The night David Louie dazzled the symphony audience . . .
This symphony performance felt especially comfortable for both audience and orchestra. It had the coziness of a familiar place and the warmth of a homecoming.
The program, “Northern Lights” was named as a nod the choice of music produced by composers from the northern countries of Canada, Finland and Russia. The first featured was Finland’s Jean Sibelius whose composition, “Finlandia” opened the concert. The fast-paced furious-sounding volleys of notes were evidently enjoyable to play. That extended into a compellingly peaceful middle part which provided soothing contrast. The piece reverted to a finish which outdid the sound and fury played at the beginning. Those crashing cymbals almost begged the question whether cymbal players actually have to practice. If they do, where do they do it?
In his introductory remarks, conductor Les Dala expressed the hope that the music would reflect the sensation of experiencing the aurora borealis. The audience was set to expect some dramatic moments, some theatrical parts and some peaceful sequences. Against this theme, Dala had opportunity to pair the second half by featuring a star from the north. That was to be provided by the sensational performance of Prince George-born David Louie.
The program’s first half continued with a reprise of Canadian composer Frederick Schipizky’s “Aurora Borealis,” composed especially for the historic event of the first convocation at the University of Northern British Columbia in 1992. The composer intended that audiences would relate to a musical representation of the awe one feels watching the Northern Lights. He has achieved that with contrasts in volume and tempo which give drama and create a sense of excitement.
A truly unusual approach to experiencing symphony music was presented with the third performance. This was Einojuhani Rautavaara’s “Cantus Arcticus” composed for a 1972 convocation at the University of Oulu in northern Finland. The music is played against a recording of bird songs taped near the Arctic Circle. This unusual pairing is actually pleasant and has been affectionately dubbed “a concerto for birds” – even though the human audiences enjoy it, too. Played in three movements, the first included the sounds of birds flying overhead, and the sound emanated appropriately from overhead speakers. That felt like experiencing a beautiful reverie, with sound wafting from the stage over the audience like a benediction. The first movement ended with contented-sounding calls. The second movement played at a slow pace as the music ebbed with the longing calls of seemingly mournful birds. For the last movement, a cacophony of flock noise almost conveyed a sense of urgency. The score then takes control and the music tries to soothe the swans. The music builds to a dramatic conclusion and the bird noise moves off into the distance.
The featured guest soloist, David Louie, came home to Prince George for this performance. He first played with the PGSO when just thirteen years old. Since then, he has developed an international reputation. He now resides in Toronto where he is an administrator and teacher at the Glenn Gould School of the Royal Conservatory of Music.
Saturday night, Louie performed for an especially appreciative audience. It was a stellar performance which amazed those who listened and watched his powerful, masterful playing. Louie took command of the keyboard and played through the movements of Rachmaninov’s “Piano Concerto No. 3 in D minor, Opus 30” with the ease of a master, which he most certainly is.
This composition happens to have impossibly complicated fingering and playing it involves many hand crossovers to reach the notes. He played with precision through extremely fast-paced passages and almost the entire range of the keyboard. It was a triumph of manipulative dexterity – and of memory – to know such a long and complicated score by heart. The ending came with Rachmaninov drama involving strong piano forte and impressive, energetic execution.
It was almost a given that the audience would leap to give Louie an extended standing ovation. What was unusual was that people stayed in place applauding loudly while the performer was called back for not just one, but two extra bows. Stunning!
Review contributed by Valerie Giles 21 September 2008.
