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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20200703T193000
DTEND;TZID=America/Vancouver:20200703T210000
DTSTAMP:20260502T041350
CREATED:20200623T191413Z
LAST-MODIFIED:20200722T190030Z
UID:4129-1593804600-1593810000@earlymusicsocietyoftheislands.ca
SUMMARY:Violin Virtuosi
DESCRIPTION:Music for the Pause Program No. 1 – July 3 7:30PM – Violin Virtuosi \nChloe Kim\, Christi Meyers\, Elyssa Lefurgey-Smith\, Kathryn Wiebe \n\nTelemann Concertos No 1 & 3 for four violins\nGuillemain Sonata for two violins in A minor\nLeclair Sonata for two violins in C major\nGuignon Les Sauvages\n\nPlus an interview with Portland Baroque Orchestra’s director\, violinist Monica Huggett. \n  \nWatch the performance on FaceBook Live!
URL:https://earlymusicsocietyoftheislands.ca/concert/violin-virtuosi/
LOCATION:Online\, Victoria\, British Columbia\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2020/06/Facebook-Banner-820-x-360.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20200418T200000
DTEND;TZID=America/Vancouver:20200418T220000
DTSTAMP:20260502T041350
CREATED:20200426T014717Z
LAST-MODIFIED:20200426T015448Z
UID:3760-1587240000-1587247200@earlymusicsocietyoftheislands.ca
SUMMARY:Victoria Baroque: Plaisirs de la Chambre
DESCRIPTION:Emma Hannan soprano  \nVictoria Baroque (PACIFIC NORTHWEST) \nSoile Stratkauskas flute and direction \nA sensual selection of music from the salons of Versailles including music by Boismortier\, Hotteterre\, and Marais. Victoria Baroque is joined by Emma Hanna\, one of the brightest young Canadian Early Music sopranos\, and two recent and stellar additions to the West Coast Early Music scene: Caroline Nicolas (viol) and Kevin Payne (lute). \nAs the B.C. Government has placed a ban on all gatherings of 50 or more\, EMSI cancelled the Saturday March 14 concert\, Vivaldi in Paris. \nA decision on the final concert of the season on April 18\, Plaisirs de la Chambre\, will be made at a later date.\nHolders of pre-sold tickets will be contacted regarding a refund\, offer of a replacement concert\, or if they wish to donate their ticket back to the EMSI. \nThe Society thanks you for your support and understanding.
URL:https://earlymusicsocietyoftheislands.ca/concert/victoria-baroque-plaisirs-de-la-chambre/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/Headshot-5-e1558981737660.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20200314T200000
DTEND;TZID=America/Vancouver:20200314T200000
DTSTAMP:20260502T041350
CREATED:20200426T014716Z
LAST-MODIFIED:20200426T015630Z
UID:3759-1584216000-1584216000@earlymusicsocietyoftheislands.ca
SUMMARY:Bernstein/Marsh/Schenkman: Vivaldi in Paris
DESCRIPTION:As the B.C. Government has placed a ban on all gatherings of 250 or more\, EMSI will be cancelling the Saturday March 14 concert\, Vivaldi in Paris. \nA decision on the final concert of the season on April 18\, Plaisirs de la Chambre\, will be made at a later date. \nHolders of pre-sold tickets will be contacted regarding a refund\, offer of a replacement concert\, or if they wish to donate their ticket back to the EMSI. \nThe Society thanks you for your support and understanding.
URL:https://earlymusicsocietyoftheislands.ca/concert/bernstein-marsh-schenkman-vivaldi-in-paris/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/Martin-photo-e1558981654948-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20200222T200000
DTEND;TZID=America/Toronto:20200222T220000
DTSTAMP:20260502T041350
CREATED:20200426T015927Z
LAST-MODIFIED:20200426T015941Z
UID:3775-1582401600-1582408800@earlymusicsocietyoftheislands.ca
SUMMARY:Concerto Köln: The Four Seasons
DESCRIPTION:Concerto Köln (GERMANY)  \nShunske Sato violin  \nOne of the great Baroque orchestras of Europe presents the first ever Victoria performance on period instruments of all the movements of Vivaldi’s Four Seasons. This is a rare chance to hear a world class orchestra perform one of the pinnacles of the Baroque repertoire. Added gems are rarely heard works by Locatelli and Valentini.
URL:https://earlymusicsocietyoftheislands.ca/concert/concerto-koln-the-four-seasons/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/concerto-koln-e1558981594817.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20200111T200000
DTEND;TZID=America/Toronto:20200111T220000
DTSTAMP:20260502T041350
CREATED:20200426T020351Z
LAST-MODIFIED:20200426T020411Z
UID:3778-1578772800-1578780000@earlymusicsocietyoftheislands.ca
SUMMARY:The Baltimore Consort: If Music be the Food of Love
DESCRIPTION:The Baltimore Consort (USA)  \nOne of EMSI’s favourite ensembles performs a brand-new programme of music based on Shakespeare’s plays. Danielle Svonavec sings some of the greatest hits from the Bard’s songbook including It Was a Lover and His Lass\, Where the Bee Sucks\, and Full Fathom Five. Dances and consort music round out the programme.
URL:https://earlymusicsocietyoftheislands.ca/concert/the-baltimore-consort-if-music-be-the-food-of-love/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/Baltimore-Consort-Windows-e1558981536373.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20200104T200000
DTEND;TZID=America/Vancouver:20200104T220000
DTSTAMP:20260502T041350
CREATED:20200426T014716Z
LAST-MODIFIED:20200426T020559Z
UID:3758-1578168000-1578175200@earlymusicsocietyoftheislands.ca
SUMMARY:Bach and Buxtehude
DESCRIPTION:Chloe Kim\, baroque violin\nMartin Bonham viola da gamba\nMichael Jarvis harpsichord \nA star is born! Victoria native Chloe Kim\, a student at the Juilliard School of Music in New York\, is already an emerging star in the firmament of early music. She returns home with a programme of masterpieces by J.S. Bach and his mentor Dietrerich Buxtehude.
URL:https://earlymusicsocietyoftheislands.ca/concert/bach-and-buxtehude/
LOCATION:St. Andrew’s Presbyterian Church\, 924 Douglas St\, Victoria\, British Columbia\, V8W 1C1\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/11/20191116_152902-e1574799359593.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20191221T200000
DTEND;TZID=America/Toronto:20191221T220000
DTSTAMP:20260502T041350
CREATED:20200426T020843Z
LAST-MODIFIED:20200426T021221Z
UID:3781-1576958400-1576965600@earlymusicsocietyoftheislands.ca
SUMMARY:El Mundo: Christmas in Colonial Latin America
DESCRIPTION:El Mundo (CALIFORNIA)  \nRichard Savino guitar and direction \nJoyous\, celebratory\, with a distinctive Latin twist. The music abounds with infectious rhythms\, sweet melodies\, and the lively spirit of the Christmas season in Latin America. In the spotlight are 18thC pieces from the Cathedral of Guatemala City.
URL:https://earlymusicsocietyoftheislands.ca/concert/el-mundo-christmas-in-colonial-latin-america/
LOCATION:St Andrews Cathedral\, 740 View St\, Victoria\, BC\, V8W 1J8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/El-Mundo-new-photo-church-e1558980357344.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20191123T200000
DTEND;TZID=America/Toronto:20191123T220000
DTSTAMP:20260502T041350
CREATED:20200426T021705Z
LAST-MODIFIED:20200426T021705Z
UID:3784-1574539200-1574546400@earlymusicsocietyoftheislands.ca
SUMMARY:Accademia Hermans: Corelli and the Roman School
DESCRIPTION:Accademia Hermans (ITALY)  \nFabio Ciofini harpsichord and direction  \nIn Arcangelo Corelli\, the Baroque style reached its apotheosis. Although his music was revered throughout Europe long after its composition\, it was was rooted in a time and place: Rome at the outset of 18thC. Corelli’s original music and several anonymous arrangements of it are combined with works by Geminiani and Locatelli.
URL:https://earlymusicsocietyoftheislands.ca/concert/accademia-hermans-corelli-and-the-roman-school/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/Guanajuato-e1558980274186.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20191026T200000
DTEND;TZID=America/Toronto:20191026T220000
DTSTAMP:20260502T041350
CREATED:20200426T021937Z
LAST-MODIFIED:20200426T021937Z
UID:3787-1572120000-1572127200@earlymusicsocietyoftheislands.ca
SUMMARY:London Haydn Quartet: Haydn\, Beethoven\, von Weber
DESCRIPTION:Haydn\, Beethoven\, von Weber  \nEric Hoeprich classical clarinet  \nLondon Haydn Quartet (UK)  \nThe programme features Franz Joseph Haydn’s beloved “Lark” Quartet\, Beethoven’s early Quartet in F Major\, Op. 18\, No. 1\, and Carl Maria von Weber’s Clarinet Quintet in B♭ Major\, Op. 34. A rare opportunity to hear the world’s authority on classical clarinet together with one of the renowned period instrument string quartets.
