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Page name: Ensemble Francoeur • Saturday, March 1, 2025 • 7:30pm
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<title>Ensemble Francoeur • Saturday, March 1, 2025 • 7:30pm</title>
<meta name="description" content="Step back into the opulent world of the French Baroque with Québec's Ensemble Francoeur. Experience a vibrant palette of sound, where luminous tones and delicate shades capture the essence of a refined musical era. The eclectic program features masterpieces including François Couperin’s "Concerts Royaux: Premier concert en sol majeur," Marin Marais’s "La Sonnerie de Sainte-Geneviève du Mont de Paris" and "L’Arabesque," and Michel Lambert’s heartfelt airs "Vos mépris chaque jour," "Une jeune fillette" arranged by Marie Nadeau-Tremblay, and "Ma bergère est tendre et fidèle." Also featured are Honoré d’Ambruis’s "Le doux silence de nos bois," the dynamic sonatas "Sonate pour violon en sol mineur, opus 2 no 6" by François Francoeur and "Sonate pour violon et viole de gambe en mi mineur" by Jean-Féry Rebel, as well as Michel Farinel’s stirring "Folia," Marc-Antoine Charpentier’s "Tristes déserts, sombre retraite, H 469," and Christophe Ballard’s "J’avois cru qu’en vous aymant." This ensemble—Baroque violinist Marie Nadeau-Tremblay, Tristan Best on viol, and Kerry Bursey with voice and lute—offers a nuanced interpretation of French Baroque music, capturing the dynamic and imaginative essence of the brilliant Baroque period. A co-presentation with JM Canada. Season Sponsor: Jules Chamberlain / Red Door Realty. " />
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<meta property="og:description" content="Step back into the opulent world of the French Baroque with Québec's Ensemble Francoeur. Experience a vibrant palette of sound, where luminous tones and delicate shades capture the essence of a refined musical era. The eclectic program features masterpieces including François Couperin’s "Concerts Royaux: Premier concert en sol majeur," Marin Marais’s "La Sonnerie de Sainte-Geneviève du Mont de Paris" and "L’Arabesque," and Michel Lambert’s heartfelt airs "Vos mépris chaque jour," "Une jeune fillette" arranged by Marie Nadeau-Tremblay, and "Ma bergère est tendre et fidèle." Also featured are Honoré d’Ambruis’s "Le doux silence de nos bois," the dynamic sonatas "Sonate pour violon en sol mineur, opus 2 no 6" by François Francoeur and "Sonate pour violon et viole de gambe en mi mineur" by Jean-Féry Rebel, as well as Michel Farinel’s stirring "Folia," Marc-Antoine Charpentier’s "Tristes déserts, sombre retraite, H 469," and Christophe Ballard’s "J’avois cru qu’en vous aymant." This ensemble—Baroque violinist Marie Nadeau-Tremblay, Tristan Best on viol, and Kerry Bursey with voice and lute—offers a nuanced interpretation of French Baroque music, capturing the dynamic and imaginative essence of the brilliant Baroque period. A co-presentation with JM Canada. Season Sponsor: Jules Chamberlain / Red Door Realty. " />
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<meta name="twitter:description" content="Step back into the opulent world of the French Baroque with Québec's Ensemble Francoeur. Experience a vibrant palette of sound, where luminous tones and delicate shades capture the essence of a refined musical era. The eclectic program features masterpieces including François Couperin’s "Concerts Royaux: Premier concert en sol majeur," Marin Marais’s "La Sonnerie de Sainte-Geneviève du Mont de Paris" and "L’Arabesque," and Michel Lambert’s heartfelt airs "Vos mépris chaque jour," "Une jeune fillette" arranged by Marie Nadeau-Tremblay, and "Ma bergère est tendre et fidèle." Also featured are Honoré d’Ambruis’s "Le doux silence de nos bois," the dynamic sonatas "Sonate pour violon en sol mineur, opus 2 no 6" by François Francoeur and "Sonate pour violon et viole de gambe en mi mineur" by Jean-Féry Rebel, as well as Michel Farinel’s stirring "Folia," Marc-Antoine Charpentier’s "Tristes déserts, sombre retraite, H 469," and Christophe Ballard’s "J’avois cru qu’en vous aymant." This ensemble—Baroque violinist Marie Nadeau-Tremblay, Tristan Best on viol, and Kerry Bursey with voice and lute—offers a nuanced interpretation of French Baroque music, capturing the dynamic and imaginative essence of the brilliant Baroque period. A co-presentation with JM Canada. Season Sponsor: Jules Chamberlain / Red Door Realty. " />
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<link rel="https://api.w.org/" href="https://www.ceciliaconcerts.ca/wp-json/" /><link rel="alternate" title="JSON" type="application/json" href="https://www.ceciliaconcerts.ca/wp-json/wp/v2/product/33797" /><link rel="EditURI" type="application/rsd+xml" title="RSD" href="https://www.ceciliaconcerts.ca/xmlrpc.php?rsd" />
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<meta name="generator" content="Site Kit by Google 1.174.0" /><style>
/* CSS added by WP Meta and Date Remover*/.entry-meta {display:none !important;}
.home .entry-meta { display: none; }
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.home .entry-footer { display: none; }
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document.documentElement.className += " js";
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<style type="text/css" id="kt-custom-css">
#logo {padding-top:9px;}#logo {padding-bottom:9px;}#logo {margin-left:5px;}#logo {margin-right:0px;}#nav-main, .nav-main {margin-top:50px;}#nav-main, .nav-main {margin-bottom:0px;}.headerfont, .tp-caption, .yith-wcan-list li, .yith-wcan .yith-wcan-reset-navigation, ul.yith-wcan-label li a, .price {font-family:Roboto;}
.topbarmenu ul li {font-family:Roboto;}
#kadbreadcrumbs {font-family:Roboto;}a:hover, .has-virtue-primary-light-color {color: #d7714a;} .kad-btn-primary:hover, .button.pay:hover, .login .form-row .button:hover, #payment #place_order:hover, .yith-wcan .yith-wcan-reset-navigation:hover, .widget_shopping_cart_content .checkout:hover,.single_add_to_cart_button:hover,
.woocommerce-message .button:hover, #commentform .form-submit #submit:hover, .wpcf7 input.wpcf7-submit:hover, .track_order .button:hover, .widget_layered_nav_filters ul li a:hover, .cart_totals .checkout-button:hover,.shipping-calculator-form .button:hover,
.widget_layered_nav ul li.chosen a:hover, .shop_table .actions input[type=submit].checkout-button:hover, #kad-head-cart-popup a.button.checkout:hover, input[type="submit"].button:hover, .product_item.hidetheaction:hover .kad_add_to_cart, .post-password-form input[type="submit"]:hover, .has-virtue-primary-light-background-color {background: #d7714a;}#containerfooter h3, #containerfooter h5, #containerfooter, .footercredits p, .footerclass a, .footernav ul li a {color:#ffffff;}.kt-call-sitewide-to-action {padding-top:40px; padding-bottom:40px;}.home-message:hover {background-color:#d6552d; background-color: rgba(214, 85, 45, 0.6);}
nav.woocommerce-pagination ul li a:hover, .wp-pagenavi a:hover, .panel-heading .accordion-toggle, .variations .kad_radio_variations label:hover, .variations .kad_radio_variations input[type=radio]:focus + label, .variations .kad_radio_variations label.selectedValue, .variations .kad_radio_variations input[type=radio]:checked + label {border-color: #d6552d;}
a, a:focus, #nav-main ul.sf-menu ul li a:hover, .product_price ins .amount, .price ins .amount, .color_primary, .primary-color, #logo a.brand, #nav-main ul.sf-menu a:hover,
.woocommerce-message:before, .woocommerce-info:before, #nav-second ul.sf-menu a:hover, .footerclass a:hover, .posttags a:hover, .subhead a:hover, .nav-trigger-case:hover .kad-menu-name,
.nav-trigger-case:hover .kad-navbtn, #kadbreadcrumbs a:hover, #wp-calendar a, .testimonialbox .kadtestimoniallink:hover, .star-rating, .has-virtue-primary-color {color: #d6552d;}
.widget_price_filter .ui-slider .ui-slider-handle, .product_item .kad_add_to_cart:hover, .product_item.hidetheaction:hover .kad_add_to_cart:hover, .kad-btn-primary, .button.pay, html .woocommerce-page .widget_layered_nav ul.yith-wcan-label li a:hover, html .woocommerce-page .widget_layered_nav ul.yith-wcan-label li.chosen a,
.product-category.grid_item a:hover h5, .woocommerce-message .button, .widget_layered_nav_filters ul li a, .widget_layered_nav ul li.chosen a, .track_order .button, .wpcf7 input.wpcf7-submit, .yith-wcan .yith-wcan-reset-navigation,.single_add_to_cart_button,
#containerfooter .menu li a:hover, .bg_primary, .portfolionav a:hover, .home-iconmenu a:hover, .home-iconmenu .home-icon-item:hover, p.demo_store, .topclass, #commentform .form-submit #submit, .kad-hover-bg-primary:hover, .widget_shopping_cart_content .checkout,
.login .form-row .button, .post-password-form input[type="submit"], .menu-cart-btn .kt-cart-total, #kad-head-cart-popup a.button.checkout, .kad-post-navigation .kad-previous-link a:hover, .kad-post-navigation .kad-next-link a:hover, .shipping-calculator-form .button, .cart_totals .checkout-button, .select2-results .select2-highlighted, .variations .kad_radio_variations label.selectedValue, .variations .kad_radio_variations input[type=radio]:checked + label, #payment #place_order, .shop_table .actions input[type=submit].checkout-button, input[type="submit"].button, .productnav a:hover, .image_menu_hover_class, .select2-container--default .select2-results__option--highlighted[aria-selected], .has-virtue-primary-background-color {background: #d6552d;}#nav-second ul.sf-menu > li:hover > a, #nav-second ul.sf-menu a:hover, #nav-second ul.sf-menu a:focus, #nav-second ul.sf-menu li.current-menu-item > a, #nav-second ul.sf-menu ul li a:hover {color:#ffffff;}.kad-mobile-nav .kad-nav-inner li.current-menu-item>a, .kad-mobile-nav .kad-nav-inner li a:hover, .kad-mobile-nav .kad-nav-inner li a:focus, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:hover .kad-menu-name, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:focus .kad-menu-name, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:hover .kad-navbtn, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:focus .kad-navbtn, .nav-trigger-case:hover .kad-navbtn {color:#d6552d;}.kad-mobile-nav .kad-nav-inner li.current-menu-item>a, .kad-mobile-nav .kad-nav-inner li a:hover, .kad-mobile-nav .kad-nav-inner li a:focus, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:hover .kad-menu-name, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:focus .kad-menu-name, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:hover .kad-navbtn, #kad-banner .mobile-nav-trigger-id a.nav-trigger-case:focus .kad-navbtn {background:#ffffff;}.contentclass, .nav-tabs>li.active>a, .nav-tabs>li.active>a:hover, .nav-tabs>li.active>a:focus, .hrule_gradient:after {background:transparent ;}.topclass {background:transparent ;}.headerclass, .mobile-headerclass, .kt-mainnavsticky .sticky-wrapper.is-sticky #nav-main {background:#0a0a0a no-repeat center bottom;}.navclass {background:#ffffff ;}.panel-row-style-wide-feature {background:transparent ;}.mobileclass {background:#0a0a0a ;}.footerclass {background:transparent no-repeat center ;}body {background:transparent ; background-position: center center; background-repeat:no-repeat; background-attachment: fixed; background-size: auto;}input[type=number]::-webkit-inner-spin-button, input[type=number]::-webkit-outer-spin-button { -webkit-appearance: none; margin: 0; } input[type=number] {-moz-appearance: textfield;}.quantity input::-webkit-outer-spin-button,.quantity input::-webkit-inner-spin-button {display: none;}@media (max-width: 992px) {#kad-banner,#kad-banner-sticky-wrapper {display: none;}#kad-mobile-banner, #kad-mobile-banner-sticky-wrapper{display:block;}}@media only screen and (device-width: 768px) {#kad-banner,#kad-banner-sticky-wrapper {display: none;}#kad-mobile-banner, #kad-mobile-banner-sticky-wrapper {display:block;}}.mobile-header-container a, .mobile-header-container .mh-nav-trigger-case{color:#ffffff;}[class*="wp-image"] {padding:0;}.portfolionav {padding: 10px 0 10px;}.woocommerce-ordering {margin: 16px 0 0;}.product_item .product_details h5 {text-transform: none;}.product_item .product_details h5 {min-height:50px;}#nav-second ul.sf-menu>li {width:16.5%;}.kad-topbar-left, .kad-topbar-left .topbarmenu {float:right;} .kad-topbar-left .topbar_social, .kad-topbar-left .topbarmenu ul, .kad-topbar-left .kad-cart-total,.kad-topbar-right #topbar-search .form-search{float:left} #topbar .mobile-nav-trigger-id {float: left;}#nav-main .sf-menu ul, .nav-main .sf-menu ul, #nav-second .sf-menu ul, .topbarmenu .sf-menu ul{background: #0a0a0a;}#nav-main ul.sf-menu ul li a, .nav-main ul.sf-menu ul li a, #nav-second ul.sf-menu ul li a, .topbarmenu ul.sf-menu ul li a, #kad-head-cart-popup ul.cart_list li, #nav-main ul.sf-menu ul#kad-head-cart-popup li .quantity, #nav-main ul.sf-menu ul#kad-head-cart-popup .total, #kad-head-cart-popup p.woocommerce-mini-cart__empty-message {color: #ffffff;}#nav-main .sf-menu ul li, .nav-main .sf-menu ul li, #nav-second .sf-menu ul li, .topbarmenu .sf-menu ul li,#nav-main .sf-menu ul, .nav-main .sf-menu ul, #nav-second .sf-menu ul, .topbarmenu .sf-menu ul {border-color: transparent;}.kad-header-style-two .nav-main ul.sf-menu > li {width: 33.333333%;}.kad-hidepostauthortop, .postauthortop {display:none;}.subhead .postedintop, .kad-hidepostedin {display:none;}.postcommentscount {display:none;}.postdate, .kad-hidedate, .postdatetooltip, .recentpost_date{display:none;}[class*="wp-image"] {-webkit-box-shadow: none;-moz-box-shadow: none;box-shadow: none;border:none;}[class*="wp-image"]:hover {-webkit-box-shadow: none;-moz-box-shadow: none;box-shadow: none;border:none;} .light-dropshaddow {-moz-box-shadow: none;-webkit-box-shadow: none;box-shadow: none;}.kad-mobile-nav .form-search .search-query, .kad-mobile-nav .form-search .search-icon {color:#ffffff;}.kad-mobile-nav .form-search :-moz-placeholder {color:#ffffff;}.kad-mobile-nav .form-search ::-moz-placeholder {color:#ffffff;}.kad-mobile-nav .form-search :-ms-input-placeholder {color:#ffffff;}.kad-mobile-nav .form-search ::-webkit-input-placeholder {color:#ffffff;}.entry-content p { margin-bottom:16px;}
.small-headline,
.small-headline p {
font-size: 9px !important;
}
.products .grid_item.product_item {
border-width: 1px;
border-color: #D3D3D3;
}
/* External/Affiliate product buttons only */
.woocommerce .products .product .button.product_type_external {
background-color: #16517e; /* pick your color */
color: #fff; /* text color */
border: none;
}
/* Optional: hover effect */
.woocommerce .products .product .button.product_type_external:hover {
background-color: #486a8d;
}
/* External button for product 38158 */
.woocommerce .products .post-38158 .button.product_type_external {
background-color: #db8d10; /* orange */
color: #fff;
}
.woocommerce .products .post-38158 .button.product_type_external:hover {
background-color: #db9628; /* l orange */
}
/* External button for product 37179 */
.woocommerce .products .post-37179 .button.product_type_external {
background-color: #db8d10; /* orange */
color: #fff;
}
.woocommerce .products .post-37179 .button.product_type_external:hover {
background-color: #db9628; /* l orange */
}
/* External button for product 37162 */
.woocommerce .products .post-37162 .button.product_type_external {
background-color: #db8d10; /* orange */
color: #fff;
}
.woocommerce .products .post-37162 .button.product_type_external:hover {
background-color: #db9628; /* l orange */
}
.home .contentclass {
padding-top: 0px !important;
}
#pg-21415-0 {
display: none;
}
#flipthumb-1 {
display: flex;
justify-content: center;
align-items: center;
flex-direction: column; /* keeps label below image if needed */
width: 100%;
max-width: 100%;
margin: 0 auto;
position: relative;
}
#flipthumb-1 ._df_thumb {
width: 100%;
max-width: 880px;
height: auto;
display: block;
}
/* You had two of these, this is the cleaned-up version */
#flipthumb-1 .flipthumb-label {
position: absolute;
bottom: 10px;
left: 50%;
transform: translateX(-50%);
background: #d6552d;
color: #fff;
padding: 10px 20px;
font-size: 17px;
font-weight: normal;
border-radius: 0;
pointer-events: none;
white-space: nowrap; /* optional: prevents wrapping */
z-index: 2;
}
.menu-cart-icon-kt.sf-dropdown > .menu-cart-btn{
padding-top: 0 !important
}
.woocommerce-message .button {
margin-top: 0
}
a.button {
background-color: #d6552d;
color: #fff !important;
border: none;
padding: 12px 20px;
text-transform: uppercase;
font-weight: bold;
display: block; /* makes it full width */
width: 100%; /* ensures it stretches */
text-align: center;
text-decoration: none;
box-sizing: border-box; /* avoids overflow issues */
}
a.button:hover {
background-color: #d7714a;
color: #fff !important;
}
h5 {
color: #000 !important;
}
.a-sandbox-blocks .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.a-sandbox-blocks .product_item .price {
display: none;
}
.a-sandbox-blocks .product_item .details_product_item a.button {
display: block;
}
.kad-product-noflipper.kt-product-intrinsic img {
width: 100% !important;
}
.single-product #content {
width: 100%;
}
.footerclass .kad-btn {
width: 100%;
}
h6 {
font-size: 9px!important;
color: #000000;
}
.stock.in-stock {
display: none;
}
.encore {
margin-top: 0 !important;
}
.product .kad_add_to_cart,
.product .single_add_to_cart_button {
width: auto !important;
}
#content div.product form.cart .button {
float:none;
}
#kt_rc_carousel_outer>.sectiontitle {text-align:center}
#kt_rc_carousel-mw {
padding-right: 10px;
}
.kt_rc_carousel a.button{
width:100%;
color: white;
background:#d6552d;
}
.kt_rc_carousel a.button:hover{
background: #d7714a;
}
.single_variation_wrap_kad .quantity {
display: block !important;
}
@media (min-width: 992px) {
#two-col-products .products .product {
width: 50%;
}
}
#product_wrapper2 .details_product_item a.button {
background-color: #d6552d;
color: #FFF;
display: block;
}
@media (max-width: 768px){
.kad-slider-58 {
display: none;
}
}
@media (max-width: 768px){
.kad-slider-66 {
display: none;
}
}
@media (max-width: 768px){
.kad-slider-61 {
display: none;
}
}
@media (max-width: 768px){
.kad-slider-59 {
display: none;
}
}
.is-sticky .virtue_sitewide_banner {
display: none;
}
.is-sticky header#kad-banner {
height: 135px!important;
}
.container.virtue_sitewide_banner {
background: #FFF;
width: 100%;
}
.virtue_banner {
max-width: 300px;
margin: auto;
}
.variations .kad_radio_variations label {
font-size: 10px;
}
.button-container a.kad-btn{
width:100%;
border-radius: 160px !important;
}
@media (max-width: 780px){
div#pg-w62e27cbe9972c-4 .textwidget > p > a.kad-btn{
width:75%
}
}
@media (max-width: 599px){
div#pg-w62e27cbe9972c-4 .textwidget > p > a.kad-btn{
width:100%
}
}
@media (max-width: 767px){
div#pg-w62e27cbe9972c-4 .textwidget > p > a.kad-btn{
border-radius: 160px !important;
}
}
.tickets .product_item .details_product_item a.button {
display: block;
}
.tickets .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.tickets .product_item .price {
display: none;
}
.musician-in-residence .product_item .details_product_item a.button {
display: block;
}
.sensory-accessible-concerts .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.sensory-accessible-concerts .product_item .price {
display: none;
}
.musician-in-residence .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.musician-in-residence .product_item .price {
display: none;
}
.composer-in-residence .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.home .product_item .details_product_item a.button {
display: block;
}
.concerts .product_item .details_product_item a.button {
display: block;
}
.page-id-8605 .details_product_item a.button {
display: block;
background-color: #d6552d;
color: #fff;
}
.product .kad_add_to_cart, .product .single_add_to_cart_button {
width:100%;
font-size: 11px;
text-transform: uppercase;
padding: 8px 28px;
}
.page-id-8605 .product_item .details_product_item a.button:hover {background-color:#d7714a
}
.product .kad_add_to_cart, .product .single_add_to_cart_button {
font-size: 12px;
text-transform: uppercase;
padding: 10px 28px;
}
.red-menu a { color: #d6552d !important; }
.red-menu a:hover { color: #d7714a !important; }
#nav-main ul.sf-menu ul li a,
.nav-main ul.sf-menu ul li a {
padding: 10px 20px;
}
.concerts .product_item .details_product_item a.button {background-color:#d6552d;color:#FFF}
.concerts .product_item .details_product_item a.button:hover {background-color:#d7714a}
.contentclass {
padding-bottom:0px;
}
#containerfooter {
padding-top: 0px;
}
.home .product_item .details_product_item a.button {background-color:#d6552d;color:#FFF}
.home .product_item .details_product_item a.button:hover {background-color:#d7714a}
footer .container {
width: 90vw !important;
}
#kad-banner .container {
width: 100vw !important;
}
.site-footer-wrap .site-container {
max-width: 900px;
}
.hrule_dots {
width: 100% !important;
}
@media (min-width: 992px) {
.widget-1.widget-first.header-widget-area-header {
margin-top: 80px;
}
}
.sf-menu a {
padding: 10px;
}
.main-page-2018-19 .product_item .price {
display: none;
}
.concerts .product_item .price {
display: none;
}
.tickets .product_item .price {
display: none;
}
.home .product_item .price {
display: none;
}
.pianist-philip-chiu .product_item .price {
display: none;
}
.musician-in-residence .product_item .price {
display: none;
}
.loves-of-philip-chiu .product_item .price {
display: none;
