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SUMMARY:Swithun: Dialogos
DESCRIPTION:Doors open at 6:45 pm. Please note: there is no pre-concert talk for this event. \nDialogos (France)\nSwithun! Music from Winchester c.1000\nDialogos explores early polyphony from Winchester (10th–11th centuries) in a semi-staged performance with English subtitles. Through the voice of Wulfstan the Cantor\, we follow the path of a penitent man haunted by his visionary dreams\, trying to escape from three raging Furies\, wild as wolves\, and finally finding salvation from Swithun\, saint of all miracles. \n“As an aural and visual experience it was one of the most moving events of this year’s Festival.” THE HERALD (SCOTLAND) \nVisit the website of Dialogos\nListen to Dialogos \n\nPROGRAMME \nSWITHUN ! One saint\, three Furies and a thousand miracles from Winchester around 1000\nRegem regum dominum Two-part invitatory\, Winchester Troper\nAelfeah adest\, Ordbirhtus adest\, Wulfsinus et Aelfric Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nPax huic domui Processional antiphon\, Paris\, BNF\, ms. 943\, 10th c. \nMagna miracula Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nEt licet extremus hominum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nOs ky hereos. Statuit ei dominus Troped introit\, Winchester Troper \nAlma fuit vicina dies Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nGloriosus vir sanctus Swithunus Two-part responsory\, Winchester Troper\nCumque dies eadem benedicta Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nIn pace in idipsum Antiphon\, Worcester Cathedral\, Music Library\, ms 160\, 1″th c. \nÞa swefna beoð wynsume Aelfric of Winchester\, Life of saint Swithun\nQui post evigilans Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nAuxilium\, domine Alphabetic hymn in acrostic «De Sancto Swithuno»\,\n Wulfstan of Winchester: text\, Rouen\, BM 1385\, 10th c.\, melodic reconstruction: K. Livljanic\nSed cum nulla virum feritas Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nEcce vir prudens Swithunus Two-part responsory\, Winchester Troper \nInfirmo siquidem\, cum nullum prendere somnum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nLaudemus dominum Two-part responsory\, Winchester Troper\nTalibus aegrotum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nSint lumbi vestri Two-part responsory\, Winchester Troper \nPervigilat ternis ibi noctibus atque diebus Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nHwæt ða se halga Swyðun Aelfric of Winchester\, Life of saint Swithun\nVia lux veritas Sequence\, Winchester Troper \nQuid plura ? Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nLength: 65 minutes with no intermission\nMusicological consultant: Susan Rankin\nPrincipal sources\nWinchester Troper: Cambridge\, Corpus Christi College\, 473\, 11th century; Oxford\, Bodlean Library\, Bodley 775\, 11th century. Transcriptions: Susan Rankin.\nWulfstan of Winchester\, Narratio metrica de sancto Swithuno. Edited by M. Lapidge. Manuscript: London\, British Library\, Royal 15. C. VII\, 10-11th century. Music: Katarina Livljanić.\nAelfric of Winchester\, The life of saint Swithun. Edited by M. Lapidge. Manuscript: London\, British Library\, Cotton MS Julius E VII\, 11th century. Music: Katarina Livljanić.\n \nPROGRAMME NOTES\nOne of ensemble Dialogos’s favorite repertoires – early Medieval polyphony from Winchester (10th-11th c.) – is at the origin of this programme. This project is a continuation of our work on early polyphonic repertoires\, in collaboration with Susan Rankin from Cambridge University\, the principal international specialist of the earliest Medieval polyphonic repertoires. In the style of the programme Abbo Abbas\, created in 2004 ( performed more than fifty times at numerous international festivals\, inspired by the personality of Abbon de Fleury\, one of the most prominent men of the 10th century)\, we explore the polyphonic repertoires from the famous Winchester Troper\, one of the richest and earliest records of notated polyphony in Western Medieval music.\nThrough the voice of Wulfstan the Cantor\, we follow the path of a penitent man haunted by his visionary and terrifying dreams. Trying to escape from three raging Furies\, wild like wolves\, he finally finds salvation from Swithun\, saint of all miracles.\nSwithun – the “Superman” saint\nThe cult of Saint Swithun started when the bishop of Winchester\, Aethelwold\, transferred the relics of the saint to the Old Minster and there celebrated a sumptuous ceremony on July 15th\, 971. Thus started an important tradition which transformed this local saint into a sort of Anglo-Saxon Medieval Superman\, celebrated in the virtuosic Narratio metrica de S. Swithuno by Wulfstan\, famous cantor at Winchester cathedral at the end of the 10th century. Several versions of his life were written\, the advertising of his relics promoted by his numerous miracles\, and generous gifts were given by healed people.\nWulfstan and Aelfric\nWulfstan\, the cantor in Winchester at the end of the 10th century\, decided to write a versified life of Saint Swithun: his magnificent Narratio metrica de S. Swithuno is the longest Anglo-Latin poem written before the Norman Conquest\, and is dedicated to refined poetry lovers. His mastery of the Virgilian hexameter bears witness to one of the most virtuosic poets of his time. The text is written without musical notation.\nFor this programme\, I selected several passages from the Narratio to create a continuous story. The Miracle of Three Furies particularly caught my attention. The three Furies appear as three terrifying women\, naked and vulgar. They attack a poor man who loses the use of his legs after seeing them. The man arrives at the gate of Winchester where he meets a man dressed in white. This mysterious man advises him to go to the miraculous grave in the Old Minster. He spends three nights there\, between waking and sleeping. In a mystical vision (or while sleeping) the man in white appears to him again and reveals his identity: he is Saint Swithun himself. The poor man falls asleep again. A big earthquake shakes the grave and the whole church. A superhuman creature takes the man in its hands and takes off one of his shoes (which nobody will be able to find later). The man remains like a confused Cinderella\, without his shoe\, but healed from his paralysis caused by the encounter with the three Furies.\nIn order to put the story in its context\, a few short passages are taken from another text and used in our programme. This is another biography of Saint Swithun\, in the Anglo-Saxon language\, written by Aelfric\, a man from the circle of the bishop Aethelwold of Winchester around 1000. Aelfric’s text was not created for monks or scholars. His version of Saint Swithun’s life\, clear and concise\, is dedicated to laymen’s education.\nThe Winchester Troper\nIn the dense atmosphere in which these great minds moved\, liturgical chant took on similar density and sumptuousness. Winchester cantors cultivated a specific musical practice described by Thierry\, a monk of Fleury in France around the year 1000. Speaking of the night-office responsories\, he says they were sung “by four brothers in albs and cope at the top of the steps; two of them\, like pupils\, are restricted to the chant melody\, while the other two\, like masters\, stand behind them and perform the accompaniment– they are called ‘organists’.”\nThe Winchester Troper preserves a large number of pieces for two voices\, bearing witness to this tradition. It was copied in the first decades of the 11th century\, and contains a series of pieces in Saint Swithun’s honour\, some based on a historia\, the saint’s life. This repertoire was used as a core of our programme: it creates a continuous story between the excerpts from Saint Swithun’s miracle of three Furies and polyphonic pieces.