Author Archive for shiragilbert

Enter a Haunting World of Dreams & Lullabies with Angel Heart: A Musical Storybook

Angel Heart is a story designed to slip straight into the imagination of a young mind … it has both the simplicity and the dark undertow of a fairy tale.” – The New York Times

Haunting, gentle spirits from far-flung worlds meet in the pulsing sphere of dreams and lullabies that is Angel Heart, a music storybook. With an original tale by best-selling children’s fantasy writer Cornelia Funke, Angel Heart weaves an evocative original score by Luna Pearl Woolf with beloved songs by Irving Berlin, Lennon-McCartney, Jake Heggie, Engelbert Humperdinck, Gordon Getty, and others. An affecting narration by Academy Award-winning actor Jeremy Irons layers upon intoxicating performances by singers Frederica von Stade, Daniel Taylor, Lisa Delan, and Zheng Cao – all above a rich bed of cellos, Matt Haimovitz and his Grammy-nominated ensemble Uccello.

Exquisite images by the award-winning creative studio Mirada unfold the tale, and the deluxe boxed cd-and-story package includes a coloring poster, stickers and cards for sharing the magic. Originally released in 2013, and accompanied by premiere performances in Los Angeles and at Carnegie Hall in New York, this is the first international release of Angel Heart, from the PENTATONE Oxingale series, available for digital and CD release on December 7.

The whimsical tale – narrated by Jeremy Irons above the music by Luna Pearl Woolf as performed by Matt Haimovitz and his cello ensemble – paints a colourful nighttime journey of magic and healing. Rahmiel, the angel of love and compassion, discovers Luna, a young girl with hair as dark as the night, crying by a pond. The angel fills the night with laughter and song and rainbows made from starlight, but Luna’s heart is still in a thousand pieces. Rahmiel knows someone: he takes her to the witch that can heal broken hearts who calls on a man made of raven feathers for help. She tells Luna, “we know best who we are when we are very young.” Together Rahmiel and a newly child-like Luna visit the Spirits of the East, North, West, and South, whose lullabies wash away and heal her pain, mend her heart and make it strong again. Luna smiles in her sleep as she turns back into the beautiful girl that Rahmiel first saw. The Angel’s work is done.

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Interspersed along the tale are songs and lullabies from disparate corners of the world, including the Welsh folksong “All Through the Night”; “Ho Ho Watanay,” an Iroquois lullaby; the German “14 Angels”; Unter Beymer (Beneath the Trees), sung in Yiddish; the traditional “Sleep Baby Sleep,” and others.

Performances of Angel Heart will take place in late 2018 in Montreal, Toronto, and New York, where cellist Matt Haimovitz brings together his cello students from The New School’s Mannes School of music and McGill University’s Schulich School of Music to perform. In addition, a forthcoming German version of the album will feature narration by the author, with performances in Europe planned for early 2019.

The music of composer Luna Pearl Woolf has been praised for its “psychological nuances and emotional depth,” by The New York Times. Her works in opera, dramatic chamber music, silent film and music-storytelling have been commissioned by Carnegie Hall, Washington National Opera, Minnesota Sinfonia, San Francisco’s Bard Music West, Montreal’s Salle Bourgie and ECM+, Tapestry Opera in Toronto (upcoming), as well as numerous individual artists and festivals. She co-founded Oxingale Productions with her husband, cellist Matt Haimovitz.

Cornelia Funke is one of world’s most successful children’s and young adult authors. Her books have been translated into 37 languages, published in 43 countries, and have worldwide sales of more than 20 million copies. Her most popular works include Dragon Rider, The Thief Lord, the Inkheart trilogy and MirrorWorld, a fantasy series for all ages. The German author writes her stories longhand in her writing house in California.

American soprano and Angel Heart co-creator Lisa Delan is recognized for her versatility and vast repertoire. Opera online praised her voice for its “luminescence … with a creamy, soothing tone that can be spellbinding.” Sequenza 21 wrote that “as a song interpreter, she may well be unequaled.”

Matt Haimovitz is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles.” Along with performances around the world, he currently holds positions at the Schulich School of Music in Montreal and as the first John Cage fellow at The New School’s Mannes School of Music in New York City; three cellists from each studio now comprise UCCELLO. Haimovitz’s recent recordings for the PENTATONE Oxingale Series include ISANG YUN: Sunrise Falling, a centennial commemoration of the Korean composer’s life and music.

pentatonemusic.com

collectif9: No Time for Chamber Music

Montreal’s dazzling classical string band launches a new album of music by & inspired by Gustav Mahler

[français ci-dessous]

Montreal’s trailblazing 9-piece classical string band, collectif9, returns to Toronto on Monday, November 12 to launch its sophomore album featuring music by and inspired by Gustav Mahler. Satirical and serious, frivolous and intense, No Time for Chamber Music delves into rich and complex musical textures with original and intimate arrangements. A contemporary classical ensemble that embraces a pop music attitude, collectif9 is known for its energized, innovative arrangements of classical repertoire, along with lighting and staging more commonly seen from rock bands. Since its 2011 debut, collectif9 has introduced a new age in genre-bending classical performance to more than 100 venues across North America, Europe, and Asia. “The talented group of friends doesn’t spare any effort to achieve their ultimate goal,” says ICI Musique, “to allow everyone to participate in the utter joy of classical music, initiated or not.”

No time for chamber music … you are nothing but an academic exercise” is a quote from the 3rd movement of Berio’s Sinfonia, which is built on the scherzo from Mahler’s 2nd symphony. These few words encompass the many contradictions in Mahler’s music – referencing irony, perception, and musical tradition. The works on the new recording, all of which were arranged by collectif9 leader and bass player Thibault Bertin-Maghit, also use quotations from other works by Mahler, creating layered meanings and textures, transporting the listener into a world of fantasy and imagery. While it may seem that Gustav Mahler himself, with his vast symphonies, had no time for chamber music, this was not at all the case. Reflecting daily life, interactions, and intimacies, chamber music is human communication itself. The new album includes reframed excerpts of Mahler’s first, second, and fifth symphonies as well as his lieder – by way of an Austrian folk dance and a funeral march or two – before a final L’adieu. In addition, composer Philippe Hersant offers an homage to Mahler à la manière de Callot, drawing on multiple works to create a unique whole.

Following collectif9’s Montreal launch for No Time for Chamber Music on November 9 at NOMAD and the Toronto launch at Lula Lounge on November 12, the ensemble heads directly to Mexico for concerts at the Festival de Música de Morelia from Nov 15-17, along with collaborators Gabriel Prokofiev, Edgardo Espinosa, and DJ Mr Switch.

No Time for Chamber Music is the follow up to collectif9’s “dazzling” (The WholeNote) debut release, Volksmobiles, featuring folk-inspired music by Brahms, Bartók, Schnittke, André Gagnon, and a world premiere by Geof Holbrook, which toured extensively across North America and in China. Most recently, collectif9 presented the concert programme My Backyard Somewhere, a multi-disciplinary collaboration with Architek Percussion. A poetic migration through words and places featuring original music commissioned from composers Derek Charke, Nicole Lizée, Eliot Britton, Luna Pearl Woolf, and Bret Higgins, and words by Kaie Kellough, My Backyard Somewheretoured to Canada’s east coast in October and will hit Winnipeg as well as Sherbrooke, QC early in 2019. Not resting for long, March and April 2019 will see collectif9 on an extensive US tour with dates in California, Washington, Colorado, Idaho, and Wyoming.

collectif9 is: Thibault Bertin-Maghit, leader and bass; John Corban, Yubin Kim, Robert Margaryan, and Liz Skinner, violins; Scott Chancey and Xavier Lepage-Brault, violas; Andrea Stewart and Jérémie Cloutier, cellos.