}
.single-product .product_item .price {
display: none;
}
#nav-main ul.sf-menu ul#kad-head-cart-popup .buttons .button {
background: #d6552d;
color: #fff;
}
.woocommerce-product-gallery img {
pointer-events: none;
}
.onsale {
display: none !important;
}
#nav-main ul.sf-menu ul li a {
font-size: 12px;
}
.woocommerce-variation-description p {
line-height: 20px;
text-align: justify;
}
#pr-thumbnails {
display: none;
}
.sp-gal-image-caption {
text-align: justify;
font-size: 12px;
}
.gallery_item .photo-caption-bg {
background: transparent;
}
.single_variation {
font-size: 16px;
}
.homecontent .shortcode_blog_grid_content .blog_item .postcontent h5.entry-title {
text-align: left;
}
.page-id-10512 .main .shortcode_blog_grid_content .kad_blog_item .postcontent .entry-content {
text-align: justify;
}
.topbarmenu ul li .cart-contents {
font-family: sans-serif !important;
}
.home_blog article .tcol-md-12.postcontent p, .home_blog article .tcol-sm-12.postcontent p {
text-align: justify;
}
.home div#kad-blog-grid {
text-align: justify;
}
.panel.panel-default .panel-body {
font-size: 14px;
}
@media (max-width: 768px){
.kad-slider-2 {
display: none;
}
}
@media (max-width: 767px){
.woocommerce-message .button {
margin: 0 0 10px 10px;
}
.woocommerce-error:before, .woocommerce-info:before, .woocommerce-message:before {
top: 10px;
}
.woocommerce span.onsale, span.onsale {
background: #eb2429;
}
dt.tm-final-totals {
display: none;
}
.product .kad-light-gallery .product_image {
pointer-events: none;
}
.product_item .add_to_cart_button {
width: 100%;
}
.product_item a.button {
width: 100%;
}
div.product .product_meta {
display: none;
}
div.product .product_label .kad_required {
display: none;
}
div.product p.stock {
display:none;
}
.footerclass a:hover {
color: 000;
}
.mc4wp-form input[type="submit"] {
background: #000000 !important;
color: #FFF !important;
border-color: #000000 !important;
border-radius: 8px;
padding-top: 10px;
padding-bottom: 10px;
padding-left: 30px;
padding-right: 30px;
text-shadow: none;
border-width: 0px;
border-color: #ffffff;
border-style: solid;
}
.product_item.hidetheaction:hover .kad_add_to_cart {
background: #ffffff;
color:#fff;
}
.product_item.hidetheaction:hover .kad_add_to_cart:hover {
background: #ffffff;
color:#fff;
}
@media (max-width: 767px){
.caption-case.kad-placement-rc .kad-slide-caption .caption-case-inner {
max-width: 100%;
}
}
/* Site wide topar*/
.topclass {
position: absolute;
width: 100%;
left: 0;
top: 0;
}
.admin-bar .topclass {
top: 32px;
}
#kad-banner {
padding-top: 35px;
}
#containerfooter .menu li a {
max-width: 100%;
}
h1.product_title.entry-title {
font-family: sans-serif;
font-size: 30px;
}
h1.product_title.entry-title {
padding-top: 12px;
}
.cart_totals p small {
display: none;
}
.product_header, .pricebox, div.product .product_meta {
border: 0;
}
/* Remove padding from front of images */
[class*=wp-image] {
padding: 0px;
}
.button, .kad-btn {
border-radius: 0px !important;
font-size: 12px !important;
}
.stb .stb-close {
font-size: 30px;
color: #ffffff;
}
.sf-menu a {
padding: 10px 0px 10px 30px;
}
/* Site wide footer adjustment */
.kad-call-sitewide-button-case {
display: none;
}
/* Button Shape */
input[type=submit] {
border-radius: 0%;
}
.topbarmenu ul li a:hover {
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<h3><strong>Ensemble Francoeur</strong></h3>
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<h5><strong> <i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
SATURDAY, MARCH 1, 2025</strong></h5>
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7:30PM</strong></h5>
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$18.00-$42.00/GENERAL SEATING<br />
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ELECTRONIC TICKETS</strong></h5>
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STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
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K'JIPUKTUK/HALIFAX • MI’KMA’KI/NOVA SCOTIA</strong></h5>
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WHEELCHAIR ACCESSIBLE</strong></h5>
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MAIN STAGE CONCERTS SERIES</strong></h5>
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<h4>About this Concert</h4>
<h5><strong>ARTISTS</strong>: Marie Nadeau-Tremblay, Baroque violin; Tristan Best, viol; Kerry Bursey, voice and lute</h5>
<h5><strong>COMPOSERS</strong>: Couperin, Marais, Lambert, d’Ambruis, Francoeur, Rebel, Farinel, Charpentier, and Ballard</h5>
<p style="text-align: justify;"><b></b><span style="font-weight: 400;">Step back into the opulent world of the French Baroque with Québec's Ensemble Francoeur. Experience a vibrant palette of sound, where luminous tones and delicate shades capture the essence of a refined musical era. The eclectic program features masterpieces including François Couperin’s "Concerts Royaux: Premier concert en sol majeur," Marin Marais’s "La Sonnerie de Sainte-Geneviève du Mont de Paris" and "L’Arabesque," and Michel Lambert’s heartfelt airs "Vos mépris chaque jour," "Une jeune fillette" arranged by Marie Nadeau-Tremblay, and "Ma bergère est tendre et fidèle." Also featured are Honoré d’Ambruis’s "Le doux silence de nos bois," the dynamic sonatas "Sonate pour violon en sol mineur, opus 2 no 6" by François Francoeur and "Sonate pour violon et viole de gambe en mi mineur" by Jean-Féry Rebel, as well as Michel Farinel’s stirring "Folia," Marc-Antoine Charpentier’s "Tristes déserts, sombre retraite, H 469," and Christophe Ballard’s "J’avois cru qu’en vous aymant." This ensemble—Baroque violinist Marie Nadeau-Tremblay, Tristan Best on viol, and Kerry Bursey with voice and lute—offers a nuanced interpretation of French Baroque music, capturing the dynamic and imaginative essence of the brilliant Baroque period. A co-presentation with JM Canada. Season Sponsor: <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Jules Chamberlain / Red Door Realty</a>. </span></p>
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<h4>About this Program</h4>
<p> </p>
<p><strong>François Couperin (1668-1733)</strong></p>
<p><em>Concerts Royaux: First concert in G major, in G major</em></p>
<p>i. Prelude<br />
ii. Allemande<br />
iii. Sarabande<br />
iv. Gavotte<br />
v. Gigue<br />
vi. Minuet in trio</p>
<p> </p>
<p><strong>Marin Marais (1656-1728)</strong></p>
<p><em>La Sonnerie de Sainte-Geneviève du Mont de Paris</em></p>
<p>Fourth book of viol pieces: <em>L'Arabesque</em></p>
<p> </p>
<p><strong>Michel Lambert (1610-1696)</strong></p>
<p><em>Vos mépris chaque jour</em><br />
<em>Une jeune fillette</em> (arr. by Marie-Nadeau Tremblay)<br />
<em>Greensleeves</em><br />
<em>My shepherdess is tender and faithful</em></p>
<p> </p>
<p><strong>Honoré d'Ambruis</strong> (1660-1702)</p>
<p><em>Le doux silence de nos bois</em></p>
<p> </p>
<p><strong><em>~INTERMISSION~</em></strong></p>
<p> </p>
<p><strong>François Francoeur (1698-1787)</strong></p>
<p><em>Violin sonata in G minor, in G minor, Op. 2 No. 6</em></p>
<p>i. Adagio<br />
ii. Allemande<br />
iii. Courante<br />
iv. Sarabande<br />
v. Rondeau</p>
<p> </p>
<p><strong>Jean-Féry Rebel (1666-1747)</strong></p>
<p><em>Sonata for violin and viola da gamba in E minor</em></p>
<p>i. Gracieusement<br />
ii. Viste<br />
iii. Story<br />
iv. Gai<br />
v. Viste</p>
<p> </p>
<p><strong>Michel Farinel (1649-1726)</strong></p>
<p><em>Folia</em></p>
<p> </p>
<p><strong>Marc-Antoine Charpentier (1643-1704)</strong></p>
<p><em>Tristes déserts, sombre retraite, H 469</em></p>
<p> </p>
<p><strong>Christophe Ballard (1641-1715)</strong></p>
<p><em>J'avois cru qu'en vous aymant</em></p>
<p> </p>
<h4>Strings, Strife, and the Court of the King</h4>
<p style="text-align: justify;">This concert’s story is set in 1739 France, under the reign of Louis XV. At the time, across the Atlantic, France and Great Britain were fighting over the dominion of North America. The Battle of the Plains of Abraham in 1759 was just 20 years away. Meanwhile, the tempo of France’s baroque music scene was set by the struggles between Lully’s traditionalists and Rameau’s modernists. Prominent organist, harpsichordist, and composer François Couperin, who kept away from the conflict, had been dead since 1733, and Vivaldi died in poverty some time later in 1740. Bach would follow ten years later, as would Rameau in 1764, making room for a new era in music history.</p>
<p style="text-align: justify;">The place and meaning of music were different during the baroque era than they are now. It was deeply woven into the fabric of social life, while being a reflection of the cosmic order. The baroque era considered music to be in service of monarchs or God, the pinnacles of social and divine hierarchy. Despite being distinct, the structure and presentation of both church music and secular court music were strictly ritualized, with thorough attention to detail. These notions of order and harmony are reflected in the term concert ("Concerts Royaux" by Couperin), a term that was rather broad in a period that sought to create unity out of multitudes. People even discussed the idea of the concert of planets, for example. François Couperin was born to a family of musicians and showed such early talent that, at age 11, he was reserved by contract for the prestigious position of organist at St-Gervais Church, then occupied by his father. He officially took up the position at age 17 and alternated between playing organ at Louis XIV’s chapel and duties as court harpsichordist. Couperin walked his own path as a prolific composer and innovator, far away from the period’s popular controversies. During the latter years of his life, the Sun King hosted Couperin every Sunday at Versailles, and that is when Couperin composed and presented his "Concerts Royaux." The "Premier Concert" in G major is a sequence of primarily French dances: there is a formal Prelude with basso continuo; a light and graceful Allemande, leading into an elegant Sarabande; a refined Gavotte; a sprightly and spiritual Gigue; and a trio Minuet, the quintessential French dance.</p>
<p style="text-align: justify;">Couperin was well acquainted with his contemporary, Marin Marais, who was court violist over the same period. A brilliant violist and impressive composer, he published five volumes for viol and two more vital compositions for his era. The "Sonnerie de Sainte-Geneviève du Mont de Paris" was published in 1723. This striking piece is reminiscent of the bells of Sainte-Geneviève Church, like a carillon slowly tolling over a solid continuo.</p>
