TheWholeNote Worlds Apart Review

02 Worlds Apart

Worlds Apart
Christina Petrowska Quilico
Centrediscs CMCCD 23717

This album can be purchased here.

Canadian pianist Christina Petrowska Quilico unleashes the eight works here with such immediacy that she creates a special kind of pianistic excitement. Her technique is brilliant, and her imagination boundless. But it’s not just the thrill of the keyboard that drives her – above all you feel the fierce conviction that underlies her vision of each composer’s score.

This is the latest release in Petrowska Quilico’s ongoing recording project covering works from the Canadian piano repertoire. It’s as though she’s out to singlehandedly show just how rich it is. These works were written during a period of just over 20 years, from 1969 to 1992. They all, more or less directly, invoke historical sources – musical, literary or visual.

Peter Paul Koprowski’s Rhapsody on a Theme of Brahms and Steven Gellman’s Fantasia on a Theme of Robert Schumann take full advantage of Petrowska Quilico’s virtuosity. Koprowski gives the elements of Brahms’ Lullaby a Chopinesque treatment, only gradually revealing the familiar theme, while Gellman introduces his theme, from the slow movement of Schumann’s Piano Quintet, then lavishes embellishments.

In Las Meninas, John Rea follows the structure of his source, Schumann’s Scenes from Childhood. But he filters it through his viewing of Velázquez’s iconic, complex painting, Las Meninas by recasting Schumann’s 13 movements in various composers’ styles – Romanticism, impressionism, minimalism, jazz, and so on. Petrowska Quilico has a field day.

Her energy infuses Patrick Cardy’s mythologically based The Masks of Astarte with narrative force. In contrast, her incisive control allows a sense of space to envelop Micheline Coulombe Saint-Marcoux’s lyrical yet monumental Assemblages like a multidimensional sculpture (I thought of Anthony Caro’s works currently on display at the AGO).

In Quivi Sospiri by David Jaeger (who produced this set, and whose writings appear in this magazine), Petrowska Quilico is joined by computer-generated sounds. The rhapsodic yearnings of the piano confront the ominous electronics, then blend in a moving evocation of the sounds that swirl around the hopeless souls condemned to darkness in Dante’s Inferno.

Diana McIntosh’s atmospheric Worlds Apart, which gives this collection its title, weaves a shimmering fabric of intricate patterns. But it’s Geste by Michel-Georges Brégent, Petrowska Quilico’s first husband, who died in 1993, that forms the spiritual heart of this set – especially in the way he invites the performer’s interventions in shaping what happens and when. Brégent’s own description likens his score, mounted on a scroll, to a Calder mobile. In PQ’s hands the sense of urgency never lets up, even in the contemplative passages.

This set certainly showcases Petrowska Quilico’s talents, including her talent as a painter. The painting by her on the booklet cover, called Other Worlds – Light and Dark, beautifully sets the tone for this terrific collection.

Christina Petrowska Quilico performs works by Michel-Georges Brégent

Concerts / Brégent: Portraits romantiques (1966, version 1988 / extraits)

In the words of Michel-Georges Brégent “The link between emotions and the mathematical is not very obvious. I discovered this to be true in creating Portraits pour piano. I still needed a dramatic rise with a pianist playing as though they were simultaneously 6 pianists playing at once. At some point, I intuitively hit a ceiling… using mathematics, I managed to make this man walk one step further. I also realized that if we speak about an emotion as love, (…) in music this can be expressed mathematically… Express oneself. Express one’s freedom and subjectivity. Extract the coldness and the yoke of rationality and structural “parametric” thought where everything is subject to analysis. These Portraits for the piano draw or depict states yet to be, illustrate social situations, occupations and jobs. They are the logical result complimenting the transcendental executions of Liszt and Liapunov, and the studies of Chopin, Scriabine and Rachmaninoff.”

