Author Archive for shiragilbert – Page 2

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

The Montreal Chamber Music Festival Proudly Announces its 2018 Season

The Montreal Chamber Music Festival is delighted to announce its 23rd season, offering a wonderful array of gems from the chamber music repertoire, exciting premieres, and new collaborations, with performances by many of our most revered artists along with brilliant new discoveries. Beginning with a new spring series at The Ritz-Carlton Montreal in April and May, the Festival moves to Pollack Hall for the TD JAZZ and classical series in June.

“With Droit au Cœur ! (Straight to the Heart!), we emphasize our love for chamber music, the most intimate and collaborative of art forms,” comments Festival founder and Artistic Director Denis Brott, “As always, we are thrilled to highlight the best of the upcoming generation of Quebec musicians, as well as welcome back our friends from around the world. This season I am particularly proud to host the Canadian premiere of the New York Philharmonic String Quartet. We also celebrate the “Year of the Cello” in concert and film, culminating in our final concert featuring no less that 12 cellos on stage!”

The 2018 Festival offers a new flexible pricing scheme as well as a complete Festival pass for only $200. And, with several free events, the Festival is accessible to all!

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The Festival is thrilled to collaborate with The Ritz-Carlton Montreal for Rendez-vous au Ritz! Our theme is “Mentor and Apprentice” for these three mornings of chamber music, bringing together established artists with outstanding rising stars from the Conservatoire de musique de Montréal. Each Sunday morning event includes a delicious continental breakfast at 10am followed by a 1-hour concert at 11am, all taking place in the gorgeous Oval Room at The Ritz-Carlton Montreal.


For the first Ritz outing on Sunday, April 15, clarinetist and comedian Christopher Hall and the Andara Quartet bring out the fun in chamber music in a delightful programme including music by Mozart, Vivaldi, Brahms, and The Girl from Ipanema!  Formed at the Conservatoire de musique de Montréal, the Andara Quartet is already attracting international attention, and were recently invited to perform at the first edition of the String Quartet Biennale in Amsterdam.

On Sunday, April 29, cellist Denis Brott joins three brilliant young musicians from the Conservatoire, his cello protégé Bruno Tobon, and violinists Isabella Perron and Abby Walsh, for a beautiful programme of music by Bach, Ysaÿe, Handel, and Arensky. All three young rising stars are prize-winners of the OSM Manulife Competition, among many other honours.

For our final Sunday morning, May 20, celebrated pianist Richard Raymond, also a professor at the Conservatoire de musique de Montréal, introduces his brilliant 13 year-old student Sarah Oulousian, with music by Bach, Beethoven, Chopin, Liszt, and Gershwin’s Rhapsody in Blue.

The special price for Rendez-vous au Ritz!, including continental breakfast and concert, is just $25, or $10 for those under 20, plus service charges.

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The Festival’s popular TD JAZZ series is back for three unique Friday night concerts, including a tribute to Montreal’s jazz royalty, and a spotlight on two young and rising artists. We’re thrilled to have the wonderful Oliver Jones join us as the series spokesperson and host.

On Friday, June 1 at 8pm, the Festival pays tribute to the one and only Oscar Peterson. Celine Peterson has selected the artists and programme for this very personal tribute to her father, which will include Oscar’s own bass player Dave Young, along with jazz heavyweights, pianist Ben Paterson, and percussionist Jim Doxas for an intimate and inspiring evening, celebrating one of Montreal’s – and the world’s – great jazz artists.

On Friday, June 8 at 8pm, the Festival presents rising young jazz pianist and Grammy-nominee Eldar Djangirov and his trio. Djangirov has been described by The New York Times as “a blend of musical intelligence, organizational savvy, enthusiasm and prowess,” while Downbeat stated that “his command of his instrument is beyond staggering.” Eldar came to the U.S. from the former Soviet Union at age 10 and was signed to Sony Masterworks at 17. Releasing multiple albums since then, Eldar has appeared at numerous major jazz festivals as well as with world renowned symphony orchestras. Come hear the pianist Dave Brubeck calls “a genius beyond most young people I’ve heard.”

The electrifying Grace Kelly brings her trio to the Festival on Friday, June 15 at 8pm. Possessed by what band leader Jon Batiste calls “an electric charisma on-stage that instantly ignites the room,” the saxophonist, singer, and composer plays with the heart and passion of an old soul with the genre-bending zest and energy of the 25-year old she is. A regular on The Late Show with Stephen Colbert’s band, Grace has performed over 800 concerts in over 30 countries in notable venues as the Hollywood Bowl and Carnegie Hall. She recently released a portion of her 11th album live on Facebook.

