sm24-3_EN_p01_coverV1_sm21-7_pXX 2018-10-29 10:30 PM Page 1 sm24-3_EN_p02_LSM-ArtsMagSchedule_sm23-5_BI_pXX 2018-10-29 9:17 PM Page 2

Winter Festivals Guide *Special Theme: Choral Music, Le plus important Dance Release Date: 2018-11-30 magazine de la musique Ad Deadline: 2018-11-23 Artwork: 2018-11-23; et de la culture au Québec Calendar: 2018-11-16 February-March 2019 • 7 numéros, 1 guide ressources des arts Bilingual edition • 25 000 exemplaires/édition (25,000 copies) Themes and Guides: Love/Wedding Music and Arts, Summer Music & Arts camps, Hi-Fi Audio *Special Theme: Contemporary Music, Film ’s #1 Arts Magazine Release Date: 2019-02-01 • 7 issues, 1 Arts Resource Guide Ad Deadline: 2019-01-25 Artwork: 2019-01-25; • 25,000 copies/edition www.mySCENA.org Calendar: 2019-01-18 April-May 2019 LA SCENA MUSICALE Bilingual edition November 2018 (25,000 copies) NATIONAL ISSUES: 50,000 copies; , -Gatineau, Quebec National edition Themes and Guides: International City, . (50,000 copies) Festivals; Spring Festivals Themes and Guides: Higher Music *Special Theme: Violin, Visual Arts BILINGUAL ISSUES: 25 000 copies; Montreal. & Arts Education; Summer Music Release Date: 2019-03-29 Academies Ad Deadline: 2019-03-22 *Special Theme: Music, Artwork Deadline: 2019-03-22 September 2018 October 2018 Circus Calendar Deadline: 2019-03-15 Bilingual edition (25,000 copies) Bilingual edition (25,000 copies) Release Date: 2018-11-02 June-July-August 2019 Themes and Guides: Fall Arts Pre- Themes and Guides: Rising Stars; Ad Deadline: 2018-10-25 National edition view; Elementary & Secondary Edu- Competitions Artwork: 2018-10-26; (50,000 copies) cation; Fall Festivals Guide *Special Theme: Jewish Music, Calendar: 2018-10-19 *Special Theme: ArtSong Theatre Themes and Guides: Canadian Release Date: 2018-08-31 Release Date: 2018-09-28 December 2018 - and Arts Festivals Ad Deadline: 2018-08-24 Ad Deadline: 2018-09-21 January 2019 *Special Theme: TBA Artwork: 2018-08-24; Artwork: 2018-09-21; Bilingual edition Release Date: 2019-05-31 Calendar: 2018-08-18 Calendar: 2018-09-15 (25,000 copies) Ad Deadline: 2019-05-24 Themes and Guides: Holiday Artwork Deadline: 2019-05-24 Season; Gift Ideas, Calendar Deadline: 2019-05-11 LE GUIDE EST ARRIVÉ. THE GUIDE IS HERE!

Le Guide ressources des arts de La SCENA, avec plus de 2 100 inscriptions, est maintenant disponible partout où la revue La Scena Musicale est distribué. The La SCENA Arts Resource Guide, with over 2,100 entries, is now available wherever you find La Scena Musicale. WWW.MYSCENA.ORG sm24-3_EN_p03_ads_sm21-7_pXX 2018-10-29 8:02 PM Page 1

NOVEMBRE À NE PAS MANQUER/ NOT TO BE MISSED NOVEMBER

Concert: Soirée d’épouvante IN DULCI JUBILO Samedi 1er décembre 2018, 19:30hr Auditorium Le plateau 3700, avenue Calixa-Lavallée, Montréal Direction musicale: Sébastien Balbino A Christmas Concert St. Matthias’ Choir with Brass Ensemble

Moins de 12 ans: gratuit Music by Étudiants: 10$ Praetorius, Pachelbel, Pinkham, Schafer, Gabrielli, Scheidt Réguliers: 15$

Saturday, December 1st 2018, 7:3024 •juillet Plateau - Hall,5 août Montreal • Québec Music Director Trumpet Scott Bradford Alexis Basque symphoniedesvents.comFestivaloperaquebec.com Sunday, December 2nd, 4pm ADVERSTISE Suggested donationtion $2020 your event here! Reception followsows Annoncez votre événement ici!

St. Matthias’ Anglican Church

131 Chemin de la Côte St-Antoine, corner Metcalfe 2018-2019 • Westmount www.mySCENA.org

BORIS BROTT Artistic Director TARAS KULISH Executive Director McGILL CHAMBER ORCHESTRA

VIVALDI, BACH & JULIE BOULIANNE

27 NOV 2018 7:30 PM Saint-Jean-Baptiste Church $20 - $75 $ Students 10$

PRESENTED BY AS PART OF

www.orchestre.ca [email protected] 514.487.5190 sm24-3_EN_p04_evenko_eaumont_polish_sm23-5_BI_pXX 2018-10-29 5:46 PM Page 1

NEW ALBUM Works by Pal (commission), Nobles, Glick, Glass, Adams, Beaumont www.ReaBeaumont.com ORCHESTRE 21 TRIBUTE TO PENDERECKI PALEJ Vom Tode Maria *- On the Death of Mary First multimedia concert of the (world premiere) 2018-2019 season dedicated to the 100th Anniversary PENDERECKI of Poland Regaining Independence Concerto “Resurrection” SZYMANOWSKI THURSDAY, NOVEMBER 15, 7:30pm CLAUDE-CHAMPAGNE HALL Symphony No. 4 “Symphonie Concer- tante” Op. 60 220 Avenue Vincent-D’Indy, Montréal, QC, Metro Édouard-Montpetit PADEREWSKI Parking available, limited spaces Minuet Op.14 No.1 TICKETS 25$ online or at the door Justyna Gabzdyl tickets on line: , piano https://vente.tuxedobillet.com/vente/ Paolo Bellomia, conductor hommage-a-pendereck

ORGANIZERS SPONSORS Polish War Veterans Society POLISH PATRIOTIC BROTHERHOOD AID SOCIETY sm24-3_EN_p05_lsm_subcription_sm23-5_BI_pXX 2018-10-29 5:48 PM Page 1

ABONNEZ- TOUT COULEUR TOUT GLACÉ

VOUS! ALL-COLOUR 22 CD GRATUIT ALL-GLOSSY ans/years avec chaque abonnement de 2 ans SUBSCRIBE NOW! NOUVELLES OPTIONS FREE CD with each 2-year subscription • Abonnement pour musicien : inclut 7 petites annonces de base réparties NEW OPTIONS sur 7 numéros et 2 éditions • Musician Subscription: includes 7 free (une valeur de 241$) : 75 $ par année basic classifieds ads in 7 issues, both • Abonnement commercial : inclut 8 editions (a $241 value): $75 per year. parutions gratuites dans les communiqués de LSM en ligne • Industry Subscription: includes 8 free (une valeur de 230 $) : 75 $ par année postings to LSM Newswire (a $230 value): $75 per year. YOUR SUBSCRIPTION INCLUDES: VOTRE ABONNEMENT INCLUT: » La Scena Musicale (7 editions) » La Scena Musicale (7 numéros) » Eligibility for prize draws during the year » L’admissibilité à divers concours pendant l’année Charitable OrganizationNo.: 141996579 RR0001 No d’organisme de charité : 141996579 RR0001

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Contents November 2018 LSM VOL 24-3

10 Editorial 14 12 Industry News 14 Infusion Baroque INFUSION BAROQUE 18 Vincent Lauzer 20 Performing Baroque Music Today 22 Julian Prégardien 24 The Renaissance of Baroque 26 Yves Beaupré 28 Passion Baroque 30 We do not hear what they heard 31 Bach and Buxtehude, 1705 32 Baroque Montreal: Four Views 34 Anne Azéma 35 Autour de la flûte 36 Baroque Guide 38 Hank Knox 40 University of Toronto 42 Higher Education News 43 Université de Sherbrooke 44 Higher Education Guide 48 Jazz 49 Julie Lamontagne 50 Concert Reviews 52 CD Reviews 18 54 Choral Concerts VINCENT LAUZER 55 Mozart meets Beethoven / Penderecki

PHOTO : DANYLO BOBYK PHOTO : MATTHEW PERRIN 56 National Calendar

FOUNDING EDITORS COORDINATING EDITOR COLLABORATORS LA SCENA MUSICALE profit organization. La Scena Musicale is the Wah Keung Chan, Philip Anson Mélissa Brien Renée Banville, Luc Beauséjour, 5409, rue Waverly, Montréal Italian translation of The Music Scene. GUEST EDITOR Olivier Brault, Gilles Cantagrel, (Québec) Canada H2T 2X8 Le contenu de LSM ne peut être La Scena Musicale VOL. 24-3 Nathalie de Han Mélisande Corriveau, Wah Keung Tél. : (514) 948-2520 reproduit, en tout ou en partie, sans NOVEMBER 2018 ASSISTANT EDITOR Chan, Marc Chénard, Pierre Chénier, [email protected], autorisation de l’éditeur. La direction n’est Benjamin Goron Sebastien Daigle, Veronique www.mySCENA.org responsable d’aucun document soumis à PUBLISHER PROOFREADERS Demers, Olivier Dumas, Marie-Claire Production : [email protected] la revue. / All rights reserved. No part of La Scène Musicale Alain Cavenne, Marc Chénard, Fafard-Blais, Gregory Finney, Ver : 2019-10-29 © La Scène Musicale this publication may be reproduced BOARD OF DIRECTORS Sébastien Daigle, Benjamin Goron, Philippe Gervais, Nathalie de Han, SUBSCRIPTIONS without the written permission of LSM. Wah Keung Chan (prés.), Martin Arthur Kaptainis, Vasyl Pawlowsky, Benjamin Goron, Arthur Kaptainis, L’abonnement postal (Canada) coûte 39$ / ISSN 1486-0317 Version imprimée/ Duchesne, Sandro Scola, CN Brigitte Objois, Adrian Rodriguez, Vincent Lauzer, Brigitte Objois, an (taxes incluses). Veuillez envoyer nom, Print version (La Scena Musicale); ADVISORY COMMITTEE Dino Spaziani, Carol Xiong Adrian Rodrigez, Richard Todd, Carol adresse, numéros de téléphone, télécopieur ISSN 1913-8237 Version imprimée/ Gilles Cloutier, Pierre Corriveau, COVERS Xiong et courrier électronique. Tous les dons Print version (La SCENA); Jean-Sébastien Gascon, Julius Grey, Tom Inoue, La Scena Musicale TRANSLATORS seront appréciés et sont déductibles ISSN 1206-9973 Version Internet/ Virginia Lam, Margaret Lefebvre, GRAPHICS Mélissa Brien, Margaret Britt, Marc d’impôt (no 14199 6579 RR0001). Online version. Stephen Lloyd, Constance V. Pathy, Hefka, Elizabeth Rogers Chénard, Sébastien Daigle, Véronique Envois de publication canadienne / C.Q., Jacques Robert, Joseph [email protected] Frenette, Isabel Garriga, Benjamin LA SCENA MUSICALE, publiée sept fois par Canada Post Publication Mail Sales Rouleau, Bernard Stotland, FCA, SUBSCRIPTIONS & DISTRIBUTION Goron, Cecilia Grayson, Brigitte année, est consacrée à la promotion de la Agreement, Contrat de vente No.40025257 Maral Tersakian, Mike Webber Olivier Delaire Objois, Vasyl Pawlowsky, Dwain musique classique et jazz. Chaque numéro EDITORIAL ASSISTANT Richardson, Lina Scarpellini, Carol contient des articles et des critiques ainsi PUBLISHER Carole Xiong Xiong que des calendriers. LSM est publiée par La Wah Keung Chan WEB PROGRAMMER VOLUNTEERS Scène Musicale, un organisme sans but EDITOR-IN-CHIEF Ryan Kelly Wah Wing Chan, Lilian I. Liganor lucratif. La Scena Musicale est la traduction Wah Keung Chan ADVERTISING italienne de La Scène Musicale. / LA SCENA JAZZ EDITOR Adrian Sterling, Dino Spaziani MUSICALE, published 7 times per year, is Marc Chénard BOOKKEEPING dedicated to the promotion of classical and Mourad Ben Achour jazz music. Each edition contains articles CALENDAR and reviews as well as calendars. LSM is Olivier Delaire published by La Scène Musicale, a non- 6 NOVEMBER 2018 sm24-3_EN_p07_leaf_LMMC_sm23-5_BI_pXX 2018-10-29 5:49 PM Page 1

th PHILIPPE SLY Sept. 9, 2018 127 season -baritone 2018-2019 MARC-ANDRÉ HAMELIN Sept. 30, 2018 piano BELCEA QUARTET Oct. 21, 2018 strings PIETER WISPELWEY Nov. 11, 2018 Philippe Sly Miró Quartet cello SETZER-FINCKEL-WU HAN Dec. 2, 2018 Marc-André Hamelin Artemis Quartett piano and strings MIRÓ QUARTET Martin Beaver, Clive Greensmith Feb. 3, 2019 Belcea Quartet Escher String Quartet strings ESCHER STRING QUARTET Feb. 24, 2019 strings FAURÉ QUARTETT March 17, 2019 piano and strings Setzer-Finckel-Wu Han Pieter Wispelwey Richard Goode Fauré Quartett ARTEMIS QUARTETT POLLACK HALL 555 Sherbrooke Street West | Sundays at 3:30 p.m. April 7, 2019 strings Subscription: $300 / Students (26 yrs.): $80 | Ticket: $50 / Students (26 yrs.): $20 RICHARD GOODE Non-refundable - Taxes included April 28, 2019 piano LMMC 1980 Sherbrooke W, Suite 260, Montréal H3H 1E8 514 932-6796 www.lmmc.ca [email protected] sm24-3_EN_p08_longeueil_allegra_attila_sm23-5_BI_pXX 2018-10-29 5:52 PM Page 1

Season Partener

38ième saison | 38th season Looking forward to meeting you…everywhere in Monteregie Vendredi 9 novembre, 20 heures Salle Redpath, Université McGill

“FOR EVERYONE” CONCERT SERIES Œuvres de Elgar, Fanny Mendelssohn & Dvorak Pratt & Whitney Canada Hall of Longueil City Theatre Dorothy Fieldman Fraiberg piano Simon Aldrich clarinette | clarinet Antoine Bareil violon | violin Alexander Lozowski violon | violin CHRISTMAS JAZZ Pierre Tourville alto | viola Thursday December 6, 2018. 8pm Sheila Hannigan violoncelle | cello Marc David, Conductor Entrée libre | Free Admission Dons acceptés à l’entrée | Donations accepted at door Ranee Lee, Guest artist

Julie Lamontagne, Piano Info: 514.935.3933 [email protected] www.allegrachambermusic.com

Québec DEC 30 Grand Théâtre de Québec Begin to celebrate the upcoming holiday Montréal JAN 1 Place des Arts season along the greatest Christmas Ottawa DEC 30 National Arts Centre melodies of all times seasoned with a Hamilton DEC 30 FirstOntario Concert Hall jazzy flavor by Julie Lamontagne. Toronto JAN 1 Roy Thomson Hall

Waltzes, Polkas & Operetta Hits TICKETS 450 466-6661 EXT 224 OR OSDL.CA European Singers, Ballroom Dancers & Ballet

Tickets: salutetovienna.com

Produced by Attila Glatz Concert Productions sm24-3_EN_p09_Ambassadors_V2_sm23-1_BI_pXX 2018-10-30 5:23 AM Page 23

AMBASSADEURS 2018 AMBASSADORS LA SCENA MUSICALE

Tous ces grands artistes ont décidé d'apporter leur soutien à La Scena Musicale pour que nous These great artists support and have donated to puissions continuer à réaliser la mission que nous La Scena Musicale's continuing mission to nous sommes donnée depuis des années : la promote and celebrate the arts in Canada! promotion de la musique et des arts au Canada.

“La Scena “I have been “I invite everyone to Musicale is an reading La Scena discover La Scena essential rampart Musicale with Musicale. Rich with against the great enthusiasm relevant information invasion of since childhood. I for musicians and darkness.” remember music lovers, this cutting out magazine is extremely - DENYS ARCAND portraits of valuable, especially for artists that I artists. It informs us particularly liked about the activities of and sticking them in my locker at the the community as much as it makes us “La Scena is an conservatory to motivate me to practice! discover artists of exceptional talent. La Scena essential part of Thank you for promoting homegrown Musicale is essential in the Canadian cultural our musical artists and for distributing a magazine that landscape in that it contributes to the outreach ecology in that it can be as useful as it is pleasant for both of the arts and especially of classical music. reflects the music lovers and professionals.” Bravo, and wishing you continued success.” wealth of our achievements. - MARINA THIBEAULT - NADIA LABRIE Every month, we can browse with “La Scena “I find La Scena pleasure the Musicale is a Musicale is an articles, calendars, and reviews that keep unique exceptional us abreast of what our fellow musicians publication which magazine that have been doing. It is always with pride not only serves as gives La Scena that I read !” a platform for the extraordinary - MATHIEU LUSSIER dissemination of information to information the music about the community. It is classical music an extremely “Devoted to classical music and jazz, La scene, but also acts as a cohesive bond for useful read for everyone. Long live La Scena Musicale intelligently reports the both the professional musician and the Scena!” La Scena Musicale rich and diverse activity in these areas. public. We truly need in - JOSEPH ROULEAU This quality magazine, offered free of our midst. It is an essential publication that charge, is an essential tool for any musician informs and entertains, reflecting our from Montreal, Quebec or Canada. Long cultural diversity and sophistication.” “Your magazine is live La Scena!” » a vital chronicle - DENIS BROTT of support for the - arts in Canada, most particularly in Montreal and La Scena “ is an the Province of essential and Quebec where the OTHER AMBASSADORS effective tool for arts, music in the career particular is such Isabel Bayrakdarian, Angela Hewitt, development of a vibrant part of our culture. On behalf of Suzie Leblanc, Ana Sokolovic Canadian the McGill Chamber Orchestra, about to musicians.” celebrate 80 years of continuous concert - AIRAT giving in Canada, I salute you and La Scena Musicale and wish you continued success in ICHMOURATOV supporting our mission. - BORIS BROTT sm24-3_EN_p10_editorial_sm23-5_BI_pXX 2018-10-30 7:49 AM Page 10

7_pXX 2018-10-29 10:48 AM Page 1 Editorial sm24-3_EN_p01_coverV1_sm21-7_pXX 2018-10-29 10:30 PM Page 1 FROM THE EDITOR

ovember is La Scena Musicale’s month for Higher Education and our 19th annual Higher Education Guide. We take the occasion to salute the 100th anniversary of the University of Toronto’s Faculty of Music, Canada’s largest music school. At the other end of the N LA SCENA’S 2018-19 SEASON spectrum, the University of Sherbrooke’s music school celebrates its 25th anniversary fresh from new installations and new programs. Our 23rd publishing year consists of seven issues (five bilingual The Baroque music scene is buzzing in Montreal and the rest of and two national editions) of La Scena Musicale and the 10th Canada. Baroque music groups have been popping up all over the last annual La SCENA Arts Resource Guide. Each of the issues has few years, but this scene remains fragile, requiring a growing audience a different musical theme, and five issues are paired with the La and financial support from the various levels of government to main- SCENA arts magazine with special arts themes. tain excellence. That’s why we dedicate a special issue to Baroque music (coordinated by Benjamin Goron), where we return to the speci- September Special Theme: Art Song ficity of its aesthetics, its musical language and its history, while giv- October Special Theme: Jewish Music, Theatre ing the floor to the artists who make live this scene. Artists, but also November National Edition, separate English and French editions; Special artisans, like the harpsichord maker Yves Beaupré, who shares his pas- Theme: Baroque Music, Circus sion for period instruments. December/January Special Theme: Choral Music, Dance We have decided to also shine a light on the young generation of February/March Special Theme: Contemporary Music, Film Baroque musicians: the English cover features Infusion Baroque and April/May Special Theme: Violin, Visual Arts the French cover is recorder virtuoso Vincent Lauzer. While the be- June/July/August National Edition, separate English and French editions ginning of the Montreal Bach Festival is approaching, read the inter- view with the conductor and singer Julian Prégardien who will star in Our print magazine will focus on feature articles and long-form several concerts at the festival. Baroque music education being essen- essays, while our website will publish more news and concert and tial to the survival of this scene, we also visit with harpsichordist Hank product reviews. Furthermore, our Facebook page will share Knox. Finally, we also look at medieval and Renaissance music. breaking news, so please be sure to like our Facebook page at Montreal is a capital of circus! La SCENA arts magazine continues www.facebook.com/LaScenaMusicale. Would you like to contribute an in the French edition of the November issue to celebrate the 25th an- essay or review concerts? Please contact us at [email protected] niversary of Cirque Éloize and introduces you to the main artisans of an effervescent, fraternal and generous environment. Get acquainted with the mission of the TOHU and that of the Festival Complètement petitive and there are no guarantees for renewal, and our applications Cirque; discover the organization of humanitarian artists Clowns With- for the fall issues were not successful. out Borders and the Centre recherche en art clownesque. The circus Last year, subscriptions and donations accounted for 20% of our rev- special (coordinated by Nathalie de Han) wouldn’t be complete with- enues and we hope that our efforts to present more quality content will out shinning a light on the National Circus School and the Cirque du win your continuing support in the form of a subscription or donation Soleil, which will soon remount Alegría, the success that made it (see page 5). known around the world. Did you know that 95% of our content is fully translated, making La Check out our regular features – music coverage, CD reviews, jazz col- Scena the ONLY bilingual arts media in Canada. If you subscribe, you umn, regional calendar, concerts picks, along with our concert reviews. receive each issue by mail (we also have an option for weekend Mon- treal home delivery) with supplementary translations in your preferred NEXT GREAT ART SONG language. Furthermore, every two-year subscription comes with a free Last month, we participated for the first time in the Aviva Community commercial CD (including Infusion Baroque’s new CD). A subscrip- Fund, which gives projects with the most votes up to $100,000. Thanks tion will also be a great holiday gift for music students and fans (espe- to all of you who voted between Sept. 25 and Oct. 4 for our idea, cially parents and grandparents). Canada’s Next Great Art Song Project, in which the winning song will be determined by public vote. The official results will be announced LSM BOUTIQUE on Nov. 25, and whether we receive the Aviva funding, we would still Thanks to our partners we have acquired tickets to select music, dance like to move forward with the idea, so any donation and sponsorship and theatre performances, including those of the Montreal Opera, would be welcomed. Danse Danse, Centaur, Cirque Éloize, TNM and Salute to . We In the meantime, we are asking you our readers to vote for their sell these tickets to raise funds; LSM subscribers get a 15% discount. favourite art songs in our Great Art Song Challenge at www.nextgreatart- Look up the details at www.lascena.org or sign up for our e-newsletter at song.com. We will soon be posting some of the choices on our website. [email protected]. LSM

SUBSCRIPTION AND DONATION CAMPAIGN Have a great November full of music and the arts! It was last November when we upgraded the magazine to all-colour, all-glossy and at the same time increased our content. So far, we have received overwhelming encouragement from both readers and adver- tisers. In the spring, we were buoyed by a Special Projects grant from the to fund three issues (February/March, April/May WAH KEUNG CHAN, and June/July/August). Unfortunately, special project grants are com- Founding Editor

10 NOVEMBER 2018 sm24-3_EN_p11_congratulations_ads_sm19-1_FR_pXX 2018-10-29 8:04 PM Page 7

CONGRATULATIONS LA SCENA BOUTIQUE 22 years of promoting BILLETS DE FINANCEMENT music and the arts FUNDRAISING TICKETS pour / for LLadies’ M morning M musical C club La Scena Musicale • THE CHILDREN, (Lucy Kirkwood), Centaur The- atre Company, Nov. 6 - 18, 110$ (6 billets) • DAS RHEINGOLD, Wagner, Opéra de Montréal Novembre 10, 13, 15, 17: 59,35-165,15 $ • LE CHANTEUR DE MEXICO, Francis Lopez, Opera Bouffe Maison des Arts de Laval, Nov. 11, 18, $25-$45 • MON RÊVE/MY DREAM, La Troupe des Artistes handicapés de Chine/China Disabled People’s Performing Art Troupe Nov. 12, 38,74$ -93,48$ • CENTRE D’ACHAT, (Emmanuelle Jimenez) Cen- tre du Théâtre d’Aujourd’hui, Nov. 16, 39,75$ • DANSE DANSE, Groupe Rubberbandance: Vrai- ment doucement (5 Décembre, 20h. Théâtre Maisonneuve) Prix: 150$ /pair (6 billets) • HOMMAGE À VIENNE/SALUTE TO VIENNA, Salle Wilfrid-Pelletier Jan. 1, 2019, $85 (4 billets) • CHAMPION, Blanchard, Opéra de Montréal Jan Merle and Bernard 26, 29, 31, fév. 2: 59,35-165,15 $ Stotland Family • CIRQUE ELOIZE, (Serge Fiori) Theatre St-Denis, Foundation à partir du 6 mars 2019, $85-$125

spéciale 15% rabais discount Appelez au 514-948-2520 ext.1 ou [email protected] pour acheter votre billet! 15% rabais pour abonnés. Contact 514-948-2520 ext.1 or [email protected] to buy your ticket! 15% discount for subscribers. www.lascena.ca NOVEMBER 2018 11 sm24-3_EN_p12-13_News_sm23-5_BI_pXX 2018-10-30 7:21 AM Page 12 Industry NEWS by BENJAMIN GORON, SÉBASTIEN DAIGLE, HASSAN LAGHCHA

ORFORD MUSIC PROGRAMMING lack of parity are still wide. With regard to AZRIELI CANADIAN PRIZE The Orford Music Festival has unveiled its leadership, women are well-represented ad- On the occasion of its gala 2018-2019 programming. In the Grande ministratively in general, as well as artisti- concert at the Maison sym- soirée series are Bach’s St. John Passion with cally in the fields of publishing and visual phonique, the Azrieli Julian Prégardien at Saint-Benoît-du-Lac arts. On the other hand, they are underrep- Foundation unveiled a new Abbey in November, jazz singer Ranee Lee at resented artistically in the media arts, the- prize for a Canadian work the venue Gilles-Lefèbvre in December, and a atre and music. More research will help to be performed by the history of music by Gregory Charles. Music identify reasons for these gender gaps. Nouvel Ensemble Mod- lovers will also be able to enjoy supper and www.arts.on.ca erne under Lorraine Vail- luncheon concerts to satisfy their hunger for lancourt. In addition to a music. www.orford.mu THIERRY TIDROW WINS AWARD cash award of $50,000, the package includes Franco-Ontarian a recording with the label and a pro- DIAPASON D’OR FOR ARION Thierry Tidrow motional campaign valued at $200,000. The Released by ATMA won the Graham first round takes place in 2020 in Montreal. Classique last April, a Sommer Young www.azrielifoundation.org recording of Vivaldi Composers Com- recorder concertos petition organized THE RODIER BUILDING: CULTURAL with soloist Vincent by McGill Univer- AND CREATIVE ENTREPRENEURSHIP Lauzer and the Arion sity’s Schulich The Rodier Building, the first site dedicated to Baroque Orchestra as School of Music. cultural and creative entrepreneurship in conducted by Alexan- This $15,000 prize Montreal, will open in the summer of 2019. der Weimann has will allow Thierry Project leaders recently unveiled plans for the been awarded a Diapason d’Or, the highest PHOTO : ANIKA NEESE to take the time to restoration of this structure built in 1887 and distinction of the prestigious French magazine surprise us with reminiscent of New York’s Flatiron Building. Diapason. www.arionbaroque.com new works. More good news is his participa- Located in the heart of the Quartier de l’in- tion in the ECM + Generation2018 tour. novation in Griffintown, it was acquired in SILVIO PALMIERI (1957-2018) www.thierrytidrow.com 2017 by the NGO La Piscine and its real estate Composer Silvio Palmieri has passed away. A student in Gilles Tremblay’s composition class TSO GAINS GROUND ON DEBT at the Quebec Conservatory of Music, Palmieri Thanks to a surplus of $2.3 million in 2018, had a career as a composer, music critic and the Toronto Symphony Orchestra has been able to reduce part of its accumulated deficit, which now stands at $4.5 million. Good news for the orchestra that last month announced the appointment of Spanish conductor Gu- stavo Gimeno as music director starting in 2020. www.tso.ca TORONTO SUMMER MUSIC APPOINTS NEW EXECUTIVE DIRECTOR partner Société Immobilière Georges Toronto Summer Music Coulombe for $930,000. La Piscine’s mission has announced the ap- is to catalyze and support the development of PHOTO : JEAN-DAVID PALMIERI-MARCEAU pointment of Vanessa cultural and creative entrepreneurship Goymour as executive di- through programs that accelerate and support teacher. Among his major works are L’Enfant- rector. Goymour has companies with high growth potential. The phare – Symphonie portuaire (1999), the served as executive direc- mission of the Société Immobilière Georges opera Ella (2004), the electroacoustic fresco tor and artistic advisor of Coulombe is to carry out restoration projects Dada Musik (1998) and the soundtrack to Jeunesses Musicales On- of the metropolitan area’s most emblematic Hamlet as directed by Marc Béland for the tario, regional director of heritage buildings. The bill for the Rodier Théâtre du Nouveau Monde (2011). the Royal Conservatory of Alberta and Di- project will total between $6 and $8 million. rector of Public Relations for the Bear in mind that this heritage building was STATUS OF WOMEN IN THE ARTS Philharmonic Orchestra. The next edition of purchased by the City of Montreal in 2010 for The Ontario Arts Council has released a re- the festival takes place from July 11 to Aug. 3, just $1.6 million. www.lapiscine.co LSM port on the status of women in the arts and 2019. www.torontosummermusic.com TRANSLATED BY CAROL XIONG cultural industries in Canada. Pay gap and

12 NOVEMBER 2018 sm24-3_EN_p12-13_News_sm23-5_BI_pXX 2018-10-30 7:21 AM Page 13

DEADLINES

CANADA Conseil des arts de Montréal, Residence for Fund (ICF) Projects Grants for Organizations; the creation and production of new artistic Premier’s Awards for Excellence in the Arts Canadian Heritage, Aid to Publishers – practices: NOV.12, 2018 (nomination deadline): DEC. 4, 2018 Canada Periodical Fund: NOV. 24, 2018 Brigade arts affaire de Montréal (BAAM), Ontario Arts Council, Visual Arts, Visual Arts FACTOR, Collective Initiatives, Showcase ARDI Prize for innovation in cultural Projects: DEC. 5, 2018 Production for Export-Ready Artists: DEC. 1, 2018 philanthropy: NOV.16, 2018 Ontario Arts Council, Engaging Communities Canada Council for the Arts, Arts Abroad: ONTARIO and Schools, Artists in Communities and circulation and touring: DEC.12, 2018 Schools Projects: DEC.18, 2018 Ontario Arts Council, Developing Careers and QUEBEC PROVINCE Arts Services, Chalmers Professional TORONTO Development Projects: NOV. 8, 2018 Société de développement des entreprises Toronto Arts Council, Animating Toronto culturelles (SODEC), Support program for Ontario Arts Council, Music Recording Parks, Strategic Initiatives: DEC. 3, 2018 enterprises in music and variety: industrial Projects: NOV. 15, 2018 sector; additional support for tours; additional Art Reach, Art Reach Program (for youth support for new media activities: NOV. 26, 2018 Ontario Arts Council, Northern Arts Projects: engagement): FEB. 1, 2019 NOV. 20, 2018 Conseil des arts et des lettres du Québec, Digital OTTAWA exploration and deployment: DEC. 3, 2018 Ontario Arts Council, Visual Arts, Visual Artists Creation Projects: NOV. 22, 2018 City of Ottawa, Diversity in the Arts Fund: Conseil des arts et des lettres du Québec, NOV. 5, 2018 Workshop residence in Mexico: DEC. 13, 2018 Ontario Arts Council, Building Audiences and Markets, Indigenous Presenters in the North City of Ottawa, Major Arts and Cultural MONTREAL (Music Projects): NOV. 29, 2018 Festivals and Major Agricultural Fairs Programs: NOV. 26, 2018 Conseil des arts de Montréal (with the Quebec Ontario Arts Council, Market Development Library Association), writer-in-residence at a Projects: NOV. 30, 2018 City of Ottawa, Arts Funding Program: library: NOV. 2, 2018 JAN. 14, 2019 Ontario Arts Council, Indigenous Culture Fund (ICF) Project Grants for Individuals, City of Ottawa, Creation and Production Fund Groups and Collectives; Indigenous Culture for Professional Artists: JAN. 28, 2019 IsabelWerther Bayrakdarian in by Jules Massenet in French with English surtitles The impossible love of Goethe’s tragic hero is pitted against an unforgiving social environment. Narmina Afandiyeva, Music Director & Brett VOICEBOX Chorus Polegato Robert Cooper, Chorus Director SUN NOVEMBER 25 2:30 PM

Matt Chittick VOICE BOX

OPERA IN CONCERT Holly Guillermo Silva-Marin Chaplin General Director

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NOVEMBER 2018 13 sm24-3_EN_p14-16_Infusion Baroque_V3_sm23-5_BI_pXX 2018-10-30 7:08 AM Page 14

BAROQUE SPECIAL

by CAROL XIONG

PHOTO : DANYLO BOBYK 14 NOVEMBER 2018 sm24-3_EN_p14-16_Infusion Baroque_V3_sm23-5_BI_pXX 2018-10-30 7:08 AM Page 15