<p style="text-align: justify;">"L’Arabesque" was published in 1717; true to its name, referring to a decorative knotwork pattern, this piece’s long, florid ornamentation surely blended seamlessly with Versailles’ royal decor, which was finally free to express itself after the 50 years of renovations commissioned by Louis XIV.</p>
<p style="text-align: justify;">At the time, the aristocrats did not limit their interest to chamber music. They also had great appreciation for vocal music, and talented singers found themselves among their protégés. That was the case for Michel Lambert, a singer who accompanied himself on theorbo and a renowned professor who surrounded himself with some of the best voices of the era, such as his wife Gabrielle Dupuy and sister-in-law Hilaire Dupuy. Michel Lambert is the Leonard Cohen of the era; his songs were on everyone’s lips and were edited by Christophe Ballard, the king’s printer. Lambert’s daughter married none other than Lully! The stars truly aligned for this family of court musicians. Songs like "Vos mépris chaque jour" and "Ma bergère est tendre et fidèle" are the period equivalents of today’s "Everybody Knows" and "Hallelujah." We know little about the life of Honoré D’Ambruis. He was a student of Lambert’s and published several volumes of airs. "Le doux silence de nos bois" was a well-known air in its own right at the time. It covered themes that the court audience absolutely loved: the coming of spring, birds, flowers, gentle winds, and a shepherdess. Its last verse translates to, “It is the time of pleasures and of tender loves.” Some traditional airs also stood the test of time, among them "Une jeune fillette," a young girl’s plea to escape a destiny of monastery life as a nun, arranged here by Marie Nadeau-Tremblay in a version steeped in the traditions of Quebec folk violin.</p>
<p style="text-align: justify;">François Francoeur and François Rebel were thick as thieves. They were, after all, both musical phenomena. Both were violinists at the Académie Royale de Musique at ages 12 and 13, respectively; they co-directed at the Opéra de Paris between 1757 and 1767 and even co-composed several pieces. Bringing them together in this program seemed all too natural. The influence of the Italian masters, such as Corelli, is clear in Francoeur’s "Violin Sonata in G minor, Opus 2, No. 6," each movement an evolving dance, culminating in the final rondo’s spectacular ballet of virtuosity. His colleague Jean-Féry Rebel loved ballet and was an avid composer in the genre. His "Sonata for Violin and Viola da Gamba in E minor" strikes a balance between the collected temperance of the French school and the fire of the Italian school.</p>
<p style="text-align: justify;">Michel Farinel, a well-known violinist and composer in his time, produced his take on a smash hit of the baroque era. "La Folia" first appeared in 17th-century Portugal and gained popularity in France after Lully published his version in 1672. Michel Farinel composed his own version, which he would later import to England under his name. "La Folia" would not spare any of the major baroque composers. Each of them would eventually pen a version: Corelli, Marin Marais, Vivaldi, Scarlatti, and even Bach!</p>
<p style="text-align: justify;">Marc-Antoine Charpentier is generally known for his church music, of which he composed over 800 pieces. As a singer himself, he composed over 50 secular songs, including "Tristes déserts, sombre retraite," with soul-stirring long notes that instantly communicate the singer’s lovelorn despair.</p>
<p style="text-align: justify;">All of the composers we mentioned so far were connected to Christophe Ballard. At the time, publication and celebrity depended on sheet music editing. Thanks to royal protection, the Ballard family had a monopoly in Paris. Robert Ballard, then Pierre Ballard, Robert Ballard, and finally Christophe Ballard defended their privilege dearly, keeping a tight grip on attempts to publish within the country. They did not hesitate to take frequent legal action against their competitors. Christophe, the last of his dynasty, printed all the French music of his time (Lully, Campra, Couperin, Rameau, Marais, and so on). The monopoly died with him and Louis XIV, all in 1715. After his passing, plate engraving quickly replaced movable type. In 1658, his father Robert had the brilliant idea of producing an annual collection of drinking songs and airs. It was so popular that the tradition lasted well into the 18th century. Christophe made it a monthly release, so it isn’t surprising that his time as printer produced gems such as "J’avois cru qu’en vous aymant," a lovely song in which fleeting heartbreak slowly recedes into memory.</p>
<p><em>Program notes by Benjamin Goron </em><em>(translated from original French)</em></p>
<p> </p>
<h4>Contextual Note</h4>
<p style="text-align: justify;">This program offers a vivid glimpse into the cultural and musical world of 1739 France, a time of artistic refinement under Louis XV. Yet, this era of baroque elegance contrasts sharply with the struggles of the Mi’kmaq and Acadians in what was still widely known as Acadia, though officially under British rule as Nova Scotia, who were caught in the imperial rivalries between France and Britain. While French aristocrats reveled in the expressive intricacies of Marin Marais’ viol music and Jean-Philippe Rameau’s operatic innovations, the Mi’kmaq resisted British encroachment, defending their lands and way of life through strategic alliances with the French and diplomatic negotiations. The Acadians, pressured to swear allegiance to the British Crown, would soon face growing restrictions and, ultimately, the forced deportation of <em>Le Grand Dérangement</em> in the 1750s.</p>
<p style="text-align: justify;">The baroque ideal of order and harmony, so central to the music of this era, stood in stark contrast to the upheaval experienced by these communities. Yet, the enduring folk traditions of the Acadians and the Mi’kmaq people's resilience in preserving their language and culture, remind us of the strength that persisted amid colonial violence. This program celebrates baroque artistry while inviting reflection on how the grandeur of European music coexisted with the harsh realities of colonialism, shaping our understanding of culture, power, and identity.</p>
<p style="text-align: justify;">
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<h4>About the Artists</h4>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Marie Nadeau-Tremblay, Baroque violin</strong></p>
<p style="font-weight: 400; text-align: justify;">Marie Nadeau-Tremblay is one of Canada’s leading young baroque violinists. First Prize winner of the 2019 Mathieu Duguay International Early Music Competition, Radio-Canada 2021-2022 Classical Revelation, Opus 2022 Discovery of the Year from the Conseil québécois de la musique, and recipient of the 2021 Choquette-Symcox Prize from the JM Canada Foundation. Her album, La Peste (2020), was nominated for Junos and Opus awards; her most recent recording, Opus 2023 Album of the Year, Préludes et Solitudes (2021), was hailed by critics including the CBC and Early Music America. Marie is also the recipient of the 2022 Career Development Grant from the Father Lindsay Foundation. She plays a 1750 Thomas Perry violin, as well as a Timothy Johnson Amati violin, generously loaned by Jacques Marchand.</p>
<p> </p>
<p style="font-weight: 400;"><strong>Tristan Best, viol</strong></p>
<p style="font-weight: 400; text-align: justify;">A violinist hailing from New York and Nova Scotia, Tristan Best moved to Montreal in 2016 to study viola da gamba at McGill University’s Schulich School of Music, where he earned a bachelor’s degree and then a master’s degree under the tutelage of Betsy MacMillan and Elin Soderstrom. A frequent performer with the Montreal ensemble Les Barocudas, he has taken part in the Montreal Baroque Festival and was awarded the Founder’s Prize and Second Place as soloist at the Mathieu-Duguay Early Music Competition 2022. A passionate teacher, Tristan also gives workshops and lectures on the viola da gamba in Canada and the United States.</p>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Kerry Bursey, voice and lute</strong></p>
<p style="font-weight: 400; text-align: justify;">Montreal tenor, lutenist and guitarist Kerry Bursey is renowned for his "clear voice of dreamy troubadour sweetness." He accompanies himself in song, with a repertoire ranging from Renaissance lute songs to Baroque court airs and traditional Western music. He made his European debut as a soloist in 2023 at the Festival d’Aix-en-Provence in France, the Manchester International Festival in the UK and the Bregenzer Festival in Austria. He is a regular soloist with early music groups such as l’Harmonie des Saisons, the Studio de musique ancienne de Montréal (SMAM), les Idées Heureuses, La Nef and his own group Ménestrel, co-founded with soprano Janelle Lucyk. He has recorded a dozen albums for ATMA Classique, Leaf and Deutsche Grammophon. Kerry holds a Masters degree in classical guitar from the Conservatoire de musiques de Montréal. He is one of the winners of the 2011 Montreal Guitar Grand Prix.</p>
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<h3><strong>Ensemble Francoeur</strong></h3>
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SAMEDI 1 MARS 2025</strong></h5>
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19h30</strong></h5>
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18,00 $ - 42,00 $/PLACES ASSISES<br />
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BILLETS ÉLECTRONIQUES</strong></h5>
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STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
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K’JIPUKTUK/HALIFAX - MI’KMA’KI/NOUVELLE-ÉCOSSE</strong></h5>
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ACCESSIBLE EN FAUTEUIL ROULANT</strong></h5>
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SÉRIE DE CONCERTS SUR LA SCÈNE PRINCIPALE</strong></h5>
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<h4>À propos de ce concert</h4>
<h5><strong>ARTISTES</strong> : Marie Nadeau-Tremblay, violon baroque ; Tristan Best, viole ; Kerry Bursey, voix et luth</h5>
<h5><strong>COMPOSITEURS</strong> : Couperin, Marais, Lambert, d’Ambruis, Francoeur, Rebel, Farinel, Charpentier, et Christophe Ballard</h5>
