Skip to main content

Continuing the cultural events circuit

Different Embassy, similar theme.... On Friday M and I attended the regular Arts Cafe hosted by the Austrian Embassy/Austrian Cultural Forum here in Ottawa. Still on a musical theme, the Cafe of 25th March was promoting 25-year old Austrian pianist Stefan Stroissnig and celebrating the bicentenary of Liszt's birth.

For a first taster of the Austrian 'circuit', this was promising: a very good turnout (though rather older on average than audiences at recent NAC events -I do find that slightly depressing) at U Ottawa's Tabaret Hall, though sadly no wine! Stroissnig's programme was as follows:

Liszt 'Bénédiction de dieu dans la solitude (Harmonies poétiques et religieuses)' S173/3
Brahms: Sonata No 2 in F sharp minor
Friedrich Cerha: Netzwerk-Fantasie
Schubert: Sonata in D major, D850 'Gasteiner'

The curiosity was the piece by Cerha, a contemporary Austrian composer. Neither of us were really enamoured with the piece, couldn't really engage with it. The rest of the programme, whilst being more 'typical', was a clean and polished performance.

From the Embassy's site, it seems many of the Arts Cafe performers are recipients of Austrian radio Ö1's Pasticcio Prize. On the basis of Friday's concert, it's certainly worth investigating further Arts Cafe events.

Up next? Spring is nearly here and there are gig listings galore. I am tempted by a few, amongst others, from the NAC-sponsored Prairie Scene festival.

Comments

Popular posts from this blog

Pigeon Funk

Notes on a very random purchase. Earlier today I acquired Venetian Snares 'Rossz Csillag Alatt Sz ü letett ' purely on the basis of the language and artwork. Its certainly something different - and most definitely not pop. After a bit of searching: Venetial Snares is, according to Wikipedia, the performing name of Aaron Funk, who seems to specialise in experimental tracks in odd time signatures. Article here . The sleeve notes for this album (whose title is Hungarian for 'Born under a bad star') poses the question: what if, for just a day, we could both be pigeons? Interessant. Apparently this concept (a day in the life of a Hungarian pigeon) is non-typical of Venetian Snares sound, but one could ask, does Mr Funk do 'typical'? On first listening, the sound of this CD mixes classical/traditional Hungarian sounds and breakbeats. but aside from that? Definitely a 'listen for yourself' artist; try the website , fan site or myspace .

Mini update

I have finally sorted out my site links to reflect some new/renewed interests and my current location. We have something of a National Arts Centre bonanza shortly: I had already booked to see Angela Hewitt on 16th Feb but found a good ticket offer on LivingSocial.com to see Radu Lupu this coming Wednesday, 26th. In addition to all that, New Yorker music critic Alex Ross (his recent book, Listen To This , is excellent, as well as his previous tome, The Rest Is Noise ) is giving a talk there on 13th February. This is all followed in March by a complete about turn to the Bronson Centre to see Finnish band Apocalyptica . They have been somewhere on my radar for a while but I was spurred on to book tickets after a bout of nostalgia. M and I were regular visitors to Wolverhampton UK to see various bands at Civic Hall/Wulfrun Hall; a few months ago a mutual friend posted on that there Facebook thing about seeing said Apocalyptica at Wulfrun Hall. Nostalgia for the venue and renewed intere...

ECM+ Generation 2012 plus Voltaire and Frederick

I bought tickets for last night's ECM+ Generation 2012 concert, featuring Ensemble Contemporain de Montréal, at the NAC 4th Stage in an 'it'll be interesting' frame of mind, and interesting was just the start. A very full 4th Stage for a very entertaining and intruging evening. In order of performance, the four new works were: Animaris Currens Ventosa by Marielle Groven ; Ninavanjali by Gabriel Dharmoo ; Beatitude by Riho Esko Maimets ; and Jenny's last rock by Annesley Black . Each performance was preceded by a Q&A with host Nicholas Gilbert, who injected the whole evening with humour. In terms of immediate response, I most enjoyed Beatitude , a concise, intimate and very beautiful concerto for violin and ensemble. Following on from Maimets' explanation, his references to choral music and music of all different time periods were clear. This piece would easily sit alongside more 'traditional' chamber repertoire in a programme.  Maimets...