URL:https://earlymusicsocietyoftheislands.ca/concert/london-haydn-quartet-haydn-beethoven-von-weber/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/London-Haydn-Quartet-e1558980164782.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20191005T200000
DTEND;TZID=America/Toronto:20191005T220000
DTSTAMP:20260502T041350
CREATED:20200426T022235Z
LAST-MODIFIED:20200426T022436Z
UID:3789-1570305600-1570312800@earlymusicsocietyoftheislands.ca
SUMMARY:Armonía Concertada: Imaginario: de un libro de música de vihuela
DESCRIPTION:The Oct 5 Imaginario concert has unfortunately been cancelled due to last minute illness of artist.\nEMSI apologizes for any inconvenience this has caused to our patrons.\nPlease contact: info@EarlyMusicSocietyoftheIslands.ca for further information\n  \nArmonía Concertada (SPAIN)  \nMaría Cristina Kiehr soprano  \nAriel Abramovich vihuela de mano  \nTwo of Europe’s leading performers of Early Music showcase the work of Juan Vasquez (c. 1500-c. 1560) in songs of aching beauty and sadness. This is Spanish music at its most compelling and moving.
URL:https://earlymusicsocietyoftheislands.ca/concert/armonia-concertada-imaginario-de-un-libro-de-musica-de-vihuela/
LOCATION:Oak Bay United Church\, 1355 Mitchell Street\, Victoria\, British Columbia\, V8S 4P9\, Canada
ATTACH;FMTTYPE=image/png:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2019/05/ariel_masterclass-e1558979499734.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20190406T200000
DTEND;TZID=America/Toronto:20190406T220000
DTSTAMP:20260502T041350
CREATED:20200426T022832Z
LAST-MODIFIED:20200426T022858Z
UID:3791-1554580800-1554588000@earlymusicsocietyoftheislands.ca
SUMMARY:Constantinople: Gate to the East
DESCRIPTION:Constantinople (MONTREAL)  \nMarco Beasley tenor (ITALY)  \nKiya Tabassian setar and direction  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nItalian\, Ottoman\, and Persian songs are interwoven in Majmua\, an early-17th century manuscript from Constantinople compiled by the Polish musician and orientalist Albert Bobowski (Ali Ufki). Bobowski revels in shifting among languages and styles. Constantinople recreates a bridge between European and Asian cultures.
URL:https://earlymusicsocietyoftheislands.ca/concert/constantinople-gate-to-the-east/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/ph_COPL_DallaPortadOriente_1-web-e1527870693257.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20190323T200000
DTEND;TZID=America/Toronto:20190323T220000
DTSTAMP:20260502T041350
CREATED:20200426T023159Z
LAST-MODIFIED:20200426T023159Z
UID:3794-1553371200-1553378400@earlymusicsocietyoftheislands.ca
SUMMARY:Choir of Clare College Cambridge: Victoria’s Requiem and Penitential Motets
DESCRIPTION:Choir of Clare College Cambridge (UK)  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nThirty-two voices-strong\, the fresh young vocalists of the Choir of Clare College give a complete performance of Tomas Luis de Victoria’s 1605 Requiem – widely considered one of the last great masterworks of the Renaissance – interwoven with English and Spanish Passiontide motets by Tallis\, Byrd\, Victoria\, and others. \n  Co-produced by Christ Church Cathedral
URL:https://earlymusicsocietyoftheislands.ca/concert/choir-of-clare-college-cambridge-victorias-requiem-and-penitential-motets/
LOCATION:Chapel of the New Jerusalem\, Christ Church Cathedral\, 911 Quadra Street\, Victoria\, British Columbia\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/Clare-CREDIT-Nick-Rutter-e1527870638968.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20190309T200000
DTEND;TZID=America/Toronto:20190309T220000
DTSTAMP:20260502T041350
CREATED:20200426T023540Z
LAST-MODIFIED:20200426T023540Z
UID:3796-1552161600-1552168800@earlymusicsocietyoftheislands.ca
SUMMARY:Chiaroscuro String Quartet: Quartets of Haydn\, Beethoven\, and Schubert
DESCRIPTION:Chiaroscuro String Quartet (EUROPE)  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nChiaroscuro Quartet brings together some of the finest period string players from across Europe: France\, Spain\, Sweden\, and Russia. Savour some of the most revered of all string quartets as you have never heard them before: Haydn’s Op. 33 No. 2\, Beethoven’s Op. 18 No. 6\, and Schubert’s beloved ‘Death and the Maiden.’
URL:https://earlymusicsocietyoftheislands.ca/concert/chiaroscuro-string-quartet-quartets-of-haydn-beethoven-and-schubert/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/chiaroscuro_conservatory-Eva-Vermandel-e1527870159644.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20190224T150000
DTEND;TZID=America/Vancouver:20190224T170000
DTSTAMP:20260502T041350
CREATED:20200426T014721Z
LAST-MODIFIED:20200426T043230Z
UID:3771-1551020400-1551027600@earlymusicsocietyoftheislands.ca
SUMMARY:Corina Marti: Tabulatura Ioannis De Lyublyn 1540
DESCRIPTION:Corina Marti harpsichord (SWITZERLAND)  \nDoors open at 2:30 pm.  \nHarpsichord virtuoso Corina Marti performs preludes\, fantasias\, and dances from the manuscripts of Johannes of Lublin and Johannes Fischer Morungensis: fresh\, lively music that is still danceable half a millennium after its composition. Don’t miss the once in a lifetime opportunity to hear this repertoire.
URL:https://earlymusicsocietyoftheislands.ca/concert/corina-marti-tabulatura-ioannis-de-lyublyn-1540/
LOCATION:St. Andrew’s Cathedral\, 740 View St\, Victoria\, British Columbia\, V8W 1J8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/Corina_Cover_077-Bearbeitet-2_pp-Bearbeitet-e1527870574528.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20190126T200000
DTEND;TZID=America/Vancouver:20190126T220000
DTSTAMP:20260502T041350
CREATED:20200426T014721Z
LAST-MODIFIED:20200426T035718Z
UID:3770-1548532800-1548540000@earlymusicsocietyoftheislands.ca
SUMMARY:Tafelmusik: J.S. Bach\, The Circle of Creation
DESCRIPTION:Tafelmusik Baroque Orchestra (TORONTO)  \nElisa Citterio violin and direction  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nThis all-Bach multimedia creation combines text\, music\, and stunning projected video and images to explore the world of the artisans—papermakers\, violin carvers\, string spinners\, and performers—who helped J.S. Bach realise his musical genius. In the tradition of the Galileo Project and House of Dreams. Not to be missed!
URL:https://earlymusicsocietyoftheislands.ca/concert/tafelmusik-j-s-bach-the-circle-of-creation/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/1718-Tafelmusik-Baroque-Orchestra-by-SianRichards-web-e1527870522292.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20181222T200000
DTEND;TZID=America/Vancouver:20181222T220000
DTSTAMP:20260502T041350
CREATED:20200426T014720Z
LAST-MODIFIED:20200426T035457Z
UID:3769-1545508800-1545516000@earlymusicsocietyoftheislands.ca
SUMMARY:Victoria Baroque: A Festive Baroque Christmas
DESCRIPTION:Victoria Baroque \nJeanne Lamon violin and direction (TORONTO)  \nRebecca Genge soprano (TORONTO)  \nKris Kwapis trumpet (SEATTLE)  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nVictoria’s own Baroque orchestra\, one of Canada’s most brilliant early music sopranos\, and trumpet virtuoso Kris Kwapis are led by the legendary Jeanne Lamon in a performance of festive arias and instrumental works by Baroque masters including Manfredini\, Scarlatti\, Torelli and Vivaldi. Featuring Bach’s effulgent cantata: Jauchzet Gott allen Landen.