BAROQUE SPECIAL

nfusion Baroque has it all: brilliant virtuosity, musical integrity and a concert presence unlike any other. With their innovative and often interactive performances, these musicians offer a progres- Isive and accessible approach that is rarely seen in the mostly-seri- ous world of art music. THE MANDATE BEHIND THE NAME This multi-talented female quartet (Alexa Raine-Wright, baroque flute and recorder; Sallynee Amawat, baroque violin; Andrea Stewart, baroque cello; and Rona Nadler, harpsichord) draws inspiration from anything and everything with a humourous sense of inquisitiveness. Even its name resulted from an exercise in free association. Nadler re- calls: “We knew we wanted something beyond the traditional concert experience. In a manner of speaking, we wanted to ‘infuse’ our per- formances with something special. We were talking about all this over a pot of tea, and found the perfect name for our group.” The quartet, whose members met as students at McGill, played as In- fusion Baroque in 2013. Its flagship program was titled “The Art of Corelli.” Even then, the group incorporated multimedia and interactive PHOTO : DANYLO BOBYK elements into their performances. In the following year, Infusion Baroque made its big break by winning the grand prize and audience prize at the Early Music America Baroque Performance Competition. BEHIND THE SCENES ART AS INSPIRATION Not only did the prestigious award give the ensemble a sizable cash prize Nadler explains how the group but it also propelled Infusion Baroque to appear with major music pre- comes up with such novel pro- Tea might have inspired the senters across North America. gramming: “Each idea comes dif- name of the group, but Infu- ferently. Often one thing leads to sion Baroque refers to life the next. For example, the idea for and other art forms to draw the program Who Killed LeClair? musical inspiration. Nadler arose when I was playing a concert explains: “I don’t do it as an in a church that was kind of art form but I do love to spooky. I remember thinking that dance. The important thing this would be a great place to do a about dance is that there is al- murder-mystery concert.” ways a rhythm, no matter the Much later, when the quartet dis- speed. I look for this groove covered that one of its favorite com- when I’m playing. This vis- posers, Jean-Marie LeClair, was ceral element of music is actually victim to a murder that was what makes it so interesting.” never fully solved, it seemed only fitting to present his music in a murder-mystery format. “We have two versions of Who Killed LeClair?” Amawat explains. “One traditional program in which PHOTO : DANYLO BOBYK we narrate the story for the audience with an interactive component at the end. In the other, we do a full-on murder-mystery evening, com- plete with costumes and beer. We always get a lot of laughs.” OFF THE BEATEN PATH Laughter might raise a few eyebrows at a traditional music concert, Their first recording, consisting of works by C.P.E. Bach – one of but this irreverence is part of what makes Infusion Baroque so suc- Nadler’s favorite composers – was released to much acclaim last year. cessful at cultivating new and old audiences. “He’s got one foot in the Baroque era and one foot in the Classical era,” Nadler adds: ”We get a lot of audiences who have never been to a Nadler says of this most famous son of J.S. Bach. “His pieces are so classical concert before. The key is usually getting them through the mercurial and sensitive. It’s refreshing because we don’t hear so much door and to show them the humanity behind all this music written so of that in the mainstream Classical realm.” long ago. Once they stop feeling so daunted, the listeners just open up As Infusion Baroque builds momentum, the group has been as ded- and respond to the music.” icated as ever to bringing lesser-known works to the concert reper- Despite all this fun, the group always makes sure that the toire. On Nov. 16 the group releases the world-premiere recording of biggest takeaway is the music itself. “In a typical performance, we the Six Quintettos of Anton Jorg Kreusser. might play a piece or two and then talk about the piece or its com- “Kreusser is a composer from the last quarter of the 18th cen- poser,” Nadler explains. “But we don’t dramatize the playing it- tury whose name most people have never heard of,” Amawat says. self. Everything serves the integrity of the music. We always try to “We came across him by accident and he’s become a favourite play the music as musically and authentically as possible. We let among our group as his music is so unique and quirky. We love the music speak for itself.” bringing this kind of originality to the public, because in a way, we are playing new music.” NOVEMBER 2018 15 sm24-3_EN_p14-16_Infusion Baroque_V3_sm23-5_BI_pXX 2018-10-30 7:08 AM Page 16

BAROQUE SPECIAL

PHOTO : DANYLO BOBYK

TRANSFORMATIVE TRAVELS In this vein, Infusion Baroque hopes to work on even more educa- Many of the unforgettable Infusion Baroque moments have been in tional projects. “Ultimately, it’s about telling the stories of the real peo- the context of bringing music to a new and unexpected audience. ple behind all this music,” Amawat says. “These stories, as told through “One of our educational concerts in Houston was for around 150 our performances, are things everyone can relate to. We want to bring students from kindergarten to second grade,” Amawat recalls. “For this chance to more and more people.” most of the students, this was the first time that they heard Baroque Nadler adds: “I think one way we are so effective in bringing our music music, even ‘classical’ music, for the matter. to our diverse audiences is that we are not afraid to be entertaining, or “The connection we made was really moving. A few days after we to get laughs if the music calls for it. We try to bring back the human side had left the school, we got notes from the kids saying that they ‘loved and make these ‘great composers’ a bit more relatable.” LSM our songs’ or that we played their ‘favourite concert.’ It was really touching to be able to share this music that is so close to us.” The world premiere recording of the Six Quintettos of Georg Anton Kreusser will be Other highlights include working with high school students in Milwau- released on Nov. 16. Infusion Baroque performs instalments of the Virtuosa Project kee and university students in Thailand. “It’s so invigorating to work with – an initiative on the subject of women in music – on Dec. 8, 2018, and Jan. 11, people with such sensitivity and thirst for knowledge,” Amawat remarks. 2019 at the Clark Room of Notman House at 51 Sherbrooke St. W. in Montreal. Lec- ture at 7:15, concert at 8. Look for a web series in 2019. They will tour to Quebec City (Dec. 11), Ottawa (Jan. 12), Almonte (Jan. 13) & Toronto (Jan. 14). www.infusionbaroque.com

16 NOVEMBER 2018 sm24-3_EN_p17_LSM_pianoEW_sm23-5_BI_pXX 2018-10-29 5:57 PM Page 55

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hen you purchase an Esmonde-White piano, 10% of the proceeds will go to support La Scena Piano W Musicale. This donation will be made in your name; E W you will therefore receive a tax receipt. Promotion only applies to the 188A and 131 Magic models. Valid until December 31, 2018 sm24-3_EN_p18-19_Vincent Lauzer_sm23-5_BI_pXX 18-10-29 19:42 Page 18

BAROQUE SPECIAL VINCENT LAUZER A RECORDER PLAYER WITH WIND IN HIS SAILS by BENJAMIN GORON

Lauzer will also perform with La Cigale, a quintet led by theorbist Madeleine Owen and dedicated to Renaissance and Baroque music played on period instruments. They specialize in programming that links music with history and literature. HIGHS AND LOWS In 1996, eight-year-old Lauzer appeared on Faites vos gammes playing an aria by Telemann. He has come a long way. With the support of recorder player So- phie Larivière, who taught him and introduced him to early music, he has single- mindedly pursued a musical career, from Cégep Saint-Laurent to McGill, where he completed his master’s in 2011. Lauzer recalls three pivotal moments: “You always remember your first professional concert. I was only just 18, still at Cegep, and Luc Beauséjour called to ask me to play.” Two major concerts followed that allowed him to forge a reputation on the music scene. “Joint first prize in the 2009 Montreal International Recorder Competition was a big step. Experiences like that help you assess yourself in relation to other musicians and find out what they do. “For the Canadian Music Competition’s 2012 Stepping Stone I had to rehearse over three hours of pieces and was competing with all the other instruments – piano, strings, voice, and they were mainly play- ing a romantic repertoire. It was enormously satisfying to win first prize on recorder with its more limited repertoire. It felt like winning an Olympic medal!”

PHOTO : BEATRICE CADRIN But a recorder player’s life has its share of adventures and worry. Lauzer recalls his worst memory: “As a teenager, I had a beautiful wooden treble recorder. It was the apple of my eye and had cost a lot n 2012 the young recorder player Vincent Lauzer won first prize in of money. One morning, it disappeared. I spent a week desperately the Canadian Music Competition’s Stepping Stone division, trounc- looking for it, calling everyone, asking round at music school. Well, a ing , singers and violinists. Who is this phenomenon who few days later, my father found it down the back of the sofa!” has confounded expectations and found a place among the greatest I REHABILITATING THE RECORDER musicians of his generation? As the Révélation Radio-Canada in 2013-2014, artistic director of Lauzer is a kind of ambassador for the recorder, which hasn’t had a the Lamèque International Baroque Music Festival, recipient of the very good press. People often remember it from interminable and ca- Fernand Lindsay career grant in 2015, Lauzer has many feathers in his cophonous primary school music lessons. Its range and repertoire are cap. Most recent was his recording last month with the Arion Baroque limited; and in the early Classical period it was overtaken by the flute, Orchestra, playing Vivaldi flute concertos. This won a Diapason d’or in whose shadow it has since languished. No wonder the instrument awarded by the prestigious French magazine of the same name. Let’s has little appeal to the public imagination. find out more about Lauzer and the instrument that has defined him. But if you share this prejudice, beware: You haven’t heard Vincent Lauzer! His playing is clear, precise and technically impeccable. The ON THE ROAD sound is lucid, direct, charged with emotion without being mannered, I managed to reach Lauzer in Nova Scotia on a rare day off from his and seems inspired by the muses. It is quite simply staggering. marathon tour with Les Songes, an ensemble comprising soprano As for the instrument itself, it isn’t as limited as popular opinion Samantha Louis-Jean, cellist Camille Paquette-Roy, harpsichordist Luc likes to think. There is a range of recorders that complement each Beauséjour (replacing Mélisande McNabney) and Lauzer. For this debut other, so a professional player will have several trebles, altos and Atlantic tour, the quartet are giving 16 concerts over two weeks, per- basses. Each is associated with a repertoire, be it medieval, Renais- forming instrumental pieces as well as airs from operas and oratorios. sance, Baroque or contemporary. “Having several instruments of the Les Songes have already toured twice with Jeunesses Musicales and same type ensures good sound quality. Recorders are very sensitive to are always charmed by their reception. “Audiences are always sur- changes in humidity and temperature, so you can’t expect to play them prised by this combination, as it’s not one you see much in early for hours on end and get the same quality of sound.” music,” Lauzer said. “People often comment on the similarity between the voice and the recorder, the way they complement each other and THE STRADIVARIUS OF RECORDERS? are more alike than you’d think.” Unlike strings, antique wind instruments are not much played. They Half of the concerts are aimed at young audiences, but the program are museum pieces, and for obvious reasons: Firstly, they’re very frag- will barely change. “Young people like the same music as adults, so we ile and rarely conserved in a decent state. Secondly, the hygiene of past didn’t change the repertoire, nor the way we present the pieces and centuries is rather off-putting to the modern player. And thirdly, the instruments. However, we are emphasizing the lives of the com- today’s notions of precision mean that most of these instruments posers and drawing a parallel with our own lives as musicians, to give sound out of tune to modern ears. a more human side to the concerts.” 18 NOVEMBER 2018 sm24-3_EN_p18-19_Vincent Lauzer_sm23-5_BI_pXX 18-10-29 19:42 Page 19

BAROQUE SPECIAL

Players are always seeking new sound qualities and new instru- ments to complement their collections. They consequently have a spe- cial relationship with the few contemporary recorder makers. “Manufacturers use old designs but sometimes tweak them a little to meet modern needs,” Lauzer explains. “Today’s concert halls are much bigger, and the recorder is playing alongside instruments that FLÛTE ALORS! didn’t exist before. Some recorders are made to produce a more pow- erful sound or have a more extensive upper range.” Although recorder makers are rare in North America, Lauzer is ALBUMS, TOURS, CONCERTS lucky enough to be able to work with Jean-Luc Boudreau, a talented Blainville-based craftsman who sells recorders worldwide. Of Flûte Alors! was born in 1999, the fruit of a student exchange with Lauzer’s 17 recorders, 14 are by Boudreau. “It’s a real privilege to have some musicians, organized by recorder players Matthias Jean-Luc nearby,” Lauzer says. “If anything happens to an instru- Maute and Sophie Larivière. It underwent various transforma- ment, he can make adjustments or repairs. It’s a collaborative effort tions over the years, gradually becoming more and more profes- – he works for us and with us.” sional, before ending up as the present quartet of Vincent Lauzer, Marie-Laurence Primeau, Alexa Raine-Wright and Caroline SEEKING THE PERFECT A Tremblay. Before it became set at A=440 Hz, tuning standards changed consid- In 2011, the quartet issued their first album, Kaléidoscope, erably over time. In the Baroque era, every town had a different tun- comprising Baroque and contemporary works. It set out their mis- ing established by the local church organ. This was a headache for sion, which is to make the recorder better known through con- recorder players. Fortunately, Lauzer doesn’t have to find a new certs covering medieval, Baroque, Renaissance and contemporary recorder for each town he visits, but he does possess instruments of music – as well as jazz, which was the subject matter of their sec- different tuning to match the early repertoires. ond album, Bach’n’Jazz (2017). It’s an eclectic repertoire com- “While the standard in Baroque music is 415 Hz, we play a lot of plemented by arrangements of the great classics for recorder French music at 392 Hz, so one tone below A at 440 Hz,” he explains. quartets to give them a fresh look. “Or take Italian music: This is played at 465 Hz, so a semitone above.” Of course, making the recorder more widely known involves It’s enough to upset a player’s ear. “I had perfect pitch as a child and extensive touring: Since 2011, Flûte Alors! have performed with teenager, and when I got my first recorder at 415 Hz, I heard every Jeunesses Musicales, Debut Atlantic and Prairie Debut. What’s sound off by a semi-tone.” His perfect pitch finally surrendered and he more, this year they celebrate their tenth Montreal season, which admitted that there was no perfect A for a recorder player. starts on November 10 with songs and madrigals of the 16th cen- tury featuring soprano Hélène Brunet. There will be five concerts HIDDEN DEPTHS in all, culminating on April 13 with an audience-chosen concert! The Baroque and the Renaissance are the richest periods for the recorder. Always on the lookout for new ideas to bring the recorder to more However, the last century saw a resurgence of interest, notably with com- people, these four talented musicians embody a new generation of posers such as Edmund Rubbra, Louis Andriessen, Luciano Berio and explorers of sound. While the public is more open than ever to Georges Aperghis. To extend this interest to Canada, Lauzer has been early music and less familiar instruments, this quartet is always commissioning works. Since 2013 he’s been playing pieces by Matthias ready to give a nudge in the right direction. Listen to them and Maute, Jonathan Goulet, Maurice-G. Du Berger, David Désilets and see what you think! Maxime McKinley, while also enjoying the existing repertoire with par- ticular emphasis on the Japanese composers Maki Ishii and Ryōhei Hi- Flûte Alors! presents Recorders On The Run programmed by Jeunesses Musi- rose, as well as the German Dorothée Hahne. The recorder is undergoing cales, November 4 in the foyer of Salle Wilfrid-Pelletier in Montreal, and April a renaissance of its own and revealing hidden depths. 14, 2019 at the National Arts Centre in Ottawa. www.flutealors.com A virtuoso for our time, Lauzer is taking us on a journey through sound, through repertoire, and through Quebec. He’s one of the new generation of musicians keen to rekindle the sounds of the past and create a luminous and hope-filled present. He deserves all our atten- tion, support and recognition. LSM TRANSLATION BY CECILIA GRAISON

www.vincentlauzer.com

NOVEMBER 2018 19 sm24-3_EN_p20_Interpretation Baroque_sm23-5_BI_pXX 18-10-29 12:35 Page 20

BAROQUE SPECIAL PERFORMING BAROQUE MUSIC TODAY AS FRESH AND ALIVE AS EVER by PIERRE CHÉNIER

aroque music first enjoyed a resurgence in was the Concentus Musicus Wien, an ensemble This approach to performance and the record- popularity in the 1970s and has never co-founded by Nikolaus and Alice Harnoncourt ings documenting it have led to the steady growth looked back. Nowadays, the works of major in the 1950s. Amid a list of albums issued in the of Baroque ensembles with constantly renewed Bfigures like Bach, Handel, Vivaldi and 1960s and 1970s, its 1964 recording of Bach’s personnel, some devoted to period instruments, Couperin continue to be in the public eye, as Brandenburg Concertos was a game-changer for others content to play modern ones. Younger mu- are those of their lesser-known contemporaries. baroque music performance. I remember the sicians are more interested than ever in the The performance of Baroque music, notably shock it created as though it were yesterday. In Baroque period; some have quickly mastered its on records, has gone 1970, I began working as a clerk in a record instruments and a livelier approach to rhythm, through different store, the first of many such jobs. Music lovers likewise the choppier sound and increased inter- stages. The first, dat- were either baffled or enthralled by the rough action between players. But there was never was ing back to the 1930s, edges, the texture in which orchestral voices, im- a need for musicians to unlearn their ways. In- belonged to the pio- bued by the spirit of counterpoint, were vying stead, they rose to the challenge in as fresh a way neers who brought it for equality without ever becoming one, never as possible, allowing them to master the style and to centre stage. Its letting up on the conversation, each expressing their instruments rather quickly. The same can its personality and distinct voice. be said of vocalists: younger voices with less vi- Which is to say, the musicians were using brato produce a lighter sound and are thus able to period instruments! Flutes lacked resonance invest the music with a new sense of drama. and eschewed vibrato, trumpets and brass This performative approach was not re- blared like hunting stricted to the Baroque period. It spilled over horns, oboes and into the subsequent eras of Classicism and Ro- flutes sounded like manticism. There is, for instance, a sense of cackling crows. This lightness and liveliness in a recent Beethoven was no pretty- cycle by Kent Nagano. Even if he relies on a so- sounding music, called authentic Baroque approach, his version with the heavy- sounds new in relation to the music at hand. handed accents of Musicians in Quebec and elsewhere in Canada the romantics. In- took notice. Think of Glenn Gould’s 1955 record- stead, it was living ing of the Goldberg Variations: it is a hallmark music, full of relief and rhythmic buoyancy, that left a lasting impression on a whole genera- with a sense of drama of its own volition. But it came at a heavy price, the necessity to master those instruments first before attempting to guiding lights were cellist Pablo Casals, harp- lighten the sound and the rhythmic flow, ob- sichordist Wanda Landowska and guitarist jectives that took some time to realize. Andrés Segovia, who included Bach in most if This new way of thinking eventually became not all of their recitals. One never tires of lis- the accepted norm for the performance of tening to those great performers decades later, Baroque music. But the instruments themselves because they all felt that this music of an older were never embraced wholeheartedly. There are vintage could still connect with their audi- plenty of name-brand musicians and ensembles ences, who knew little about it back then. that take their cues from this musical canon with- In the 1950s and 1960s, baroque music re- out forsaking modern instruments. The essence ceived another boost when the leading sym- of an “authentic” performance then is to find phony orchestras and their star conductors something in the music that speaks to us. like Otto Klemperer and Herbert von Karajan launched a flurry of concert performances and studio recordings. Chamber orchestras also contributed to this groundswell, with conduc- tors like Karl Ristenpart, Jean-François Pail- tion for its emphasis on bringing out each voice lard and Karl Münchinger leading the way. equally with added rhythmical lilt. The list is long. Beyond each group’s instrumentation, sty- The following are but a small sample of distin- listic traits or the musical temperament of guished ensembles in the field: Tafelmusik, Stu- their leaders, all Baroque ensembles shared dio de musique ancienne de Montréal and Arion, one common trait, namely, a homogeneity of all of which are acknowledged by local audiences sound. All instruments complied to the silky for their concerts and music-lovers in other mar- sound of modern instruments in which voices kets for their recordings. All this is proof that this must meld, the strings producing a predomi- music of the past still has its place today. Audi- nantly fat sound with lots of vibrato, very ences young and old respond to Baroque music much the norm for symphony orchestras. more enthusiastically than ever because of its in- Yet, that lofty balloon burst in light of a con- spirational power to transcend the ages. LSM troversy surrounding the performance of this TRANSLATION BY MARC CHÉNARD music on period instruments. The forebearer 20 NOVEMBER 2018 sm24-3_EN_p21_Mascena_Bach_smcq_ads_sm19-1_FR_pXX 2018-10-29 9:39 PM Page 7 mma .org •my NEWS •my EVENTS •my ARTS

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BAROQUE SPECIAL JULIAN PRÉGARDIEN TENOR AND TEACHER TAKES ON ANOTHER ROLE by ARTHUR KAPTAINIS

PHOTO : MARCO BORGGREVE

ike father, like son. Both Christoph Pré- “But for now, I will not conduct the B Minor Hochschule while pursuing s busy career in gardien, the father, and Julian Prégardien, Mass. I am not changing professions.” concert and opera. Sometimes, he admits, his his son, are noted for baroque and classical Prégardien is available to sing in this mas- students are not much younger than himself. Lopera and oratorio as well as 19th-century terpiece and will indeed do so with the MSO “I am not the ‘master’ who gives all his Lieder. Both have made highly-regarded under the direction of Kent Nagano on Dec. 4 knowledge to the young students, which is one recordings of Bach. and 5 in the Maison symphonique. perspective on teaching in general,” he ex- Julian, however, is taking a step farther To say the tenor is a friend of the Montreal plains. “But I have always felt the urge to ex- than his father – and most singers this side of Bach Festival is putting it mildly. This is his change views and to give hints on music and Barbara Hannigan – by conducting the St. third guest appearance. singing, the technique and also the style.” John Passion while singing the role of the Last year Prégardien directed workshops Having started his concert career at age Evangelist on Nov. 22 for the Montreal Bach and masterclasses on the St. John Passion 19, Prégardien has as much professional ex- Festival at the Church of St. Andrew and St. during which he coached and selected the stu- perience as some vocalists of 45 or 50. This Paul. (There will be a repeat performance on dents — from the Schulich School of Music, is not to mention his work as a choir boy in Nov. 25 at the Saint-Benoît-du-Lac Abbey in the Université de Montréal and the Conserva- the Cathedral of Limburg, near the city of the Eastern Townships.) toire de musique de Montréal — who will be his birth, Frankfurt. “Yes, I will turn around,” he said from the involved in the 2018 performance. Prégardien learned the St. John Passion Bavarian Alps, about 50 kilometres south of It is a good illustration of the dual role Pré- both as a chorister and by hearing his father Munich, where he lives with his wife and three gardien has developed as a performer and sing the Evangelist. He reckons that he has children. “I am not sure yet if I will use a score. teacher. At the pedagogically tender age of 34, participated in 50 performances. Thus his For sure no baton. he works as a professor of voice at the Munich confidence in his leadership skills. 22 NOVEMBER 2018 sm24-3_EN_p22-23_Julian Pregardiens_sm23-5_BI_pXX 2018-10-29 6:01 PM Page 23

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“My view of the piece has got clearer and among them – Prégardien has a positive view “I can always consult him when I have prob- clearer during the last years,” he says. “I think of period instruments and is partial to fortepi- lem with career stuff or with voice technique I have something to say about that music.” anos in classic Lieder. issues, he’s always there to give advice. Now Prégardien’s repertoire is not confined to the “A Steinway is fine, very fine,” he clarifies, we can conceive of each other also as col- baroque. Before arriving in Montreal he sings “especially if it is played by a really good pianist. leagues. Not only as father and son.” Schubert’s Winterreise in Bremen, “But the imagination that is fired when I Now for a difficult question. Should we and Dortmund with pianist Lars Vogt. hear just one note of a period instrument is so worry about the allegation that the text of the During the summer he played Narraboth in terrific. I just recorded Dichterliebe by Schu- St. John Passion is, in places, anti-Semitic? a new production of Strauss’s Salome at the mann with Éric Le Sage, a French modern- “There is no doubt that there is an anti-Se- Salzburg Festival. He has sung the title role of piano pianist. But I asked him to play a mitic perspective,” Prégardien says. “I would Weber’s Oberon and is looking forward to Max Blüthner piano from 1856 for this recording. never deny this. in Der Freischütz. Other roles on his résumé “He agreed. And from the very first moment “But the core of the piece, the central meaning, are Tamino in Mozart’s and we both were so much into this other instru- is not anti-Semitic. It stands for the life – or the Monteverdi’s Orfeo. mental world of the fortepiano. I would not say end of the life – of one very special human being. Prégardien would love to bring Schubert’s that I would be a hardliner and only do Schubert “It’s not a question of whether you are a scandalously neglected operas to light. (“It’s or Schumann or Mozart with period instruments. Christian or a Muslim or whatever. If you lis- the link between Mozart and Wagner.”) He is I am so happy that we can have both.” ten to this music and follow what is done to available for Mendelssohn and can imagine ex- The Prégardiens often sing together in pro- Jesus, the way he has to suffer, and why he can cursions into a 19th-century French repertoire. grams of duo arrangements of Schubert Lieder carry all this suffering, sorrow and pain, the There are, however, limits. Much as he loves and traditional male part-songs. “The whole reason that he does this and carries this all to hear a good tenor sing bel canto, he fore- evening, the audience doesn’t actually know himself, then I think you are at a good point sees no Italian adventures for himself. who is singing what,” the elder Prégardien of understanding this music. “I find that the colour of my voice doesn’t suit says in a YouTube documentary. “Of course, the story is about cruelty, but in the Mediterranean repertoire so well,” Prégar- Father and son get along well off-stage as the end, it is about love.” LSM dien says. “There are so many singers who are well. “There was a short time of rebellion – or, very good in this and have no motivation to sing I would say, emancipation – between 12 and www.festivalbachmontreal.com the Bach Evangelists or a Schubert Lied.” 20-something,” Julian says. “I didn’t want to be As an artist who grew up with the European so close to my father, but confident in myself.” masters of Early Music – his father numbering The defiance did not last.

New York,1920 Bax, Debussy, Elgar, de Falla, Rachmaninoff & Salzedo

Aleks Schürmer conical flute Jennifer Thiessen viola Antoine Malette-Chénier pedal harp NOVEMBER 9 7PM SALLE JOSEPH ROULEAU Autour de laa flûtefl

Au salon ! APRIL 9, 2019 Mika Putterman romantic flute Laura Andriani violin David Jacques guitar Susie Napper cello Gili Loftusfortepiano

Amour sans retour JUNE 5, 2019 Dominique Labelle soprano Jory Vinikour fortepiano Mika Putterman romantic flute

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BAROQUE SPECIAL THE RENAISSANCE OF BAROQUE HISTORY OF AN ERA IN MONTREAL by PHILIPPE GERVAIS

ow can Baroque music, born 400 years ago, seem so young to us today? The oblivion in which it has been immersed Hmay have been paradoxically beneficial to the form. Ask any first- or second- generation “baroque specialist” and they will share the excitement they felt at their first Monteverdi Vespers, first Rameau, first Handel concerto with Harnoncourt, first contact with the viola da gamba, this strange instrument for which a certain Marin Marais, it was said, had written nearly 600 pieces. Discovering a particular genre of music is one thing; rediscovering it with a whole generation of music lovers is another. We still can’t believe it. Why was there this forgetfulness, this repression? And how was the second spring of Baroque possible? It all started at home, around the organ. As a matter of fact, many young Quebec or- ganists traveled to Europe in the 1950s and discovered, with wonder, historical instru- ments: Bernard and Mireille Lagacé (who

married in Vienna), Kenneth Gilbert (win- REDPATH ORGAN AT MCGILL UNIVERSITY, BUILT BY HELLMUTH WOLFF PHOTO PETER MATULINA ner of a major European organ prize in 1953), Raymond Daveluy, Lucienne and Gaston Arel, among others. Returning home broke the monopoly of Beckerath. These bu- the means, the tempi, the range of notes and in the late 1950s, they encouraged research ilders launched their own workshops, in of course the choice of instruments. This is and dissemination of an early repertoire and 1966 and 1968, respectively, and produced also one of the most fruitful paradoxes of the facilitated the arrival of foreign specialists dozens of instruments based on historical baroque movement: conservative in the best in the construction of Baroque organs. Ru- models. The French Baroque organ in Red- sense of the word, since it strives to revive dolf von Beckerath, then at the height of his path Hall at McGill University, built by Hell- the past, it is also revolutionary, inspired by career, first arrived in Montreal and began muth Wolff, is a famous example. Concerts the peace and love movement to break with building three tracker action organs, inclu- presented on these instruments with new so- the established order of the classical milieu ding that of the Immaculate Conception unds drew crowds and encouraged further and advocate a return to sources. Church. This instrument, inaugurated in research. It seemed like a utopia: perfor- Criticism, in the French and English- 1961 and made famous by two performances ming works by composers who were only speaking media, is not always kind, especially of Bach’s complete organ works by Bernard names and restoring their original colours. since the results are sometimes disappoint- Lagacé, has just been restored by the Juget- In the early 1970s, the trend took flight. ing: Why return to these so-called “period” Sinclair studio. A short time later, Karl Wil- Between 1972 and 1974, Europe saw the birth instruments? Why reawake those composers helm and Hellmuth Wolff were called upon of The English Concert, the Academy of An- who have probably justifiably been asleep? If by Casavant Frères for help. Their arrival cient Music, Musica Antiqua Köln, the La Pe- the Baroque movement is disturbing, it is tite Bande and Hesperion nevertheless installed without much trouble XX. Montreal was no ex- in educational institutions, which were them- ception: in 1974, three or- selves in full flower at that time. Pioneers ganists, Hélène Dugal, such as oboist Bruce Haynes, musicologist Réjean Poirier and Pierre-Yves Asselin and harpsichordist Scott Christopher Jackson Ross positioned themselves quickly, at a time founded what is now when Quebec universities were booming and known as the Studio de hiring teachers to form new departments, musique ancienne de making it easy to disseminate this musical Montréal. A new bench- culture in the next generation. mark was set. Against the It didn’t take long for the results to be felt. symphony orchestra, the In the 1980s and 90s, the movement experi- great institutions, we enced a second boom and contributed sub- 1. FORMER ORGAN OF THE CHURCH OF THE IMMACULATE CONCEPTION IN MONTREAL, BY CASAVANT contrasted the modesty stantially to the dissemination of baroque 2. NEW ORGAN OF THE CHURCH OF THE IMMACULATE CONCEPTION BY of a studio, a laboratory music among the general public. One after RUDOLF VON BECKERATH, IN OPERATION SINCE 1961. where everything would another, the Arion ensemble (now the Arion be called into question – Baroque Orchestra), Les Idées heureuses,

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BAROQUE SPECIAL

Les Boréades, Ensemble Caprice, Les Voix ceived more performances here and now The situation is not necessarily more ple- humaines and Clavecin en concert. At the than in his day! What’s more, Montreal is asant for large institutions: despite the re- same time, Yves Beaupré built his first harp- seeing the birth of new ensembles with pic- search done here over the last 40 years, sichords in his Montreal studio and flutist turesque names, animated by third- and despite so many discoveries and successes, Jean-François Beaudin, who returned from even fourth-generation Baroque musicians: Early Music remains a poor relative in Holland, remedied the shortage of good pe- Pallade Musica, Infusion Baroque, La Com- many educational institutions, while con- riod instruments by making transverse pagnie Baroque Mont-Royal, Les Songes, cert halls and major festivals, such as La- flutes and recorders that earned him an in- Les Lys naissants and the newest to arrive, naudière or Domaine Forget, give it ternational reputation. Poiesis. The enchantment of the rediscov- virtually no platform. We dream to see, in The Baroque movement, in fact, in- ery of early instruments has passed, but the this French-speaking land, a great opera by volved more than musicians. Instrument spirit remains the same, a combined search Lully or Rameau, danced, sung and played. makers, musicologists, publishers, and for expression and authenticity, a search But which opera house will take such a popularizers all have their role. What that extends more and more to the Classi- risk? Baroque may be better here than would Early Music in Quebec be without cal and Romantic repertoire. anywhere else in America, but to prosper it the hard work of the speaker François Fil- Beyond the musicological rigour, Baroque needs more support and dissemination. iatrault or the research of Élisabeth-Gallat today is often more explosive, more eclectic: What is happening today is as interesting at the Montreal Baroque Festival in particu- as the work of the pioneers forty years ago. lar, at times we imagine very natural, some- Far from ending, the adventure is just be- times disconcerting, alliances with world ginning, and a glance at the latest news is music, folklore and contemporary dance, even enough to convince us to stay alert. Check jazz. Baroque salsa, Bach’n Jazz, Vivaldi et les out the latest releases from ATMA: Vivaldi Gitans, everything is possible. The Bach Fes- concertos with Arion and flutist Vincent tival, meanwhile, offers programming bal- Lauzer (crowned with a golden tuning fork), anced between modern instruments and astonishing sonatas by a Telemann contem- period instruments that would have seemed porary, Schieferlein, with the young Pallade incoherent a few years ago. Musica ensemble, and an unpublished pas- This explosion is to be celebrated, if we see toral of Paolo Lorenzani, Nicandro e Fileno, it as a sign of a mature movement, but it per- exhumed by Les Boréades. The discovery haps also conceals uneasiness. Young en- and the emotion are still there, very palpa- sembles are multiplying, of course, but often ble. The Baroque revival is not a fad: it has find it difficult to find their audience, relying helped us to reconcile with the past, with a mainly on social networking to make them- part of ourselves. In this sense, it always selves known. More and more events for fewer speaks to us in the present. LSM and fewer people, this is the paradox that stri- kes many sectors of cultural life today. PIECES FOR HARPSICHORD BY CHRISTOPH GRAUPNER BY HARPSICHORDIST GENEVIÈVE It takes audacity SOLY, RECORDED BY ANALEKTA to undertake the study of harpsichord Morin, who in Montreal unearthed a Livre or Baroque violin in d’orgue dating back to New , most 2018. It is far from of which remained unpublished? Record the time when the companies also play a decisive role. It took Chaîne culturelle of courage for Analekta to publish 11 discs Radio-Canada, abo- devoted to the music of an unknown com- lished in 2004, re- poser, Christoph Graupner, to whose harp- gularly put Claire sichordist Geneviève Soly has taken a Guimond, Francis leading role. On ATMA, the duo of Les Colpron, Genevieve Voix humaines, Susie Napper and Mar- Soly and other lea- garet Little, created a sensation in Europe ders of the move- by recording four volumes of viol pieces by ment in front of a Marin Marais and Sainte-Colombe. microphone. Only In the 2000s two events of international community radios, to stature appeared: the Montreal Baroque their credit, dare Festival, which has enlivened downtown today to offer prog- Montreal every summer since 2003, and the rams entirely focused Montreal Bach Festival, founded in 2005. on an instrument or This metropolis has become a capital of a historical period. Early Music in North America. Bach would SUSIE NAPPER AND MARGARET LITTLE IN 1992 be astonished to know that his works re-

NOVEMBER 2018 25 sm24-3_EN_p26-27_Yves Beaupre + Nicandro e Fileno_sm23-5_BI_pXX 2018-10-29 9:24 PM Page 26

BAROQUE SPECIAL A BUILDER WITH PLUCK MEETING YVES BEAUPRÉ by PHILIPPE GERVAIS

ves Beaupré is fortunate to have a job as rare as it is exciting. He is the only Quebecer to devote himself entirely to Ythe building of harpsichords. For nearly 40 years, he has created between three to five instruments a year, each with its own decorations and sonority. As soon as a harpsichord is finished, Beaupré’s Montreal workshop fills with friends and musicians to behold the new wonder, which is then brought to life by the fingers of a per- former, himself surprised by the result. The instrument is then sent to its new owner, often in Quebec, but also in Ontario, the BASED ON THE WORK OF 17TH-CENTURY WITH A STURDY AND IMPOSING LOUIS XIII STYLE, United States and Hong Kong. Indeed, like ANTWERP ARTISTS RUCKERS AND COUCHET, THIS A THIN WALNUT BODY AND ITALIAN MOLDED our organ builders, Beaupré has built a solid FLEMISH HARPSICHORD WITH ITS CLEAR AND EASELS, THIS FRENCH HARPSICHORD OF THE SEV- reputation abroad. He tells us here about his PRECISE SOUND IS VERY POPULAR IN THE ENG- ENTEENTH CENTURY IS A REPLICA OF AN ORIGI- amazing journey. LISH AND GERMAN REPERTOIRES OF THE 16TH NAL SIGNED “VAUDRY, 1681” AT THE VICTORIA AND 17TH CENTURIES. AND ALBERT MUSEUM IN LONDON. How did you discover the harpsichord?