Collectif9 en concert : : images par Danylo Bobyk Photography : : www.danylophoto.com

 

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L’éblouissant ensemble à cordes montréalais lance un nouvel album de musique de, et inspirée de, Gustav Mahler

collectif9, l’inventif ensemble à cordes montréalais, remonte sur scène à Montréal le vendredi 9 novembre pour le lancement d’un deuxième album regroupant des œuvres de Gustav Mahler, ainsi qu’une pièce inspirée du compositeur. À la fois satirique et sérieux, frivole et intense, No Time for Chamber Music offre des arrangements originaux et intimes qui explorent la richesse et la complexité des textures musicales. Un ensemble classique contemporain qui adopte une attitude pop, collectif9 est connu pour ses arrangements énergiques et innovateurs du répertoire de musique classique, et pour son utilisation de la mise en scène, de l’éclairage et de l’amplification, tel qu’on le voit plus souvent à des concerts rock. Depuis ses débuts en 2011, collectif9 insuffle un nouvel élan de performance de la musique classique, et a présenté plus de 100 concerts à travers l’Amérique du Nord, l’Europe et l’Asie. « La talentueuse petite bande d’amis ne ménage en effet aucun effort pour parvenir à son but ultime; faire apprécier la musique classique à tous, initiés ou non, dans la joie la plus totale ». (ICI Musique)

No time for chamber music … you are nothing but an academic exercise” sont deux lignes tirées du 3e mouvement de Sinfonia de Luciano Berio, lui-même construit sur le scherzo de la 2e symphonie de Gustav Mahler. Ces douze mots illustrent bien les nombreuses contradictions présentes dans l’œuvre de Mahler – mêlant ironie, perception et traditions musicales. Les œuvres de cet album, toutes arrangées par le leader et contrebassiste Thibault Bertin-Maghit, usent de citations provenant d’autres pièces de Mahler, créant ainsi des couches et des couches de détails qui révèlent une signification plus profonde, et qui transportent l’auditeur dans un monde imagé de fantaisies. On pourrait avoir l’impression que Gustav Mahler, avec ses symphonies vastes, n’avait pas le temps de se consacrer à la musique de chambre, mais ce n’est pas du tout le cas. Reflet de notre vie quotidienne, de nos interactions et de nos relations intimes, la musique de chambre est la communication humaine elle-même.

Le nouvel album inclut des extraits de la première, deuxième et cinquième symphonie de Mahler, ainsi que de ses lieder – revisitant ainsi une danse folklorique autrichienne et une Marche funèbre ou deux, avant de clore sur L’adieu final. De plus, le compositeur Philippe Hersant nous offre un hommage à Mahler à la manière de Callot, en prenant des fragments de différentes œuvres pour créer un tout unique en son genre.

Le lancement montréalais de No Time for Chamber Music le 9 novembre est suivi d’une performance au Lula Lounge à Toronto le 12 novembre. Ensuite, l’ensemble partira directement au Mexique pour des concerts au Festival de Música de Morelia du 15 au 17 novembre en collaboration avec Gabriel Prokofiev, Edgardo Espinosa et DJ Mr Switch.

No Time for Chamber Music est précédé de l’« éblouissant » (The WholeNote) Volksmobiles, 1er album de collectif9 mettant en vedette des pièces d’inspiration folklorique de Brahms, Bartók, Schnittke, et André Gagnon, ainsi que le premier enregistrement de la pièce Volksmobiles, écrite pour l’ensemble par le compositeur canadien Geof Holbrook et jouée en tournée à travers l’Amérique du Nord et la Chine.

Plus récemment, collectif9 a présenté le spectacel Quelque part, mon jardin, un projet multidisciplinaire en collaboration avec Architek Percussion. Une migration poétique à travers les mots et l’espace sur des textes de Kaie Kellough, ce spectacle présente des oeuvres originales de Derek Charke, Nicole Lizée, Eliot Britton, Luna Pearl Woolf, et Bret Higgins. Le concert fut présenté en tournée sur la côte est canadienne au mois d’octobre, et sera joué à Winnipeg ainsi qu’à Sherbrooke au début de 2019. Ne s’arrêtant pas un instant, en mars et avril 2019, collectif9 s’embarque dans une tournée d’envergure aux États-Unis, avec des concerts en Californie, à Washington, au Colorado, en Idaho, et au Wyoming.

collectif9, c’est : Thibault Bertin-Maghit, leader et contrebasse ; John Corban, Yubin Kim, Robert Margaryan et Liz Skinner, violons ; Scott Chancey et Xavier Lepage-Brault, altos ; Andrea Stewart et Jérémie Cloutier, violoncelles.

www.collectif9.ca

 

Sondra Radvanovsky Toronto Recital Program Announced

RADVANOVSKY RETURNS TO TORONTO FOLLOWING HER ASTOUNDING PORTRAYAL OF ANNA BOLENA AT THE CANADIAN OPERA COMPANY AND NEW TRIUMPHS IN PARIS AND SAN FRANCISCO

Fresh from new operatic triumphs in Paris and San Francisco, where she once again astounded audiences with her magnificent portrayals of opera’s great dramatic heroines, soprano Sondra Radvanovsky returns to her hometown of Toronto for a rare and intimate recital with her long time pianist Anthony Manoli on Saturday, November 24 at 8pm at Koerner Hall, presented by ShowOne Productions.

Radvanovsky and Manoli’s new all-Italian recital program, From Bel Canto to Verismo, ranges from beloved early Italian songs through to scenes from her history-making roles. Following favourites like Caccini’s “Amarilli, mia bella” and “O Del Mio Dolce Ardor” by Gluck, the Toronto audience will hear two Verdi selections: the “Romanza” from the rarely-heard Il Corsaro and the dramatic sleepwalking scene from Macbeth. Other delights include Rossini’s charming trio of songs, La Regata Veneziana, and Puccini’s “Sole e amore” andE L’uccellino.” And, the program would not be complete without excerpts from her most famous roles: “L’amor suo mi fe beata” from Donizetti’s Roberto Devereux and the devastating “Sola Perduta Abbandonata” from Manon Lescaut.

Since her spring performances at the Canadian Opera Company as Anna Bolena, when critics declared her “astonishing” (The Globe and Mail) and “extraordinary to behold” (The Toronto Star), Radvanovsky’s star has risen even higher. At the San Francisco Opera, she reprised her role as Queen Elizabeth I in Roberto Devereux – one of the “three queens” she performed in a single season, to great acclaim, at the Metropolitan Opera. Reviewing her “blazing performance,” the San Francisco Chronicle declared, “Once you’ve experienced the kind of extravagant vocal majesty and theatrical intelligence that Saturday’s audience did, there’s just no going back.” And at the Opéra Bastille, in a history-making event, Paris audiences demanded a bis or encore of Leonora’s powerful 4th act aria in Il Trovatore. “Sondra Radvanovsky sang Leonora with great intelligence, beauty and unremitting power,” said Operawire, “The audience didn’t stop applauding …”

Also of note this fall, Erato will release on DVD the Metropolitan Opera’s new production of Norma, which opened the 2017-18 season starring Radvanovsky in the title role, with Joyce DiDonato and Joseph Calleja. “[Radvanovsky,] with her bright, powerful voice and dramatic fervor, excelled in Norma’s moments of torment and fury,” said The New York Times, “Her sound … is the essence of raw, true emotion …”

ShowOne Productions first presented Sondra Radvanovsky in concert with the late Dmitri Hvorostovsky in 2010, giving many Canadians the opportunity to discover her for the first time, as well as in her most recent Toronto recital appearance, in 2015. Following the evening at Koerner Hall, The Globe and Mail said: “Radvanovsky had us at our ease before she sang a note, and then proceeded to deliver a stunning, stupendous program that reminded us why she is a once-in-a-generation vocal supernova.”

Formed in 2004 by Svetlana Dvoretsky, ShowOne Productions is a full scope production company that presents concerts with high-profile classical musicians, opera stars, and orchestras, as well as great dance and theatre companies. For over a decade, Show One Has presented thousands of performances on Canada’s best stages and concert halls and has made many Canadian debuts possible including last season’s historic Trio Magnifico: The Ultimate Opera Gala with Anna Netrebko, Yusif Eyazov, and the late Dmitri Hvorostovsky. Other Show One Productions’ presentations to date include: BRODSKY/BARYSHNIKOV, a one-man theatrical performance performed by Mikhail Baryshnikov; Valery Gergiev and Mariinsky Orchestra; Yannick Nézet-Séguin and the Rotterdam Philharmonic; Vladimir Spivakov and National Philharmonic of Russia and Moscow Virtuosi Chamber Orchestra; Orchestre National de France; soloists Denis Matsuev, Mischa Maisky, Ann-Sophie Mutter, and Mutter Virtuosi, amongst many others.

