Calambre, between tango and fugue and space, both blazed new trails and inspired future genera- This program interweaves the music of two geniuses who, separated by time and space, both blazed new tions of musicians and composers. Stick&Bow, on marimba and cello, accompanied by Jonathan Goldman on bandoneon and trails and inspired future generations of musicians Juan-Miguel Hernandez on viola, offer a refreshing interpreta- and composers. Stick&Bow, on marimba and cello, ac- tion thanks to this novel instrumentation. The bandoneon and companied by Jonathan Goldman on bandoneon and percussion symbolize the spirit of tango, while the cello and Juan-Miguel Hernandez on viola, offer a refreshing viola honour the spirit of Bach, combining melodic, rhythmic interpretation thanks to this novel instrumentation. and dark sonorities to offer you an extraordinary evening of The bandoneon and percussion symbolize the spirit tangos and fugas. of tango, while the cello and viola honour the spirit of Johann Sebastian Bach Bach, combining melodic, rhythmic and dark sonor- “Contrapunctus IV,” excerpt from The Art of Fugue, BWV 1080 ities to offer you an extraordinary evening of tangos Astor Piazzolla and fugas. Calambre Astor Piazzolla Artists Fuga 9 Stick&Bow Johann Sebastian Bach (Krystina Marcoux, marimba, and Prelude (Fantasia) in C minor, BWV 537 Juan Sebastian Delgado, cello) Astor Piazzolla Jonathan Goldman Primavera porteña Bandoneon Astor Piazzolla Juan-Miguel Hernandez Invierno porteño Viola Johann Sebastian Bach Program Trio Sonata in C minor (Allegro), BWV 526 Known for his famous tangos such as Adiós Nonino, Libertango Astor Piazzolla or The Four Seasons of Buenos Aires, the revolutionary Argentine Fuga y Misterio composer Astor Piazzolla initially hid his musical excursions into Johann Sebastian Bach the world of tango as he blazed the trail for the development of Gigue Fugue in G major, BWV 577 Tango Nuevo in the 1950s. It is fascinating to note the multiple Astor Piazzolla inspirations that marked Piazzolla’s vision and constant artistic “Fear,” excerpt from Five Tango Sensations research, from the pieces of Johann Sebastian Bach he learned to play in early childhood to the strong influence of jazz discov- Johann Sebastian Bach ered during his youth in New York, which sparked an infinite Sinfonia in F minor, BWV 795 curiosity and fascination in the imagination of the young com- Astor Piazzolla poser. During his first music lessons with the Hungarian classical “Tango,” excerpt from the Double Concerto “Hommage à Liège” pianist Bela Wilda—a former student of Sergei Rachmaninoff— Piazzolla studied Bach’s counterpoint and fugues, which he Johann Sebastian Bach eagerly transcribed from piano to bandoneon. He continued “Contrapunctus I,” excerpt from The Art of Fugue, BWV 1080 his studies under Alberto Ginastera in Buenos Aires and Nadia Astor Piazzolla Boulanger in Paris, each one of whom pushed him to discover Milonga del ángel his own distinctive style of composition. At the heart of the Astor Piazzolla varied repertoire Piazzolla developed throughout his life lies the La Muerte del ángel fugue. The “Fuga y Misterio,” from his famous operetta Maria de Buenos Aires, and many others, including Calambre, a work writ- ten in 1961 for his quintet, demonstrate a thorough knowledge of the style and structure. For his last album with the Kronos Quartet, Piazzolla composed and performed the fugue Fear, PRESENTED BY and his deathbed wish was to pass on listening to the music of Bach, which had inspired him since childhood. This program interweaves the music of two geniuses who, separated by time Stick&Bow Jonathan Goldman, bandoneon Stick&Bow, “The trailblazing Montreal duo that plays An ardent champion of the bandoneon and the tango, everything from Bach to Radiohead” (CBC Music), musicologist Jonathan Goldman was a member of unites Canadian marimba player Krystina Marcoux and Quartango, the first tango orchestra in Canada, from Argentinian cellist Juan Sebastian Delgado. Classically 2007 to 2017. Encuentro, the album he recorded with trained musicians, they present a wide spectrum of this group in 2014, won a Juno Award (Best Instrumental musical styles, ranging from rock to Gypsy-jazz and Album) and an Opus Award (Album of the Year - World Baroque to tango. Their eclectic repertoire features Music). He received another Opus for the album J’aime les original arrangements of some of the most cele- nuits de Montréal in 2018. He has performed as a guest brated works in history, highlighting the potential of soloist with orchestras such as the Regina Symphony their instruments combined. The creative process of Orchestra, Symphony Nova Scotia and the Signature Stick&Bow is a blend of musical narration, humour and Symphony in Tulsa, Oklahoma. His arrangement of storytelling in which the powerful combination of cello of Astor Piazzolla’s Double Concerto was published by and marimba transforms the experience of familiar Henry Lemoine (France). Professor of Musicology at the works in refreshing and unexpected ways. Stick&Bow is musicology at the Faculty of Music of the Université de also strongly committed to the music of our time, com- Montréal, Jonathan Goldman has published numerous missioning works that are daring yet accessible from works on 20th-century music and was editor of the con- composers such as Luis Naon, Camille Pépin, Luna Pearl temporary music journal Circuit from 2006 until 2016. Woolf, Jason Noble, Marcelo Nisinman and Jean-Pierre Drouet. Juan-Miguel Hernandez, viola Stick&Bow’s critically acclaimed debut album Resonance An artist defined by the critics as “…tender, lyrical, was praised by Toronto’s The WholeNote as “just bril- loaded with personality” (Atlanta Journal Constitution), liant” and “totally delightful,” and by La Scena Musicale violist Juan-Miguel Hernandez is also recognized for as full of “pleasant surprises.” Krystina and Juan per- producing “...the sweetest, most sonorous tone...” formed their innovative program, featuring music from (Washington Post). In September 2009, Juan-Miguel Bach to Radiohead, on multiple stages throughout won the First Prize at the 16th International Johannes Québec and New Brunswick as “Emerging Artists” with Brahms Competition in Austria, adding to other top Jeunesses Musicales du Canada in 2019 and at recent prizes won at the National Canadian Music Competition stops in front of a packed house at the Bellevilloise in and the 9th National Sphinx Competition in 2006. As a Paris and at the APAP showcase in New York in January featured guest soloist, Juan-Miguel has appeared with 2020. Described by CBC Music as “boldly going where the Atlanta, Seattle and Colorado symphonies, the no cello and marimba have gone before,” Stick&Bow Rochester Philharmonic and the Chicago Sinfonietta. develops numerous projects with several guest artists In 2010, he was recognized with the medal of honour in diverse repertoires. In April 2021, alongside harp- from the National Assembly of Quebec for his sig- sichordist Luc Beauséjour, they released their second nificant international accomplishments. A dedicated album, dedicated to the music of Bach, on Analekta. chamber musician, Juan-Miguel was a member of the In 2021, you will hear them with the legendary pianist legendary Fine Arts Quartet (2013-2018) and an original Gustavo Beytelmann, who played with Astor Piazzolla, member of the Harlem Quartet (2006-2012). He was a in a program that presents Tango progressivo, the tango founding member of Trio Boréal (2012-2018) and is cur- of yesterday and today. rently a member of Trio Virado (flute, viola, guitar), both of which specialize in the creation of new repertoires. His musicianship has led to a wide array of collabora- tions with artists such as Itzhak Perlman, Lynn Harrell, Kim Kashkashian and Gerard Caussé as well as Chick Corea, Gary Burton and Stanley Clark. Born in Montreal in 1985, Juan-Miguel took up the violin at the age of seven, then switched to viola at the age of twelve, eventually graduating from the Colburn Conservatory and the New England Conservatory. His strong commitment to education brought him to join the faculty of the Royal Academy of Music (London) as professor of viola in the fall of 2016, where he now remains as a visiting professor since returning to his hometown of Montreal. In September 2021, he will join the music faculty of the Université de Montréal as an invited professor of viola. He plays on a beautiful 2008 Miralles viola from Altadena (California).