The Roaring Twenties was an age of dramatic social and economic change, fabulous fashion, and of course, great music. A century onwards, Orchestre symphonique de Montréal celebrated the 1920s with Montreal native Marc-André Hamelin on keys and Rafael Payare conducting in an evening of jazz, swing, and ragtime tunes popularized by the era.
Ranee Lee (vocals) and Orchestre symphonique de Montréal conducted by Rafael Payare. Photo: Antoine Saito
What you missed
Hamelin’s dapper white jacket stood out in the spotlight as he played Edward Elzear “Zez” Confrey’s Kitten on the Keys solo on a small upright piano to the right of the stage, the program opener. The piece’s jaunty and ragtime feel imitated a cat walking over a piano, and Hamelin did a fabulous job keeping the sound light and bouncy. He then moved to a Steinway grand for George Antheil’s A Jazz Symphony, which received its OSM premiere. It was the standout offering of the night with its eccentric orchestration and rhythms.
With outlandish tones, seemingly random riffs throughout the orchestra, and sudden switches in time signatures, Payare conducted masterfully and I was entranced in my attempts to pinpoint instruments and themes amidst the pandemonium. There was certainly a method to Antheil’s madness, with a sprinkling of Latin instrumentation in the introduction as well as a bucketful of intentional offbeat dissonance throughout, culminating in a majestic waltz.
Marc-André Hamelin (piano) and Orchestre symphonique de Montréal conducted by Rafael Payare. Photo: Antoine Saito
Two other pieces were performed for the first time by the OSM: John Harbison’s Remembering Gatsby and David Schiff’s Stomp. The former was full of dissonance and heavy on the brass in the intro. Based on F. Scott Fitzgerald’s 1925 novel The Great Gatsby its foxtrot rhythms and tunes evoked the great party scenes, led by a soprano sax. Notable cowbell rhythms also punctuated the flow of the piece. I’d never heard Schiff’s Stomp before either, but it was rhythmic and loud with trumpets and percussion shining through. It reminded me—though perhaps more because of its mood rather than melody—of Leonard Bernstein’s first scene with the Sharks and the Jets in West Side Story.
Five-time JUNO nominated band The Lost Fingers joined a few members of the OSM to perform Byron Mikaloff’s arrangement of Misbehavin’ to the Rhythm in Nagasaki, a gypsy-jazz medley featuring Cole Porter’s “Let’s Misbehave,” Harry Warren and Mort Dixon’s “Nagasaki,” and George Gershwin’s “I Got Rhythm.” The tunes’ syncopated rhythms and the group’s infectious energy made for a fun show, which extended into their post-concert performance.
The Lost Fingers with Orchestre symphonique de Montréal. Photo: Antoine Saito
The final piece of the night was George Gershwin’s Rhapsody in Blue with Hamelin again, who was undoubtedly the star of the night. One of the most popular and successful orchestral jazz pieces ever, it is a work I’ve heard many times but never gets old. From the opening clarinet glissando and trills in the “ritornello theme,” Payare led the audience through the chugging of the “stride theme” to the romantic whimsy of the “love theme.” Hamelin played with virtuosic flair, without overstatement. With very little swaying and physical movement he still conveyed deep emotion. His pacing was incredible, his solos precise and his phrasing expressive.
Strands of lights, reminiscent of 1920s pearl necklaces, hung from the ceiling, while a disco ball spun in time with the music and cast sparkles around the hall, adding to the magic of Hamelin’s playing. I’ve never seen such an immediate standing ovation as at the end of this piece, which was followed by a touching encore. The final surprise of the night came when Hamelin and the OSM honoured Payare with “Gen du pays,” a Quebecois birthday anthem to celebrate his upcoming birthday. The entire audience joined in singing their wishes for our wonderful conductor.
Marc-André Hamelin. Photo: Antoine Saito
Gripes
As beautiful as the evening was, its weakest link was Kurt Weill’s “Mack the Knife” sung by Ranee Lee. Lee’s vocals were powerful, but not powerful enough to stand against the larger orchestra. It was a little difficult to make out the lyrics, and the sound system seemed underpowered. The jazz lounge feel of the double bass anchored the piece, and the instrumentation added a New Orleans vibe. Lee is a wonderful jazz vocalist and she delivered energy and swing with her vocals. It was difficult not to get swept away by her dancing and she ended the piece with a bright and confident sustained note.
One surprising positive of the night: the decor and atmosphere were enchanting. I had never seen Maison Symphonique so on-theme before. Large ostrich feather centrepieces in pots and bottles, gilded gold columns and frames, and pearls set the tone even before we entered the hall proper. Some concert-goers wore feathered headbands on bobbed hair, long pearl necklaces, flapper dresses with long gloves, or bowler hats. All that, plus a great program made for a perfect night out in the Jazz Age.
For more on the OSM season visit www.osm.ca