\nNotated using a complex system of neumes\, which allows not one but several interpretations\, these polyphonic pieces might have been condemned to silence and neglect\, since it is impossible to give a unique interpretation of them in modern transcription. Therefore\, any attempt to find out what they sounded like can only proceed from a hypothetical reconstitution\, even with the aid of the Medieval theoretical treatises (Musica enchiriadis and Guido of Arezzo’s Micrologus). But it is precisely the ambiguity of the written sources that has prompted us to devote ourselves to this repertoire: in this programme\, Dialogos offers a musical creation in which the music of the 10th century from the Winchester Troper (transcribed by Susan Rankin) is placed in dialogue with new musical creations and improvisations in the style of the 10th century singers\, using the texts of Saint Swithun’s miracles by Wulfstan and Aelfric. These new creations attempt to reconstruct the polyphonic style which Medieval cantors in Winchester would have heard in their cathedral\, while discreetly opening some new windows to a more contemporary musical language.\nKatarina Livljanić\n \nBIOGRAPHIES\nEnsemble Dialogos\, Ensemble For Medieval Music\nSince its foundation in 1997\, Dialogos\, the vocal ensemble directed and created by Katarina Livljanić\, has emerged as one of the most outstanding and original Medieval music ensembles of the new generation. The ensemble’s projects link new musicological research with an innovative approach to Medieval music performance\, a theatrical dimension\, and an expressive musicality. Dialogos is composed of women’s or men’s vocal ensembles\, depending on each specific project.\nSince its first projects\, Dialogos has been acclaimed by critics (in journals such as The New York Times\, Early Music America\, Le Monde\, Le Figaro\, El País\, The Guardian) and performed in the most prestig-ious concert halls and festivals worldwide (Lincoln Center\, Festival of Saintes\, Utrecht\, Ambronay\, Royal Festival Hall of London\, Metropolitan Museum of New York\, Cité de la Musique in Paris\, Boston Early Music Festival\, Edinburgh Festival)\, as well as radio and television broadcasts. The recordings\, published by labels such as Arcana\, Sony-BMG\, Ambronay Editions\, and Empreinte Digitale\, have received nu-merous press distinctions in international music magazines\, including Diapason d’or\, Choc du Monde de la Musique and Goldberg 5 stars. Dialogos is an ensemble-in-residence at the Royaumont Foundation (2011-14). Dialogos receives a subsidy from DRAC Ile-de-France – French Ministry of Culture and Communication. Mécénat Société Générale is the principal patron of the ensemble.\nKatarina Livljanić\, Director And Vocalist\nKatarina Livljanić\, singer and musicologist\, is an international specialist in Medieval music and plain-chant performance. Born on the Adriatic coast of Croatia\, she decided to become a Medieval music per-former at a very early age\, training at the Zagreb Music Conservatory before moving to France to study voice and musicology. She founded and directs the vocal ensemble Dialogos\, specializing in Medieval chant and liturgical theatre of the Glagolitic tradition. For her work in this field\, she was decorated for cultural achievement in 2002 by the president of Croatia.\nShe obtained a Ph.D. at the Ecole Pratique des Hautes Etudes in Paris. She is currently Maître de\nConférences in Medieval music at the Sorbonne University in Paris\, where she directs a Medieval music performance Masters programme. She is regularly invited as visiting lecturer or artist in residence at Har-vard University (visiting lecturer in 1997\, artist in residence in 2003 and Blodgett Artist in Residence in 2011)\, and to numerous universities in Europe\, the United States\, and Canada (Schola Cantorum Basili-ensis\, Fondazione Cini\, Boston University\, Yale)\, as a teacher or resident artist. With Benjamin Bagby (Sequentia)\, she was awarded a Cornille Visiting Professorship at Wellesley College (USA) in 2007. She publishes articles about Medieval chant performance in specialized reviews worldwide\, and is the author of a volume in the collection Paléographie Musicale founded by the monks of Solesmes in 1889. In 2002 she was a guest artistic advisor at the Early Music Festival in Utrecht\, Netherlands\, and in 2012 she was artist in residence at the Laus Polyphoniae Festival in Antwerp\, Belgium.\nAs a soloist\, she performs contemporary repertoire in collaboration with the Croatian pianist Danijel Detoni. She is also an active poet and publishes in Croatian literary reviews.\nChristel Boiron\, Vocalist\nAfter cello studies at the ENM of St Etienne and a degree in musicology\, Christel Boiron entered the Conservatoire of Lyon’s Early Music Department in 1990 as a singer. She studied with Marie Claude Vallin\, Eugène Ferré\, and Dominique Vellard\, and graduated from the Conservatory of General Studies of Lyon with honours in 1995.\nSince then\, she has worked regularly with the following ensembles: Musica\, Gilles Binchois\, Discantus\, Choirs Lyon-Bernard Tetu\, Huelgas Ensemble\, Le Concert Spirituel\, and Contemporary Resonance. Since 2007\, she has studied vocal technique with Ronald Klekamp and vocal pedagogy at the Center of Voice in the Rhône Alps.\nClara Coutouly\, Vocalist\nAfter studying contemporary dance\, theatre and piano\, Clara Coutouly completed her training with sing-ing and studying at the Maîtrise de Notre Dame de Paris and Lyon’s Conservatoire\, in the class of Marie-Claude Vallin. She graduated in 2005 with a Diploma of Superior Studies of Ancient Chant Music. The same year\, she participated in the Baroque Academy of Ambronay\, conducted by William Christie. She then studied at the Musikhochschule Trossingen with Maria Cristina Kiehr.\nClara Coutouly works with the early music ensembles (Medieval\, Renaissance\, and Baroque) Doulce Mémoire (Denis Raisin-Dadre)\, Dialogos (Katarina Livljanić)\, Céladon (Paulin Bündgen)\, the Gregorian ensemble of Notre Dame de Paris (Sylvain Dieudonné)\, Peregrina (Agnieszka Budzinska)\, Stella Maris Basilea (Tetyana Polt-Lutsenko)\, Le Miroir de Musique (Baptiste Romain)\, and Vox Luminis (Lionel Meunier). She performed with these different ensembles in prestigious festivals in France and abroad (Music before 1800 in New York\, Amuz in Anvers\, MA-Festival in Bruges\, Oude Muziek in Utrecht\, Quinçena Musical in San Sebastián\, festivals in Split and Dubrovnik\, Cité de la Musique of Paris\, les Rencontres Polyphoniques in Calvi\, de Saintes\, d’Île de France\, de Saint-Denis\, d’Ambronay\, and de Royaumont).\nAlong with her polyphonist activities\, Clara Coutouly sings and participates regularly as a soloist with choreographic or staged performances (Baroque operetta with Céladon)\, as well as in concerts combining ancient and popular music (Croatian traditional singing with Dialogos\, Iran or fado with Doulce Mé-moire). Clara Coutouly has recorded for the Calliope\, Zig Zag Territories\, Ambronay\, K617\, Ricercar\, Aeon Arcana\, Céladon\, Doulce Mémoire\, Dialogos\, The Music Mirror\, Baroque Crossings\, the Gregorian Ensemble Notre Dame de Paris and Vox Luminis labels.\nCaroline Gesret\, Vocalist\nCaroline began her musical education as a child\, studying the piano in Rennes\, France. While studying economics and cultural management\, she joined the singing classes at the Musikhochschule Bochum and then at the Conservatoire in Grenoble and Lyon\, where she graduated in 2002.\nShe completed her training in Germany\, participating in master classes with Thomas Hampson (Mahler’s Kindertotenlieder with orchestra at Schleswig-Holstein Musik Festival in Salzau)\, and with Dame Felici-ty Lott and Graham Johnson (Schubert and Schumann’s songs and French “mélodie” in Lübeck)\, and in Austria with Thomas Quasthoff (Brahms’s songs in Schwarzenberg). In the Baroque music area\, she was coached on Monteverdi’s operas by Christophe Coin\, Gabriel Garrido\, and Christina Pluhar.\nShe appeared on stage at the Opéra de Lyon as the messaggiera in Monteverdi’s Orfeo (Latella / Pickett) and took part in several productions at the Théâtre du Châtelet in Paris in the choir (under the direction of Sir John Eliot Gardiner\, Kazushi Ono\, and Christophe Eschenbach). Her repertoire includes Baroque ora-torio and cantatas\, French “mélodie”\, and German song (in Recital with Jean-Sébastien Dureau and Vin-cent Planès). She is intensely involved with contemporary music and has been heard in many first produc-tions of French composers with Choeur Britten (conducted by Nicole Corti) and Resonance Contem-poraine (Alain Goudard).\nIn 2012\, she created her own ensembles : jet:zt! – a trio dedicated in particular to the performance of Morton Feldman’s three voices\, and 4anima – a female vocal quartet forging links between early and con-temporary music.\nShe joined Dialogos (Katarina Livljanić) in 2013.