SHOW ONE PRODUCTIONS PRESENTS

Sondra Radvanovsky in Recital with pianist Anthony Maloni

From Bel Canto to Verismo

Saturday, November 24th at 8:00 pm

Koerner Hall, 273 Bloor Street West, Toronto

Limited Tickets Still Available at www.rcmusic.com or by calling (416) 408-0208.

www.ShowOneProductions.ca

 

Isang Yun: Sunrise Falling, a Centenary Composer Portrait

From a life wrought with struggle and torture, comes extraordinary music of stunning virtuosity and raw emotional power.

Uncompromising in his life as he was in his music, Korean composer Isang Yun(1917–95)held fast to his dream of a united people, even as he was unjustly accused of espionage for North Korea and sentenced to imprisonment and death. From this life of unimaginable oppression and torture emerges music of raw emotional power, now heard onISANG YUN: Sunrise Falling, a centennial commemoration of Yun’s life and music from the PENTATONE Oxingale Series. Maestro Dennis Russell Davies, a longtime collaborator and advocate for Yun, curates the program and conducts the Bruckner Orchester Linz, with remarkable, searing solo performances from cellist Matt Haimovitz, violinist Yumi Hwang-Williams, and pianist Maki Namekawa. Called an “important, courageous release” by Deutschlandfunk Kultur,this is the first in a new series of composer portraits from the PENTATONE Oxingale series. ISANG YUN: Sunrise Falling is available for digital download and streaming starting today with the CD release to follow October 5.

A cellist himself, Yun’s fascinating, highly autobiographical Concerto for Violoncello and Orchestra (1975/76) anchors the album, bursting with passion, despair, and new timbral textures bridging Schoenbergian serialism and indeterminate pitch worlds, with radically precise technical demands. The work also integrates the sonic world of Asian instruments and forms, such as the use of a plectrum to emulate the Korean zither, the kŏmun’go. Cellist Matt Haimovitzhad not come across Isang Yun’s work, nor heard of his harrowing personal narrative, until recently: “I tapped into every aspect of my musical toolbox as I approached what at first glance appeared impossible. At the end of my solitary work was confirmation of the rich treasure I had in my possession. Isang Yun’s Cello Concerto deserves to stand alongside Lutoslawski’s and Dutilleux’s in the pantheon of the genre’s late 20th century innovations.” Haimovitz performed Yun’s “Glissées for Solo Cello” (1970), also heard on Sunrise Falling,at the Isang Yun Haus in Berlin on September 17, which would have been the composer’s 101st birthday, and will perform music by Yun at selected upcoming performances in Moscow, Washington, DC, Boston, New York, and elsewhere this fall.

“A composer cannot view the world in which he lives with indifference. Human suffering, oppression, injustice … Where there is pain, where there is injustice, I want to have my say through my music.”– Isang Yun, 1983

Yun’s Concerto for Violin and Orchestra No.1(1981) features violinistYumi Hwang-Williams, who reflects upon her own emotional return to Korea in 2015, where she performed the concerto at the Tongyeong International Music Festival held in honor of Isang Yun. Hwang-Williams also performs the wonderfully imaginative Kontraste. Two Pieces for Solo Violin (1987), and Gasa for Violin and Piano (1963), with Dennis Russell Davies at the piano. The double album also includes the orchestralFanfare & Memorial, and the intricate solo piano work, Interludium A(1982)– the note A also being an important reference point in the cello concerto and other works by Yun – performed by pianist Maki Namekawa.

Today, one hundred years after Isang Yun’s birth, the two Koreas still teeter on a razor’s edge, with ever more global ramifications. As unlocked and performed by these extraordinary artists, this music opens the gate to a lost, united land, with Yun’s own heart bleeding, but ever hopeful.

MATT HAIMOVITZ is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles.” Along with his performances around the world, he currently holds positions at the Schulich School of Music in Montreal and as the first John Cage fellow at The New School’s Mannes School of Music. Haimovitz’s recent recordings include an album solo cello music by Philip Glass, on the Orange Mountain Music label, and, for the PENTATONE Oxingale series, TROIKA, music of the Slavic soul; The Cello Suites According to Anna Magdalenaand its companion album, Overtures to Bach; among others.

DENNIS RUSSELL DAVIES is known for his extraordinary range of repertoire, technical brilliance and fearless music-making. An esteemed presence consistently at the forefront of both orchestral and operatic worlds, Davies is also an accomplished pianist.2018 marks 49 seasons that Davies has held music directorships of prestigious international orchestras, while frequently guest conducting with major orchestras and opera companies worldwide. Davis is Music Director and Chief Conductor of the BRUCKNER ORCHESTER LINZ, one of the leading orchestras of Central Europe, and was recently appointed Chief Conductor and Artistic Director of the Filharmonie Brno.

YUMI HWANG-WILLIAMSis an American violinist of exceptional musicianship, recognized both for her stylish performances of the classics and her commitment to the works of present-day composers. Stringscalls her “a modern Prometheus” who has “emerged as a fiery champion of contemporary classical music.” Hwang-Williams recently celebrated Leonard Bernstein’s 100th by performing Serenade with the Colorado Symphony (Denver), where she has been Concertmaster since 2000.

A leading figure among today’s pianists, MAKI NAMEKAWA is equally at home in classical music and the repertoire of our time. Namekawa records and performs frequently for major radio networks in Germany, the Netherlands, Switzerland, and France. In 2013, she performed the world premiere of the entire cycle of Philip Glass’ 20 Études for Solo Pianoat Perth International Arts Festival under the participation of Glass himself, followed by concerts around the world. A best-selling double-CD of the complete Glass etudes was released by Orange Mountain Music in 2014.

The Graham Sommer Competition for Young Composers ~ Concert & Prize Gala

[Français ci-dessous]

The inaugural edition of the Graham Sommer Competition for Young Composers, presented by the Schulich School of Music of McGill University, culminates on Saturday, September 29 with the Concert and Prize Gala at 7:00 pm at Pollack Hall in Montreal. Part of the 22nd edition of Quebec’s Journées de la culture, the event is free to the public and will be webcast via the Schulich School’s YouTube page. This new national competition for Canadian composers under the age of 35 was founded by Dr. Graham Sommer (1946-2016), MDCM’72, a graduate of McGill University’s Faculty of Medicine and an accomplished pianist and devoted music lover.

Five finalists, chosen from applicants from across Canada and  young Canadians living and studying abroad, have each composed a new work for piano quintet (piano and string quartet) to be performed by pianist Sara Laimon and the Molinari Quartet. The jury will deliberate directly following the five performances and award $45,000 in prizes, including a grand prize of $15,000, a second place prize of $10,000, and $5,000 prizes for third, fourth, and fifth place, plus an additional $5,000 People’s Choice Award which will be voted upon by the concert audience as well as those watching online.

The finalists and their new works are:

Ashkan Behzadi: Calluna

Behzadi currently resides in New York City where he is a doctoral student at Columbia University. A graduate of the Schulich School of Music in composition and music theory, his music has been performed by Nouvel Ensemble Moderne (NEM) and the Esprit Orchestra, among other ensembles.

Taylor Brook: Idioms

Often integrating electronics and new technologies, Brook’s music has been described as “gripping” and “engrossing” by the New York Times. The winner of several SOCAN Young Composers awards, he holds a master’s degree in composition from the Schulich School of Music and is currently completing a doctorate in music composition at Columbia University with Fred Lerdahl.

Christopher Goddard: Piano Quintet

The National Youth Orchestra of Canada’s Emerging Composer-in-Residence for 2016, Goddard has written new works for Koerner Hall’s 21C Festival and many other events and ensembles. He holds master’s degrees from the Manhattan School of Music and Rice University, and is currently pursuing a doctorate in composition with Professor John Rea at the Schulich School of Music.