March 4, 2017    7:00 pm

  • Regular: $20.00
  • Senior: $15.00
  • Student: $15.00
  • Tickets: 514-843-9305 #301 (SMCQ)
Chapelle historique du Bon-Pasteur
100, rue Sherbrooke Est
métro Sherbrooke + autobus 24 Ouest / métro Saint-Laurent + autobus 55 Nord
 

Participant

Program

Coproduction MNM/ Chapelle historique du Bon-Pasteur

Phil’s Review of Mozart: Sonatas and Variations for Piano and Violin

TOP_quilicoMozart: Sonatas and Variations for Piano and Violin Jacques Israelievitch, violin; Christina Petrowska Quilico, piano (Fleur de Son) http://www.a-vcoa.org/content.aspx?page_id=22&club_id=290418&module_id=131981&sl=561443509

This is Volume 1 in a series of Mozart works for piano and violin. Sadly, it must also be a memorial to the late violinist Jacques Israelievitch, who died of lung cancer last September 5th, less than two months after he and pianist Christina Petrowska Quilico completed the ambitious recording project. That the French-born Canadian violinist persisted in this endeavor in his final illness would be remarkable enough; what is amazing is that there is absolutely no evidence of infirmity in his performances, so full of the rhythms and colors of life, taut and firm, and always endowed with the warmth that Mozart requires. Petrowska Quilico proves the ideal partner for him, in recordings made in the Tribute Communities Recital Hall at York University in Toronto.

In this first volume in the series, we have a selection of Mozart‟s richest and most persuasive sonatas: K.380 in E-flat major, K.454 in B-flat major, and K.526 in A major. Chronologically, they are a study in the development of the genre, from what is basically a piano sonata with violin accompaniment to one in which the violin has clearly achieved an equal partnership. The slow movements, in particular, contain some of Mozart‟s most beautiful melodies. They are also different kinds of melodies. The Andante of K.380 has a haunting quality that is enhanced by chromatic inflections. The slow movement of K.454 is another Andante, but with more of the feeling of an Adagio, the violin now is entrusted with the prominent melody. Bold chromatic moduations add to its intriguing beauty. In K.526, the most mature sonata Mozart ever wrote, the slow movement, likewise an Andante, has an extended development, which was rare for the period. It even modulates for a while into A minor with no apparent hurry to end on the major key, traditionally the signal for the finale to begin. Mozart was evidently taken with the beguiling melody and in no haste to return to the main event. Israelievitch and Petrowska Quilico obviously enjoy the wealth of melody and the increasingly rich chromatic harmonies in these three works, so reminiscent in many ways of his writing in the operas with which they were contemporary, from Abduction from the Seraglio to The Marriage of Figaro. The joy of music making is evident in every single measure. Highly recommended. (If this CD doesn‟t win one of Canada‟s Juno Awards next April, there‟s no justice.) Phil’s review.

Pianist Christina Petrowska Quilico hosts This Is My Music

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Mozart: Sonatas & Variations for Piano & Violin, Vol. 1 / Israelievitch, Quilico

Review Vancouver

Release Date: 06/10/2016
Label:  Fleur De Son   Catalog #: 58034   Spars Code: DDD
Composer:  Wolfgang Amadeus Mozart
Performers:  Jacques Israelievitch,  Christina Petrowska Quilico
Number of Discs: 1  

Reviewer Ed Farolan

This is the last joint collaboration by the duo of pianist Christina Petrowska Quilico and the late violinist Jacques Israelievitch, the recording of Mozart’s complete catalogue of violin and piano sonatas. The first of six CDs was released June 10 on the American label Fleur de Son (FDS 58034) and distributed by Naxos.  Copies are available on iTunes (electronic) and Amazon.com (physical and digital), and through numerous other digital service providers and retailers..

Volume 1 comprises 71 minutes of late sonatas along with a set of variations. It features the sonatas in E flat, K. 380; B flat, K.454; and A, KV 526; and Six Variations on a French Song (“Hélas, j’ai perdu mon amant”), K. 360. The music from these artists was beautiful and virtuosic, dynamic on the part of Quilico and finesse from the violin sounds of Israelievitch.