URL:https://earlymusicsocietyoftheislands.ca/concert/swithun-dialogos/
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/2015/10/4_swithun3_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20151017T200000
DTEND;TZID=America/Vancouver:20151017T200000
DTSTAMP:20260501T222239
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062145Z
UID:3737-1445112000-1445112000@earlymusicsocietyoftheislands.ca
SUMMARY:Chaconne: Ensemble Caprice
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nEnsemble Caprice (Montreal)\nChaconne! Voices of Eternity\nIn the baroque era\, chaconnes\, with their steady harmonic progressions\, were associated with the concept of eternity. Composers from across Europe\, including Bach\, Falconieri\, Merula\, Vitali\, and Rebel used the chaconne form to transcend the boundaries of time. \n“The artists’ physical involvement and infectious enjoyment\, conveyed through body rhythms and expression\, were what music should always be about.” WASHINGTON POST \nVisit the website of Ensemble Caprice\nListen to Ensemble Caprice \n\nPROGRAMME \nDeath and the Maiden? Death and Arleccino!\nSerenata con altre arie\, Johann Heinrich Schmelzer (1623-1680)\nSerenata-Arlecchino-Adagio-Allegro-Ciacona-Campanella e Lamento\, Johann Heinrich Schmelzer\nChaconnes of Heaven and Hell: Part I\nSonata sopra la Monica\, Biagio Marini\nPassacalle (1650)\, Andrea Falconieri\nAria di Fiorenza y sua Corente (1646)\, Carlo Calvi (Italy\, 17th century)\nCiacona di Paradiso\, et dell inferno\, Anonymous (Rome\, 1657)\nStories of love and solitude\nCzech Folk songs\, Anonymous (16th century)\nByl jest v Kunštátě\nAch mlynářko\, mlynářko\nKeby som já mala\nStuoj\, formánku\, nehýbaj\nProč\, kalino\, v struze stojíš\nJidech tam vedle řeky\nVij mi věnec\nZvolil jsem sobě\nChaconnes of Heaven and Hell: Part II\nCiacona\, Tarquinio Merula (1595-1665)\nSonata seconda op.III\,3 (1660)\, Johann Heinrich Schmelzer\nBattalla de Barabaso yerno de Satanas (1650)\, Andrea Falconieri\nINTERMISSION\nVoices of Eternity\nLamentabile for 2 flutes\, W.Fr. Bach\nChaconne BWV 1004 for 2 recorders and bc (arr.M.Maute)\, J.S.Bach (1685-1750)\nMadmen and broken hearts\nTwo in one upon a Ground\, Henry Purcell (1659-1696)\nThe Duke of Norfolk\, or Paul’s Steeple (1684)\, Anonymous 17th century\nA New Scotch Tune\, Henry Purcell (1659-1696)\nBudro\, Anonymous 17th century\nFullmoon in Spain\nLa Jota\, Santiago de Murcia (1673-1739)\nMad….but happy!\nSonate op.I\,12 La Follia\, Antonio Vivaldi (1681-1741)\nPROGRAMME NOTES\nMusic tells stories. What a simple statement – but how far-reaching are the consequences generated by the intrusion of fiction into music! The music of the 17th and 18th century was often conceived with a narrative or a particular situation in mind :\nWhen J.H.Schmelzer in his Serenata con altre arie leads us through the whole cycle of carnival\, including the dances\, the comedia dell arte of arlecchino\, and then subsequently the regrettable end of the festivities on Ash Wednesday garnished with a deathbell and a repeated lamento\, we witness a whole story unfolding within a very condensed time frame. Whereas carnival lasted several days\, the last sounds of Schmelzer’s serenata die away after just a couple of minutes. Evidently music can depict a whole world within a short segment of our life! It is no accident that many stories that we ourselves have been told when we were young start with an evocation of the 4th dimension : « Once upon a time… ».\nTime and its mysteries have fascinated human beings throughout the evolution of our civilization. The notion of mortality versus eternity was and still is at the heart of most religions : We have organized our life down to the minute but at the same time we hope for eternity… However\, interestingly enough\, during the 17th and 18th century people attributed to music the power to bring the notion of eternity into their daily life. The chaconne became the synonym for eternity and a symbol for music which reaches out to higher dimensions.\nThe fact that the bass pattern is repeated over and over again\, turning around like a spinning wheel has made it possible to associate a fairly simple (however very powerful!) harmonic progression with a dimen-sion of time which goes beyond our human measurements. Bach’s famous Chaconne BWV 1004 comes with an aura of death and vanity – supposedly\, he wrote it as instrumental lament for his first wife Maria Barbara\, who tragically passed away while Bach was traveling.\nPurcell’s Two in one upon a ground presses on into unknown territory of our experience of time : whereas the repeated bass line refers to eternity\, the canon of the two recorders integrates both past and future into one line brought to life by two different performers. While player 1 shows the future (we already know what the other player will perform)\, player 2 shadows the past of his colleague who is always a step or two ahead in time.\nFrom there it is only a small step to the depiction of heaven and hell (Ciacona di Paradiso\, et dell inferno)\, the anxiety of a young girl who does not want to enter a convent (Sonata sopra la Monica)\, Falconiero’s battle between Satan and Barabas or Vivaldi’s breathtaking excursions into the wild world of madness (La Follia). Despite the variety of different stories being told\, all these pieces share one feature: repeated patterns open the ear to a perception of time which is nourished by the mystery of life and death.\nThe concert tonight is certainly only a drop in a seemingly endless sea\, but the composers’ boats float on waters which have been travelling to the edge of space and time and back again…\n Matthias Maute\nBIOGRAPHIES\nEnsemble Caprice\, a baroque ensemble which performs on period instruments\, was founded by acclaimed recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to an increasingly expanding musical repertoire. In addition to its concert series in Montreal\, the group tours extensively\, giving dozens of concerts mostly across Canada and the USA\, but also in Europe (UK\, Germany) and in Israel. In Canada\, the ensemble can be heard at the Ottawa International Chamber Music Festival\, Early Music Vancouver\, Early Music Voices in Calgary and the Festival International du Domaine Forget. This remarkable touring schedule has established Ensemble Caprice as one of the most important Canadian baroque music ensembles. The Ensemble’s recording activity is impressive\, comprising over twenty CD’s on the Analekta\, ATMA Classique and Antes labels\, sold in some fifty countries. These recordings have gained many honours and much critical acclaim in Canada\, USA and in European countries. The CD Gloria! Vivaldi and his Angels received a JUNO Award in 2009 from the Canadian recording industry. http://ensemblecaprice.com\nMatthias Maute\, recorder\, baroque flute\, composer\, conductor and co-artistic director of Ensemble Caprice\nMatthias Maute has carved out an impressive international reputation for himself not only as one of the great recorder and baroque flute virtuosos of his generation but also as a composer and conductor. Since winning first prize in the soloist category at the prestigious Bruges Early Music Competition in 1990\, he has led a highly successful career as a soloist. He made his debut in New York’s Lincoln Center in 2008 and has twice been the featured soloist for the Boston Early Music Festival. The Washington Post hailed him as one of the greatest recorder players in North America. He has been invited to perform as guest soloist or conductor by eminent baroque orchestras like the Portland Baroque Orchestra and Apollo’s Fire. Recently he has been invited to conduct other renowned orchestras including I Musici de Montréal.\nMatthias Maute is also celebrated for his work as artistic director and conductor of Ensemble Caprice. In this capacity he is known for creating ingenious and original programmes. His compositions are highly regarded and one of his publishers is Breitkopf & Härtel. He has some thirty recordings to his credit on many labels including Analekta and ATMA Classique.\nSophie Larivière\, recorder\, baroque flute and co-artistic director of Ensemble Caprice\nSophie Larivière has been a member and co-artistic director of Ensemble Caprice since 1997. In this capacity\, she has been instrumental in developing the unique and innovative identity of this ensemble\, which provides concert goers with an exciting blend of virtuosity and musical expressiveness. As a member of Caprice\, she has played in numerous concerts in many countries. Much appreciated for the flowing\, expressive beauty of her playing\, Sophie Larivière is regularly invited to perform with many early music ensembles. She has played with Arion Orchestre Baroque\, l’Opéra de Montréal\, the Studio de Musique ancienne de Montréal\, the Theater of Early Music\, Rebel\, the Violons du Roy\, and New York’s Trinity Choir\, as well as the Concert Spirituel in Paris. Sophie Larivière has taken part in some thirty recording projects for the Analekta\, Virgin Classics\, Atma Classique\, Antes Edition and Interdisc labels. She is a devoted teacher\, and for decades has been transmitting her passion for music to a younger generation of performers as well as to amateur musicians.