Author Archive for shiragilbert – Page 10

Montreal Leads the Nation for Music Monday / Lundi en Musique!

We Are One in studio_SGPRMontreal takes the lead for this year’s Music Monday, Canada’s annual nationwide celebration of the power of music in our schools, with a showcase at Espace culturel Georges-Émile-Lapalme, Place des Arts on Monday, May 4, from 12-1pm EST. The musical extravaganza is free and open to the public. Music Monday Anthem Search winner, high school student Connor Ross, will be in Montreal to lead the nation in a simultaneous sing-a-long of the new Music Monday anthem, We Are One/Nous Sommes Unis, bringing inspiration for Canadians of all ages to unite in recognition and celebration of the vital role music plays in our culture, our communities and in our schools. Also raising their voices on Music Monday are thousands of participants in Quebec and hundreds of thousands across Canada who have registered to sing We Are One/ Nous Sommes Unis and take part in the celebration. An interactive map of Music Monday celebrations may be found at: http://www.musicmonday.ca/map/

“Our Music Monday showcase events bring focus to the creative musical initiatives in schools and communities across our amazing country,” says Holly Nimmons, Executive Director of the Coalition for Music Education in Canada.  “This year, Montreal is the focal point for celebrating the vitality of music makers in that city, and we’ll share the western Canadian spirit by linking with Calgary.  What a dynamic showcase!”

Youth4Music’s David Peretz-Larochelle, the recent recipient of the Lieutenant Governor’s Youth Medal, will serve as host for the Montreal showcase. Along with Connor Ross, the event features jazz, courtesy of the Alain Caron Quartet – who will also accompany the Music Monday anthemclassical music from the McGill Chamber Orchestra and Maestro Boris Brott, and hip-hop, courtesy of The Lifeboat Project from Gerald McShane Elementary, featuring the song “Dans le futur.” Grammy Award-winning and two-time JUNO-nominated singer/songwriter Jennifer Gasoi leads students from Harold Napper Elementary School with “Les Etoiles,” and the N’We Jinan Artists, a collective of First Nations singers, rappers and musicians, featuring youth from Chisasibi, Quebec will perform their song “I Believe” – all kicked off by the rousing sounds of the drumline from St. Thomas High School.  In addition, Dr. Isabelle Cossette, founder and director of the Music Performance and Body Lab (MPBL) from McGill University’s Schulich School of Music, will address the benefits and the necessity of learning music.

A secondary showcase taking place in Calgary at the National Music Centre at 10 a.m. Mountain time will link up to Montreal via the national webcast. The event will be hosted by three-time ACMA nominee Amy Metcalfe and feature local favourites The Static Shift and Cowpunchers, as well as special guest speakers, youth hosts, and student music groups.

Individuals and groups participating in Music Monday are also invited to share their creative spin on the new Music Monday anthem, We Are One/Nous Sommes Unis. Through Music Monday’s We Are Creative initiative www.musicmonday.ca/wearecreative, participants can showcase their own flair by creating a video in any musical style or genre using Music Monday resources, which include the We Are One/Nous Sommes Unis lead sheet, various arrangements and translations and an instrumental backtrack. The video should be prefaced with a dedication to the person who cultivated the creator’s love and passion for music.

Everyone is invited to join the celebrations on Monday, May 4 from 12-1pm EST via the live web-cast streaming on www.musicmonday.ca/webcast.

Montréal ouvre la marche pour le Lundi en Musique de cette année, la célébration nationale annuelle de l’importance de la musique dans les écoles du Canada. Un spectacle spécial pleins feux marquera l’événement à l’Espace culturel Georges-Émile-Lapalme de la Place des Arts,lundi le 4 mai de midi à 13h. Ce spectacle musical est gratuit et ouvert au grand public. Connor Ross, gagnant du concours Recherche d’un Hymne pour le Lundi en Musique, sera à Montréal pour diriger la nation dans une performance simultanée à l’unisson du nouvel hymne Lundi en Musique qu’il a composé, We Are One/Nous sommes unis. Ce sera une inspiration pour les Canadiennes et Canadiens de tous âges à s’unir pour reconnaître et célébrer le rôle vital que joue la musique dans notre culture, nos collectivités et dans nos écoles. Des milliers de participants au Québec et des centaines de milliers à travers le Canada élèveront aussi leurs voix le jour du Lundi en Musique, qui se sont inscrits à l’avance pour chanter We Are One / Nous sommes unis et prendre part à la célébration. Une carte interactive de tous les événements inscrits au Lundi en Musique à travers le Canada peut être consultée à: http://www.musicmonday.ca/map/

“Lundi en Musique se concentre sur le patrimoine musical créatif dans les écoles et communautés à travers notre pays,” explique Holly Nimmons, Directrice Générale de la Coalition pour l’Éducation en Musique au Canada. “Cette année, tous les regards seront tournés vers Montréal alors que nous célébrerons la vitalité artistique des musiciennes et musiciens dans cette ville, et nous partagerons aussi l’esprit de l’Ouest Canadien en nous reliant par vidéo avec Calgary. Un spectacle riche et enlevant!”

David Peretz-Larochelle du Réseau des jeunes pour la musique, récipiendaire 2015 de la Médaille du Lieutenant-Gouverneur pour la jeunesse, sera maître de cérémonie pour le spectacle de Montréal. En plus de Connor Ross, l’événement mettra en relief: la musique jazz grâce au Quatuor Alain Caron, qui accompagnera aussi le chant à l’unisson; la musique classique avec l’Orchestre de chambre McGill sous la direction du Maestro Boris Brott; et la musique hip-hop avec le Projet Lifeboat de l’École primaire Gerald McShane avec la chanson “Dans le futur.” L’auteure-compositeure Jennifer Gasoi, récipiendaire Grammy et deux fois nominée aux Prix Juno, dirigera les élèves de l’École primaire Harold Napper pour la chanson “Les étoiles,” et le groupe N’We Jinan Artists, un collectif des Premières Nations comprenant chanteurs, rappeurs et musiciens mettant en vedette des jeunes de Chisasibi, Québec, chanteront leur chanson “I Believe,” au son percutant du drumline de l’École secondaire St-Thomas. En plus, Dr. Isabelle Cossette, fondatrice et directrice du Music Performance and Body Lab (MPBL) de l’École de musique Schulich de l’Université McGill, prendra la parole pour souligner les bénéfices et la nécessité d’apprendre la musique.

