Trio%Hochelaga%captivated%listeners - agence … · Theatre, presenting Trio Hochelaga from...
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2013-04-23 15:45 Trio Hochelaga captivated listeners | Bliss | Kelowna Daily Courier Page 1 sur 1 http://www.kelownadailycourier.ca/bliss/trio-hochelaga-captivated-listeners-41913/print.html THURSDAY, 18 APRIL 2013 18:00 MARVIN DICKAU Trio Hochelaga captivated listeners Kelowna Community Concert Association continued its winning season on Tuesday in the Kelowna Community Theatre, presenting Trio Hochelaga from Montreal, in a wonderful evening of Piano Trio music. From reading their advance notices, I was expecting a somewhat light program, with perhaps some French Café music. Instead, we were treated to three marvelous trios: Beethoven Op. 1 No.1; Dvorak Op 26 and Schumann Op 63, and what a treat it was. The Beethoven, an early work had an almost Mozartian style in the first two movements, and the Trio carried it off with grace, delicacy and charm. The last two movements became more agitated, and again, the group was true to the music The Dvorak was written some years before he moved to the United States and has in parts a folk style with Slavic overtones. Full of emotion and passion, it takes consummate professionals to bring it to life. Indeed they did. They tackled the virtuoso passages with energy and drive, always with something in reserve. The softer gentler passages were gentle and most appealing. At times it seemed the strings were muted, but it was the sound of controlled pianissimos. The Schumann is full of mood changes, befitting his personality, some of them abrupt, others gradually taking over. These changes were made with complete control and assurance, always conveying the sense of urgency in the music, always fully in control. The overall performance was almost overwhelming in its intensity and bravura. To say that they played as one is a given, but they took it even farther; they even seemed to breath together, knowing instinctively what each other was doing, including the wide dynamic range they achieved. The dialogue between the strings and the piano was sensational. Technically, they were dazzling, tossing off lightning fast passages and huge chords with aplomb. It has been said that they play with an artistic unity that is at once profoundly musical, yet profoundly human. I couldn't agree more. Enthusiastic applause prompted a Debussy trio as an encore, a hauntingly beautiful and peaceful work that was a splendid end to the evening. To sum up, I paraphrase a quote: "they came, they played, they captivated" Marvin Dickau is a Kelowna resident and an organist, pianist and conductor with an A.Mus. from the University of Alberta.
Transcript of Trio%Hochelaga%captivated%listeners - agence … · Theatre, presenting Trio Hochelaga from...
2013-04-23 15:45Trio Hochelaga captivated listeners | Bliss | Kelowna Daily Courier
Page 1 sur 1http://www.kelownadailycourier.ca/bliss/trio-hochelaga-captivated-listeners-41913/print.html
THURSDAY, 18 APRIL 2013 18:00 MARVIN DICKAU
Trio%Hochelaga%captivated%listeners
Kelowna Community Concert Association continued its winning season on Tuesday in the Kelowna CommunityTheatre, presenting Trio Hochelaga from Montreal, in a wonderful evening of Piano Trio music.From reading their advance notices, I was expecting a somewhat light program, with perhaps some French Cafémusic. Instead, we were treated to three marvelous trios: Beethoven Op. 1 No.1; Dvorak Op 26 and Schumann Op63, and what a treat it was.The Beethoven, an early work had an almost Mozartian style in the first two movements, and the Trio carried it offwith grace, delicacy and charm. The last two movements became more agitated, and again, the group was true tothe musicThe Dvorak was written some years before he moved to the United States and has in parts a folk style with Slavicovertones. Full of emotion and passion, it takes consummate professionals to bring it to life. Indeed they did. Theytackled the virtuoso passages with energy and drive, always with something in reserve. The softer gentler passageswere gentle and most appealing. At times it seemed the strings were muted, but it was the sound of controlledpianissimos.The Schumann is full of mood changes, befitting his personality, some of them abrupt, others gradually taking over.These changes were made with complete control and assurance, always conveying the sense of urgency in themusic, always fully in control.The overall performance was almost overwhelming in its intensity and bravura. To say that they played as one is agiven, but they took it even farther; they even seemed to breath together, knowing instinctively what each other wasdoing, including the wide dynamic range they achieved. The dialogue between the strings and the piano was sensational. Technically, they were dazzling, tossing off lightning fast passages and huge chords with aplomb.It has been said that they play with an artistic unity that is at once profoundly musical, yet profoundly human. Icouldn't agree more.Enthusiastic applause prompted a Debussy trio as an encore, a hauntingly beautiful and peaceful work that was asplendid end to the evening. To sum up, I paraphrase a quote: "they came, they played, they captivated"Marvin Dickau is a Kelowna resident and an organist, pianist and conductor with an A.Mus. from the University of Alberta.
12-04-30 11:53Concert review: Energetic, satisfying effort by Trio Hochelaga
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Concert review: Energetic, satisfying effort by TrioHochelaga
BY RICHARD TODD, THE OTTAWA CITIZEN APRIL 22, 2012
Trio Hochelaga
Almonte Old Town Hall
Saturday, April 21, 2012, at 8 p.m.
