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Urban Shocker's Neighbourhood Watch

Uno Prii's widow, the delightful and wise Silvia, died on Monday. I met her on several occasions and have fond memories of her company, of discussing her husband's work, the architecture scene in post-WW2 Toronto that they were part of, the boats they sailed, their travels, the world of contemporary design - she was at the Concrete Toronto book launch a few years ago, for instance - and many other things besides. On several occasions I was her fortunate guest, with friends, at the RCYC on the Islands, sitting out on the verandah, looking back at the skyline of the city she loved. Uno, I knew, was always with her.

Here's the recent print obit:

SILVIA PRII (nee KIKAS) Led a fabulous life which ended peacefully at age 85 in St. Michael's Hospital on March 15, 2010. Silvia was born in Valga, Estonia on October 30, 1924. She was an avid scholar and graduated from the University of Stockholm in General Arts. Silvia was faced with tragedy at a young age when her brother Sven, was killed in WWII at age 18. This and other harrowing war experiences were to shape Silvia into becoming the strong, resilient and compassionate woman that she was. She met her lifelong love Uno Prii on the ski slopes of Sweden and they were married in 1946 in Stockholm. They immigrated to Canada in 1950, settling in the city of Toronto where she immediately obtained her degree in Librarianship from the University of Toronto in 1952. Upon graduation, she began her illustrious career working for the Toronto Public Library system. Silvia always had a strong personal interest in fine art which was evident in her work as a Royal Ontario Museum Volunteer for six years before rejoining the Toronto Public Library in 1971 at the Forest Hill branch. In 1972, Silvia was appointed as one of the original subject specialists, responsible for selection of materials for the projected Northern District Library. As a Fine Arts Specialist, Silvia became recognized as a valued professional in her field and her hard work lives on in the art book collections that she put together. One such collection, compiled in 1992, is enjoyed by patrons of the National Library of Estonia. She retired in 1985 but amazingly, she still volunteered weekly at the Toronto Reference Library until the age of 84 when her failing health forced her to resign. Silvia sadly lost her dear 'Uno-kena' to cancer in November, 2000. Friends, family and those close to her began to realize that Silvia would never be the same without her beloved husband. However, despite her broken heart, she was determined to stay 'grateful and positive' about her life and continued to stay socially active at the Royal Canadian Yacht Club and attended numerous daily events with her wide circle of friends. Silvia, who was always fascinated by other cultures, travelled extensively and attended annual international library conferences in Budapest, Grenoble, Washington and Brussels. She enjoyed walking, skiing, playing tennis, swimming and of course, most of all, interacting with Uno as First Mate on their yacht Silmardo. As the saying goes: 'behind every great man, is a great woman' and Silvia Prii was indeed a great woman. She was always Uno's most loyal, admiring and strongest supporter and continued to promote Uno's historic legacy as a talented and masterful Architect in Toronto. Silvia is survived by their adopted children: Donna and Mark (wife Karrie), her younger sister Tiiu Chang-Kue and family: Ken, Kevin and Karin; her older sister, the late Asta Gauer and Vladimir Gauer; her nieces: Chris, Katrin and Ingrid, her grandnieces: Jennifer and Denise and her grandnephews: Gregory and Joey; her grandchildren: Markus, Ramsey, Sasha and Daniel and by the Tralman family. Silvia, by all accounts, lived her life to the fullest and although she'll be sadly missed by all her friends and family, those of us who loved and admired her know in our hearts that she is now resting in peace with Uno by her side.


http://www.theglobeandmail.com/real-estate/article853520.ece
 
TSO - Bach B Minor Mass (Rilling, Soloists, U of T MacMillan Choir)

If you need some good Bach, the B Minor is on, one more night, at TSO.

Disregard Terauds' critique, read Ken Winters' instead (that is to say if you care to read critiques at all) and just go, there are some seats available.

Thursday's performance was sumptuously good; I would probably go again tonight except that we are off to catch the Brad Mehldau Trio at Massey Hall tonight (Mehldau is my favourite jazz musician, currently).

Man oh man are we lucky these days, in Toronto. And starting next week: the Sibelius Festival at TSO (Dausgaard).
 
I'm hearing Sibelius on the 14th, 17th and 21st, Tony. What days are you going?

I'm meeting friends at the intermissions ... at the bar on the main floor opposite the coat check and hope you can join us?

- Shocker

p.s. how was the jazz?
 
Re. Sibelius, we'll be there 14th and 21st. It'll be great fun to catch up with you on one or both dates.

The jazz? I am at a loss for words to describe how good that concert was. The problem for me is arriving at a description of how Brad Mehldau works. He's a master of improvisation but never leaves you wondering where the hell he is-- he's easy to follow in a hard sort of way. I believe he is one of the most technically gifted musicians and pianists I've ever heard/witnessed in my life, at the same time possessing a phenomenal sensitivity to the music, and a huge sense of style (without the tempermental flamboyancy of, say, a K. Jarrett, thank heavens -- and no nasty ego either). Reading Mehldau's bio, I see that other people in the world of music (jazz and non-jazz) would agree. The others in the trio, Larry Grenadier and Jeff Ballard, have been with Brad for a long long time and there's an obvious loyalty to one another.