\nSusie Napper\, violoncello\nSusie Napper was awarded Quebec’s “Personality of the Year” Prix Opus in 2002. She is the founder and Artistic Director of the Montreal Baroque Festival. Having grown up in an artistic milieu in London\, UK\, she then studied at the Juilliard School in New York\, and later at the Paris Conservatory. Since then\, Ms. Napper has appeared with several internationally-known early music ensembles\, such as the Philharmonia Baroque Orchestra\, Stradivaria in France\, the Studio de musique ancienne de Montréal\, the Trinity Consort of Portland\, Tafelmusik\, Ensemble Caprice and the viola da gamba duo Les Voix Humaines. Her concert tours have taken her as far afield as China\, Japan\, New Zealand\, India\, the Middle East\, Europe and North America. Ms. Napper’s recordings\, which include most of the known repertoire for two viols\, can be heard on the Harmonia Mundi\, EMI\, Erato\, ADDA\, CBC Records\, Naxos\, Analekta\, and\, most notably\, on the Atma Classique labels.\nDavid Jacques\, guitar\nDavid Jacques was born in Saint-Georges de Beauce\, Québec in 1978 and has a  Doctorate in the interpretation of early music from the Université de Montréal.  He began his studies of classical guitar at the Cégep de Sainte-Foy\, continuing at Université Laval and later at the Conservatoire de Québec. He has recorded more than 15 CDs on the XXI-21\, ATMA and Analekta labels and collaborated on numerous other productions. His Pièces de guitarre de Mr Rémy Médard (Productions XX-21) won the Conseil Québécois de la Musique’s 2008 Prix Opus Disc of the Year award in the early music category. David has also published several arrangements for guitar for Les Productions d’OZ. Active both in Canada and internationally\, he has performed over 2000 concerts in 30 countries on all five continents. He is currently Professor of Classical Guitar at Université Laval and the Cégep de Sainte-Foy and is frequently invited by other musical organizations to give master classes and workshops.\nZiya Tabassian\, percussion\nZiya Tabassian began playing the tombak at the age of eleven. He began his formal training in Iran\, pursuing his studies with Master Tehrani’s method. In Canada\, he studied classical percussion with Julien Grégoire at the Université de Montréal and later returned to Iran to continue his training with M. Bahman Rajabi. Ziya is an active member of Constantinople\, which he co-founded with his brother Kiya Tabassian. In addition to Ensemble Caprice he has collaborated with the Kronos Quartet\, the Nouvel Ensemble Moderne\, En Chordais\, and the Studio de musique ancienne de Montréal. His solo CD\, entitled TOMBAK was released on the Ambiances Magnetiques label.
URL:https://earlymusicsocietyoftheislands.ca/concert/chaconne-ensemble-caprice/
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/2015/04/3_caprice.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150926T200000
DTEND;TZID=America/Vancouver:20150926T200000
DTSTAMP:20260501T222239
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062044Z
UID:3736-1443297600-1443297600@earlymusicsocietyoftheislands.ca
SUMMARY:Handel and Haydn: Byron Schenkman & Friends
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm.  \nByron Schenkman & Friends (Seattle)\nHandel and Haydn: Harpsichord Concerti\nByron Schenkman\, one of EMSI’s favourite performers and known for his effervescent virtuosity\, returns to Victoria with a programme of keyboard masterpieces by Handel (op. 4\, no. 2 and no. 4) and Haydn (H.XVIII:3). \n“Byron Schenkman & Friends display dashing musicianship” THE SEATTLE TIMES \nVisit the website of Byron Schenkman & Friends\nListen to Byron Schenkman & Friends  \n\nProgram\nHANDEL: Harpsichord Concertos in B-flat (op. 4\, no. 2) and F (op. 4\, no. 4)\nHANDEL: Violin Sonata in A Major (op. 1\, no. 3)\nHAYDN: Trio in C Major\, H.XV:21\nHAYDN: Harpsichord Concerto in F (H.XVIII:3) \nProgram Notes: Handel & Haydn Harpsichord Concertos\nGeorge Frideric Handel and Joseph Haydn were two of the most famous musicians of the 18th century and are rare examples of composers who were celebrated during their own lifetimes and have remained famous ever since. Although their music often appeared side by side in the late 18th and early 19th centuries\, they are not usually paired on modern concert programs. We think of Handel as Baroque and Haydn as Classical and tend to program accordingly. It is as if we imagine a curtain coming down around 1750 and reopening on a completely different scene. Yet Handel was a thoroughly modern composer at the end of the Baroque Era\, while Haydn grew up on Baroque music and then late in his career was greatly influenced by Handel’s music—long after our imaginary scene change.\nThe concerto for one solo instrument supported by a full ensemble was a new form in the early 18th century. Antonio Vivaldi composed hundreds of these concertos\, most often for solo violin but also for other solo string and wind instruments. Handel was among the first to give the solo part to the keyboard which for over a hundred years had almost always been the accompanist in any ensemble. This was practical on Handel’s part. First of all\, Handel was a great keyboard player who used these concertos to showcase his own virtuosity\, often between acts of his oratorio performances. Secondly there was a growing market for challenging keyboard music which could be enjoyed by accomplished amateurs. Handel’s concertos were published in versions with and without accompanying instruments\, to allow for flexibility of performance depending on available instruments and players.\nMost of Haydn’s chamber music with keyboard is aimed at that same amateur market. Many pieces we now label sonatas\, trios\, and concertos were originally called divertimenti—diversions or light entertainments—again for keyboard with or without accompanying instruments. The concerto in F is one of Haydn’s few larger scale works in this form and is much like some of Mozart’s keyboard concertos. Unlike Mozart\, who adopted the new fortepiano early on in his career\, Haydn kept the harpsichord as his principal instrument through most of his life. The harpsichord seems an ideal instrument for the vocal quality of Haydn’s music as well as its wit and sparkle. The use of the harpsichord also links Haydn back to the Baroque world we associate with Handel.\nByron Schenkman \nThe Artists\nByron Schenkman has recorded more than thirty CDs of 17th- and 18th-century repertoire\, including recordings on historical instruments from the National Music Museum\, Vermillion\, and the Museum of Fine Arts\, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music\,” he was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly in 2006. He has been a featured guest with the Chameleon Arts Ensemble of Boston\, the Daedalus Quartet\, the Northwest Sinfonietta\, Pacific Baroque Orchestra\, Philharmonia Northwest\, and the Portland Baroque Orchestra. He was also founding co-director of the Seattle Baroque Orchestra with violinist Ingrid Matthews. In 2013 he launched “Byron Schenkman & Friends\,” a Baroque and Classical chamber music series at Benaroya Hall in Seattle. Recently he has been studying Klezmer music with Shawn Weaver and has begun collaborating on performances of Russian Jewish art music with violinist Steven Greenman. Schenkman is a graduate of the New England Conservatory and received his master’s degree with honors in performance from the Indiana University School of Music. He currently teaches at Seattle University and Cornish College of the Arts. In 2012 he also served as guest lecturer in harpsichord and fortepiano at the Indiana University Jacobs School of Music. www.byronschenkman.com\nIngrid Matthews has long been established as one of the leading baroque violinists of her generation. She founded the Seattle Baroque Orchestra with Byron Schenkman in 1994\, and served as Music Director until stepping down from that position in 2013. First prize-winner in the 1989 Erwin Bodky International Competition for Early Music\, Matthews has performed extensively around the world as soloist\, guest director\, or concertmaster with many prominent period-instrument ensembles including the New York Collegium\, the Australian Brandenburg Orchestra\, the Boston Early Music Festival Orchestra\, Tafelmusik\, and many others. Matthews has won international critical acclaim for a discography ranging from the earliest solo violin repertoire through the Sonatas and Partitas of J.S. Bach. The latter recording was named by Third Ear’s Classical Music Listening Companion as “the finest complete set of these works\,” and the critic for American Record Guide writes “this superb recording is my top recommendation for this music… on either modern or period instruments.” Matthews has served on the faculties of the University of Toronto\, the University of Washington\, Indiana University\, the University of Southern California in Los Angeles\, the International Baroque Institute at Longy\, and Amherst Early Music\, and is currently on the faculty of Cornish College of the Arts in Seattle. In addition to her musical work\, she is active as a visual artist.