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Our Classical Series begins on the theme of “Le Maître et La Relève” – one of our greatest master artists together with one of the brightest ensembles of the new generation. On Tuesday, June 12 at 8pm, pianist André Laplante joins the Rolston String Quartet for a splendid evening of music by Haydn, Tchaikovsky, and Schumann. The Festival is pleased to welcome back the outstanding Rolston Quartet, whom Strings Magazine calls “electrifying.” The Rolstons, currently Quartet in Residence at Yale University, are First Prize laureates of the 12th Banff International String Quartet Competition, and have been winning rave reviews on their recent tours throughout Canada, United States, Europe, and Israel.

The Tempest Trio makes its Canadian premiere on Thursday, June 14 at 8pm. The virtuoso trio of violinist Ilya Kaler, cellist Amit Peled, and pianist Alon Goldstein has been recently compared by critics to the legendary “Million Dollar Trio” of Arthur Rubinstein, Jascha Heifetz, and Gregor Piatigorsky. They perform trios by Beethoven and Bernstein then are joined by rising Montreal violist Marina Thibeault for the Schumann Quartet for piano and strings, op. 47.

Alon Goldstein joins three of Canada’s top classical pianists – David Jalbert, Steven Massicotte, and Wonny Song – for a pianistic whirlwind on Friday, June 15 at 5pm (note special time!). The powerhouse concert features showpieces like the Danse Macabre by Saint-Saëns and the Rhapsody by Liszt, as well as Mozart’s Sonata for four hands, K. 381 — and a sure-to-be rousing version of Sousa’s Stars & Stripes!

The Festival is thrilled to present the Canadian premiere of the New York Philharmonic String Quartet on Saturday, June 16 at 8pm. Formed in January 2017, the New York Philharmonic String Quartet comprises four principal musicians from the orchestra: Concertmaster Frank Huang, Principal Associate Concertmaster Sheryl Staples, Principal Viola Cynthia Phelps, and Principal Cello Carter Brey. Be among the first to hear this prestigious new ensemble in works by Haydn, Shostakovich, and Borodin.

Cellist Denis Brott brings together an outstanding group of cellists to close the Festival on Sunday, June 17 at 3:30 pm in celebration of the “Year of the Cello” and this most passionate and beautiful of instruments! Concert highlights include works by Menotti, Popper, and the Quebec premiere of Kelly-Marie Murphy’s Coffee Will Be Served In The Living Room for 8 cellos. The full composite of 12 cellos will be heard in Klengel’s Hymnus pour 12 violoncelles, op 57, and Heitor Villa-Lobos’ Bachianas Brasileiras 1 and 5, featuring soprano Aline Kutan.

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The Festival is pleased to offer three FREE events, welcoming one and all!

  • On Tuesday, June 12 at 5pm, the Rolston String Quartet performs Steve Reich’s Different Trains with a moving video re-creation by Beatriz Caravaggio. The Grammy Award-winning 1988 work for string quartet and tape is Reich’s reflection of his train journeys between New York and Los Angeles to visit his parents, who had separated. He later pondered the fact that, as a Jew, had he been in Europe instead of the United States at that time, he might have been travelling in Holocaust trains. Also performed will be Shostakovich’s Quartet No. 7.
  • On Friday, June 15 at 12pm, cellist Amit Peled performs on the legendary cello of Pablo Casals, bringing together works by Bloch with the Bach cello suites.
  • On Sunday, June 17 at 1pm, preceding the Festival’s final all-cello concert, join us for the Canadian premiere of the documentary film, The Cellist: Legacy Of Gregor Piatigorsky.

 

Rendez-vous au Ritz! series takes place at The Ritz-Carlton Montreal, 1228 Sherbrooke St. West

All other events (excluding the Gala) take place at Pollack Hall, 555 Sherbrooke Street West

 

All concerts at Pollack Hall are General Admission.