Jacques Israelievitch who passed away last year of lung cancer graduated from the Paris Conservatory at 16, and was a winner at the International Paganini Competition.  He was the concertmaster for 20 years with the Toronto Symphony Orchestra and was an officer of France’s Order of Arts and Letters and a member of the Order of Canada.

Professor Quilico teaches Music at York University in Toronto. She has performed with the Toronto Symphony, TaiPei Symphony Orchestra, Winnipeg Symphony, the National Arts Orchestra, etc. Her 40 CDs include solo, chamber and orchestral works. Four of her CDs have been nominated for Junos in the Best Classical Composition Category. Her CDs include 8 Canadian piano concerti with the Toronto Symphony, Jukka Pekka Saraste, conductor, Vancouver CBC Symphony, Sir John Eliot Gardiner to name a few.

© 2016 Ed Farolan

Piano Animals III Concert on April 12th

Piano Animals III : Christina Petrowska Quilico presents Remembering Ann Southam

April 12th at 8:00 p.m.

$15 regular, $10 students/seniors/artists

Concert @ Chapelle historique du Bon-Pasteur, 100, rue Sherbrooke E, Montreal

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Ann Southam‘s hypnotic epics of thread and pattern, Glass Houses and Rivers, are the focus of the final concert of our series. Presented by the internationally acclaimed Canadian pianist Christina Petrowska Quilico, whose friendship and collaboration with Ann Southam was deeply implicated in their creation, these complex, maximinimalist works unite intricate groove with an almost ritual intensity.

Christina Petrowska Quilico needs little introduction to audiences both here and abroad. Hailed by the New York Times at 14 for her “promethean talent” after making her orchestral debut along with Murray Perahia, Christina Petrowska Quilico has appeared at Carnegie Hall, Alice Tully Hall, Lincoln Center and Merkin Hall. Juilliard-trained, she has premiered 18 piano concertos and premiered well over 150 new works. Among her 37 CD titles are eight piano concertos. 4 of her CDs received Juno nominations, and she was named one of 20 international “not to miss pianists” of 2014 by the CBC. Her recording ofGlass Houses Revisited was on CBC Music’s “TOP 30 best Canadian classical recordings ever”.

“The repetitive and pulsating music of Glass Houses is celebrated with shimmering brilliance, as much by the creator as by the interpreter… an homage and luminous musical gift from a pianist to a composer friend, and from this friend to a great contemporary mentor.” – Frédéric Cardin, espace.mu (Radio-Canada).

Piano Animals III : Christina Petrowska Quilico présente Remembering Ann Southam

12 avril 2016, 20h
régulier 15$, réduit (étudiants / ainés / artistes) 10$
concert

Les épopées hypnotiques de fils et de canevas d’Ann Southam Glass Houses et Rivers, seront la pièce maîtresse du concert final de notre série. Présentés par la pianiste canadienne Christina Petrowska Quilico dont l’amitié et la collaboration avec Ann Southam est très présente dans leur processus de création, ces oeuvres minimales et complexes mèlent les rythmiques avec une intensité quasi rituelle.

Il n’est généralement point besoin de présenter la pianiste Christina Petrowska Quilico au public canadien comme de l’étranger. Acclamée par le New York Times dès l’âge de 14 ans pour son talent prométhéen lors de ses débuts orchestraux avec Murray Perahia, Christina Petrowska Quilico s’est produite au Carnegie Hall, au Alice Tully Hall ansi qu’au Lincoln Center et au Merkin Hall. Instruite à Juilliard, elle a créé 18 concertos pour piano ainsi que plus de 150 oeuvres. Sa collection de 37 disques inclue huit concertos pour piano, et quatre de ses albums se sont vus nominés aux prix Juno. En 2014 elle a fait partie de la liste des 20 pianistes “à ne pas manquer” de Radio-Canada.

« La musique répétitive et pulsative de Glass Houses est célébrée ici avec un éclat chatoyant, tant par la créatrice que par l’interprète… une offrande musicale respectueuse et lumineuse d’une pianiste à une amie compositrice, et de cette amie à un grand mentor contemporain. » – Frédéric Cardin, espace.mu (Radio-Canada).