\nLaurel Wells is known for her work on both baroque and modern viola and violin. She has enjoyed an extensive and eclectic musical life\, performing in Hong Kong\, Norway\, Canada\, and throughout the United States. For twenty years she played violin with the Lyric Opera of Chicago\, between seasons earning master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Wells was a member of the Northwest Chamber Orchestra\, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet orchestra and performs often with the Seattle Symphony\, Seattle Opera\, and at the 5th Avenue Theater. In the early music world\, Wells plays with the Seattle Baroque Orchestra\, Pacific MusicWorks\, and with her quartet\, Opus 20\, in the Gallery Concerts series. She has also participated in the Whidbey Island Music Festival\, and performed Haydn’s Creation at the Oregon Bach Festival in 2015. Wells has recorded with Seattle Baroque for NPR\, Wild Boar\, and Centaur Records.\nViolist Jason Fisher is a founding member of the critically acclaimed\, co-directed chamber orchestra\nA Far Cry. He is also a member of the newly founded bi-coastal baroque ensemble\, Gut Reaction. Fisher has been described as bringing “an intelligent\, impassioned delivery and innate understanding of the conversational nature of chamber music” (The Springfield Republican). Fisher has performed with members of the Florestan and Peabody Trios\, and the Brentano\, Cleveland\, Emerson\, Mendelssohn\, and St. Lawrence String Quartets. In an appearance with the Peabody Trio\, he was hailed as a “fine guest artist”\, his performance described as “first-rate” (The Baltimore Sun). He was a Carnegie Hall Fellow\, taking him on a tour of concerts\, outreach\, and cultural exchange in Kazakhstan and the Kyrgyz Republic\, as well as a Peabody Singapore Fellow\, spending a month in Southeast Asia assisting with inaugural ceremonies for the new Yong Siew Toh Conservatory and performing as guest with the Singapore Symphony Orchestra. He plays on an 18th-century English viola by Richard Duke made in London\, 1768.\nNathan Whittaker\, violoncello\, enjoys a unique and diverse career as a concert soloist\, chamber musician\, recitalist\, teacher\, and historical cello specialist. He plays regularly with the Seattle Baroque Orchestra\, Pacific Baroque Orchestra\, Portland Baroque Orchestra\, and is a founding member of the Op. 20 String Quartet. Recent concert appearances have included the Indianapolis Early Music Festival\, Vancouver Early Music Festival\, and Victoria’s Pacific Baroque Festival\, as well as other concert stops ranging from Seattle to New York to Dubai. He also composed and recorded an original score for the Emmy nominated documentary “When Seattle Invented the Future”. He can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR\, CBC\, and KING FM. An active pedagogue\,\nhe maintains a dynamic private studio\, is on the faculty at the Cornish College of the Arts\, and is the founder and director of the Seattle Chamber Music Coaching Sessions (SCMCS). Along with his busy performance and teaching schedule\, he completed a Doctorate of Musical Arts from the University of Washington in 2012. Dr. Whittaker also holds degrees from Indiana University.
URL:https://earlymusicsocietyoftheislands.ca/concert/handel-and-haydn-byron-schenkman-friends/
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/2015/04/2_schenkman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150425T200000
DTEND;TZID=America/Vancouver:20150425T213000
DTSTAMP:20260501T222239
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T061944Z
UID:3735-1429992000-1429997400@earlymusicsocietyoftheislands.ca
SUMMARY:Hildegard of Bingen: VocaMe
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nVocaMe Germany\nSigrid Hausen\, mezzo-soprano\nSarah M. Newman\, soprano;\nPetra Noskaiová\, mezzo-soprano\nGerlinde Sämann\, soprano\nMichael Popp\, music direction and instruments (vielle\, santur\, harp\, monochord\, oud\, dilruba\, iklig\, bells) \nHildegard of Bingen: Songs and Visions\nWatch VocaMe on YouTube\nVisit the VocaMe website\nLearn about VocaMe’s voice workshop on Apr 27 \n\n\n\nVisionary\, mystic\, author\, theologian\, naturopath\, feminist: Hildegard of Bingen was all of these things but\, for us\, she was also a composer of inspired music. The internationally acclaimed women’s ensemble VocaMe will transport us back to the 12th century and let us glimpse Hildegard’s luminous visions and religious ecstasies. There lie the revealed harmonies of the cosmos\, the reflected sounds of eternity.\nEnrolled before the age of 15 as a novice\, Hildegard spent the rest of her long life (1098-1179) as a Benedictine nun and prioress in what is now Germany. From her earliest days she had been subject to visions revealed to all five of her senses\, experiences that she first kept shut up and which later\, in the second half of her life\, she used to inform three major works of biblical commentary. She also wrote the text and music for a group of liturgical songs. Her nuns could use them to enhance their celebration of divine office\, to make it more beautiful. Sixty-nine of her pieces have survived to the present time\, one of the largest oeuvres of any medieval composer.\nAcclaimed a saint and religious authority during the Renaissance\, Hildegard has become a feminist icon. At a time when women were not expected to have learning or opinions and even the lives of queens are hard to tease from the historical record\, Hildegard stands almost alone for what we know of her daily activities\, her correspondence\, books\, medical knowledge\, and her place in the social order. Her writings give us insight into the pervasive character of medieval religious thought. Her music shows us its glory.\nHer songs have just a single vocal line but the melodies often push the boundaries of Gregorian chant\, soaring as if towards heaven. Her melodies are complex\, each word being carried across several notes. Her texts\, which the evening’s programme notes will carry in translation\, have been carefully matched to their melodies.\nThe ensemble VocaMe is made up of four renowned female vocalists from the field of early music\, directed and accompanied by Michael Popp. They created a sensation with their initial project\, the world’s first recording of the hymns of Kassia\, a female composer of the ninth century. EMSI hosted this programme in Victoria to critical acclaim in March\, 2012.\nVocaMe has performed at prestigious music festivals in Europe and North America. “I’m eager to hear them return with this programme of Hildegard’s music”\, said EMSI’s Artistic Director James Young.\nVocaMe’s mezzo-soprano Sigrid Hausen will host a voice and choral workshop for early music singers at all levels in Ganges\, on April 27th.\n“A rewarding\, musical (very) Early Music adventure—a harmoniously unique\, deeply spiritual aural experience.” Crescendo\n \n\n\n\n\n\n\n  
URL:https://earlymusicsocietyoftheislands.ca/concert/hildegard-of-bingen-vocame/
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/2015/03/slider8_VocaMe.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150328T200000
DTEND;TZID=America/Vancouver:20150328T213000
DTSTAMP:20260501T222239
CREATED:20200426T014707Z
LAST-MODIFIED:20200426T061834Z
UID:3734-1427572800-1427578200@earlymusicsocietyoftheislands.ca
SUMMARY:Henry Lawes: Jeffrey Thompson\, La Rêveuse