Alison Yun-Fei Jiang: In Absent Waters

A winner of the 2016 Toronto Symphony Orchestra Call for Scores, Jiang is the commissioned composer for the National Youth Orchestra of Canada’s 2018 season. Her music has been performed and workshopped by the TSO, JACK Quartet, Imani Winds, the Wet Ink Ensemble and the American String Quartet. She is currently a Ph.D. candidate in music composition at University of Chicago.

Thierry Tidrow: Quicksilver

A winner of the Canada Council for the Arts’ Jules-Léger Prize, Tidrow currently resides in Cologne, Germany. His studies at the Schulich School of Music were followed by a master’s degree in composition from the Conservatorium van Amsterdam and an Advanced Studies diploma at the Hochschule für Musik Freiburg. Thierry has collaborated with many performers across Europe and North America, and was selected for the ECM+ Generation 2018 tour.

 

On the afternoon of the Concert and Prize Gala, from 3:00–4:30 pm, the Schulich School of Music hosts a round-table discussion with the five finalists (in English only). Chris Paul Harman, a Canadian composer and Chair of the Schulich School of Music’s Department of Music Research, moderates the talk on the theme: “What does it mean to be an emerging composer?” This free event takes place in Tanna Schulich Hall in the Elizabeth Wirth Music Building (527 Sherbrooke Street W.).

About the Competition Jury

The competition jury is chaired by Dr. Brenda Ravenscroft, Dean at the Schulich School of Music and a specialist in the music of 20th and 21st-century American composers. She is joined by composers Ana Sokolović and Alexina Louie; clarinetist and composer Kinan Azmeh;David Pay, Founder and Artistic Director of Vancouver’s Music on Main; and violinist/violist Barry Shiffman, Associate Dean at the Glenn Gould School in Toronto and Executive Director of the Banff International String Quartet Competition.

 

About the Artists

Pianist Sara Laimon has performed and recorded internationally. She is a founding member and co-artistic director of the acclaimed New York-based group Sequitur, and is a faculty member at the Schulich School of Music of McGill University.

The Molinari Quartet has been praised by The Strad (UK) for its “distinctive sound” and “bracing insight.” The string quartet is devoted to the repertoire of the 20th and 21st centuries, has commissioned numerous new works, and is the recipient of 18 Opus Prizes from the Conseil Québecois de la musique. The Quartet is comprised of Olga Ranzenhofer and Antoine Bareil, violins; Frédéric Lambert, viola; and Pierre-Alain Bouvrette, cello.

 

 Dr. Graham Sommer died on October 2, 2016 and left a legacy of excellence in medicine and an abiding love for the transformative power of music. A native of British Columbia, Sommer graduated from McGill’s Faculty of Medicine in 1972 and went on to hold positions at Yale and Stanford Universities, becoming a world-class researcher for 37 years.  Dr. Sommer’s enduring passion for music has resonated at McGill notably through the Dr. Graham Sommer Piano Fund, which supported the restoration of pianos in McGill residences and the purchase of a new piano for Douglas Hall. While Sommer excelled in his chosen field of medicine, he was also inspired by a lifelong love of music fostered by his own accomplishments as a classical pianist and composer.

In the spirit of Graham Sommer’s love for sharing music, the inaugural competition takes place during Quebec’s Journées de la culture, an annual event which promotes greater access to arts and culture for everyone, giving participants a peek into the creative process with free activities all over the province. Additional Journées de la culture events at the Schulich School of Music include a performance by the McGill Wind Orchestra on Friday, September 28 at 7:30 pm in Pollack Hall; and a performance by student soloists from the McGill Conservatory of Music on Sunday, September 30 at 2:00 pm in Redpath Hall.

Reserve tickets here or via www.mcgill.ca/gsc

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L’édition inaugurale du Concours Graham Sommer pour jeunes compositeurs, présentée par L’École de musique Schulich de l’Université McGill, culminera avec le Concert et gala de remise des prix le samedi 29 septembre à 19 h 00 à la salle Pollack à Montréal. Présenté dans le cadre de la 22e édition des Journées de la culture du Québec, cet événement est gratuit et sera aussi webdiffusé sur la page YouTube de l’École de musique Schulich. Cette nouvelle compétition nationale pour les compositeurs canadiens de moins de 35 ans fut fondée par le Dr Graham Sommer, MDCM’ 72, (1946-2016), un diplômé de la faculté de médecine de McGill, également pianiste et mélomane.

Les cinq finalistes ont été sélectionnés parmi des candidats provenant de tout le Canada et des jeunes canadiens qui vivent et étudient à l’étranger. Chaque finaliste a composé une œuvre originale pour quintette pour piano et cordes qui sera créée en concert par la pianiste Sara Laimon et le Quatuor Molinari. La délibération du jury suivra directement les cinq exécutions et 45 000 $ en prix seront octroyés, y compris un grand prix de 15 000 $, un deuxième prix de 10 000 $, et des prix de 5000 $ pour chacune des troisième, quatrième et cinquième places, ainsi qu’un prix additionnel « coup de cœur du public » de 5000 $, dont le lauréat sera choisi par un vote de l’auditoire présent dans la salle et écoutant en ligne.

Les finalistes et leurs nouvelles œuvres sont :

Ashkan Behzadi: Calluna

Ashkan Behzadi habite actuellement à New York, où il étudie à l’Université Columbia. Diplômé de l’École de musique Schulich de l’Université McGill en composition et en théorie de la musique, sa musique fut jouée par le Nouvel Ensemble Moderne (NEM) et l’Esprit Orchestra, entre autres.

Taylor Brook: Idioms

Intégrant souvent de l’électronique et de nouvelles technologies, la musique de Taylor Brook fut qualifiée de « captivante » et de « palpitante » par le New York Times. Gagnant de plusieurs prix pour jeunes compositeurs SOCAN, il détient une maîtrise en composition de l’École de musique Schulich de l’Université McGill et complète actuellement un doctorat en composition à l’Université Columbia sous la tutelle de Fred Lerdahl.

Christopher Goddard: Quintette pour piano et cordes

Compositeur en résidence du National Youth Orchestra of Canada pour l’année 2016, Christopher Goddard a écrit des œuvres nouvelles pour le Festival 21C de la salle Koerner, ainsi que pour plusieurs autres événements et ensembles au Canada et en Europe. Il détient un diplôme de maîtrise du Manhattan School of Music et de l’Université Rice, et il poursuit actuellement un doctorat en composition avec Professeur John Rea à l’École de musique Schulich de l’Université McGill.

Alison Yun-Fei Jiang: In Absent Waters

Gagnante de l’appel d’œuvres de l’orchestre symphonique de Toronto, Alison Jiang est la compositrice en résidence du National Youth Orchestra of Canada pour la saison 2018. Sa musique fut jouée et passée en atelier par l’Orchestre symphonique de Toronto, le Quatuor JACK, Imani Winds, le Wet Ink Ensemble et le American String Quartet, entre autres. Elle est actuellement candidate au doctorat en composition à l’Université de Chicago.

Thierry Tidrow: Quicksilver

Gagnant du prix Jules-Léger du Conseil des Arts du Canada, Tidrow habite actuellement à Cologne, en Allemagne. Ses études à l’École de musique Schulich furent suivies d’un diplôme de maîtrise en composition du Conservatorium van Amsterdam et un diplôme d’études supérieures du Hochschule für Musik Freiburg. Thierry a collaboré avec plusieurs musiciens en Europe et en Amérique du Nord, et il a été sélectionné pour la tournée Génération 2018 de l’ECM+.

 

En prélude au concert et gala de remise des prix, le 29 septembre, de 15 h 00 à 16 h 30, l’École de musique Schulich présentera une table ronde avec les cinq finalistes (en anglais). Chris Paul Harman, compositeur canadien et directeur du département de recherche à l’École de musique Schulich, animera une discussion sur le thème « Que signifie être un compositeur émergeant ? » Cet événement gratuit aura lieu à la salle Tanna Schulich du Pavillon de musique Elizabeth Wirth (527, rue Sherbrooke Ouest).

 

À propos du jury du concours

La présidente du jury est Dre Brenda Ravenscroft, doyenne de l’École de musique Schulich et spécialiste de la musique de compositeurs américains du 20e et 21e siècles. Les autres membres du jury sont les compositrices Ana Sokolović et Alexina Louie, le clarinettiste et compositeur Kinan Azmeh , David Pay, fondateur et directeur artistique du Vancouver Music on Main et le violoniste/altiste Barry Shiffman, vice-doyen de la Glenn Gould School  et directeur exécutif du Banff International String Quartet Competition.