In the 1970s, when I was a teenager, there were very few harpsichords in Quebec. The had the chance to join them for a while, and Did you return to Europe afterwards? American maker Frank Hubbard had oper- I’m very proud of it! In 1980, we were invited, ated his workshop in for several years along with a choir and orchestra, for a tour Yes. On subsequent trips, I visited work- already and because of his success, had lasting six weeks in France and Spain. In col- shops to keep me informed of the progress launched model harpsichord kits that could laboration with French actors and dancers, we made there. A landmark meeting was one be brought and built yourself. The CEGEP at worked on a piece by Marivaux in which we with Hubert Bédard, who welcomed me to Saint-Laurent, where I was studying, pos- introduced musical interludes. We were living the chateau of Maintenon and gave me ac- sessed one of these instruments, skillfully as- in a fascinating time! cess to the Museum of Chartres, where he sembled by Gaston Ouellet. I had arrived had restored its harpsichords. It is fantastic with the idea of learning the piano, but as T hen you go for t he bill... to think that a Quebecer has revived a great soon as I touched the harpsichord, it was love number of historical instruments in Europe! at first sight! I immediately wanted to devote There was a lot of demand coming from He was a very generous and kind man who myself entirely to it. Réjean Poirier had just young musicians and amateurs, so I finally gave me a lot of confidence. He was happy been hired as a teacher and I was his first opened my studio in Montreal. I then ob- that a fellow countryman was following in student. A harpsichord class at CEGEP was tained a scholarship with which I, along his footsteps. After that, in Montreal, I really new for the time. with my wife, soprano Danièle Forget, went started a close collaboration with Luc on a study trip in Europe. There, I locked Beauséjour, who first bought a harpsichord How did you come to build harpsichords? myself up in museums and I got to study from me in 1984, a German model. We have historical harpsichords as much as I wanted. since worked together and realized many At seventeen, I was already living alone in an I went to Edinburgh where there is a fabu- projects together. Luc now has four of my in- apartment. I needed a harpsichord to practice lous collection of old keyboards. I also went struments, including a pedalboard harpsi- on at home, but I was penniless, so I quickly to Fenton House in London and to the chord, and has played a lot of them in decided to make one myself. Poirier had also Conservatoire Museum. I collected tons of concert and recordings. It’s been most stim- built some kit harpsichords sold by Hubbard notes and photos, while Danièle, who is also ulating and encouraging. and he lent me a blueprint, from which I made a painter, took sketches to prepare her fu- my first instrument. It is now at the Domaine ture drawings for my harpsichord decora- Today, does t he har psichord spark t he same int erest as Forget. I was happy with the result, but I did tions. During this trip, I fell in love with a when you first st ar t ed? not know yet that I would make a business out 17th century French instrument built by of it. I wanted to continue my career as a mu- Vaudry, which is at the Victoria and Albert Yes, the interest is still there, coming from sician and obtained a bachelor’s degree in per- Museum in London. This harpsichord is in both professionals and amateurs, and my formance in 1980. excellent condition and I was able to make order book is full for 2019. I will be mak- copies later. As it is the only preserved in- ing an Italian harpsichord with two key- By then, Early Music was already active... strument of its type, I think I have made a boards, an unusual model. I also got an contribution by reproducing it. I remember order to build a facsimile based on a Yes, Christopher Jackson and Réjean Poirier’s exhibiting one of my copies at the Boston fortepiano designed by Silbermann in concerts attracted crowds, even though the Early Music Festival and having the pleas- 1749. I find it fascinating that the piano works they played were often unknown – ure of seeing Gustav Leonhardt, who was appeared at a time when the harpsichord Schütz’s Christmas Oratorio for instance. I passing by, take an interest in it. still shone brightly. In fact, we often for- 26 NOVEMBER 2018 sm24-3_EN_p26-27_Yves Beaupre + Nicandro e Fileno_sm23-5_BI_pXX 2018-10-29 9:24 PM Page 27

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get that harpsichords and pianos rubbed Shall we look forward to an heir at shoulders amicably for many years. Carl your workshop? Philipp Emanuel Bach even wrote a con- certo specifically designed to bring the The lack of succession is always a concern two instruments into dialogue. Their ex- when doing a job like mine, especially at a terior appearance is similar, as is their time when technology is more valued than sound volume, but the mechanics are very craftsmanship. However, I have the great different, and that’s what attracts me. joy of announcing that my son Benoît, a That said, the harpsichord, or rather the jazz trumpet player, has been working with harpsichords, will remain my passion: me for a year now and is involved in sev- there is such a variety! Between the fi- eral stages of instrument making. Perhaps nesse and the roundness of the great we will soon be able to present Yves and French instruments, the robustness of the Benoît Beaupré harpsichords, I would be Italians, the ripeness of the Flemish, the very proud of it! LSM THIS SPINET IS ONE OF THE RARE EXAMPLES OF THIS TYPE IN FRANCE. IT IS A REPLICA OF AN clarity of the Germans, how can I choose? TRANSLATED BY CAROL XIONG ORIGINAL BY JEAN-CLAUDE GOUJON, A I want to try everything, play everything. PARISIAN MAKER OF THE MID-18TH CENTURY. I cannot get bored, even though I have al- Visit Yves Beaupré’s workshop online: ready built 160 harpsichords. www.youtube.com/watch?v=TCMPbXCG12g www.clavecinsbeaupre.com NICANDRO E FILENO A HISTORICAL RECORDING by BENJAMIN GORON

n the strength of last By doing away with all framed by an overture and chaconne by year’s production of theatrical elements, the Lully, as if some kind of irony was intended Nicandro e Fileno by Le recording allows the listener to pit the Italian composer against a rival ONouvel Opéra and Les to focus more completely on who so disdained him. Tensions build and Boréades, ATMA the purely musical aspects subside throughout. Frequent tempo Classics has now released this of the work, including the changes give an added sense of direction Italian pastoral opera, never vocal parts. The songlines and soul to this pastoral work. issued on record before. are so delectable to hear, Given its many qualities, it would be hard Composed by Paolo their virtuosic ornaments to quibble with this production. Having lain Lorenzani to a libretto by conveying the deceitfulness dormant for more than 300 years, the Loren- Phillipe-Julien Mancini, of the namesake protago- zani work is an unequivocal success in this Duke of Nevers, the opera nists and their female off- recording. It is something of a remote island was premiered in September spring. Suzie LeBlanc’s appearing in an indomitable sea of French 1681 at the Château de translucent voice is a real musical tragedies. Also worth noting is the Fontainebleau, a retreat occasionally used by treat, likewise the ever-subtle vocal 44-page booklet that includes the libretto in Louis XIV and his loyal subjects. arabesques of Philippe Gagné. Le Nouvel English, French and Italian. The recording For its time, the Italian style of the work Opéra singers embrace the baroque vocal itself is top-notch and does much to under- was quite subversive. So much so that the approach while giving full attention to the score the work’s authenticity. Based on this king’s personal secretary Lully forbade its words of a work that steers through the emo- precedent, we are eager to hear what these use. And if that weren’t enough, the subject tional zeitgeist of those times, full of hope, partners will do next. LSM matter was daring, even risqué. It tells the tenderness and enthusiasm, yet laced with TRANSLATION BY MARC CHÉNARD story of Nicandro and Fileno, two aging irony, treason and despair. friends who agree to marry the other’s Kudos to Les Boréades for their com- daughter. But the young ladies will have mand of this repertoire and the musicians nothing to do with this idea, as they are who contribute exquisitely to the perform- drawn to Lidio, a youthful womanizer. ance. Interestingly, Lorenzani’s work is NOVEMBER 2018 27 sm24-3_EN_p28-29_Passion Baroque_sm23-5_BI_pXX 18-10-29 20:14 Page 28

BAROQUE SPECIAL PASSION BAROQUE THE MUSICAL LANGUAGE AND AESTHETICS OF THE ERA by GILLES CANTAGREL

hymns and, of course, the major genres of lyric A HISTORY OF TEMPERAMENT theatre and tragedy and the opéra-ballet. […] Temperament, or rather temperaments, was By 1685, the geniuses of Late Baroque had en- an issue that pervaded the Baroque period. tered the scene […], Vivaldi, Telemann, Rameau, With the development of keyboard instru- Handel, Bach and Scarlatti. Genres and forms ments […], it was quickly noted that tuning acquired their archetypal structures at this time: an instrument with fixed notes poses prob- fugue, sonata and concerto, grosso or with a lems that cannot be solved without compro- soloist. Within vocal music were the church or mise. Indeed, one would tune all the fifths secular cantata, opera seria and opera buffa perfectly equally with the intention of falling and, on the spiritual side, oratorio. exactly on the starting note in a scale. How- The music of this great era differs from ever, this wouldn’t be the case, as the scale those before and after in specific features such would end on a note that is too high. […] In as the primacy of counterpoint in harmony all 1618, Michael Praetorius, performing the the way to the consecration of the triumphant works of Zarlino, proposed a mean-tone tem- key, the development of the language of the perament that keeps certain thirds equal but fugue with the apotheosis of the singular lowers the fifths, allowing one to play per- theme, the rhetorical thought that organizes fectly in tune, although only in a small num- musical discourse, and the standardization of ber of keys. […] With his The Well-Tempered the basso continuo that encapsulates and sup- Clavier of 1722, Bach went much farther. […] ports the harmony of the musical edifice. Employing the “good” temperament that he had developed (not an equal temperament, INTOXICATION OF SOUNDS as it is often interpreted today), Bach com- One single movement saw great advancements posed a prelude and fugue pair for each of in instrument making and increasingly brilliant the major and minor keys, articulating the af- playing techniques, which resulted in new in- fect of all keys, with their areas of shadow struments. […] In , particularly in Cremona, and light, better than words ever could. violin lutherie had its heyday between 1690 and ollowing Heinrich Wölfflin of 1720 with the Amati dynasty, the genius of Switzerland, the Catalonian art critic Stradivari, and the Guarneri family… In Venice, Eugenio d’Ors situated the Baroque Matteo Goffriller specialized in cellos. Fbetween the execution of Giordano Bruno Under Italy’s influence, the French school of in 1600 and the death of Johann Sebastian lutherie developed in Bach in 1750. […] Since one of the general fea- Mirecourt in the 17th tures of Baroque music is the use of basso con- century. […] Easily tinuo, it is natural to observe that the continuo finding its place in appeared around 1600 only to disappear homes, the harpsichord shorty after 1750. This century and a half is allowed a single musi- subdivided just as easily into three half-cen- cian to produce tury periods – Early, Middle, and Late polyphony and provide Baroque – a division that is much less arbi- harmonic support to trary than it may seem at first glance. voices and instruments. This is one of the rea- THREE PERIODS OF BAROQUE sons for its extraordi- Since its origin, three main countries domi- nary proliferation nated the development of European Baroque: across Europe during Italy, of course, the of the Holy this period. […] Organ- Roman Empire, and France. […] With Mon- building took major teverdi and Cavalli in Italy and Schütz in Ger- strides in France, the many, new forms were being born because of Netherlands and the one essential question: How can we move Holy Roman Empire, from the conciseness of a motet or a poly- which became major phonic song to a piece with wider dimensions? hubs of the craft. Of all The vocal domain answered with oratorio and the organ builders, the opera; the instrumental domain, with the varia- greatest master was un- tion and the suite. Middle Baroque took place in doubtedly Arp Schnit- the second half of the seventeenth century. […] ger, who was based in Musicians of this time valued emotional ex- Hamburg and creator pression, whether secular or spiritual. The forms of close to 160 instru- themselves manifested as instrumental suites, ments of generally large ORGAN OF THE ST. JAMES CHURCH IN HAMBURG, BUILT BY ARP SCHNITGER choral preludes and variations, mass verses and dimensions. 28 NOVEMBER 2018 sm24-3_EN_p28-29_Passion Baroque_sm23-5_BI_pXX 18-10-29 20:14 Page 29

BAROQUE SPECIAL

PAIN, SOLITUDE AND LAMENTS of the human body. […] In the 17th-century Another image of the circle, the canon rep- Beside the airs of pastoral poetry and joyous tradition, performing violinists and singers resents the most condensed level of musical stanzas, the solitude and cries of lost love, be improvised ornaments according to prefer- organization possible. It offers the listener the it through absence or death, formed the back- ence, personality and talent. But the grandest image of a universe that is entirely determined drop of the poetry and music of the century. improvised follies of these coloraturas merely by an original musical pattern, the image of a Whether desired or endured, solitude was one whirled atop simple patterns, just like the world created by a precursory idea. The most of the major motifs of Early Baroque, in liter- plethora of architectural decorations adorn- abstract and “secular” music had its occasion ature as well as music, and manifested most ing the austerity of pillars and architraves. […] to speak of Creation and God. notably in the subtle art of the air de cour. […] Baroque grew out of the ornament, at times The elegy, a sung poem expressing grievance, amplifying the movements of the lines to ex- GOD, HUMANKIND AND MUSIC pain and, especially, death, became the genre cess. Ornamentation added to the illusion of Around 1600, Johannes Kepler put Tycho known as the lamento, or lament, in 17th-cen- movement, as did the decor of the opera and Brahe’s conclusions on the orbit of the planets tury music. When voicing grief at the loss of equipment. It was a tool for discourse. into question. A new age had begun: scientific someone dear, it was referred to as a tombeau. thought superseded theological thought. How- The first great lamento is undoubtedly the one THE BIRTH OF “MUSICAL DISCOURSE” ever, although divine perfection had been put featured in Monteverdi’s 1608 opera Arianna. The Baroque age was a time of rhetoric. It was the into question, Catholic composers stamped the […] Mournful music needs no words. Harpsi- turn of music to speak – in the first person. From this words Ad majorem Dei gloriam (“For the point on, we speak of “musical discourse.” System- greater glory of God”), and Lutherans, for whom atized since the 16th cen- tury, musical rhetoric developed with the new era initiated by Florentine opera, the Roman orato- rio and the madrigal. […] Authors reproduced and commented on the great works of antiquity, espe- cially those of Plato and Cicero, which were still considered references. MANUSCRIPT OF J.S. BACH WITH THE INSCRIPTION "SOLI DEO GLORIA" BY DECIDING TO EXTRACT THE LAMENTO D'ARIANA The art of composi- OF HIS OPERA FOR SEPARATE PUBLICATION, MON- (GLORY ONLY TO GOD) TEVERDI SAVED THIS ARIA FROM BEING FORGOT- tion and the art of ora- TEN. THIS IS THE ONLY PART OF THE OPERA THAT tion were held in equal respect, so the very nuance was of great importance, the words Soli REMAINS. THIS COVER IS AN EDITION FROM 1623. elements of the language of composition had Deo gloria or SDG (“Glory to God alone”), on to be codified and founded on rhetorical rules. their works. […] Although humankind was no chordists and lutenists cultivated the art of Writings and essays quickly multiplied. Ital- longer at the centre of the universe, it remained evoking affects, the “passions,” through ian, German and French thinkers would ad- at the centre of our preoccupations, introspec- strictly musical means: minor keys, a stylized vance the methods of musical notation, with tion and the expression of emotions and ideas. knell, and slow tempos, generally in an alle- the sole objective of awakening the passions Likewise, we remained creatures of God. mande movement. of the soul through expression. All of Baroque Baroque music is therefore a representation of Europe was ablaze. the world: the theatre of human passions and ACTION, MOVEMENT, the opera of the spirit. LSM COLOUR AND ORNAMENT MUSIC, ORDER AND CIRCULARITY TRANSLATION BY ISABEL GARRIGA To move is to put in motion – beings and Symmetry and order are at the core of every things. This voluntary movement manifests musical arrangement. With the birth of larger These passages are excerpts from itelf as diversity, even as apparent disorder. In forms, from the oratorio to the concerto, Passion Baroque, Cent cinquante contrast, in any case. All of the Baroque’s in- Baroque musicians were particularly sensitive ans de musique en Europe by musi- tellectual and artistic trends were fuelled by to them, even to the point of subverting them. cologist Gilles Cantagrel, published this idea. Lyrical theatre was a favourite set- The arrangement of the diverse sections of a by Fayard in 2015. ting for manifestations of the soul, heart, and piece, the grouping of compositions into col- body. […] Very quickly, vocal as well as in- lections, the tonal system, and closed struc- strumental virtuosity would constitute an tures gave rise to the image of these cycles, apotheosis of the corporal and musical move- through which we can glimpse the existence ment, chiefly in the thrill of faster pieces. The and reflections of a higher organization. […] Speaker Gilles Cantagrel and organist Vincent Boucher contrasts seen in vocal music – between air This new notion of the cycle, or circularity, present Bach and Buxtehude: the Meeting in Lübeck at St. and recitative, soloist and choir, homophony roused the emerging scientific thought of the Joseph’s Oratory on Dec. 2 at 3:30 p.m. Admission is free. and polyphony – were direct reflections of this beginning of the Baroque era. And so, the da [philosophy]. And, above all, dance was the capo structure (A-B-A) was the first draft of a www.festivalbachmontreal.com preferred expression of the animated motions perpetual evolution.

NOVEMBER 2018 29 sm24-3_EN_p30_Tuning_V2_sm23-5_BI_pXX 2018-10-30 5:40 AM Page 30

BAROQUE SPECIAL

WE DO NOT HEAR WHAT THEY HEARD (PART I) TUNING AND TEMPERAMENT THROUGH THE AGES by CAROL XIONG

he practice of using period instruments in as musicians tried to transcend the constraints sound exactly alike. This is what gives each in- Early Music has facilitated a general of Pythagorean tuning. Kerner explains: “Mu- dividual key its distinct character. awareness of how Baroque pitch is about a sicians and theorists began experimenting “We also know that Bach and others were Tsemitone lower than modern pitch. Less with tuning systems that require the temper- well aware of the system of equal temperament commonly known are developments in ing of one or more of the otherwise pure fifths [the common temperament from the 20th cen- temperament, tuning and pitch over the course in the tuning scheme in order to increase the tury until present day], and that it was not pre- of history. Their implications go beyond the harmony range of the system and allow the ferred, probably because all of its major thirds concert experience. In many profound and sur- music to modulate into more useable keys.” were equally wide or pure, and there was no dis- prising ways, they have influenced why com- tinguishing character of any particular triad.” posers wrote the music that they did. MEAN-TONE TEMPERAMENT All high Baroque music favored equal tem- The first historically significant temperament perament. Interested readers can hear this DEFINITIONS is mean-tone temperament. It came in count- temperament in most harpsichord recordings Tuning, temperament and pitch are not in- less versions through the three centuries of its of Baroque music. The booklet notes usually terchangeable. popularity, and its use even overlapped with state which temperament is used. Pitch is the simplest to understand. It is the later temperaments well into the 19th century. frequency at which sound waves move, when Mean-tone temperament favoured pure thirds EQUAL TEMPERAMENT referred to in a musical context. Pitch can be at the expense of perfect fifths. Every usable triad Many more temperaments were developed measured in the SI unit Hertz (Hz). The mod- thus sounded the same. By focusing on thirds, through the ages, leading eventually to equal ern definition of “A” is defined as 440 Hz. however, another interval became unbearable: temperament at the turn of the 20th century. Tuning can refer to a specific pattern or sys- tweaking all those fifths created intervals called This temperament is perhaps the easiest to un- tem of tuning or, secondarily, to two or more “wolf tones,” so named because its out-of-tune derstand. Simply take a pure octave and divide pitches that are perfectly synchronized. “When sound evoked the howling of wolves. Furthermore, it into twelve equal parts. Whereas earlier tem- this happens,” as Robert Kerner, period instru- just as before, not all keys were usable. peraments were based on a pure tuning which ment builder and retired keyboard curator at the Many Renaissance and early Baroque key- then got adjusted here and there, equal tem- Eastman School of Music, explains, “any dis- board pieces were conceived using this tem- perament throws everything out the window. cernible tuning beats are eliminated.” perament. The thirds-centric approach of this It has no basis in naturally occurring overtones Temperament is closely related to tuning. temperament directly influenced the upsurge and requires no adjustment of old models. In- When intervals are purposely de-tuned, they are of thirds and sixths in place of the parallel stead, it just calculates everything cold. “tempered” from their pure form. fifths that were more prevalent in the music The compositions that resulted from equal of the preceding era. Modern listeners can get temperament no longer have tendency tones, PYTHAGOREAN TUNING a taste of mean-tone temperament from so composers could truly compose in any key Pythagorean tuning, the first major tuning sys- recordings of Buxtehude or Italian music on equally. Atonality, which would not have tem used in Western music, is based on math- period organs. worked with earlier temperaments, burst ematical ratios found in the natural world. forth. To hear what this temperament was Perfect fifths sound gloriously pure in this tun- WELL TEMPERAMENT conceived to facilitate, listen to how dreamy ing as they are the favoured tuning interval Many musicians and theorists experimented and ambiguous the whole tone scales feel in (the only interval used while tuning). Triads, with developing beyond mean-tone tempera- say, Debussy’s piano works. however, are only possible in a few keys. Be- ment. yond those few keys, the thirds that result from “What we call well temperament nowadays FUTURE the tuning of the contiguous fifths that make was better known as ‘new temperament,’ of The future is an exciting time as music and up the octave become unbearably out of tune. which there were many [types],” Kerner says. tuning systems across the world cross-polli- Pythagorean tuning only works in music “This is a generic phrase referring to any of the nate with Western models. Whatever happens, consisting of a single melody, parallel fifths unrestricted and irregular ‘unequal’ tempera- it is important to keep in mind that the mod- and a few triads in a limited number of keys. ments of the late Baroque and Classical era. ern temperament that we take for granted is Accompanied early chant, also known as mon- “In these systems, the circle of fifths is actually very young and still open to change, ody, fits like a glove with this tuning. ‘closed’ [all the fifths are usable and either pure just as so many tuning systems have been or slightly tempered], and the major thirds of through the ages. It’s not as absolute as one MOVING ON TO TEMPERAMENTS the various keys are of differing sizes – some might think! LSM The idea of purposely de-tuning intervals just are pure and others much wider than pure. As a little here and there became more attractive a result, no two triads in well temperament

30 NOVEMBER 2018 sm24-3_EN_p31_Bach Buxtehude_sm23-5_BI_pXX 18-10-29 19:46 Page 31

BAROQUE SPECIAL BACH AND BUXTEHUDE, 1705 A MEETING OF MINDS by BENJAMIN GORON

TREASURE OF ART AND HISTORY, THE ASTRONOMICAL CLOCK OF LÜBECK, CONSTRUCTED BETWEEN 1561 AND 1566, WAS DESTROYED BY BOMBARDMENTS OF 1942.

the grand oratorios in December 1705, in be- Wender and Joachim Richborn, for instance, tween the emperor’s passing and the designa- were all organ builders. Johann Adam Reinken tion of his successor. It could not have been a and Jacob Praetorius were organists. Anton better time for him.” Wortmann, for his part, was a painter at the This storyline sees the penniless Bach service of St. Mary’s Church (Maria der Heili- through a 12-day walk, his stopovers with gen Kirche). Some readers could be scrupulous friends and acquaintances, and his arrival in enough to appreciate the story’s level of credi- Lübeck to meet Buxtehude, who was told bility in light of the musical scores and treatises about the visit beforehand. mentioned, all of which could have been lying “He appears before Buxtehude”, Cantagrel says, in Buxtehude’s bookcase. “but the man is old now. He is burdened by so Cantagrel weaves a red thread through the much work in preparation for the two large-scale pages by giving a life of their own to Bernt THE ASTRONOMICAL CLOCK OF LUBECK, BUILT BETWEEN 1561 AND oratorios requiring musicians from all corners of Notke’s Danse macabre fresco and the church’s 1566, WAS DESTROYED BY BOMBING IN 1942. the land. He might have needed an assistant for astronomical clock, two relics sadly destroyed that reason alone, and would probably have been by the bombings of the Second World War. n 1705, J.S. Bach trekked to the northern impressed by Bach’s budding talent. These are all reminders worth thinking about German city of Lübeck to meet Dietrich “The elderly man brings his visitor to his when considering the main issues of contention Buxtehude. This encounter, the only one quarters, and so begins a master-to-pupil re- in the Baroque period, including vanity, death, Ibetween these two men, is a significant lationship, one forged between two men, both time, numerals and astronomy. The pages of event in itself, if not a momentous one for of whom are gifted. Buxtehude understands this book gleam with such themes in all of their the Baroque era. The latter was an organist that he is now facing the man of the future. To spiritual and musical implications. basking in the limelight when the former was me, it is as simple as that.” What we have, then, is the encounter be- all of 20, his career still in the making. The story of this encounter between an up- tween Bach and Buxtehude told in very pas- Call it a meeting of the minds, a rite of passage start genius and another at the pinnacle of his sionate and humane terms. Bach would surely or a quest for truth: all conjectures are possible. career is strewn with key components of the never have forgotten receiving all the paternal All have been subject to some discussion at one Germanic Baroque tradition, the organ top- advice and technical wisdom of his elder when time or another, more so in the last couple of ping the list – this being the focal point and he too reached the age of reason. decades than previously, including the period it catalyst of the spiritual and musical life of that On that account, Cantagrel notes: “There are actually happened. In fact, no single document time. The book delves into more specialized two popular songs overlaid in the bass of the has been found that yields any clues or indica- areas. “One example of this,” as the author Goldberg Variation No. 30. Buxtehude used one tions as to what these men may have said to each notes, “is the relationship between a pipe’s of these 40 years earlier, in three-four time and another. The mystery remains intact, couching pitch with that of its width and length. This af- in G Major, like Bach, who wrote his in his late the Bach mythology with yet another conundrum. fects the harmonic quality inherent to all reg- years. That is a tribute to his predecessor who he French musicologist and Bach specialist isters, from lowest to highest, while achieving met as a young man. I am very moved by that.” Gilles Cantagrel published a fictionalized ac- an overall coherency of sound between them All that is left to say is head out to St. Joseph’s count of this encounter some 15 years ago (see all. [...] There is also an incidence on the woods Oratory to witness another meeting of minds, reference below). A regular on our shores for used and where they come from with regards that of Vincent Boucher and Gilles Cantagrel. the past 33 years, Cantagrel will pay yet another to the kinds of tin-lead alloys used in the build- Both will bring to life this auspicious event that visit this month, as a guest of the Montreal Bach ing of pipes, their pliability and sonic texture.” took place over three centuries ago. A moment Festival. He will read excerpts of his book as a It is essential to unite the know-how and the to cherish, a moment to dream. LSM means of contextualizing an organ recital by technical procedures used in organ building TRANSLATION BY MARC CHÉNARD Vincent Boucher so as to “dress up” the music with the musician’s duty of infusing it with spir- with his personal take on that encounter. itual meaning. “The organist sits on his bench Having published more than 25 books on as if perched between earth and heaven, man The Montreal Bach Festival presents Bach et Buxte- Bach and the Baroque era, Cantagrel is a and God,” Cantagrel says. “He acts like a medi- hude : la rencontre à Lübeck at St. Joseph’s Oratory on scholar who applies his rigorous knowledge to ator, like the priest in his pulpit. Towering Dec. 2 at 3:30 p.m. www.festivalbachmontreal.com better understand the great masters. This ex- above, he sustains and raises the assembly pertise enables him then to map out the most below him, as if harvesting a crop of prayers that Reading tip: Gilles Cantagrel, La rencontre de Lübeck. Bach credible scenario for his story. he will carry up and deposit by God’s throne.” et Buxtehude, Desclée de Brouwer, 2003. (In French) “I think Bach planned his coup,” Cantagrel While the story is fictionalized, none of the explains. “He made it during the rehearsals of characters are. Arp Schnitger, Johann Friedrich NOVEMBER 2018 31 sm24-3_EN_p32-33_Baroque_artist_sm23-5_BI_pXX 18-10-29 17:47 Page 32

BAROQUE SPECIAL BAROQUE MONTREAL: FOUR VIEWS A BAROQUE RETREAT by VINCENT LAUZER

he Lamèque their contemporaries. This small miracle is no to travel from all corners of the world to per- International fluke, but the result of much hard work from form at one of the most important baroque Baroque Music a totally committed board of directors and a music showcases in North America. TFestival in New host of dedicated volunteers up to the task, I cannot help but be impressed by the in- Brunswick is the no matter what. creasing appeal of the festival from one year dean of Canadian fes- Festival-goers appreciate its user-friendli- to the next. Music-lovers from all over the con- tivals dedicated to ness and are very much inspired by the com- tinent make the trip to enjoy the music, the this music. Since its munity involvement and enthusiasm. Of its town of Lamèque and its surroundings. In inaugural concert in venues, the Saint-Cécile de Petite-Rivière-de- 2015, I was hired as its artistic director, and 1970, a harpsichord l’Île church has been the stage for many an en- am very much humbled by the task. The ex- recital, the festival has chanting evening over the past 44 years, its perience of working with such a devoted team

PHOTO : MARIE-EVE LAPOINTE spread its wings. In slightly eccentric decor providing a concert has been amazing. I am also grateful to the years past, it wel- setting that is far from bland. Performers are performers, who inspire me so much. What’s comed the leading names in the field, both not put up in hotels but welcomed in private not to like about spending time vacationing in Canadian and international. Its founder, homes. Not only does this serve the purpose the Acadian hinterland? Mathieu Duguay, was truly a man of vision. No of making the event more congenial, it also re- one back then could have imagined a baroque moves barriers between musicians and audi- Artistic director of the Lamèque festival, Vincent Lauzer festival lasting all these years, and so far away ences in search of a better understanding. is a former Radio-Canada Revelation of the Year (2013- at land’s end of the Acadian Peninsula. As successful as it has been in drawing in- 2014) and winner of the Fernand Lindsay Bursary for The very fact of organizing an event like ternational stars, the festival is just as com- Career Development. Vincent has appeared with Flûte this in an area with so few musicians and fa- mitted to bring newcomers into its fold. Alors!, Les Songes, Les Violons du Roy, the Pacific cilities to present concerts is a challenge. Yet Already on tap for next summer is the return Baroque Orchestra, Les Idées Heureuses, Arion, the Or- dozens of singers and instrumentalists make of the Mathieu Duguay Early Music Competi- chestre Baroque and La Cigale. He has performed in the long trek to Lamèque every year to per- tion, first launched three years ago. This is a Mexico, France, Germany, Spain and Belgium. form the works of Bach, Handel, Vivaldi and rare opportunity open to musicians under 30 BAROQUE PASSION by MÉLISANDE CORRIVEAU

aroque music, in I find both pleasure and motivation in meeting countertenor Jozef Orlinski as special guest. my view, addresses the challenge of sustaining or capturing the After that, it’s off New York to perform Handel’s the passions of power of these gestures in ways that are light- Messiah, then to Regensburg, Germany, for two Bhumanity. In its hearted, charming, noble, earthy, even dramatic. more shows at the Festival Alte Musik. heyday, it was a music of sophistication, BAROQUE MONTREAL VIOLA DA GAMBA elegance and exuber- I am a true product of the Montreal Baroque A cousin of both the violin and guitar families, ance, its essence pro- music scene. After first earning my bachelor the viola da gamba is but one member of the “viol foundly humane. Those degree as a recorder player under the tutelage consort” a family of different-sized instruments who expressed them- of Francis Colpron, I went on to get a masters immensely popular during the Renaissance. selves through this in viola da gamba with Margaret Little and fi- They were very much in favour with the noble PHOTO : MARIE-EVE LAPOINTE medium were crafts- nally a doctorate on the pardessus de viole and bourgeois classes taken by their sophisti- men who influenced its with Susie Napper. cated repertoire of elegant works. These stringed development, each honing his abilities according More than that, the scene allowed me to blos- instruments were so en vogue that they influ- to whims and inspirations. som as an artist by working with the following enced both musical style and design of instru- As a genre, Baroque music is coded. There ensembles: Viol Consort, Les Voix humaines, ments, which were now graced with sculpted are certain ground rules, to be sure, but they Les Boréades de Montréal, Bande Montréal heads, tops with purlings, tailpieces, decorative are neither stringent nor imposing, simply un- Baroque, Sonate 1704, Masques (the last now touches and elaborate marquetry. After its peak derstated. They constitute more of a frame- most active in Europe). The scene is diverse, of popularity in the Baroque period, the viola da work for performers to engage with others with creative, seemingly hyperactive in its activities, gamba relinquished its place to the cello. increased spontaneity and creative input. Or- even daring – to the point of being inspiring. namentation, dynamics, agogics, tempo, even All these artists and entrepreneurs motivated A frequent performer in international festivals, the instrumentations themselves, are left up to me to put together my own group, L’Harmonie Mélisande Corriveau has made more than 40 record- the players’ discretion, the only caveat being des saisons, which I co-direct with the harpsi- ings. Pardessus de viole (a duo with harpsichordist Eric that somewhat elusive concept of “good taste.” chordist/chief conductor Eric Milnes. On Nov. Milnes), earned up an Opus award, top honours as In its expressiveness, Baroque music is very 15 the ensemble launches a four-day run of record of the year by Radio-Canada and a Top-10 rating physical because of its close relationship to Mozart’s Requiem, a collaboration with the Fes- from the CBC. Mélisande’s ensemble L’Harmonie des dance. Both artistic forms are closely knit, for ki- tival Classica, and soon thereafter an appear- saisons received a in the classical netic purposes or as a pure source of inspiration. ance at the Montreal Bach Festival with music/vocal category for its album Las Ciudades de Oro. 32 NOVEMBER 2018 sm24-3_EN_p32-33_Baroque_artist_sm23-5_BI_pXX 18-10-29 17:47 Page 33

BAROQUE SPECIAL BAROQUE MONTREAL: A SCENE TO RECKON WITH by OLIVIER BRAULT

n a little less repertoire and unearth long forgotten works, style that is both part of our heritage and in than 50 years, all to the delight of audiences yearning for need of better exposure. Montreal’s new discoveries. The city has been success- My ensemble, Sonate 1704, champions that IBaroque ful in attracting students of early music from music. To date, we have over 100 performed music scene near and far. With its well-developed pro- works in our archives, a third of which are re- has produced a gram, McGill University ensures continuity discovered works dating back to the 1800s. As steady flow of in the scene by steadily feeding it with an in- much as my Montreal experience and expert- activities. It has flux of bright talent. ise allow me to give masterclasses at renown delighted itself I first responded to the call of ancient music schools like the Royal Conservatory of Brus- by mining the at age 17. In 1989, this was an unusual path to sels and the Conservatoire national supérieur past and taking follow. It was my reading of Nikolaus Harnon- de danse de Paris, it is still at home, here in cues from many court’s book popularizing the notion of his- Quebec, that I enjoy sharing my enthusiasm a fine role model. torical research as a means to enhance the for music the most. Initiatives are so expressivity and eloquence of Baroque music Olivier Brault’s international career spans three PHOTO : ROGER MASTROIANNI numerous that that lead me to my own personal research on the scene is now the subject. Next I sought out practitioners of decades. He teaches Baroque violin at McGill Univer- bursting at the seams while consolidating its the art, who gave me my first professional en- sity and divides his time as leader of the ensembles reputation as one of the best of its kind on the gagements, tours abroad and recording ses- Sonate 1704 in Quebec and Les Goûts réunis in Lux- continent. I have come to this conclusion in my sions as solo violinist of the Orchestre Baroque embourg. He has served as violin solo for the Four Na- travels as violin solo of the Cleveland-based de Montréal, directed by Joël Thiffault. tions Ensemble in New York, Les Boréades in Montreal Apollo’s Fire Baroque Orchestra. While Then I had the opportunity of meeting the and Cleveland’s Apollo Fire, the latter between 2011 Montreal may be far removed from the leading figures of this music passing through and 2018. He holds a doctorate in music at the Uni- European soil that gave rise to this age-old the province at the invitation of the ensemble versité de Montréal, the subject of which was a study music tradition, that does not diminish the Arion. The Argentinian virtuoso Manfredo of French music for violin and basso continuo. He is input of our scene as an active and essential Kraemer gave me my first technical overview frequently solicited for workshops and masterclasses contributor to the search for musical perform- of the Baroque violin, leading me then to more by prestigious educational institutions. He was ances that are historically informed and coher- in-depth studies with Jean-François Rivest, a awarded a medal for distinguished service by Que- ent in aesthetic and emotional terms. teacher and musical thinker of the first order. bec’s National Assembly in 2011. He was shorted Public funding is a valued asset here, as it Those studies brought me to specialize in listed by Radio-Canada as one of 10 violinists deserv- gives us the chance to dig deeper into the French music for the purpose of promoting a ing wider national recognition.