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nJeffrey Thompson\, tenor\n La Rêveuse (France)\nHenry Lawes: Songs of an English Cavalier\nHenry Lawes lived through the troubled times of 17th-century England. He was acknowledged in his day as one of the finest composers for the voice. With his extended vocal ranges\, his expressive melodies\, his vibrant dissonances and the high poetic quality of his texts\, Lawes is a subtle painter of the melancholy of his age.\n“virtuosity\, inner energy and dramatic flair.” Washington Post\nVisit the webpage of Jeffrey Thompson\nVisit the website of La Rêveuse\n  Listen to La Rêveuse\nRead the concert programme in advance of the concert.\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/henry-lawes-jeffrey-thompson-la-reveuse/
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/2015/03/slider7_LaReveuse.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150307T200000
DTEND;TZID=America/Vancouver:20150307T213000
DTSTAMP:20260501T222239
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061721Z
UID:3733-1425758400-1425763800@earlymusicsocietyoftheislands.ca
SUMMARY:Mozart Piano Sonatas: Kristian Bezuidenhout
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nKristian Bezuidenhout\, fortepiano (South Africa/UK)\nMozart Piano Sonatas \nBezuidenhout’s interpretation of Mozart has caused a sensation at the world’s major early music festivals. Come and find out why. The reigning superstar of 
the fortepiano brings to the keyboard masterpieces 
of Mozart an unprecedented flair and freedom.\n“Kristian Bezuidenhout plays Mozart on the 
fortepiano like no-one else…sensitivity\, expressivity\, flair and stylistic integrity…has marked him out as a supreme master of the early keyboard.” The Scotsman\n  Listen to Kristian Bezuidenhout\nVisit the website of Kristian Bezuidenhout\nRead the concert programme in advance of the concert.\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/mozart-piano-sonatas-kristian-bezuidenhout/
LOCATION:Oak Bay United Church\, 1355 Mitchell Street\, Victoria\, British Columbia\, V8S 4P9\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/07/6_Bezuidenhout.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150215T150000
DTEND;TZID=America/Vancouver:20150215T163000
DTSTAMP:20260501T222239
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061602Z
UID:3732-1424012400-1424017800@earlymusicsocietyoftheislands.ca
SUMMARY:Handel Theodora: Pacific Baroque Orchestra\, Vancouver Cantata Singers\, Alexander Weimann
DESCRIPTION:Doors open at 2:30pm. There is no pre-concert talk for this concert.\nThe Northwest Baroque Masterworks Project\nPart of an extraordinary week exploring the music of G.F. Handel with Pacific Baroque Festival’s The Justly Celebrated Mr. Handel February 19-22\, 2015. \nPacific Baroque Orchestra (Vancouver) Vancouver Cantata Singers Alexander Weimann music director\nHandel: Theodora\nA collaboration with the EMSI\, Early Music Vancouver and the Seattle Early Music Guild Featuring some of Handel’s most glorious music\, Theodora depicts the self-sacrificial love between a Christian virgin and a Roman imperial bodyguard. It serves as a timeless parable of spiritual resistance to tyranny and an indictment of persecution. Performed by 28 instrumentalists\, 40 singers\, and five international soloists. “Handel doesn’t miss a trick in creating spectacular choral effects; neither did music director Alexander Weimann in bringing them to life with theatrical cunning and an all-embracing sense of joy” The Vancouver Sun. \nVisit the Pacific Baroque Orchestra website\nVisit the Vancouver Cantata Singers website\n  Listen to the Vancouver Cantata Singers\nRead the concert programme in advance of the concert \n\n\nSpecial pricing on another Handel event for EMSI members! Pacific Baroque Festival\nwill be offering EMSI members a special rate for a Festival Pass: $85 Adults and $65 Seniors/Students. This rate will be available only for on-line purchases through the Festival website.
URL:https://earlymusicsocietyoftheislands.ca/concert/handel-theodora-pacific-baroque-orchestra-vancouver-cantata-singers-alexander-weimann/
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/2014/07/5_CantataSingers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141220T200000
DTEND;TZID=America/Vancouver:20141220T213000
DTSTAMP:20260501T222239
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061450Z
UID:3731-1419105600-1419111000@earlymusicsocietyoftheislands.ca
SUMMARY:Bach Christmas Oratorio: Stephen Stubbs
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm.\nThe Northwest Baroque Masterworks Project \nAn exciting new collaboration with the EMSI\, Early Music Vancouver\, Pacific Baroque Orchestra and Pacific MusicWorks\nStephen Stubbs\, music director (Seattle)\nTeresa Wakim\, soprano\nKrisztina Szabó\, mezzo-soprano\nZachary Finkelstein\, tenor\nSumner Thompson\, baritone \nBach: Christmas Oratorio\nCelebrate the holiday season with a collection of North America’s most celebrated period instrumentalists and soloists in this festive performance of three of Bach’s six Christmas  Oratorio Cantatas performed as they would have been in Leipzig in 1734.\nJauchzet\, frohlocket! Auf\, preiset die Tage\, BWV 248/1\nHerrscher des Himmels\, erhöre das Lallen\, BWV 248/3\nOrchestral Suite No. 3 in D major\, BWV 1068\nHerr\, wenn die stolzen Feinde schnauben\, BWV 248/6\n“That Early Music Vancouver has presented a selection of these remarkable works annually for a decade\, …remarkable singing and fine ensemble work in music of utterly exceptional quality.” Vancouver Sun\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/bach-christmas-oratorio-stephen-stubbs/
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/2014/07/5_Handel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141129T200000
DTEND;TZID=America/Vancouver:20141129T213000
DTSTAMP:20260501T222239
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061323Z
UID:3730-1417291200-1417296600@earlymusicsocietyoftheislands.ca
SUMMARY:Vivaldi and his Imitators: Accademia Hermans
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nAccademia Hermans (Italy)\nVivaldi and his Imitators\nIn the eighteenth century\, Antonio’s Vivaldi’s works were consistently fresh\, wildly popular—and widely imitated. Sometimes it is unclear when a work is by the Venetian master or one of his admirers. You be the judge. Vivaldi’s followers included the great J.S. Bach and the ever popular anonymous. “engaged and engaging…tour de force.” Early Music\n  Listen to Accademia Hermans\nVisit the Accademia Hermans website\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/vivaldi-and-his-imitators-accademia-hermans/
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/2014/11/slider3_Accademia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141108T200000
DTEND;TZID=America/Vancouver:20141108T213000
DTSTAMP:20260501T222239
CREATED:20200426T014705Z
LAST-MODIFIED:20200426T061205Z
UID:3729-1415476800-1415482200@earlymusicsocietyoftheislands.ca
SUMMARY:Monteverdi Madrigals: Pacific MusicWorks\, Stephen Stubbs
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nPacific MusicWorks (Seattle)\nStephen Stubbs\, lute and direction (Seattle)\nMonteverdi Madrigals: Songs of Love and War\nMany of America’s leading early music specialists\, under the direction of lutenist Stephen Stubbs\, join forces for a performance of selections from Book Seven and Eight of Monteverdi’s Madrigals. Vocal soloists include Catherine Webster and Aaron Sheehan.\n“Visionaries have always done what they want to do when the moment is ripe for them…such is Stephen Stubbs.” Seattle Post Intelligencer \n\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/monteverdi-madrigals-pacific-musicworks-stephen-stubbs/
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/2014/04/2_PacificMusicWorks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141004T200000
DTEND;TZID=America/Vancouver:20141004T213000
DTSTAMP:20260501T222239
CREATED:20200426T014705Z
LAST-MODIFIED:20200426T061035Z
UID:3728-1412452800-1412458200@earlymusicsocietyoftheislands.ca
SUMMARY:Dowland in Dublin: La Nef\, Michael Slattery
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nLa Nef (Montreal)\n Michael Slattery\, tenor (USA)\nDowland in Dublin\nCould the great John Dowland have been born in Ireland? What if his songs and dances had been performed in a Dublin pub? A speculative premise\, perhaps\, but the musical results are delightful. This remarkable young American tenor is accompanied on lute\, cello\, Irish flute and cittern.\nMichael Slattery has a “voice like a warm summer day.” Early Music America\n    Listen to La Nef\nVisit the La Nef website\nRead the concert programme in advance\n\n \n \n \nWe acknowledge the support of the Canada Council for the Arts\, which last year invested $157 million to bring the arts to Canadians throughout the country.