Un deuxième spectacle pleins feux se tiendra simultanément au Centre National de Musique de Calgary à 10 h (Heure des Rocheuses), et sera connecté en direct à Montréal pour une webémission nationale. L’événement sera animé par Amy Metcalfe, trois fois nominée par l’ACMA, et présentera les artistes locaux bien connus The Static Shift et Cowpunchers, ainsi que des invités spéciaux, animateurs jeunesse et groupes de musique étudiants.

Les individus et groupes participant au Lundi en Musique sont de plus invités à créer leur propre version du nouvel hymne du Lundi en Musique, We Are One/Nous Sommes Unis. Grâce à l’initiative du Lundi en Musique Nous sommes créatifs les participants peuvent partager leur créativité en montant une vidéo de l’hymne officiel en n’importe quel genre ou style de musique, utilisant les ressources du Lundi en Musique, incluant les partitions de We Are One/Nous Sommes Unis, les arrangements et traductions variés, ainsi que la piste d’accompagnement instrumentale. La vidéo doit toutefois être préfacée d’une dédicace à la personne qui a cultivé et nourrit la passion et l’amour de la musique chez l’artiste.

Tout le monde est invité à joindre les célébrations, lundi le 4 mai de midi à 13 h HAE via la webdiffusion en direct à www.lundienmusique.ca/webdiffusion.

The Montreal Chamber Music Festival Presents The Emerson String Quartet

ESQ SGPR“The performances were everything we have come to expect from this superb ensemble: technically resourceful, musically insightful, cohesive, full of character and always interesting.”

The New York Times

Universally acclaimed as one of the best string quartets in the world, the Emerson Quartet’s unparalleled list of achievements over three decades includes more than thirty acclaimed recordings and nine Grammy Awards. Beloved by audiences in Montreal and around the world, the Quartet returns to the Montreal Chamber Music Festival for the third and final concert in its “Celebrity Series,” in celebration of the Festival’s 20th Anniversary, on Saturday, May 2 at 8:00 pm at Bourgie Hall at the Montreal Museum of Fine Arts. The Emerson’s sumptuous program pairs two of the greatest masterworks of all time: Bach’s “Art of the Fugue,” the summit of his contrapuntal genius, and Beethoven’s seminal late quartet, Op. 132, representing the emergence of the master’s Romantic spirit.

Formed in 1976 and based in New York City, the Emerson was one of the first quartets formed with two violinists – Eugene Drucker and Philip Setzer – alternating in the first chair position. They are joined by violist Lawrence Dutton, and cellist Paul Watkins, who replaced founding cellist David Finckel in 2013, the Quartet’s 37th season. The reconfigured group has been greeted with impressive accolades. “One of the characteristics of the Emerson Quartet is that its players all have the ability and the instruments to produce a sweet and glossy sound — but do so sparingly. Instead, they establish a chromatic scale of timbres that range from dry and tart over clean and zesty all the way to lustrous and singing.”  (The New York Times)

With over 80 quartet performances each season, the Emerson’s recent performances have taken them across South America and the US, as well as dates across Europe and Japan. As an exclusive artist for SONY Classical, the Emerson recently released Journeys, featuring Tchaikovsky’s Souvenir de Florence and Schoenberg’s Verklaerte Nacht. In January of 2015, the Quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field.

The Emerson String Quartet concert is sponsored by The Alex U. Soyka Foundation.

The 20th Anniversary of the Montreal Chamber Music Festival continues from June 6 through 21 featuring artists including pianist Marc-André Hamelin, the Dover Quartet, jazz legend Oliver Jones, and superstar soprano Marie-Josée Lord, among many others. Founding Artistic Director Denis Brott’s 2015 programming was strongly influenced by this year’s concurrent 70th anniversaries of liberation: the end of WWII and the Holocaust. “These two earth-shattering moments in time instilled in me the desire to musically express the remarkable power of the human spirit,” comments Brott. “Whether it be the Quartet No. 3 of Victor Ullmann, written in the concentration camps of Nazi Germany, or the New Testament Revelations-inspired Quartet for the End of Time by Olivier Messiaen, we will take a musical voyage which will celebrate the extraordinary resilience and sense of survival in our collective spirit.”

Dedicated to promoting chamber music in all its diverse forms through collaborations with jazz and other artistic disciplines such as dance, theatre, film and visual arts, the Montreal Chamber Music Festival has received three OPUS awards (1999, 2001 and 2009), a Québec Tourism Grand Prize (2007) and the 2014 Event award from Destination Centre-ville Montréal. For more information please see:

www.festivalmontreal.org

VivaVoce Presents SoundFX

VivaVoce_SGPRVocal Effects from Birdsong, Drums and Hunting Horns to Lovers’ Sighs Enliven Madrigals Performed by Montreal’s Acclaimed Professional Chamber Choir

VivaVoce proclaims the long-awaited springtime with a riot of acoustical vocal effects in Sound FX on Sunday, April 26 at 3:00 pm at Redpath Hall. Artistic Director Peter Schubert leads the 12-voice ensemble in a programme featuring Renaissance madrigals by Janequin, Lassus, Tomkins, and Jacob Handl that feature the exuberant songs of birds and frogs, hunting horns, and even lovers’ plaintive sighs. VivaVoce will also premiere Nomadic Sounds, a newly commissioned work on the same theme, by world-renowned composer Philippe Leroux. Sound FX is the final concert of VivaVoce’s 16th Season in Montreal.

“In the Renaissance, musicians and listeners alike were delighted by songs about the sounds of daily life. Madrigals and chansons often required singers to imitate cats mewing, dogs barking, trumpets blaring, lovers sighing, and so forth,” comments Peter Schubert. The concert consists of a wide variety of such entertaining onomatopoetic effects, courtesy of Franco-Flemish composer Orlande de Lassus; French composer Clément Janequin (“Le chant des oyseaux”); Italian Adriano Banchieri;  Welsh-born composer Thomas Tomkins (“Weep no more, thou sorry boy”); and Latin madrigals by Slovenian composer Jacob Handl (Gallus). VivaVoce will also perform a musical recitation of Samuel Beckett’s “The frogs Watt heard on his walk.”