<p style="text-align: justify;">Replongez dans l'univers opulent du baroque français avec l'Ensemble Francoeur de Québec. Découvrez une palette sonore vibrante, où les tons lumineux et les nuances délicates capturent l'essence d'une époque musicale raffinée. Leur programme éclectique comprend des chefs-d'œuvre tels que les « Concerts Royaux » de François Couperin : Premier concert en sol majeur » de François Couperin, “La Sonnerie de Sainte-Geneviève du Mont de Paris” et “L'Arabesque” de Marin Marais, ainsi que les airs de Michel Lambert “Vos mépris chaque jour”, “Une jeune fillette” arrangée par Marie Nadeau-Tremblay, et “Ma bergère est tendre et fidèle”. On y retrouve également « Le doux silence de nos bois » d'Honoré d'Ambruis, les dynamiques sonates « Sonate pour violon en sol mineur, opus 2 no 6 » de François Francoeur et « Sonate pour violon et viole de gambe en mi mineur » de Jean-Féry Rebel, ainsi que l'émouvante « Folia » de Michel Farinel, « Tristes déserts, sombre retraite, H 469 » de Marc-Antoine Charpentier et « J'avois cru qu'en vous aymant » de Christophe Ballard. » L'ensemble - la violoniste baroque Marie Nadeau-Tremblay, Tristan Best à la viole et Kerry Bursey à la voix et au luth - offre une interprétation nuancée de la musique baroque française. Leur performance capture l'essence dynamique et imaginative de la brillante période baroque. Une coprésentation avec JM Canada. Commanditaire de la saison : <a href="https://reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Jules Chamberlain / Red Door Realty</a>.</p>
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<h4>À propos du programme</h4>
<p> </p>
<p><strong>François Couperin (1668-1733)</strong></p>
<p><em>Concerts Royaux : Premier concert en sol majeur, in G major</em></p>
<p>i. Prélude<br />
ii. Allemande<br />
iii. Sarabande<br />
iv. Gavotte<br />
v. Gigue<br />
vi. Menuet en trio</p>
<p> </p>
<p><strong>Marin Marais (1656-1728)</strong></p>
<p><em>La Sonnerie de Sainte-Geneviève du Mont de Paris</em></p>
<p>Quatrième livre de pièces de viole : <em>L’Arabesque</em></p>
<p> </p>
<p><strong>Michel Lambert (1610-1696)</strong></p>
<p><em>Vos mépris chaque jour</em><br />
<em>Une jeune fillette</em> (arr. de Marie-Nadeau Tremblay)<br />
<em>Greensleeves</em><br />
<em>Ma bergère est tendre et fidèle</em></p>
<p> </p>
<p><strong>Honoré d’Ambruis (1660-1702)</strong></p>
<p><em>Le doux silence de nos bois</em></p>
<p> </p>
<p><em><strong>~ENTRACTE~</strong></em></p>
<p> </p>
<p><strong>François Francoeur (1698-1787)</strong></p>
<p><em>Sonate pour violon en sol mineur, in G minor, opus 2 no 6</em></p>
<p>i. Adagio<br />
ii. Allemande<br />
iii. Courante<br />
iv. Sarabande<br />
v. Rondeau</p>
<p> </p>
<p><strong>Jean-Féry Rebel (1666-1747)</strong></p>
<p><em>Sonate pour violon et viole de gambe en mi mineur, in E minor</em></p>
<p>i. Gracieusement<br />
ii. Viste<br />
iii. Récit<br />
iv. Gai<br />
v. Viste</p>
<p> </p>
<p><strong>Michel Farinel (1649-1726)</strong></p>
<p><em>Folia</em></p>
<p> </p>
<p><strong>Marc-Antoine Charpentier (1643-1704)</strong></p>
<p><em>Tristes déserts, sombre retraite, H 469</em></p>
<p> </p>
<p><strong>Christophe Ballard (1641-1715)</strong></p>
<p><em>J’avois cru qu’en vous aymant</em></p>
<p> </p>
<h4>« Cordes, querelles et cour du roi »</h4>
<p style="text-align: justify;">L’intrigue de ce concert se situe en 1739 en France, sous le règne de Louis XV. À cette époque, de l’autre côté de l’Atlantique, France et Grande-Bretagne com- battent pour la domination de l’Amérique du Nord. Vingt ans plus tard, en 1759 aura lieu la bataille des Plaines d’Abraham. Pour l’heure, la France musicale baroque vit au rythme des querelles entre partisans de la tradition de Lully et défenseurs du modernisme de Rameau. François Couperin, éminent organiste, claveciniste et com- positeur, resté à l’écart de ces chicanes, est décédé depuis 1733 et Vivaldi mourra quelques mois plus tard dans la pauvreté, en 1740. Bach suivra dix ans plus tard, puis Rameau en 1764, ouvrant une nouvelle ère de l’histoire musicale.</p>
<p style="text-align: justify;">À l’époque baroque, la musique occupe une place et revêt une signification bien différente d’aujourd’hui. Elle est fortement insérée dans le tissu de la vie sociale tout en étant le reflet d’un ordre de nature cosmique. L’âge baroque pense la musique au service de celui qui se tient au sommet de la hiérarchie sociale (le monarque) ou universelle (Dieu). Si elles ont leurs caractéristiques propres, musique d’église et musique de cour sont toutes deux organisées et présentées selon des rituels minutieux réglés dans les moindres détails. Cette idée d’ordre, d’harmonie, est présente dans le terme de concert (<em>Concerts Royaux </em>de Couperin), terme assez vague à l’époque qui cherche à établir l’idée d’unité dans la multitude – on parle aussi de concert des planètes, par exemple. Issu d’une famille de musiciens, Fran- çois Couperin développe un talent précoce pour l’art des sons, si bien qu’on lui réserve par contrat, dès ses onze ans, le poste prestigieux d’organiste à l’église St-Gervais,alors occupé par son père. Il prend officiellement le poste à 17 ans, puis devient tout à tour organiste à la chapelle de Louis XIV puis ordinaire pour la musique de clavecin du roi. Compositeur prolifique et innovateur, Couperin trace son chemin loin des querelles en vogue à l’époque. Dans les dernières années de sa vie, le Roi-Soleil reçoit Couperin chaque dimanche à la cour de Versailles, et c’est à cetteoccasion que François compose et fait jouer ses Concerts royaux. Le <em>Premier Concert en sol majeur </em>est une suite de danses principalementfrançaises : on y retrouve un prélude dans un style déclamatoire, sur une basse continue ; une allemande légère et gracieuse, qui enchaîne avec une élégante sarabande ; une gavotte pleine de grâce, une gigue légère et spirituelle puis un menuet en trio, danse française par excellence.</p>
<p style="text-align: justify;">Couperin a bien connu son contemporain Marin Marais, qui est, dans le même temps, ordinaire de la musique de viole du roi. Brillant violiste, redoutable compo- siteur, il publie cinq recueils de viole et deux autres recueils de composition tout à fait majeurs en son temps. La <em>Sonnerie de Sainte-Geneviève du Mont de Paris </em>est publiée dans un recueil de 1723 ; Cette étonnante partition nous laisse entendre le tintement des cloches de l’église Sainte-Geneviève, sorte de carillon qui s’anime peu à peu au-dessus d’une basse immuable. <em>L’Arabesque </em>date quant àelle de 1717 ; fidèle à son titre qui rappelle un motif ornemental formé de nombreux entrelacs, cette pièce nous laisse entendre de longues ornementations fleuries qui s’agencent sans doute parfaitement au faste et aux décorations royales présentes à Versailles, domaine qui respire après les interminables chantiers entrepris par Louis XIV pendant les 50 années précédentes.</p>
<p style="text-align: justify;">À cette époque, les grands aristocrates ne s’émeuvent pas que de la musique de chambre. La musique vocale est également fort appréciée et les chanteurs et chan- teuses de talent sont protégés par les plus grands. C’est le cas de Michel Lambert, à la fois chanteur, s’accompagnant volontiers au théorbe, et professeur renommé, qui s’entoure des plus belles voix de l’époque (notamment sa femme Gabrielle Dupuy et sabelle-sœur Hilaire Dupuy). Michel Lambert est le Félix Leclerc de l’époque, ses airs sont sur toutes les lèvres et sont édités par l’imprimeur du roi, Christophe Ballard. La fille de Michel Lambert n’épousera rien de moins que Lully, autant dire que les astres sont alignés pour cette famille de musiciens proches de la cour du roi. Aussi, <em>Vos mépris chaque jour </em>ainsi que <em>Ma bergère est tendre et fidèle </em>sont un peu nos Bozo et Le p’tit bonheur d’aujourd’hui. Honoré D’Ambruis, dont la vie est peu connue, est un disciple de Lambert qui publie plusieurs recueils d’airs. <em>Le doux silence </em>de nos bois est également un air très connu à l’époque ; on y retrouve des ingrédients dont le public de la cour est friand : l’arrivée du printemps, les oiseaux, les fleurs, le zéphyr et une bergère : « C’est le temps des plaisirs et des tendres amours. » De plus, certains airs traditionnels ont survécu au temps, et parmi eux <em>Une jeune fillette</em>, supplication d’une jeune fille pour échapper au monastèreet au destin de religieuse, qui est ici arrangée par Marie-Nadeau Tremblay dans une version évoquant l’héritage du violon folklorique québécois.</p>
<p style="text-align: justify;">François Francoeur et François Rebel s’entendaient comme larrons en foire. Il faut dire qu’on avait affaire à deux phénomènes musicaux : tous deux violonistes dans l’Académie royale de musique à respectivement 12 et 13 ans, on les retrouve co- directeurs de l’Opéra de Paris entre1757 et 1767, ou encore co-compositeurs de nombreuses œuvres. Il est donc tout naturel de les faire se côtoyer dans ce programme.L’influence des grands maîtres italiens, notamment Corelli, est présente dans la <em>Sonate pour violon en sol mineur, </em>opus 2, no 6 deFrancoeur, qui se déploie à chaque mouvement de danse pour éclater en un ballet de virtuosité dans le Rondeau final. Le ballet était un genre très apprécié de son collègue Jean-Féry Rebel, qui a beaucoup composé pour le genre. Sa <em>Sonate pour violon et viole de gambe en mi mineur </em>dresse un bel équilibre de la sagesse et de la tempérance propres à l’école française et du feu de l’école italienne.</p>
<p style="text-align: justify;">Violoniste et compositeur de renom en son temps, Michel Farinel reprend ici un succès fracassant de l’époque baroque. Apparue pour la première fois dans le Portugal du XVIe siècle, La Folia gagne en popularité en France après que Lully publie sa première en 1672. Michel Farinel compose sa version qu’il importera sous son nom en Angleterre. Au fil des ans, tous les grands compositeurs du Baroque donneront dans cette douce folie : Corelli, Marin Marais, Vivaldi, Scarlatti et même Bach !</p>
<p style="text-align: justify;">C’est avant tout dans le domaine de la musique sacrée qu’on connaît généralement Marc-Antoine Charpentier, compositeur prolifique de plus de 800 œuvres à travers sa vie. Étant lui-même chanteur, il a composé plus d’une cinquantaine de chansons profanes parmi lesquelles <em>Tristes déserts, sombre retraite</em>, dont les notes tenues atteignent l’âme et traduisent instantanément le désespoir amoureux du chanteur.</p>