URL:https://earlymusicsocietyoftheislands.ca/concert/victoria-baroque-a-festive-baroque-christmas/
LOCATION:St Andrews Cathedral\, 740 View St\, Victoria\, BC\, V8W 1J8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/VBP-Jan2016-by-Jan-Gates-web-e1527870454828.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20181117T200000
DTEND;TZID=America/Vancouver:20181117T220000
DTSTAMP:20260502T041350
CREATED:20200426T014720Z
LAST-MODIFIED:20200426T035218Z
UID:3768-1542484800-1542492000@earlymusicsocietyoftheislands.ca
SUMMARY:Schenkman and Mobley: “My heart trembles” Cantatas by Handel
DESCRIPTION:Byron Schenkman and Friends (SEATTLE)  \nReginald Mobley countertenor (MIAMI)  \nByron Schenkman harpsichord and direction  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nByron Schenkman\, one of EMSI’s favourite musicians\, is joined by flautist Joshua Romatowski\, cellist Nathan Whittaker\, and countertenor Reginald Mobley in a performance of some of Handel’s most moving cantatas\, including Mia Palpita il Cor\, and works by Anna Bon\, Caldara\, and Scarlatti.
URL:https://earlymusicsocietyoftheislands.ca/concert/schenkman-and-mobley-my-heart-trembles-cantatas-by-handel/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/55875daa-a5cf-11e5-9c4b-70aea859ce73-780x519-e1527870391481.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20181027T200000
DTEND;TZID=America/Vancouver:20181027T220000
DTSTAMP:20260502T041350
CREATED:20200426T014719Z
LAST-MODIFIED:20200426T034928Z
UID:3767-1540670400-1540677600@earlymusicsocietyoftheislands.ca
SUMMARY:London Handel Players: A Celebration of Baroque Dance
DESCRIPTION:London Handel Players (UK)  \nMary Collins and Steve Players dancers (UK)  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nExplore the origins of ballet in the dances of Baroque opera. Two of the world’s leading authorities on Baroque dance\, accompanied by one of Britain’s most distinguished Baroque ensembles\, brings to life the elegance\, humour\, and passion of the early form. Works include those by Bach\, Couperin\, Handel\, Lully\, Rameau.
URL:https://earlymusicsocietyoftheislands.ca/concert/london-handel-players-a-celebration-of-baroque-dance/
LOCATION:Oak Bay United Church\, 1355 Mitchell Street\, Victoria\, British Columbia\, V8S 4P9\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/handel-13-of-97-web-e1527870338843.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20180929T200000
DTEND;TZID=America/Vancouver:20180929T220000
DTSTAMP:20260502T041350
CREATED:20200426T014719Z
LAST-MODIFIED:20200426T035943Z
UID:3766-1538251200-1538258400@earlymusicsocietyoftheislands.ca
SUMMARY:Psallentes: Angels of the Ghent Altarpiece
DESCRIPTION:Psallentes (BELGIUM)  \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nThe angels of the Ghent Altarpiece\, one of the apexes of European art\, are the inspiration for this concert where the women of Psallentes impersonate these angels and perform the Flemish polyphony that their earlier counterparts would have witnessed.
URL:https://earlymusicsocietyoftheislands.ca/concert/psallentes-angels-of-the-ghent-altarpiece/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2018/04/Psallentes-e1527870260428.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20180422T200000
DTEND;TZID=America/Vancouver:20180422T220000
DTSTAMP:20260502T041350
CREATED:20200426T014719Z
LAST-MODIFIED:20200426T034704Z
UID:3765-1524427200-1524434400@earlymusicsocietyoftheislands.ca
SUMMARY:The Tallis Scholars: War and Peace
DESCRIPTION:The Tallis Scholars UK\nPeter Phillips\, music director\n \nDoors open at 1:45 pm. Pre-concert talk at 2:10 pm. \nTo commemorate the centenary of the end of World War I\, Peter Phillips has put together a stirring program with masses on the theme of the Armed Man (L’homme armé)\, chansons describing a battle (La Batalla)\, movements from Victoria’s Requiem Mass\, and deeply moving funeral motets: Tavener from the funeral of Princess Diana\, Mouton from the funeral of Anne of Brittany\, and Lobo from the funeral of Philip II of Spain.
URL:https://earlymusicsocietyoftheislands.ca/concert/the-tallis-scholars-war-and-peace/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/png:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/Screen-Shot-2017-04-06-at-11.34.24-AM-e1497293897446.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20180324T200000
DTEND;TZID=America/Vancouver:20180324T220000
DTSTAMP:20260502T041350
CREATED:20200426T014718Z
LAST-MODIFIED:20200426T034153Z
UID:3764-1521921600-1521928800@earlymusicsocietyoftheislands.ca
SUMMARY:La Rêveuse: A Telemann Celebration
DESCRIPTION:La Rêveuse FRANCE\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nA master of instrumental music\, Telemann enjoyed more fame and adoration in his time than even the lauded J.S. Bach. Open to French and Italian influences as well as the new galant style that flourished in Germany\, he excelled in chamber music\, creating a charming synthesis of European styles at the crossroads between Baroque and Classicism.
URL:https://earlymusicsocietyoftheislands.ca/concert/la-reveuse-a-telemann-celebration/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/LaReveuse-Telemann-056-web-e1497293593107.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20180210T200000
DTEND;TZID=America/Vancouver:20180210T220000
DTSTAMP:20260502T041350
CREATED:20200426T014718Z
LAST-MODIFIED:20200426T040407Z
UID:3763-1518292800-1518300000@earlymusicsocietyoftheislands.ca
SUMMARY:Elinor Frey & Luc Beauséjour: Bach and Sons
DESCRIPTION:Elinor Frey\, cello\nLuc Beauséjour\, harpsichord MONTREAL\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nTwo of Canada’s leading exponents of historically-informed performance bring to life masterpieces of high Baroque chamber music by Johann Sebastian Bach and his sons Johann Christoph Friedrich and Carl Philipp Emanuel.
URL:https://earlymusicsocietyoftheislands.ca/concert/elinor-frey-luc-beausejour-bach-and-sons/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/mtangelabbeyluc-elinor-e1497293188144.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20180113T200000
DTEND;TZID=America/Vancouver:20180113T220000
DTSTAMP:20260502T041350
CREATED:20200426T014718Z
LAST-MODIFIED:20200426T033258Z
UID:3762-1515873600-1515880800@earlymusicsocietyoftheislands.ca
SUMMARY:Diderot String Quartet: Bach to the Future: Legacy of the Fugue
DESCRIPTION:Diderot String Quartet NEW YORK\nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nWhen Leipzig composer Felix Mendelssohn revived Bach’s music\, it finally received universal admiration. The Diderot String Quartet performs excerpts from The Art of Fugue alongside Mendelssohn’s No.4 Fugue for String Quartet\, Op. 81 and his much-loved String Quartet No. 2\, Op. 13\, in a beautiful nod to Bach\, the Baroque master.
URL:https://earlymusicsocietyoftheislands.ca/concert/diderot-string-quartet-bach-to-the-future-legacy-of-the-fugue/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/static1.squarespace-1-e1497292942661.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20171222T200000
DTEND;TZID=America/Vancouver:20171222T220000
DTSTAMP:20260502T041350
CREATED:20200426T014717Z
LAST-MODIFIED:20200426T040805Z
UID:3761-1513972800-1513980000@earlymusicsocietyoftheislands.ca
SUMMARY:Monica Huggett: Vivaldi Gloria and Magnificat
DESCRIPTION:Monica Huggett\, violin and music direction UK\nPacific Baroque Orchestra\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nCelebrate the holidays with a fresh take on some old favourites. Vivaldi’s Gloria and Magnificat were originally composed for an all-female ensemble. Join beloved violinist Monica Huggett as she leads these joyful works the way they were originally heard – performed entirely by women.
URL:https://earlymusicsocietyoftheislands.ca/concert/monica-huggett-vivaldi-gloria-and-magnificat/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/EMV-Festive-Cantatas-and-JS-Bach-Magnificat-Photos-by-Jan-Gates-201-e1497292578770.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20171118T200000
DTEND;TZID=America/Vancouver:20171118T200000
DTSTAMP:20260502T041350
CREATED:20200426T014716Z
LAST-MODIFIED:20200426T050300Z
UID:3756-1511035200-1511035200@earlymusicsocietyoftheislands.ca
SUMMARY:Asteria: "My Heart Remains With You"
DESCRIPTION:Asteria NEW YORK\nSylvia Rhyne\, soprano\nEric Redlinger\, tenor and lute\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nThrough the tale of Sir Yvain\, one of the most beloved of Arthurian stories\, Asteria explores how the ideal of courtly love was very much alive and well in the art songs of the 15th century. Compositions include those by Binchois\, Busnoys\, and Dufay.
