you can be in good company too! - early music vancouver...2019/04/19 · 2 early music vancouver...

2 Early Music Vancouver 2019 | 2020 Dowland: Lachrimæ [email protected]

You can be in good company too!The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their efforts make a meaningful difference for concertgoers and musicians alike.

Our wide range of activities offers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefits tailored to your specific needs.

Call Michelle Herrewynen to discuss how our audience profile may fit with your company’s objectives: 604 732 1610.

Early Music Vancouver gratefully acknowledges the assistance and support of:

GOVERNMENT SUPPORT

FOUNDATIONS

2019-20 PRODUCTION PARTNERS

PRODUCTION PARTNERS IN VICTORIA BC

CORPORATE SUPPORT

We also gratefully acknowledge the generosity of our many donors and volunteers.

thank you!

We acknowledge the support ofthe Province of British Columbia

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

pacificbaroque

orchestraalexander weimann

MUSIC director

THE BRENNAN SPANO FAMILY FOUNDATION

THE DRANCE FAMILYEARLY MUSIC VANCOUVER FUND

Rosedale on RobsonSuite Hotel

VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

1291 West 40th Avenue,Vancouver, B.C. V6M 1V3 Canadawww.knoxlex.com

Knox & Co. denotes D.A.Knox Law Corporation

Tel: 604 263 5766Cell: 604 374 7916Fax: 604 261 1868Email: [email protected]

Sponsors Page 2019-2020.indd 1 2019-09-14 11:02:44 AM

partners

1254 West 7th Avenue, Vancouver BC, V6H 1B6

tel: 604.732.1610 fax: 604.732.1602

[email protected]

board of directorsChris Guzy

president

Fran Watters vice president

Ron Kruschentreasurer

Tony Knoxpast president

Ilia Korkhsecretary

Kathleen BourchierSpencer Corrigal cpa,ca

Sherrill GraceMelody Mason

Tim Rendell cpa,caJohanna Shapira Ingrid Söchting

Vincent Tan÷

José Verstappen cmartistic director emeritus

÷

staffMatthew White

executive & artistic director

Nathan Lorchbusiness manager

Michelle Herrewynen development manager

Jonathan Evansproduction manager

Laina Tanaharamarketing & volunteer coordinator

Jan Gatesevent photographer

Murray Paterson Marketing Group

marketing & media relations

Trevor Mangionand

The Chan Centre Box Office Staffemv ticket office: 604.822.2697

earlymusic.bc.ca Dowland: Lachrimæ Early Music Vancouver 2019 | 2020 3

presented in collaboration with music on main’s modulus festival

with venue support from

the artists

THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING

DEVICE IS STRICTLY PROHIBITED

programme

Pre-concert chat with at 6:45:Stacey Brown,

Susie Napper and Nigel North

generously supported by

Johanna Shapira & John Geddes and

Marianne Gibson

Nigel North lute

Les Voix Humaines:Susie Napper

Margaret LittleMélisande Corriveau

Felix Deak viols

john dowland (1563-1626):

lachrimæ

with the support of

Lachrimæ, or seaven Teares figured in seaven passionate Pavans […]set forth for the Lute, Viols, or Violons, in five parts (1604)

Sir John Souch his Galiard

Lachrimæ Antiquæ (Old tears)

Mr George Whitehead’s Almayn

Lachrimæ Pavan – lute solo

Captaine Digorie Piper his Galiard

M. Henry Noel his Galiard

Lachrimæ Antiquæ Novæ (Old tears renewed)

Sir John Langtons Pavan

Semper Dowland, semper dolens – lute solo

Lachrimæ Gementes (Sighing tears)

Lachrimæ Tristes (Sad tears)

interval

Premiere of a new work commissioned by EMV:

Stacey Brown (1976– ):Lachrimæ Viventium(living tears, the tears of living, les larmes de la vie)

Lorasirme Ryny their Galliard

Lachrimæ Coactæ (Forced tears)