URL:https://earlymusicsocietyoftheislands.ca/concert/dowland-in-dublin-la-nef-michael-slattery/
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/2014/07/1_La_Nef.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140412T200000
DTEND;TZID=America/Vancouver:20140412T200000
DTSTAMP:20260501T222239
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051551Z
UID:3727-1397332800-1397332800@earlymusicsocietyoftheislands.ca
SUMMARY:Monica Huggett (UK): Seventeenth-century German cantatas
DESCRIPTION:EMSI is proud to present the Victoria debut of Harry Van der Kamp\, the legendary Dutch bass with more than 120 CDs to his credit. The equally distinguished Monica Huggett leads performances of cantatas and instrumental music by Johann Christoph Bach\, Bruhns\, Rosemüller\, Tunder and Biber.\n“Huggett’s imaginative approach and lively response to detail are among the most rewarding aspects of her version of these emotionally rewarding pieces.” BBC MUSIC MAGAZINE\nMonica Huggett\, artistic director and violin (UK)\nHarry van der Kamp\, bass vocalist (Netherlands)\nChamber Soloists of Portland Baroque Orchestra (Oregon)\nRead the concert programme in advance\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/monica-huggett-uk-seventeenth-century-german-cantatas/
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/2013/06/9_Huggett.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140314T200000
DTEND;TZID=America/Vancouver:20140315T200000
DTSTAMP:20260501T222239
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051421Z
UID:3726-1394827200-1394913600@earlymusicsocietyoftheislands.ca
SUMMARY:Boston Early Music Festival (USA): Charpentier
DESCRIPTION:Boston Early Music Festival: Vocal\, Chamber and Dance Ensembles (USA)\nPaul O’Dette and Stephen Stubbs\, Musical Directors\nMarc-Antoine Charpentier’s \nLa Descente d’Orphée aux Enfers\nand La Couronne de Fleurs\nFor the first time ever\, Victoria audiences will have the opportunity to experience a semi-staged baroque opera\, performed in a period style by one of the world’s leading baroque music ensembles. Close to thirty singers\, dancers and musicians will perform a double bill of operas by Marc-Antoine Charpentier\, first played for the Dauphin of France. This is the most ambitious production in EMSI’s almost thirty-year history.\nTwo jewels of the  French Baroque\, the operas are a brilliant fusion of music\, drama\, and dance. Paul O’Dette and Stephen Stubbs\, reigning authorities on early music\, lead the internationally acclaimed singers\, instrumentalists\, and dancers of the Boston Early Music Festival.\nOrphée is a blend of two operas by Marc-Antoine Charpentier. The operas\, dating from 1685 and 1686\, are presented as a play within a play – a musical contest framing the story of Orpheus and Euridice.\nLa Couronne de Fleurs\, based on a text by Molière\, depicts a musical contest in tribute to Louis XIV as shepherds vie for a crown of flowers from the goddess Flora for the most beautiful and eloquent aria. These miniature masterpieces showcase one of the great composers of the French Baroque. The short opera La Descente d’Orphée aux Enfers is presented as a further entry in the poetic contest\, telling the famous story of Orphée\, who decends into the underworld to use his musical powers to rescue his beloved Euridice. These miniature masterpieces showcase one of the great composers of the French Baroque.\nPlayful\, elegant\, and haunting\, this performance is a perfect melding of consummate musicianship and exhilarating theatricality.\nA must-see for those who love the art of the Baroque and the glory of Opera!\n“musically intelligent and dramatically affecting” THE BOSTON GLOBE\nCo-presented with Pacific Opera Victoria\n\nConcert programme\nSynopsis of the operas\nLibretti: La Couronne de Fleurs\nLibretti: La Descente d’Orphée aux Enfers\nFrench Baroque Opera by Robert Holliston\nVisit the Boston Early Music Festival  webpage\nSee Tickets for purchasing information\n  \n\nBehind-the-Scenes Preview video by Kathy Wittman\, Ball Square Films. \nBoston Early Music Festival\nFounded in 1980\, the Boston Early Music Society has long been one of the leading groups in the performance of music from the Medieval\, Renaissance\, Baroque and Classical eras\, acclaimed internationally for their artistry\, technical polish\, style\, scrupulous research\, and above all excitement and drama. This is a perfect opportunity for Victorians to acquaint ourselves with the bewitching and unique world of French Baroque opera\, made only more perfect by the performers. NOT TO BE MISSED!! \nCast and Creative Team\nBoston Early Music Festival Chamber Opera Series \n\nPaul O’Dette & Stephen Stubbs\, Musical Directors\nGilbert Blin\, Stage Director\nAnna Watkins\, Costume Designer\nMelinda Sullivan\, Choreographer\n\nBoston Early Music Festival Vocal Ensemble \n\nAaron Sheehan\, Orphée\nMireille Asselin\, Flore and Proserpine\nJesse Blumberg\, Apollon and Pan\nTyler Duncan\, Silvandre and Pluton\nDanielle Reutter-Harrah\, Hyacinte\nJason McStoots\, Forestan and Ixion\nCarrie Henneman Shaw\, Rosélie and Euridice\nTeresa Wakim\, Amarante and Enone\nBrenna Wells\, Daphné\nZachary Wilder\, Mirtil and Tantale\n\nBoston Early Music Festival Chamber Ensemble \n\nCynthia Roberts\, concertmaster\nTekla Cunningham\, violin\nLaura Jeppesen\, viola da gamba\nChristel Thielmann\, viola da gamba\nBeiliang Zhu\, viola da gamba\nGeoffrey Burgess\, oboe & recorder\nKathryn Montoya\, oboe & recorder\nAvi Stein\, harpsichord\nPaul O’Dette\, Baroque guitar and theorbo\nStephen Stubbs\, Baroque guitar and theorbo\n\nBoston Early Music Festival Dance Ensemble \n\nBen Delony\nCaitlin Klinger\nAlexis Silver\nAndrew Trego\nRyan Began\, Actor\n\nPersonnel Subject to Change\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/boston-early-music-festival-usa-charpentier/
LOCATION:Victoria\, British Columbia\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2013/06/8_Opera1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140222T200000
DTEND;TZID=America/Vancouver:20140222T200000
DTSTAMP:20260501T222239
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051246Z
UID:3725-1393099200-1393099200@earlymusicsocietyoftheislands.ca
SUMMARY:Simphonie Nouvelle (Seattle): Emanuel Bach Tricentennial