URL:https://earlymusicsocietyoftheislands.ca/concert/asteria-my-heart-remains-with-you/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/Asteria-2005-e1497292160732.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20171014T200000
DTEND;TZID=America/Vancouver:20171014T200000
DTSTAMP:20260502T041350
CREATED:20200426T014715Z
LAST-MODIFIED:20200426T050140Z
UID:3755-1508011200-1508011200@earlymusicsocietyoftheislands.ca
SUMMARY:Cantores: 14th C Music from the Papal Chapel in Avignon
DESCRIPTION:Diabolus in Musica FRANCE\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nThere was a time when the Christian world bowed to Avignon. The wealth\, splendour\, and power of the French popes attracted kings\, princes\, and the greatest Medieval artists. This pilgrimage through beautiful music born in Papal opulence includes many works sung for the first time since the 14th century.
URL:https://earlymusicsocietyoftheislands.ca/concert/cantores-14th-c-music-from-the-papal-chapel-in-avignon/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/Diabolus-in-Musica-1-web-e1497289863416.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20170930T200000
DTEND;TZID=America/Vancouver:20170930T200000
DTSTAMP:20260502T041350
CREATED:20200426T014714Z
LAST-MODIFIED:20200426T050010Z
UID:3754-1506801600-1506801600@earlymusicsocietyoftheislands.ca
SUMMARY:Boston Early Music Festival Ensemble: Duets of Love and Passion
DESCRIPTION:Boston Early Music Festival Ensemble BOSTON\nAmanda Forsythe\, soprano  \nColin Balzer\, tenor  \nChristian Immler\, baritone  \nEmőke Baráth\, soprano\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nHandel openly praised his mentor Stefani and modeled virtuosic Italian chamber duets on the composer’s exquisite work. Stephen Stubbs leads an all-star ensemble of singers and instrumentalists featuring Forsythe and Balzer in a programme of sensual Baroque duets of love and passion. \n\n\n\nWatch a Feb 2017 performance of the concert in Germany\n[youtube id=”oplFdH69Stk” width=”600″ height=”350″]
URL:https://earlymusicsocietyoftheislands.ca/concert/boston-early-music-festival-ensemble-duets-of-love-and-passion/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/BEMF_steffani_immler_barath-e1497289596973.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20170812T200000
DTEND;TZID=America/Vancouver:20170812T200000
DTSTAMP:20260502T041350
CREATED:20200426T014714Z
LAST-MODIFIED:20200426T045835Z
UID:3753-1502568000-1502568000@earlymusicsocietyoftheislands.ca
SUMMARY:Gli Angeli Genève: Johann Schein's "Fountains of Israel"
DESCRIPTION:Gli Angeli Genève SWITZERLAND\n \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nA century before Bach\, northern Germany succumbed to the lush charms of a bold\, new music from Italy: the Baroque. \nJohann Schein\, in his position at the Thomas Kirche that would be Bach’s a hundred years later\, was one of the great composers who would successfully adapt this powerful style to the German tradition.
URL:https://earlymusicsocietyoftheislands.ca/concert/gli-angeli-geneve-johann-scheins-fountains-of-israel/
LOCATION:St. Andrew’s Presbyterian Church\, 924 Douglas St\, Victoria\, British Columbia\, V8W 1C1\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2017/06/gli-angeli-geneve-stephan-macleod.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20170429T200000
DTEND;TZID=America/Vancouver:20170429T200000
DTSTAMP:20260502T041350
CREATED:20200426T014714Z
LAST-MODIFIED:20200426T045648Z
UID:3752-1493496000-1493496000@earlymusicsocietyoftheislands.ca
SUMMARY:The Purcell Project
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nKarina Gauvin\, soprano\nFrancis Colpron\, recorder and direction\nMONTREAL\nLes Boréades de Montréal\nCanada’s own superstar soprano joins forces with the exciting musicians of Les Boréades baroque orchestra to perform Henry Purcell’s sacred and secular songs\, some of the very finest in the English language. \nGauvin sings with passion\, ingratiating charm\, sincerity and utter conviction INTERNATIONAL RECORD REVIEW \nVisit the website of Karina Gauvin\nVisit the website of Les Boréades de Montréal \nListen to Les Boréades de Montréal  \n \nPROGRAMME\nChaconne (King Arthur\, Z.628\, 1691) \nHither\, This Way (King Arthur) \nHow Blest Are The Shepherds (King Arthur) \nMusic For A While (Oedipus\, Z.583\, 1692) \nShepherds\, Shepherds (King Arthur) \nThird Act Hornpipe (King Arthur) \nSee\, Even Night Herself Is Here (The Fairy Queen\, Z.629\, 1692) \nOne Charming Night (The Fairy Queen) \nPrelude (Aux Flûtes) (The Fairy Queen) \nIf Love’s A Sweet Passion (The Fairy Queen) \nPrelude (Aux Cordes) (The Fairy Queen) \nFrom Rosy Bowers (Don Quixote\, 1695 \nIntermission \nWhile The Swans Come Forward (The Fairy Queen) \nFairest Isle (King Arthur) \nAn Evening Hymn (Recueil Harmonia Sacra\, Z.193\,1688) \nNow The Night Is Chas’d Away (The Fairy Queen) \nPrelude (The Fairy Queen) \nO Let Me Ever\, Ever Weep (The Fairy Queen) \nStrike The Viol (Ode Come Ye Sons Of Art\, Away\, Z.323\, 1694) \nTrumpet Tune (King Arthur) \nHark! The Echoing Air (The Fairy Queen) \nAir (King Arthur) \nWhen I Am Laid In Earth (Dido And Æneas\, Z.626\, 1689) \nPROGRAMME NOTES\nThe Author’s extraordinary Tallent in all sorts of Music\, is sufficiently known; but he was particularly admir’d for his Vocal\, having a peculiar Genius to express the Energy of English Words\, whereby he mov’d the Passions as well as caus’d Admiration in all his Auditors.  \nHenry Playford\, Orpheus Britannicus\, 1698.  \nHenry Purcell was only thirty-six years old when he died and the posts he occupied were relatively modest: organist at both Westminster Abbey and the Chapel Royal and harpsichordist for the king’s private music. Yet\, he composed in all the genres of his period – vocal and instrumental\, sacred and profane. \nA considerable part of his generous output was written for the stage. Plays\, including comedies and tragedies that were sometimes mediocre\, served as vehicles for many pieces of music: overtures\, dances\, airs\, and act or curtain tunes. These were all more or less integrated into the dramatic framework of the plays. Opera was an Italian invention that had not taken hold in England. Despite many attempts\, it had not unseated the musical theatre of which the English were so fond. For several decades\, the favoured genre was the masque\, a mixture of vocal music and dance. Masques were written on allegorical or exotic subjects and were presented with sumptuous sets and costumes. They were\, in a sense\, the equivalent of the ballets de cour that had been so popular in France since the sixteenth century. The masque was a princely diversion\, much in favour during the reign of Charles I. However\, the enchantment and the fantasy it provided were characteristic of most forms of entertainment in England during this period.  \nPurcell wrote only one real opera – Dido and Aeneas. It was a modest production commissioned in 1689 by a boarding school for girls in Chelsea whose director was Josias Priest. The opera was inspired by John Blow’s Venus and Adonis. Some believe that the work had been previously presented at court with Mary Davies in the role of the Queen of Carthage. This masterpiece of brevity and depth of expression ends with the air When I Am Laid in Earth. Abandoned by Aeneas\, the heroine sings the celebrated lament before ending her life. As Nanie Bridgman explained\, “this lament of Dido\, while so short\, reaches the heights of emotion and is one of the most beautiful moments in the entire history of music.” An Evening Hymn\, which appeared in 1688 in a collection of airs entitled Harmonica Sacra written for use in domestic worship\, is a celebrated piece based on a ground\, as the basso ostinato was known in England. Similarly\, Music For a While was inserted into the Oedipus of John Dryden. Purcell used the very constraints imposed by this form to find new ways to evoke sadness and suffering; he offered audacious harmonies\, often recurring to chromaticism\, and played with the ambiguity between modality and tonality. And throughout\, as Jack A. Westrup explained\, “the vocal line is adjusted to disguise the repetition of the bass.”  \nDuring his final years\, Purcell composed five particularly elaborate theatrical scores called “semi-operas” by Roger North. These pieces were not planned as a series of optional interpolations. Completely integrated into the dramas\, they participated in the unfolding of the plays through scenes showing ceremonies\, supernatural tableaux\, or pastoral episodes\, which were most often performed by secondary characters. These masques of various magnitudes alternated\, as divertissements or interludes\, with the dialogue. Thus\, in the words of William Christie\, “Purcell created a series of mirrors that reflect the action\, but that also subtly reveal ambiguities\, underline the tensions at work in the piece\, or throw an ironic light on certain themes\, considerably enriching the initial frame-work of the piece.” In his semi-operas\, Purcell had recourse to an imposing orchestra\, adding woodwinds and brass to the strings. In the overtures\, the dances\, the instrumentation\, and the accompaniment to the voices\, he showed himself to be the disciple of Lully. Yet he even surpassed the French master in his range of inspiration\, his elaboration of the inner parts\, and his harmonic invention\, while his vocal lines blend Italian fluidity with the sonorities and colors of the English language.  \nPresented in June 1691 at the Dorset Gardens Theatre\, King Arthur or The British Worthy was the fruit of the close collaboration between Dryden and Purcell. It tells the story of the victory of King Arthur’s Britons over King Oswald’s Saxons. If\, in the view of Roland de Candé\, the work\, “makes you laugh with its excessive chauvinism\,” it nevertheless contains elements of remarkable ingenuity\, liveliness\, and expression. In the second act\, the elf Philidel leads the armed Britons through the night (Hither This Way) while shepherds and shepherdesses entertain the lovely Emmeline\, Arthur’s beloved (How Blest are Shepherds and Shepherd\, Shepherd\, Leave Decoying). In the fifth-act air Fairest Isle\, Venus evokes the miraculous birth of Britannia\, the island where the united Britons and Saxons will live forever in love and harmony.  \nThe Fairy Queen premiered in May of 1692 at Dorset Gardens in an expensive and extravagant production – conceived as a revision of Shakespeare’s A Midsummer Night’s Dream. Many people consider the poetic imagination and incomparable humour that Purcell employed in his magnificent score respect more closely the spirit of the original work than Alkanah Settle’s adaptation of the text which lacked a single\, authentic line. Here\, according to Christie\, “English Baroque musical theatre\, a complete and protean show\, highly diverting and rich in emotions and in contrasts\, attains its summit.” The masques of each act show the to-ing and fro-ing and magical powers of Titania and Oberon\, the lovelorn Queen and the King of the fairies. In the second act\, Night (See\, Even Night Herself is Here)\, Mystery\, Secresie (One Charming Night)\, and Sleep put Titania to sleep. In the third act\, the air If Love’s a Sweet Passion accompanies the love of Titania for the ass Bottom\, the result of a magic potion. Now the Night is Chac’d Away is sung in the fourth act to announce the arrival of Phoebus in his chariot. In the fifth and final act\, the air Hark! The Echoing Air announces the triumph of love and the reconciliation of the couples. In this score – the longest that Purcell wrote for the stage – “the melodic\, rhythmic\, and instrumental invention of Purcell is inexhaustible\,” according to Roland de Candé\, “and his rich and refined writing makes use of all styles and all techniques.”  \nIn the 1698 edition of the collected airs of Purcell entitled Orpheus Britannicus\, Henry Playford stated that From Rosy Bowers was\, “the last song the author sett\, it being in his sickness.” Inserted into The Comical History of Don Quixote\, a comedy by Thomas D’Urfey performed in 1695\, the air develops into a veritable scena presented in five contrasting sections. It is sung by Altisidore\, a role played at the time by the very young Letitia Cross\, who wants to seduce Don Quixote away from Dulcinea. According to William Christie\, it is an air of madness\, “wrung with emotions heightened by abrupt changes in tempo and by unexpected modulations and dissonances.” To illustrate the connections between excitement\, disappointment in love\, and madness\, D’Urfey planned the following sequence which Purcell respected perfectly: Sullenly Mad – Mirthfully Mad (a swift Movement) – Melancholy Madness – Fantastically Mad – Stark Mad.  \nThe theatrical music of Purcell stands alone in making use of the vitality and suppleness of the English language\, while demonstrating an exceptional diversity of tones and atmospheres. Nothing\, in effect\, was beyond his inspiration — the joys and torments of love\, the pain of abandonment\, the mysteries of the night\, the raving of madness — each is given the most perfect tone imaginable. John Dryden\, who cared about the compatibility of poetry and music\, declared that he was delighted with his collaboration with the musician\, admiring the perfection of English music\, “through the Artful hands of Mr. Purcell.” He added that\, “with so great a Genius… he has nothing to fear but an ignorant\, ill-judging Audience.”  \nIt is difficult to learn much about the personalities of musicians who lived in the distant past; often we have only anecdotes or evidence that is questionable and second-hand. Some rare writings describe Purcell as an affable man\, spontaneous\, generous towards musicians\, loyal to friends\, and able to laugh. He was happy in his marriage although his children died young\, as often happened in that period. That is about all one can say about the man himself\, despite the very personal accents that we can sometimes detect in his music. Romantic ideology would have us relate the composition of certain works to ups and downs in the life of their creator; we would search in vain for such a connection with Purcell and his contemporaries. It is tempting\, at times\, to examine the sensitivity\, the melancholy poetry\, and the feverish vigour given off by the art of the British Orpheus\, as well as the strained harmonies and the “angular qualities” of his melodies\, in the words of Manfred Bukofzer\, and try to read therein a portrait of the personality and feelings of the composer. Nothing could be less certain. The vein of nostalgia that he manifested was everywhere in the England of his time. All we can agree upon is that he expressed it more exquisitely than his contemporaries!  \nFrom text by François Filiatrault  \n(translated by Sally Campbell) \nTHE ARTISTS\nKarina Gauvin \nLauded for her work in the Baroque repertoire\, Canadian soprano Karina Gauvin sings Bach\, Mahler\, Britten\, and music of the twentieth and twenty-first centuries with equal mastery. She was awarded “Soloist of the Year” by the Communauté Internationale des Radios Publiques de Langue Française\, first prize in the CBC Radio Competition for Young Performers\, the Virginia Parker Prize\, and the Maggie Teyte Memorial Prize in London. Karina Gauvin’s extensive discography – over thirty titles – has won numerous awards\, including several Opus Prizes as well as the Chamber Music America Award for her Fête Galante disc with pianist Marc-André Hamelin.  \nShe has sung with elite symphony orchestras\, including the Orchestre Symphonique de Montréal\, the San Francisco Symphony\, the Chicago Symphony\, the New York Philharmonic\, the Rotterdam Philharmonic\, as well as baroque orchestras such as Les Talens Lyriques\, the Venice Baroque Orchestra\, Accademia Bizantina\, Il Complesso Barocco\, the Akademie Für Alte Musik Berlin\, Tafelmusik\, and Les Violons du Roy. \nGauvin has portrayed a wide range of Baroque heroines from Alcina (Handel) with Les Talens Lyriques to Ariadne in Georg Conradi’s Die Schöne Und Getreue Ariadne for the Boston Early Music Festival. She sang Seleuce in Handel’s Tolomeo with Alan Curtis with whom she has also recorded Handel operas on the ARCHIV/Deutsche Grammophon\, Virgin\, and Naïve labels. She performed in Tito Manlio (Vivaldi) in Brussels and at the Barbican in London\, in Ezio (Handel) in Paris and Vienna\, in Giulio Cesare (Handel) in Paris and Vienna\, as well as in Juditha Triumphans (Vivaldi) with Andrea Marcon at the Concertgebouw in Amsterdam. Her performances with the Boston Early Music Festival Orchestra earned her nominations at the Grammy Awards in 2007 and 2009. \nKarina Gauvin recently performed the role of the Princess in Ravel’s L’enfant et les sortilèges with the Rotterdam Philharmonic and Yannick Nézet-Séguin\, and she sang in Bach’s Johannes Passion on tour in Canada and at Carnegie Hall in New York with Les Violons du Roy and Bernard Labadie. Future seasons promise to be exciting: she will sing Armida in Handel’s Rinaldo at the Glyndebourne Festival\, Giunone in Cavalli’s Callisto at the Bayerische Staatsoper\, Vitellia in Mozart’s La Clemenza di Tito at the Théâtre des Champs-Elysées in Paris\, and Gluck’s Armide with the Netherlands Opera. \nLes Boréades \nLes Boréades de Montréal with its focus on early music\, was founded by Francis Colpron in 1991. The ensemble’s interpretive approach honours the spirit of the Baroque era in performing on period instruments\, respectful of historically-informed practices. Critics and audiences have unanimously hailed the group’s energy and spontaneity as well as its theatrical\, expressive\, and elegant playing – all indicative of a flair for Baroque aesthetics. \nEach year\, Les Boréades\, with an array of international guest artists (many of whom  have been broadcast by the CBC) gives a series of concerts at Montréal’s historic Notre-Dame-de-Bon-Secours Chapel. It has toured extensively in Canada and abroad and is the recipient of funding from the governments of Canada and Québec. It has also performed at the Frick Collection in New York\, Concertgebouw in Amsterdam\, Salle Gaveau in Paris\, Vancouver Festival\, Musikfest Bremen\, Alter Musik Regensburg\, and at numerous other festivals. The ensemble won the Prix Opus for Best Performance (Conseil Québécois De La Musique) not only in December 1999 but also a year later for Best Recording in Early and Classical Music. \nLes Boréades boasts fifteen recordings on the Atma Classique label featuring renowned artists\nsuch as Hervé Niquet\, Skip Sempé\, Manfredo Kraemer\, Alex Weimann\, and Eric Milnes. In 2006\, Hyver\, with Karina Gauvin\, was nominated for The Juno Best Classical Album of the Year: Vocal or Choral Performance and has also been nominated for an award at the ADISQ Gala. Purcell\, again featuring Karina Gauvin\, was also nominated for the Juno for Best Classical Album of the Year: Vocal or Choral Performance. \nWhere does the name “Les Boréades” come from? \nThe Boreads (Les Boréades in French) were Zetes and Calais\, the winged sons of the god of the north wind\, Boreas. Their father was the son of Eos (goddess of the dawn) and of Astraeus. The brothers were Titans\, beings from Greek mythology who personify the elemental forces of nature. Zetes\, the more spirited of the two\, was associated with quests. Calais\, the temperamental one\, personified the turquoise sea.
