There are portraits of the two hanging in the Shaar hallway. He had his bar mitzvah there, and his grandfather and great-grandfather were presidents of the congregation. It turns out that Cohen’s history with the Shaar goes far back. âAnd while I think he has found meaning in Buddhist philosophy, he never shied away from his Jewish identity.â Photo by John Kenney / Montreal Gazette “I think that Leonard, like a lot of people, has been on a spiritual search for much of his life,â Zelermyer says. “Adam simply said: ‘Because the Shaar means a lot to Leonard.’ ” Leonard Cohen’s inscription on the drawing he gave cantor Gideon Zelermyer. … And, third, for many anglophones and francophones, all things artistic begin and end with Leonard Cohen - with respect to maestro Nagano, who is a more recent arrival.” Second is that the Canadiens are the greatest hockey franchise ever. First is that Montreal bagels are the best. “When you move to Montreal, you learn a number of things very quickly. Photo by John Kenney / Montreal Gazetteīorn in Providence, R.I., Zelermyer moved to Montreal in 2001 and has been the Shaar cantor for the last 13 years.
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“He has his father’s gift of communication, the way he was able to explain his father’s mindset to me and the choir.” A drawing by Leonard Cohen given to cantor Gideon Zelermyer, who keeps it in a place of honour in his office next to a team photo of his beloved Boston Red Sox celebrating a World Series win. “Adam (Cohen) oversaw all, and was amazing in this process,” said Zelermyer, who has five cantorial CDs to his credit. I am deeply grateful to Gideon and the Shaar choir for lending their great gifts to my songs.” In a request for his thoughts on Zelermyer’s contributions on the album, Cohen passed this along to the Montreal Gazette via an email: “These beautiful harmonies have been echoing in my mind since childhood. This advertisement has not loaded yet, but your article continues below.
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Lazarof elicited well-balanced precision and imposing sound from the Chamber Music/LA octet, six prominent locally based musicians, plus English violist Paul Silverthorne and Dutch cellist Godfried Hoogeveen. There is nothing programmatic in the music, the composer avows, but there is a sense of nostalgic yearning to it, as well as majesty and great seriousness.Īs conducted by the composer, “La Laurenziana” proved a gripping, vital experience. The subtitle refers to the Biblioteca Medicea Laurenziana in Florence, which inspired the work. The part-writing ranges from fiercely independent frenzy to bold, intense unisons, in an angular, freely dissonant idiom that proves also amenable to moments of affecting, almost neo-modal tenderness.
The emphasis is on texture and sonority, generated through motivic developments rather than pure sound masses. The central item on the compact agenda was the world premiere of Henri Lazarof’s Octet for Strings, “La Laurenziana.” It is a major work in every respect, three dramatic, clearly shaped movements running almost 20 minutes. The program was dedicated to the late cellist Gabor Rejto, and a more glorious memorial would be hard to imagine. Chamber Music/LA, a recent, ad hoc offshoot of the Sitka Festival, made its first winter appearance on Sunday afternoon at the Japan America Theatre.
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