For the TD JAZZ and classical series at Pollack Hall, please note the Festival’s new pricing system:

1 TICKET = $50.00

2 TICKETS = $87.50

4 TICKETS = $112.50 (4 TICKETS FOR THE PRICE OF 3!)

STUDENTS 26 YEARS OLD AND UNDER $20.00

CHILDREN 12 AND UNDER FREE

 

FESTIVAL PASS TO ALL EVENTS: $200

Excludes Gala

 

ALL TICKETS AVAILABLE AT FESTIVALMONTREAL.ORG

OR BY CALLING 514.489.7444

CORO Connections Releases New Beethoven Album by the Eybler Quartet

“This is music-making that reflects deeply human and attractive qualities … good humor, wit, and invention.” – Early Music America (on Haydn’s String Quartets, Op. 33)

CORO Connections presents a new recording by the acclaimed Eybler Quartet, featuring Beethoven’s first three works for string quartet, Op. 18, nos. 1-3. The Toronto-based ensemble was founded in 2004 to explore the works of the first century-and-a-half of the string quartet repertoire and plays on instruments appropriate to the period of the music it performs. The Eybler Quartet has been widely praised for their committed, lively, and energizing performances, and razor-sharp ensemble skills. Adding to their superb discography, which includes music by Mozart and Haydn as well as lesser-known composers like Vanhal and their namesake Joseph Leopold Eybler, the group’s new Beethoven album will be released on March 2.

Beethoven’s Opus 18 represents the composer’s supremely confident first step towards what would become his total mastery of the Classical String Quartet. As violist Patrick Jordan points out in his colourfully descriptive liner notes, much of the Eybler’s repertoire draws from the two or three generations of composers preceding Beethoven, which is unusual for a string quartet. The Eybler Quartet’s experience of approaching Beethoven’s Opus 18 as “new music” profoundly influenced their readings of the works. Working from two different editions of the score, the Quartet confronted contradictory information, and delved deeply into exhaustive critical notes on the works. “Regardless of the edition one uses,” comments Jordan, “Beethoven’s work immediately stands apart from that of those working around him: articulations and dynamics are more frequent, detailed, and specific, and we find more special instructions. Beethoven represents a sudden step up in complexity, rather than a smooth point along the curve.”

The Eybler Quartet have chosen to take Beethoven “at his word,” putting aside their received ideas and intuitions to “unlearn” the works and subsequently reconstruct them with Beethoven’s instructions front of mind. One dramatic change is the Eybler’s commitment to respect the tempi that Beethoven himself indicated, some much quicker than we’re accustomed to, some considerably slower. Says Jordan: “There would appear to be no end of debate on this fiery topic, and I am sure that whatever I have to offer will merely fan the flames rather than extinguish anything!”

The Eybler Quartet’s most recent album, featuring the string quartets of Czech composer and Mozart contemporary Johann Baptist Vanhal, was widely acclaimed, “The ensemble is in its element here,” said The San Francisco Chronicle, “ and gives the music the vividness and polish required.” Boston’s WCRB praised the quartet’s for its “intimacy perfectly balanced with an electrifying passion” in choosing it as CD of the Week, while Early Music America was charmed by the ensemble’s “infectious vivacity, dynamism, and edge.”

CORO Connections is an imprint of the award-winning CORO record label. All of the artists on CORO Connections have links to Harry Christophers, The Sixteen, or the Handel and Haydn Society. Eybler Quartet violinist Aisslinn Nosky is concertmaster of Boston’s Handel and Haydn Society.

The Eybler Quartet brings a unique combination of talents and skills: years of collective experience as chamber musicians, technical prowess, years of experience in period instrument performance, and an unquenchable passion for the repertoire. Violinist Julia Wedman and violist Patrick G. Jordan are members of Tafelmusik Baroque Orchestra; Violinist Aisslinn Nosky is concertmaster of the Handel and Haydn Society and Principal Guest Conductor of the Niagara Symphony Orchestra; Julia and Aisslinn are also members of I FURIOSI Baroque Ensemble. Cellist Margaret Gay is much in demand as both a modern and period instrument player.

Canada’s Largest Composition Prize Announced

The Azrieli Foundation is proud to announce that composer Avner Dorman is the winner of the 2018 Azrieli Prize for Jewish Music for his composition, Nigunim for Violin and Orchestra. The $50,000 cash prize is granted biennially to a composer who has written the best new major work of Jewish Music, and is accompanied by a world premiere gala performance and a professional recording of the prize-winning work.

Avner Dorman, an Israeli-born composer who now lives in Gettysburg, Pennsylvania, has garnered numerous awards and prizes. At the age of 25, he became the youngest composer to win Israel’s prestigious Prime Minister’s Award for his Ellef Symphony. He has gone on to earn several international awards from ASCAP, ACUM and the Asian Composers League. He holds a doctorate in composition from the Juilliard School and currently serves as Associate Professor of Music Theory and Composition at the Sunderman Conservatory of Music at Gettysburg College and as Music Director of the CityMusic Cleveland Chamber Orchestra.

