Scott Meek, pianist

WINNIPEG FREE PRESS, Saturday, December 9, 2006

Young musicians shine with WSO

by Gwenda Nemerofsky (gwenda.nemerofsky@shaw.ca)

 

Centennial Concert Hall, (Thursday, December 7, 2006)

Attendance: 1,000

 

IF one believes the adage, "Our youth is our future," then our Canadian musical prospects are totally secure.  In a program entitled Music and Devils, the Winnipeg Symphony Orchestra featured two devilishly talented young Canadians playing fiendishly difficult music.

 

Gifted Winnipeg-born pianist Scott Meek lit up the concert hall in a breathtaking performance of Liszt's Piano Concerto No. 1 in E flat major.  At age 24, Meek is already a polished performer, possessing both the power and delicacy required for this highly technical and showy work.

 

Playing with near-impossible fluidity, he was as convincing in the whispering sensitive moments as he was in the trademark roaring escapades across the keyboard — and he makes it all look so easy.  The only hint at effort came from his occasional brow wiping with a handkerchief discreetly placed nearby. Meek executed this marathon work with confidence and refinement.

 

The consummate musician, he displayed a palette of musical colours that brought Liszt's inspiration to life.  Playing with total physical involvement and passion, he commands the audience's attention.  The showman Liszt would have approved.

...

 

 

 

EDMONTON JOURNAL (Monday, January 19, 2004)

by Bill Rankin (brankin@thejournal.canwest.com)

Winspear Centre, (Sunday, January 18, 2004)

 

...

Pianist Scott Meek, just 22, gave an impeccably managed interpretation of Liszt's Piano Concerto No. 1 in E-flat major.  The young Winnipeg musician opted for poetry over high-voltage pizzazz.  He captured the fluidity of the work with a relaxed confidence that augurs well for his musical career.

Clarinetist Charles Hudleson played beautiful duet lines with Meek, creating some of the rare moments of chamber-music-like dialogue in the piece.

...

 

 

WINNIPEG FREE PRESS (Monday, April 7, 2003)

Pro debut was quite simply, excellent

By Andrew Thompson (alt@tdslaw.com)

 

Winnipeg Art Gallery (Sunday, April 5, 2003)

 

YESTERDAY afternoon, patrons of the Women's Musical Club of Winnipeg's concert series were lucky enough to witness the professional debut of a 21-year-old Winnipegger named Scott Meek. His recital was demanding, engaging, and, ultimately, a debut of which he should be most proud.

 

His choice of repertoire was, to put it bluntly, huge: a Bach Toccata, Ravel's Gaspard de la nuit, and the Liszt Sonata. This programme demanded both physical and mental endurance from the young man and he proved himself to possess copious quantities of both.

 

To open a concert by diving straight into the Bach C Minor Toccata BWV 911 is no easy feat. Meek delivered an intelligent interpretation of the work, particularly in his more introspective and contemplative moments. His ability to bring out and highlight the voices within the textures was solid and he maintained clear articulation throughout.  Judicious use of the pedals brought out some nice colours, although perhaps a bit more shading might have further enhanced the overall effect of the piece.

 

The three components of the Ravel masterpiece --Ondine, Le gibet and Scarbo -- require a strong sense of poetry and imagination: Their programmatic nature only enhances their innate musical beauty. Ondine's shimmering opening instantly revealed Meek's ability as a colourist. He used an understated velvet tone and sensitive pedalling of the coruscating runs to create the flowing liquidity of the water sprite's world.

 

The grim tension of Le Gibet was dark and foreboding. Meek's poise made this an effective sketch of the horror of the gallows.

 

Finally, the demonic virtuosity of Scarbo was both passionate and chilling. Meek capitalized on the bass resonance of the Winnipeg Art Gallery's Bosendorfer to orchestral effect.

 

The entire second half was made up of the Liszt Sonata. This has often been described as a young person's piece: Its Romantic passion and lyrical beauty are held together in a vast cyclical structure of several key thematic elements. Meek was entirely convincing in his interpretation.

 

His octaves roared up and down the keyboard; his lyrical moments were tender and poignant; and his take on the scattering central fugue was clear and exciting. This performance was, simply, quite excellent. 

 

Meek is an artist whose musicianship and artistry will only grow: one should follow his career with interest.