Inspired by the other “noisy” pieces on the program, composer Philippe Leroux’s charming and funny Nomadic Sounds, commissioned by VivaVoce, will receive its world premiere. Born in France, Leroux is currently Associate Professor of composition at the Schulich School of Music, McGill University, and composer-in-residence at Ensemble MEITAR in Tel-Aviv. His symphonic, vocal, electronic, and acousmatic compositions are widely performed at festivals including Radio-France Présences (Paris), and the Venice Biennale. His numerous prestigious prizes include the Nadia and Lili Boulanger Prizes from the Academy of Fine Arts, and Arthur Honegger Prize (Fondation de France).

VivaVoce chamber choir is acclaimed for its stunning virtuosity, intensity and “compelling mastery.” (Le Devoir). Each concert is a uniquely captivating experience, due in large part to Peter Schubert’s delightful introductions, presented in both English and French. VivaVoce’s recordings on the Naxos and ATMA Classique labels showcase their mastery of music from the past and present. They include a collection of Renaissance motets, Scenes from the Gospels, and Atacama: Symphony No.3, a 2014 Juno Award nominee, by Montreal composer Tim Brady. VivaVoce’s 2012 performance of the work won a Prix Opus for Premiere of the Year.

Peter Schubert’s understanding of choral music is informed by his years of study with legendary pedagogue Nadia Boulanger, conducting study with Helmuth Rilling, and doctoral studies in music theory at Columbia University. A professor at McGill University since 1990, Schubert has given lectures and workshops in the United States, Belgium, Canada, France, Italy, Switzerland and the Netherlands. His series of videos demonstrating the art of Renaissance improvisation may be found at peterschubertmusic.

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VivaVoce accueille le printemps tant attendu avec un joyeux cortège d’effets vocaux acoustiques lors du concert Effets sonores le dimanche 26 avril à 15h à la Salle Redpath. Le directeur artistique Peter Schubert dirigera le chœur à 12 voix dans un programme de madrigaux de la Renaissance signés Janequin, Lassus, Tomkins, et Jacob Handl, autant de partitions exceptionnelles où figurent les imitations fantaisistes de chants d’oiseaux et de grenouilles, de cors de chasse, voire même de soupirs amoureux. VivaVoce présentera également en création Nomadic Sounds, une oeuvre commandée sur le thème du concert au compositeur de réputation internationale Philippe Leroux. Effets sonores sera le dernier concert de la 16ième saison de VivaVoce à Montréal.

« À la Renaissance, tant les musiciens que les mélomanes prenaient plaisir aux chansons célébrant la vie quotidienne. Les madrigaux et les chansons comportaient fréquemment des passages où les chanteurs devaient imiter les miaulements du chat, les jappements du chien, l’éclat des trompettes ou les soupirs de langueur des amoureux, par exemple, » explique Peter Schubert. Le concert est composé d’un florilège de ces œuvres truffées de jeux d’onomatopées, sous les plumes du compositeur franco-flamand Orlande de Lassus; du compositeur français Clément Janequin (Le chant des oyseaux); de l’italien Adriano Banchieri;  du gallois d’origine Thomas Tomkins (Weep no more, thou sorry boy); ainsi que de madrigaux latins du compositeur slovène Jacob Handl (Gallus). VivaVoce offrira également une récitation musicale de Samuel Beckett « The frogs Watt heard on his walk. »

La charmante et radieuse œuvre intitulée Nomadic Sounds, que ViveVoce créera à cette occasion après l’avoir commandée au compositeur Philippe Leroux, trouve son inspiration dans les accents « bruitistes » des autres œuvres au programme. Né en France, M. Leroux est professeur de composition agrégé à l’École de musique Schulich de l’Université McGill, ainsi que compositeur en résidence à l’Ensemble MEITAR de Tel-Aviv. Ses œuvres symphoniques, vocales, électroniques et acousmatiques sont largement diffusées, notamment dans des festivals comme Radio-France Présences (Paris) et la Biennale de Venise. Il est récipiendaire de nombreux prix, dont le Prix Nadia et Lili Boulanger de l’Académie des Beaux-Arts et le Prix Arthur Honegger (Fondation de France).

Le chœur de chambre VivaVoce est reconnu pour son impressionnante virtuosité, son intensité et sa « maestria toujours convaincante » (Le Devoir). Chacun des concerts de l’ensemble offre une expérience passionnante, notamment par le biais des commentaires informatifs et spirituels qu’offre Peter Schubert, en français et en anglais. Les enregistrements de VivaVoce sur les étiquettes Naxos et ATMA Classique mettent en valeur sa maîtrise de la musique du passé à celle d’aujourd’hui. Ils comprennent notamment un programme de motets de la Renaissance, Scenes from the Gospels, et Atacama: Symphonie No.3, en nomination aux Prix Juno 2014, du compositeur Tim Brady. L’interprétation qu’a faite VivaVoce de cette oeuvre en concert en 2012 lui a d’ailleurs valu le Prix Opus pour la Création de l’année.

La compréhension profonde qu’a acquise Peter Schubert du répertoire choral est nourrie par ses années d’études auprès de la légendaire pédagogue Nadia Boulanger, ses études de direction avec Helmut Rilling, ainsi que ses études de doctorat en théorie musicale à la Columbia University. Professeur à l’université McGill depuis 1990, Schubert est invité à donner des conférences et ateliers aux États-Unis, en Belgique, au Canada, en France, en Italie, en Suisse et aux Pays-Bas. Sa série de vidéos consacrés à l’art de l’improvisation à la Renaissance est disponible en ligne à peterschubertmusic.

www.vivavoce-montreal.com

MATT HAIMOVITZ: BACH ON TOUR

Matt Haimovitz_cropSGPRFifteen years after his first, ground-breaking recording and Listening-Room Tour of Bach’s Six Suites for Solo Cello, Grammy-nominated cellist Matt Haimovitz renews his lifelong exploration of these beloved works in preparation for a new recording project. In 2000, with the recording that launched the artist’s own Oxingale Records, Haimovitz embarked on an extensive tour of North America, taking Bach’s cello suites out of the concert hall and into music clubs and coffeehouses. Considered a pioneer in bringing classical chamber music back to intimate, alternative spaces, Haimovitz’s personal interpretations of the suites were received with great acclaim, culminating in a historic performance at New York’s infamous punk palace, CBGB, filmed by ABC News for Nightline. Now, Haimovitz takes Bach’s Six Suites to variety of intimate venues in Atlanta, Augusta, Columbia, Charlotte and others, culminating in a performance of all six suites in one day at Strathmore in Bethesda, MD.