Dorman explains the genesis of his composition. “When writing Nigunim, I was most interested in exploring the music of various Jewish traditions from around the world. 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. I tried to embody both the unique features and deep commonalities of these traditions in my composition.” Dorman credits the Azrieli Music Prizes as an impetus for the completion of a fresh new orchestration for Nigunim, where past attempts had been musically unsatisfying.  “I am honoured that the jury of the Azrieli Prize have embraced the diversity of this piece.”

Azrieli Foundation Board Director, Dr. Sharon Azrieli, who initially conceived the Prize and has been leading its growth, says she is thrilled with the jury’s decision. “I am equally pleased to invite Avner into our growing community of Prize laureates. His Nigunim for Violin and Orchestra has within it all the elements we were seeking when we created these prizes. With its gravitas and expressivity, it conveys the meaning and continuity of the Jewish soul. It also remarkably unites the many styles of music of Jewish communities from around the world. I am confident that this is another work that will enter the repertoire to become a well-known and beloved concerto among violinists and audiences alike.” Jury member Aaron Jay Kernis adds,Avner Dorman’s music is marked by soulful expression joined to rich, inventive orchestral colour and virtuosic flair. The jury is delighted that his violin concerto is the second worthy winner of this important prize.”

In September, the Azrieli Foundation announced that Kelly-Marie Murphy won the 2018 Azrieli Commission for Jewish music. Both compositions will be performed at the Azrieli Music Prizes Gala Concert on October 15, 2018 at the Maison symphonique de Montreal featuring the McGill Chamber Orchestra (MCO) and Guest Conductor Yoav Talmi.

Avner Dorman’s music is exclusively published by G. Schirmer.

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

Maestro Kent Nagano Conducts the McGill Symphony Orchestra

The Schulich School of Music’s McGill Symphony Orchestra performs under the baton of Orchestre symphonique de Montréal Music Director Maestro Kent Nagano for the first time and for one night only on Tuesday, February 13 at 7:30 pm at Maison symphonique, in collaboration with the OSM. The superb, young orchestra performs a sumptuous programme including Schumann’s Symphony No. 1, Wagner’s Siegfried-Idyll, and Leonard Bernstein’s Serenade (after Plato’s Symposium) featuring violinist Andrew Wan – an Assistant Professor at the Schulich School as well as OSM concertmaster – as soloist.

Kent Nagano comments: “It is not only a pleasure to have the opportunity to work with young talented musicians, it is an important part of our responsibility as artists. One senses in them a thirst for knowledge and improvement, so essential to the development of their craft. A part of obtaining knowledge is to pass it on by investing in the next generation, as they will carry our tradition forward into the next century for our children and their children.  I am thrilled to perform with the McGill Symphony Orchestra, and proud to host them on stage of the Maison symphonique for this collaborative event between the OSM and the Schulich School of Music.”

“We are absolutely thrilled to have our students perform at Maison symphonique under the baton of Maestro Kent Nagano,” comments Brenda Ravenscroft, Dean of the Schulich School of Music, “It is a tremendous opportunity to showcase their outstanding musicianship while gaining invaluable insight from a master, on one of the great stages of the world. I am sure it will be an unforgettable experience for our orchestra – and for the audience as well.” 

In advance of its final rehearsals with Maestro Nagano, the MGSO will prepare for the concert with conductor Nicolas Ellis. Ellis, who earned his Master of Music in Conducting from the Schulich School of Music in 2015, is the recent winner of the $50,000 Fernand-Lindsay career prize. He is currently assistant conductor in residence with Orchestre Symphonique de Québec, as well as the Artistic Director and Founder of the Orchestre Symphonique de l’Agora.

The orchestra performs Robert Schumann’s youthful Symphony No. 1 in B-flat major, Op. 38, known as Schumann’s “Spring Symphony.” The composer, until then primarily known for his works for piano and voice, composed this first work for orchestra in early 1841. It was premiered that March in Leipzig under the baton of Felix Mendelssohn. Richard Wagner composed his gorgeous Siegfried Idyll as a gift to his second wife after the birth of their son Siegfried in 1869. Wagner later incorporated music from the Idyll into the final scene of his opera Siegfried. The orchestra will also perform, with violin soloist Andrew Wan, Leonard Bernstein’s Serenade (after Plato’s Symposium). Bernstein himself conducted the 1954 premiere of this 5-movement work, written for his friend Isaac Stern. While the composer stressed that the Serenade has “no literal program,” the work resulted from his rereading of Plato’s charming dialogue, The Symposium, about the nature and purpose of love. Currently, the centenary of Leonard Bernstein’s birth is being celebrated with numerous performances of music around the world.