 

À propos des artistes

La pianiste Sara Laimon est active à la fois comme soliste et comme chambriste, membre fondateur et co-directrice artistique du groupe Sequitur, acclamé à New York, et membre du corps professoral de l’École de musique Schulich de l’Université McGill.

Le Quatuor Molinari a été salué par The Strad (UK) pour son « son distinctif » et sa perspicacité vivifiante. Le quatuor se consacre au riche répertoire pour quatuor à cordes du 20e et 21e siècle, commande des œuvres nouvelles aux compositeurs et sont lauréats de dix-huit Prix Opus décernés par le Conseil québécois de la musique. Le quatuor est composé de Olga Ranzenhofer et Antoine Bareil, violons; Frédéric Lambert, alto; et Pierre-Alain Bouvrette, violoncelle.

 

Le Dr Graham Sommer est décédé le 2 octobre 2016 en laissant derrière lui un héritage d’excellence en médecine, et on se souviendra de son amour sans borne et de sa foi envers les pouvoirs transformateurs de la musique. Originaire de la Colombie-Britannique et finissant de la promotion 1972 de la faculté de médecine de McGill, Dr Sommer devint par la suite professeur à l’Université Yale et Standford, se bâtissant pendant 37 ans une réputation internationale dans le domaine de la recherche. La passion inébranlable de Dr Sommer pour la musique se fit sentir à McGill, notamment à travers le Dr. Graham Sommer Piano Fund qui veille à la restauration des pianos dans les résidences de McGill et à l’achat du nouveau piano de la salle Douglas. Alors que Dr Sommer excellait dans le domaine de la médecine, il ne faisait pas moins preuve d’un amour incontestable pour la musique, ce sentiment étant toujours stimulé par ses propres réalisations en tant que pianiste classique et compositeur.

En hommage à Dr Graham Sommer, qui aimait tant partager la musique, le concours inaugural est présenté dans le cadre des Journées de la culture du Québec, un événement annuel qui favorise l’accès de tous aux arts et à la culture, fournissant un aperçu au public du processus créatif, avec des activités gratuites offertes à travers la province. Les autres événements présentés dans le cadre des Journées de la culture à l’École de musique Schulich comprennent un concert de l’Orchestre à vent de McGill le vendredi 28 septembre à 19 h 30 à la salle Pollack et une prestation des étudiants solistes du Conservatoire de musique de McGill le dimanche 30 septembre à 14 h 00, à la salle Redpath.

Réservez vos billets ici ou sur www.mcgill.ca/gsc/fr

World Premiere Honouring the Life of Saint Kateri by Odawa Composer Barbara Croall

(Version française ci-dessous)

The McGill Chamber Orchestra (MCO), in collaboration with the cultural leadership of the Kahnawake community, is proud to present Indigenous Visions & Voices, featuring a new multimedia orchestral theatre work commemorating the life and legacy of Saint-Kateri Tekakwitha (1656-1680), with performances taking place in both Kahnawake and Montreal. Kateri Tekakwitha died in 1680 in the region now called Kahnawake and, in 2012, became the first North American Aboriginal person elevated to sainthood – an event witnessed by hundreds of Mohawks and other native people who made the journey to the Vatican as well as celebrated in Kahnawake at the church of her name. Saia’tatokénhti: Honouring Saint Kateri is a world premiere by Odawa composer Barbara Croall with a libretto by Mohawk writer Darren Bonaparte, and directed by Indigenous Columbian stage director Alejandro Ronceria, with the participation of video artist Isaac Rayment. Taking place over two evenings – at the Kahnawake Catholic Church on Friday, October 19 at 7:30 pm and at Église Saint-Jean Baptiste in Montreal on Saturday, October 20 at 8:00 pm – Indigenous Visions & Voices also includes Malcolm Forsyth’s Trickster Coyote – Lightening Elk Concerto, with Canadian violinist Tara-Louise Montour, who commissioned the work exploring chants and dances from her own Mohawk heritage; and Réjeant Levasseur’s Farewell to the Warriors for violin and orchestra.

MCO Artistic Director Boris Brott contacted composer Barbara Croall in 2016 with the idea of creating a new work to honour the memory of Saint Kateri, a venerated and beloved figure particularly in Montreal, as well as across Canada and the world, and a guiding example of humility, kindness and strength. Croall then connected with Darren Bonaparte, a Mohawk historian and the author of A Lily Among Thorns: The Mohawk Repatriation of Káteri Tekahkwí:tha. For Bonaparte, the new work will help to enshrine what he feels will be lost: “Saint Kateri is a bright light in the dark colonial past; the new work helps to humanize her, restoring her own voice and context, rather than as an ideal of Christianity.” After years of writing about Kateri, Bonaparte reflects, “It was like she sat next to me and dictated [the text] to me.” Barbara Croall consulted with many communities to understand what Saint Kateri meant to people today. In creating her score, she was inspired by the rhythms of the Mohawk language as well as the landscapes across which the Saint travelled throughout in her harrowing life.

The title role of Kateri is portrayed by a rising Mohawk actress Kennedy Bomberry along with featured Mohawk dancer Julianne Blackbird, portraying the physical and spiritual sides of Kateri. In mounting this large-scale project, director and choreographer Alejandro Ronceria brings together elements including Mohawk traditional choral singers, video projections and mapping, and lighting design into a powerfully expressive unity. This inter-generational and inter-disciplinary orchestral theatre project engages youth and elders alike to venerate the memory of Saint Kateri, braided together into a human embodiment of light and spirit.

MCO’s Indigenous Visions & Voice is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada.

Acclaimed Odawa First Nation composer and musician Barbara Croall from Canada (Manidoo Mnissing, Giniw dodem) balances her time between creating and performing music, work in outdoor environmental educational rooted in traditional Anishinaabe teachings, and work with Indigenous at-risk youth. A former Resident Composer with the Toronto Symphony Orchestra, Croall’s works are performed across Canada and the US. The child of a residential school survivor, Croall has been active in the Truth and Reconciliation Commission. As the direct descendant of hereditary chiefs who signed the major treaties in Ontario, Croall is often invited to commemorative events honouring the legacy of historic Indigenous leaders.

Darren Bonaparte is a Mohawk writer, artist, and cultural historian from the Akwesasne First Nation. He is the creator of the Wampum Chronicles website and a frequent lecturer at universities, museums, and historical sites in the United States and Canada. He is the author of two books: Creation & Confederation: The Living History of the Iroquois, and A Lily Among Thorns: The Mohawk Repatriation of Káteri Tekahkwí:tha. Bonaparte was elected to the Mohawk Council of Akwesasne in 1999.

Alejandro Ronceria is an internationally acclaimed and award-winning director/choreographer/producer based in Toronto. He is the founding Artistic Director of the first Aboriginal Dance Program in North America at The Banff Center for the Arts and continues to work as a director and dramaturge for numerous Indigenous productions in the Americas.

Considered North America’s foremost classical Aboriginal violinist, Tara-Louise Montour has commissioned important works for solo violin and orchestra based on Native North American themes. Renowned for her rich musicality, heartfelt interpretations, and winning stage presence, Montour has performed as guest soloist with Orchestre Métropolitain under director Yannick Nézet-Séguin, the Winnipeg Symphony Orchestra, the McGill Chamber Orchestra, the Hamilton Philharmonic, and the Thunder Bay Symphony Orchestra, among many others. Montour is a member of the Virginia Symphony Orchestra (JoAnn Falletta, Music Director).

The McGill Chamber Orchestra is celebrating its 79th season. The Orchestra has toured widely presenting concerts in 17 countries on five continents to great critical acclaim. The MCO also recorded extensively for CBC Records and Analekta, and appeared regularly on radio and television for CBC and Radio-Canada. Since 2005, the MCO is under the Artistic Direction of conductor Boris Brott, one of Canada’s most internationally renowned conductors. The orchestra is a vibrant ensemble consisting of the city’s best professional musicians and presents concerts throughout the year in the finest halls of Montreal.