BAROQUE OPERA AND THE HARPSICHORD by LUC BEAUSÉJOUR

y maternal years later where I first heard Les Barricades original instruments at a tuning lower than grand- mystérieuses by Couperin. From that day on, the modern piano. On Nov. 30 and Dec. 1, I mother the harpsichord had me in its clutches. In will conduct Henry Purcell’s The Fairy Mintroduced fact, I love it so much now that have I added Queen at the Salle Claude-Champagne (show the sound yet another instrument to my existing collec- times at 7:30 p.m.). This event is a co-pro- of the harpsi- tion of four. On Nov. 24 I will play all five duction with the Atelier d’Opéra de l’UDM chord into our harpsichords, plus another one with pedals, under the direction of Robin Wheeler. Marie- home. When I was and a clavichord. The recital, held under the Nathalie Lacoursière is in charge of sets and still a child, she auspices of the Montreal Bach Festival, be- the choreography. LSM gave us records gins at 7:30 p.m. at the Notre-Dame-de-Bon- and her turntable. Secours Chapel. clavecinenconcert.com In quick succes- The passion for such a noble plucked- PHOTO : MICHAEL SLOBODIAN sion, I discovered string instrument led to the Clavecin en Luc Beauséjour leads an active career on several Bach’s Fourth and Concert series in 1994. After its modest be- fronts. He has travelled throughout the Americas Fifth Brandenburg Concertos and, not long ginnings with four solo recitals, the series and Europe as a recitalist. The Conseil québécois after, his famous Toccata in D minor for organ gradually expanded its scope by including de la musique selected him as performer of the – preludes to my first listening of Beethoven’s small ensembles and voice, thus opening the year in 2003. He is also a seven-time winner of the Fifth Symphony. door for more ambitious projects. Now in its Opus award with two more trophies awarded to him It was only much later, during a stay at the 25th edition, the chickens are finally coming at the annual ADISQ gala. As a soloist and musical music camp founded by Father Lindsay, that home to roost. By way of example, I have director, he appears on more than 35 albums, most I first laid my eyes on a harpsichord. We just directed two operas by Marc-Antoine on the Analekta and Naxos labels. He holds a doc- young campers were learning about musical Charpentier, Les Plaisirs de Versailles and torate in music from the Université de Montréal, history in a modest chalet nicknamed the Actéon, both fully staged at Bourgie Hall, where he currently teaches. Sorbonne – it still amuses me to this day to complete with costumes and sets. say I discovered the harpsichord aged 11... at I also am also very fortunate to direct the the Sorbonne! Joking apart, I remember a Atelier de musique Baroque at the Université TRANSLATIONS BY MARC CHÉNARD short musical interlude on television a few de Montréal. Students play on replicas of NOVEMBER 2018 33 sm24-3_EN_p34_Anne Azema_sm23-5_BI_pXX 18-10-29 12:36 Page 34

BAROQUE SPECIAL ANNE AZÉMA A DEVOTION TO MEDIEVAL MUSIC by BENJAMIN GORON

n a career spanning 30 years, soprano Anne Having entered this fascinating universe, a Azéma has been one of the most significant singer can taste all its subtlety and timeliness. figures in medieval music. As artistic direc- “It’s a generous and very demanding Itor of the Boston Camerata, this singer and repertoire for an interpreter, much like Schu- musicologist brings passion and rigour to bert and Goethe,” she says. “It is the child- her mission of promoting medieval music. hood and core of what has produced all Oct. 13: In the intimacy of Westmount Park subsequent repertoires.” United Church, Azéma shares a special mo- Despite these magical origins, the medieval ment with the audience. Alone, she sings sto- scene remains very marginal, a situation for ries of a past that resonates within us like the which Azéma offers several explanations. The echo of renewed universal emotion. La Dolce first is historical. chose plunges us into songs from 1200 to “In the 1970s and 80s, it was necessary to 1400, focusing on feminine figures. clean the slate and remove layers of varnish to “We find the usual themes of medieval sec- find truer colours and a more complete pic- ular monody,” she says. “Namely, love in all ture of what the music could have been,” she its facets: the wonderful dream of trouvères, says. “We brought a new vision of what music experiences in mythical gardens with mock- was in general and not one that was specific ingbirds and benevolent lovers, but also more to each era, and in this we were mistaken. This dramatic, tragic love, the desire that reaches conversation was necessary but insufficient.” towards things that will never flourish.” To this she adds the matter of aesthetic no- Yet what seems like a dream touches tation: “Our societies like things written down, PHOTO : SIMONE POLTRONIERI something deep within. With the strength of stated, reflecting the composer’s clear a thousand years we feel loneliness or tragic thought. In the medieval repertoire, this no- destiny brought back to life by a voice. It is tion does not exist.” perhaps this very strength that has Finally, and more generally, Azéma lamets prompted Azéma to devote herself to the that “classical music and culture are under as- repertoire of Early Music. sault in our society. Education has changed “I discovered music in an environment of and music is being left behind. We will pay the enlightened amateurs and in a setting where it price for this later.” was still in use,” Azéma says. “In Alsace, there For 10 years, Azéma has been artistic direc- were cantatas every Sunday at church, the or- tor of the Boston Camerata. In this position gans and choirs were very vibrant.” she pursues four major dossiers: music of the Azéma grew up singing Bach, Schein or medieval and Renaissance periods; American MEDIEVAL MUSIC IN QUEBEC Schütz while cultivating an interest in me- music from 1790 to 1860 which remains dieval literature, notably Chrétien de Troyes largely unknown; stage productions such as If the medieval scene in Quebec remains and Marie de France. the new project Jeu de Daniel, a 12th-century marginal, it continues to live and draw an “After high school, when I discovered that drama in Latin; and interaction with music audience. Among active groups we find En- there was music linked to these texts, I could from beyond Europe for mutual understand- semble Scholastica, founded in 2008 by never be without it,” she says. “This has been ing of musical cultures. musicologist Pascale Duhamel and directed a deep wave that has carried me ever since.” Although she often travels to Europe for today by singer and medieval specialist Re- This wave has led her to record a vast segment concerts or conferences, Azéma is rarely seen becca Bain. Ensemble Scholastica is dedi- of the medieval repertoire with the most pres- in Quebec. In its 64 years, the Boston Camer- cated to the interpretation of monophonic tigious record companies: Harmonia Mundi, ata (which has just returned from a concert at and polyphonic medieval liturgical song. Erato, Calliope, ATMA and Warner. the Philharmonie de Paris) has only once vis- The mission of the Reverdies de Montréal The interpretation of the medieval reper- ited Montreal, in 2017. Azéma has neverthe- is to promote medieval music. The ensem- toire raises a host of questions, first because less, in the past, collaborated with Les Idées ble organizes the annual Les Journées it is very diverse in time, place and social con- Heureuses and Constantinople. She was a hit médiévales, which feature concerts, confer- text. Then, in the absence of conventions cod- in this year’s Les Journées médiévales in Mon- ences, workshops and even a banquet. En- ifying vocal technique, the singer is faced with treal, Quebec City and Lévis. sembles that make incursions into the a world where “everything is a matter of taste.” We hope to see Azéma more often in our lat- Middle Ages include La Nef, Constantino- “What is important in my opinion is to itudes, perhaps in the context of Jeu de Daniel, ple, Strada Productions and La Mandragore. bring to life the word, the poetic structure and hope she will continue to shed light on our Finally, several amateur ensembles, includ- and its relationship with the musical struc- links with our medieval origins. LSM ing J’ay pris amours in Quebec City, con- ture,” Azéma explains. “The listener’s under- TRANSLATION BY MARGARET BRITT tribute to the vitality of this scene. standing is also paramount.” www.bostoncamerata.org www.ensemblescholastica.ca www.reverdiesmontreal.org

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BAROQUE SPECIAL AUTOUR DE LA FLÛTE PERIOD INSTRUMENTS BROUGHT UP TO DATE by BENJAMIN GORON

ince its foundation by flutist Mika Chénier on harp and Jennifer Thiessen on viola. Putterman in 2004, Autour de la flûte has A rather unusual trio, but not new! Musicians presented 13 seasons of concerts, bringing will undoubtedly learn more about this group, Stogether renowned musicians and ensem- as well as the barrier between early music and bles such as Suzie LeBlanc, Susie Napper, modern music, or the question of period in- Les Voix Humaines, Discantus, Notturna and struments, which has its share of questions. On La Petite Harmonie. Without specializing in an the program are works by Bax, Debussy, Falla, era or genre, Autour de la flûte offers a flexible Mozart, Rachmaninoff, Rameau and Salzedo in setting for thematic concerts based on the use the style of the Roaring Twenties. of period instruments and covering repertoire The next concert, Au Salon!, on April 9, 2019, from the Renaissance to today. ushers us into the intimacy of the romantic sa- Putterman studied at McGill University, lons of the 18th and 19th centuries. A forum for the National Conservatory of Music of Paris discussion of notables, thinkers and artists and the Royal Conservatory of Brussels. She mostly from the bourgeoisie, the show is an op- is active in the early music scene, having portunity to philosophize about the idea of played with Arion Baroque Orchestra, En- modern music. Finally, the Amour Sans Retour semble Caprice, Tafelmusik and Les Idées concert (June 5, 2019) will focus on Schubert Heureuses. Last spring Analekta released her with soprano Dominique Labelle, Putterman recording of Kuhlau sonatas with Erin Hel- and fortepianist Jory Vinikou. It remains only yard on the fortepiano. to discover these musicians who seek, by means The 14th season opens on Nov. 9 with New of period instruments, to recreate an era with a York, 1920, a concert that will plunge us into the spirit of musical authenticity. LSM excitement of American music after the founda- tion of the Juilliard School, with Aleks Schürmer New York, 1920. Salle Joseph-Rouleau, and his conical flute of 1870, Antoine Malette- Nov. 9 at 7 p.m. www.autourdelaflute.com PHOTO : SERGIO VERANES

Vesuvius Ensemble December 5, 2018, 8 p.m. Quanno nascette Ninno Christmas in Southern Italy

400, St.Paul St. East, Old Montréal Tickets on sale at La Vitrine: www.lavitrine.com Info Tickets : 514 282-8670, ext. 221 >Ê6ˆÌÀˆ˜iÊ\Êx£{ÊÓnx‡{x{xÊÊUÊÊwww.marguerite-bourgeoys.com

NOVEMBER 2018 35 sm24-3_EN_p36-37_BaroqueGuide_sm23-5_BI_pXX 2018-10-29 11:48 PM Page 28 Baroque AND Early

MONTRÉAL ENSEMBLE CONSTANTINOPLE Please join us for the first concert of our 514-286-8008 | www.constantinople.ca season on November 11 at 7 pm: Dance of ARION ORCHESTRE BAROQUE / the Labyrinth: Reimagining medieval sa- ARION BAROQUE ORCHESTRA ENSEMBLE LA CIGALE cred dance, with choreographer Marie- 514-355-1825 | www.arionbaroque.com 450-455-8194 | www.ensemblelacigale.ca Nathalie Lacoursière, at the Sacré-Cœur-de-Jésus church (1471 Ontario ENSEMBLE LA MANDRAGORE east).. 514-659-6699 | www.mandragore.ca ENSEMBLE TELEMANN ENSEMBLE MASQUES 450-671-2523 | www.ensembletelemann.ca 514-349-9639 | www.ensemblemasques.org ENSEMBLE VOCAL BACH ET ENSEMBLE PER SONARE BAROQUE www.bachetbaroque.net 514-772-9839 | www.novantica.org/en/ensemble/ensemb FESTIVAL DE MUSIQUE MONTRÉAL ATELIER DU CONTE EN MUSIQUE ET le-per-sonare BAROQUE EN IMAGES (ACMI) 514-845-7171 | www.acmimusique.org www.montrealbaroque.com Dedicated to its educational mission to FLÛTE ALORS ! young people and families since 1990, the Atelier du Conte en Musique et en Images 514-845-7171 | www.flutealors.com (ACMI) has already offered nearly 5000 concerts, shows and workshops in Quebec and Canada. The intimate character and the concern for authenticity of each production, combined with the fascinating timbres of the ancient instruments, contribute to ENSEMBLE SCHOLASTICA recreating the spirit of music, customs and 514-894-2764 | popular traditions from the feudal era to the www.ensemblescholastica.ca European adventure at the beginning of Ensemble Scholastica is Quebec’s only fe- Canada’s history. To celebrate the 375th an- male vocal ensemble that specializes in me- niversary of Montreal, the CD book Chan- dieval music and the sacred music of New sons démodées, finalist at the 2015 Opus France. Its nine singers and singer-instru- Awards, is available on www.olifant- mentalists are directed by medieval music musique.com specialist Rebecca Bain. CLAVECIN EN CONCERT Ensemble Scholastica is currently celebrat- 514-385-6320 | ing its 10th season. Founded in 2008 by www.clavecinenconcert.com/fr musicologist Pascale Duhamel, the ensem- ble has continued to grow and captivate au- DUO BAROQUE LA TOUR / LA TOUR diences with its signature vocal blend and INFUSION BAROQUE BAROQUE DUO unique programming. 514-276-2694 | www.infusionbaroque.com 506-859-6015 | www.latourduo.com In celebration of Scholastica’s first decade, ENSEMBLE ANONYMUS we offer a particularly memorable 2018- Infusion Baroque draws new audiences to 2019 season of special collaborations with early music through a truly captivating con- 418-649-7141 | www.anonymus.qc.ca some of Montréal’s most renowned early cert experience, deftly combining seasoned ENSEMBLE CAPRICE music artists. musicianship with theatrical elements. Playing music of the seventeenth and eigh- 514-523-3611 | teenth centuries on historical instruments, www.ensemblecaprice.com

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Music GUIDE

the four women of Infusion Baroque en- on period instruments. Critics and audi- THEATRE OF EARLY MUSIC thrall audiences across North America with ences alike in Canada and abroad have been 514-982-2535 | their creative and interactive programming. unanimous in hailing the group’s energy www.theatreofearlymusic.com Winners of the Grand Prize and Audience and spontaneity as well as its theatrical, ex- Prize at the 2014 Early Music America pressive and elegant playing, indicative of a unique flair for Baroque aesthetics. The Baroque Performance Competition, their ONTARIO performances have been described as “dy- group has toured extensively in Canada and namic and alive” (Early Music America) abroad, taking part in several renowned fes- ARADIA ENSEMBLE tivals. The ensemble Les Boréades owns a with “polish, energy, and finely-honed [email protected] | 647 960 6650 style… merrily breaking established tradi- solid discography of 25 titles, on the Atma tions” (Milwaukee Journal Sentinel). Infu- Classique label, which are distributed GUELPH CHAMBER CHOIR sion Baroque’s debut album, 1747: C.P.E. around the world. 519-763-3000 Bach, released in early 2017, has been de- LES LYS NAISSANTS scribed as “real baroque … gripping and full I FURIOSI BAROQUE ENSEMBLE www.lysnaissants.com of character” (Radio-Canada). [email protected] LES IDÉES HEUREUSES LA COMPAGNIE BAROQUE OTTAWA BACH CHOIR MONT-ROYAL www.ideesheureuses.ca 613.270.1015 514-803-6646 | www.cbmroyal.com LES REVERDIES DE MONTRÉAL MELOS CHOIR & PERIOD LA FRESQUE ENSEMBLE BAROQUE 514 634-1244 | INSTRUMENTS www.reverdiesmontreal.orgv www.facebook.com/lafresquebaroque [email protected] | 613 767 7245 LES VOIX BAROQUES LA NEF NOTA BENE BAROQUE PLAYERS 514-523-3095 | www.la-nef.com www.analekta.com/artistes/les-voix- baroques [email protected] | 866-303-0009 LES VOIX HUMAINES OPERA ATELIER 514-219-2031 | www.lesvoixhumaines.org 416-703-3767 | www.operaatelier.com MOMENTS MUSICAUX REZONANCE BAROQUE ENSEMBLE 514-439-2254 | [email protected] www.momentsmusicaux.ca ST ANDREW'S BAROQUE ENSEMBLE PACIFIC BAROQUE ORCHESTRA www.standrewsbaroque.ca 604-215-0406 | www.pacificbaroque.com TAFELMUSIK PALLADE MUSICA ENSEMBLE [email protected] | 416 964 6337 BAROQUE 514-834-5226 | www.pallademusica.com THE TORONTO CONSORT [email protected] | 416 966 1045 SCHOLA SAINT GRÉGOIRE DE MONTRÉAL THIRTEEN STRINGS CHAMBER ENSEMBLE LES BORÉADES DE MONTRÉAL www.scholagreg.org [email protected] | 613-738-7888 514-634-1244 | www.boreades.com SONATE 1704 Founded by Francis Colpron in 1991, Les 450-492-0898 | Boréades focuses on early music. The en- www.hexagonelanaudiere.com/membre/s semble has chosen an interpretative ap- onate-1704 proach in keeping with the spirit of the STUDIO DE MUSIQUE ANCIENNE DE Baroque era, by adhering to the rules of per- MONTRÉAL formance practice of the past and playing 514-861-2626 | www.smamontreal.ca NOVEMBER 2018 37 sm24-3_EN_p38-39_Hank Knox_sm23-5_BI_pXX 18-10-29 20:16 Page 38

BAROQUE SPECIAL HANK KNOX

THE PARADOX OF BAROQUE MUSIC about 24 small ensembles (coordinated by by CAROL XIONG Betsy MacMillan and Tracy Smith Bessette and coached by a community of Montreal Early Music luminaries). In addition, he is music di- rector of the McGill Baroque Orchestra and of one fully staged Baroque opera per year. “The Baroque opera productions started out as a student initiative,” Knox explains. “The first year, we did a Handel pastiche. Once the opera department saw how much interest that generated, we’ve been collaborating with them ever since. In fact, McGill is the only school in North America and one of the few in the world that mounts a staged production of an early opera every season.” This season, the opera of choice is a Cana- dian first, Francesca Caccini’s La liberazione di Ruggiero dall’isola d’Alcina, premiering in March. Audiences can look forward to some unusual instruments. “There’s a call for a lirone, which is a cello on steroids,” Knox ex- plains excitedly. “It’s a large bowed instru- ment with 12 strings one plays ‘normally’ and two drone strings. You play big chords on it.” It makes sense to play on period instru- ments such as the lirone, as it does not have any contemporary descendants. But why in- sist on playing period instruments that do have modern counterparts? According to Knox, the first reason is be- cause of the difference in sound. “I’ve been in love with the sound of the harpsichord for over 40 years now. The sound of the Baroque vio- lin, the Baroque flute with its soft wooden core… fits the writing and the balance of the accompanying instruments.” Then there’s the difference of touch, “A harpsichord’s touch, for instance, is very, very different from that of a piano. When you have a different touch, you immediately respond with a different tactile and musical approach.” Moreover, there are differences in tuning, pitch, and temperament: Not only are these important in terms of truthfully reflecting what the composers would have actually heard, they also directly affect the listener’s experience. “When you get to the end of a piece that is tuned in mean-tone tempera- ment, it’s over,” Knox says, closing his eyes briefly as though savouring the peacefulness of such a resolution. His eyes shoot back open as he grabs the air like a conductor: “It does- n’t have that jangling of equal temperaments!” PHOTO : PIERRE CHARBONNEAU EARLY MUSIC AS NEW MUSIC Knox feels strongly that music written hun- ne might assume a leading expert on of it, he had thumbtacked organically through dreds of years ago still matters in the 21st cen- Early Music to be esoteric. Hank Knox the years on wherever there was still space. tury. “If you look at the texts, it’s the same shatters this assumption. Knox has been director of the Early Music texts that we write now, usually about love and O An entire side of Knox’s McGill Uni- Program at McGill’s Schulich School of Music the complications or agonies that go with it. versity office is plastered with what he for more than 20 years. He is godfather of the “They may have been a little formal when calls his “wall of shame,” posters of produc- school’s Cappella Antica (which is now directed they expressed these emotions a few hundred tions of students and himself, that by the looks by Grammy-award winning soprano Suzie Le- years ago, but I don’t think there is any differ- Blanc) as well as a very active collection of ence between our emotional lives and theirs.”

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BAROQUE SPECIAL

Second, the spirit of Baroque music in par- learn how to realize figured-bass,” he says. “It’s SUMMER PROGRAMS ticular is ceaselessly renewed because so much not rocket science. You just need to practice.” of it is improvised. In this respect, Baroque He continues: “We make it a little compli- TAFELMUSIK BAROQUE SUMMER music (c.1600 — 1750) is much more akin to cated for ourselves because we start later than INSTITUTE contemporary jazz than Classical music people did in the 17th or 18th century. Back (c.1775 — 1825). “Classical music has… ossi- then, little kids were taught from a very early A world-renowned training program for ad- fied itself,” Knox laments. “We compare age how to do the Rule of the Octave [harmo- vanced students, pre-professional, and pro- freeze-dried performances to one another. But nization of the bassline] and so on. When fessional musicians in instrumental and if your only criterion is ‘how does this per- you’re trying to do this as a young adult, it’s vocal baroque performance practice. formance fit into that template that you’ve already a bit late, not because you can’t do it, heard over the last 20 years,’ I don’t think that but because you are aware of what you’re WHERE: Faculty of Music, it’s very interesting in the long run. doing. You get self-conscious, and that University of Toronto “On the other hand, people who are willing stymies your progress.” WHEN: June 2-15, 2019 to take a chance and add their own ornaments in Bach, or improvise their own Allemande in AN UNEXPECTED JOURNEY Find out more: www.tafelmusik.org/artist- between a Prelude and Courante when play- Knox’s own musical beginnings came totally training/tafelmusik-baroque-summer-institute ing something by a French composer, that is by accident. “I started off life as a pianist when much more interesting.” I was very, very young, but Mozart just never Taking chances is what the composers did it for me,” he recalls. “I understand that UNIVERSITY themselves expected from performers. “Man- there are other people who like that, but I am uscripts were generally compiled so that the more interested in the stuff that’s off the PROGRAMS writer could play it themselves or so that a beaten path. small group of students who had access to the “I didn’t really want to go to university right BAROQUE ORCHESTRA writer could learn music. It was an aide mem- after high school. I was studying organ as a MENTORSHIP PROGRAM oire, not nearly the whole thing. high school student and my teacher’s church A collaboration between UBC, Pacific “In fact, if you look at the original manu- had just installed a big organ by Hellmuth Baroque Orchestra, and Early Music Van- script in the writer’s hand, you will see all Wolff [one of Montreal’s most acclaimed couver. Open to students of UBC only. kinds of slashes and scribbles. The problem organ-builders]. Wolff was just getting started comes when our modern editions take those back then and needed an apprentice.” WHERE: University of British Columbia, scribbles, and then set them in neat and offi- After a year of working as Wolff’s appren- Campus cial typesetting, casting those living notes into tice, Knox fell in love with Montreal and de- stone. With this understanding, you realize cided to go back to school, first majoring in Find out more: www.music.ubc.ca/baroque-or- that you have a lot more freedom and a lot music theory rather than in harpsichord. chestra-mentorship-program more responsibility to exercise that freedom.” “As a theory major, you had to take an in- How does one tastefully exercise this free- strument, so I took the harpsichord. After a dom? “In a lot of ways, it’s like jazz improvisa- semester, I realized that playing the harpsi- MCGILL UNIVERSITY, tion, which is obviously and equally unthinkable chord was way more fun than writing about it, SCHULICH SCHOOL OF MUSIC without its improvisational aspects. so I switched and never looked back!” Degrees offered in Early Music: BMus, “Jazz musicians can listen to recordings to MMus, DMus, LMus, ADip inform themselves on how to improvise. There “PIGHEADED CURIOSITY are no recordings from the 17th century, so AND TENACITY” Find out more: you have to be a detective. Decades later, Knox is now a highly respected www.mcgill.ca/music/programs/mmus-early-music “You can read treatises, of course, but you performer and pedagogue. Speaking of pres- can also look for written-out examples from ent-day students, Knox quips, “There is so the composers in some of their continuo real- much stuff online now that I sometimes am UNIVERSITÉ DE MONTRÉAL, izations or in some solo repertoire that was in- anxious that young musicians aren’t going to FACULTÉ DE MUSIQUE tended for the printing press from the get-go. be able to find the market for what they do. Degrees offered in Early Music: BMus, Usually those are much more detailed than You’re not just in competition against last MMus, D.E.S.S., DMus, M, and PhD the [personal] manuscripts.” month’s material but with all kinds of stuff While the endless detective work involved that goes back about a hundred years.” Find out more: www.musique.umontreal.ca/disci- with working on Early Music may be frustrating How do you not lose your head then? “Pig- plines_profs/instruments_anciens.html to some, it is also what makes the endeavor fun. headed curiosity and tenacity. If you hear “You have to really love the thrill of the chase,” something or read something that grabs your Knox says. “You’ll always be chasing something attention, follow up on that. That will lead to UNIVERSITY OF TORONTO and you’ll never catch it. I think that is key to something, and then something else. Don’t get Degrees Offered in Early Music: Advanced what makes a long and interesting career.” discouraged; don’t give up!” LSM Certificate, MMus, DMA Along with fastidious detective work, a musi- cian performing Early Music will also need to in- Hank Knox directs the McGill Baroque Orchestra at Find out more: ternalize certain bygone skills such as Redpath Hall, Nov. 7 at 7:30 p.m. www.music.utoronto.ca/programs.php improvisation so that he can truly be lifted from www.mcgill.ca/music the page. Knox advocates for such skills as part of every musician’s formative curriculum, “We have piano students come into my continuo class and

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U OF T FACULTY OF MUSIC TURNS 100 FROM HUMBLE BEGINNINGS TO WORLD CLASS INSTITUTION by CAROL XIONG STEADY GROWTH The examinations-only structure of the Faculty changed after the end of the First World War. By 1919, the motley faculty at the University of Toronto had given a total of 18 lectures on music theory and music history. In the ensuing decades, regular classes were introduced, fol- lowed by expansions in curriculum and programs. 1962 marked an- other significant year as the Faculty moved into its present home, the Edward Johnson Building, which also happens to be the first building designed for music study in Canada. The year 2018 marks just as big a milestone as the Faculty celebrates its 100th anniversary. Centennial celebrations abound, including visits by many distinguished guests, cross-area concert collaborations and informative public events. The Faculty has a lot to be proud of. To date, it has had almost 7,000 graduates from 14 different programs of study. BRIGHT FUTURE As the Faculty prepares to step into its second century, it has a lot of accomplishments to look back on and even more to look forward to. When asked about what he has in mind for the next hundred years, Dean Don McLean responded with the following:

Who in 1918 could have predicted the musical world we live in in 2018? Recording, radio, broadcast, Internet! Who would risk ima- gining 2118? But we do know that the next century for music will he University of Toronto Faculty of Music now boasts one of the be international – local in action, global in scope; it will be inter- largest student bodies of any music school – 896 as of this writing. disciplinary – the impact of music on and in many other disci- One hundred years ago, the faculty had no students and only a plines and fields will become normative; and it will be innovative couple of faculty members. — music will continue to be cutting edge in the development of T technologies such as AI, VR, and bioengineering and it will lead Indeed, the Faculty had literally zero students because before 1918, U of T was only in the business of administering exams to external candi- in developments of infrastructure to create livable ‘sound’ spaces. dates who studied independently. If a candidate successfully completed a certain set of exam papers, he was awarded his degree in music. For pres- Whatever happens, the University of Toronto will surely, in Dean ent-day readers, the closest analogy to this format would be the examina- McLean’s words, “prepare the next generation of community-centred, tions offered by the Royal Conservatory of Music, which, incidentally, had globally-informed cultural leaders.” been entwined with the University of Toronto from 1919 until 1991.

IN THEIR OWN WORDS Throughout this long and eventful history of academic and artistic excellence, the Faculty has woven countless students, faculty members, and alumni together into one diverse and dynamic community. Here are highlights from a few individuals whose lives have touched and have been touched by the Faculty of Music:

What aspect of being a pedagogue do you love most?

I love being part of the developmental process and witness the changes friends. Respect for a teacher needs to be earned, not demanded. I in- in young singers between the ages of 18 and 30. I am a catalyst for sist that my students address me by my first name and I encourage change in their artistry as singers. Each voice and talent is so different, them to disagree with me so that they may develop their own personal I am constantly renewing my ideas and understanding as well as nur- creative response to the world. This personal contact is incredibly en- turing theirs. As a mentor in the graduate voice pedagogy program, I ergizing to me and I seldom get tired teaching privately for many hours [witness] intuitive talents blossom and grow. Making vocal and musi- in a row. I consider this kind of contact a gift and feel grateful for it. cal discoveries together is extremely satisfying. As my students take — , PROFESSOR OF COMPOSITION ownership of their talent, I take a step back and watch them inspire, support, and nurture others. The world needs this musical interaction. — LORNA MACDONALD, ASSOCIATE PROFESSOR AND HEAD OF VOICE STUDIES Teaching is a process of constant exploration in a collaborative envi- ronment, and it is that shared discovery that I love. Seeing and hear- ing the “ah-ha” moments over time, observing young musicians mature The one-on-one composition lessons, especially (but not exclusively) and become independent and then take flight – those are the remark- with graduate students who ask important questions and seek answers able privileges of teaching experienced during a 43-year career. What beyond musical technique. I often quip that if my students learn from a gift! If students learn to love the process in that way, they are assured me half as much as I learn from them, they will have learned a lot. The of continued musical growth. best learning takes place in a trusting environment and between — HILARY APFELSTADT, PROFESSOR EMERITA OF CHORAL STUDIES 40 NOVEMBER 2018 sm24-3_EN_p40-41_Toronto University_2_sm23-5_BI_pXX 2018-10-30 5:43 AM Page 41

How has U of T made you a better artist?

