Thunder Bay’s signature landmark gracing our waterfront horizon, shrouded sometimes by clouds, other times mysteriously expanded in hue and dimension depending on the weather, most appropriately belongs on TBSO’s final Masterworks concert program of the season.
Entitled Sleeping Giant, the concert opens with a specially commissioned work (by the Toronto Symphony) for composer Abigail Richardson.
Entitled Sleeping Giant, the concert opens with a specially commissioned work (by the Toronto Symphony) for composer Abigail Richardson.
Her creative musical task was to interpret the legend of Nanabosho, the Ojibwa trickster/teacher who now and forever guards a silver-mine ‘neath his slumbering body turned to stone as a punishment by the gods.
Richardson’s work was performed here first in 2007; now re-orchestrated for the current TBSO, it conjures up powerful scenes and sounds to fire the imagination.
“I’m very pleased the TBSO will be playing this! I just wish I could be there as,” the composer remarked, “it’s my birthday on the 22nd (the evening of the concert).”
Richardson intended her score to be a musical play-by-play of the legend.
“It begins with Nanabosho’s Theme accompanied by the brass blowing air through their instruments, meant to represent Nanabosho son of the West Wind. After a time, we have ‘scratching a rock’ with a percussion scraping sound, followed immediately by trills and quick staccato high notes in the woodwinds, the glittering discovery of silver.
Then there is the realization that the white men will come, portrayed by a sort of hunting call by the brass.”
Richardson intended her score to be a musical play-by-play of the legend.
“It begins with Nanabosho’s Theme accompanied by the brass blowing air through their instruments, meant to represent Nanabosho son of the West Wind. After a time, we have ‘scratching a rock’ with a percussion scraping sound, followed immediately by trills and quick staccato high notes in the woodwinds, the glittering discovery of silver.
Then there is the realization that the white men will come, portrayed by a sort of hunting call by the brass.”
One easily envisions Richardson’s original symphonic vision, now re-scored.
“A bit of a challenge to rewrite. The wind sound is cut down in numbers, so I hope it will still come across.
The biggest challenge was to reduce the percussion to just one; now this one percussion player will be very busy! I was lucky enough to add the piano, which takes over some of the high glittery sounds (from glockenspiel) for the silver motif. As well, the piano joins in where the low brass, bass trombone and tuba, were before.”
The evening continues with another world-class treat: the return of renowned cellist Yegor Dyachkov performing Shostakovich’s Concerto for Violoncello and Orchestra No.1, Opus 107.
Dyachkov’s bio brims with accolades. This gifted young Canadian’s international repertoire: live concert soloist, chamber music performer, master class teacher/mentor, studio recording star.
“Born in Moscow in 1974, Yegor studied with Alexandr Fedorchenko at the Tchaikovsky Conservatory, and Yuli Turovsky at the University of Montreal. From 1995 to 1998 he enjoyed the rare privilege of being one of two people to study under Boris Pergamenschikov at the Hochschule in Cologne.”
Of Dyachkov a critic with Le Devoir, Montreal writes: “the highlight of the concert was the Concerto for cello by Shostakovich. Extraordinarily masterful and intense; the music was heated to the point of incandescence.”
As if the evening needs anything more to rivet the audience, this from TBSO’s Krystyna Cappello.
“Also at this Masterworks concert we will be launching the next season, our 50th anniversary together with the announcement of our new music director.”
Curtain at the Auditorium for MW VI Sleeping Giant rises next Thursday, April 22, at 8 p.m. sharp.