Edit: see http://bradmehldau.com
 
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Quite the evening - the Second Symphony especially. Written soon after the First, a Great Leap Forward in the evolution of Sibelius's distinct voice. He was on his way, and I thought it had a confident "this is what I've written and if you don't like it too bad ..." propulsion that the romantic First lacked. My baritone friend had been enraptured by the First when we met at intermission and will also be going to the full series on the same days I'm going. Tony ( "the party don't start 'till I walk in" as Kei$ha sings .. ) V was there with his partner, and I chatted to my neighbour Wayne ( of Opera Canada ) as we rode home to Riverdale on the 504 - he loved it all too, the changes in tempo and phrasing that Dausgaard introduced with the 2nd, the encore, and Li' Pekka's Humoresques, the highs, the lows, the quietness, the liberties taken, the payoff. We had both wondered if Dausgaard was going to stop the performance when that unfortunate hearing aid malfunction happened - watching him turn, scowl, and conduct at the same time was priceless.

Two down, five to go!
 
So that's what that was, a hearing aid malfunction? It was rather unfortuante. We were quite near the source of it all, in the mezzanine.

I love the First symphony of Sibelius, always have. But yes, he made a large leap forward in the Second.

Dausgaard's treatment of the tempi within the last movement of Second was very special. More rapid at the start, more prolonged at the very end. Dramatic. I won't forget it.

.. love that conductor!!!
 
That's what Wayne ( who was also in the mezzanine ) said it was - he'd heard it happen before. I thought I heard it near the end of the final movement, too, when the music was louder.

The Mad Clapper, who had her glorious solo near the end of the third movement of the First Symphony, was sitting directly behind me.
 
I feel that there is much "between the lines" in Ken Winters' comments, in today's Globe and Mail:

http://www.theglobeandmail.com/news/arts/music/a-true-nordic-take-on-sibelius/article1535864/

Ken Winters

From Friday's Globe and Mail

.Sibelius Festival

•Toronto Symphony Orchestra
•Thomas Dausgaard, conductor
•Pekka Kuusisto, violin
The Toronto Symphony Orchestra’s Sibelius Festival opened brilliantly Wednesday under Danish guest conductor Thomas Dausgaard, who incited the orchestra to a near riot of extraordinary playing. Dausgaard gave the audience at once glittering, ice-etched blueprints of the great Finnish composer’s First and Second Symphonies, and an immersion in the vaulting passions that had inspired them.



Thomas Dausgaard brings his Nordic insight to Sibelius.
.
It has been said that among all his contemporaries in the late 19th and early 20th centuries, Sibelius was the one with the long breath of the true symphonist. But what confirmed him as a master were the unique sonic patterns he devised and floated on that long breath. His First Symphony stands on the Tchaikovsky tradition, yet except in a very few echoed details, its posture and dynamic patterns sound nothing like Tchaikovsky.

In fact, viewed from a Tchaikovsky perspective, the Sibelius First Symphony is a very strange work indeed, with its long, angular fragments separated by silences and only gradually and suspensefully made to interrelate.

Dausgaard, though not a Finn, has a Nordic insight into this quintessentially Nordic music. He respects and cherishes the fierce singularity of the great fragments individually, and is able to animate the larger vision of coherence which, to our aural astonishment, really does bind them.

Conducting without score, Dausgaard brought both symphonies to vivid life, inspiring the players with a fresh sense of their worth. I’ve never heard the brass sound better. Even the woodwinds, so often so fine, outdid themselves, as did every section, reminding us how fortunate we are to have an orchestra of such latent strength and ability.

The young Finnish violinist Pekka Kuusisto joined the orchestra between the symphonies to play the first two of Sibelius’s six Humoresques. The music is effervescent, glinting, epigrammatic. Kuusisto provided its full measure of intricate lyricism and capricious virtuosity. His strong appeal for the audience was limited only by the brevity of the two pieces.

After the Second Symphony, the solid ovation for the conductor and players led to an encore: a spacious, moody and poignantly arresting account of Sibelius’s Valse Triste.

Special to The Globe and Mail
 
I bet he's going to conduct the entire series without a score, clever monkey.

Finlandia's been going 'round and 'round in my head all day ...

Has there been anything like this since Lipsynch last summer, or the Ring in '06? I think not.

EPIC!!!!
 
He referred to the score for the 3rd, but not the 4th, I think.

I'd not heard the 3rd before. The first two movements were modest, light and understated - a refreshing surprise after the bustling 2nd. Even in the last movement everything came together in harmony out of a sort of frenzy. The 4th was such a contrast - introspective and bleak all the way.

How different from each other they are, when heard in sequence. At no point have I "tuned out" from any of it.
 
We were originally planning to be gone for the weekend, so we didn't get tickets to the middle Sibelius program, then, our trip got scrubbed ... darn, I would have liked to catch the middle installment. I regard the 3rd as one of the best ones. Looking forward to Wednesday's performance.
 