The MCO acknowledges that Montreal is situated on the traditional territory of the Kanien’kehá:ka people and was named Tiohtià:ke which is the name the Mohawk gave it because it was an important territory for gathering and trade for several First Nations.

For more information please see: www.orchestre.ca

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L’Orchestre de chambre McGill (MCO), en collaboration avec le leadership culturel de la communauté Kahnawake, est fier de présenter Visions & Voix Autochtones, mettant en vedette une nouvelle œuvre de théâtre orchestral multimédia commémorant la vie et l’héritage de Sainte-Kateri Tekakwitha (1656-1680), avec des représentations à Kahnawake et à Montréal. Kateri Tekakwitha est morte en 1680 dans la région qu’on appelle aujourd’hui Kahnawake et, en 2012, est devenue la première personne autochtone nord-américaine à être proclamée sainte. Des centaines de mohawks et d’autres représentants des peuples autochtones se sont rendus au Vatican et l’ont célébrée à Kahnawake, à l’église qui porte son nom. Saia’tatokénhti: Honorant Sainte Kateri est une première mondiale de la compositrice odawa Barbara Croall avec un livret de l’écrivain mohawk Darren Bonaparte. Le spectacle est réalisé par le metteur en scène autochtone colombien Alejandro Ronceria, avec la participation du vidéaste de mapping Isaac Rayment. Se déroulant sur deux soirs – à l’église catholique de Kahnawake le vendredi 19 octobre à 19h30 et à l’église Saint-Jean Baptiste à Montréal le samedi 20 octobre à 20h00Visions & Voix Autochtones comprend également le Trickster Coyote – Lightening Elk Concerto de Malcolm Forsyth, avec la violoniste canadienne Tara-Louise Montour, qui a commandé l’œuvre pour explorer les chants et les danses de son patrimoine mohawk, et Farewell to the Warriors de Réjeant Levasseur,une œuvre pour violon et orchestre.

Le directeur artistique du MCO Boris Brott, a contacté la compositrice Barbara Croall en 2016 avec l’idée de créer une nouvelle œuvre pour honorer la mémoire de Sainte Kateri, une figure vénérée et aimée particulièrement à Montréal, comme au Canada et dans le monde; la sainte est un modèle d’humilité, de bienveillance et de force. Mme Croall a alors communiqué avec Darren Bonaparte, historien mohawk et auteur de A Lily Among Thorns: The Mohawk Repatriation of Káteri Tekahkwítha. Pour Bonaparte, cette nouvelle œuvre aidera à faire rejaillir ce qu’il pensait perdu: « Sainte Kateri est une lumière vive dans le sombre passé colonial; cette composition contribue à l’humaniser, en faisant revivre sa voix et son contexte propres, plutôt qu’un idéal chrétien. » Après des années passées à écrire à propos de Kateri, Bonaparte raconte : « C’était comme si elle était assise à côté de moi et me dictait [le texte]. » Barbara Croall a consulté de nombreuses communautés pour comprendre ce que Sainte Kateri représente pour les gens aujourd’hui. En créant sa partition, elle a été inspirée par les rythmes de la langue mohawk ainsi que par les paysages qu’a parcourus la sainte au cours de sa vie déchirante.

Le rôle-titre de Kateri est représenté par une actrice mohawk émergente, Kennedy Bomberry, ainsi que par la danseuse mohawk Julianne Blackbird, incarnant les aspects physiques et spirituels de Kateri. En organisant ce projet à grande échelle, le réalisateur et chorégraphe Alejandro Ronceria rassemble de nombreux éléments : chanteurs de choeurs traditionnels mohawks, projections vidéo et cartes, ainsi que des conceptions d’éclairage puissamment expressives. Ce projet de théâtre orchestral intergénérationnel et interdisciplinaire incite les jeunes et les aînés à vénérer la mémoire de Sainte Kateri, réunis dans une incarnation humaine de la lumière et de l’esprit.

Visions & Voix Autochthones du MCO est l’un des 200 projets exceptionnels soutenus par le programme Nouveau chapitre du Conseil des arts du Canada. Avec cet investissement 35 M$, le Conseil des arts appuie la création et le partage des arts au cœur de nos vies et dans l’ensemble du Canada.

L’acclamée Barbara Croall, compositrice et musicienne de la Première Nation Odawa du Canada (Manidoo Mnissing, Giniw dodem), concilie son temps entre création et interprétation musicales; elle travaille aussi en éducation environnementale, un concept enraciné dans les enseignements traditionnels Anishinaabe, et intervient auprès des jeunes autochtones à risque. Elle a en outre été compositrice en résidence de l’orchestre symphonique de Toronto et ses œuvres continuent d’être interprétées à travers le Canada et les États-Unis. Enfant d’un survivant de pensionnat, Croall a été active au sein de la Commission de vérité et réconciliation. En tant que descendante directe des chefs qui ont signé les principaux traités en Ontario, Croall est souvent invitée à des événements commémoratifs pour souligner le courage et l’héritage des chefs autochtones.

Darren Bonaparte est un écrivain mohawk, artiste, et historien culturel de la première nation d’Akwesasne. Il est le créateur du site web Wampum Chronicles et est fréquemment invité à donner des conférences dans des universités, des musées et des sites historiques aux États-Unis et au Canada. Il est auteur de deux livres: Creation & Confederation: The Living History of the Iroquois, et A Lily Among Thorns: The Mohawk Repatriation of Káteri Tekahkwí:tha. Bonaparte a été élu au Conseil Mohawk d’Akwesasne en 1999.

Alejandro Ronceria est un réalisateur, chorégraphe et producteur de renommée internationale de Toronto. Il est le directeur artistique fondateur du premier programme de danse autochtone en Amérique du Nord au Banff Center for the Arts et il continue à travailler aujourd’hui en tant que réalisateur et dramaturge pour de nombreuses productions autochtones des Amériques.

Considéré comme la plus importante violoniste autochtone classique d’Amérique du Nord, Tara-Louise Montour a commandé des œuvres importantes pour violon et orchestre sur des thèmes nord-américains autochtones. Reconnue pour sa musicalité riche, ses interprétations émouvantes et sa grande présence sur scène, Montour a joué comme soliste invitée avec l’Orchestre Métropolitain sous la direction de Yannick Nézet-Séguin, l’Orchestre symphonique de Winnipeg, l’Orchestre de chambre McGill, l’Orchestre philharmonique de Hamilton et l’Orchestre symphonique de Thunder Bay, parmi beaucoup d’autres. Montour est membre du Virginia Symphony Orchestra (JoAnn Falletta, directrice musicale).

L’Orchestre de chambre McGill célèbre sa 79e saison. L’Orchestre a effectué de nombreuses tournées de concerts dans 17 pays sur cinq continents, qui ont été saluées par la critique. Le MCO a également effectué de nombreux enregistrements avec CBC Records et Analekta et a joué régulièrement à la radio et à la télévision pour CBC et Radio-Canada. Depuis 2005, le MCO est sous la direction artistique du chef d’orchestre Boris Brott, l’un des chefs d’orchestre les plus renommés au Canada. L’Orchestre est un assemblage dynamique composé des meilleurs musiciens professionnels de la ville et présente des concerts tout au long de l’année dans les plus belles salles de Montréal.

Le MCO reconnaît que Montréal est située sur le territoire traditionnel du peuple Kanien’kehá: ka et a qui était nommé Tiohtià: ke, le nom que les Mohawks lui ont donné parce qu’il s’agissait d’un important territoire de rassemblement et de commerce pour plusieurs Premières nations.

Pour en savoir plus, consultez :orchestre.ca

Dompierre en cinémascope ~ La musique de François Dompierre

Un des compositeurs les plus célèbres et les plus appréciés d’aujourd’hui, les notes évocatrices de François Dompierre sont entendues dans des films tels que « le Déclin de l’Empire Américain » et « Jésus de Montréal ». Elles ont dominé le cinéma québécois dans les années 1980 et continuent de révolutionner le genre aujourd’hui. Le OCM et le directeur artistique Boris Brott sont ravis d’accueillir François Dompierre pour animer une soirée mettant en vedette plusieurs de ses œuvres orchestrales, dont le Concerto de Saint-Irénée avec le pianiste soliste Serhiy Salov et le virtuose Les Diableries avec le violoniste Marc Djokic, tout en couvrant certaines de ses compositions de ses films préférées. Entendu pour la première fois par un public captivé au Festival du Domaine Forget en juillet, Dompierre en cinémascope, la musique de François Dompierre sera présentée le samedi 22 septembre à 19 h 30à la Salle Bourgie de Montréal.