<p style="text-align: justify;">Tous les grands compositeurs évoqués plus tôt sont reliés au nom de Christophe Ballard : à cette époque, la clé de la diffusion et donc de la célébrité passe néces- sairement par l’édition de partitions. À Paris, c’est la famille Ballard qui détient un monopole grâce à la protection royale. Robert Ballard, puis Pierre Ballard, Robert Ballard, enfin Christophe Ballard défendent chèrement ce privilège, contrôlent de près les tentatives de publications dans le pays et n’hésitent pas à intenter de nombreux procès à leurs concurrents. Christophe sera le dernier decette dynas- tie, imprimant toute la musique française de son époque (Lully, Campra, Couperin, Rameau, Marais…). Il meurt en 1715, la même année que Louis XIV, mettant fin au monopole ; après lui la gravure supplantera rapidement les imprimeries à caractères mobiles. Dès 1658, son père Robert a la brillante idée de lancer un recueil annuel de chansons et d’airs à boire. C’est un tel succès que la pratique perdurera jusqu’au milieu du XVIIIe siècle. La publication devient mensuelle avec Christophe, rien d’étonnant donc à voir passer sous son règne typographique des perles comme <em>J’avois cru qu’en vous aymant</em>, jolie chanson où la peine amoureuse va, évanes- cente, s’évanouissant peu à peu comme un souvenir déjà passé.</p>
<p><em>Notes de programme de Benjamin Goron</em></p>
<p> </p>
<h4>Note contextuelle</h4>
<p style="text-align: justify;">Ce programme offre un aperçu vivant du monde culturel et musical de la France de 1739, une époque de raffinement artistique sous Louis XV. Pourtant, cette époque d'élégance baroque contraste fortement avec les luttes des Mi'kmaq et des Acadiens de ce qui était encore largement connu sous le nom d'Acadie, bien qu'officiellement sous la domination britannique sous le nom de Nouvelle-Écosse, et qui étaient pris dans les rivalités impériales entre la France et la Grande-Bretagne. Alors que les aristocrates français se délectent des subtilités expressives de la musique de viole de Marin Marais et des innovations opératiques de Jean-Philippe Rameau, les Mi'kmaqs résistent aux empiètements britanniques, défendant leurs terres et leur mode de vie par des alliances stratégiques avec les Français et des négociations diplomatiques. Les Acadiens, contraints de prêter serment d'allégeance à la Couronne britannique, seront bientôt confrontés à des restrictions croissantes et, finalement, à la déportation forcée du Grand Dérangement dans les années 1750.</p>
<p style="text-align: justify;">L'idéal baroque d'ordre et d'harmonie, si central dans la musique de cette époque, contrastait fortement avec les bouleversements vécus par ces communautés. Pourtant, les traditions folkloriques durables des Acadiens et la résilience du peuple Mi'kmaq, qui a su préserver sa langue et sa culture, nous rappellent la force qui a persisté au milieu de la violence coloniale. Ce programme célèbre l'art baroque tout en invitant à réfléchir à la façon dont la grandeur de la musique européenne a coexisté avec les dures réalités du colonialisme, façonnant notre compréhension de la culture, du pouvoir et de l'identité.</p>
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<h4>À propos des artistes</h4>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Marie Nadeau-Tremblay, violon baroque</strong></p>
<p style="font-weight: 400; text-align: justify;">Marie Nadeau-Tremblay est l’une des jeunes violonistes baroque canadienne les plus en vue. Premier Prix 2019 au Concoursinternational de musique ancienne Mathieu Duguay, Révélation classique Radio-Canada 2021-2022, Opus 2022 <em>découverte del’année </em>du Conseil québécois de la musique, et récipiendaire du Prix Choquette-Symcox 2021 de la Fondation JM Canada. Son album, La Peste (2020), a été en nominations aux Prix Junos et Opus ; son plus récent enregistrement, <em>Préludes et Solitudes </em>(2021), Opus 2023 <em>album de l’année</em>, a été salué par la critique, notamment par la CBC et Early Music America. Marie est aussi récipiendaire de la boursede développement de carrière 2022 de la Fondation Père Lindsay. Elle joue sur un violon Thomas Perry de 1750, ainsi qu’un violon Amati de Timothy Johnson, généreusement prêté par Jacques Marchand.</p>
<p> </p>
<p><strong>Tristan Best, viole</strong></p>
<p style="font-weight: 400; text-align: justify;">Gambiste originaire de New York et de la Nouvelle-Écosse, Tristan Best se retrouve par la suite à Montréal en 2016 pour l’étude de la viole de gambe à l’École de musique Schulich de l’Université McGill, où il obtient un Baccalauréat, puis une Maîtrise sous lesdirections de Betsy MacMillan et d’Elin Soderstrom. Souvent en concert avec l’ensemble montréalais Les Barocudas, il a participé au Festival baroque de Montréal, en plus de re- cevoir le Prix du fondateur ainsi que la Deuxième place comme soliste au Concours demusique ancienne Mathieu-Duguay 2022. Pédagogue passionné, Tristan donne en outre des ateliers et des conférences sur la viole de gambe au Canada et aux États-Unis.</p>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Kerry Bursey, voix et luth</strong></p>
<p style="font-weight: 400; text-align: justify;">Ténor, luthiste et guitariste montréalais, Kerry Bursey est reconnu pour sa « <em>voix claire faite de douceur troubadouresque rêvée </em>». Il s’accompagne en chantant, dans le répertoire des lute songs de larenaissance, aux airs de cour baroques jusqu’aux musiques traditionnelles occidentales. En 2023, il fait ses débuts européenscomme soliste au Festival d’Aix-en-Provence en France, au Festival international de Manchester au Royaume-Uni et au Festival de Bregenzer en Autriche.</p>
<p style="font-weight: 400; text-align: justify;">Il est régulièrement soliste avec des groupes de musique ancienne tels que l’Harmonie des Saisons, le Studio de musiqueancienne de Montréal (SMAM), les Idées Heureuses, la Nef ainsi que son propre groupe Ménestrel, cofondé avec la soprano Janelle Lucyk. Il participe à l’enregistrements d’une douzaine d’albums pour ATMA Classique, Leaf et Deutsche Grammophon. Kerry est titulaire d'une maîtrise en guitare classique du Conservatoire de musique de Montréal. Il est l'un des lauréats du Grand Prix de Guitare de Montréal 2011.</p>
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<h2 style="text-align: center;"><span style="color: #1f1f1f;">About Cecilia Concerts</span></h2>
<p style="text-align: justify;"><span style="color: #000000;">For nearly forty years, Cecilia Concerts has been a cornerstone of cultural life in Halifax, Nova Scotia. We present chamber music of the highest calibre in settings that are welcoming, bilingual, and accessible. We believe that live music has the power to connect, to uplift, and to transform, and we strive to make those experiences available to everyone in our community. We bring some of the world’s most acclaimed classical musicians to the province, making global excellence accessible to local audiences.</span></p>
<p style="text-align: justify;"><span style="color: #000000;">Halifax is located in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq people. The Mi’kmaw First Nation has lived on this land for millennia, and we acknowledge them as the past, present, and future caretakers of these lands and waterways. As we work to build a more inclusive and respectful community, we are reminded that we are all Treaty People.</span></p>
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<p style="text-align: center;"><a href="https://reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener"><img class="aligncenter wp-image-37501 size-full" title="Large text reads ‘NICE MOVES’ in red and dark teal, with ‘JulesChamberlain.ca’ in teal below. To the right is the Red Door Realty logo in a vertical red and orange box with white text." src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Classical-Music-Jules-Chamberlain-Red-Door-Realty-Season-Sponsor.jpg" alt="Large text reads ‘NICE MOVES’ in red and dark teal, with ‘JulesChamberlain.ca’ in teal below. To the right is the Red Door Realty logo in a vertical red and orange box with white text." width="800" height="230" /></a></p>
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{"@context":"https://schema.org/","@type":"Product","@id":"https://www.ceciliaconcerts.ca/concert/ensemble-francoeur/#product","name":"Ensemble Francoeur","url":"https://www.ceciliaconcerts.ca/concert/ensemble-francoeur/","description":"ABOUT-EN\nPROGRAM-EN\n\u00c0 PROPOS-FR\nPROGRAMME-FR \nEnsemble Francoeur\n\n\n\t\t\t\n\t\t\t\tSATURDAY, MARCH 1, 2025\n\t\t\t\n\t\t\t\t7:30PM\n\t\t\t\n\t\t\t\t$18.00-$42.00/GENERAL SEATING\n\n\t\t\t\n\t\t\t\tELECTRONIC TICKETS\n\t\t\t\n\t\t\t\tSTAGE AT ST. ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tK'JIPUKTUK/HALIFAX \u2022 MI\u2019KMA\u2019KI/NOVA SCOTIA\n\t\t\t\n\t\t\t\tWHEELCHAIR ACCESSIBLE\n\t\t\t\n\t\t\t\tMAIN STAGE CONCERTS SERIES\n\n\nAbout this Concert\nARTISTS: Marie Nadeau-Tremblay, Baroque violin; Tristan Best, viol; Kerry Bursey, voice and lute\nCOMPOSERS: Couperin, Marais, Lambert, d\u2019Ambruis, Francoeur, Rebel, Farinel, Charpentier, and Ballard\nStep back into the opulent world of the French Baroque with Qu\u00e9bec's Ensemble Francoeur. Experience a vibrant palette of sound, where luminous tones and delicate shades capture the essence of a refined musical era. The eclectic program features masterpieces including Fran\u00e7ois Couperin\u2019s \"Concerts Royaux: Premier concert en sol majeur,\" Marin Marais\u2019s \"La Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris\" and \"L\u2019Arabesque,\" and Michel Lambert\u2019s heartfelt airs \"Vos m\u00e9pris chaque jour,\" \"Une jeune fillette\" arranged by Marie Nadeau-Tremblay, and \"Ma berg\u00e8re est tendre et fid\u00e8le.\" Also featured are Honor\u00e9 d\u2019Ambruis\u2019s \"Le doux silence de nos bois,\" the dynamic sonatas \"Sonate pour violon en sol mineur, opus 2 no 6\" by Fran\u00e7ois Francoeur and \"Sonate pour violon et viole de gambe en mi mineur\" by Jean-F\u00e9ry Rebel, as well as Michel Farinel\u2019s stirring \"Folia,\" Marc-Antoine Charpentier\u2019s \"Tristes d\u00e9serts, sombre retraite, H 469,\" and Christophe Ballard\u2019s \"J\u2019avois cru qu\u2019en vous aymant.\" This ensemble\u2014Baroque violinist Marie Nadeau-Tremblay, Tristan Best on viol, and Kerry Bursey with voice and lute\u2014offers a nuanced interpretation of French Baroque music, capturing the dynamic and imaginative essence of the brilliant Baroque period. A co-presentation with JM Canada. Season Sponsor: Jules Chamberlain / Red Door Realty.