“I had been thinking about a second recording of these important works for some time,” says Haimovitz, “With my recent interest in period performance practice – as exemplified by the recent release of BEETHOVEN, Period. with Christopher O’Riley, and using tools of the early 19th century – the time feels right to attempt another traversal of the Bach Suites on baroque cello and bow. I am thrilled to share my discoveries in these universal works as I prepare to return to the recording studio in New York City this April.”

Going “period,” Haimovitz’s 1710 Matteo Gofriller cello will be set up with ox-gut strings, tuned down to A=415. He will also be using an exquisite reproduction of a baroque bow, commissioned from David Hawthorne, and a beautiful 5-string cello piccolo, for playing the sixth Suite in D Major.

Inspired by the architecture of the suites, a breathtaking summation of the vernaculars Bach absorbed from France, Italy, Spain and beyond, Haimovitz has commissioned new overtures to each of the Suites from composers influenced by folk music from around the globe: Philip Glass, Vijay Iyer, Du Yun, Luna Pearl Woolf, Roberto Sierra, and Mohammed Fairouz. The new works will serve as preludes, one for each Bach Suite, and will be premiered at the Miller Theater in NYC in fall 2015 alongside the complete Bach cycle. The release of the Bach recording on the PENTATONE/Oxingale series is planned for October 2015.

Grammy-nominated MATT HAIMOVITZ is acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Mr. Haimovitz made his debut at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and the Chicago Symphony Orchestra. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Diapason d’Or.

Matt Haimovitz and Christopher O’Riley, have just released BEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s  Sonatas for Pianoforte and Cello on period instruments on the new PENTATONE/Oxingale series.

BACH LISTENING ROOM TOUR | MARCH & APRIL 2015

Thursday, March 19 @ 8pm            New Brookland Tavern  Columbia, SC

Friday, March 20 @ 7pm                M.A.D. Studios  Augusta, GA

Saturday, March 21 @ 6pm            Eddie’s Attic  Atlanta, GA

Tuesday, March 24 @ 7pm             Crown Station Coffeehouse  Charlotte, NC

Thursday, March 26 @ 7:30pm       Wygal Recital Hall  Farmville, VA

Friday, March 27 @ 7 & 9pm           Music Center at Strathmore  North Bethesda, MD

Saturday, April 25 2 7:30pm            Stephen B. Humphrey Theater, SJU  Collegeville, MN

 

 

 

Louise Bessette Awarded the Prix Opus for Interprète de l’Année / Artist of the Year

Louise Prix Opus photo_SGPRAt a Gala event on February 1 at Salle Bourgie, Musée des beaux-arts de Montréal, Le Conseil québécois de la musique declared pianist Louise Bessette the winner of the Prix Opus for Interprète de l’Année / Artist of the Year. Recognized around the world as an exceptional pianist, and as a pre-eminent interpreter of the music of our time in particular, Bessette has sustained a fierce dedication to the interpretation and celebration of contemporary Quebec composers, the theme of her extraordinary four-concert recital series last season. In 25 ans de musique québécoise avec Louise Bessette, in conjunction with the 25th anniversary of La Chapelle historique du Bon-Pasteur, Bessette performed 25 works written by Quebec composers over the last 25 years, including a new work by Maxime McKinley written for the occasion. The Prix Opus Interprète de l’Année comes with a $5,000 grant from the Canada Council for the Arts.

In reviewing the concert series last season, writer Normand Babin commented: “In four recitals, Louise Bessette painted a picture of the past 25 years of piano composition in Quebec; An impressive history lesson for the listener, and an imposing challenge for the pianist. Composers seem to have an infinite love for this great interpreter. A historic moment played out in our ears on four occasions, and concluded with a call for renewal.”

Last month, Bessette performed Schoenberg’s magnificent Pierrot Lunaire in the series Musiciens de l’OSM at Salle Bourgie. Also in January, ATMA Classique released a new recording of music by Sofia Gubaidulina featuring Bessette with the Molinari Quartet. Coming up on Sunday, April 12, Bessette performs with cellist Yegor Dyachkov and clarinetist Simon Aldrich on a concert presented by Pro Musica at Salle Bourgie. Continuing to inspire contemporary composers, Bessette will premiere two new concertos next season: a new work by Silvio Palmieri with Ensemble de la SMCQ conducted by Walter Boudreau; and François Dompierre’s Concertango Grosso with Orchestre Appassionata, conducted by Daniel Myssyk.

This year’s honour is Louise Bessette’s 7th Prix Opus. Most recently, she was the winner of two Prix Opus for “Concert of the Year–Montreal” as well as “Concert of the Year–Modern and Contemporary,” for her 30-year Career Celebration presented by Société de musique contemporaine du Québec (SMCQ) in 2012. Recently, she was named one of the 25 Best Canadian Pianists by CBC Music. Louise Bessette is a Member of the Order of Canada, and Officier of the Ordre national du Québec. For more information, please see www.louisebessette.com.

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Lors d’un gala tenu le 1er février à la Salle Bourgie du Musée des beaux-arts de Montréal, le Conseil québécois de la musique a décerné à la pianiste Louise Bessette le Prix Opus de l’Interprète de l’Année. Reconnue dans le monde entier comme une pianiste exceptionnelle et en particulier comme prééminente interprète de la musique de notre époque, Mme Bessette a démontré au fil des ans un dévouement acharné quant à l’interprétation et la célébration des œuvres des compositeurs québécois, thème de son extraordinaire série de quatre récitals donnée la saison dernière. Dans 25 ans de musique québécoise avec Louise Bessette, série de concerts concordant avec le 25e anniversaire de la Chapelle historique du Bon-Pasteur, Louise Bessette a joué 25 œuvres de compositeurs québécois, écrites au cours des 25 dernières années, dont une nouvelle œuvre de Maxime McKinley écrite spécialement pour l’occasion. Le Prix Opus « Interprète de l’année » est doté d’une bourse de 5 000 $ du Conseil des arts du Canada.