Lachrimæ Amantis (A Lover’s tears)

The Earl of Essex Galiard

In Nomine Farewell – lute solo

King of Denmarks Galliard

Lachrimæ Veræ (True tears)


programme notes

JOHN DOWLAND

Little is known about John Dowland’s beginnings. Born in 1562 or 1563, there are arguments for both London and Dublin as his place of birth. His enviable international career started in 1580 when he became lutenist in the service of Sir Henry Cobham, Queen Elizabeth’s ambassador to the French court in Paris. Here he converted to Roman Catholicism, a move that would have lifelong consequences.

He attributed his unsuccessful bid to serve at Elizabeth’s court to his attachment to his Catholic faith. Elizabeth, a great admirer of Dowland’s musicianship, described him as “a man to serve any Prince in the world but an obstinate Papist”! He was obliged to pursue a very successful career in Europe while his family remained on the “precious stone set in a silver sea”.

Highly sought after as the foremost lutenist of his time, the poet, Richard Barnfield wrote that Dowland’s “heavenly touch upon the lute doth ravish human sense”. In 1598 Dowland became one of the highest paid servants to Christian IV of Denmark, whose musical court was the envy of Europe. Dowland’s huge salary allowed him to travel regularly to England to publish his latest volumes and to see his family, to the ire of the King of Denmark!

During his European adventure, Dowland, like other seemingly innocent musicians, was also involved in espionage. On top of his musical duties, he acted as a spy for Sir Robert Cecil, Queen Elizabeth’s Secretary of State, and was even offered a handsome sum by the Pope to spy on some heinous, Roman intrigue. He turned down that attractive proposition through a sense of loyalty to his Queen.

In 1606 Dowland was released from his duties at the Danish court and returned to England to serve as a member of James I’s musical entourage until his death in London in 1626.

LACHRIMÆ

Dowland’s Lachrimæ, or Seaven Teares, Figured in Seaven Passionate Pavans, featuring the saddest, descending tetrachord heard throughout the pavans, is an iconic work that defies the 21st-century concept of sound bites or tweets! Slow and rich in harmony with time for contemplation, the pavans unfold with increasingly exquisite and dissonant harmonies.

THE SONNET

Flow my tears, fall from your springs, Exil’d for ever let me mourn; Where night’s black bird her sad infamy sings, There let me live forlorn…

The sonnet, Flow my tears, possibly penned by Dowland himself, appears first in his Second Booke of Songs or Ayres dated 1600. Based on the dance form of the pavan, Dowland composed several versions of the piece for solo lute, the first, Lachrimæ Pavan, appearing in 1596. Other composers borrowed the theme; John Bennet in his madrigal Weep oh mine eyes and Dowland’s Scottish colleague in Denmark, celebrated viol player, composer and mercenary soldier Tobias Hume, in his What greater grief, to name but a few.

Published in London in 1604, during Dowland’s years in Denmark, Lachrimæ or Seaven Teares is dedicated to Anne, Queen of Denmark. The title page includes the epigram “Aut Furet, aut Lachrimat, quem non Fortuna beavit”, or, “He whom Fortune has not blessed either rages or weeps”. In the preface Dowland writes, “Though the title doth promise teares, unfit guests in these joyfull times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed always in sorrow, but some time in joy and gladnesse.” The collection also includes “divers other pavans, galliards and allemands”, which, in our concert, alternate with the Lachrimæ pavans and exquisite lute solos on which Dowland’s reputation was built.

Dowland’s Lachrimæ has become canon in the annals of consort music. “Unfit guests in these joyful times”, these seven tears of extreme intensity are lamentations beautifully expressing the deepest melancholy of the soul!

The programme includes a new 21st-century take on Lachrimæ by Montreal-based composer Stacey Brown, commissioned by Early Music Vancouver.