\u00a0\n\n\n\nAbout this Program\n&nbsp;\n\nFran\u00e7ois Couperin (1668-1733)\n\nConcerts Royaux: First concert in G major, in G major\n\ni. Prelude\nii. Allemande\niii. Sarabande\niv. Gavotte\nv. Gigue\nvi. Minuet in trio\n\n&nbsp;\n\nMarin Marais (1656-1728)\n\nLa Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris\n\nFourth book of viol pieces: L'Arabesque\n\n&nbsp;\n\nMichel Lambert (1610-1696)\n\nVos m\u00e9pris chaque jour\nUne jeune fillette (arr. by Marie-Nadeau Tremblay)\nGreensleeves\nMy shepherdess is tender and faithful\n\n&nbsp;\n\nHonor\u00e9 d'Ambruis (1660-1702)\n\nLe doux silence de nos bois\n\n&nbsp;\n\n~INTERMISSION~\n\n&nbsp;\n\nFran\u00e7ois Francoeur (1698-1787)\n\nViolin sonata in G minor, in G minor, Op. 2 No. 6\n\ni. Adagio\nii. Allemande\niii. Courante\niv. Sarabande\nv. Rondeau\n\n&nbsp;\n\nJean-F\u00e9ry Rebel (1666-1747)\n\nSonata for violin and viola da gamba in E minor\n\ni. Gracieusement\nii. Viste\niii. Story\niv. Gai\nv. Viste\n\n&nbsp;\n\nMichel Farinel (1649-1726)\n\nFolia\n\n&nbsp;\n\nMarc-Antoine Charpentier (1643-1704)\n\nTristes d\u00e9serts, sombre retraite, H 469\n\n&nbsp;\n\nChristophe Ballard (1641-1715)\n\nJ'avois cru qu'en vous aymant\n\n&nbsp;\nStrings, Strife, and the Court of the King\nThis concert\u2019s story is set in 1739 France, under the reign of Louis XV. At the time, across the Atlantic, France and Great Britain were fighting over the dominion of North America. The Battle of the Plains of Abraham in 1759 was just 20 years away. Meanwhile, the tempo of France\u2019s baroque music scene was set by the struggles between Lully\u2019s traditionalists and Rameau\u2019s modernists. Prominent organist, harpsichordist, and composer Fran\u00e7ois Couperin, who kept away from the conflict, had been dead since 1733, and Vivaldi died in poverty some time later in 1740. Bach would follow ten years later, as would Rameau in 1764, making room for a new era in music history.\nThe place and meaning of music were different during the baroque era than they are now. It was deeply woven into the fabric of social life, while being a reflection of the cosmic order. The baroque era considered music to be in service of monarchs or God, the pinnacles of social and divine hierarchy. Despite being distinct, the structure and presentation of both church music and secular court music were strictly ritualized, with thorough attention to detail. These notions of order and harmony are reflected in the term concert (\"Concerts Royaux\" by Couperin), a term that was rather broad in a period that sought to create unity out of multitudes. People even discussed the idea of the concert of planets, for example. Fran\u00e7ois Couperin was born to a family of musicians and showed such early talent that, at age 11, he was reserved by contract for the prestigious position of organist at St-Gervais Church, then occupied by his father. He officially took up the position at age 17 and alternated between playing organ at Louis XIV\u2019s chapel and duties as court harpsichordist. Couperin walked his own path as a prolific composer and innovator, far away from the period\u2019s popular controversies. During the latter years of his life, the Sun King hosted Couperin every Sunday at Versailles, and that is when Couperin composed and presented his \"Concerts Royaux.\" The \"Premier Concert\" in G major is a sequence of primarily French dances: there is a formal Prelude with basso continuo; a light and graceful Allemande, leading into an elegant Sarabande; a refined Gavotte; a sprightly and spiritual Gigue; and a trio Minuet, the quintessential French dance.\nCouperin was well acquainted with his contemporary, Marin Marais, who was court violist over the same period. A brilliant violist and impressive composer, he published five volumes for viol and two more vital compositions for his era. The \"Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris\" was published in 1723. This striking piece is reminiscent of the bells of Sainte-Genevi\u00e8ve Church, like a carillon slowly tolling over a solid continuo.\n\"L\u2019Arabesque\" was published in 1717; true to its name, referring to a decorative knotwork pattern, this piece\u2019s long, florid ornamentation surely blended seamlessly with Versailles\u2019 royal decor, which was finally free to express itself after the 50 years of renovations commissioned by Louis XIV.\nAt the time, the aristocrats did not limit their interest to chamber music. They also had great appreciation for vocal music, and talented singers found themselves among their prot\u00e9g\u00e9s. That was the case for Michel Lambert, a singer who accompanied himself on theorbo and a renowned professor who surrounded himself with some of the best voices of the era, such as his wife Gabrielle Dupuy and sister-in-law Hilaire Dupuy. Michel Lambert is the Leonard Cohen of the era; his songs were on everyone\u2019s lips and were edited by Christophe Ballard, the king\u2019s printer. Lambert\u2019s daughter married none other than Lully! The stars truly aligned for this family of court musicians. Songs like \"Vos m\u00e9pris chaque jour\" and \"Ma berg\u00e8re est tendre et fid\u00e8le\" are the period equivalents of today\u2019s \"Everybody Knows\" and \"Hallelujah.\" We know little about the life of Honor\u00e9 D\u2019Ambruis. He was a student of Lambert\u2019s and published several volumes of airs. \"Le doux silence de nos bois\" was a well-known air in its own right at the time. It covered themes that the court audience absolutely loved: the coming of spring, birds, flowers, gentle winds, and a shepherdess. Its last verse translates to, \u201cIt is the time of pleasures and of tender loves.\u201d Some traditional airs also stood the test of time, among them \"Une jeune fillette,\" a young girl\u2019s plea to escape a destiny of monastery life as a nun, arranged here by Marie Nadeau-Tremblay in a version steeped in the traditions of Quebec folk violin.\nFran\u00e7ois Francoeur and Fran\u00e7ois Rebel were thick as thieves. They were, after all, both musical phenomena. Both were violinists at the Acad\u00e9mie Royale de Musique at ages 12 and 13, respectively; they co-directed at the Op\u00e9ra de Paris between 1757 and 1767 and even co-composed several pieces. Bringing them together in this program seemed all too natural. The influence of the Italian masters, such as Corelli, is clear in Francoeur\u2019s \"Violin Sonata in G minor, Opus 2, No. 6,\" each movement an evolving dance, culminating in the final rondo\u2019s spectacular ballet of virtuosity. His colleague Jean-F\u00e9ry Rebel loved ballet and was an avid composer in the genre. His \"Sonata for Violin and Viola da Gamba in E minor\" strikes a balance between the collected temperance of the French school and the fire of the Italian school.\nMichel Farinel, a well-known violinist and composer in his time, produced his take on a smash hit of the baroque era. \"La Folia\" first appeared in 17th-century Portugal and gained popularity in France after Lully published his version in 1672. Michel Farinel composed his own version, which he would later import to England under his name. \"La Folia\" would not spare any of the major baroque composers. Each of them would eventually pen a version: Corelli, Marin Marais, Vivaldi, Scarlatti, and even Bach!\nMarc-Antoine Charpentier is generally known for his church music, of which he composed over 800 pieces. As a singer himself, he composed over 50 secular songs, including \"Tristes d\u00e9serts, sombre retraite,\" with soul-stirring long notes that instantly communicate the singer\u2019s lovelorn despair.\nAll of the composers we mentioned so far were connected to Christophe Ballard. At the time, publication and celebrity depended on sheet music editing. Thanks to royal protection, the Ballard family had a monopoly in Paris. Robert Ballard, then Pierre Ballard, Robert Ballard, and finally Christophe Ballard defended their privilege dearly, keeping a tight grip on attempts to publish within the country. They did not hesitate to take frequent legal action against their competitors. Christophe, the last of his dynasty, printed all the French music of his time (Lully, Campra, Couperin, Rameau, Marais, and so on). The monopoly died with him and Louis XIV, all in 1715. After his passing, plate engraving quickly replaced movable type. In 1658, his father Robert had the brilliant idea of producing an annual collection of drinking songs and airs. It was so popular that the tradition lasted well into the 18th century. Christophe made it a monthly release, so it isn\u2019t surprising that his time as printer produced gems such as \"J\u2019avois cru qu\u2019en vous aymant,\" a lovely song in which fleeting heartbreak slowly recedes into memory.\n\nProgram notes by Benjamin Goron (translated from original French)\n\n&nbsp;\nContextual Note\nThis program offers a vivid glimpse into the cultural and musical world of 1739 France, a time of artistic refinement under Louis XV. Yet, this era of baroque elegance contrasts sharply with the struggles of the Mi\u2019kmaq and Acadians in what was still widely known as Acadia, though officially under British rule as Nova Scotia, who were caught in the imperial rivalries between France and Britain. While French aristocrats reveled in the expressive intricacies of Marin Marais\u2019 viol music and Jean-Philippe Rameau\u2019s operatic innovations, the Mi\u2019kmaq resisted British encroachment, defending their lands and way of life through strategic alliances with the French and diplomatic negotiations. The Acadians, pressured to swear allegiance to the British Crown, would soon face growing restrictions and, ultimately, the forced deportation of Le Grand D\u00e9rangement in the 1750s.\nThe baroque ideal of order and harmony, so central to the music of this era, stood in stark contrast to the upheaval experienced by these communities. Yet, the enduring folk traditions of the Acadians and the Mi\u2019kmaq people's resilience in preserving their language and culture, remind us of the strength that persisted amid colonial violence. This program celebrates baroque artistry while inviting reflection on how the grandeur of European music coexisted with the harsh realities of colonialism, shaping our understanding of culture, power, and identity.\n\n\nAbout the Artists\n&nbsp;\nMarie Nadeau-Tremblay, Baroque violin\nMarie Nadeau-Tremblay is one of Canada\u2019s leading young baroque violinists. First Prize winner of the 2019 Mathieu Duguay International Early Music Competition, Radio-Canada 2021-2022 Classical Revelation, Opus 2022 Discovery of the Year from the Conseil qu\u00e9b\u00e9cois de la musique, and recipient of the 2021 Choquette-Symcox Prize from the JM Canada Foundation. Her album, La Peste (2020), was nominated for Junos and Opus awards; her most recent recording, Opus 2023 Album of the Year, Pr\u00e9ludes et Solitudes (2021), was hailed by critics including the CBC and Early Music America. Marie is also the recipient of the 2022 Career Development Grant from the Father Lindsay Foundation. She plays a 1750 Thomas Perry violin, as well as a Timothy Johnson Amati violin, generously loaned by Jacques Marchand.