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Kansas City's Online Journal of the Performing Arts

Opening with Tchaikovsky’s brief and lovely Andante Cantabile from his String Quartet No. 1, I Musici de Montréal blended well and emitted a delicate yet rich sound, even while using mutes across the ensemble. Their unison shifting and lengthy pizzicato accompaniment were particularly impressive and intonation was excellent through most of the piece. Surprisingly though, the violins erred in their intonation and entrance near the work’s most climactic moment.

Tchaikovsky’s Souvenir de Florence, Op. 70, completed the concert’s first half. Originally a sextet, this arrangement was a suitable fit for string orchestra as well. Highlights of the first movement include a great stereo effect produced by multiple staggered entrances throughout the ensemble and a pleasantly unexpected double bass line using the somewhat uncommon low B string. The group conveyed much gusto during quicker paced and rhythmic segments, which led to a few forgivable string buzzes. Unfortunately again, intonation and togetherness was off in higher passages in the violins.

The second and third movements of Souvenir de Florence were improved from the first. Significant solos in the first violin and first cello were clear and sensitive and dominated the second movement. The dark and dance-like third movement featured tight tutti spiccato and good bow control without losing momentum. Communication across the ensemble was evident in the controlled and well-timed tempo and dynamic changes in the folksy and fast fourth movement. Guest conductor Airat Ichmouratov’s physicality was expressive and energetic and elicited appropriate response from the orchestra.

 Mussorgsky’s epic piano piece Pictures at an Exhibition closed the concert as the only work on the second half. Arranged specifically for I Musici de Montréal by the orchestra’s founder, first cellist Yuli Turovsky, this version was thoroughly realized, balanced and idiomatic for this instrumentation. Each promenade (the short sections linking the movements of Pictures) was orchestrated differently and fittingly for each movement. The players were comfortable with this work and had their best playing of the night, especially on the vibrant “Ballet of the Unhatched Chicks,” melancholy “Catacombs,” and the majestic finale “The Great Gate at Kiev.”

In collaboration with Turovsky’s daughter Natasha, a painter and violinist in the group, the musical arrangement was set as live accompaniment to a short film of images digitally manipulated from Natasha’s paintings inspired by the music—art inspired by music inspired by art. The film was “choreographed” by the Turovskys to match element of action in the music, which occasionally were a bit too obvious for my taste—a wheel spin with an upward glissando, a hair flick with pizzicato. I found the more subtle references between the film and music more powerful, and I wish the titles had been omitted from the film. Aside from these personal preferences, the scenes created by the younger Turovsky in muted earth tone colors were equally haunting and whimsical, literal and abstract. While this sort of collaboration is found often in the contemporary arts, it was enjoyable to see classical musicians have a turn injecting new life into a standard work over a century old in this way, making a connection between the visual and auditory.

REVIEW:
Harriman-Jewell Series
I Musici de Montréal
Friday, April 8, 2011
Folly Theater
12^th and Central Streets, Kansas City, MO
For tickets call 816-415-5025 or visit www.hjseries.org.

Top Photo: I Musici de Montréal 

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.