My baritone friend and I will be propping up the bar again. Your partner's obviously a shy woodland creature who doesn't venture into the clearing at the edge of the forest very often, so I'm honoured to have met him.

L'il Pekka told some amusing stories from the stage on Saturday night. His band played in the lobby at the end of the evening, though I wasn't particularly moved by the experience.

Up next ... the glorious 5th:

... Blaaam! ...

... Blaaam! ...

... Blaaam! ...

... Blaaam! ...

... Blaaaam! ...

... Blaaam!!!!!
 
Here's another review of the first concert - by Anthony Kershaw:


"April 14, 2010. Roy Thomson Hall, Toronto, ON — A wonderful beginning to the Toronto Symphony’s exciting Sibelius Festival tonight at Roy Thomson Hall. The Symphonies are being performed chronologically over three concerts by guest conductor Thomas Dausgaard and the TSO.

The opening night included the first two symphonies and two violin miniatures, the Humoresques 1 and 2. The Humoresques, played with great verve by Pekka Kuususto, violin, supplied a frothy and brief interlude between two masterpieces of the symphonic repertoire.

Sibelius wrote his Symphony No. 1 and Symphony No. 2 over a very fruitful four years between 1898 and 1902. The 1st Symphony is influenced heavily by Tchaikovsky, especially in its orchestration, but from the plaintive opening clarinet solo, one is quickly aware of a singular, special voice in musical design and inspiration. The 2nd Symphony contains much national sentiment, but was actually composed in sunny Italy. Yet, much of the sparseness of the Finnish landscape is heard clearly through its beautiful melodies, brooding harmonies and meticulous orchestration.

Whither the Toronto Symphony Orchestra? In my years of listening to the orchestra, I have never heard them play with such care, such passion, such character, and with such accuracy. Even the CBC announcer, after the intermission, commented ‘never hearing the “local band” sound so good’. Much of the cause of this excellence must be laid directly at the feet of Dausgaard. He is a fabulous conductor. An arch musician. Nothing is flashy — his very tidy technique and musical expectations are clearly understood by the orchestra. And they gave him everything tonight.

His concept of Sibelius is one of clarity, incision, a huge range of dynamics, and fast (not hurried) tempos. Many conductors dwell too long on the big moments and the big tunes, much to the detriment of balance. Dausgaard was very effective in making each movement cogent and concise, beautiful and thrilling.

The solos were played with great beauty, with special mentions to Sarah Jeffrey, oboe and Michael Sweeney bassoon. That said, all the soloists played beautifully. And to play with such projection and character in the poor acoustics of Roy Thomson Hall is no small feat.

Interestingly, we were treated to an encore. Valse Triste, another Sibelius gem. This was played with even more extreme dynamics, and to fabulous effect. It was so musical and the strings sounded exquisite. I thought I’d heard the quietest and most beautiful strings possible from the Cleveland Orchestra in this hall a couple of months ago, but the Toronto Symphony played even more quietly, but with no loss of beauty or focus. A gorgeous end to a magnificent evening."
 
... Your partner's obviously a shy woodland creature who doesn't venture into the clearing at the edge of the forest very often, so I'm honoured to have met him.
....

Up next ... the glorious 5th:

... Blaaam! ...

... Blaaam! ...

... Blaaam! ...

... Blaaam! ...

... Blaaaam! ...

... Blaaam!!!!!

My partner has his own ways. Closing in on 31 years together, I guess I am most able to testify that "opposites attract"! We met when we were puppies, and have grown together .. learning to love the way we differ. He doesn't mind my being the butterfly - he is thoroughly grounded in his own ways. His comments about your would flatter you, BTW.

..... Those last 6 chords of Sibelius 5th may be the highlight of the festival for me. A flash of genius. Once upon a time I thought only the horns played them, and then at a live concert years ago I discovered that everyone's involved. A hugely moving moment. Yukka-Pekka used to play them too fast, let's see what Thomas does.


Here's another review of the first concert - by Anthony Kershaw:
...
Kershaw’s words needed to be written. Just over a year ago I heard Dausgaard conduct Tchaikovsky’s 6th and it stands out in my memory as one of the top concerts I have ever attended. I listened up in the highest balcony, from far away, and even there I couldn’t escape the Dausgaard interpreting. The last movement really reached me. No one else has ever done that with the Tchaikovsky piece.

I would so treasure having Dausgaard around full time … those words needed to be written, too.
 
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"Puff In" at Yonge-Dundas Square, April 20th

What a chuckle we got passing Yonge-Dundas Square at approximately 6pm Tuesday! The pro-marijuana bunch, dealing their cause a serious blow. ;) They all obviously had a case of the munchies: there was fast-food litter strewn everywhere on the square, making themselves look like a careless bunch of slobs. This doesn't work. I am not offended by pot, but it deserves better reps than this hapless and tacky collective.

On a more serious note, the cops were out en force photographing the participants. Is this a wise use of our tax money? There is crime going on somewhere else in this city :confused:
 
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