A concert programme comprising an intricate new work as well as a complex and unfamiliar symphony would pose a daunting challenge to any guest conductor. Yet Andrew Manze succeeded in his guest stint with the Orchestre symphonique de Montréal.
However Manze's heroics were ultimately eclipsed by the wow factor of the guest soloist, fellow Brit Benjamin Grosvenor, whose rendition of Ravel's Piano Concerto in G major was stupendous. Grosvenor's career took off after winning the keyboard section of the BBC Young Musician in 2004, playing this same work. He has an uncanny ability to produce a gorgeous sound that consistently carries over a full symphony orchestra without ever sounding forced. Versatility is a must in this concerto with its jazzy, impressionistic and strident Stravinsky-esque movements. In the Adagio assai Grosvenor was able to teleport his audience to an idyllic paradise. All in all, a phenomenal display of piano virtuosity. From the OSM ranks, kudos to hornist Denys Derome, E flat clarinettist Ryan Toher, and trumpeter Stéphane Beaulac for their top tier solo work.
The Ravel was preceded by Torontonian Emilie LeBel's The Sediments. The composer set out to sonically depict the weight of sediment in relation to the flow and circulation of water. A percussion section that utilised a rain-maker, many tam tams, mallet instruments occasionally played with a bow, as well as some woodwinds blowing air through their instruments and an array of effects on the harp all contributed to the referentialism achieved by this music. Near the end, the principal oboe, cello, trombone and violin gave a masterclass in ensemble playing as they in turn interpreted a motif with remarkable sensitivity to the music's emotional potential and to one another.
Vaughan Williams' enigmatic Sixth Symphony rounded out the programme. Manze's reading benefited from what must have been a meticulous rehearsal process, but lacked sufficient spontaneity to fully spark the music. Nonetheless, there were many exquisite moments. In the frenetic opening section Manze was able to achieve clarity despite the dense orchestration and frenetic style. High praise to André Moisan who aced both the tenor sax and bass clarinet solos. Manze brought off the Symphony's final fade to niente with aplomb; precipitating a reverential silence that resonated throughout the hall.