URL:https://earlymusicsocietyoftheislands.ca/concert/the-purcell-project/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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DTSTART;TZID=America/Vancouver:20170304T200000
DTEND;TZID=America/Vancouver:20170304T200000
DTSTAMP:20260502T041350
CREATED:20200426T014714Z
LAST-MODIFIED:20200426T045522Z
UID:3751-1488657600-1488657600@earlymusicsocietyoftheislands.ca
SUMMARY:In a Strange Land: Elizabethan Composers in Exile
DESCRIPTION:SPECIAL EVENT \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nStile Antico UK\nTorn between conscience and obedience\, Philips\, Dering\, and Dowland\, several of England’s greatest composers\, chose a life of exile while others\, Byrd and Robert White\, remained at home in spiritual exile. The result was music of astonishing intensity and emotional impact. \n…breathtaking freshness\, vitality and balance. NY TIMES \nVisit the website of Stile Antico\nListen to Stile Antico  \n \nPROGRAMME\nFlow my tears John Dowland (1563 – 1626) \nSuper Flumina Babylonis Philip de Monte (1521 – 1603) \nQuomodo cantabimus William Byrd (c.1540 – 1623) \nSancta et immaculata virginitas Richard Dering (c.1580 – 1630) \nIn ieiunio et fletu Thomas Tallis (c.1505 – 1585) \nRegina caeli laetare Peter Philips (1560/1 – 1628) \nTristitia et anxietas William Byrd  \nINTERVAL  \nHaec Dies William Byrd  \nGaude Maria / Virgo prudentissima Peter Philips \nIn this trembling shadow cast John Dowland \nFactum est silentium Richard Dering  \nLamentations a5 Robert White (1538 – 1574) \nTEXT AND TRANSLATIONS\nFlow my tears\, fall from your springs! \nExiled forever let me mourn; \nWhere night’s black bird her sad infamy sings\, \nThere let me live forlorn. \nDown vain lights\, shine you no more! \nNo nights are dark enough for those \nThat in despair their last fortunes deplore. \nLight doth but shame disclose. \nNever may my woes be relieved\, \nSince pity is dead; \nAnd tears and sighs and groans my weary days \nOf all joys have deprived. \nFrom the highest spire of contentment \nMy fortune is thrown; \nAnd fear and grief and pain for my deserts \nAre my hopes\, since hope is gone. \nHark! you shadows that in darkness dwell\, \nLearn to contemn light. \nHappy they that in hell \nFeel not the world’s despite. \nSuper flumina Babylonis\, illlic sedimus et flevimus dum recordaremur tui\, Sion. Illic interrogaverunt nos\, qui captivunt abduxerunt nos\, verba cantionum. Quomodo cantabimus canticum Domini in terra aliena? In salicibus in medio eius suspendimus organa nostra. \nBy the streams of Babylon\, there we sat and wept when we remembered you\, Sion. There our captors questioned us about the words of our songs. How shall we sing the Lord’s song in a strange land? On the willows in its midst we hung up our harps. \nPsalm 137 \nQuomodo cantabimus canticum Domini in terra aliena? Si oblitus fuero tui\, Jerusalem\, oblivioni detur dextera mea. Adhaerat lingua mea faucibus meis\, si non meminero tui. Si non proposuero Jerusalem in principio laetitiae meae. Memor esto\, Domine\, filiorum Edom\, in die Jerusalem. \nHow shall we sing the Lord’s song in a strange land? If I forget thee\, O Jerusalem\, let my right hand forget her cunning. If I do not remember thee\, let my tongue cleave to the roof of my mouth. Yea if I prefer not Jerusalem in my mirth. Remember the children of Edom\, O Lord\, in the day of Jerusalem. \nPsalm 137 \nSancta et immaculata virginitas\, quibus te laudibus esseram nescio\, quia quem caeli capere non poterant\, tuo gremio contulisti. Benedicta tu in mulieribus\, et benedictus fructus ventris tui. \nHoly and spotless virginity\, I know not what praises to bring to thee\, for Him whom the Heavens could not contain thou didst bear in thy womb. Blessed are you among women\, and blessed is the fruit of your womb. \nResponsory at mattins of Christmas \nIn ieiunio et fletu plorabant sacerdotes\, parce Domine\, parce populo tuo\, et ne des haereditationem in perditionem. Inter vestibulum et altare plorabant sacerdotes dicentes: parce populo tuo. \nWith fasting and weeping let the priests pray\, saying: spare\, O Lord\, spare Thy people\, and give not Thine heritage to destruction. Let the priests weep between the porch and the altar\, and let them say: spare Thy people. \nMattins respond\, first Sunday of lent \nRegina caeli laetare\, alleluia. Quia quem meruisti portare\, alleluia. Resurrexit sicut dixit\, alleluia. Ora pro nobis Deum\, alleluia. \nQueen of Heaven\, rejoice\, alleluia. Because you were worthy to bear him\, alleluia. He has risen as he fortold\, alleluia. Pray to God for us\, alleluia. \nMarian antiphon at compline during Eastertide \nTristitia et anxietas occupaverunt interiora mea. Moestum factum est cor meum in dolore\, et contenebrati sunt oculi mei. Vae mihi\, quia peccavi. \nSed tu\, domine\, qui non derelinques sperantes in te\, consolare et adjuva me propter nomen sanctum tuum\, et miserere mei. \nSadness and anxiety have overtaken my inmost being. My heart is made sorrowful in mourning\, my eyes are become dim. Woe is me\, for I have sinned.  \nBut thou\, O Lord\, who dost not forsake those whose hope is in thee\, comfort and help me\, for thy holy name’s sake\, and have mercy on me.  \nAfter Lamentations\, Psalm 112 (113): 2  \nHaec dies quam fecit Dominus; exultemus et laetemur in eia. Alleluia. \nThis is the day which the Lord has made; let us rejoice and be glad therein. Alleluia. \nPsalm 117: 246  \nGaude Maria Virgo\, cuncta haereses sola interemisti\, in universo mundo\, Alleluia. \nVirgo prudentissima\, quo progrederis\, quasi aurora valde rutilans? Filia Sion\, tota formosa et suavis es: pulchra ut luna\, electa ut sol\, Alleluia. \nRejoice\, Virgin Mary\, you alone have destroyed all heresies in the whole world\, alleluia. \nMost wise virgin\, whither do you go\, shining gloriously as the morning? Daughter of Sion\, you are all comely and sweet\, fair as the moon\, excellent as the sun\, alleluia. \nTract for Votive Mass of the Blessed Virgin;  \nMagnificat antiphon at Assumption \nIn this trembling shadow cast \nFrom those boughs which thy winds shake\, \nFar from human troubles placed\, \nSongs to the Lord would I make\, \nDarkness from my mind then take: \nFor thy rites none may begin \nTill they feel thy light within. \nMusic all thy sweetness lend\, \nWhile of his high power I speak\, \nOn whom all powers else depend\, \nBut my breast is now too weak\, \nTrumpets shrill the air should break\, \nAll in vain my sounds I raise\, \nBoundless power asks boundless praise. \nA Pilgrimes Solace (1612)\, no. 12 \nFactum est silentium in caelo dum committeret bellum draco cum Michaele Archangelo. Audita est vox milia milium\, dicentium: salus\, honor et virtus omnipotenti Deo. Alleluia. \nThere was silence in heaven as the dragon joined battle with the archangel Michael. A voice was heard\, thousand upon thousand-fold\, saying: salvation\, honour and virtue to almighty God. Alleluia. \nBenedictus antiphon at Lauds on Michaelmas7  \nLAMENTATIONS \nHeth \nPeccatum peccavit Jerusalem\, propterea instabilis facta est. Omnes qui glorificabant eam spreverunt illam\, quia viderunt ignomimiam eius; ipsa autem gemens et conversa est retrorsum. \nTeth \nSordes eius in pedibus eius\, nec recordata est finis sui. Deposita est vehementer\, non habens consolatorem. Vide\, Domine\, afflictionem meam\, quoniam erectus est inimicus. \nJoth \nManum suam misit hostis ad omnia desiderabilia eius\, quia vidit gentes ingressas sanctuarium suum de quibus preceperas ne intrarent in ecclesiam tuam. \nJerusalem\, Jerusalem\, convertere ad Dominum Deum tuum. \nCaph \nOmnes populos ejus gemens\, et quaerens panem; dederunt pretiosa quaeque pro cibo ad refocillandam animam. Vide\, Domine\, et considera quoniam facta sum vilis! \nLamech \nO vos omnes qui transitis per viam\, attendite\, et videte si est dolor sicut dolor meus\, quoniam vindemiavit me\, ut locutus est Dominus\, in die irae furoris sui. \nMem \nDe excelso misit ignem in ossibus meis\, et erudivit me: expandit rete pedibus meis\, convertit me retrorsum; posuit me desolationem\, tota die moerore confectam. \nJerusalem\, Jerusalem.\, convertere ad Dominum Deum tuum. \nHeth \nJerusalem has committed a great sin\, and therefore she has become untrustworthy. All who used to praise her have spurned her\, because they have seen her shame; and she groans and has turned away her face. \nTeth \nHer own filth is upon her feet\, and she has given no thought to her purpose. She has been brought very low\, and has none to comfort her. ‘Look\, Lord\, upon my suffering\, and see how my enemy is exalted.’ \nJoth \nThe enemy has laid hands on all that was dear to her\, for she has seen the foreigner enter her sanctuary\, the men you decreed should never be admitted into your assembly. \nJerusalem\, Jerusalem\, return again to the Lord your God. \nCaph \nAll her people sigh\, they seek bread; they have given their pleasant things for meat to relieve the soul. See\, O Lord\, and consider\, for I am become vile! \nLamech \nO all ye that pass by in the way\, hearken\, and see if there be any sorrow like unto my sorrow. For he hath plucked me like a grape\, as the Lord uttered in the day of his fierce anger. \nMem \nFrom on high he hath sent fear into my bones\, and hath chastised me: he hath spread a net for my feet\, and turned me back; he hath made me desolate\, and all the day I am consumed with sorrow. \nJerusalem\, Jerusalem\, return again to the Lord your God. \nLamentations 1: 8-138  \nPROGRAMME NOTES\n‘How shall we sing the Lord’s song in a strange land?’ \nHenry VIII’s infamous break with Rome in 1534 and subsequent destruction of religious institutions did comparatively little to change the appearance or content of church services\, which continued to be carried out according to the centuries-old Sarum rite. When his Protestant young son Edward VI came to the throne\, however\, church worship in England was turned upside-down within a space of months. The backlash was equally violent at the accession of Mary I\, who restored papal authority and the Sarum rite between 1553 and 1558. By the time Elizabeth I came to the throne\, English churchgoers might have been forgiven for feeling disillusioned. The new queen’s task was to unify her subjects behind her rule\, and\, although her convictions were essentially Protestant she did not in fact wish to alienate those who held more traditional Catholic beliefs – which may explain her softening of one or two more distinctly Protestant corners of Edward’s Book of Common Prayer. While many may have disliked the newly-imposed English services\, few seem to have absented themselves from public worship in the early Elizabethan years. \nAlthough by the late 1560s there were notable Papist stirrings (echoes of which can perhaps be detected in a work like White’s Lamentations)\, the real turning point came in late February 1570\, when Pope Pius V issued a bull asserting Elizabeth to be a heretic and pretender\, prohibiting her subjects from obeying ‘her orders\, mandates and laws’ and declaring any who did so excommunicated. Thus\, to be an obedient Catholic now entailed rejecting Elizabeth’s authority and (by implication) desiring her overthrow. Furthermore\, for those whose conscience now prevented them from attending the ‘impious rites’ of the English Prayer Book\, recusancy was the only option\, against which laws were enforced from the late 1570s. So began the years of persecution which saw influential Roman Catholics martyred for treason\, and many more imprisoned and persecuted. A ‘clarification’ from Rome in 1580 permitting Catholics to be loyal citizens in civil matters until an ‘opportunity for liberation’ helped little (nor\, to be fair\, did many want England to be ‘liberated’ by the Spaniards). Yet\, while it is well documented that Elizabeth personally favoured greater religious tolerance than Parliament permitted her\, the foiling of numerous plots and assassination attempts against her during the 1570s and 80s demonstrated that concerns about her safety were well-founded. Meanwhile\, behind the walls of Roman Catholic houses\, of the scriptures to which believers most often turned for comfort and encouragement during these troubled times\, Old Testament texts concerning the Babylonian captivity proved particularly popular\, and provided much inspiration for composers. This is the context out of which sprang the works in the present programme. All but one of the composers represented here were English Catholics\, either in the metaphorical ‘strange land’ of Protestant England\, or living abroad. \nJohn Dowland (1563 – 1626) turned to Rome while a teenager in Paris\, but he had returned to England by the time he was first turned down for a post at court. An Italian journey to study with Marenzio got him accidentally mixed up in a plot against Elizabeth from which he hurriedly escaped\, but\, upon his return\, failed again to win the royal patronage he so desperately craved. To describe his travels as ‘exile’ is far-fetched\, but\, from what we know of his character he wouldn’t have minded in the least. He self-pityingly wrote that his religion was the reason for his failure to win Elizabeth’s favour – though in reality it hadn’t stopped others\, and\, if anything\, she probably just didn’t warm to such a self-absorbed sycophant. He clearly therefore ‘had no choice’ but to take a very well-paid position at the Danish court in 1598\, from which he was dismissed in 1606 after spending too long on visits home. Finally\, James I took him on as a lutenist in 1612. Dowland’s music is famed for its melancholy; this seems to have been rather true of his personality\, too (though such affectations were somewhat in vogue amongst artistic types at that time). His famous lute song Flow my tears\, with its striking descending lacrimae motif\, must be considered his signature tune\, and appears here in a consort arrangement 9  \n– a not uncommon practice in Dowland’s time. Indeed\, the song In this trembling shadow is one of many of Dowland’s songs published in such a way as to permit just that type of performance: the solo melody and lute tablature are printed on one side of the page\, and three voice (or viol) parts – in ‘table’ format\, with each different part facing outwards in a different direction so that the music can be gathered-around – on the facing page. Here\, Dowland casts his melancholia in rather chromatic musical material. \nWilliam Byrd (c.1540 – 1623)\, by contrast\, stayed in England and was the most admired composer of his generation. His connections in Catholic circles are well-documented\, but it was through his music that he most openly served the recusant community (while his friendship with Elizabeth ensured impunity): his Cantiones sacrae of 1589 and 1591 included numerous works with overtly subversive texts\, while the Gradualia of 1605 and 1607 provided short liturgical motets for the year-round celebration of the mass. His three famous mass settings\, composed in the mid-1590s\, were considered dangerous enough that the printer dared not include his own name\, although Byrd’s appears on each page. The extraordinary 8-part motet Quomodo cantabimus\, appears to have had a particularly memorable genesis: the eighteenth-century antiquarian John Alcock records that Philippe de Monte\, kappelmeister to the Holy Roman Emperor\, sent Byrd a copy of his motet Super flumina Babylonis\, a setting of the opening verses of that most memorable exile text\, psalm 136 (137 in English translations). Byrd ‘replied’ with Quomodo cantabimus – a setting of verses 4-7 – the motet itself providing an answer to the question posed in the opening line of the text. That three of its eight voice parts formed an ingenious canon by inversion doubtless assured the rest of the world that music was alive and well amongst England’s persecuted Catholics. Tristitia et anxietas (from the 1589 Cantiones sacrae) is without doubt one of his great tours de force – a musical setting which uses expressive semitonal melodic inflections (perhaps a nod to Clemens’ setting of the same text) and a strikingly broad sense of scale to lend great heaviness to the lament of the first half of the text\, while lending the more hopeful second a sense of profound yearning. The much-loved Haec dies\, on the other hand\, has little of this gravitas; here the joy of this psalm text (one closely associated with Easter day\, when it is used as a Gradual) calls forth a more economical\, madrigalian response. \nRichard Dering (c.1580 – 1630) spent the first years of his career in England\, but probably converted to Rome on a trip to Italy in the early 1610s and spent most of the rest of his life in the Low Countries. Only in 1625 did he return\, taking the position of organist to Charles I’s Catholic wife Henrietta Maria. Sancta et immaculata virginitas finds him in a distinctly modern\, Italianate voice\, writing for two solo voices with basso continuo (not to