Grâce à des anecdotes animées et des performances envoûtantes au piano, François Dompierre convie le public à une rétrospective de sa musique de films célèbres de cinéastes québécois, dont Francis Mankiewitz, Jean Beaudin, Michel Brault et Denise Filiatrault. Dompierre partage également son irrésistible musique de concert. Le Concerto de Saint-Irénée (1984), pour piano et orchestre à cordes, composé au camp musical du Domaine Forget, est influencé par le jazz et la musique latine. Les Diableries (1979) évoque les qualités endiablées du violon, avec des mouvements allant du joyeux au grincheux, en passant par l’amoureux. Le concert présente également du Haendel, comme on l’entend dans les films emblématiques de Denys Arcand, ainsi que plusieurs pièces interprétées par le compositeur lui-même au piano, y compris son populaire “Saute Mouton”, provenant de l’album du même nom certifié « disque d’or », qui fait partie de son répertoire de plus de 200 chansons instrumentales.

François Dompierre a d’abord collaboré avec plusieurs artistes du Québec dont Félix Leclerc. En 1975 son disque éponyme devient un succès populaire. Il a également signé la musique d’une cinquantaine de films. On lui doit la comédie musicale Demain matin Montréal m’attend sur un livret de Michel Tremblay. Parmi ses œuvres de concert, mentionnons : Les Diableriesle Concerto de Saint-IrénéeLes Glorieux, une commande de l’OSM et 24 Préludes pour piano. En 2015 il écrit pour le Nouveau Quatuor Orford, Par quatre chemins. En 2016, l’orchestre Appassionata et la pianiste Louise Bessette créent son Concertango Grosso. François Dompierre a été fait Chevalier de l’Ordre national du Québec et nommé Membre de l’Ordre du Canada en 2014. En 2016, il a reçu le prix hommage de l’académie du cinéma québécois. Actuellement, le Musée des communications et d’histoire de Sutton présente l’exposition « François Dompierre, 50 ans de musique ».

Serhiy Salov est un pianiste d’exception reconnu pour son jeu à la fois énergique et empreint d’une grande musicalité. Après avoir commencé son apprentissage de la musique en Ukraine, il poursuit ses études à Londres où il obtient une maîtrise à la prestigieuse Guildhall School of Music and Drama, puis un doctorat à l’Université de Montréal. Concertiste remarquable, Serhiy Salov a travaillé avec des chefs de renom et s’est produit avec nombre d’orchestres un peu partout dans le monde en plus de participer régulièrement aux festivals les plus prestigieux.

Louangé par La Presse pour son « sens rythmique et son phrasé naturel », Marc Djokic est le nouveau premier violon du OCM. Lauréat du prestigieux Mécénat Musica Prix Goyer 2017-2018. Originaire de Halifax, Djokic est connu pour ses performances puissantes et virtuoses, ainsi que pour son approche engageant et terre-à-terre qui fait de lui un favori du public à travers le pays et au-delà. Marc apparaît fréquemment comme soliste avec les meilleurs orchestres du Canada et dans des festivals de musique de chambre en Amérique du Nord.

L’Orchestre de chambre McGill célèbre sa 79e saison. L’Orchestre a effectué de nombreuses tournées pour présenter des concerts dans 17 pays sur les cinq continents, ce qui a été salué par la critique. Le MCO a également enregistré de nombreux enregistrements pour CBC Records Analekta, et a joué régulièrement à la radio et à la télévision pour CBC et Radio-Canada. Depuis 2005, le MCO est sous la direction artistique du chef d’orchestre Boris Brott, l’un des chefs d’orchestre les plus reconnus au Canada. L’Orchestre est un ensemble dynamique composé des meilleurs musiciens professionnels de la ville et présente des concerts tout au long de l’année dans les plus belles salles de Montréal.

Le OCM est fier d’accueillir BMO Banque de Montréal à titre de commanditaire de la saison 2018-19.

Billets : 20$ – 54$  |  Disponible en ligne sur orchestre.ca ou au téléphone au 514-487-5190

Tippet Rise OPUS 2017: Daydreams ~ 2nd Edition of Performance Highlights from Tippet Rise Arts Center in Montana

Music by Bach, Chopin, John Luther Adams, Eugène Bozza, George Enescu, Jeffrey Kahane & a World Premiere Commission by Aaron Jay Kernis

Tippet Rise OPUS 2017 is the second compilation album to emerge from the summer music season at Montana’s Tippet Rise Arts Center, a 10,260-acre working ranch where monumental sculptures and performance spaces of acoustic perfection nestle against the Beartooth Mountains near Yellowstone National Park. From the PENTATONE Oxingale Series, Tippet Rise OPUS 2017 inhabits the sphere of Daydreams, a whimsical sculpture by Patrick Dougherty where natural willows organically emerge out of an eroding schoolhouse. Featuring an inspiredworld premiere commission by Aaron Jay Kernis for cellist Matt Haimovitz and pianist Andrea Lam, evocative turns from violinist Caroline Goulding, percussionist Doug Perkins, and flutist Jessica Sindell, and breathtaking performances from several brilliant pianists in music from Bach to John Luther Adams, Daydreamsopens a visionary portal to the past and future.

Aaron Jay Kernis’s jazz-infused FIRST CLUB DATE is the first work in a three-year cycle of commissions by Tippet Rise, which premiered last August. Dedicated to Matt Haimovitz and the composer’s cellist-son Jonah, the work illuminates the musical playground of a boy on the cusp of manhood with double-entendre movement titles like “Puppy Love,” “Matt’s Monkish Machinations,” and “Jonah’s Jive Jump.” Following in the tradition of Elliott Carter’s Sonata for Cello and Piano, which set the 20th-century standard, Kernis’s work celebrates the richly textured fabric of American music. Haimovitz and Lam bring electricity and fearless virtuosity to the performance of this vibrant and important new work. Watch a video of the recording session for Movement 4 here.

From Tippet Rise’s spectacular collection of pianos we hear beloved works by Chopin and Bach, performed by pianists Yevgeny Sudbin and Anne-Marie McDermott, who anchor the program with their sheer beauty and virtuosity. Pianist Jeffrey Kahane’s America the Beautifulis a gently poignant offering. Says Kahane: “This improvisation is my own deeply personal and heartfelt way of expressing my love for America’s extraordinary – and profoundly threatened – natural beauty, my grief at the way in which her best and noblest values and achievements are under relentless attack, and my prayer that there is yet hope for America’s redemption.”

The Guardian called Tippet Rise OPUS 2016 Domo,the inaugural release in this series, “a gem,” while Audiophile Audition described it as both “mystical and unnerving” and “a brilliant panoply of bustling colors.” The recording features the music ofScriabin, Chopin, Stravinsky, and Antón García Abril, realized live by pianists Yevgeny Sudbin, Svetlana Smolina, Christopher O’Riley, Anne-Marie McDermott, Stephen Hough, Jenny Chen and Julien Brocal, with cellist Matt Haimovitz, trumpeter Elmer Churampi, and soprano Emily Helenbrook.