DESCRIPTION:Visit the webpage of Jeffrey Cohan\n2014 marks the 300th anniversary of the birth of C.P.E. Bach. EMSI celebrates by hosting one of the world’s great keyboardists and some of Seattle’s most distinguished early music specialists in performances of flute and harpsichord concerti by Emanuel Bach\, and the Suite in B minor by his father\, Johann Sebastian.\n“Hans-Jürgen Schnoor is stunning…the harpsichordist absorbed the audience in the rising emotional tension.” WASHINGTON POST\nSimphonie Nouvelle (Seattle)\nJeffrey Cohan\, baroque flute (USA)\nHans-Jürgen Schnoor\, harpsichord (Germany\nRead the concert programme in advance\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/simphonie-nouvelle-seattle-emanuel-bach-tricentennial/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140201T200000
DTEND;TZID=America/Vancouver:20140201T200000
DTSTAMP:20260501T222239
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T051124Z
UID:3724-1391284800-1391284800@earlymusicsocietyoftheislands.ca
SUMMARY:Profeti della Quinta (Israel): Il Mantovano Hebreo
DESCRIPTION:Il Mantovano Hebreo: Italian madrigals and Hebrew prayers by Salomone Rossi\nSalomone Rossi\, a member of the Jewish community in Mantua\, was one of the greatest Italian composers of the seventeenth century. The vocal ensemble Profeti della Quinta was the winner of the prestigious biennial York Early Music International Young Artists Competition in 2011; this performance brings to life the full range of Rossi’s compositions\, including a selection of his works in Hebrew.\n“a pure delight.” JERUSALEM POST\n  Listen to them here .\nRead the Programme  in advance of the concert\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/profeti-della-quinta-israel-il-mantovano-hebreo/
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/2013/06/6_profeti.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131214T200000
DTEND;TZID=America/Vancouver:20131214T200000
DTSTAMP:20260501T222239
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T050949Z
UID:3723-1387051200-1387051200@earlymusicsocietyoftheislands.ca
SUMMARY:Nancy Argenta\, Jeanne Lamon (Canada): Christmas in Bach's Leipzig
DESCRIPTION:EMSI’s Christmas concert is always highly anticipated as the most entertaining of the season. This year\, the towering Christmas cantatas of Johann Sebastian Bach are performed by some of Canada’s leading baroque music specialists and many of Victoria’s favourite musicians\, all under the direction of Jeanne Lamon (Music Director of Tafelmusik Baroque Orchestra).\n“A wonderful evening’s music-making.” DERYK BARKER\, MUSIC IN VICTORIA\nNancy Argenta\, soprano (Victoria)\nBenjamin Butterfield\, tenor (Victoria)\nSumner Thompson\, bass (USA)\nJeanne Lamon\, violin and direction (Toronto)\nVictoria Baroque Players (Victoria)\nVox Humana Chamber Choir (Victoria)\nRead the Programme in advance of the concert\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/nancy-argenta-jeanne-lamon-canada-christmas-in-bachs-leipzig/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131124T143000
DTEND;TZID=America/Vancouver:20131124T163000
DTSTAMP:20260501T222239
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T050841Z
UID:3722-1385303400-1385310600@earlymusicsocietyoftheislands.ca
SUMMARY:Esteban La Rotta (Montreal): Birth of the lute soloist
DESCRIPTION:Esteban La Rotta\, one of Canada’s leading players of early plucked instruments\, will perform music from the Codex Faenza\, the Buxheimer Organ Book and other sources as well as pieces from the newly discovered Wolfenbüttel Manuscript\, the earliest known music written specifically for the lute.\n“a crack continuo squad…excellent.” MONTREAL GAZETTE\nEsteban La Rotta\, lute\, chitarrino and Renaissance guitar\nView his bio here .\nProgramme notes (available just prior to concert date)\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/esteban-la-rotta-montreal-birth-of-the-lute-soloist/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20131123T200000
DTEND;TZID=America/Toronto:20131123T220000
DTSTAMP:20260501T222239
CREATED:20200426T041701Z
LAST-MODIFIED:20200426T041751Z
UID:3815-1385236800-1385244000@earlymusicsocietyoftheislands.ca
SUMMARY:Pallade Musica (Montreal): Terreno e vago
DESCRIPTION:In the early seventeenth century\, Italians relished adventurous nuance\, extreme dynamics and the chance to demonstrate skilful playing. Pallade Musica expresses these qualities passionately  in this programme of Italian chamber music for violin\, cello\, and basso continuo. Works of Castello\, Stradella\, Marini\, Scarlatti and other composers are featured.\nGRAND PRIZE WINNER\, 2012 EARLY MUSIC AMERICA BAROQUE PERFORMANCE COMPETITION\n  Listen to them here !\nProgramme notes (available just prior to concert date)\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/pallade-musica-montreal-terreno-e-vago/
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/2013/06/3_Pallade.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131102T200000
DTEND;TZID=America/Vancouver:20131102T200000
DTSTAMP:20260501T222239
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T062604Z
UID:3721-1383422400-1383422400@earlymusicsocietyoftheislands.ca
SUMMARY:¡Sacabuche! (USA): The Golden Era of the Polish Baroque
DESCRIPTION:EMSI delights in bringing to its audience neglected masterpieces. On this occasion\, the musicians of ¡Sacabuche! (singers\, sackbuts\, violins and organ) illuminate the works of Jarzębski\, Mielczewski\, Szarzyński and Zieleński\, Polish composers who\, in the seventeenth century\, adopted the emerging idiom of the Italian baroque with brilliant results.\n“The ensemble’s intonation was flawless\, its balance excellent\, and its overall sound was deliciously fullbodied and smooth.” BOSTON MUSIC INTELLIGENCER\n  Listen to them here !\nRead the Programme Notes in advance of the concert\nSee Tickets for purchasing information\n  
URL:https://earlymusicsocietyoftheislands.ca/concert/sacabuche-usa-the-golden-era-of-the-polish-baroque/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131005T200000
DTEND;TZID=America/Vancouver:20131005T200000
DTSTAMP:20260501T222239
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T062646Z
UID:3720-1381003200-1381003200@earlymusicsocietyoftheislands.ca
SUMMARY:London Handel Players (UK): Handel at Home
DESCRIPTION:To the public\, Handel was the great man of theatre\, the titan who dominated the English music scene for half a century. His friends saw another side; in his rooms at 25 Brook Street (Handel’s home from 1723 until his death in 1759)\, the finest musicians would collaborate with Handel the chamber musician. The London Handel Players recreate these musical soirées.\n“Their consummate musicianship is consistently delightful.” GRAMOPHONE\nThe programme notes are now available for you to download.\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/london-handel-players-uk-handel-at-home/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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END:VCALENDAR