Revenant sur la série de concerts la saison dernière, Normand Babin a résumé : « En quatre récitals, Louise Bessette a dressé un portrait de la composition pour piano des 25 dernières années au Québec. Une imposante leçon d’histoire pour l’auditeur, un imposant défi pour la pianiste […] les compositeurs semblent avoir un amour infini pour la grande interprète. Un moment historique en quatre temps s’est déroulé sous nos oreilles, et s’est terminé sur un appel au renouveau. On salue bien bas. »

Le mois dernier, Mme Bessette a joué le magnifique Pierrot lunaire de Schoenberg dans le cadre de la série Musiciens de l’OSM à la Salle Bourgie. Également en janvier, ATMA Classique a lancé un nouvel enregistrement de musique de Sofia Gubaidulina dans lequel la pianiste s’est jointe au Quatuor Molinari. Le dimanche 12 avril prochain, elle jouera avec le violoncelliste Yegor Dyachkov et le clarinettiste Simon Aldrich lors d’un concert présenté par Pro Musica à la Salle Bourgie. Encore et toujours source d’inspiration pour les compositeurs d’aujourd’hui, Louise Bessette créera deux nouveaux concertos la saison prochaine : une nouvelle œuvre de Silvio Palmieri avec l’Ensemble de la SMCQ sous la direction de Walter Boudreau et Concertango grosso de François Dompierre, avec l’Orchestre de chambre Appassionata, sous la direction de Daniel Myssyk.

Ce Prix Opus est le septième remis à Mme Bessette. Plus récemment, elle a reçu celui de « Concert de l’année – Montréal » et de « Concert de l’année – Musiques moderne, contemporain » pour « 30 ans de carrière », concerts présentés par la Société de musique contemporaine du Québec (SMCQ) en 2012. Début janvier, elle a été nommée l’une des 25 meilleures pianistes canadiennes par CBC Music. Louise Bessette est Membre de l’Ordre du Canada et Officier de l’Ordre national du Québec. Pour plus d’information, prière de consulter www.louisebessette.com.

 

THE AZRIELI MUSIC PROJECT: Two $50,000 Prizes for New Orchestral Jewish Music

azF - logo_sgprThe Azrieli Music Project (AMP), established to celebrate, foster and create opportunities for the performance of high quality new orchestral music on a Jewish theme or subject, is delighted to launch two important new prizes: The Azrieli Prize in Jewish Music, an international prize for a recently composed or performed work by a living composer; and The Azrieli Commissioning Competition, for a Canadian composer of any age. Each prize — open to composers of all faiths, backgrounds and affiliations — is for a new work of Jewish orchestral music of minimum 15 minutes duration, and carries a value of 50,000 Canadian dollars. The AMP is delighted to confirm its partnership with the Orchestre symphonique de Montréal and Maestro Kent Nagano, who will perform the winning works at The Azrieli Music Project Gala Concert at Maison symphonique in Montreal on October 19, 2016.

Dr. Sharon Azrieli Perez, noted operatic soprano and scholar in Jewish and cantorial music, has spearheaded the creation of the new prize: “Music has always played an important role in the development of cultural identities. Whether through folk traditions, in liturgical settings or in the concert hall, music reflects history and soul. In creating this extraordinary opportunity for composers of Jewish orchestral music, we hope to sustain music’s vital continuity through the long and rich history of Jewish people and culture. The Azrieli Music Project will become the medium for innovation, creation and risk-taking by today’s most inspired orchestral composers.”

The question What is Jewish Music? is at the heart of a constantly evolving cultural dialogue. Taking into account the rich and diverse history of Jewish musical traditions, the AMP defines “Jewish Music” as music that incorporates a Jewish thematic or Jewish musical influence. Jewish themes may include biblical, historical, liturgical, secular or folk elements. Defining Jewish music as both deeply rooted in history and tradition and forward-moving and dynamic, the AMP encourages themes and content drawn from contemporary Jewish life and experience. The AMP challenges orchestral composers of all faiths, backgrounds and affiliations to engage creatively and critically with this question in submitting their work. (For a more detailed description of how the AMP defines Jewish Music, please see: http://www.azrielifoundation.org/music/what-is-jewish-music/)

Joseph Rouleau, C.C., G.O.Q., one of the world’s foremost operatic basses and Honorary President of Jeunesses Musicales Canada, will serve as Chair of The AMP Advisory Council. Mr. Rouleau comments, “It is a tremendous pleasure to help launch this significant new prize, which offers such extraordinary opportunities – for the two composers who will have their work performed by Maestro Nagano and the OSM, and for the public, who will benefit from the creation of two new works of art on the fascinating theme of Jewish music.” Rouleau is joined on the Advisory Council by soprano Dr. Sharon Azrieli Perez, Director on the Board of the Azrieli Foundation, Canadian composer Ana Sokolović, Judge Barbara Seal, C.M., and classical music philanthropist David Sela. The AMP Jury will be announced at a later date.

The Azrieli Prize in Jewish Music is an international prize, awarded to the living composer of a recently composed and/or performed work of orchestral Jewish music, of minimum 15 minutes duration. The work must have been written in the last 10 years (after January 1, 2005), and have never been commercially recorded. Composers may be of any age, experience level, nationality, faith, background or affiliation. Deadline for submissions by open nomination is January 1, 2016.

The Azrieli Commissioning Competition is a Canadian commissioning grant for a work of new orchestral Jewish music between 15 and 25 minutes duration. This prize is limited to Canadian citizens or permanent residents of any age, experience level, faith, background or affiliation. A written proposal of the work to be composed, plus two excerpts of three-minutes each from previously completed works (score and recording) must be submitted by March 15, 2015. The deadline for the completed composition will be July 1, 2016.

Further details, score guidelines, deadlines, and the online and application form, may be found at: www.azrielifoundation.org/music

The Azrieli Foundation is a Canadian philanthropic organization that supports a wide range of initiatives and programs in the fields of education, architecture and design, Jewish community, Holocaust commemoration and education, scientific and medical research, and the arts.

Musical Adventurers Matt Haimovitz and Christopher O’Riley Reunite for BEETHOVEN, Period., an Illuminating Traversal of Beethoven’s Seminal Sonatas for Pianoforte and Cello

PTC5186475_coverart_SGPR Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite for BEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s Sonatas for Pianoforte and Cello. Grammy-nominated Matt Haimovitz, praised as a musical visionary in pushing the boundaries of classical music performance, and O’Riley, acclaimed for his engaging and deeply committed performances and known to millions as the host of NPR’s From the Top, turn back the clock to record for the first time on period instruments – Haimovitz’s Venetian Matteo Gofriller cello of 1710 set up with gut strings and an early 19th century tailpiece, and O’Riley with an 1823 original Broadwood fortepiano. The new recording on two SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

Haimovitz and O’Riley take BEETHOVEN, Period. on tour—sampling a variety of fortepianos en route—starting in Los Angeles on January 29, through April 11, when they perform at the Metropolitan Museum of Art in New York City. Complete tour dates and details below.