This performance is significantly different from most in that the music is ornamented in a style appropriate to the period and in defiance of a certain modern Puritanism that demands total adherence to the written page. The embellishments add expressive elegance and musical freedom to the performance that we hope enhances the audience’s “joy and gladnesse”!

— Susie Napper, 2019


the artists

Nigel North Born in London, England, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington (USA) since 1999. Previous positions included The Guildhall School of Music and Drama, London (1976-1996), Hochschule der Künste, Berlin (1993-1999) and the Royal Conservatory, Den Haag, (2006-2009).

Initially inspired at the age of seven by the early 60’s instrumental pop group “The Shadows”, Nigel studied classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was 15. Basically self-taught on the lute, he has been playing and teaching for nearly 50 years.

After hearing one of Nigel’s Bach recitals in London, Julian Bream recalled in 2002 “I remember going to a remarkable recital, one which I wish I had the ability to give: it was one of Nigel North’s Bach recitals, and I was bowled over by how masterful and how musical it was. A real musical experience, something you don’t always get from guitar and lute players and which, in general, is pretty rare.” Recordings include a four CD boxed set “Bach on the Lute” (Linn Records), four CDs of the lute music of John Dowland (Naxos), and a new ongoing series of music by Sylvius Weiss (BGS) and Francesco da Milano (BGS).

Les Voix HumainesRecipients of numerous prizes, Susie Napper and Margaret Little, have thrilled audiences worldwide with dashing performances of early and contemporary music for viols since 1985. Their musical complicity has been compared to the skill of two trapeze artists or the telepathic communion of a pair of jazz saxophonists! They are renowned for their spectacular arrangements of a wide variety of music for two viols and have become a world reference for the music of Sainte-Colombe. Les Voix humaines has toured Canada, USA and Mexico, Europe, Australia, New Zealand, Israel, China and Japan, has recorded most of the repertoire for two equal viols and has worked with renowned musicians such as Bart and Wieland Kuijken, Charles Daniels, Eric Milnes, Skip Sempe, David Greenberg and Nigel North.

With colleagues Mélisande Corriveau and Felix Deak, Les Voix humaines Consort has been touring Europe and North America for the past several years. In 2017 the VH Consort toured in Mexico and its next venture is a Scandinavian and Eastern European tour in November.

Les Voix humaines has recorded over forty CDs to critical acclaim and has won prestigious awards (Diapason d’Or, Choc du Monde de la Musique, Repertoire-Classica 10, Goldberg 5, Classics Today 10/10, Prix Opus, etc). LVH Consort recordings include Purcell’s complete Fantasias, Bach’s Art of Fugue, Les Voix humaines’ own arrangement of Vivaldi’s Quatro Staggione, “4 Seasons, 4 Viols”, and Dowland’s Lachrimae.

Stacey Brown

Montreal-based Canadian composer Stacey Brown has been called “a composer to watch” (Broad Street Review) whose “considerable promise is apparent” (Philadelphia Inquirer). Her varied and versatile musical output – described as organic and deftly interwoven (Le Devoir), and “showing a gift for skilful orchestration” (Bachtrack) – includes opera and concert works, from solo to orchestra, as well as music for projects involving theatre, dance, and film. Winner of Symphony Nova Scotia’s Maria Anna Mozart Award (2019), the National Composition Prize of the Canadian University Music Society (2010), and the 1st and 3rd prizes of the Prix collégien de musique contemporaine (2016, 2018), Brown has had her works performed across Canada and in the United States by ensembles including the Philadelphia Orchestra (Yannick Nézet-Séguin), the Kamloops Symphony Orchestra (Dina Gilbert), l’Orchestre Métropolitain (Yannick Nézet-Séguin), l’Orchestre de la Francophonie (Jean-Phillipe Tremblay), Bicycle Opera Project, VivaVoce (Peter Schubert), Fiolûtröniq, Ensemble Kô (Tiphaine Legrand), Pianos Galore Clyde Mitchell), and Erreur de type 27 (Katia Makdissi-Warren), as well as by performers including Daniel Cabena, Claudine Ledoux, Philippe Prud’homme, and Katelyn Clark. Brown’s premieres in 2019 include the trumpet concerto En soi, in and of itself (2019) with trumpeter Stéphane Beaulac and the Orchestre Métropolitain conducted by Nicolas Ellis; Lachrimae Viventium and Lorasirme Ryny Their Galliard for viol consort (2019) with Les Voix humaines; and Urgent Solitudes for voice, cello, and piano with mezzo-soprano Stéphanie Pothier, cellist Amanda Keesmaat, and pianist Rosalie Asselin. An adjunct professor of music and experienced French-English translator, Brown has also authored several music analysis articles published by L’Éducation musicale (France). Stacey Brown is a Professional Member of the Canadian League of Composers and an Associate Composer of the Canadian Music Centre, and holds composition degrees from the University of Victoria (BMUS) and the Université de Montréal (MMUS; DMUS).