So much of one’s musical development is owed to mentors. I was lucky Working with visiting composers was a highlight. In the choral area, enough that U of T introduced me to one of my greatest and constant we were fortunate to have Alice Parker, Eleanor Daley, Ruth Watson mentors, Dr. Elizabeth McDonald. Through her guidance I learned so Henderson, Morten Lauriden, Ola Gjeilo, Imant Raminsh and Steven much about what it means to be a great artist: to have a dependable Chatman, among others. The performances of their music and corre- technique but also to be the kind of person others can depend on. She sponding collaborations with other musicians in the city were inspir- taught me not only how to sing, but also encouraged me to explore ing. We also had the good fortune to take choral ensembles to perform what my ears heard and what my heart twice at Lincoln Center. told me was socially right; the three — HILARY APFELSTADT, PROFESSOR EMERITA OF CHORAL STUDIES need not be and should not be sep- arate. Her advice and guidance were only further emphasized by While I was finishing my masters at U of T in 2017, my other mentors: Dr. Hilary I singlehandedly organized a cross-country tour Apfelstadt, Dr. Stephen Philcox, featuring a recital of Canadian women’s vocal Professor Mia Bach, Professor music. It was the most fun and challenging experi- Kathryn Tremills, Professor ence I have ever had. Through connections Monica Whicher, to name a few. at U of T I was also able to commission They all taught me to push my- a new work for soprano and piano for self to be a complex and ac- the tour by U of T graduate (then stu- countable artist. They led by dent) Rebekah Cummings, which I example and one couldn’t performed in all 19 concerts around help but be inspired. the country. — ALEXANDRA SMITHER, SO- — CLARISSE TONIGUSSI, FOUNDER OF THE PRANO (BMUS FROM U OF T, CANADIAN WOMEN COMPOSERS PRO- MMUS FROM RICE) JECT (BMUS AND MMUS FROM UOFT)

U of T has certainly helped me on When I started at U of T in 2010, my journey to becoming I was fortunate the artist I wish to be. enough to join During my studies, I the contemporary was able to work with music ensemble, truly inspiring pro- GamUT, right off fessors and artists the bat. GamUT, then run alongside a group of by Norbert Palej, was the really talented and first time I ever experi- hard-working students. enced contemporary classi- The program pushed cal music. Norbert really had me to my musical limits IN USUAL ORDER: LORNA MACDONALD, HILARY APFELSTADT, faith in and pushed me, as- giving way to a musician with an un- ALEXANDRA SMITHER, CHRISTOS HATZIS, CLARISSE TONIGUSSI, signing me works by Schnittke and Górecki derstanding of music and singing I ILLUSTRATION : HEFKA in my first semester. These works opened my did not know could exist. ears to sounds that I had never imagined, — CLARISSE TONIGUSSI, FOUNDER OF THE CANADIAN WOMEN COMPOSERS sonic worlds that I had never explored. I remember poring over scores, PROJECT (BMUS AND MMUS FROM U OF T) crying because I couldn’t count, and feeling exhilarated onstage amidst new sounds and colleagues. Now, eight years later, a large portion of What is the most unforgettable musical experience you’ve had at U of my art is based in that world. That first concert fundamentally altered T as a music creator? the career path I have taken and I never looked back. — ALEXANDRA SMITHER, SOPRANO (BMUS FROM UOFT, MMUS FROM RICE) Many unforgettable experiences. Some of my seminal musical collab- orations began with U of T colleagues, like the , with What has been the most important thing that you strive whom I engaged in a journey of mutual discovery through our collab- to impart to your students? oration in the multimedia music theatre work Constantinople; the St. Lawrence String Quartet, when they were the visiting ensemble at the To be fearless, honest and authentic as artists. Creativity is not some- Faculty of Music and commissioned my Second String Quartet in 1999. thing you master. It masters you when you allow it to possess you and Soon after the premiere in Toronto, they recorded a CD with my two shape you. It is not easy for young people (any people, really) who fear string quartets for EMI and toured with them internationally. The pre- loss of control to let go of their inhibitions and become important miere of my first Flute Concerto with French flute virtuoso Patrick Gal- artists and creative individuals in any walk of life. The certainty which lois accompanied by faculty and student musicians in Walter Hall in is promised by the objectification of reality and which is promoted by 2003; the performance of my orchestral composition The Isle is Full of academic culture is at cross-purposes with true creativity. Teachers of Noises by the University of Toronto Symphony Orchestra in 2017. creativity have to struggle to stem the avalanche of positivism is such These are a few of many such wonderful experiences. an environment and inspire free and unrestrained thinking and feel- — CHRISTOS HATZIS, PROFESSOR OF COMPOSITION ing. I find that individual composition lessons are the best way [to find] this mode of deep personal communication with students. I prize the opportunity given me by the university to perform my best by person- Performing in the International Bach Festival with Helmut Rilling, and ally engaging with students in this manner. creating, producing and performing Marrying Mozart for the Mozart an- — CHRISTOS HATZIS, PROFESSOR OF COMPOSITION LSM niversary year. Both stretched me as an artist in the best possible way. — LORNA MACDONALD, ASSOCIATE PROFESSOR AND HEAD OF VOICE STUDIES NOVEMBER 2018 41 sm24-3_EN_p42_Higher Education_sm23-5_BI_pXX 2018-10-30 5:45 AM Page 42

HIGHER EDUCATION NEW AND NOTEWORTHY by CAROL XIONG

CONCORDIA UNIVERSITY UNIVERSITY OF BRITISH COLUMBIA WESTERN UNIVERSITY, DON WRIGHT Concordia’s Depart- Instructor and alumna FACULTY OF MUSIC ment of Music cele- Jocelyn Morlock Five years ago, brates the Year of (MMus’96, DMA’02) Western University the Woman. Key wins Classical Composer began a project to among its celebra- of the Year at the 2018 renovate part of the tions is the hiring of Western Canadian existing music

PHOTO : WWW.VADIMDANIEL.COM Andrea Young as Music Awards, and a building, build a Artist-in-Residence. Juno Award for Best two-storey section that houses rehearsal space Joshua Rager releases a new CD (Dreams Classical Composition and a new recital hall, as well as a five-storey and Other Stories), Ricardo Dal Farra com- for her orchestral work I tower for more rehearsal, teaching, classroom PHOTO : Am Amanda Todd. pletes the department’s first field school at the COURTESY OF THE ARTIST Va- and performance space. In October the Don Universidad de Caldas, and recent graduate lerie Whitney is hired Wright Faculty of Music celebrated the official Ilyaa Ghafouri wins First Prize at the TIMES as the newest addition to the horn faculty. opening of this 69,000-square-foot space. PLAY 2018 Composition Competition. UNIVERSITÉ DE MONTRÉAL WILFRED LAURIER UNIVERSITY GLENN GOULD SCHOOL Salle Serge- Laurier launches a Beginning in the 2018-19 Garant, one of new concentration academic year, students three concert halls in Integrated completing undergradu- at the Faculty, re- Musical Arts to ate requirements at the opens following a the Bachelor of Glenn Gould School will renovation. This Music degree. As- PHOTO : FACULTÉ DE MUSIQUE receive a Bachelor of 150-seat venue now sistant professor Music, Performance features a larger stage, improved acoustics, new and voice coordinator Leslie Fagan has been (Honours). Acclaimed seating, state-of-the-art technical facilities and appointed to the Order of Ontario. Students cellist Hans Jørgen two new concert grand pianos. Acclaimed mu- and alumni will take part in the Kitchener- Jensen is named to the sicians such as pianist François Bourassa, Waterloo Symphony Orchestra’s concert faculty. Scholarship stu- trumpet player Stéphane Beaulac, and vio- performance of Carmen. Laurier celebrates 30 dent Sae Yoon Chon linists Yukari Cousineau and Laura An- years together with its quartet-in-residence, wins the prestigious driani join the faculty. The Orchestre de the Penderecki String Quartet. Grand Prize at the 11th Dublin International Piano l’Université de Montréal celebrates its 25th Competition. anniversary in 2018-19, and will perform at MORNINGSIDE MUSIC BRIDGE Maison symphonique in December. PROGRAM MCGILL UNIVERSITY, In July 2019, approximately 65 young musi- SCHULICH SCHOOL OF MUSIC UQAM cians will gather at the New England Conser- Doctoral violin student Faculty composer Jean-Olivier Bégin receives vatory in Boston for an intensive month of Amy Hillis wins First the Screen Composer of the Year Award at the 2018 music-making. Morningside Music Bridge Prize at the Eckhardt- SOCAN Montréal Awards, and a Gémeaux Award brings together violinists, violists, cellists and Gramatté National for the Best Original Music. UQAM alumna pianists for a tuition-free learning experi- Music Competition in Stéphanie Hamelin-Tomala (DESS in Film ence. Previously, this international summer Strings, and alumnus Music) wins two SOCAN 2018 Foundation Awards program has also been hosted by the Fryderyk Eric Abramovitz is for Emerging Audiovisual Composer. Chopin University of Music in Warsaw and the appointed associate Central Conservatory in Beijing, among others. principal clarinet of the UNIVERSITY OF TORONTO Toronto Symphony Or- The Faculty celebrates its 100th anniversary VANIER COLLEGE chestra. Violinists Jin- in 2018. It now has 550 undergraduate stu- The Linda and Sheldon Kagan Music Col- joo Cho and Violaine dents and 350 graduate students in a wide lection at Vanier College passes its first an- Melançon join the variety of specialized areas. Over the past few niversary since it was donated to the college on faculty of over 200 professors. Juno-award win- years, the Faculty has continued to evolve Sept. 7, 2017. The collection of recordings ning saxophonist/composer Christine Jensen through the establishment of interdiscipli- (about 10,000 LPs, 45-rpm singles, CDs and becomes artistic director of McGill Jazz Orches- nary fields in training and research, curricu- cassettes) not only features a wide variety of tra I, and Grammy-award winning soprano lum reform, infrastructure development, popular music, but also includes a rich array of Suzie LeBlanc is introduced as artistic direc- internationalization and constant renewal of classical music, world music and beyond. LSM tor of McGill’s Cappella Antica. faculty members as it steps forward into its second century.

42 NOVEMBER 2018 sm24-3_EN_p43_Université Sherbrooke_sm23-5_BI_pXX 2018-10-29 6:12 PM Page 43

UNIVERSITÉ DE SHERBROOKE A TRANSFORMATION by MARIE-CLAIRE FAFARD-BLAIS

he École de musique of the Université de collaboration with leading stakeholders in the Sherbrooke has gotten a makeover to cel- audio and picture industry,” Cayer added. ebrate its 25th anniversary. Thanks to an Performance-degree students will not be Tinvestment of more than $9.5 million, the neglected, as the new facilities connect aca- facilities have been completely demic learning with hands-on training. Each redesigned to adapt to the 21st century. To space is designed as a laboratory to encourage meet the needs of new programs, the build- students to develop their greatest potential. ing’s interior was rebuilt. These spaces include rehearsal rooms with “Synergy, flexibility, high-quality audio digi- modular acoustics and state-of-the-art tech- tal equipment, one-of-a-kind teaching and nology (e.g., grand pianos, amplifiers, and Finally, the construction project nearly dou- music production facilities in a university con- sound and quality recording systems), rooms bled rehearsal rooms that are now available text – these were the main goals,” said École di- to seat an orchestra of 100 musicians in front 24 hours a day, seven days a week. An online rector André Cayer. The aim is to become a of a screen, and smaller boards for chamber reservation system has been implemented; fa- leader in film score, video game, and advertis- ensembles or pop and jazz groups. cilities are accessible through a swipe card sys- ing production training and offer the only bach- “Each performance student is assessed and tem to guarantee greater safety for students. elor’s degree in music and image in Quebec. monitored by occupational therapists to iden- To promote sustainable development, the Facility interconnections now make it pos- tify and prevent injuries related to instrumental École de musique has geothermal wells to sup- sible to work directly with the industry. Con- practice, thereby helping them to improve their ply its heating system. The excess is injected into sequently, students have become project habits,” Mr. Cayer added. “All students have ac- the Université de Sherbrooke campus network, participants through direct training in a high- cess to mental preparation courses, too.” To val- reducing greenhouse gases by 250 tons. LSM quality professional environment. idate the students’ overall knowledge, exams TRANSLATION BY DWAIN RICHARDSON “The new facilities enable multiple interna- have been redesigned to simulate real-life situ- tional projects in this field and offer intensive ations in today’s professional music scene. www.usherbrooke.ca/musique GREAT Art Song Challenge RECHERCHE IS SEEKING BÉNÉVOLES POUR : VOLUNTEERS FOR: Financement Fundraising a Scena Musicale is Distribution Distribution celebrating the Art Song. Relations Publiques Public relations We are conducting a worldwide survey of the 10 greatest art Coordination de projet Project coordination songsL of all time. Vote for your favourites by sending us your top 3 art songs. Rédaction Writing and editing Deadline: 2018-12-31 Site Web Website

514-948-2520 [email protected] www.nextgreatartsong.com

NOVEMBER 2018 43 sm24-3_EN_p44-46_HigherEducationGuide_V1_sm23-5_BI_pXX 2018-10-29 6:14 PM Page 44

2018-2019 HIGHER MUSICAL

To help students find information on music education, this month’s La Scena Musicale offers a guide to the EDUCATION major educational institutions in Canada.

• PROGRAMS OFFERED used as a sounding board student and French-speaking Belgian BMus and Certificate: Majors in 2 studios for student: $ 4200 composition, performance, music performance/pop/jazz/world music International: $ 9775 pedagogy, or personalized path 1 large research platform in percussion Microprogram and DESS in choir 3 recording, mixing and post-production • DESCRIPTION direction boards (7.1) In 2018, the School of Music has MMus in choral direction completely revised its programs and DESS in development and realization of teaching methods. In fully renovated an artistic production in music • FACULTY 57 (lecturers included) spaces, the studies are now focused on SHERBROOKE UNIVERSITY the synergy between composers and SCHOOL OF MUSIC • FACILITIES performers. The School of Music is 2500, boulevard de l'Université • STUDENTS becoming a leader in film, video game Completely renovated 120 full-time and 30 part-time Sherbrooke (Québec) J1K 2R1 1 concert and recording halls (up to and commercial film production Tél. : 819 821-8040 100 musicians) also including 4 training. Sans frais : 1 800 267-UdeS, specialized sound recording booths poste 68040 • TUITION FEES 1 recital room with a view of the Resident of Quebec: $ 1610 [email protected] Campus (80 seats) which can also be www.usherbrooke.ca/musique Canadian outside Quebec, French

44 NOVEMBER 2018 sm24-3_EN_p44-46_HigherEducationGuide_V2web_sm23-5_BI_pXX 2018-10-30 3:04 PM Page 45

• PROGRAMS OFFERED • SPECIALIZED PROGRAMS • DESCRIPTION Bachelor’s: general, musicology, Digital music: minor, major, bachelor’s On the national level, the Faculty of performance (classical, jazz), and D.E.S.S. (graduate diploma) Music distinguishes itself by welcoming composition, writing • FACILITIES close to 316 graduate and postgraduate Master’s: musicology, ethnomusicology, Salle Claude-Champagne (952 seats), students (master’s, doctorate, graduate performance, composition, conducting two other concert halls, electroaccous- and postgraduate diplomas). Linked with Diploma of specialized graduate tic and multitrack recording studios international institutions for internships studies (D.E.S.S.): performance • FACULTY abroad. Financial aid available for all (classical, jazz), orchestral repertoire 160 (professors and instructors) levels. Large research department in Diplôme d’études professionnelles • STUDENTS: 788 musicology, popular music, performance, FACULTÉ DE MUSIQUE DE approfondies (professional advanced Undergrad: 472 accoustics, and creation, including the L’UNIVERSITÉ DE MONTRÉAL certificate, postgraduate-level): Graduate: 316 Observatoire interdisciplinaire de P.O. box 6128, Centre-ville performance, composition for film and • TUITION FEES création et de recherche en musique Montréal, Québec H3C 3J7 stage productions Full-time, per semester (undergrad) : (Interdisciplinary Observatory for Musical Doctorate: musicology, ethnomusico- Québec residents: $1 374 Creation and Research), OICRM. Tel: 514-343-6427 logy, performance, composition, (non-Québec residents) and [email protected] conducting French students: $3 445 www.musique.umontreal.ca International students: $7 905

• PROGRAMS OFFERED Robert Frederick Jones Choir Room with music programs leading to university - 2-year DCS in Pre-university Music 2 grand pianos. Digital Sound Design and to the professional world, weekly - 3-year Double DCS in Science and lab, recording studios, computer labs, concerts, large scale evening concerts Music 35 practice studios, piano workshop, 49 and musical theatre productions, mas- - 3-year Double DCS in Social Science pianos including 8 grands. ter classes and workshops with guest and Music Classical, Jazz and Pop artists, annual - 3-year Double DCS in Languages • FACULTY 39 festivals including the Big Band Benefit and Cultures and Music Concert. VANIER COLLEGE • STUDENTS 150 - 3-year DCS in Professional Music Entrance, interim and graduating scho- 821, boul. Sainte-Croix • TUITION FEES and Song Techniques: larships offered. Montreal, Qc, H4L 3X9 Quebec residents: $190 / semester Stream A: Composition and Arrange- General: (514) 744-7500 Out of province applicants: $1,572 ment, Stream B: Performance • INFORMATION SESSION Music Admissions: (514) 744-7500 International students: $6180-$9580 - 6-month ACS in Audio Recording OPEN HOUSE: Saturday, November 3, ext. 6039 per semester depending on the pro- Technology 2018, 12:00 pm to 4:00 pm [email protected] gram www.vaniercollege.qc.ca/music Audio Recording Technology info: • FACILITIES INFORMATION EVENING: Tuesday, Fe- • DESCRIPTION [email protected] or Vanier College Auditorium (400 seats). bruary 5, 2019, 5:30 pm to 8:30 pm 514-744-7000 Outstanding campus facilities, varied PROGRAMS OFFERED: dozens of practice studios passion for music and to pursue the Undergraduate: B.Mus. (profiles: Technology and Research: Piano Pedagogy intense training needed for an active and performance, composition, music Research Lab; CreatorSpace; electronic successful career in the field. We maintain education, piano pedagogy, theory, music studio; music and computers lab; the close ties with renowned arts institutions musicology, arts administration); B.Mus. latest recording technology such as the National Arts Centre and the Ottawa Symphony Orchestra leading to and Honours B.Sc, with Major; Honours B.A. • FACULTY in Music; Major/Minor in Music Studies; rich performance opportunities for our Certificate in Piano Pedagogy 16 full-time , 44 part-time students. We take pride in our state-of- the-art music facilities and internationally *French Immersion is available when taken • STUDENTS recognized professors who perform as part of an honours degree 229 undergraduate around the globe and publish research in Graduate: M. Mus.; M.A. Music; M.A. Music 78 graduate leading academic journals. We are a full- THE UNIVERSITY OF OTTAWA Spec. in Medieval and Renaissance Studies • TUITION FEES service music school offering SCHOOL OF MUSIC and Music Spec. in Women’s Studies undergraduate and graduate programs in 50 University Street Two Certificates: Graduate Diploma in (1 academic year, full-time, $CAN): $7,956.89 (undergraduate); $6,812.30 performance, composition, education, Ottawa, ON K1N 6N5 Music Performance; Piano Pedagogy piano pedagogy, musicology theory. The Tel: 613-562-5733 Research (graduate) uOttawa is one of the only institutions in [email protected] • FACILITIES: • DESCRIPTION the country to offer the possibility of www.music.uottawa.ca Freiman Recital Hall and Huguette-Labelle The School of Music at the University of combining the BMus program with a Hall, Tabaret; two large rehearsal halls and Ottawa is the ideal place to nurture your major in science.

• PROGRAMS OFFERED Music & Health • DESCRIPTION - B.Mus.: Performance (Classical or - D.M.A.: Collaborative Piano; The Faculty of Music, Currently celebrat- Jazz); Composition; Comprehensive Composition; Conducting; Early Music; ing its centennial, is one of the finest Studies (Classical or Jazz); History, Cul- Instrumental; Jazz; Opera; Piano institutions in North America for Music ture, and Theory; Music Education (Clas- Pedagogy; Vocal; Vocal Pedagogy Studies. We host masterclasses, sical or Jazz) lectures, and recitals given by - Diplomas: Artist Diploma; Advanced • FACILITIES FACULTY OF MUSIC, renowned artists and leading scholars. Certificate in Performance; Diploma in Walter Hall (seats 490), MacMillan UNIVERSITY OF TORONTO The diversity in our course offerings is Operatic Performance Theatre (seats 815), Electroacoustic and Edward Johnson Building hard to match; jazz, chamber music, - M.A.: Ethnomusicology; Music Recording studios, most extensive music 80 Queen’s Park opera, Balinese Gamelan, contemporary Education; Musicology; Music Theory; library in Canada Toronto, Ontario M5S 2C5 music, and early music, to name a few. Music & Health • FACULTY 55 full-time, 150 part-time With their international careers, our - Mus.M.: Collaborative Piano; Composi- Tel: Undergrad: (416) 978-3741 scholars, performers, and educators tion; Conducting; Early Music; • STUDENTS 900 Graduate: (416) 978-5772 disseminate our knowledge, skills, and Instrumental; Jazz; Opera; Piano Fax: (416) 946-3353 • TUITION FEES passion for music with our community Pedagogy; Technology and Digital (1 academic year, full-time domestic and the world. Our students participate Media; Vocal; Vocal Pedagogy [email protected] undergraduate): $6,780 (excl. student in colloquia, conferences, concerts, - Ph.D.: Ethnomusicology; Music [email protected] fees) recordings, and in internships. www.music.utoronto.ca Education; Musicology; Music Theory; NOVEMBER 2018 45 sm24-3_EN_p44-46_HigherEducationGuide_V1_sm23-5_BI_pXX 2018-10-30 7:48 AM Page 46

• UNDERGRADUATE PROGRAMS • GRADUATE PROGRAMS rated university music programs in Canada. BMus.: Music Education, Performance, . Music Theory (MA, PhD) Few other schools have the depth and Music Theory, Composition, Music History. . Musicology (MA, PhD) breadth of programs offered here. We offer a BA: Honors or Major in Music; . Composition (MMus, PhD) full range of traditional music programs, op- Specialization in Music Admin; Major in . Music Education (MMus, PhD) portunities to combine music with other dis- Popular Music Studies. . Performance (MMus, DMA) ciplines and new and unique programs such Music Performance Diploma (3-year) . Popular Music & Culture (MA) as Music Administrative Studies, Popular (concurrent with non-music program) Music and collaborative programs with busi- Artist Diploma (1-year) • PERFOMANCE FACILITIES ness and sound recording. Western is also a Minor in Music, Minor in Dance 48 seat small recital hall leader in technology and computer applica- • COLLABORATIVE UNDERGRADUATE 220 seat recital hall tions in music. More than 350 concerts are WESTERN UNIVERSITY PROGRAMS 400 seat theatre with orchestra pit presented each year. Our facilities include a DON WRIGHT FACULTY OF Degree/Diploma in Music Recording Arts *Newly completed Music Building recording studio with a full-time technician, MUSIC Collaborative program with Fanshawe Col- • FACULTY 42 full-time, 75 part-time instrument repair shop that includes hun- London, ON, CANADA, lege • STUDENTS 450 undergraduate, dreds of instruments for student use, string N6A 3K7 Bachelor of Musical Arts (Honors 150 graduate instrument bank of rare and valuable instru- Tel: (519) 661-2043 Music)/HBA (Ivey) • TUITION FEES (1 academic year, full- ments and bows for student use and more Fax: (519) 661-3531 BA (Honors Specialization in Music)/HBA time undergraduate-domestic) $ 8,312.45 than 150 pianos. Our Piano Technology pro- [email protected] (Ivey) • DESCRIPTION gram offers excellent instruments and sup- www.music.uwo.ca Major in Music/ HBA (Ivey) Western's Faculty of Music is one of the top- port to our music faculty

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JAZZ

far away, the choice made sense for someone who received solid music training on several TENORS OF THE TIME woodwinds (flute, clarinet and various saxes). But then, there was that search for a voice. by MARC CHÉNARD At the behest of several Banff attendees, he tested the New York waters shortly thereafter, landing back home in Tucson two years later. hink of jazz instruments, and chances are to keep up with them. As a leader, his most Over time his perspective on music has the tenor saxophone is the first one that noted foray was a trio with bassist William changed. “The people I have worked with comes to mind. Past masters like Parker and drummer Nasheet Waits, a unit helped me to think not so much as an individ- THawkins, Young, Coltrane, Getz and pres- known as Tamarindo. ualist, like a jazz soloist, but more collectively. ent-day heavyweights like Branford On his main axe, the tenor, his sound has a Free improvisation has been a way for me to Marsalis and David Murray have lured bite to it, whereas his soprano is almost vocal- gain that understanding.” throngs of players to the instrument, all of like, sharp without being too shrill or nasal. Work is steady for him, both at home and whom must reckon with these greats in their Since settling in the Big Apple in 1995, this abroad. Of late, he has performed in Canada re- search for a voice. Here are three tenors of the Arizona native has established himself on the peatedly, thanks to an ongoing collaboration times, each charting his own path. city’s cutting edge. He has worked with fellow with Toronto drummer Nick Fraser and another reed players Tim Berne and Marty Ehrlich, in Montreal with pianist Marianne Trudel, all TONY MALABY bassists Mark Helias and (most importantly) three meeting at a city club last September. FROM ARIZONA TO ARGENTINA Michael Formanek. Malaby appeared on For- But of all trips, he is most enthusiastic about manek’s ECM Big Band recording of three years his treks to Argentina. At home, he had taught He is surely one of ago, and more recently a quartet (see below). students from that country at one time. Some of the busiest tenor- When asked about the instrument and its them got wind of his presence in neighbouring men on the New lineage, Malaby contends: “I do not feel intimi- Columbia during a tour, so they scraped money York scene today. dated by it at all, but very much inspired. What together to bring him to Buenos Aires. Since While not a head- I always wanted was a voice of my own, and then, he has returned three more times to work liner, Tony Malaby is hearing those greats made me more determined with budding talents, play concerts in and out- a heavy-duty player, to find one.” Inspiration came to him in the early side the capital and participate as a guest in a a jazz grinder, so to 1980s when Dexter Gordon and his group fall jazz festival staged down there. No doubt speak. Or better still, guested at his school. Another eye- and ear- about it: Tenor Malaby is one tenor on the move! a musician’s musi- opener was his attendance at the 1990 summer cian. As a sideman, jazz program in Banff. Before this he was think- Listening tip: Michael Formanek Elusion Quartet – his credits are so nu- ing of becoming an all-purpose studio musician. Time Like This (Intakt CD313) PHOTO : J. MARTIN merous that it’s hard With California’s entertainment industry not too

MARK TURNER studies at Berklee, who also got me into the FROM LA TO LUGANO other disciples of his master, Lennie Tristano. Listening to Marsh forced me to think over my Lugano, if you don´t know, is the capital of conception and my sound as well.” the Tessin, the Italian part of Switzerland. In As for his duo with Iverson, it is but the June 2017, tenor saxophonist Mark Turner latest chapter in an ongoing musical and pianist Ethan Iverson met in the relationship. Back in the 1990s, they had intimate setting of a studio managed by the jammed together, but in more recent times local broadcaster, the RSI. While the latter they were hired by drummer Billy Hart for is most famous for his long tenure with the his quartet, a group that recorded two al- Bad Plus, which he left more than a year ago, bums, also on ECM. The tenorman is a the former is recognized as one of the bandleader as well. The group, a pianoless leading tenormen of his generation. Now in quartet, is manned by trumpeter Avishai his early fifties, Turner is a singular voice on Cohen, bassist Joe Martin and drummer his instrument. His tone is airy, unlike the Marcus Gilmore. To date it has one album to highly resonant sound favoured by the post- its credit, The Lathe of Heaven, released on Coltranians, his flights in the upper ranges that same label in 2014. almost ethereal, as underscored by the A personal project dear to Turner now is a resultant album (see reference below). new quintet of standard instrumentation Raised in California, Turner followed a (piano, bass, drums and trumpet) that will typical path of most saxophonists: starting on premiere in New York late this year at the Vil- clarinet, he switched to alto first, then tenor, lage Vanguard. Before that, he and Iverson with some soprano on the side (an instrument embark on the second leg of American tour, he is rather fussy about, viewing its sound as out west this time, with European dates in the not suitable to just any context). On his main works for 2019. Come to think of it, what about horn, his sound harkens back to a lineage of a Canadian festival junket in the summer? players who took their cues from Lester Young. One disciple, the brilliant Warne Listening tip: Mark Turner / Ethan Iverson – Temporary Marsh, served as a role model. Kings (ECM 2583) “I had been aware of him some,” Turner says, “but I was really turned on to him by Note: Reviews of the recordings mentioned in this PHOTO : P. SORIANI Mike Kanan, a pianist I knew during my section will appear next month 48 NOVEMBER 2018 sm24-3_EN_p48-49_Jazz + Julie Lamontagne_sm23-5_BI_pXX 18-10-29 19:47 Page 49

for close to 10 years, this native German has led stalwart American drummer Tom Rainey, a somewhat atypical career. Playing such a setting up shop with him in the Apple. “manly” instrument may seem unusual to some, Laubrock’s career is currently in full bloom, but that’s more of an old saw now. More signif- thanks to several musical associations with icant is the fact that she made her way to the jazz forward-thinking players like pianist Chris Mecca not from her country but from England, Davis, guitarist Mary Halvorson and, of where she moved in 1989, still very much a be- course, Rainey. She has cut a good dozen ginner on saxophone (alto at first, switching to albums for the Swiss Intakt label, nine of tenor later, and picking up soprano in between). which are under her own name, while guesting Intending a short stay, Laubrock lived in on albums done for other labels. London for 20 years, the first 10 honing her Currently the saxophonist is focusing on chops in a wide range of styles. Along the way, composition. This month sees the release of she took lessons with Jean Toussaint, a tenor her first large orchestral project (see reference player and one-time Jazz Messenger, who below). The outcome of six years’ work, the taught her some essentials of the jazz language. two through-composed pieces were not As for her current interests, working in written for a jazz ensemble but a contempo- creative and improvised music, that came rary chamber orchestra. As radical a departure later. Since there is such a strong scene for as this may seem, Laubrock sees it as a way of that music in the U.K., it was only a question reaffirming her interest in the classical tradi- of time before she tapped into it, thus paving tion she was brought up on. At this writing, the way for own personal development. she is completing another larger work, this Early in life, she was surrounded by music, one for the Grand Groupe Régional d’Impro- her father a piano teacher and mother a visation Libérée in Rimouski (aka GGRIL). singer she used to accompany on piano. But “This one is much more open,” Laubrock it was not yet a calling. The discovery of the notes. “I have written in some general instruc- PHOTO: C. VAN DE VEEN saxophone and listening to records by tions for the players and a few graphic nota- Coltrane, Rollins, Henderson and Gordon tions.” Yet to be named, this work was INGRID LAUBROCK served as triggers. In England, she met Dave performed in Montreal on Oct. 28, on the heels FROM LONDON TO NEW YORK Liebman during a tour, and he offered her of its dual premiere performance and record- some advice, like getting back to the roots. A ing session held on the group’s home turf. LSM “I’m mostly self-taught,” admits Ingrid couple of visits to New York in the 1990s Laubrock, “but I learned a lot by transcribing ensued, but she resisted making the move. In Listening tip: Ingrid Laubrock – Contemporary Chaos Prac- solos and playing them.” A Brooklyn resident 2009, however, she met her life partner, tices /Two Works for Orchestra with Soloists (Intakt CD314) CONCERTOS WITH A TOUCH OF JAZZ JULIE LAMONTAGNE AND THE OSL by BENJAMIN GORON fter winning two Prix Félix and one Prix chestra and jazz trio – two ensembles that rarely Opus and receiving her training in classi- play together. Double bass player Dave Watts and cal piano, Julie Lamontagne is now pursu- drummer Richard Irwin complete the trio. Aing a career in jazz. As a composer and an The first half of the evening immerses listen- arranger, she develops new approaches by ers in Ella Fitzgerald’s universe, featuring singer mixing styles for which she has a fondness. Ranee Lee. This Brooklyn native has dazzled Now What, an album produced in collabora- Montreal stages with her warm, powerful voice tion with New York-based saxophonist Donny for nearly half a century. Reuniting two “great McCaslin, and Noël, an anthology of holiday jazz singers” is expected to be inspiring. Such classics with a touch of energy and swing, are meetings have influenced more than one artist. two of Lamontagne’s major projects. In the spirit “As a teenager, I often heard Ranee Lee of Christmas, Lamontagne will join the sing,” Lamontagne confessed. “I always ad- Orchestre symphonique de Longueuil on Dec. 6 mired her talent and sensitivity.” In 2013, she in a classics meet jazz concert. asked Lee to be part of her Noël recording. “The idea is to select an excerpt from a familiar To begin the Advent season, the Théâtre de classical concerto, remove it from a traditional la Ville de Longueuil will buzz with Noël jazz, setting, and change chords or improvise, creating a clever mix of classical and jazz repertoire a wonderful interaction between the trio, presented by high-quality musicians. With the orchestra and audience,” the pianist explains. Concerts Préludes Hydro-Québec, starting at Although this project had initially come to light 7:15 p.m., audience members can listen to with a chamber orchestra, it will now be realized young musicians in a wonderful initiative in symphonic format under Marc David. highlighting tomorrow’s artists. LSM Arrangements of themes by Chopin, Grieg, TRANSLATION BY DWAIN RICHARDSON Mozart and Rachmaninoff will encourage the audience to hear the greatest classical hits in a new Noël jazz at Théâtre de la Ville de Longueuil, Dec. 6 at light and to appreciate the mix of a symphony or- 7:15 p.m. www.osdl.ca NOVEMBER 2018 49 sm24-3_EN_p50-51_concert_reviews_analekta_sm23-5_BI_pXX 18-10-29 20:20 Page 50

