From the sublime to, well, the sublime...

It really is all about "scale" in the musical world of Paris. On Tuesday last, I remembered there was to be a concert at Nôtre Dame, but hadn't been smart enough to go to FNAC and buy a ticket in advance. So, trusting to luck, I jumped on the metro (line #3 to Sébastapol-Réamur, change to line #4 to Cité), and managed to snag one of the last 10 euro spots.

I had not even understood that the concert would present Beethoven's Missa Solemnis! No wonder all that was available were 10 euro spots -- which meant that if I peered around one column, I could see the soprano and mezzo soprano and part of the massive choir, and if I peered around the other side, I could see the conductor, John Nelson! Luckily, I didn't need to "see" in order to "hear" this sublime work.




Composed between 1819 and 1823, the Missa Solemnis is considered one of Beethoven's supreme achievements. The orchestration of the piece features a quartet of vocal soloists, a substantial chorus, and the full orchestra, and each at times is used in the most beautiful and virtuosic, textural, and melodic capacities. This particular performance featured Tamara Wilson, soprano, Patricia Bardon, mezzo soprano, Stanford Olsen, Tenor, and Luca Pisaroni, Basse. With the Nôtre Dame Choir, and the Choeur de l'Armée Française, and the Ensemble Orchestral de Paris, under the direction of the afore-mentioned John Nelson.



In the majestic setting of Nôtre Dame, this magnificent work was completely transporting. As well as the beautiful voices of the soloists, and of the choirs, there is a fantastic section in the "Sanctus" that features a solo violin, that makes you feel you are on your way to heaven! No wonder the audience leapt up at the conclusion -- which, far from being a rousing finale, is a very quiet "Amen". Bouquets of flowers were presented, many bows were taken and, slowly, the performers, orchestra, and audience made their way out into the soft Paris night .



Cut forward less than 24 hours, and here's another sublime musical experience. On Wednesdays, there is no school in Paris for students attending the public schools -- an opportunity for all kinds of "activités" to fill those hours. One such activity is the monthly program, Les Concerts du Mercredi. Organized by Marianne Vourch, with support from various cultural organizations, this program introduces students from age 6 and up to the world of classical music.

Luckily for me, I have personal access to two adorable young students who attend the French public schools, and the three of us headed out Wednesday afternoon to the very charming, intimate Espace Léopold Bellan in the 8th arrondissement.




As we took our seats, Madame Marianne Vourch, the director of the program, presented this month's musical group, the Parisii Quartet (Arnaud Vallin, first violin, Jean-Michel Berrette, second violin, Bruno Pasquier, viola, and Jean-Philippe Martignoni, cello). The program for the month of March focussed on Russian Composers: Borodin, Tchaikovsky and Shostakovich. In a delightful and interactive manner, Madame Vourch introduced the young audience to the life and music of these three composers.




Very aware of their young audience, the Parisii Quartet could not have been more charming and accessible. Sitting in the second row, the three of us found ourselves quite spellbound at being that close to the musicians, completely rivetted as we watched their fingers running up and down their instruments, which, along with their bows, produced the most wonderful sounds! The cellist, Jean-Philippe Martignoni, was a particular favorite. He threw himself into each movement the group played as if he were performing at the Salle Pleyel or, maybe, Nôtre Dame, instead of to a group of maybe 25 young schoolchildren, aged 6 to 10.




Certainly my two charming companions could not have been happier as they snagged autographs from Jean-Philippe and a couple of the other musicians at the end of the concert.

As we walked back over to the #95 bus to go home, I marvelled at the two musical experiences I had had in less than 24 hours -- the traditional, grand setting of Nôtre Dame, but then also the equally sublime setting of the Espace Léopold Bellan, where, perhaps, tomorrow's classical music audiences are being nurtured, thanks to Les Concerts du Mercredi.



À bientôt!