Tippet Rise Art Center reopens for its third season on June 29, 2018, one week before the start of its third annual summer music festival which runs from July 6 through September 8. Itfeatures the world premiere of Aaron Jay Kernis’s String Quartet No. 4 (musica universalis), the second work composed for Tippet Rise, among other highlights. For further information please see:www.tippetrise.org

Founded by artists Cathy and Peter Halstead, Tippet Rise Art Center celebrates the concept that art, music, architecture, and nature are inextricably linked in the human experience, each amplifying the other. Tippet Rise’s 10,260 acre working sheep and cattle ranch features large-scale sculptures and other works by some of the world’s foremost artists and architects, including Ensamble Studio, Mark di Suvero, Stephen Talasnik, and Alexander Calder.

www.pentatonemusic.com

 

 

Sondra Radvanovsky in Recital: From Bel Canto to Versimo

Deemed “an essential artist” by The New York Times, soprano Sondra Radvanovsky continues to astound audiences around the world with her magnificent portrayals of opera’s great dramatic heroines. Toronto audiences have the rare opportunity to experience Radvanovsky’s artistry in the intimacy of a recital setting, on Saturday, November 24 at 8pm at Koerner Hall, with pianist Anthony Manoli, presented by ShowOne Productions. The all-Italian program, From Bel Canto to Verismo, will touch upon Radvanovsky’s history-making roles, which have firmly established her as one of the reigning voices of our era.

“I am thrilled and honored to be presenting Sondra Radvanovsky in recital once again,” comments Svetlana Dvoretsky, founder of ShowOne Productions. “We first presented Sondra in concert with Dmitri Hvorostovsky back in 2010, when many Canadians had the opportunity to discover her for the first time, which was followed in 2015 by the incredible success of her Koerner Hall recital debut.”

Indeed, it is in the intimacy of a recital that Radvanovsky’s vocal and dramatic gifts are even more overwhelming. Following the 2015 concert in Toronto, The Globe and Mail said: “Radvanovsky had us at our ease before she sang a note, and then proceeded to deliver a stunning, stupendous program that reminded us why she is a once-in-a-generation vocal supernova … for all her vocal power, is an artist above all else, that is, a communicator of musical and lyrical emotion.” Of a recent recital in Quebec City, Opera Canada commented, “Not only did she sing impeccably, but this prima donna also broke the typical recital conventions … She spoke to the public in between pieces, creating a rapport, sharing her musical intellect and allowing the audience to feel at home by sharing personal anecdotes … At the end of the concert a divine silence reigned as everybody in the audience was speechless, incapable of finding the words to describe the beauty they had just witnessed.”

Critics have also been rapt following Sondra Radvanovsky’s star turn in Anna Bolena with the Canadian Opera Company this spring. The Globe and Mail called her performance “astonishing … she has a true palette of colours in her voice, the most thrilling of which are the metallic bite she reserves for an earnest phrase and the sheer volume she wields like a fabulous weapon.” “I felt I was pinned to my seat by her sound,” said Ludwig van Toronto, “In the very long final Mad Scene, a huge sing, the soprano was indefatigable, maintaining beauty of tone to the end … Totally remarkable.” And The Toronto Star declared: “Radvanovsky at the peak of her powers is something extraordinary to behold.”

Recent triumphs for Radvanovsky include Bellini’s Norma, which opened the new season at the Metropolitan Opera, prompting critics to herald her as “the Norma of her generation.” Also at the Met, she made history conquering Donizetti’s “three queens” — the leading soprano roles in his Tudor dramas Anna Bolena, Maria Stuarda and Roberto Devereux — in a single season. “The applause and bravos for the soprano Sondra Radvanovsky were frenzied,” said The New York Times, of Radvanovksy’s performance as Queen Elizabeth in Roberto Devereux, “The audience members knew that they had just witnessed an emotionally vulnerable and vocally daring performance, a milestone in the career of an essential artist.” A frequent and beloved artist at Barcelona’s Gran Teatre del Liceu, Radvanovsky recently brought down the house, performing an encore of “La mamma morta” in Andrea Chénier, a feat not seen at that opera house in 20 years.

Formed in 2004 by Svetlana Dvoretsky, Show One Productions is a full scope production company that presents concerts with high-profile classical musicians, opera stars, and orchestras, as well as great dance and theatre companies. For over a decade, Show One Has presented thousands of performances on Canada’s best stages and concert halls and has made many Canadian debuts possible including last season’s historic Trio Magnifico: The Ultimate Opera Gala with Anna Netrebko, Yusif Eyazov, and the late Dmitri Hvorostovsky. Other Show One Productions’ presentations to date include: BRODSKY/BARYSHNIKOV, a one-man theatrical performance performed by Mikhail Baryshnikov; Valery Gergiev and Mariinsky Orchestra; Yannick Nézet-Séguin and the Rotterdam Philharmonic; Vladimir Spivakov and National Philharmonic of Russia and Moscow Virtuosi Chamber Orchestra; Orchestre National de France; soloists Denis Matsuev, Mischa Maisky, Ann-Sophie Mutter, and Mutter Virtuosi, amongst many others.

 Show One Productions presents Sondra Radvanovsky in Recital with pianist Anthony Maloni – From Bel Canto to Verismo – for one night only, on Saturday, November 24th at 8:00 pm at Koerner Hall, 273 Bloor Street West. Tickets go on sale Thursday, May 24 at www.rcmusic.com or (416) 408-0208.

 

Azrieli Music Prizes Gala Concert Soloists Announced

The Azrieli Foundation is pleased to announce the soloists for the Azrieli Music Prizes Gala Concert on October 15, 2018 at 8:00 pm at Maison symphonique de Montréal. The concert features two major works for chamber orchestra by the winners of  the 2018 Azrieli Music Prizes (AMP), two biennial $50,000 awards offering opportunities for the creation, performance and celebration of high quality new Jewish Music. The new works will be performed by the McGill Chamber Orchestra (MCO) led by Guest Conductor Yoav Talmi. Tickets are available for pre-sale starting today via the Place des Arts box office at placedesarts.com.

Acclaimed violinist Lara St. John is the soloist for Nigunim for Violin and Orchestra by Avner Dorman, winner of the 2018 Azrieli Prize for Jewish Music. The Canadian-born St. John has been described as “something of a phenomenon” by The Strad and a “high-powered soloist” by the New York Times. Dorman, an Israeli-born composer who now lives in Gettysburg, Pennsylvania, explores the music of various Jewish traditions from around the world in his work: “The diversity and wealth of musical traditions I discovered astounded me, ranging from North African cantillation to Central Asian wedding music, and from Balkan rhythms to ancient prayers.” In selecting Nigunim for the prize, jury member Aaron Jay Kernis remarked, Avner Dorman’s music is marked by soulful expression joined to rich, inventive orchestral colour and virtuosic flair.”

A world premiere by Kelly-Marie Murphy, winner of the 2018 Azrieli Commission for Jewish Music will feature performances by harpist Erica Goodman and cellist Rachel Mercer. The multi-award-winning Goodman is “not only Canada’s preeminent harp player, she is one of the most celebrated in the world” (Ottawa Citizen), while Mercer creates “moments of pure magic” (Toronto Star) as a soloist and chamber musician across five continents and as Principal Cello of the National Arts Centre Orchestra.Murphy, based in Ottawa, is creating an innovative double concerto for harp and cello that explores Sephardic music and how it impacted other cultures as the diaspora settled in Morocco, Tunisia, and parts of Europe. Murphy is exploring sources from the Bulgarian Sephardi community and immersing herself in Ladino songs and melodic ornamentation, working to integrate folk songs and lullabies from the Sephardic tradition into her new work for chamber orchestra.

Tickets for the Azrieli Music Prizes Gala Concert ($20-$99) are now available for pre-sale at a discount of 20% with code AZRIELI with the regular sale beginning Thursday, April 26. Tickets may be purchased in person at the Place des Arts box office, by phone at 514 842-2112 or 1 866 842-2112 (toll-free), or at placedesarts.com.

www.azrielifoundation.org/music

About the Azrieli Music Prizes

Established in 2014 by the Azrieli Foundation, the Azrieli Music Prizes offer opportunities for the discovery, performance and celebration of excellence in new Jewish Music. Open to the international music community, works are nominated by individuals and institutions from all nationalities, faiths, backgrounds and affiliations, and submitted to the jury through the biennial open call for scores. Past Prize winners include Canadian composer Brian Current and US-based Polish composer Wlad Marhulets.

About The Azrieli Foundation

For 25 years, the Azrieli Foundation has funded institutions as well as operated programs on the ground in Canada and in Israel. The Foundation supports music and the arts, scientific and medical research, higher education, Holocaust education, youth empowerment and school perseverance, architecture, and quality of life initiatives for people with developmental disabilities. www.azrielifoundation.org