CANORA - Whether you prefer the timeless music of classical composers such as Rachmaninoff, or lean more towards classic rock groups such as the Guess Who, there was something for pretty much everyone at the Prairie Sons concert at Canora Composite School on March 6.
David Liam Roberts (cello), originally from Winnipeg, and Godwin Friesen (piano), raised in Edmonton, also known as Prairie Sons, may only play two instruments, but their virtuoso talents filled the CCS auditorium. Even though there was a small audience of 40 for the concert, comments included “Such an enjoyable performance,” “Amazing talent,” “Enjoyed the variety of entertainment.”
Roberts opened the evening with a warm welcome to all those in attendance. “We both live in other places now, but it always feels like home when we come back to the prairies.”
Fittingly, the concert was called, A Love Letter to the Prairies.
“Both of us quite simply owe our early musical development to the music communities of the Prairies, which have rich histories and have supported us very well,” said Roberts.
Cultural connections to the Prairies include being Red River Métis and playing Métis fiddle music for Roberts, and for Friesen, having a Mennonite background and being shaped by the musical traditions of that heritage.
The concert was a seamless blend of music by world famous composers as well as original material.
Original material included Friesen’s recently completed Psalm 133 for Cello and Piano, inspired by scripture: “How good and pleasant it is when God’s people live together in unity!” (Psalm 133:1)
“I was captivated by the theme of unity and brotherhood,” said Friesen. “Dwelling together means conflict. This piece goes from working against each other all the way to working together for a common goal.”
The concert included music by the great Russian composer, Sergei Rachmaninov (1873-1943)
“Rachmaninov wrote some of the most dense and complicated music for pianists,” said Roberts. “At one point he was in a deep depression, and could not compose any more. He received professional treatment, and then wrote some of his greatest music during his recovery, including Sonata in G minor for Cello and Piano, which we will play for you now.”
During the four movements Roberts and Friesen conveyed a wide range of emotions that Rachmaninoff went through during his recovery, from darkness and despair all the way to the great joy and hopefulness of being able to compose music again.
Even though they’re known as classical musicians, Roberts and Friesen have built a deep appreciation for music in general.
“It has such communicative power, reaching deeper often than words can. We appreciate classical music similarly to the way readers appreciate the great classics of literature. There is a complexity and depth that comes from centuries of the craft being passed down and developed along the way. And we find that there is always more to discover even in a single great piece of music, the longer you spend with it,” said Roberts.
After the intermission, the duo performed Both Sides Now, by well-known Saskatchewan-born musician Joni Mitchell, arranged by Friesen, bringing a whole new level of beauty to an already beautiful song.
That was followed Sonata for Cello and Piano by French composer Francis Poulenc (1899-1963). Friesen shared that the piece was written in Paris while the city was occupied by the Nazis during the Second World War. The music “sounds like a Paris cabaret, then juxtaposed with cathedral-like music that sounds like it’s coming from across the street.”
The concert included a “Prairie Medley” arranged by Friesen. Songs that made up the medley were: Prairie Town by Randy Bachman, Harvest Moon by Neil Young and Runnin’ Back to Saskatoon, a Guess Who favourite that covers a wide swath of the Prairies; “Moose Jaw, saw a few, Moosomin too; Runnin' back to Saskatoon; Red Deer, Terrace and a Medicine Hat; Sing another prairie tune.”
The Prairie Medley was followed by a piece about the prairies in another part of the world. Pampeana No. 2, Rhapsody in Cello and Piano was written by Alberto Ginastera (1916-1983), inspired by the gauchos (similar to cowboys) on the Argentinian pampas (similar to the prairies). Friesen warned everyone that the piece ends with “the piano sounding like galloping horses. It almost feels like you’re out on the pampas.”
Roberts added, “I have Métis roots and in this song I like to imagine what it’s like being a Métis young man in the 1880s even if this song is about the gauchos.”
Toward the end of the concert, Roberts shared that one of his ambitions at a younger age was to play some fiddle tunes on the cello, at least partially due to the fact that he and his siblings used to go busking (street performing). The duo then, with Roberts playing the fiddle part on the cello, proceeded to play a medley of Métis fiddle tunes.
That was to be the end of the concert, but due to enthusiastic applause, Prairie Sons returned to the stage for an encore performance, Big Yellow Taxi, another Joni Mitchell composition. Friesen encouraged the audience to sing along, and with some coaching, they did a serviceable job of singing “Ooh, bop-bop-bop-bop; ooh, bop-bop-bop-bop” during the chorus.
With that, Roberts and Friesen left the stage, and audience members were left with special memories of this unique night of music.
Roberts said during an interview with 麻豆传媒AV that they have performed for crowds approaching 1,000 people in the past.
“We love large audiences, but smaller, intimate concerts are enjoyable because of the extra room for surprises through connection with the audience – especially an audience that has a strong sense of community. “
Even thought they appeared as a duo in Canora, Roberts said they often add a third member for performances.
“We play together even more frequently as the Rilian Trio, along with our violinist friend Daniel Dastoor. That collaboration has been an important source of musical development, opportunity and friendship for us.”
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