Liszt, La Campanella and Grand Etude on Paganini; Tchaikovsky, "October" (from The Seasons), and an amazing and charming piece by Alexander Rosenblatt, Variations on a Theme of Paganini. Tickets from UW, Words Worth, Reader's Ink, and 12th Night (in the Atrium); 886- 1673 for information. (He will also be performing the Tchaikovsky First Concerto with the K-W Symphony on October 3-4.) Sunday afternoon, September 21, 3:00: At WLU Recital Hall, a group of local musicians in an all-Brahms concert, though we are given no program. Soprano Lynn Blaser, pianist Andreas Thiel, and Anmgela Cox Daly, Tracy Poizner, and Laura Jones, vln-vla-cello (from K-W Symphony) make up the ensemble, which accordingly might be doing one of the Piano Quartets. Howard Dyck, conductor of the K-W Philharmonic Choir and well-known radio host for the CBC, will be the narrator, reading bits from Brahms's letters, and other writings in amongst the musical selections. $15 (st/sr $10) at door. Sunday evening, : At KWCMS Music Room again, Jacques Israelievitch, violin and StŽphane Lemelin, piano, present all the Brahms Violin & Piano music (3 sonatas plus an extra scherzo). This gifted violinist is the Toronto Symphony Orchestra's famous concertmaster; he teams with an internationally reputed pianist (who has also soloed with the KWS and played solo and chamber music at the Music Room in the past). Tuesday, September 23: The WLU noon-hour concert (12:00) features recorder whiz Matthew Jones, with Jan Overduin, organ (their portative instrument, in the Recital Hall, not the heftier one in Keffer Chapel). If you haven't heard this young man play yet, it's worth a special effort. Tuesday evening: Canadian Chamber Ensemble, at WLU Recital Hall, opens its season with "Greatest Hits": Haydn Cassation in F; Wagner, Siegfried Idyll; McCauley, 5 Mini atures for 10 Winds; and Beethoven's inimitable Septet. About $19, but students get in for $5. Tickets at door; KWCMS subscriptions also honored at these concerts. If you're new to these parts, our Ensemble is justly famed and very well worth your patronage. Wednesday, September 24, 12:30: At Conrad Grebel College chapel, CGC's noon-hour concerts open with piano four-hands, Kenneth Hull and Sandra Mogensen. Free.