“Each time I approach Beethoven’s Sonatas and Variations for Piano and Cello is a life-affirming milestone,” says Haimovitz, who wrote his undergraduate thesis on the Beethoven Sonatas at Harvard University twenty years ago, “To grapple with the composer’s uncompromising vision, and his ideal of equality and balance. Yet, nothing could have prepared me and Chris for the revelation of exploring these works using period instruments. With this setup, the fact that the cello can easily overpower its partner changes everything. Suddenly, the consideration is no longer “how can the cello cut through the multi-voiced powerhouse of a concert grand piano,” but “how can it make room for the nuances of the 19th century fortepiano?””

For his part, O’Riley, who has recorded extensively on a variety of instruments, was amazed by the problem-free 1823 fortepiano: “It was exceedingly unexpected and astonishing to find that this nearly 200-year old instrument was in such immaculate condition. I’d place this in my Top Five instruments I’ve ever played.”

Finding the ideal tuning was also revelatory. While there were a variety of tunings in use in Beethoven’s Vienna, Matt and Chris found that their instruments resonated ideally at A=430, a microtone lower than the modern A=440 and higher than the Baroque A=415. “I think we all vibrate a little better at that pitch,” says O’Riley.

For Haimovitz and O’Riley, there is no more fascinating, influential, and documented figure than Beethoven. And, centuries before the duo blurred the lines between Radiohead and Stravinsky – as in their acclaimed Shuffle.Play.Listen for the Oxingale label – Beethoven had already embraced vernaculars within his music, using popular themes of the day by Mozart and Handel in his Variations. Returning to the cello and piano over three important periods in his career – early, middle, and late – Beethoven reveals his innermost struggles and triumphs as he marries the two disparate instruments, fearlessly unshackling the cello from its continuo origins, and confronting the challenges of its low voice in relation to the piano’s polyphony. Within a twenty-year period, Beethoven singlehandedly created and immortalized the genre.

Extensive liner notes by Matt Haimovitz explore further details and insights into the Sonatas and Variations –Opus 5, Opus 69, and the Opus 102 Sonatas, completed exactly 200 years ago, in 1815. Also in the notes, William Meredith, Director of The Ira F. Brilliant Center for Beethoven Studies, and Executive Director of The American Beethoven Society, discusses the 1823 Broadwood fortepiano used in the recording.

BEETHOVEN, Period. is the debut release on the PENTATONE Oxingale Series. Oxingale Records, the trailblazing artists’ label founded in 2000 by Matt Haimovitz and composer Luna Pearl Woolf, has joined forces with the Amsterdam-based label PENTATONE, renowned for its discerning artistic quality and superior audiophile technology. The international release of BEETHOVEN, Period. will be followed by new albums and reissues from Haimovitz, Woolf, and their musical collaborators – in SACD 5.1 surround sound and as high definition downloads – on the new PENTATONE Oxingale Series.

BEETHOVEN, Period. is a Tippet Rise Production. The recording was made possible by the American Beethoven Society.

Grammy-nominated Matt Haimovitz is acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Mr. Haimovitz made his debut at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and the Chicago Symphony Orchestra. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. In 2000, he made waves with his Bach “Listening-Room” Tour, for which Haimovitz took Bach’s beloved cello suites out of the concert hall and into clubs. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Diapason d’Or.

Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Riley is known to millions as the host of NPR’s From the Top, now in its fifteenth year on air. A guest soloist with virtually all of the major American orchestras, O’Riley has also performed recitals throughout North America, Europe, and Australia. O’Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. A prolific recording artist, O’Riley has recorded for Sony Classical, Oxingale Records, RCA Red Seal, Decca, and Harmonia Mundi. He has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

 

BEETHOVEN, Period. | 2015 TOUR

Thurs, Jan 29 @7:30pm, Valley Performing Arts Center, Northridge, CA

Sat, Jan 31 @ 8pm, Haugh Performing Arts Center, Glendora, CA

Mon, Feb 2 @ 8pm, Tractor Tavern, Seattle, WA

Tues, Feb 3 @ 7pm, Millennium Records, Portland, OR

Wed, Feb 4 @ 7:30pm, House Concert/live stream, Portland, OR

Thurs, Feb 5 @ 9pm, Sam Bonds, Eugene, OR

Tues, Feb 10 @ 8pm, San Francisco Conservatory, San Francisco, CA

Wed, Mar 11 @ 7:30pm, Bourgie Concert Hall, Montreal, QC

Sat, Apr 11 @ 12pm, Metropolitan Museum of Art, New York, NY

 

oxingale.com     pentatonemusic.com

DCINY Presents The Music of Karl Jenkins, Featuring The Peacemakers and Two U.S. Premieres

peacemakersDistinguished Concerts International New York is proud to present its annual concert featuring the supremely beautiful and inspirational music of Karl Jenkins. One of the most prolific and frequently-performed composers in the world today, Jenkins continues to spread a musical message of peace and unity, impeccably encapsulated in his multi-lingual large-scale work, The Peacemakers, which draws texts from such luminaries as Mother Theresa, The Dalai Lama, and Gandhi, and is dedicated to the memory of all those who lost their lives during armed conflict. An international chorus – with outstanding ensembles from Germany, the United Kingdom, South Africa, Switzerland, Sweden, Russia, Ireland, Italy, Canada and the United States – unites to express this message of peace, with the Distinguished Concerts Orchestra under the baton of DCINY Artistic Director and Principal Conductor Jonathan Griffith, the recent winner of the prestigious American Prize in Conducting, in the professional orchestral division. The concert on Monday, January 19 at 7pm – Martin Luther King Day – at Carnegie Hall’s Stern Auditorium, also features the U.S. premieres of Karl Jenkins’ The Healer, a choral cantata for St. Luke, and Llareggub, a new work for orchestra.

Karl Jenkins sums up the ethos of The Peacemakers with this 13th-century text by Rumi: “All religions, all singing one song: Peace be with you.” Drawing texts and inspiration from iconic figures that have shaped history, Jenkins includes evocative musical elements such as the bansuri (Indian flute) and tabla in the passages by Gandhi; the shakuhachi (a Japanese flute associated with Zen Buddhism) and temple bells in that of the Dalai Lama; African percussion in a section dedicated to Nelson Mandela; echoes of the blues of the deep American South, in his tribute to Martin Luther King; and uilleann pipes and bodhrán drums to accompany a Celtic prayer.