Each year, the McGill Symphony Orchestra presents a varied cross-section of orchestral music from early 18th century classics to celebrated contemporary composers. Its home venue is Pollack Hall, but it also performs regularly in venues such as the Église St. Jean-Baptiste and Montreal’s Maison symphonique. High professional standards are required from every member of the orchestra, since one of its objectives is to prepare young musicians for successful auditions with major orchestras around the globe. Along with two performances each of six concert programs, the MGSO’s annual activities include collaborations with Opera McGill, winners of the School’s concerto competitions, distinguished members of the Schulich School of Music faculty, and with internationally acclaimed guest artists and conductors. The MGSO is often heard on CBC and presents regular audio/video webcasts for an ever-growing international audience. The MGSO has performed in New York’s Carnegie Hall and made its debut in Toronto’s Koerner Hall in November 2015.

Kent Nagano Conducts the McGill Symphony Orchestra

Tuesday, February 13 at 7:30 pm

Maison symphonique, 1600 Rue Saint-Urbain

Tickets: $39/ $24 | OSM.ca or 514 842-9951

Philip Glass Headlines 2018 Winnipeg New Music Festival

Each year, at the peak of its frigid winter, Winnipeg transforms into an oasis of the most inspiring, adventurous, and riveting music of our time. The Winnipeg Symphony Orchestra’s New Music Festival presents its 27th season from January 27 through February 2, 2018, reveling in the music of today, inspiring artists and igniting abundant audiences of all ages. The week-long internationally-acclaimed celebration of creativity is known for bringing together the biggest luminaries in the music and art world – such as Steve Reich, Jim Jarmusch, Dame Evelyn Glennie, and John Corigliano, to name just a few – to explore, debate, and discover. And concert attendance of over 7,000 makes it one of the best attended new music festivals in the world. WSO Artistic Director Alexander Mickelthwate anticipates, “This year will be nothing short of extraordinary, as we bring you the most famous minimalist composer worldwide, the most beautiful Icelandic soundscapes, the most iconic Canadian visual artist, and the most energetic new talent you can imagine.”

The Winnipeg New Music Festival is thrilled to have iconic American composer Philip Glass in residence as composer and performer. The Festival presents the world premiere of Glass’ String Quartet No. 8 with the JACK Quartet – deemed “superheroes of the new music world” by The Boston Globe – as well as the Canadian premiere of the composer’s Symphony No. 11 (2017). Glass will also be among the stellar pianists in an evening of his complete Piano Etudes. “Seeing the work of two decades compressed into an evening [of Piano Etudes] was immensely satisfying, as America’s greatest living composer stakes his claim for immortality,” said The Guardian. Another evening, devoted to choral works, presents excerpts from several of Glass’ operas. Coming off his 80th birthday season, celebrated worldwide with tributes, premieres, and performances at Carnegie Hall, in San Francisco, in London (UK), and elsewhere, as well as several new recordings, Philip Glass continues to expand his extraordinary and unprecedented impact upon the musical and intellectual life of his times.

On a momentous opening night (Saturday, January 27 at 7:30 pm), the Festival will reunite Philip Glass with Michael Snow, jazz musician, filmmaker, visionary, and “the eminence grise of Canadian art” (Toronto Star). Glass and Snow, along with Steve Reich and Richard Serra, created a revolutionary new minimalist aesthetic in the late 1960s in New York, a touchstone still felt by composers today. On the same program as the Canadian premiere of Glass’ Symphony No. 11 (2017), Snow presents his first-ever work for orchestra, a collaboration with Festival curator and composer Matthew Patton. “Philip Glass and Michael Snow, along with Reich and Serra, changed everything about how art was experienced, bending time with repetitive structures and bending perceptions with radical insight,” says Patton, “To have both men, now in their 80s, together here in Winnipeg to premiere their works, is nothing short of historic.”

The WNMF maintains a special connection with the astounding music scene in the tiny country of Iceland, half the population of Winnipeg. The 2018 Festival presents a number of world premieres by Icelandic composers including a major new work for orchestra and choir by Hilmar Örn Hilmarsson, about whose emotionally-charged film scores Opus has said: Forget about what you thought beauty was about. [This music will] cut into your heart like a scalpel.” Also featured is a premiere choral work by two-time Academy Award nominee and Golden Globe winner for Best Score Jóhann Jóhannsson, and a Canadian premiere by Björk.