mention setting a text which would hardly be countenanced in the English church). The same can be said of perhaps his best-known motet\, Factum est silentium – a setting of a dramatic passage from the Revelation of St John – in which he draws upon considerable variation in note durations\, vividly contrasting textures and insistent\, stylised rhythms in order to convey the text; the style is not at all unlike that seen in many of the madrigals of the day. \nThomas Tallis (c.1505 – 1585) – a close friend and teacher to Byrd – represents the generation who experienced all the mid-century upheavals first-hand – which\, as a composer\, meant a constant reinventing of his craft to suit the religious tastes of the moment. Although many of his works cannot be precisely dated\, the bold\, expressive harmonies of In ieiunio et fletu suggest a late date of composition not long before the motet’s publication in 1575. Indeed\, its emotive power lies in some extraordinary progressions of seemingly barely-related chords\, which present to us\, as if dumbstruck\, the scene of priests lamenting their desecrated heritage. At the words of the priests themselves\, the voices reach the highest point in their tessitura as if to echo the impassioned cries for mercy. Although the worst persecution was yet to come\, it is hard not to see this piece as in some way a metaphor for the grief of many at the perceived desecration of the church by the Protestant regime. \nThe most-published English composer of his generation after Byrd\, Peter Philips (1560/1 – 1628) spent much of his working life in the Low Countries\, having fled England in 1582 on account of his Catholicism. His travels took him via Douai to Rome\, where he stayed for three years\, before another 5 years’ travel in the employment of Lord Thomas Paget\, another prominent English refugee. He settled in Antwerp around 1590\, enjoying a quiet seven years\, save for a visit to Amsterdam (probably to see Sweelinck) during which he was accused of complicity in a plot against Elizabeth and briefly imprisoned – a stark reminder of the perils of being an English Catholic\, home or abroad. When the matter came to court\, Philips was released without charge. In 1597 he joined the household of the Archduke Albert VII\, Hapsburg governer of the Low Countries and was to remain in Brussels until his death. Like many continental composers of his generation\, Philips’s extensive output of sacred and secular music spans the join between the Renaissance and Baroque styles. The fine five-voice setting of Regina caeli performed here is a good example – its various metrical and textural changes\, and its reliance upon ‘modern’ cadential patters\, are not unreminiscent of the sacred music of Monteverdi or Gabrieli (as would be especially the case if the voice parts were to be doubled by instruments) but its strong roots in the prima pratica are also evident. By contrast\, his two-part motet Gaude Maria virgo seems more archaic; imitative counterpoint prevails\, and\, at its conclusion\, Philips employs one of the oldest gags in the book: the words ‘ut sol’ (‘as the sun’) set to a rising fifth interval – a reference to the note names in the Guidonian hexachord. \nRobert White (1538 – 1574) is one of the several very fine sixteenth-century English composers eclipsed by Tallis and Byrd\, primarily on account of the monopoly they had been given by the queen over the printing of music. Nonetheless\, White’s music is highly imaginative\, individual and masterful\, and his Lamentations setting is one of his finest works. It is one of several superb settings of that text which seem to have been written during the 1560s (Tallis’s being the most famous) – yet more evidence that\, even before 1570\, not everybody was happy with the religious status quo. The fact is particularly striking when one considers the way in which the Babylonians’ sacking of Jerusalem (the historical impetus for the Lamentations of Jeremiah) was to become such a notorious metaphor for the plight of English Catholics over the ensuing decades. On the other hand\, it needn’t go unnoticed that\, on the facing page in each of the Dow partbooks (the work’s principal source) is a Latin inscription which reads ‘wine and music make the heart glad’. Perhaps\, even amidst the turmoil of the 1580s\, this extraordinary setting was appreciated as much for its musical merit and affective power as for its devotional message. The original Hebrew text is an acrostic poem (each short section begins with a new letter of the Hebrew alphabet) and White’s Latin text contains the Hebrew letter names at the beginning of each section\, which he sets as a musical equivalent of ‘illuminated letters’.11  \nTHE ARTISTS\nStile Antico \nStile Antico is firmly established as one of the world’s most accomplished and innovative vocal ensembles. Working without a conductor\, its twelve members have thrilled audiences throughout Europe and North America with their fresh\, vibrant and moving performances of Renaissance polyphony. Its bestselling recordings on the Harmonia Mundi label have earned accolades including the Gramophone Award for Early Music\, Diapason d’or de l’année\, Edison Klassiek Award\, and Preis der deutschen Schallplattenkritik\, and have twice received Grammy® nominations. \nBased in London\, Stile Antico has performed at many of the world’s most prestigious venues and festivals. The group enjoys a particularly close association with the Wigmore Hall\, and has appeared at the BBC Proms\, Buckingham Palace\, Amsterdam Concertgebouw\, Cité de la Musique\, Palais des Beaux-Arts\, and Luxembourg Philharmonie. Stile Antico is frequently invited to perform at Europe’s leading festivals: highlights include the Lucerne Easter Festival\, the Rheingau\, Schleswig-Holstein and Wrocław Festivals and the Antwerp\, Barcelona\, Bruges\, Granada\, Utrecht and York Early Music Festivals. \nSince making its North American debut at the Boston Early Music Festival in 2009\, Stile Antico has enjoyed frequent tours to the US and Canada. The group performs regularly in Boston and in New York’s Music before 1800 and Miller Theatre series\, and has appeared at Washington’s National Cathedral and Library of Congress\, Vancouver’s Chan Centre\, the Quebec Festival of Sacred Music\, at Duke\, Michigan\, and Yale Universities\, and in concert series spanning nineteen US states. In 2010\, Stile Antico made its debut at the Cervantino festival in Mexico. \nStile Antico is renowned for the committed and expressive performances that arise from its uniquely collaborative style of working: members rehearse and perform as chamber musicians\, each contributing artistically to the musical results. The group is also noted for its intelligent programming\, drawing out thematic connections between works to shine new light on Renaissance music. In addition to its core repertoire\, Stile Antico has given world premieres of works by John McCabe\, Huw Watkins\, and\, most recently\, Nico Muhly\, whose Gentle Sleep was written to mark the group’s tenth birthday. Stile Antico’s diverse range of collaborators includes Fretwork and the Folger Consort of viols\, pianist Marino Fomenti\, orchestra B’Rock\, and Sting. \nAlongside its concert and recording work\, Stile Antico is passionate about sharing its repertoire and working style with the widest possible audience\, and its masterclasses and workshops are much in demand. The group regularly leads courses at the Dartington International Summer School\, and is often invited to work alongside ensembles at universities\, festivals\, and early music forums. The support of the charitable Stile Antico Foundation has enabled Stile Antico to expand its education work in schools\, and to offer annual bursaries to talented young consort singers. \nHighlights of Stile Antico’s 2016-7 season include a residency at BOZAR in Brussels\, performances at the Wigmore Hall\, Leipzig Gewandhaus and Bruges Concertgebouw\, two vists to North America\, and the conclusion of the group’s acclaimed Shakespeare400 tour. Stile Antico’s eleventh recording for Harmonia Mundi\, featuring the unjustly neglected sacred music of Giaches de Wert\, is released early in 2017. Stile Antico gratefully acknowledges the support of American Friends of Wigmore Hall.
URL:https://earlymusicsocietyoftheislands.ca/concert/in-a-strange-land-elizabethan-composers-in-exile/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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