Canadian violin virtuoso Blake Pouliot took over the Carleton Dominion-Chalmers Centre stage on July 31, much to the delight of the audience.
For Pouliot, this was a return visit to Chamberfest for the talented violinist from Toronto who has forged a stellar international career as a soloist.
He was the grand prize winner at the 2016 Orchestre Symphonique de Montréal Manulife Competition and he was Soloist-in-Residence of the Orchestre Métropolitain with Yannick Nézet-Séguin.
The first half of the show featured Pouliot as a soloist, accompanied by the equally talented Ottawa pianist and uOttawa professor, David Jalbert. Pouliot’s confident persona immediately dazzled the audience.
The pair began the show with Clara Schumann’s Three Romances for Violin and Piano, Op. 22. From the first note, Pouliot demonstrated his unmatched musical ability.
The first Andante molto movement was rich and full, and Pouliot played it with great precision. His attention to detail was evident as he navigated changing dynamics with expert accuracy, gliding over the waves of the music.
The Allegretto was slightly colder than the first, but highlighted Pouliot’s clean precision on the violin. His music cut sharp lines through the air and he seamlessly transitioned to the third and final movement, Leidenschaftlich schnell.
Here, Pouliot showcased his diverse musical abilities, demonstrating his melodic mastery and pizzicato technique. All of this was underlined by a lively and accurate piano performance from Jalbert.
Pouliot was full of life throughout the evening. He seemed to become one with his instrument as he played, putting his whole body into the performance. Musical abilities aside, Pouliot showed his relatable and entertaining persona as he addressed the audience between songs.
The duo continued the romantic theme of the evening with Leoš Janáček’s Dumka, JW VII/4, an honest and raw piece of music that captured the sharp pain and dramatic intensity of love.
Sometimes music is the only way to describe emotion, and Pouliot did just that.
The pair concluded the first half of the show with Brahms’ Violin Sonata No. 3 in D Minor, Op. 108. The first movement, an Allegro, is a layered piece that in the performer’s skilful hands, remained balanced in its diversity.
The movement is intimate, reminiscent of the conversations one has with oneself during the dark hours of the night. Pouliot played it powerfully. Jalbert’s piano moved along like a river, carrying the violin along in a steady undercurrent.
The second movement was an anthem of love, and Pouliot’s violin seemed to converse through two voices at once, like lovers talking and dancing. Pouliot captured the essence of romantic love, from the goodbyes and moments of togetherness to the spaces in between.
The third movement was a lively and unique piece that unfolded as a call and response format with distinct patterns. Pouiot appeared to be taken away by the music. One thing he did especially well was contrast, in emotion, in style, and in movement.
With a sharp inhale, Pouliot exploded into the final Presto agitato. The music that came out of his violin was golden and fast. Although the song felt gritty and authentic, Pouliot expressed it with the delicacies of finer taste.
Following a brief intermission, Pouliot was joined onstage by the well-known local Ironwood Quartet and friends to make up the players needed for the Mendelssohn Octet. The first movement, Allegro moderato con fuoco, was graceful and as full-bodied as a good glass of red wine.
The group painted the room with layers of upbeat harmonies. It felt like a conversation between friends as the octet played standing in a circle, clearly enjoying themselves. Each player had their own unique style and they took turns echoing and answering each other.
However, Pouliot remained the star of the show throughout. The most remarkable aspect of his performance was his energy. He had a clear musical voice that consistently floated to the top of the music.
The Andante, was a careful and intimate walk through the woods. The music was sparkling, and fell into a distinct pattern. This movement was defined by its beautiful melodies and intensity.
The Scherzo: allegro leggierissimo, was joyful and quick-witted. The musicians pushed back and forth, jumping between each musical phrase. As is common with string ensembles, the music felt like an intricate whirlwind.
Poulot and the octet came alive in the fourth and final Presto.
Pouliot’s fingers danced on the strings with a coordination that seemed alien to the untrained watcher. The ensemble raced towards the conclusion in a frenzy, building off of each other’s ability in perfect synchronicity.
An amazing denouement earned the ensemble an immediate standing ovation.