CONCERT REVIEWS by WAH KEUNG CHAN, MARC CHÉNARD, BENJAMIN GORON, DENISE LAI, ADRIAN RODRIGUEZ

SATOKO FUJII TRIO THIS IS IT! GRIPES: Bass-Baritone Bintner was haughty in LA SALA ROSSA, SALA ROSSA, SEPT. 16 Act I and II, but his singing was undermined ★★★✩✩ by his stiff acting and lacked emotion. DL HEARTS AND MINDS PHOTO : MATTHU PLACEK CASA DEL POPOLO, OCT. 16 ★★★✩✩ Michael Riesman, created a warmer and livelier atmosphere than the original versions. In Glass, the American countertenor Anthony Roth Costanzo was quite bright. GRIPES: Technically, Roth Costanzo was lim- ited in Handel’s repertoire, betraying technical Even without a bass, the trio of Japanese pianist inaccuracies and vocal boundaries in the high Satoko Fujii delivered two strong sets of music, range. BG free improvised for the most part. Both she and her husband, trumpeter Natsuki Tamura, have MARC-ANDRÉ HAMELIN PHOTO : CHRISTOPHER ANDREWS performed in this room repeatedly, but they POLLACK HALL, SEPT. 30 were joined for the first time by a compatriot, ★★★★✩ With electric keyboards and drums, the trio of drummer Takashi Itani, a consistently re- Chicago bass clarinetist Jason Stein plowed sourceful and imaginative musician who con- through an hour’s worth of inspired and gusty tributed substantially to the success of the show. music. In his hands, this notoriously hard instru- GRIPES: The compositions of the pianist ment to play sounds so easy, his flights of fancy seemed unrelated to the improvised parts, as delivered so effortlessly in all ranges of the horn. if they were there just to pull the musicians to- GRIPES: When it comes to laying down a gether from time to time. MC groove, drummer Chad Taylor is surely sec- The playing of Marc-André Hamelin is distin- ond to none, but he hammered out the beat TRIO FIBONACCI guished by a great serenity, an absence of too insistently at times. MC BOURGIE HALL, SEPT. 23 manners and a subtle touch, bringing relief to ★★★★✩ the musical text to reveal the smallest details. ANNA WEBBER SIMPLE TRIO Without pomp or show, without eagerness, DIÈSE ONZE, OCT. 19 Hamelin took the time to reveal the subtleties ★★★★✩ of a resolutely Romantic program. He fully McGill Grad Anna embodied the music with a self-effacement Webber is a tenor saxo- that allowed the music to guide us on a jour- phonist and flutist who ney of emotions with an unparalleled grace is well on her way to and intensity. BG becoming an impor- tant voice (so we hope) EUGENE ONEGIN on the cutting-edge jazz scene of New York, To celebrate its 20th anniversary, the Fi- , OCT. 4 where she now lives. Her music is as demand- bonacci Trio offered us a mostly Romantic ★★★★✩ ing on listeners as performers in that the lines program. Debussy’s rarely performed Trio in between composition and improvisation blur G major surprised with its balance and airy constanty. Her pieces are far more extended writing. It was interpreted with great mastery in form than those found in the mainstream, and almost perfect synchronicity by and ended or much more structured than those of free in a fourth movement of rare beauty, improvised music. Together with her sidemen, launched appassionatissimo. Indeed, the per- pianist Matt Mitchell and drummer John Hol- formers truly revealed the ardour of a theme lenbeck, she presented four new striking that was impetuous, nostalgic, luminous and pieces that will be part of the group’s third delicate. The rest of the concert, works by The duet between Onegin and Tatyana in the album planned for next year. MC Beethoven, Brahms and Nicolas Gilbert, was last scene was a captivating display of conflict equally intense and generous. BG and turmoil. Both Gordon Bintner and Joyce CHRISTOPH ESCHENBACH El-Khoury acted convincingly and sang bril- AND THE OSM LES VIOLONS DU ROY AND liantly, their luscious voices filled with emo- MAISON SYMPHONIQUE, OCT. 20 ANTHONY ROTH COSTANZO tions – of passion for each other and anguish ★★★★✩ MAISON SYMPHONIQUE, SEPT. 29 that they cannot be together. The COC or- Eschenbach delivered a Tchaikovsky Fifth ★★★✩✩ chestra played with balanced accuracy and Symphony full of gravity, scattered with Les Violons du Roy and Jonathan Cohen were sensuality under the baton of Johannes Debus. flashes of light, taking his time in the devel- solid in Handel, revealing the flourishing or- Always the shining star of Canadian Opera opments to reveal the immense energy under- chestration of the Concerto Grosso in D minor productions, the COC chorus was terrific lying Tchaikovsky’s musical essay on fate. and supporting the soloist with energy and nu- under the preparation of Sandra Horst. Often turned towards the violins, which he ance. Glass’s music, wonderfully arranged by uses as the pivot of dramatic intensity, Es-

50 NOVEMBER 2018 sm24-3_EN_p50-51_concert_reviews_analekta_sm23-5_BI_pXX 18-10-29 20:20 Page 51

portantly to the ear, showcasing good technique and a clear light-lyric tim- PHOTO : PAT BEAUDRY bre. One of the highlights was the arrangement, orchestration and vocal in- terpretation of Neapolitan song “Core ‘ngrato.” PHOTO: DI LUCA PIVA The second part also featured the participation of guest violinist Caroline Campbell. The Amer- chenbach breathed a deep soul into the or- ican blonde bombshell injected a dose of energy chestra, well served by talented musicians. with her strong performance and dramatic GRIPES: Conductor and orchestra seemed less stage presence. AR inspired in the first part in Tchaikovsky’s Vio- lin Concerto, which probably dampened the TWENTY-FIFTH GALA OF THE sound in Claude-Champagne was vibrant. Stand- soloist’s élan. However, Julian Rachlin stayed JEUNES AMBASSADEURS LYRIQUES outs include tenor Marcel D’Entremont, soprano on course and gave a performance replete with SALLE CLAUDE-CHAMPAGNE, OCT. 20 Suzanne Taffot, Mexican tenor Luis Aguilar and virtuosity. BG ★★★★✩ Italian soprano Silvia Cafiero. The Orchestre sym- For 25 years, the Jeunes Ambassadeurs phonique des jeunes de Montréal (with an aver- ANDREA BOCELLI lyriques (JAL), led by its founder Alain Nonat, age age of 19) led by Louis Lavigeur exceeded my BELL CENTRE, OCT. 20 has allowed Canadian singers to audition for expectations. The award presentation lasted only ★★★★✩ European opera directors in Montreal, with- 16 minutes and was the best organized in mem- Just like Tuscany’s wine, the Pisan tenor’s high out traveling to Europe. This year, the JAL was ory, as the decisions were made in the morning notes seem to have improved with time. At 60, a weeklong affair of four concerts culminating based on solos heard in the first three concerts. he shows excellent control of his high register in the 25th Gala, which featured 24 singers GRIPES : I would have liked to hear some solos and even succeeded with ease in singing the 8 from nine countries. The big winner this year in the Gala. WKC LSM high C’s from the famous aria “Pour mon âme” was Canadian soprano Cécile Muhire. from Gaetano Donizetti’s La fille du régiment. This was one of most even and enjoyable Galas. TO READ ONLINE : Off Jazz 2018 — Back to the festi- The American guest soprano Larisa Martinez The singing level was consistently high in the pro- val www.bit.ly/2yzVZdF was not only pleasing to the eye but most im- gram of operatic duets and ensembles, and the

NOVEMBER 2018 51 sm24-3_EN_p52-53_CD Reviews + Paquito RiveraV2_sm23-5_BI_pXX 2018-10-30 6:48 AM Page 52

CD REVIEWS by NORMAN LEBRECHT

Dussek, Piano Concertos if I mentioned a friendship every time I re- well made, with lovely solos for the reed in- Howard Shelley, piano. Ulster Orchestra viewed, readers would switch off. So what to do? struments and an undercurrent of yearning Hyperion I made a rule a while back that I would only that reflects his own displacement as a ★★★★✩ review friends’ works if they represent a stride refugee and a musician shorn of his natural Jan Ladislav Dussek beyond past achievement. Having known Steven audience. The other undercurrent is one of could have been a for about half my life, I can say hand on heart optimism – a driving conviction that mod- contender if only that this modest cello-piano recital with Denes ernism is still the best way ahead. Mozart had been Varjon takes him into new mood territory. Erwin Schulhoff was a Czech composer born somewhere else In both the Chopin G Minor Sonata and in murdered by the Nazis in 1942. His 1925 bal- and at another time. the C major Introduction et polonaise bril- let Ogelala, supposedly on American-Indian Dussek (1760 to lante, he’s a very mellow fellow, playing with themes, has more than a few hints of Salome 1812) has the wrong a great big smile on his chops, as if he’s tweet- and Sacre du printemps and a Hiawatha-like dates and the wrong ing a particularly happy dream. The ease of soprano solo. Ogelala lets a good orchestra re- skill sets. Two bars engagement is infectious. There’s a lovely ro- ally strut its stuff. The Deutsche Staatsphil- into every movement he picks a note that you mantic nocturne by the obscure Auguste Fran- harmonie Rheinland-Pfalz – has nobody know Mozart would have declined for a better chomme and an irresistible reading of thought of a rebrand? – is an outstandingly choice and, while Dussek may recover quickly Schubert’s sonata. If the Chopin lacks Polish good orchestra and Michail Jurowski conducts and deliver a passage that could pass for melancholy, I don’t miss it a bit. These are two them with serious passion. Clementi at his best, your ear is already tensed fine musicians at the peak of their powers for the next false turn. playing for pleasure, theirs and ours, all stress Barbara Hannigan: Vienna fin de siècle Of the three concertos on offer here, two are banished for an hour. Alpha-classics contemporaneous with late Mozart in 1787 Denes, by the way, has a nocturnal piano ★★★★✩ and 1791 yet have low opus numbers of 3 and recital out this month on ECM and is no less The Canadian diva’s 14. Maybe Dussek was a slow developer. The enchanting in Steven’s favourite composer’s release embraces Andantino of Opus 3 has an opening state- Fantasiestücke. Don’t miss that, either. songs by Schoenberg, ment of real interest, only to fizzle out into Webern, Zemlinsky, platitudes as the composer fails to sustain it. Goldschmidt, Comedy of Errors / Berg and Hugo Wolf, The Third Concerto, dated 1801, is more Schulhoff, Ogelala with one politically confident and the Adagio has an almost Staatsphilharmonie Rheinland-Pfalz, dir. Michail Ju- correct aberration. Beethovenian breadth, albeit without the rowski Four early songs basis of a gripping theme. That said, I find it CPO by Schoenberg, opus fascinating to see how often Dussek just ★★★★✩ 2, are so close to Mahler they feel sentimental misses the main chance, settling for an ac- I struggle to describe to the point of self-indulgence. Webern’s ceptable phrase where Mozart would have my joy at hearing plinks are saved from the nuthouse by Rein- found the note juste. Howard Shelley plays two unknown works bert de Leeuw’s warm accompaniment while with superb conviction and the Ulster Or- by Berthold Gold- Berg’s early songs, dated 1907, are Wozzeck in chestra sound pretty good. Dussek or no schmidt, a brilliant embryo, delicately revealing. Zemlinsky, the Dussek, this is not a wasted hour. composer who fled best songwriter of the lot, is still very much in to London in 1935 Brahms mode in the late 1890s, leading us to Chopin, Cello Sonata / and lived in obscu- speculate where he might have gone had Schubert, Arpeggione Sonata rity until a late burst Schoenberg not married his sister and Steven Isserlis, cello. Denes Varjon, piano of recognition in the dragged him off the rails. Wolf is Wolf, meat Hyperion 1980s. I saw a lot of Berthold in his final and drink for a good soprano. ★★★★✩ decade, when he was flying around the world What Alma Mahler is doing in this exalted A critic’s dilemma. for performances and I remember how he set has nothing to do with her music, which is The cellist Steven Is- wore acclaim with the same wry modesty as either simplistic, derivative or downright im- serlis is a pal. He lives he had endured oblivion. itative of her teacher Zemlinsky, who may around the corner The Comedy of Errors Overture is a piano have held her hand in the process as they were and we bump into trio he composed for his parents’ 25th wed- all but in bed at the time. Alma admits in her each other at local ding anniversary, before turning it into an or- private diaries that she had no faith in her amenities. He knows chestral prelude. At the 1928 premiere in music, so why should we? I have received his Oldenburg, the audience would not let the Hannigan, 47 and fearless, has just the right latest release for re- conductor step down until the orchestra re- blend of solemnity and vivacity for this over- view. He will be dis- peated the piece. It’s a cracking little opener. sexed epoch. I have never heard the Schoen- appointed if I ignore it and grumpy if I find fault. Goldschmidt wrote the Greek Suite in berg songs better sung. They are either To review or not to review? 1940 around Hellenian melodies after the musical foreplay or a feral warning of fear- If I ruled out reviewing friends I’d have to turn Italians and Germans invaded the cradle of some things to come.s. LSM down half the record output. By the same token, European civilization. It is, as ever with Goldschmidt, highly civilized and extremely

52 NOVEMBER 2018 sm24-3_EN_p52-53_CD Reviews + Paquito RiveraV2_sm23-5_BI_pXX 2018-10-30 6:48 AM Page 53 PAQUITO D’RIVERA WITH THE HARLEM STRING QUARTET by GREGORY FINNEY

never had it in mind to become this sort of professional composer, but mainly a per- former,” says Paquito D’Rivera. The son of Ia classical saxophonist, this clarinettist/sax- ophonist/composer has music his blood. “Then time passed by and for some reason people started being interested in my music. So now I am something like a woodwind player who composes or vice versa, like in the old times!” Born in Havana, D’Rivera started studying with his father and made his debut at age 10 with the National Theatre Orchestra. After continuing his studies at the Havana Conser- vatory of Music, he was a featured soloist at age 17 with the Cuban National Symphony. “We listened to all types of music at home, from Mozart, Weber and Sigurd Rascher to Mario Lanza, Charlie Parker and Ernesto Lecuona,” D’Rivera says. He credits the great French composer Maurice Ravel and in par- ticular his Pièce en forme de Habanera for ig- niting his passion for composition. “When I was, like, 12 years old, inspired by that piece, I wrote my own ‘Habanera’ for three clarinets. Many years later that became part of my Aires Tropicales, a work in six movements commissioned by the Aspen Woodwind Quintet.” PHOTO : GEANDY PAVON The 14-time Grammy Award-winning artist has a discography that includes more than 30 solo albums as well work with Irakere. This “I must tell you how much fun it was to “I don’t know how to answer that question, group has an innovative sound: an explosive write about all those crazy things that I saw in but I can say that I deeply enjoy the music of an mixture of jazz, rock, classical and traditional over 60 years on the road.” array of composers (as well as arrangers) as Cuban music that led to D’Rivera’s first Grammy. D’Rivera will be hitting the Koerner Hall different as Stravinsky, Antônio Carlos Jobim, When I jokingly asked him if he had a favourite stage at the Royal Conservatory of Music in Brahms, Lecuona, Respighi, Billy Strayhorn, among the 14, he was ready with a response. Toronto with the incredible Harlem String Debussy and Chick Corea, among so many oth- “Maybe Song for Maura, because it was Quartet. When I asked him how his associa- ers that in some way might have inspired or dedicated to my late mother, but all those tion with the quartet came about, it seemed had some influence on my writing.” recording projects had a very special appeal. that it may have been in the cards all along. “We put together an eclectic program for They are like my own children.” “I’ve known [Harlem String Quartet violinist this occasion,” he says, “thinking of the mixed The jazz legend has performed with greats and fellow Cuban] Ilmar Gavilan since he was a audiences that attend our performances.” all over the world. He was a founding member kid,” D’Rivera says. “His grandfather, Juan Eclectic is crucial. “I always like to include of the Grammy-winning United Nation Or- Jorge Junco, a great clarinetist, was a friend of some improvised sections in my perform- chestra organized by Dizzy Gillespie. “A great my dad and one of my first inspirations on the ances, and that’s something that people ex- guy with a fantastic musicality as well as a clarinet. So I guess sooner or later we’d end up pect from me too.” unique sense of humor,” D’Rivera says of the doing some kind of project together.” When asked whether he prefers to perform trumpeter. “Everybody loved him.” D’Rivera The Harlem String Quartet was founded jazz or classical, he says, “I also love the music has also received a Lifetime Achievement in 2006 by the Sphinx Organization, a non- of some of the so-called classical composers, Award from Carnegie Hall in 1991 for his con- profit whose focus is building diversity in and that’s why I recorded Jazz Meets the Clas- tributions to Latin music. classical music and providing music educa- sics. The great Duke Ellington always said that Not content to be an award-winning per- tion to underserved communities. The good arranging is like re-composing.” former and composer, D’Rivera also has a few group, which has been seen onstage in the D’Rivera is always experimenting. “We did literary titles to his credit, including an auto- U.K., France, Belgium, Japan, South Africa, some rhythmic arrangements of Beethoven, biography, My Sax Life, and a work of fiction, and across North America, brings diverse Mozart, Barrios Mangoré and Chopin. It is like Oh, La Habana. When I asked if he had any programming combining standard string having the best of two worlds, making believe plans to write anything else, he says: “My most quartet canon with Latin, jazz, and con- that those musicians were born in Cuba, recent book is titled Letters to Yeyito, an epis- temporary works. Brasil, Peru or even New Orleans.” LSM tolary [novel] with an imaginary music stu- The program features works by William Bol- dent who is wondering if it is worth it to com, Debussy, von Weber, as well as several by Paquito D’Rivera and the Harlem String Quartet pursue a career in the music business. D’Rivera himself. I asked D’Rivera where his perform on Dec. 7 at Koerner Hall. www.rcmusic.co inspiration for composing is drawn from. NOVEMBER 2018 53 sm24-3_EN_p54_Rentree Chorale_sm23-5_BI_pXX 2018-10-29 6:26 PM Page 54

CHORAL CONCERTS by MARIE-CLAIRE FAFARD-BLAIS & GREGORY FINNEY (TORONTO) OTTAWA BACH CHOIR

MONTREAL traditional Christmas carols. The choir will be Christmas season. This spectacular presenta- accompanied by Julien Girard on organ and tion includes the Ensemble Caprice baroque ST. LAWRENCE CHOIR piano. The concert is on Dec. 8 at 8 p.m. at the orchestra, with strings, sackbuts and continuo, As the first concert of the Slava! series, the St. Saint-Leonard Church. as well as soloists. Saint-Matthew Church, Lawrence Choir will present Slavic music www.choeuropusnovum.com Dec. 1, 8 p.m. www.ottawabachchoir.ca under the direction of Philippe Bourque. Rachmaninoff’s Vespers will be this concert’s ORCHESTRE MÉTROPOLITAIN CHORUS OTTAWA CHORAL SOCIETY main work. The choir will also perform works The Orchestre Métropolitain Chorus, con- The Ottawa Choral Society, as part of Cham- by Hurko and Koshetz, in addition to two ducted by François A. Ouimet and Pierre berfest, will host the internationally unpublished pieces by Larysa Kuzmenko and Tourville, will perform the “Tous en chœur” renowned King’s Singers on Dec. 14 and 15 at Petros Shoujounian. The a cappella concert concert on Dec. 23 at 3 p.m. at the Maison 7:30 p.m. at Dominion-Chalmers United will be held on Nov. 17 at 7:30 p.m. at the Saint symphonique. For the occasion, the choir will Church in Ottawa. The legendary sextet vocal Sophie Ukrainian Orthodox Cathedral in the welcome the Chœur Musique-études du se- highlights its 50th anniversary with a world presence of composers Hurko, Kuzmenko and condaire de l’École de musique Vincent-d’Indy, tour. The Ottawa Choral Society under the di- Shoujounian. www.choeur.qc.ca the soloists of the Opéra de Montréal and or- rection of Jean-Sébastien Vallée will add their ganist Vincent Boucher. They will perform ex- voices to offer an unforgettable concert. ONE EQUALL MUSICK cerpts from Britten’s A Ceremony of Carols www.ottawachoralsociety.com The ensemble One Equall Musick, specializ- and cantata Rejoice in the Lamb and Dvořák’s TRANSLATED BY CAROL XIONG ing in Early Music, will present the High Tea Mass in D Major. The public will also be invited Concert on Nov. 18 at 3 p.m. at Dawson Hall, to sing hymns under the direction of Yannick St. James United Church. This concert will be Nézet-Séguin. www.orchestremetropolitain.com TORONTO an opportunity to have tea while listening to choral masterpieces from the 15th to the 17th OTTAWA-GATINEAU ELMER ISELER SINGERS centuries. The program includes the madrigal The Elmer Iseler Singers under Lydia Adams “What is Our Life” by Gibbons, polychoral CHŒUR CLASSIQUE DE L’OUTAOUAIS will join forces with the Toronto Children’s motets by Gabrieli and French medieval songs. The Chœur classique de l’Outaouais under the Choir (conductor Elise Bradley) in We Remem- The concert is part of a fundraising campaign. direction of Tiphaine Legrand will perform ber, a commemoration of the 100th anniversary www.oneequallmusick.org Handel’s Dixit Dominus at a Christmas concert of Armistice Day. With trumpeter Stan Kle- on Dec. 8 at 7:30 p.m. and on Dec. 9 at 3:30 banoff and guest conductor Bob Chilcott, the VOCES BOREALES p.m. at Saint-François-de-Sales Church of choirs perform works about war and peace that The Voces Boreales vocal ensemble, con- Gatineau. The proceeds will be used to restore represent the four Allied nations: Canada, Aus- ducted by Andrew Gray, will perform the the heritage church. The program will be sup- tralia, New Zealand and the United Kingdom. Quintessence concert on Nov. 20 at 7:30 p.m. plemented by traditional Christmas carols. The The program feature the world premiere of an at the Notre-Dame-de-Bon-Secours Chapel. choir will be accompanied by soloists from the arrangement of songs of the era by Stuart This concert is the last of a series on the ele- Calvert. George Weston Recital Hall, Nov. 11 at ments. Quintessence is the name given to the 7:30 p.m. www.elmeriselersingers.com fifth element, which is subtle and intangible. This concept appears in many cultures, in- TORONTO CLASSICAL SINGERS cluding Hindu and Indigenous. The a cappella The Toronto Classical Singers under artistic choir will perform works by Jeff Enns, Eric director and conductor Jurgen Petrenko will Whitacre and Jaakko Mäntyjärvi. This will present Bach’s Christmas Oratorio. With so- also be a chance to hear the North American prano Sheila Dietrich, mezzo soprano premiere of Icelandic composer Páll Ragnar Christina Campsall, tenor Asitha Tennekoon, Pálsson. www.vocesboreales.org baritone Michael Nyby and the Talisker Play- ers, this is sure to be a highlight of your holi- CHOEUR CLASSIQUE DE L’OUTAOUAIS OSM CHORUS day season. Dec. 9 at 4 p.m., Christ Church PHOTO : WILLIAM MEEKINS As part of the Montreal Bach Festival, the OSM Deer Park. www.torontoclassicalsingers.ca and OSM Chorus will perform Bach’s Mass in University of Ottawa, the Ensemble Prisme, B minor on Dec. 5, at 7:30 p.m. under the di- Frédéric Lacroix at the organ and the Tout-en- ORPHEUS CHOIR rection of Kent Nagano at the Maison sym- Chanson choir of the Gatineau Massé Elemen- Stratford Festival veteran and favourite Geraint phonique. The soloists are Hélène Guillemette, tary School. www.choeurclassiqueoutaouais.ca Wyn-Davies joins the Orpheus Choir to present soprano, Marie-Nicole Lemieux, contralto, Ju- Dylan Thomas’s classic holiday memoir. Telling lian Prégardien, tenor and Peter Harvey, bari- OTTAWA BACH CHOIR the story of a boy reminiscing about Christmas, tone. www.osm.ca The first concert of the season features festive it emerged from a piece originally written for repertoire for Christmas inspired by Italian BBC Radio. Under artistic director and con- OPUS NOVUM CHOIR composers working in Venice during the early ductor Robert Cooper, the Orpheus choir will The Opus Novum Choir, under the direction Baroque period. Featuring Monteverdi’s add festive holiday classics alongside Thomas’s of Dorothéa Ventura, presents the a program Christmas Vespers from the Selva morale e beloved work. Dec. 18, Eglinton St. George’s featuring eclectic night- and Nativity-themed spirituale collection of 1640-41, polychoral United Church. www.orpheuschoirtoronto.com LSM works, including Janequin’s Toutes les Nuits, works by Giovanni Gabrieli, and works by Bas- Rameau’s O Nuit, Barber’s Sure on this Shin- sano and Croce, the music from this concert ing Night, Miller’s Moonlight Serenade, and will celebrate the glory and splendour of the

54 NOVEMBER 2018 sm24-3_EN_p55_Krzysztof Penderecki + Beethoven Mozart_sm23-5_BI_pXX 18-10-29 12:10 Page 55

TRIBUTE TO KRZYSZTOF PENDERECKI AND A MUSICAL CELEBRATION OF POLAND’S INDEPENDENCE by SÉBASTIEN DAIGLE Vom Tode Maria presents an original instru- n Nov. 11, its images of destruction. It evokes feelings of mentation, combining the timbres of tenor 1918, at the anxiety, but also of hope and even joy.” trombone, tam-tam, piano and string orchestra. end of the For the soloist, the “resurrection” in ques- Szymanowski’s Symphony No. 4 is one of OFirst World tion also recalls that of Poland in 1918, after Justyna Gabzdyl’s favorite works. “In its three- War, Poland 123 years of seeing its territory partitioned by part structure, with a lyrical middle movement became an inde- neighboring powers. and a lively dance finale (a stylization of a Pol- pendent state. To The other highlight of the concert will be ish Oberek dance), as well as in its general celebrate the cen- Vom Tode Maria (“On the Death of Mary”), character, the work has much more in com- tennial of this created by Norbert Palej, a Polish-born com- mon with a piano concerto than a symphony,” event, the Polish poser who teaches at the University of she says. “If the composer has chosen to make Institute of Arts Toronto. The composition takes its title from of it a symphony, it may be because of the rich- and Sciences in a poem by Rainer Maria Rilke. ness of ideas and subtleties of sound and Canada and the Palej was looking for a subject intrinsically colours that characterize the orchestral part.” Consulate linked to Polish independence. “The work is in- Lighting and video projections will accompany General of the Republic of Poland in Montreal spired by the main altar of one of Poland’s most the conductor’s movements in real time. This is are presenting a Tribute to Penderecki con- important churches, Saint Mary’s Basilica, lo- in keeping with the wishes of conductor Paolo Bel- cert, which also celebrates the 85th anniver- cated in Krakow’s medieval market,” he explains. lomia and his colleague François Raymond Boyer, sary of the composer Krzysztof Penderecki. “The soaring altar is a masterpiece by Ger- who want to showcase the progress of their re- The featured work, Penderecki’s Resurrec- man Renaissance sculptor Veit Stoss, and its search in music and computer engineering. LSM tion Piano Concerto, was composed in response centerpiece represents the Dormition of the TRANSLATION BY MARGARET BRITT to the attacks of Sept. 11, 2001. “It is a very pow- Mother of God, symbolically named Queen of erful work, written in the spirit of the great con- Poland by King John Casimir in 1656. The The concert brings together Orchestre 21 and pianist certos of the 20th century,” according to pianist Polish people generally associate the protec- Justyna Gabzdyl under the baton of Paolo Bellomia. Justyna Gabzdyl. “The music is spectacular, al- tion of the Virgin Mary with the country’s Salle Claude-Champagne, Nov. 15 at 7:30 p.m. Tick- most cinematic with its martial sequences and struggle for independence.” www.facebook.com/Orchestre21 VIENNESE MASTERPIECES ONets: $ STAGE25. MOZART MEETS BEETHOVEN AT THE MAISON SYMPHONIQUE by BENJAMIN GORON Mozart wrote the bulk of his violin concer- that time, he had already been thinking about it tos between April and December 1775, at a for a while, with his sights set on putting time when he accepted a posting offered by Schiller’s An die Freude to music (the Ode to the bishop-prince Colleredo in Salzburg. He Joy). Less than two years later, on May 7, 1824, used the opportunity to replenish the coffers the score was premiered in the Austrian capi- of his family while giving himself a break from tal, just three months after its completion and his numerous concert tours. The conditions in a city whose musical tastes he disdained. were ideal for him to write specifically for an Though deaf, he stood at the podium that instrument he played himself. evening, sharing duties with Michael Umlauf. In spite of going back to a more conventional The work was groundbreaking in more than and elegant style that had been cast aside in his one way: in it, he introduced military percus- y all appearances Mozart’s Violin Concerto first piano concertos, there is no lack of artistic sion – bass drum, triangle and cymbals had No. 5 and Beethoven’s Ninth Symphony sensibility and wealth of musical ideas in this never been used before in so-called “serious” are sharply contrasting if not utterly dis- violin concerto, chock full of motifs, colourful symphonies. Its fourth and final movement in- Bsimilar works. The former, stemming from melodies and varied rhythms. The word “Turk- cluded a choir, extending its duration to over the Salzburg prodigy’s youthful years, is ish” has sometimes been appended to this work an hour, unrivalled in length in the day. This gracefully elegant in tone and style. Scored for because of its use of exotic rhythms then in splendid musical monument will thus close a a smaller orchestra, the piece is a wellspring of vogue, yet these bear a closer resemblance to must-see concert by the Société philhar- melodic ideas that often go undeveloped. the Hungarian czardas. Alexandre Da Costa will monique du Nouveau Monde placed under the The latter work, for its part, is a late opus of bring this piece to life next month with his baton of Michel Brousseau. LSM the German composer, the result of much Stradivarius pre-dating Mozart’s birth by half a TRANSLATION BY MARC CHÉNARD thought, and soon recognized as a pinnacle in century, aided and abetted by the Orchestre his artistic oeuvre. Far more ambitious in symphonque du Nouveau Monde. The Société philharmonique du Nouveau Monde scope, it requires not only an unusually large As for the Ninth, Wagner believed it to be the presents Mozart’s Violin Concert No. 5 with soloist instrumentation to fully realize its intention, last of all symphonies, the very consecration of Alexandre da Costa and Beethoven’s Ninth Symphony but a novel one for the time. These major that musical form. In 1822, London’s Philhar- at the Maison symphonique on Dec. 2 at 3 p.m. works will be performed on Dec. 2 at the Mai- monic Symphony Society offered an advance to son symphonique de Montréal. Beethoven for writing his penultimate work. At www.mundiaproductions.com NOVEMBER 2018 55 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 56

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Date de tombée pour le prochain numéro: 16 novembre. Deadline for the next issue : November 16. Procédure: mySCENA.org/fr/calendrier-procedure/ Procedure: mySCENA.org/calendar-instructions/ ABRÉVIATIONS: arr. arrangements, orchestration chef / dir. / EL entrée libre = FA free admission RSVP veuillez réserver votre place à l’avance / cond. chef d’orchestre / conductor LP laissez-passer obligatoire / free pass required please reserve your place in advance (cr) création de l’oeuvre / work premiere MC Maison de la culture S.O. symphony orchestra CV contribution volontaire = FD freewill donation O.S. orchestre symphonique x poste (dans les numéros de téléphone) / (e) extraits / excerpts O&Ch orchestre & choeur / orchestra & chorus extension (in phone numbers)

