www.winnipegfreepress.com/entertainment/music/debuts-of-fine-new-pieces-propel-theme-of-climate-change-83786847.html

Winnipeg Free Press – PRINT EDITION

Debuts of fine new pieces propel theme of climate change

By: Gwenda Nemerofsky

As if on cue, a blanket of fresh snow fell over the city Saturday night as the Winnipeg Symphony Orchestra’s New Music Festival, Breaking New Ground, with its climate change theme, began.

Opening night, entitled “Arctic Postcards”, featured three world premières, including the long-anticipated Arctic Symphony by composer-in-residence Vincent Ho.

The audience was well-primed for Ho’s piece. Earlier, University of Manitoba professor and research scientist David Barber, on whose icebreaker Ho travelled the Arctic in 2008, gave an eye-opening presentation on global warming and the Arctic.

The Arctic Symphony is a mature and atmospheric work that firmly establishes Ho among North American composers of note. It is a beautifully thought-provoking way to promote the message of climate change.

Barber’s brother Doug supplied accompanying photos that immersed the audience in the landscape’s rugged beauty. Sound files of wind whooshed us in and the Nunavut Sivuniksavut Performers sang and drummed from the second balcony. Violins played a magical but urgent tremolo, revelling in the land, but growing assertiveness from cellos ominously warned of changes to come. Contoured string phrases swooped like snowy peaks and drifts.

Conductor Alexander Mickelthwate showed a connection to this substantial work, with a delicate approach to “Meditation” — piano and glockenspiel sparkling like ice crystals.

“Nightfall” was supremely lonely; a touching string-quartet episode delivering a sombre message and percussionists swinging corrugated tubing, emitting forlorn whistles.

The bouncy string melody in “O Glorious Arcticus” sang of optimism, tinged with romantic sensibility. The ensuing timpani-driven dance grew stridently determined, with triumphant brass textured and exultant.

Exhilarated, the audience responded with a standing ovation — and while most of us will never get to the Arctic, Ho’s personal interpretation of the region and its plight will continue to resonate.

Another highlight of the evening was the debut of British composer John Tavener’s Popule Meus for cello and orchestra. Tavener, unable to attend due to illness, provided a taped interview introducing the work, based on liturgical text.

There is no one better to première this work than gifted WSO principal cellist Yuri Hooker. He gave this a tender and poignant reading, his cello plaintive, with heart-rending vibrato.

In sharp contrast, frantic string lines screamed and Jauvon Gilliam on timpani pounded violently. Undeterred, Hooker continued with gentle passion.

The work itself may be drawn-out, but Hooker’s commitment to the performance never wavered.

According to Bertolt Brecht, “Art is not a mirror held up to reality, but a hammer with which to shape it.”

Considering David Barber’s predictions, humanity may need artists in a big way.

gwenda.nemerofsky@shaw.ca

Concert Review

Arctic Postcards

WSO New Music Festival

Centennial Concert Hall

Feb. 6 Attendance: 1645

**** out of five