In this instance, the audience was presented with his recent violin concerto, subtitled Adrano. All of this is a testament as to the challenge of modern Canadian composers to get their music before the public. He has composed a considerable amount of music for large and smaller ensembles, as well as operas and oratorios. Samy Moussa is a name hardly known here, but he, like Kamensek, has had a major career in Europe, not only as a composer but as a conductor. Mention should be made of the contribution of the expanded horn section and, particularly, of the powerful trumpet solos of Adam Zinatelli, rock solid in all that he had to play. And it was the complexity of the work, especially in rhythm – the handling of its seething quality so that does not degenerate into rhythmic mush – that made this such a fine performance. The size of the orchestra needed and the sheer complexity of the score have made this piece an infrequent item on concert programs. Kamensek was even more impressive in her conducting of the final work on the program: Scriabin’s Poem of Ecstasy. Sara Hahn-Scinocco, the orchestra’s first flute, performed the extended solo part with aplomb. Keeping a clear, if gentle, underlying pulse, Kamensek led the orchestra through a sinuous, pliant treatment of this great orchestral work, setting the stage for even more impressive things to come. I have heard quite a number of professional conductors over the years who simply could not conduct this piece. The program opened with Debussy’s Prelude to an Afternoon of a Faun, a difficult piece to conduct with many changes in tempo and pacing that frequently lie between the beats. Her competence and skill in the handling of large forces and music of considerable complexity was impressive. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.
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