THANK YOU TO OUR VOLUNTEERS!

EMV’s activities are made possible through the generous assistance of many volunteers who offer their time.

We would like to thank the following:

Pam Atniko, Leslie Bauming, Richard Cameron, Alexandra Charlton, Catherine Crouch, Bill Dovhey, Sandy Dowling, Susan Edwards, Helen Elfert, Beverly Ferguson, Elizabeth Ferguson, Nel Finberg, Jean-Pierre Fougères, Gail Franko, Stanley Greenspoon, Satoko Hashigasako, Delma Hemming, Margaret Hendren, Murray Hendren, Michiko Higgins, Maggie Holland, Gene Homel, Richard Huber, Gigi Huxley, Nancy Illman, Gretchen Ingram, Ron Jobe, Gerald Joe, Susan Kaufman, Martin Knowles, Barb Knox, Susan Larkin, Pat Lim, Cindy Ma, Christina MacLeod, Wanda Madokoro, Kathryn McMullen, Vania Mello, Robert Middleton-Hope, Carole Nakonechny, Tom Nesbit, Sharon Newman, Veronika Ong, Gina Page, Betty Lou Phillips, Jessica Pereversoff, Melanie Ross, Selma Savage, Joey Schibild, Traudi Schneider, Jill Schroder, Eleanor Third, Sharron Wilson.

Interested in joining our volunteer corps? Phone 604.732.1610 for details.

OF INTEREST:ROY BARNETT HALL, UBC MUSIC

6361 Memorial Road, UBC campus

Friday 15 November at 12:00 noon & Monday 18 November at 7:30 pm

EARLY MUSIC ENSEMBLESfeaturing the

EMV/UBC Baroque Membership Orchestra— free admission —

COACH HOUSE, GREEN COLLEGE6201 Cecil Green Park Rd, UBC campus

Historically-informed performance practices

from Non-Western-European traditions.Generously supported by Chris Guzy and Mari Csemi.

Thursday 21 November at 5:00 pm:Qiu Xia He

Pipa teacher, performer, composer and music producer— free admission —

Interested in joining our Board?Interested in rolling up your sleeves to help one of the most active and acclaimed musical organizations in our region? The EMV board of directors is a varied and collegial group of individuals dedicated to providing support and leadership to our professional artistic and management team.

We are always interested in hearing from potential new di-rectors and welcome energetic, positive people with broad community connections, business experience, and skills rel-evant to non-profit governance, including fundraising, lead-ership, and strategic planning. Directors serve a two-year term, meeting once a month from September to June at Hod-son Manor (West 7th Ave and Birch) in Vancouver.

If you have some of this experience and if you would relish a leadership role in building something truly great in our community, please get in touch with us by emailing us your resume and a short note outlining what you feel you can contribute and why taking up the challenge of helping shape EMV interests you.

We look forward to hearing from you!

All enquiries can be emailed to [email protected]

you can be in good company too! - early music vancouver...2019/04/19 · 2 early music vancouver...

Documents