Several more of today’s major composers join the Festival for striking and unique new works. Montreal-born, Paris/Berlin–based composer and conductor Samy Moussapresents his recent Symphony No. 1, Concordia, commissioned by the Orchestre symphonique de Montréal to celebrate the city’s 375th anniversary. The Montreal Gazettepraised the “stimulating and ultimately stirring” work by a composer whose “music is rich, communicative.” American composer and Pulitzer Prize winner Ellen Taaffe Zwilich’s Symphony No. 3, called a “striking, sumptuous and somber work” (Newsday), was composed for the New York Philharmonic’s 150th anniversary. And, on opening night, the Festival presents the world premiere by WSO Composer-in-Residence and Festival Director Harry StafylakisA Parable for End Times is a setting of an apocalyptic text by Winnipeg-raised author Steven Erikson, for choir and orchestra.

Stafylakis comments, “WNMF 2018 features a remarkable range of musical styles and sound worlds. I’m equally thrilled by our lineup of world-class guest artists. The WSO continues its commitment to contemporary Canadian art with the WNMF Composers Institute, an evening devoted to world premieres of six emerging composers from across the country, plus the winner of the CMC Prairie Region’s Emerging Composer Competition, Luis Ramirez. I can’t think of a place I’d rather be in the heart of winter!”

And, for the first time, WNMF is stepping out into the daylight for bite-sized performances during the lunch hour. Join us around Winnipeg during the Festival for free concerts. See the schedule at wnmf.ca/in-the-community

Festival goers will also have the opportunity to discover Portal Zero, a new 16-foot installation residing in the lobby of Centennial Concert Hall throughout WNMF. Part maze, part listening booth, part architectural marvel, Portal Zero is created in collaboration with StorefrontMB.

Directly following the official festival is the premiere of a new, live film score to Dawson City: Frozen Time. Film director Bill Morrison pieces together the bizarre, true history of a long-lost collection of 533 nitrate film prints from the early 1990s. Located just south of the Arctic Circle, Dawson City was the final stop for a distribution chain that sent prints and newsreels to the Yukon. The films were seldom returned. The Dawson City Collection was uncovered in 1978 when a bulldozer dug up a horde of film cans. These permafrost-protected, rare silent films and newsreels, paired with archival footage, interviews, and historical photographs, get a new live score by Sigur Rós producer/collaborator Alex Somers (of Jonsi and Alex, and Riceboy Sleeps). The screening with live music takes place on Saturday, February 3 at 8:00 pm at Knox United Church ($35 advance $40 at the door). In collaboration with Jazz Winnipeg.

For the full line-up of the 2018 Winnipeg New Music Festival Line Up please see:

wnmf.ca

The WSO is integral to Winnipeg’s rich cultural life, delighting more than 225,000 audience members each year with innovative programming and musical excellence. The WSO presents educational programs for more than 40,000 students annually and tours to communities across Manitoba.

 

 

Violinist Nuné Melik Makes Recording Debut with Hidden Treasure

When violinist Nuné Melik moved from Moscow to Montreal alone in 2009 she felt déracinée, or rootless. To combat her loneliness, the Siberian-born violinist of Armenian and Georgian heritage began to play music from composers she had heard and loved growing up. Soon, Melik became inspired to dig more deeply into the music of her homeland, igniting a passion for research – including three trips to Armenia over the past seven years – and the desire to bring this music to a wider audience. Since forming a partnership with pianist Michel-Alexandre Broekaert in 2010, Melik has performed the music of Hidden Treasure to audiences across North America and beyond, and has also delivered numerous lectures, in four languages, about her research. Melik calls this very personal album “a celebration of the survival spirit and creativity of the Armenian people.”

Hidden Treasure is released digitally on October 7 and the CD will be available beginning October 15. The duo will perform the music of Hidden Treasure in a series of concerts this fall in Boston, Montreal, Toronto, Washington DC, New York, and Los Angeles (details below).

Considered one of Canada’s most prominent up-and-coming violinists, Nuné Melik made her debut at Carnegie Hall’s Stern Auditorium last fall, performing the Sibelius Concerto, and is a winner of the Canada Council Musical Instrument Bank competition, which has provided a Carlo Ferdinando violin (1750) for her use. To date, music from the Hidden Treasure project has been presented to audiences at Carnegie Hall in New York and broadcast on CBC Radio’s In Concert. The program has been selected as part of the next national tour of Jeunesses Musicales Canada, and a tour of China in 2019.