Featured soloists include soprano Lucy Knight, baritone Mark Watson, violinist Jorge Ávila, Kara Deraad Santos, flutes; Rob Derke, soprano saxophone, and Carlo De Rosa, electric bass, of NYJAZZ; Benny Koonyevsky, ethnic percussion; and Joseph Mulvanerty, uilleann pipes.

Llareggub, Jenkins’ new orchestral work, is a quirky, surreal and whimsical snapshot of life in the fictional seaside village where Dylan Thomas set Under Milk Woods. The Welsh sounding name betrays Dylan’s sense of humor since, when written backwards, it means something else in English! The colorful piece is in three short movements: “Starless and Bible-Black,” “Eli Jenkins’ Prayer” and “At the Sailors’ Arms.”

The Healer is a Cantata for St. Luke, an evangelist and physician of the soul. The text deals with healing, in both a spiritual sense, as well as the healing of our planet. Along with parts of St. Luke’s Gospel, the choral setting features extracts from the Book of Common Prayer, a poem by William Blake, and contributions especially written for this work by Terry Waite CBE, Vivien Harrison and Carol Barratt. In order to evoke the atmosphere and sound of the ancient holy land, Jenkins employs Middle Eastern percussion instruments, the riq and the darbuca.

Karl Jenkins is now the most-performed living composer in the world. The 2012 release of The Peacemakers CD on EMI Classics, reached number one on the UK classical charts, and after its concert performance debut at New York’s Carnegie Hall with DCINY, it was performed on a sell-out UK concert tour in Manchester, Birmingham, Cardiff, Dublin and London’s Royal Festival Hall, with the composer conducting. Karl Jenkins is currently signed to Deutsche Grammophon Records in Berlin. In this 70th birthday year Karl debuted his two new commissions: The Healer (recently broadcast by Classic FM), and Llaerggub. He was awarded an OBE by Her Majesty The Queen in the 2005 New Year honours list and a CBE in the 2010 birthday honours list for services to music.

An acclaimed conductor, educator and lecturer, Jonathan Griffith has led performances across North America, South America, Europe, and Asia. Griffith is the 2014 winner of The American Prize in Conducting, in the professional orchestra division. The American Prize is a series of new, non-profit competitions designed to recognize and reward the best performing artists, ensembles and composers in the United States. In naming Griffith as its winner, the American Prize judges specifically noted his “energetic” and “committed” performances. Jonathan Griffith is co-founder and artistic director of DCINY which has brought together, under Griffith’s artistic leadership, thousands of musicians and choral singers in concert at prestigious venues across the United States, including Carnegie Hall, Lincoln Center, and Disney Hall.

Distinguished Concerts International New York Founded by Iris Derke (general director) and Jonathan Griffith (artistic director and principal conductor) Distinguished Concerts International is driven by passion, innovative vision, a total belief in its artists, and unwavering commitment to bringing forth unforgettable audience experiences. DCINY is a creative producing entity with unmatched integrity that is a talent incubator, a star-maker, and a presenter of broadly accessible, world-class musical entertainment. For more information about Distinguished Concerts International New York and upcoming DCINY musical events around the world, please visit: www.DCINY.org.

Tickets at www.carnegiehall.org

 

Glorious New Live Recording of MESSIAH from the Handel and Haydn Society as it Celebrates its Bicentennial Season

COR16125_SGPRTHIS BICENTENNIAL SEASON MARKS H+H’S 400TH PERFORMANCE OF MESSIAH AND 161ST CONSECUTIVE YEAR PERFORMING THE WORK

CORO proudly presents a new live recording of Handel’s Messiah (COR16125) from Harry Christophers and the Handel and Haydn Society, in celebration of its Bicentennial season. Recorded live at Symphony Hall in Boston, the new recording showcases the enduring musical excellence of America’s oldest continuously performing arts organization, founded in Boston in 1815, which The New Yorker recently affirmed is a “steady heartbeat for classical music in this country.” Under the baton of Harry Christophers, H+H Artistic Director since 2009, Messiah features four superb soloists in soprano Gillian Keith, countertenor Daniel Taylor, tenor Tom Randle, and baritone Sumner Thompson.

No other American ensemble could stake an authoritative claim on Handel’s Messiah the way H+H can, the institution who gave the work’s American premiere on December 25, 1818. This year, H+H will present its 400th Messiah, in what will be its 161st consecutive year of performing the work. At the live recording concerts last November, The Boston Classical Review remarked upon the chorus’s “triumphant and luxuriant sound” while The Boston Musical Intelligencer praised thevery vital, very polished modern interpretation.”

Messiah (HWV 56), one of the best-known and most frequently performed choral works in Western music, was composed by George Frideric Handel in 1741. The text, from the King James Bible and from the version of the Psalms included with the Book of Common Prayer, takes us from the prophecies of Christ’s coming and the Nativity, to Christ’s suffering, his resurrection, ascension to the Kingdom of God, and finally to a jubilant epilogue celebrating Christ’s redemption and immortality. “I have no doubt that Handel was even more inspired than usual when composing Messiah,” says Harry Christophers, “and I hope that we will do justice to this most exceptional of Baroque masterpieces in a rendition that is faithful to Baroque conventions but also inspirational to you, the listener.”

This is H+H’s third recording of Messiah, following a 1955 recording conducted by Thompson Stone, and a second recording – featuring the 1789 Mozart orchestration – conducted by Andrew Parrott and released in 2000.

Founded in Boston in 1815, the Handel and Haydn Society (H+H) is America’s oldest continuously performing arts organization. It will celebrate its Bicentennial in 2015 with a series of special concerts, a commemorative book, and an interactive exhibition at the Boston Public Library. In addition to the US premiere of Handel’s Messiah in 1818, H+H’s esteemed tradition of innovation and excellence includes the American premieres of Haydn’s Creation (1819), Verdi’s Requiem (1878), and Bach’s St. Matthew Passion (1879), among other choral works. H+H today, under Artistic Director Harry Christophers’ leadership, is committed to its mission to enrich life and influence culture by performing Baroque and Classical music at the highest levels of artistic excellence, and by providing engaging, accessible and broadly inclusive music education and training activities.

Since its first recording collaboration with Harry Christophers on the CORO label in September 2010, H+H has issued three live commercial recordings of works by Mozart—Mass in C Minor (2010), Requiem (2011), and Coronation Mass (2012) —as well as the critically acclaimed Haydn, Vol. 1 (September 2013) and the best-selling Joy to the World: An American Christmas (October 2013).