Next to the string quartet, the piano trio must be the most popular of chamber ensembles. Althoughthere are some major composers who haven't written piano trios, there are more that did.
The Hochelaga Trio consists of violinist Anne Robert, cellist Paul Marleyn and pianist StephaneLemelin. Their appearance in the Almonte Old Town Hall Saturday evening was the season'sconcluding event for Almonte in Concert. They played music by Rachmaninov, Beethoven andSchubert before a capacity audience. In this venue that amounts to about 200 souls.
Rachmaninov's Trio elegiaque in G minor, written when the composer was 18, was by far the slightestof the three pieces on the program despite its occasional grand gestures. It did make a nice curtain-raiser, though and the musicians played it with no apology for its over-ripe romanticism.
Next came Beethoven's Ghost Trio (Opus 70, no. 1). As pianist Lemelin said in his introductorycomments, this piece owes at least some of its popularity to its nickname or, more exactly, the fact thatit has a nickname. Along with the Archduke, it is one of only two of the composer's six piano trios tohave one, and these two are the most familiar of the composer's trios. Of course they may be the twobest as well.
The Hochelagas' first movement was full of dash and vigour but it lacked the touch of lightness. Therewere no complaints to make about the remainder of the performance. The second movement inparticular was totally absorbing. It had a dusky feeling to it that went well with the "Ghost" designation.
The finale, which emerges from the second movement without a break, was an energetic and utterlysatisfying effort.
Schubert's Trio in B-flat was the most substantial work on the program. Its symphonic proportionsmean that performers must take special care to keep the listener engaged. Saturday's rendition wasthe most engaging I've heard in a very long time.
The first movement was bright and stately and found the musicians in especially fine focus. Paul
12-04-30 11:53Concert review: Energetic, satisfying effort by Trio Hochelaga
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Marleyn’s rendition of the lullaby tune that opens the slow movement was serenely beautiful as waseverything that followed it.
The third and fourth movements came off well, particularly during the moments of playful innocence inthe latter.
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12-08-09 15:42Gesualdo Consort bring madrigal magic to Chamberfest 2012
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Trio Hochelaga performed in a concert at Dominion-Chalmers United Church on August 5 as part of the Ottawa Chamberfest.Photograph by: Bill Blackstone for the Ottawa CitizenPhotograph by: Bill Blackstone
Gesualdo Consort bring madrigal magic toChamberfest 2012
BY RICHARD TODD, THE OTTAWA CITIZEN AUGUST 7, 2012
Gesualdo Consort of Amsterdam
Dominion-Chalmers, Sunday at 7 p.m.
Trio Hochelaga
Dominion-Chalmers, Sunday at 9:30 p.m.
OTTAWA — Carlo Gesualdo di Venosa (1566-1613) was an Itlian nobleman, lutenist, composer andmurderer according to Wikipedia (and most other sources.) Today he is remembered equally for thelast two roles. His numerous madrigals are considered among the finest ever written, but due to theirchormaticism and abundant dissonance they present difficulties for some listeners even today, not tomention what they demand of those who sing them.
12-08-09 15:42Gesualdo Consort bring madrigal magic to Chamberfest 2012
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The Gesualdo Consort of Amsterdam gave a concert of his music Sunday evening at Dominion-Chalmers, along with some by the equally brilliant but less notorious Dutch composer Jan PieterszoonSweelinck (1562-1621). The consort consists of six singers and harpsichordist Alexander Weimann.Their director is bass Harry van der Kamp.
Aside from four marvellous interludes played by Weimann, the program consisted entirely of madrigals.In those by Gesualdo, the singers were generally able to convey the passions that infuse the scoresand to do so with technical elan, though I’m not quite sure that their harmonies were always letter-perfect. It can be hard to tell with Gesualdo, but his music is certainly fun to hear.
The Sweelinck madrigals were more immediately appealing, though no less impressive in theircomposition or in Sunday’s renditions.
Scarcely half an hour after the Gesualdo concert ended, the Trio Hochelaga took the stage with aprogram of Rachmaninov and Schubert. The Hochelagas are three musicians with independantreputations, pianist Stéphane Lemelin, violinist Anne Robert and cellist Paul Marleyn.
Rachmaninov’s Trio Elégiaque no. 1 was written in four days in 1892 when the composer was 19. It’s apretty piece and intriguing when you listen for premonitions of the composer’s mature vocabulary.There are some, but it’s doubtful that anyone hearing it cold would guess it was by Rachmaninov. Inany case, the Hochelaga players projected its warm, if derivitive, romantic spirit nicely.
When you hear Schubert’s Trio no. 1 in B-flat, there can be no doubt about its composer’s identity. It’slong, but so glorious that only a really bad performance can seem tedious.
The Hochelagas rightly put the work’s beautiful melodies to the fore, but there was also an excellentsense of form holding everything together and guiding the listener from beginning to end. It was themost impressive playing that I’ve heard from these musicians.
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