Some of the music of Hidden Treasure, with its idiomatic folk melodies and themes, was composed under the shadow of the Armenian Genocide of 1915, a humanitarian tragedy with more than 1.5 million casualties. Among this music are works by Komitas Vardapet (1869-1935), considered to be a founder of Armenian classical music. In his sorrowful “Apricot Tree,” as arranged for violin and piano, the singer entreats the tree not to bear fruit because his grief is so deep. The composer’s “Krunk” (Crane), in which a crane is asked for news from the motherland left behind, became the symbol of a nation’s exile. In contrast, in Vardapet’s more lyrical “Keler Tsoler” (Striding, Beaming), arranged for violin and piano, a woman tenderly addresses her lover.

More commonly-known outside of Armenia is the music of Aram Khachaturian (1903-1978), the first composer who successfully combined Caucasian folk music and European traditional music. Khachaturian’s masterful “Song-Poem after Ashugs” refers to the country’s street musician-poets. And, from the same ballet score as the composer’s trademark “Sabre Dance” comes his “Nuné’s Variation,” dedicated to his daughter. The arrangement for violin and piano expresses all the virtuosic energy and whimsical humor of the original.

An enourmously successful virtuoso pianist, Arno Babadjanian’s (1921-1983) eccentric musical style and charismatic personality is in evidence in his three-movement Sonata for Violin and Piano of 1959, deemed a “masterpiece” by his close friend Dimitri Shostakovich. In the composer’s “Elegy,” he transforms a simple ashug melody into a virtuosic classical work for piano. Alexander Spendiarian (1871-1928) is one of the most influential composers in Armenian classical music. His “Khaidarma,” a reminiscence of composer’s childhood, is a Crimean-Tartar dance which became a part of the symphonic cycle Yerevan Etudes/Crimea Sketches in 1903.

A violinist who “has proven the theory of self-actualization” (Strings Magazine), Nuné Melik made her debut at Carnegie Hall’s Stern Auditorium in September 2016, which was followed by an invitation to perform at the United Nations. Melik has appeared as a soloist with Sinfonia Toronto, Senior Orchestra of New York, Gnessin Virtuosi, the Moscow State Chamber Orchestra, and the Miami Chamber Orchestra, where she is Artist-in-Residence. She was winner of the Waldo Mayo Competition for 2016 and has also earned prizes at the Andrea Postacchini Competition (Italy) and the I Oistrakh International Competition (Russia). A multi-talented artist, Melik has published anthologies of Russian poetry, which have been translated into Armenian, French, and now English. She recently starred in the award-winning short film “Where is Music” about the music of Armenia. Melik studied at the Moscow State Conservatory and holds a Master’s degree from the University of Montreal where she was the program’s youngest graduate, at age 20. She is currently a Doctoral candidate at the Schulich School of Music at McGill University, studying with Andrew Wan.

Opera magazine says of Michel-Alexandre Broekaert, “He demonstrates both excellent listening … and a remarkable touch. Under his fingers, the music breathes and blossoms.” A pianist and coach at the University of Montreal and McGill University, Broekaert completed his doctorate under the tutelage of Jean Saulnier, followed by studies in Vienna with Avedis Kouyoumdjian.

En 2009, lorsque la violoniste Nuné Melik partit seule de Moscou pour venir s’installer à Montréal, elle se sentit déracinée. Pour combattre sa solitude, la violoniste d’origine arménienne et géorgienne née en Sibérie se mit à jouer de la musique de compositeurs qui avait bercé son enfance. Elle devint rapidement désireuse d’en apprendre plus sur la musique de ses origines; curiosité qui nourrit rapidement une nouvelle passion pour la recherche (et qui la mena trois fois en Arménie au cours des sept dernières années), ainsi qu’une volonté de partager cette musique avec le grand public. Depuis les débuts de sa collaboration avec le pianiste Michel-Alexandre Broekaert en 2010, Melik a joué la musique de Hidden Treasure pour des auditoires partout en Amérique du Nord et ailleurs, donnant également de multiples conférences ayant trait à sa recherche, et ce, dans quatre langues. Melik parle de cet album très personnel comme étant « une célébration de l’esprit de survie et de la créativité du peuple arménien. »

Hidden Treasure paraîtra en version numérique le 7 octobre, et le CD sera distribué sous l’étiquette française Dom Forlane le 15 octobre. Le duo jouera la musique de Hidden Treasure lors d’une série de concerts cet automne à Boston, Montréal, Toronto, Washington DC, New York, et Los Angeles.