É. St-Pierre-Apôtre. Église Saint- MS. Maison symphonique (Place des Church, 10 Church Hill Ave., West- Pierre-Apôtre, 1201 rue de la Visita- Arts), 1600 St-Urbain, Montréal. mount. tion, Montréal. NNS. Nyata-Nyata Studios, 4374 St SSFOX. Salle Saint-François-Xavier, EK. Espace Knox, 6215 ave Godfrey, Laurent, Montreal. 994, rue Principale, Prévost. Montreal. Nomad. 129 Avenue Van Horne, SSUOC. Saint Sophie Ukrainian Or- Esjb. Eglise Saint-Jean Baptiste, 309 Montréal. thodox Cathedral, 6250 Saint Michel Rachel St. East, Montreal. OPH. Oscar Peterson Hall, 7141 Sher- Blvd, Montreal. 5e Salle. Cinquième Salle, Place des Gal. Bron. Galerie des bronzes – brooke St. W., Montreal. St-A. & St-P. Ch. Church of St Andrew Arts, 260, boul. de Maisonneuve Musée des beaux-arts de Montréal, OPV. O Patro Vys, 356 av. Mont-Royale and St Paul, 3415 Rue Redpath, Ouest, Montréal. 1380 rue Sherbrooke Ouest, Mont- E, Montreal. Montreal. Basilique Notre- Basilique.N-D. réal. Oratoire St-J. Oratoire Saint-Joseph St-Ed. Ch. Eglise St-Edouard, St-Denis Dame de Montréal, 110, rue Notre- Gasmac. Église anglicane St. Mat- du Mont Royal, 3800 Chemin Queen coin Beaubien est, Montréal. Dame Ouest, Montreal. thias Anglican Church, 131 Chemin Mary, Montréal. St-J Ch. Église Saint-Joachim, 2, rue Bon-Secours. Chapelle Notre- de la Côte St-Antoine, Westmount. OSDD. Orchestre symphonique de Sainte-Anne, Pointe-Claire. Dame-de-Bon-Secours Chapel, 400, SL. Église catholique de Saint-Lam- Drummondville, 175 rue Ringuet, St-Ln Ch. Église Saint-Léon de West- rue Saint-Paul Est, Montreal. bert, 41 avenue Lorne, Saint-Lam- Drummondville. mount, 4311 boul De Maisonneuve Bourgie. Salle Bourgie, Musée des bert. Papineau-Couture. Faculté de mu- Ouest, Westmount. beaux-arts de Montréal, 1339, rue Gdlp. Église de la Purification, 445, sique de l’UdeM- Salle Jean-Papi- St-M-D Ch. Église Saint-Maurice-de- Sherbrooke Ouest, Montréal. rue Notre-Dame , Repentigny. neau-Couture (B-421), 200, avenue Duvernay, 1961 Rue d’Ivry, Laval. café d’art vocal, 1223 rue Am- CDAV. Gsa. Église Saints-Anges, 1400 boul. Vincent-d’Indy, Montréal. Tanna. Salle Tanna Schulich Hall, 527 herst, Montreal. St-Joseph, Lachine. PDLIEC. Paroisse de l’Immaculée- Sherbrooke West, Montreal. Chapelle Saint-Louis, Chap. St-Louis. GSJB. Église St-Jean-Baptiste, 4237 Conception, 1855, rue Rachel est, TTDVT. Théâtre du Vieux-Terrebonn, 4230 rue Drolet, Montréal. Avenue Henri Julien, Montréal. Montréal. 866, rue Saint-Pierre, Terrebonne. Christ Church Cathe- Christ Church. GST. Église St. Thomas, 413 Main PH. Pollack Hall, 555 Sherbrooke UC. Union Church, 24 Maple Ave., dral, 635 Saint-Catherine St W, Mon- Road, Hudson. West, Montreal. Sainte-Anne-de-Bellevue. treal. Hector-Charland. Théâtre Hector- Pierre-Mercure. Salle Pierre-Mer- Udem-A&S.Université de Montréal - Claude-Champagne. Salle Claude- Charland, 225 Boulevard de l’Ange- cure, Centre Pierre-Péladeau, 300, Carrefour des Arts et des Sciences - Champagne, 220 Avenue Vincent- Gardien, L’Assomption. boulevard de Maisonneuve Est, Salle C-1017, 3150 Rue Jean Brillant, D’Indy, Montréal. John Mol. John Molson School of Bu- Montréal. Montréal. Salle Claude-Lé- Claude-L’éveillée. siness, MB 8.265, 1450 Guy St, Mon- PLNDLSV. Paroisse La Nativité de la UdeM-Longueuil. UdeM - Campus veillée, 175 Sainte-Catherine Street treal, Montreal. Sainte Vierge, 155 Chemin de Saint- de l’UdeM à Longueuil, Salle 16 101, West, Montréal. L. Lajeunesse, 10300, Montréal. Jean, La Prairie. Place Charles-Le Moyne Édifice Port- Conservatoire. Conservatoire de LA. L\’Astral, 305 Rue Ste Catherine, RH. Redpath Hall, 3461 rue McTavish de-Mer, Rez-de-chaussée , Lon- musique à Montréal, 4750, avenue Montréal. (McTavish Gates), Montreal. gueuil. Henri-Julien, Montréal. LSR. La Sala Rossa, 4848 St Laurent S3. Studio 303, 372 Ste-Catherine Wil.-Pel. Salle Wilfrid-Pelletier, Place Dawson. Dawson Hall, Église St. Blvd, Montreal. Ouest , Montréal. des Arts, 175, Ste-Catherine ouest, James United, 1425 Rue City Coun- M.A. Laval. Maison des Arts de Laval, Salle J-Rouleau. Salle Joseph-Rou- Montréal. cillors, Montreal. 1395 boulevard de la Concorde leau, 305, avenue du Mont-Royal Est, Wilder. Édifice Wilder, 1435 rue De Ég. lut. St-Jean. Église luthérienne ouest, Laval. Montréal. Bleury, Montréal. Saint-Jean / St. John’s Lutheran Maisonneuve. Théâtre Maison- SAM. Salle André-Mathieu, 475 Bou- Church, 3594 rue Jeanne Mance, neuve, Place d’Arts, 175, Ste-Cathe- levard de l’Avenir, Laval. NOVEMBER Montréal. rine Ouest, Montréal. Serge-garant. Faculté de musique É. NDG. Église Notre-Dame-de-Grâce, Marie-Stéphane.Salle Marie-Sté- de l’UdeM- Salle Serge -Garant, 200, jeudi 01 Thursday 5333 ave Notre Dame de Grâce, phane, 628 ch.Côte-Ste-Catherine, avenue Vincent-d’Indy, Montréal. >19h30. ALP. 0-15$. Concert avec Montréal. Montréal. SMAC. Saint Matthias’ Anglican des ambiances d’Halloween.

56 OCTOBRE/OCTOBER 2018 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 57

Venez faire frissonner vos >15h. Bon-Pasteur. Entrée libre. Série oreilles. 514-727-7523 « Les profs de l’UdeM en >19h30. Wilder. 21$min-29$max. A concert ». 514-343-6427. triple bill, 3 choreographies of >15h30. Oratoire St-J. Free Admission. contemporary dance at Tan- Festival Bach Montréal - Em- gente. 514-525-1500. manuel Hocdé - Organ Concert PREVIEWS >19h30. CONSERVATOIRE. 13,50- at the Oratory. 514-989-9668. 26,50$. Découvrez les créations >16h. Wilder. 21$min-29$max. A CONCERT PICKS de 4 compositeurs canadiens triple bill, 3 choreographies of émergents avec l’ECM+. 514- contemporary dance at Tan- 524-0173. gente. 514-525-1500. vendredi 02 Friday lundi 05 Monday >19h30. Wilder. 21$-29$. A triple >10h. CONSERVATOIRE. Chants by RENÉE BANVILLE & bill, 3 choreographies of Libres - Auditions Fall 2018: MONTREAL contemporary dance at Tan- Male voices. 514-841-2642. BENJAMIN GORON gente. 514-525-1500. >13h30. UdeM-Longueuil. 14 $. Opé- >19h30. PH.$15-$20. McGill Wind ramania au Campus Longueuil Orchestra. 514-398-4547. – « Un ballo in maschera » de 50TH ANNIVERSARY OF OFQJ > 20h30. OPV. 10 $. Nolton Lake Verdi. 514-343-6427. The Office franco-québécois pour la je- (Montréal) et Eric Tapper (NYC) unesse (OFQJ) is celebrating its 50th an- s’unissent pour un spectacle. mardi 06 Tuesday >10h. CONSERVATOIRE. Chants niversary this year. Louis Lavigueur, samedi 03 Saturday Libres - Auditions Fall 2018: director of the Orchestre symphonique >07h. S3. 0$. A collaboration bet- Male voices. 514-841-2642. des jeunes de Montréal (OSJM), invites ween Studio XX and Studio 303. >19h. S-Garant. Entrée libre. UdeM: Quebec trumpeter Francis Pigeon and 514-393-3771. Récital de flûte traversière - French pianist Nathanaël Gouin as > 16h30. Christ Church. 0$. Emotions Classe de Denis Bluteau. 514- soloists in, respectively, Jacques | Recital by Désirée Till, so- 343-6111. Hétu’s Concerto for Trumpet and Saint- prano; Jacques Boucher, Organ. >19h30. Bourgie. 22.40$ - 42.62$. 514-843-6577. Jean-Guihen Queyras plays Saëns’ Piano Concerto No. 2. Also on the >19h30. Claude-Champagne. Entrée Bach and Kodály. 514-285- program: Mercure, Elgar and Debussy. libre. l’Université de Montréal: 2000x4. Salle Claude-Champagne, Nov. 10 at 7:30 NATHANAEL GOUIN OUM - Les étoiles montantes. p.m. www.osjm.org RB PHOTO : MIGUEL BUENO 514-343-6427. mercredi 07 Wednesday >19h30. Wilder. 21$min-29$max. A >13h30. UdeM-Longueuil. 14$. Opé- PIETER WISPELWEY: A RECITAL triple bill, 3 choreographies of ramania au Campus Longueuil AT THE LMMC – « Pelléas et Mélisande » de contemporary dance at Tan- It is always a pleasure for music lovers to gente. 514-525 -1500. Debussy. 514-343-6427. hear one of the great cello performers of >19h30. ST-J CH.$5 - $25. First >13h30. SAM. À partir de 20$. The Or- concert of the season. 514-268- chestre symphonique de Laval our age perform at the Ladies’ Morning 0153. presents Bébé Musique. 450- Musical Club. Pieter Wispelwey’s career >20h. Maisonneuve. BILLETS À PARTIR 978-3666. spans several continents and his discog- DE 36$ / TICKETS START AT 36$. Gau- >17h. Serge-garant. Entrée libre. Réci- raphy ranges from Baroque to contempo- thier Dance // Dance Company tal de piano - Classe de Paul rary. His outstanding technical mastery Theaterhaus - Stewart. 514-343-6111. and dynamic interpretations have made >18h15. Salle J-Rouleau. 18-24$. An Grandes Dames. 514-848-0623. him a favourite among the public and in- > exploration of the fantasia 20h. SSFOX. 35 $ moins de 12 ans 10 ternational critics. On the program: Bach, $. Two fabulous musicians through musical characters. Britten, Kodály. Pollack Hall, Nov. 11 at playing French repertoire. (450) 514-845-4108. PIETER WISPELWEY RB PHOTO : CAROLIEN SIKKENK 335-3037. >19h30. S-Garant. Entrée libre. UdeM: 3:30 p.m. www.lmmc.ca Récital de violon (fin baccalau- dimanche 04 Sunday réat) - Samuel Pronovost. 514- CHINA WITH THE COLOURS OF FRIENDSHIP >10h. CONSERVATOIRE. Chants 343-6111. Only one date, Nov. 12. A colorful event resulting from the tremen- > Libres - Auditions Fall 2018: 19h30. Bon-Pasteur. 23$-27$. Stu- dous hard work of Chinese artists who are all physically disabled. Male voices. 514-841-2642. dio de musique ancienne: Thirty years after China’s First Art Festival, the China Disabled Per- >14h. RH. $15-$20. Schulich in Beauty at last. 514-861-2626. Concert: Romantic Sonatas for >19h30. RH. 15-20$. McGill Baroque forming Arts Troupe has gained international renown and offers mes- Violin and Piano. 514-398-4547. Orchestra. 514-398-4547. merizing and never-before-seen numbers, such as poetry and sign >14h30. Pierre-Mercure. 60$. Pro mu- >19h30. SAM. Régulier : 61,50$ Club language dance. These accomplished artists, young for the most part, sica présente: Marie-Josée Lord [co]motion : 55,90$. The Orchestre perform on all the great stages of the world. My Dream, Nov. 12 at the et Hugues Cloutier. 514-987- symphonique de Laval pre- Théâtre Maisonneuve. www.placedesarts.com BG 6919. sents Bernstein. 450-978-3666. ARTE MUSICA, BOURGIE HALL The Calder exposition at the MBAM al- Grand Concert lows the unlikely pairing of two spec- tacles: Music and Circus – Balanced and Unbalanced. Pianists Janelle Fung ORCHESTRE MÉTROPOLITAIN and Philip Chiu will accompany circus KERSON LEONG: RÊVERIES / DAYDREAM artists in order to illustrate the tension DEBUSSY – KORNGOLD – RAVEL - CHOSTAKOVITCH that greatly influenced the creation of

KENSHO WATANABE, CHEF/CONDUCTOR mobiles. Nov. 11 at 2 p.m. KERSON LEONG, VIOLON-SOLISTE EN RÉSIDENCE/VIOLIN SOLOIST IN RESIDENCE Méditation mobile assembles four Église Saint-Joachim, 2 av. Sainte-Anne, Pointe-Claire electric guitars and four groups of in- Vendredi 23 novembre / Friday, November 23 - 20:00 struments in a creation of Tim Brady. Billets / Tickets : $22 & $16, disponibles au / available at: Galerie des bronzes du musée, Nov. 17 Centre culturel Stewart Hall Cultural Centre 514 630-1220 at 2 p.m. and 3:30 p.m. OCTOBRE/OCTOBER 2018 57 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 58

The New Orford String Quartet invites introspection by juxtaposing >19h30. Bourgie. 22.40$ - 42.62$. >19h30. Wilder. 21$min-29$max. A Haydn’s reflection on suffering and redemption, The Seven Last Jean-Guihen Queyras plays double bill, 2 choreographies Words of Christ, with George Crumb’s examination of good and Bach and Dutilleux. 514-285- of contemporary dance at Tan- 2000x4. gente. 514-525-1500. evil, Black Angels. Nov. 14 at 7:30 p.m. www.sallebourgie.ca RB jeudi 08 Thursday >19h30. Pollack. 20$. Opera McGill: WINTERREISE Albert Herring- BRITTEN. 514- >13h30. S-Garant. Entrée libre. UdeM: 398-4547. A traditional klezmer ensemble will offer us a new vision of this major Cours de maître sur le tango à >19h30. M.A. LAVAL. $20 - $45. L’OBQ work by Schubert at the frontier of recital and theatre. This is the fruit la flûte donné par Nili Grieco. presents: Le chanteur de of a collaboration between Philippe Sly and the Chimera Project. Nov. 514-343-6111. Mexico du 10 au 18 novembre > 18 at 4:30 p.m. 30. www.sal-lebourgie.ca RB 16h. Claude-Champagne. Entrée 2018. (450) 667-2040. libre. UdeM: Récital de basson >19h30. CLAUDE-CHAMPAGNE.12$- LE CHANTEUR DE MEXICO (programme de doctorat) - Vin- 35$. L’OSJM présente Concert cent Houde-Turcotte. 514-343- 50e anniversaire OFQJ. 514-645- The Opéra Bouffe du Québec celebrates its 40th anniversary in 2018. 6111. 0311. To put a little joy and sunshine into our hearts, they will present Le >18h. SERGE-GARANT.Entrée libre. Ré- >20h. Basilique.N-D. 25$-100$. Mun- chanteur de Mexico. This famous operetta was composed in 1951 for cital d’alto - Classe de Jutta Pu- dia Productions: Requiem de the Châtelet Theatre in Paris. Nov. 10 through 18, Maison des Arts de chhammer-Sédillot. Mozart. 514-808-1963. Laval. www.operabouffe.org BG 514-343-6427. >20h. TTDVT. $38-$40. Cirque Al- >19h30. Wilder. 21$min-29$max. A fonse - Tabarnak. (450) 492-4777. CHAMBER MUSIC CHEZ CAMERATA double bill, 2 choreographies >20h. BON-SECOURS$15-$30. Flûte of contemporary dance at Tan- Alors! Presents Ayres for a Musica Camerata will present a concert featuring two little-known gente. 514-525-1500. quintets. The Piano Quintet Op. 26 of Dohnányi, despite its beauty, is Muse with soprano Hélène Bru- >19h30. PH.20$-30$. Opéra McGill: net. 514-402-2363. rarely performed. The Piano Quintet in G Minor by Sibelius, famous Albert Herring - BRITTEN. 514- for his symphonies, is innocent and refreshing. The musicians are 398-4547. dimanche 11 Sunday Berta Rosenohl, piano; Luis Grinhauz and Van Armenian, violins; Vic- >19h30. É. NDG. 0$. Récital I: Fran- >14h. M.A. LAVAL. $20 - $45. L’OBQ tor Fournelle-Blain, viola; and Sylvain Murray, cello. Chapelle his- çois Couperin, Ordre 1 et 4. 514- presents Le chanteur de torique du Bon-Pasteur, Nov. 17 at 6 p.m. www.cameratamontreal.com RB 502-5349. Mexico. (450) 667-2040. >14h. Bourgie. 18.05$ - 33.92$. Arte vendredi 09 Friday Musica présente Musique et CHAPELLE HISTORIQUE > DU BON-PASTEUR 19h. Nomad. $11. Collectif9 lance Cirque (en lien avec l’exposi- son album No Time for Chamber tion Calder). 514-285-2000x4. Following the celebration of Music. 514-903-9030 >15h. GCDSL. 12-41$. Concert the 100th anniversary of > 13h. PAPINEAU-COUTURE. Entrée Tango Saint-Lambert - 100e an- Poland’s independence, pianist libre. Cours de maître et récital niversaire. 450-878-0200. Maxim Bernard presents a en saxophone classique avec >15h30. Oratoire St-J. $0. Festival Chopin recital including the Preston Duncan. 514-343-6111. Bach Montréal - Richard Paré - >19h. SALLE J-ROULEAU. $10-30. Au- Sonata Op. 58 and Nocturne Organ Concert at the Oratory. tour de la flute-Aleks Schümer: No. 16. Nov. 18 at 3 p.m. 514-989-9668. New York, 1920. > Messiaen’s ambitious cham- 15h30. PH. $20 (students 26 years >19h30. Claude-Champagne. Entrée and under)-$50. Pieter Wispel- ber piece, composed during his libre. Concert du chœur de l’Uni- wey, violoncelle. Programme: captivity, the Quartet for the versité de Montréal. 514-343- Bach, Britten, Kodaly. 514-932- End of Time includes a se- 6111. 6796. quence of eight movements for >19h30. Wilder. 21$min-29$max. A >16h. É. St-Pierre-Apôtre. Les Petits a non-traditional quartet. Mu- double bill, 2 choreographies Violons : Yukari Cousineau, vio- sicians: Todd Cope, clarinet, of contemporary dance at Tan- lon solo de l’Orchestre Métro- gente. 514-525-1500. Marc Djokic, violin, Chloé politain. 514-274-1736. MAXIM BERNARD >19h30. Pollack. 20$. Opéra McGill: >16h. Wilder. 21$min-29$max. A Dominguez, cello and Louise Albert Herring. 514-398-4547. Bessette, piano. Nov. 22 at 7:30 p.m. Pianists Brigitte Poulin and Jean double bill, 2 choreographies >19h30. PAPINEAU-COUTURE. 12 $. of contemporary dance at Tan- Marchand present a recital of French music of the 20th and 21st cen- Production de l’Opéra de Zurich gente. 514-525-1500. turies. Nov. 29 at 7:30 p.m. Cellist Paul Marleyn and pianist Stéphane (2017). 514-343-6111. >17h. É. NDG. 0$. Récital II: Fran- Lemelin devote the afternoon of Dec. 2 to Beethoven’s five Cello >19h30. L. 0. Maison de la culture çois Couperin, Art de toucher le Sonatas. From 1 p.m. www.accesculture.com RB Ahuntsic: Christine Tassan et clavier et Ordre 2. 514-502-5349. les imposteures. 514-872-8749. CONTEMPORARY MUSIC AT UNIVERSITÉ DE MONTRÉAL >20h. TTDVT. $30-$45. Manifeste de lundi 12 Monday la jeune-fille. (450) 492-4777. >13h30. UdeM-Longueuil. 14 $. Opé- In conjunction with McGill University, as part of the Colloquium on >20h. RH. Gratuit | Free. Chamber ramania au Campus Longueuil Pedagogy of Mixed Music, the Contemporary Music Ensemble of the music concert featuring works – « Un ballo in maschera » de Université de Montréal, under the direction of Jean-Michaël Lavoie, by Elgar, Fanny Mendelssohn & Verdi. 514-343-6111. proposes the exploration of a new formula in 100% Mixte: a concert Dvorak. 514-935-3933. >19h30. PH.$15-$20. Schulich in without conductor. Salle Claude-Champagne, Nov. 18 at 7:30 p.m. samedi 10 Saturday Concert: Mozart, Schumann, www.musique.umontreal.ca RB Fauré. 514-398-4547. >15h. Basilique.N-D. 25$-100$. Mun- >20h. Maisonneuve. $38,74-$93,48. MONTREAL BACH FESTIVAL: dia Productions : Mozart Re- My Dream: China Disabled Peo- NOV. 22 TO DEC. 7 quiem. 514-808-1963. ple’s Performing Art Troupe. >16h30. Christ Church. Freewill Offe- 514-842-2112. The 12th edition of the Montreal Bach rings. One hundred years of re- Festival will officially launch its activ- membrance-Brass ensemble. mardi 13 Tuesday ities on Nov. 22 at the Church of St. 514-843-6577. >11h. CLAUDE-L’ÉVEILLÉE. $7-$12. Andrew and St. Paul with the St. John >18h. S3. $10-$20. REMIX // Trou- Chamber music concert for Passion, which will be sung and di- bling the idea of ownership kids!. 514-935-3933. > rected by famed tenor Julian Prégar- through a radical sharing of 16h30. CLAUDE-L’ÉVEILLÉE$7-$12. dien. Exceptionally, this concert will mater. 514-393-3771. Chamber music concert for >19h30. Wil.-Pel. 30$-210$. Opéra de kids!. 514-935-3933. be repeated the next day at Saint- Montréal: Das Rheingold. JULIAN PREGARDIEN Benoît-du-Lac Abbey, in collaboration PHOTO : MARCO BORGGREVE

58 OCTOBRE/OCTOBER 2018 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 59

>19h. S-Garant. Entrée libre. Récital « The Fairy Queen » de Purcell. with Orford Musique, for the first outing of the festival outside Mon- de chant - Classe de Monique 514-343-6111. treal. Created for the occasion, the new ensemble of established mu- > Pagé. 514-343-6111. 20h. Claude-Champagne. Entrée sicians and young talents from Quebec and elsewhere will play an >19h. MARIE-STÉPHANE.38$. libre. Récital de chant (fin maî- important role in future editions of the festival. Julian Prégardien will Concerts Vox Populi: Le cas trise) – Myriane Bourgeois. 514- Schubert. 514-629-8784. 343-6111. be back on Dec. 4 and 5, this time in Bach’s B Minor Mass with the >19h30. Wil.-Pel. 30$-210$. Opéra de >20h. GDLP. $15-$36. with Sté- OSM, under the direction of Kent Nagano. Other soloists are Marie- Montréal: Das Rheingold. phane Tétreault, Valérie Milot, Nicole Lemieux, Hélène Guilmette and Peter Harvey. mercredi 14 Wednesday and Antoine Bareil. (450) 582- Among the soloists appearing under the auspices of the festival are 6714. the American pianist Jeremy Denk, who will make his Montreal debut > 13h30. UdeM-Longueuil. 14 $. Opé- (Nov. 28), the Polish countertenor Jakub Jósef Orliński, a true lyrical ramania au Campus Longueuil samedi 17 Saturday – « Pelléas et Mélisande » de >14h. ST-A & ST-P. CH.15$. Festival sensation in Europe, accompanied by soprano Hélène Brunet and Har- Debussy. 514-343-6111. Bach Montréal - Nicolas Ellis, monie des saisons from Granby (Nov. 29), Masaaki Suzuki and his >18h30. JOHN MOL.$0. Multichan- Kids Concert. 514-989-9668. Bach Collegium Japan ensemble (Dec. 1), violist Nils Mönkemeyer nel Electroacoustic Concerts >14h. M.A. LAVAL. $20 - $45. L’OBQ (Dec. 3), the Armenian pianist Sergei Babayan (Dec. 5) and the leg- III: Gotfrit, Koonce, Lanza, presents Le chanteur de endary cellist Yo-Yo Ma who will close the festival (Dec. 7). Rhoades. 514-848 2424 ext 4559. Mexico from Novembrer 10 Organ concerts in St. Joseph’s Oratory include: the evening of or- >19h30. Bourgie. 18.05$ - 33.92$. to18, 2018. (450) 667-2040. ganists of the Lagacé and Boucher families (Nov. 18); cellist Stéphane > Arte Musica présente Nouveau 14h. GAL. BRON.Entrée libre aux dé- Tétreault with organist Mireille Lagacé (Nov. 25); and famous organ Quatuor à cordes Orford. 514- tenteurs de billets pour l’exposition works as performed by Vincent Boucher and presented by actor Edgar 285-2000x4. Calder. Création d’une œuvre en perpétuel mouvement. Fruitier with the comments of musicologist Gilles Cantagrel (Dec. 2). jeudi 15 Thursday >14h30. NNS. $0. Master Drum- Local ensembles include the McGill Chamber Orchestra and mezzo- >18h. Bourgie. 14.56$ - 26.96$. ming Class with Elli Miller-Ma- soprano Julie Boulianne (Nov. 27), Pallade Musica and Mélisande Mc- Guillaume Martineau presents boungou. 514-848 2424 ext 5458. Nabney (Nov. 28), and Ensemble Caprice with Valérie Milot (Nov. 30). Boulevard Saint-Germain. 514- >15h. ST-M-D CH.24$-27$. The Or- www.festivalbachmontreal.com RB 285-2000x4. chestre symphonique de Laval >19h30. Wil.-Pel. 30$-210$. Opéra de presents Festin musical. 450- THE SPREZZATURA OF LES BORÉADES Montréal: Das Rheingold. 978-3666. In 1528, in the midst of the Renaissance, Balthasar de Castiglione pro- >19h30. OSDD. 33 $ à 55 $. Or- > 15h30. GAL. BRON.Entrée libre aux posed an ideal for courtesans, leaving much scope for music and dance, chestre Symphonique Drum- détenteurs de billets pour l’exposi- mondville: Les classiques tion Calder. Instruments of Hap- including the concept of casual style or sprezzatura. Les Boréades, di- viennois. (819) 477-1056. piness présente Méditation rected by Francis Colpron, will assemble five instrumentalists to illus- >19h30. CLAUDE-CHAMPAGNE.25$. mobile. 514-285-2000x4. trate the thinking of Castiglione. The concert includes works by Rore, L’Orchestre 21 présente Hom- >16h. ST-A & ST-P. CH.15$. Festival Pandolfi, Mealli, Uccellini and Gesualdo. Conservatoire, Nov. 22 at 7 mage à Penderecki. 514-343- Bach Montréal - Night of Choirs p.m. 30. www.boreades.com RB 6427. / La Nuit des Chœurs. 514-989- >19h30. L. 0. You Kyung-Hwa et 9668. OM AND KERSON LEONG l’ensemble E-Do. 514-872-8749. > 16h30. Christ Church. Die Schöne Orchestre Métropolitain soloist-in-resi- vendredi 16 Friday Müllerin | Kevin Myres, Tenor ; dence Kerson Leong performs Korngold’s >18h. CDAV. Free admission / Entrée Louise Pelletier, Piano. 514-843- 6577. Violin Concerto under the direction of Ken- libre. Venez fêter le lancement > sho Watanabe, assistant conductor at the de l’album Noël piano-voix en 18h. Bon-Pasteur. 30$-40$. Musica Camerata: Quintettes pour Philadelphia Orchestra. With an evocative compagnie des artistes. title like Rêveries, it is not surprising to find >18h30. CHAP. ST-LOUIS.$0-$25. Qua- piano et quatuor à cordes. 514- 489-8713. Debussy’s Prelude to the Afternoon of a trouvailles presents Retrou- > vailles baroques. Haendel, 19h30. Wil.-Pel. 30$-210$. Opéra de Faun on the program, which also includes Montréal: Das Rheingold. Shostakovich’s Symphony No. 1. The con- Corelli et Leclair. 514-554-1206. > >18h30. Bourgie. 18.05$ - 33.92$. 19h30. PH.$15-$20. McGill cert is presented as part of the RBC Emerg- Concours OSM Manuvie pré- Contemporary Music En- ing Artists project at the Maison sente Piano, harpe et vents. semble. 514-398-4547. >19h30. SSUOC. $10-$40. Slava! symphonique on Nov. 22 at 7:30 p.m. There 514-285-2000x4. are also four regional concerts between Nov. > Russian choral music, featu- KERSON LEONG 19h30. PDLIEC. $10-$20. Inaugural 21 and 25. www.orchestremetropolitain.com RB PHOTO : BRUNO SCHLUMBERGER concert of the restored 1961 ring Rachmaninov Vespers. Beckerath organ. 514-510-5678. 514-483-6922. >20h. 5E SALLE. BILLETS À PARTIR DE MANDOLIN VIRTUOSO WITH LES >19h30. M.A. LAVAL. $20 - $45. L’OBQ VIOLINS OF THE ROY presents Le chanteur de 38$ / TICKETS START AT 38$. Ten- tacle Tribe - Ghost. 514-848-0623. It is rare to hear a solo mandolinist. Thanks Mexico from Novembrer 10 > to18, 2018. (450) 667-2040. 20h. SB. 18.05$ - 33.92$. Constan- to his talent and out-of-the-ordinary per- > 19h30. PAPINEAU-COUTURE. 15 $. tinople and Ablaye Cissoko : sonality, Avi Avital has become a star of the Opéramania – Soirée causerie : Sur les traces du griot. 514-285- 2000x4. classical stage. Les Violons du Roy and con- ductor Jonathan Cohen join Avital in a Vi- valdi concerto and a concerto attributed to Grand Concert Paisielllo. In addition: Avison, Handel and Durante. Bourgie Hall, Nov. 23, 7:30 p.m. AVI AVITAL www.violonsduroy.com RB PHOTO : UWE ARENS DEUTSCHE GRAMMOPHON QUARTOM NOËL DE QUARTOM / QUARTOM CHRISTMAS MANOLIANA, AT THE HEART OF A ROMANIAN LEGEND The cultural association La Muse Heritage Musical and the Romanian GAÉTAN SAUVAGEAU, BENOIT LEBLANC, Cultural Institute offer The Monastery of Arges, an oratorio by Iacob JULIEN PATENAUDE, PHILIPPE MARTEL Muresianu based on a Romanian legend. Master builder Manole hopes Église Saint-Joachim, 2 av. Sainte-Anne, Pointe-Claire to build a monastery in the south of Romania, but a curse destroys at Vendredi 7 décembre / Friday, December 7 - 20:00 night what he builds during the day. The work can only be completed Billets / Tickets : $18 & $10, disponibles au / available at: by means of a sacrifice – of Ana, the beloved of Manole. A metaphor Centre culturel Stewart Hall Cultural Centre 514 630-1220 for creative sacrifice, this legend comes to life in music with Ioana Ger- OCTOBRE/OCTOBER 2018 59 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 60

man’s La Muse Orchestra and Choir, plus Romanian and Canadian dimanche 18 Sunday soloists, singers and instrumentalists. This concert will be held as part >10h30. TANNA$7-$12. Chamber of the second edition of the Festival of Cultural Diversity, an event music concert for kids!. 514- aimed at promoting the richness of Romanian musical culture and 935-3933. Canadian cultural diversity. St. Edward’s Church, Montreal, Nov. 24 >14h. Hector-Charland. 42,03$-46.00$. at 7 p.m. www.la-muse.org BG Concert piano et orchestre avec Serhiy Salov. (450) 589- 23 ARGHAMANYAN AND I MUSICI: 9198. A RETURN TO MONTREAL >15h. M.A. LAVAL. $20 - $45. L’OBQ Pointe Claire-Orchestre Métropolitain: présente l’opérette Le chan- Kerson Leong Daydream - Debussy – Armenian pianist Nareh teur de Mexico du 10 au 18 no- Korngold – Ravel - Shostakovich Arghamanyan was 18 when she won Friday, November 23, 8 p.m., at Saint- vembre 2018. (450) 667-2040. Joachim Church first prize at the Montreal Interna- >15h. Bon-Pasteur. Free. Maxim Ber- tional Musical Competition of 2008. nard joue Chopin. Now residing in Vienna, she has not >15h. DAWSON.$25. High Tea Fun- jeudi 22 Thursday forgotten her Montreal public. draiser and Choral Concert >18h. JOHN MOL.$0. Women in Arghamanyan offers an all-Bach pro- with One Equall Musick. (438) Music: Alternative Paths. 514- 882-9230. 848 2424 ext 4559. gram with I Musici de Montréal under >15h30. Oratoire St-J. 15$. Festival >18h. SB. 14.56$ - 26.96$. Sam Kir- Jean-Marie Zeitouni. Bourgie Hall, Bach Montréal - Lagacé and mayer Trio presents Tribute to Nov. 29 at 11 a.m. and 6 p.m. www.imu- Boucher families, organ Cole Porter. 514-285-2000x4. RB NAREH ARGHAMANYAN sici.com concert 514-989-9668. >19h30. MS. $43.69- $171.31. Or- PHOTO : JULIA WESELY >16h. ST-AN. & ST-P. CH.$10-$150. chestre Métropolitain, Rêve- JULIE BOULIANNE MAB-Mackay Foundation is joi- ries: Kerson Leong. AND THE MCGILL ning with I Medici di McGill Or- >19h30. OPH. $0. Jazz Studies CHAMBER ORCHESTRA chestra . 514-488-0043. Scholarship Competition > Here is an unprecedented 16h. TANNA$7-$12. Chamber Concert. 514-848 2424 ext 4559. music concert for kids!. 514- >19h30. BOURGIE. Reg 30 $ / Aîné 25 encounter, of coloratura 935-3933. $ / 30 ans & - 12 $. Les Boréades mezzo-soprano Julie Bou- >16h30. Bourgie. 18.05$ - 33.92$. presents: Pieces from Rore, lianne and the McGill Cham- Arte Musica présente Winter- Pandolfi Mealli, Uccellini. 514- ber Orchestra under the reise Klezmer avec Philippe 634-1244. direction of Boris Brott, in a Sly. 514-285-2000x4. >19h30. Bon-Pasteur. Free. Quatuor concert also featuring flutist >17h. É. NDG. 0$. Récital III: Fran- pour la fin du temps de Mes- Timothy Hutchins and çois Couperin, Ordre 3 et 5. 514- siaen. JULIE BOULIANNE oboist Theodore Baskin. 502-5349. >19h30. Claude-Champagne. Entrée vendredi 23 Friday Presented as part of the > libre. Concert « 100 % Mixte » de 13h. UDEM-A&S.$0. Festival Bach Montreal Bach Festival, this program comprises Handel, Telemann, l’Ensemble de musique Montréal - Martin Lutz, Confe- Bach and Vivaldi, as well as a contemporary piece by composer Bar- contemporaine. 514-343-6111. rence. 514-843-3414. bara Croall, in the magnificent setting of the St. Jean Baptiste Church. >18h30. SERGE-GARANT.Entrée libre. This is an excellent opportunity to hear Boulianne, who will then re- lundi 19 Monday Récital de chant (fin baccalau- turn to the Netherlands and spend much of 2019 in Europe. The year >13h30. UdeM-Longueuil. 14 $. Opé- réat) - Audrey Charron. 514-343- 2019 will also be special for the McGill Chamber Orchestra, which will ramania au Campus Longueuil 6427. >19h. Bourgie. 26.74$ - 51.32$. Avi celebrate its 80th anniversary. Nov. 27 at 7:30 p.m. www.orchestre.ca – Hommage à Leonard Bern- BG stein (1918-1990). 514-343-6111. Avital, La Mandoline Virtuose. >19h30. PH.$15-$20. McGill Sym- mardi 20 Tuesday phony Orchestra. 514-398-4547. OPERA ATELIER OF THE UNIVERSITÉ DE MONTRÉAL >19h. Claude-Champagne. Entrée >19h30. PH.$15-$20. McGill Concert Under the direction of Robin Wheeler, the Université de Montréal At- libre. Récital de piano (pro- Choir. 514-398-4547. elier de l’Opéra presents Henry Purcell’s The Fairy Queen in collabo- gramme de doctorat) - Thierry >20h. S-Garant. Free. Récital de ration with the Atelier de musique baroque and its director, Luc Montpetit. 514-343-6111. chant (fin baccalauréat) - Au- >19h30. SERGE-GARANT.free. Récital Beauséjour. “To build our show, we imagined a fiction where our char- rore Le Hannier. 514-343-6111. de chant - Classe de Rosemarie acters find themselves in search of a mysterious and unknown desti- Landry. 514-343-6111. samedi 24 Saturday nation..” Salle Claude-Champagne, Nov. 30 and Dec. 1 at 7:30 p.m. >19h30. BON-SECOURS$12-$30. >14h30. JOHN MOL.$0. Jazz Master- www.musique.umontreal.ca RB Concert reflects upon other- class with Florian Hefner. 514- worldly concepts such as the 848 2424 ext 4559. TRIO FIBONACCI WITH THE COLOURS OF SPAIN soul and paradise. 514-282-8670. >16h30. Christ Church. Freewill Offe- In their 20th anniversary season, violinist Julie-Anne Derome, cellist >20h. BOURGIE. 18.05$ - 33.92$. La rings. Back to Bach! | Organ re- Gabriel Prynn and pianist Steven Massicotte invite us to a panoply of Nef présente Carpe Diem. cital by Rapahël Ashby -Music colours. Starting with music of youth and passion, the musicians build 514.523.3085. by Bach and Buxtehude. 514- 843-6577. castles in Spain with music of mercredi 21 Wednesday >19h. ST-ED. CH.25 $ en prévente – 35 Enrique Granados and Isaac >17h30. JOHN MOL.$0. Research $ à la porte. Concert: musique, Albéniz, but also lesser Talks: Simone Dalla Bella. 514- chant et légende roumaine, known trios, like those com- 848 2424 ext 4559. Choeur et orchestre La Muse. posed at age 29 by Gaspar >19h30. TANNA$15-$20. McGill Jazz 450-448 0797. Cassadó or that of Joaquín Orchestra II. 514-398-4547. >19h30. BON-SECOURS21,85$-42,54$. > Turina with its impressionist 19h30. SB. 14.56$ - 26.96$. Andréa Festival Bach Montréal - Luc Tyniec and Marina Thibeault Beauséjour, Clavecin en atmosphere. Recognized for play Mozart and Martinu. 514- its brilliant and lucid inter- concert. 514-989-9668. 285-2000x4. >19h30. PH.$15-$20. McGill Sym- pretations, the Trio Fibonacci >20h. Chap. St-Louis. $5-$20. Poiesis phony Orchestra. 514-398-4547. will let the sun shine on the presents : Les Variations Gold- >19h30. GASMAC. Freewill offerings. end of autumn. España, berg, Mark Edwards, clavecin. Earth world Collaborative: Mul- Bourgie Hall, Dec. 4 at 7:30 timedia Voyage with Organ & BG TRIO FIBONACCI p.m. www.triofibonacci.com Live Electronics. 514-933-4295. 60 OCTOBRE/OCTOBER 2018 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 61