 

For information on the H+H Bicentennial, please see:

handelandhaydn.org/about/bicentennial/

 

For details on this season’s Messiah performances (November 28, 29 & 30) please see:

http://handelandhaydn.org/concerts/handel-messiah/

 

Belgian Violinist Michael Guttman Returns to Montreal For Two Enchanting Chamber Music Concerts at La Chapelle historique du Bon-Pasteur

M Guttman_SGPR“A violinist with an incredible wealth of tone colors, with an exquisitely creamy sound … rich-toned and impassioned …” – The New York Times

 

 

Mahler, Dvorak & Faure Quartets | Thursday, November 13 at 8pm

with Pemi Paull, viola; Paul Marleyn, cello; and David Jalbert, piano

****** 

Pärt, Beethoven, Vieuxtemps & Brahms | Sunday, November 16 at 3:30pm

with David Jalbert, piano

A favourite of Montreal’s most discerning musical audiences, internationally acclaimed Belgian violinist Michael Guttman returns to La Chapelle historique du Bon-Pasteur for two chamber music concerts next month. Whether performing in Amsterdam, Dallas, Tokyo or in Tuscany – where he welcomes the world’s greatest artist to his own international music festival – Guttman, with his wealth of tone colours and expressivity, is known as “the Chagall of violinists” (Jerusalem Post).

David Jalbert_SGPROn Thursday, November 13 at 8pm, Guttman will be joined by Montreal-based violist Pemi Paull, cellist Paul Marleyn, and pianist David Jalbert, to perform three quartets from the Romantic repertoire: Mahler’s early work, the Piano Quartet in A minor; Dvořák’s Piano Quartet No. 2; and the Quartet No. 2 by Fauré.

On Sunday, November 16 at 3:30pm, Guttman joins up again with Jalbert for an afternoon recital including Beethoven’s Violin Sonata No. 4 in A minor, Brahms’ moody and dramatic Violin Sonata No. 3 in D minor, contemporary Estonian composer Arvo Pärt’s popular and hypnotic work, Fratres; and Belgian composer Henri VieuxtempsLamento for violin and piano.

The youngest student ever to be admitted into the Brussels Royal Conservatory of Music, aged 10, Michael Guttman went on to study at the Juilliard School with Dorothy Delay, the Juilliard Quartet and Felix Galimir. He has since performed in halls such as London’s Barbican Centre, New York’s Avery Fisher Hall, Paris’s Salle Pleyel, Amsterdam’s Concertgebouw and Tokyo’s Bunko Kaikan. In demand as a chamber musician as well as a conductor, his collaborators include such artists as Martha Argerich, Peter Serkin, James Galway and Richard Stolztman. His acclaimed recordings include three concertos by Israeli composers with the London Philharmonic and the late David Shallon.

A virtuoso with a warm and elegant style and a wide-ranging repertoire, pianist David Jalbert has established himself among the elite of a new generation of classical musicians. Jalbert performs regularly as a soloist and recitalist across North America and Europe, and his recordings have earned critical praise worldwide as well as a 2014 Prix Opus for Album of the Year and three Juno Award nominations.

Concerts November 13 & 16 at La Chapelle historique du Bon-Pasteur, 100 Sherbrooke Street East

*FREE PASSES (2 PER PERSON) AVAILABLE ONE WEEK IN ADVANCE*

Reservations: http://www.ville.montreal.qc.ca/chapellebonpasteur

* * * * * * *

Artiste aimé des auditoires de musique les plus exigeants de Montréal, le violoniste belge de renommée internationale Michael Guttman retourne à la Chapelle historique du Bon-Pasteur ce mois-ci pour deux concerts de musique de chambre. Sur scène, que ce soit à Amsterdam, Dallas, Tokyo ou en Toscane – où il accueille le monde musical à son festival Pietrosanta in Concerto – Guttman éblouit la critique et le public par son « incroyable richesse de couleurs sonores » (The New York Times) et a été proclamé le « Chagall des violonistes » (Jerusalem Post).

Le jeudi 13 novembre à 20 h, i sera rejoint par l’altiste montréalais Pemi Paull, le violoncelliste Paul Marleyn et le pianiste David Jalbert dans trois quatuors de répertoire romantique : le Quatuor pour cordes et piano de Mahler, le Quatuor en mi bémol de Dvořák et le Quatuor no 2 en sol mineur de Faure.

Le dimanche 16 novembre à 15 h 30, il retrouve David Jalbert pour un récital qui comprend la Sonate no 4 pour piano et violon en la mineur de Beethoven, la sombre et dramatique Sonate pour violon et piano no 3 en mineur de Brahms, l’hypnotique et méditative Fratres d’Arvo Pärt et le Lamento pour violon et piano de compositeur belge Henri Vieuxtemps.

Plus jeune élève admis au Conservatoire de Musique de Bruxelles à dix ans, Michael Guttman a poursuivi ses études à la Juilliard School avec Dorothy Delay, le Quatuor Juilliard et Felix Galimir. Jusqu’à maintenant, il a joué dans des salles telles que le Barbican Centre à Londres, l’Avery Fisher Hall à New York, la Salle Pleyel à Paris, le Concertgebouw d’Amsterdam et le Bunko Kaikan de Tokyo. En demande en tant que musicien de chambre ainsi que d’un chef d’orchestre, il a collaboré avec des artistes tels que Martha Argerich, Peter Serkin, James Galway et Richard Stolztman. Ses enregistrements salués comprennent trois concertos de compositeurs israéliens avec le London Philharmonic et David Shallon.

Virtuose élégant et chaleureux au répertoire éclectique, David Jalbert s’est taillé une place de choix parmi les pianistes de la nouvelle génération. M. Jalbert se produit régulièrement avec orchestre ou en récital à travers l’Amérique du Nord et l’Europe, et ses enregistrements ont été acclamés par la critique de par le monde. Il a été reçu un Prix Opus en 2014 et a été nommé aux Prix Juno à trois reprises.

Concerts 13 et 16 novembre à La Chapelle historique du Bon-Pasteur, 100, rue Sherbrooke Est

*LAISSEZ-PASSER DISPONBLES (2 PAR PERSONNE) UNE SEMAINE AVANT*

 Réservations: http://www.ville.montreal.qc.ca/chapellebonpasteur