Considérée comme étant l’une des violonistes les plus prometteuses au Canada, Nuné Melik a fait ses débuts au Stern Auditorium de Carnegie Hall l’automne dernier en interprétant le concerto de Sibelius. Elle est l’une des gagnantes du concours de la Banque d’instruments de musique du Conseil des arts du Canada, concours qui lui a valu l’attribution d’un violon Carlo Ferdinando (1750). Jusqu’à maintenant, la musique du projet Hidden Treasure fut présentée au Carnegie Hall à New York et fut diffusé sur les ondes de CBC Radio lors de l’émission In Concert. Le programme fut sélectionné pour la prochaine tournée des Jeunesses Musicales Canada, et fera l’objet d’une tournée en Chine en 2019.

Une partie de la musique de Hidden Treasure, avec ses mélodies et thèmes folkloriques, fut composée sous l’ombre du génocide arménien de 1915, une tragédie humanitaire dont plus de 1.5 million d’Arméniens ont été victimes. Au cœur de cette musique se trouvent des œuvres de Komitas Vardapet (1869-1935), compositeur pionnier de la musique classique arménienne. Le douloureux « Abricotier » (ici arrangé pour violon et piano) est une chanson folklorique dans laquelle un protagoniste demande à l’arbre de ne pas porter de fruits tant sa souffrance est grande. La pièce « Krunk » (Grue) du même compositeur, dans laquelle une grue demande des nouvelles d’une mère patrie désertée, devint le symbole d’une nation exilée. En contraste, le « Keler Tsoler » (foulée radieuse, œuvre arrangée pour violon et piano) présente une femme qui parle tendrement à son amant.

Bien connu en dehors de l’Arménie, le compositeur Aram Khatchatourian (1903-1978) fut le premier compositeur à combiner de manière fructueuse la musique folklorique caucasienne et la tradition musicale européenne. Le magistral « Chant-Poème (en l’honneur d’un Ashik) » fait référence aux poètes ambulants du pays. Tirées du même ballet que la très populaire « Danse du sabre », les « variations de Nuné » sont dédiées à la fille du compositeur. L’arrangement pour violon et piano de cette pièce exprime toute l’énergie et l’humour fantasque du ballet original.

Pianiste virtuose aux succès remarquables, Arno Babadjanian (1921-1983) fait montre de son style musical excentrique et de sa personnalité charismatique dans sa Sonate pour violon et piano (1959), sonate qui fut sacrée « chef-d’œuvre » par le proche ami du compositeur, Dimitri Chostakovitch. Dans son Élégie, le compositeur transforme une simple mélodie folklorique ashug en un ouvrage de virtuosité pour piano. Alexander Spendiarian (1871-1928) est l’un des compositeurs les plus influents dans le domaine de la musique classique arménienne. Son « Khaidarma », un souvenir de l’enfance du compositeur, est une danse tartare de Crimée qui fait partie du cycle symphonique Études d’Erevan/Esquisses de Crimée (1903).

Une violoniste qui a su « prouver la théorie de l’épanouissement personnel, » (Strings Magazine) Nuné Melik a fait ses débuts au Stern Auditorium de Carnegie Hall en septembre 2016, prestation à la suite de laquelle elle fut invitée à jouer pour les Nations Unies. On a pu voir Melik en tant que soliste avec le Sinfonia Toronto, avec le Senior Orchestra of New York, Gnessin Virtuosi, l’Orchestre de chambre de Moscou et le Miami Chamber Orchestra où elle est artiste en résidence. Elle fut la gagnante du Waldo Mayo Competition en 2016 et a également gagné des prix au Concours Andrea Postacchini  (Italie) et au Concours international David Oistrakh (Russie). Une artiste aux talents multiples, Melik a publié des anthologies de poésie russe qui ont été traduites en arménien, en français, et maintenant en anglais. Elle apparaît dans le récent court métrage « Where is Music » – film honoré par la critique et qui porte sur la musique en Arménie. Melik a étudié au Conservatoire Tchaïkovski de Moscou et détient un diplôme de maîtrise de l’Université de Montréal où elle fut la plus jeune diplômée du programme, à 20 ans. Elle est actuellement candidate au doctorat à l’Université McGill où elle étudie avec Andrew Wan.

La Revue Opéra dit de Michel-Alexandre Broekaert qu’il « démontre à la fois une excellente écoute… et un touché remarquable. Sous ses doigts, la musique respire et s’épanouit. » Pianiste et coach vocal à l’Université de Montréal et à l’Université McGill, Broekaert a complété son doctorat sous la tutelle de Jean Saulnier pour ensuite poursuivre ses études à Vienne avec Avedis Kouyoumdjian.