>19h30. PH.$15-$20. McGill Concert – « Gurre-Lieder de Schoenberg Choir. 514-398-4547. ». 514-343-6111. by RICHARD TODD >17h. S-Garant. Entrée libre. Récital OTTAWA dimanche 25 Sunday de violon (fin baccalauréat) - >14h. Ég. lut. St-Jean. free. Cantate Samuel Pronovost. 514-343- de Bach - BWV 89, Respighi Il 6111. BACH’S MAGNIFICAT tramonto. 514-844-6297. >18h30. SERGE-GARANT.Entrée libre. >14h30. Pierre-Mercure. 60$ (tx ind). Récital de chant - Classe As a kind of pre-holiday-season celebration, Pro Musica presents Jay Camp- d’Adrienne Savoie. 514-343- the Caelis Ensemble and Ottawa Baroque bell & Conor Hanick. 514-987- 6427. Consort under Matthew Larkin will present 6919. >19h30. Claude-Champagne. 14 $. Le an all-Bach program highlighting the Mag- > 15h. GSA. Entrée libre. Concert Big Band de l’Université de nificat in D. Caelis bills itself as Canada’s d’orgue. 514-249-7911. Montréal under Ron Di Lauro’s (and Ottawa’s) newest choir of child cho- >15h. ST-LN CH.$15-$25. “Quilt direction. 514-343-6111. risters and adults, presenting concerts and Mass”, excerpts from masses > 19h30. Bourgie. 20$ à 69$. Festival sacred music events in the cathedral tradi- from the Renaissance to the Bach Montréal - Jeremy Denk, 20th century. 514-568-2722. Goldberg Variations. 514-989- tion. Seven vocal soloists will be headlined >15h. Bon-Pasteur. Free. Schulich 9668. by bass-baritone Philippe Sly. Among the PHILIPPE SLY Singers. 514-398-4547. >19h30. TANNA$15-$20. McGill Jazz other works on the program are the motet >15h. PLNDLSV. 35 $* (reg) 15 $* (18 - Orchestra I. 514-398-4547. Singet dem Herrn and the Orchestral Suite No. 3 with its famous air. 35) 5 $* (6 -17) 0 - 5 ans (free). L’Or- >20h. TTDVT. $17-$25. Compagnie Southminster United Church, Nov. 14 at 7:30 p.m. www.ottawabaroque.ca chestre symphonique de Ample Man Danse - Divisible. Longueuil presents L’Orchestre (450) 492-4777. NATIONAL ARTS CENTRE comique. 450-466-6661 x224. ORCHESTRA >15h30. Oratoire St-J. 25$. Festival jeudi 29 Thursday Bach Montréal - Stéphane Té- >11h. Bourgie. 15$ – 35.50$. I Musici: One of the most intriguing concerts of treault. 514-989-9668. Nareh Arghamanyan & Bach. the season, this program encompasses >19h. PH.Free. 2018-2019 Wirth >12h10. CLAUDE-L’ÉVEILLÉE12$. Fes- the old and the new. The old is repre- Vocal Prize. 514-398-4547. tival Bach Montréal - Mélo- sented by Mendelssohn’s Fingal’s Cave lundi 26 Monday dînes, Featuring young artists and Symphony No. 4 “Italian.” Al- from Quebec. 514-989-9668. though not old in age, Amanda Forsyth >12h10. CLAUDE-L’ÉVEILLÉE12$. Fes- > 18h. Bourgie. 15$ – 35.50$. I Musici: was principal cellist of the National Arts tival Bach Montréal - Mélo- Nareh Arghamanyan & Bach. AMANDA FORSYTH Centre Orchestra for many years and is dînes, Featuring young artists >18h. S-Garant. Entrée libre. Récital from Quebec. 514-989-9668. de cor et musique de chambre well known to Ottawa music lovers. She will present the world pre- >13h. UDEM-A&S.Free Admission. - Classe de Louis-Philippe Mar- miere of Marjan Mozetich’s Cello Concerto. A young conductor mak- Festival Bach Montréal - Matt solais. 514-343-6111. ing her NACO main series debut, Elim Chan is a native of Hong Kong Herskowitz, Conférence. 514- >19h30. S-Garant. Entrée libre. Réci- and a past fellow of the Summer Music Institute Conductors Program. 843-3414. tal de basson et de hautbois - Southam Hall, National Arts Centre, Nov. 14 and 15 at 8 p.m. www.nac- > 13h30. UdeM-Longueuil. 14 $. Opé- Classe de Mathieu Lussier. 514- cna.ca ramania au Campus Longueuil 343-6111. – « The Lady from Shanghai » – >19h30. ST-A & ST-P. CH.20$ à 55$. THE POET’S PILGRIMAGE: JEANNE AMIÈLE, PIANO Film d’Orson Welles (1947). 514- Festival Bach Montréal - Jakub Amièle, CBC’s No. 1 2016 30-under-30 musician, will offer music from 343-6111. Józef Orliński. 514-989-9668. >19h30. Tanna Schulich. $15-$20. Mc- >19h30. Bon-Pasteur. Free. Brigitte the late classical to the early modern. The former is represented by Gill Chamber Jazz Ensemble. Poulin et Jean Marchand Beethoven’s penultimate sonata, Opus 110, the latter by Janáček’s 514-398-4547. jouent des oeuvres françaises. Piano Sonata 1.X.1905 and Ravel’s Gaspard de la nuit (1908), one of >19h30. S-Garant. Free. UdeM: vendredi 30 Friday the most challenging pieces technically in the standard piano reper- Concert ensemble de trom- toire. In between comes Liszt’s Years of Pilgrimage, First Year > bone. 514-343-6111. 19h. EK. free. Infinithéâtre pre- (Switzerland). >19h30. Bourgie. $15-$32. Pallade sents The Pipeline. 514-987- Musica performs Bach Harpsi- 1774. Southminster United Church, Nov. 16 at 7:30 p.m. www.upbeatproduc- chord Concertos - Festival Bach >19h30. Claude-Champagne. Entrée tions.ca Montréal. 514-989-9668. libre. L’Atelier d’opéra de l’Uni- >20h. LSR. $12. NO HAY BANDA #10: versité de Montréal: The Fairy NEW ORFORD STRING QUARTET EXO//ENDO + Cheryl Duvall. Queen, H Purcell. 514-343-6111. This is another concert that will contrast the old and the new. It will mardi 27 Tuesday >19h30. Claude-Champagne. Entrée include Haydn’s The Seven Last Words of Christ. Haydn invented the libre. L’Atelier d’opéra de l’Uni- string quartet as we understand it and there is a natural authority to >12h10. CLAUDE-L’ÉVEILLÉE12$. Fes- versité de Montréal. 514-343- tival Bach Montréal - Mélo- the work in this setting. The new (more or less) is represented by 6111. George Crumb’s 1970 Black Angels. This work is the very embodiment dînes, Featuring young artists >19h30. Bourgie. 18$ à 35$. Festival from Quebec. 514-989-9668. Bach Montréal - Valérie Milot, of the so-called avant-garde. It is scored for amplified string instru- >19h30. Pollack. $15-$20. McGill Uni- Ensemble Caprice. 514-989-9668. ments and each player also has a variety of percussion instruments to versity Chorus. 514-398-4547. >19h30. PH.$15-$20. Chœur de manage. >19h30. SERGE-GARANT.Entrée libre. chambre Schulich. 514-398- National Gallery of Canada, Nov. 17, 7:30 p.m. www.chamberfest.co. Récital de piano - Classe de 4547. Jimmy Brière. 514-343-6427. >19h30. PH.$15-$20. Schulich Sin- I SING OF A MAIDEN >19h30. ESJB. $10-$75. The MCO gers. 514-398-4547. This Seventeen Voyces concert welcomes coloratura mezzo- >20h. LA. 38$. Festival Bach Mont- soprano Julie Boulianne. 514- will be made up of carols reflect- réal - Mino Cinelu en trio / Mino ing on Mary and the Virgin Birth. 487-5190. Cinelu trio. 514-989-9668. There will be organ and harp ac- mercredi 28 Wednesday companiment. The program is > DECEMBER 12h10. CLAUDE-L’ÉVEILLÉE12$. Fes- given twice, in separate venues. tival Bach Montréal - Mélo- samedi 01 Saturday St. Matthew’s Anglican Church, dînes, Featuring young artists >00h. EK. free. Infinithéâtre pre- from Quebec. 514-989-9668. Dec. 8 at 7:30 p.m.; Ashbury Col- > sents The Pipeline. 514-987- lege Chapel Dec. 9 at 4 p.m. 13h30. UdeM-Longueuil. 14 $. Opé- 1774. ramania au Campus Longueuil www.seventeenvoyces.ca OCTOBRE/OCTOBER 2018 61 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 62

>19h30. Bourgie. 20$ à 75$. Festival Woodroffe Ave, Ottawa. by GREGORY FINNEY Bach Montréal - Bach Colle- TORONTO gium Japan. 514-989-9668. NOVEMBER >20h. ST-J CH.$20.00. Stewart Hall 04 11h30. OCHHTDVDO. Ottawa Singers: Messiah, Part1; Christ- Symphony’s 3D StringTheory BUFFY SAINTE-MARIE AT KOERNER HALL mas music. 514-697-2952. Experience. >20h. SSFOX. 35 $; moins de 12 ans : 09 20h. WUC. $10-$20. Divertimento As part of Koerner Hall’s 10th anniversary season, you can catch Cana- 10 $. A non-traditionnal and fun Orchestra’s Fall Concert, Woo- dian legend Buffy Sainte-Marie. As part of her “Quiet Please, There’s Christmas concert !. (450) 335- droffe United. (613) 327-4499. a Lady on Stage” series, the Cree singer/songwriter will perform music 3037. 10 20h. WUC. $10-$20. Divertimento from her latest release, Medicine Songs, which is a collection of front >20h. UC. $5 - $20. The Reed family 2018 Fall Concert Woodroffe line songs about unity and resistance. Featuring new music and clas- joins the Sainte-Anne Singers United Church. (613) 327-4499. sics, the Academy Award-winning songwriter takes the stage at 8 p.m. to present seasonal favourites. 14 19h30. SUC. $15 - $30. An eve- 514-605-6043. on Nov. 16. www.rcmusic.com ning of Bach’s most glorious, dimanche 02 Sunday poetic and exciting music. MIROCA PARIS AT LULA LOUNGE > 613-862-4106. 00h. GASMAC. Freewill offerings. In 17 19h30. CDMDG. 10$-30$. Pro- Known as a virtuoso percussionist and drummer, the Cape Verdean Dulci Jubilo, a Christmas gramme de musique fran- singer and multi-instrumentalist brings his unique guitar-driven Concert with choir and Brass çaise, musique pour luth et sound to the downtown venue. Drawing on his vast rhythmic knowl- ensemble. 514-933-4295. > clavecin. (819) 328-0634. edge, Paris has created his own guitar-playing technique. Having filled 13h. Bon-Pasteur. Free. Paul Mar- 17 19h30. CDMDG. 10$-30$. Récital leyn and Stéphane Lemelin venues all over Europe and North America, he was recently invited to de clavecin: L’art de préluder. play Beethoven. (819) 328-0634. play WOMAD UK. Paris takes the stage on Nov. 17 at 1:30 p.m. and >14h. SB. 14.56$ - 26.96$. L’En- reservations are encouraged. www.lula.ca 25 15h. CCA. Noël piano-voix : Mu- semble OBSIDIENNE présente sique vocale du classique au Les Anges musiciens (musique pop, pour célébrer Noël. SONDRA RADVANOVSKY IN RECITAL médiévale). 514-285-2000x4. > 25 15h. CCA. Freewill donation (sug- One of the great singers of our time soprano Sondra Radvanovsky re- 14h. EK. free. Infinithéâtre pre- gested 10$) / Contribution volon- turns for a rare recital “From Bel Canto to Verismo” with pianist sents The Pipeline,. 514-987- taire (suggérée 10$). Noël Antony Manoli. Hot ticket. Nov. 24, 8 p.m., Koerner Hall. 1774. > piano-voix : Musique vocale www.showoneproductions.com 15h. MS. 51.74 à 99.23 $. Mundia du classique au pop, pour cé- Productions: Beethoven’s 9th lébrer Noël. symphony. 514-808-1963. VOICEBOX: OPERA IN CONCERT PRESENTS > 25 15h30. SJSPC. Price - 25$ presale – WERTHER 15h30. PH. $20 (students 26 years 35$ at the door. Concert: Roma- and under)-$50. Setzer-Finckel- nian music and legend by One of Canada’s oldest opera companies returns with Wu Han Trio, trio piano et choir and orchestra La Muse the second instalment of the season with Massenet’s cordes. Programme: Beetho- from MTL. Reservations – 613 Werther. The cast features soprano Isabel Bayrakdar- ven, Sch. 514-932-6796. 255-1362. ian, baritone Brett Polegato and, in the title role, tenor >16h. GST. $5 - $20. The Reed fa- Matt Chittick. Narmina Afandiyeva is music director mily join the Sainte-Anne Sin- DECEMBER gers to present seasonal and pianist. Nov. 25 at 2:30 p.m. at the Jane Mallett 01 20h. SMSC. $13.50 – $40.50. Ot- favourites. 514-605-6043. tawa Bach Choir presents Theatre. www.operainconcert.com >19h30. Oratoire St-J. Free Admission. Christmas in Venice. Festival Bach Montréal - Gilles 613.270.1015. ESPRIT ORCHESTRA: NORTH/WHITE Cantagrel et Vincent Boucher. R. Murray Schafer’s North/White, featuring a snowmobile in the per- 514-989-9668. cussion section, headlines this program conducted by Esprit artistic di- lundi 03 Monday rector Alex Pauk. At the forefront of presenting contemporary >12h10. CLAUDE-L’ÉVEILLÉE12$. Fes- orchestral music in Canada, Esprit will perform the Schafer alongside tival Bach Montréal - Mélo- Alexina Louie’s Take the Dog Sled and the Canadian premiere of dînes, Featuring young. Dreaming by Iceland’s Anna Thorvaldsdottir. Guest artist are Inuit 514-989-9668. throat-singers Evie Mark and Akinisie Sivuarapik. Nov. 28, 8 p.m. at >19h30. Bourgie. 20$ à 49$. Nils ASKAC. All Saints Kingsway Anglican Koerner Hall. www.espritorchestra.com Mönkermeyer et William Youn Church, 2850 Bloor Street West. jouent Bach, Brahms et Gourzi. Jane Mallett. Jane Mallett Theatre, TORONTO SYMPHONY ORCHESTRA: TCHAIKOVSKY’S THE 514-989-9668. St. Lawrence Centre for the Arts, 27 NUTCRACKER AND MORE Front Street East. Kick off your holiday season with a traditional dose of Tchaikovsky’s Koerner. Koerner Hall, 273 Bloor W. Nutcracker Suite No. 1. Led by former TSO RBC resident conductor RTH. Roy Thomson Hall, 60 Simcoe Earl Lee, the program includes the same composer’s Polonaise from Street. Eugene Onegin and Symphony No. 4. There are four performances WH. Walter Hall, 80 Queen’s Park. ZH. Zoomer Hall, 70 Jefferson Avenue. from Nov. 28 to Dec. 2. www.tso.ca NOVEMBER ART OF TIME ENSEMBLE: TO CCA. Christ Church Aylmer, 101, rue ALL A GOOD NIGHT Symmes, Gatineau. 03 14h. RTH. visit tso.ca. The Mozart CDMDG. Conservatoire de musique Experience- Toronto Sym- Celebrating its 20th season, the Art of de gatineau, 430 boul. Alexandre- phony Orchestra. (416) 598- Time Ensemble returns with the taché, Gatineau. 3375. fourth instalment of the holiday offer- OCHHTDVDO. Ottawa City Hall/ Hôtel 03 16h. RTH. visit tso.ca. The Mozart ing To All a Good Night. Jackie de ville d’Ottawa, 110 Laurier Avenue Experience- Toronto Sym- Richardson, Jessica Mitchell, Chris West, Ottawa. phony Orchestra. (416) 598- Murphy, Tom Wilson, David Wall and SUC. Southminster United Church, 15 3375. 05 19h15. ZH. $20-$30. 10 Singing the Canadian Children’s Opera Com- Aylmer Ave., Ottawa. SJSPC. St. Joseph’s Parish Church, 174 Stars: The Next Generation. pany tell stories and sing favourite car- Wilbrod St, Ottawa. (416) 362-1422. ols as well as music by greats like Tom SMSC. St. Matthew’s Church, 130 07 12h30. ASKAC. 0$. ORGANIX pré- Waits, John Lennon and Yoko Ono, Tom Lehrer and others. Dec. 13- Glebe Avenue, Ottawa. sente Stefani Bedin. 416-769- 15, Harbourfront Centre Theatre, 8 p.m. www.artoftimeensemble.com WUC. Woodroffe United Church, 207 5224. 62 OCTOBRE/OCTOBER 2018 sm24-3_EN_p56-63_Reg Cal_listings_V4_sm23-5_BI_pXX 2018-10-30 6:33 AM Page 63

08 13h30. WH. $45. baritone Tho- torium, 1 Paul Shaffer Dr, Thunder tine Trottier; lun-jeu 20h-22h Toute Sylvia L’Écuyer (webdiffusion sam mas Oliemans sings Lieder- Bay. une musique musique classiques, 13h-17h, en direct pendant la saison kreis and Die schöne avec Marie-Christine Trottier; sam 7h- du MetOp; rediffusion à la radio dim Magelone. (416) 923-7052. NOVEMBER 10h, dim 7h-8h30 Café, Mozart et com- 19h); O&Ch orchestre et choeur 08 20h. RTH. visit tso.ca. Britten War 09 19h30. ICC. $17.50-$42.50. Nor- pagnie, dim 8h30-10h De tout choeur VPR Vermont Public Radio. www. Requiem- Toronto Symphony thern Lights 1: Rita Chairelli: (musique chorale), avec Isabelle vpr.net. 800-639-6391. Burlington Orchestra. (416) 598-3375. On Song. 807 626 8276. Poulin, dim 10h-12h CarnetsAL Dans 107.9FM; can be heard in the Mon- 10 20h. RTH. visit tso.ca. Britten War 10 19h30. ICC. $17.50-$42.50. Nor- les carnets d’Alain Lefèvre, avec Alain tréal area Lefèvre; dim 12h-15h Chants Libre à Requiem- Toronto Symphony thern Lights 1: Rita Chairelli: Orchestra. (416) 598-3375. Monique, avec Monique Giroux; dim On Song. 807 626 8276. 19h-23h PLOP! Place à l’opéra!, avec 15 20h. JANE MALLETT. $10-$52. En- 19 19h. TC. $125. The TBSO pre- semble Made In Canada: Schu- sents: Going Beyond the Mar- mann - Piano Quartet in E-flat tini: Classics and Cocktails. 807 Major. (416) 366-7723. 626 8276. 21 12h30. ASKAC. 0$. ORGANIX pre- 24 19h30. TBCA. $17.50-$52.50. Ultra- sents Andrew Adair. 416-769- sonic Concert: Led Zeppelin 5224. Jeans n’ Classics. 807 626 8276. 21 20h. RTH. visit tso.ca. Boléro- To- 30 19h30. SPSUC. $12.50-$42.50. St. ronto Symphony Orchestra. Paul’s: Handel’s Messiah. (807) (416) 598-3375. 620-5382. 23 19h30. RTH. visit tso.ca. Boléro- Toronto Symphony Orchestra. (416) 598-3375. 2320h. Koerner. $25-60. Bramwell Tovey, RCM Orchestra. (416) 408- 0208. 24 20h. RTH. visit tso.ca. Boléro- To- ronto Symphony Orchestra. (416) 598-3375. CBC Canadian Broadcasting Corpora- 24 20h. Koerner. $49-125. Show One tion. cbc.ca. 514-597-6000, 613-724- PETITES ANNONCES Recital: Sondra Radvanovsky, 1200, 866-306-4636. R2 Radio Two. soprano, from Bel Canto to Ve- Ottawa 103.3FM, Montréal 93.5FM. rismo. (416) 408-0208. Toronto 99.1 FM SATO Saturday Af- CLASSIFIED ADS 25 14h30. JANE MALLETT. $20-50. Ope- ternoon at the Opera raBox: Massenet’s Werther CIBL Radio-Montréal 101,5FM. cibl À VENDRE / FOR SALE with Isabel Bayrakdarian and 1015.com. Dim 19h30-21h, Clas- reux de se perfectionner sont invités à com- INSTRUMENTS À VENT : vente, réparation, muniquer avec ce professeur expérimenté, Brett Polegato. (416) 366-7723. sique Actuel, L’actualité de la musi- location et accessoires. 1-866-528-9974. 2515h. Koerner. $25-60. Gabriela que classique, avec Christophe Huss ancien membre de l'un des meilleurs or- www.veraquin.com chestres du Canada. Préparation à la scène, Montero. (416) 408-0208. CIRA Radio Ville-Marie. radiovm. PIANO À QUEUE Weber New-York – 6’ et 4” – apprentissage des traits d'orchestre, etc. 27 20h. JANE MALLETT. $10-$52. Music com. 514-382-3913. Montréal (514) 484-8118. Toronto: Louise Bessette. (416) 91,3FM, Sherbrooke 100,3FM, Trois- couleur noyé, Année : 1890, cordes neuves, 366-7723. Rivières 89,9FM, Victoriaville 89,3FM. marteaux, étouffoirs, chevilles, re-verni, COURS TROMPETTE, TROMBONE. 30 ans Lun-ven 6h-7h Musique sacrée; 10h- tous les feutres changés, clavier d’origine d'expérience +. Skype: 30$; domicile: 40$. 1e 28 20h. RTH. visit tso.ca. Tchaikovs- en ivoire. Ce piano a 85 notes et a été re- ky’s The Nutcracker & More- 11h Couleurs et mélo dies; 20h30-21h leçon gratuite. Herb Bayley. construit en 2007. Prix 4800 $. [email protected] 514-703-8397 Toronto Symphony Orchestra. Sur deux notes; mer. 5h et dim. 21h 450-464-3127. (416) 598-3375. Voix Orthodoxes; dim. 10h Chant gré- INTERNATIONALLY ACCLAIMED ITALIAN 29 20h. RTH. visit tso.ca. Tchaikovs- gorien; 12h-12h30 Sur deux notes; CLASSICAL RECORD AND CD COLLECTIONS TENOR (La Scala, Verona) offering voice les- 13h-13h30 Dans mon temps; 15h30- WANTED. Minimum 1000 total units. Aaron ky’s The Nutcracker & More- sons. Studied with Pola, Corelli and Rai- 16h Musique traditionnelle; 20h30- 416-471-8169 or [email protected]. RECHERCHE mondi. 514-457-6458 Toronto Symphony Orchestra. 21h Sur deux notes (reprise de 12h); COLLECTIONS DE DISQUES ET CD (416) 598-3375. 21h-22h à pleine voix; 22h-23h Jazz; CLASSIQUES. Minimum : 1000 disques. COURS DE PIANO, tous niveaux, préparation 30 19h30. RTH. visit tso.ca. Tchai- dim. 6h-7h30 Chant grégorien; 17h- Aaron 416-471-8169 ou [email protected]. pour concerts, concours, examens. Prof. avec kovsky’s The Nutcracker & 18h Petites musiques pour; 22h-23h expérience, diplômée (Doctorat en Musique). More- Toronto Symphony Or- MUSIC FOR SALE: For full orchestra and Cours en français, anglais ou polonais. Près Chant choral; 23h-24h Sans frontière; string orchestra, scores and parts. chestra. (416) 598-3375. et pendant la nuit, reprises des du Métro Jolicoeur ou Monk. Ensemble music, teaching methods for [email protected], justynagabzdyl.com émissions du jour strings, chamber music scores. 240 works in DECEMBER CJFO station communautaire franco- all. Benjamin Stolow 514-486-7857; EMPLOIS / HELP WANTED 02 15h. RTH. visit tso.ca. Tchaikovs- phone, Ottawa-Gatineau. Unique fm. [email protected] La Scena Musicale seeks student interns or ky’s The Nutcracker & More- ca. Dim 8h-12h Chez Gauth ier , coop students for Winter 2019. Full-time for musique classique, avec François PRINTING SOLUTIONS: Looking to print 12 weeks. Assistant editor (ideally a music Toronto Symphony Orchestra. flyers, postcards, rack cards, brochers and (416) 598-3375. Gauthier, fgauthier@ uniquefm.ca student). Web Programmer, Sales. CJPX Radio Classique. cjpx.ca. 514- posters, etc. Let La Scena Musicale help you. [email protected] or www.mySCENA.org 7 20h. Koerner. $25-60. Paquita D’Ri- We know printers and can get you a good vera w/ Harlem Quartet. (416) 871-0995. Montréal 99,5FM. Musi- price. [email protected]. 408-0208. que classique 24h/jour, 7 jours/ Scena Musicale seeks a fundraising coordi- semaine POUR CHANTEURS, ORATEURS, COMÉDIENS, nator. Ideally eligible for Emploi-Quebec. Classical FM. Toronto 96.3 FM, ENSEIGNANTS, projection, résonance, élocu- [email protected]. Cobourg 103.1 FM, Georgian Trian- tion et justesse de la voix. Technique ances- gle 102.9 FM. trale. Tous niveaux et styles. La Scena Musicale seeks volunteer writers vMetOp interna- www.belcantovoicestudio.com across Canada to review concerts, events and CDs. [email protected]. tional radio broadcasts, all with the SERIOUS VIOLIN STUDENTS in search of gui- MetOp O&Ch; live from New York on dance are invited to contact this experien- CBC R2 / diffusés sur SRC ICImu La Scena Musicale seeks bilingual ad sales ced instructor and former member of one of rep. Hourly, commission. [email protected]. ICC. Italian Cultural Centre, 132 Al- SRC Société Radio-Canada. radio- Canada's finest orchestras. Performance goma St S, Thunder Bay. canada.ca. 514-597-6000: ICImu ICI preparation, orchestral excerpts, etc. (514) Musique: Montréal 100,7FM; Ottawa 484-8118. Les élèves sérieux de violon dési- P, EDILMLFYWNFLWTILFYTBFIML, Z SPSUC. St. Paul’s United Church, 349 102,5FM; Québec 95,3FM; Mauricie Waverley St, Thunder Bay. 104,3FM; Saguenay-Lac-St-Jean TC. The Chanterelle, 206 Park Ave, 100,9FM; Rimouski 101,5FM. Lun-ven 20$ / 140 caractères; 6$/40 caractères additionnels Thunder Bay. 7h-8h30 La mélodie de bonne heure Tél.: (514) 948-2520 • [email protected] TBCA. Thunder Bay Community Audi- (portion classique) avec Marie-Chris-

OCTOBRE/OCTOBER 2018 63 sm24-3_EN_p64_RoyalConservatory_sm23-5_BI_pXX 2018-10-29 7:59 PM Page 1 KOERNER HALL 10th ANNIVERSARY 2018.19 Concert Season

Bramwell Tovey Gabriela Montero: Paquito D’Rivera with conducts the Royal Innocence and Experience the Harlem Quartet Conservatory Orchestra SUN., NOV. 25, 3PM / PRE-CONCERT TALK 2PM FRI., DEC. 7, 8PM KOERNER HALL KOERNER HALL Living legend and multiple Grammy Award winner FRI., NOV. 23, 8PM / PRELUDE RECITAL 6:45PM “Montero's playing has everything” (The New York Paquito D’Rivera is joined by the Harlem Quartet, PRE-CONCERT TALK 7:15PM KOERNER HALL Times) She will perform a special program featuring praised for its “panache” by The New York Times. Award-winning conductor and composer, Maestro music by Schumann, Shostakovich, Chick Corea, and Their program will include classical chamber music Tovey leads The RCO and cellist Hannah Craig in her own compositions and improvisations. as well as Latin jazz and improvisations. a program of works by Elgar, Mahler, Strauss, Presented in memory of Robert Calvin as well as Tovey’s own Field of Light. Part of the Temerty Orchestral Program

The King’s Singers: Nicola Benedetti Noa and Mira Awad Gold 50 with Alexei Grynyuk SAT., MAR. 2, 2019 8PM KOERNER HALL Yemeni-Israeli Noa and Palestinian Mira Awad share SUN., DEC. 16, 2018 3PM KOERNER HALL FRI., JAN. 25, 2019 8PM KOERNER HALL the stage and “show a situation that we believe is This holiday season performance will feature Benedetti and her longtime collaborator, Alexei possible if we just make the necessary effort.” seasonal songs alongside some of the Grynyuk, will perform works by Bach, Prokofiev, Generously supported by ensemble’s favourite repertoire. and Strauss, and the Canadian premiere of a the Sir Jack Lyons Charitable Trust new solo violin piece by Wynton Marsalis, written specially for her. KOERNER HALL CONCERT TICKETS & GIFT CERTIFICATES ARE GREAT GIFTS! Jazz, classical, roots, and world music concerts – there’s something for everyone CONCERT + HOTEL PACKAGES AVAILABLE 416.408.0208 www.rcmusic.com/performance 273 BLOOR STREET WEST (BLOOR ST. & AVENUE RD.) TORONTO ´