Calgary Philharmonic and guests deliver high-calibre performances

Full symphony orchestra packs the stage to perform music from pre-first World War

Following its energized performance of Beethoven's Ninth Symphony a week ago, Calgary Philharmonic opened its Curated Series on Friday night with a program devoted to music from the opulent era – the period just before the First World War.

There is nothing like the sound of a full symphony orchestra. On this occasion, the stage was packed to the gunnels with instruments of all kinds, including two harps, a celesta, a range of percussion instruments, with the regular orchestra expanded to eight horns, among other instruments. It all made for a most impressive sound, not just for the sheer volume – and there was plenty of that at the end of the evening – but mostly of the range of colours possible with such a large resource.

On hand to lead the expanded forces was conductor Karen Kamensek in (I believe) her first appearance with the orchestra. American-born, Kamensek has had a very impressive career in Europe, one that now includes England and the United States. These performances have included appearances in the music of Philip Glass with the Metropolitan Opera, for which she won a Grammy Award.

Her competence and skill in the handling of large forces and music of considerable complexity was impressive. 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. I have heard quite a number of professional conductors over the years who simply could not conduct this piece. But not this time. 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. Sara Hahn-scinocco, the orchestra's first flute, performed the extended solo part with aplomb.

Kamensek was even more impressive in her conducting of the final work on the program: Scriabin's Poem of Ecstasy. The size of the orchestra needed and the sheer complexity of the score have made this piece an infrequent item on concert programs. 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. 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.

Despite its unfamiliarity and complexity, the performance was so gripping that there was a spontaneous standing ovation at the end. A complete professional in all things, Kamensek was very impressive.

The other Karen of the evening was Karen Gomyo, whom I remember well from her previous, much-enjoyed appearance with the orchestra. On this occasion she offered two works: a new violin concerto by Montreal composer Samy Moussa, and Ernest Chausson's Poème. As before, her gentle stage presence and sumptuous playing were captivating.

Moussa is hardly known here, but he, like Kamensek, has had a major career in Europe, not only as a composer but as a conductor. He has composed a considerable amount of music for large and smaller ensembles, as well as operas and oratorios. All of this is a testament as to the challenge of modern Canadian composers to get their music before the public.

In this instance, the audience was presented with his recent violin concerto, subtitled Adrano. The three linked movements are all composed in a neo-romantic manner, with a strong tonal underpinning in the harmony, but with more modern figures as well.

The work made a very positive impression on the audience, especially in the excellent performance by Gomyo, with the CPO as a supportive partner. Gomyo has a particularly attractive violin tone, and even when the music is slow (and much of it is in this piece), one is drawn to the tone of the instrument, even as one might savour a superbly cooked French sauce. And there was plenty of zip in the final movement.

Overall, this was an evening of highly sophisticated music. For the orchestra, this is very different playing from the Beethoven of a week ago. It was a treat to hear the orchestra responding to such different musical challenges, on this occasion, a success galvanized by the two visiting Karens, both of whom are to be welcomed back.