\n\n&nbsp;\nTristan Best, viol\nA violinist hailing from New York and Nova Scotia, Tristan Best moved to Montreal in 2016 to study viola da gamba at McGill University\u2019s Schulich School of Music, where he earned a bachelor\u2019s degree and then a master\u2019s degree under the tutelage of Betsy MacMillan and Elin Soderstrom. A frequent performer with the Montreal ensemble Les Barocudas, he has taken part in the Montreal Baroque Festival and was awarded the Founder\u2019s Prize and Second Place as soloist at the Mathieu-Duguay Early Music Competition 2022. A passionate teacher, Tristan also gives workshops and lectures on the viola da gamba in Canada and the United States.\n\n&nbsp;\nKerry Bursey, voice and lute\nMontreal tenor, lutenist and guitarist Kerry Bursey is renowned for his \"clear voice of dreamy troubadour sweetness.\" He accompanies himself in song, with a repertoire ranging from Renaissance lute songs to Baroque court airs and traditional Western music. He made his European debut as a soloist in 2023 at the Festival d\u2019Aix-en-Provence in France, the Manchester International Festival in the UK and the Bregenzer Festival in Austria. He is a regular soloist with early music groups such as l\u2019Harmonie des Saisons, the Studio de musique ancienne de Montr\u00e9al (SMAM), les Id\u00e9es Heureuses, La Nef and his own group M\u00e9nestrel, co-founded with soprano Janelle Lucyk. He has recorded a dozen albums for ATMA Classique, Leaf and Deutsche Grammophon. Kerry holds a Masters degree in classical guitar from the Conservatoire de musiques de Montr\u00e9al. He is one of the winners of the 2011 Montreal Guitar Grand Prix.\n\n\n\nEnsemble Francoeur\n\n\n\t\t\t\n\t\t\t\tSAMEDI 1 MARS 2025\n\t\t\t\n\t\t\t\t19h30\n\t\t\t\n\t\t\t\t18,00 $ - 42,00 $/PLACES ASSISES\n\n\t\t\t\n\t\t\t\tBILLETS \u00c9LECTRONIQUES\n\t\t\t\n\t\t\t\tSTAGE AT ST. ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tK\u2019JIPUKTUK/HALIFAX - MI\u2019KMA\u2019KI/NOUVELLE-\u00c9COSSE\n\t\t\t\n\t\t\t\tACCESSIBLE EN FAUTEUIL ROULANT\n\t\t\t\n\t\t\t\tS\u00c9RIE DE CONCERTS SUR LA SC\u00c8NE PRINCIPALE\n\n\n\n\u00c0 propos de ce concert\nARTISTES : Marie Nadeau-Tremblay, violon baroque ; Tristan Best, viole ; Kerry Bursey, voix et luth\nCOMPOSITEURS : Couperin, Marais, Lambert, d\u2019Ambruis, Francoeur, Rebel, Farinel, Charpentier, et Christophe Ballard\nReplongez dans l'univers opulent du baroque fran\u00e7ais avec l'Ensemble Francoeur de Qu\u00e9bec. D\u00e9couvrez une palette sonore vibrante, o\u00f9 les tons lumineux et les nuances d\u00e9licates capturent l'essence d'une \u00e9poque musicale raffin\u00e9e. Leur programme \u00e9clectique comprend des chefs-d'\u0153uvre tels que les \u00ab Concerts Royaux \u00bb de Fran\u00e7ois Couperin : Premier concert en sol majeur \u00bb de Fran\u00e7ois Couperin, \u201cLa Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris\u201d et \u201cL'Arabesque\u201d de Marin Marais, ainsi que les airs de Michel Lambert \u201cVos m\u00e9pris chaque jour\u201d, \u201cUne jeune fillette\u201d arrang\u00e9e par Marie Nadeau-Tremblay, et \u201cMa berg\u00e8re est tendre et fid\u00e8le\u201d. On y retrouve \u00e9galement \u00ab Le doux silence de nos bois \u00bb d'Honor\u00e9 d'Ambruis, les dynamiques sonates \u00ab Sonate pour violon en sol mineur, opus 2 no 6 \u00bb de Fran\u00e7ois Francoeur et \u00ab Sonate pour violon et viole de gambe en mi mineur \u00bb de Jean-F\u00e9ry Rebel, ainsi que l'\u00e9mouvante \u00ab Folia \u00bb de Michel Farinel, \u00ab Tristes d\u00e9serts, sombre retraite, H 469 \u00bb de Marc-Antoine Charpentier et \u00ab J'avois cru qu'en vous aymant \u00bb de Christophe Ballard. \u00bb L'ensemble - la violoniste baroque Marie Nadeau-Tremblay, Tristan Best \u00e0 la viole et Kerry Bursey \u00e0 la voix et au luth - offre une interpr\u00e9tation nuanc\u00e9e de la musique baroque fran\u00e7aise. Leur performance capture l'essence dynamique et imaginative de la brillante p\u00e9riode baroque. Une copr\u00e9sentation avec JM Canada. Commanditaire de la saison : Jules Chamberlain / Red Door Realty.\n\n\n\n\u00c0 propos du programme\n&nbsp;\n\nFran\u00e7ois Couperin (1668-1733)\n\nConcerts Royaux : Premier concert en sol majeur, in G major\n\ni. Pr\u00e9lude\nii. Allemande\niii. Sarabande\niv. Gavotte\nv. Gigue\nvi. Menuet en trio\n\n&nbsp;\n\nMarin Marais (1656-1728)\n\nLa Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris\n\nQuatri\u00e8me livre de pi\u00e8ces de viole : L\u2019Arabesque\n\n&nbsp;\n\nMichel Lambert (1610-1696)\n\nVos m\u00e9pris chaque jour\nUne jeune fillette (arr. de Marie-Nadeau Tremblay)\nGreensleeves\nMa berg\u00e8re est tendre et fid\u00e8le\n\n&nbsp;\n\nHonor\u00e9 d\u2019Ambruis (1660-1702)\n\nLe doux silence de nos bois\n\n&nbsp;\n\n~ENTRACTE~\n\n&nbsp;\n\nFran\u00e7ois Francoeur (1698-1787)\n\nSonate pour violon en sol mineur, in G minor, opus 2 no 6\n\ni. Adagio\nii. Allemande\niii. Courante\niv. Sarabande\nv. Rondeau\n\n&nbsp;\n\nJean-F\u00e9ry Rebel (1666-1747)\n\nSonate pour violon et viole de gambe en mi mineur, in E minor\n\ni. Gracieusement\nii. Viste\niii. R\u00e9cit\niv. Gai\nv. Viste\n\n&nbsp;\n\nMichel Farinel (1649-1726)\n\nFolia\n\n&nbsp;\n\nMarc-Antoine Charpentier (1643-1704)\n\nTristes d\u00e9serts, sombre retraite, H 469\n\n&nbsp;\n\nChristophe Ballard (1641-1715)\n\nJ\u2019avois cru qu\u2019en vous aymant\n\n&nbsp;\n\u00ab Cordes, querelles et cour du roi \u00bb\nL\u2019intrigue de ce concert se situe en 1739 en France, sous le r\u00e8gne de Louis XV. \u00c0 cette \u00e9poque, de l\u2019autre c\u00f4t\u00e9 de l\u2019Atlantique, France et Grande-Bretagne com- battent pour la domination de l\u2019Am\u00e9rique du Nord. Vingt ans plus tard, en 1759 aura lieu la bataille des Plaines d\u2019Abraham. Pour l\u2019heure, la France musicale baroque vit au rythme des querelles entre partisans de la tradition de Lully et d\u00e9fenseurs du modernisme de Rameau. Fran\u00e7ois Couperin, \u00e9minent organiste, claveciniste et com- positeur, rest\u00e9 \u00e0 l\u2019\u00e9cart de ces chicanes, est d\u00e9c\u00e9d\u00e9 depuis 1733 et Vivaldi mourra quelques mois plus tard dans la pauvret\u00e9, en 1740. Bach suivra dix ans plus tard, puis Rameau en 1764, ouvrant une nouvelle \u00e8re de l\u2019histoire musicale.\n\u00c0 l\u2019\u00e9poque baroque, la musique occupe une place et rev\u00eat une signification bien diff\u00e9rente d\u2019aujourd\u2019hui. Elle est fortement ins\u00e9r\u00e9e dans le tissu de la vie sociale tout en \u00e9tant le reflet d\u2019un ordre de nature cosmique. L\u2019\u00e2ge baroque pense la musique au service de celui qui se tient au sommet de la hi\u00e9rarchie sociale (le monarque) ou universelle (Dieu). Si elles ont leurs caract\u00e9ristiques propres, musique d\u2019\u00e9glise et musique de cour sont toutes deux organis\u00e9es et pr\u00e9sent\u00e9es selon des rituels minutieux r\u00e9gl\u00e9s dans les moindres d\u00e9tails. Cette id\u00e9e d\u2019ordre, d\u2019harmonie, est pr\u00e9sente dans le terme de concert (Concerts Royaux de Couperin), terme assez vague \u00e0 l\u2019\u00e9poque qui cherche \u00e0 \u00e9tablir l\u2019id\u00e9e d\u2019unit\u00e9 dans la multitude \u2013 on parle aussi de concert des plan\u00e8tes, par exemple. Issu d\u2019une famille de musiciens, Fran- \u00e7ois Couperin d\u00e9veloppe un talent pr\u00e9coce pour l\u2019art des sons, si bien qu\u2019on lui r\u00e9serve par contrat, d\u00e8s ses onze ans, le poste prestigieux d\u2019organiste \u00e0 l\u2019\u00e9glise St-Gervais,alors occup\u00e9 par son p\u00e8re. Il prend officiellement le poste \u00e0 17 ans, puis devient tout \u00e0 tour organiste \u00e0 la chapelle de Louis XIV puis ordinaire pour la musique de clavecin du roi. Compositeur prolifique et innovateur, Couperin trace son chemin loin des querelles en vogue \u00e0 l\u2019\u00e9poque. Dans les derni\u00e8res ann\u00e9es de sa vie, le Roi-Soleil re\u00e7oit Couperin chaque dimanche \u00e0 la cour de Versailles, et c\u2019est \u00e0 cetteoccasion que Fran\u00e7ois compose et fait jouer ses Concerts royaux. Le Premier Concert en sol majeur est une suite de danses principalementfran\u00e7aises : on y retrouve un pr\u00e9lude dans un style d\u00e9clamatoire, sur une basse continue ; une allemande l\u00e9g\u00e8re et gracieuse, qui encha\u00eene avec une \u00e9l\u00e9gante sarabande ; une gavotte pleine de gr\u00e2ce, une gigue l\u00e9g\u00e8re et spirituelle puis un menuet en trio, danse fran\u00e7aise par excellence.\nCouperin a bien connu son contemporain Marin Marais, qui est, dans le m\u00eame temps, ordinaire de la musique de viole du roi. Brillant violiste, redoutable compo- siteur, il publie cinq recueils de viole et deux autres recueils de composition tout \u00e0 fait majeurs en son temps. La Sonnerie de Sainte-Genevi\u00e8ve du Mont de Paris est publi\u00e9e dans un recueil de 1723 ; Cette \u00e9tonnante partition nous laisse entendre le tintement des cloches de l\u2019\u00e9glise Sainte-Genevi\u00e8ve, sorte de carillon qui s\u2019anime peu \u00e0 peu au-dessus d\u2019une basse immuable. L\u2019Arabesque date quant \u00e0elle de 1717 ; fid\u00e8le \u00e0 son titre qui rappelle un motif ornemental form\u00e9 de nombreux entrelacs, cette pi\u00e8ce nous laisse entendre de longues ornementations fleuries qui s\u2019agencent sans doute parfaitement au faste et aux d\u00e9corations royales pr\u00e9sentes \u00e0 Versailles, domaine qui respire apr\u00e8s les interminables chantiers entrepris par Louis XIV pendant les 50 ann\u00e9es pr\u00e9c\u00e9dentes.\n\u00c0 cette \u00e9poque, les grands aristocrates ne s\u2019\u00e9meuvent pas que de la musique de chambre. La musique vocale est \u00e9galement fort appr\u00e9ci\u00e9e et les chanteurs et chan- teuses de talent sont prot\u00e9g\u00e9s par les plus grands. C\u2019est le cas de Michel Lambert, \u00e0 la fois chanteur, s\u2019accompagnant volontiers au th\u00e9orbe, et professeur renomm\u00e9, qui s\u2019entoure des plus belles voix de l\u2019\u00e9poque (notamment sa femme Gabrielle Dupuy et sabelle-s\u0153ur Hilaire Dupuy). Michel Lambert est le F\u00e9lix Leclerc de l\u2019\u00e9poque, ses airs sont sur toutes les l\u00e8vres et sont \u00e9dit\u00e9s par l\u2019imprimeur du roi, Christophe Ballard. La fille de Michel Lambert n\u2019\u00e9pousera rien de moins que Lully, autant dire que les astres sont align\u00e9s pour cette famille de musiciens proches de la cour du roi. Aussi, Vos m\u00e9pris chaque jour ainsi que Ma berg\u00e8re est tendre et fid\u00e8le sont un peu nos Bozo et Le p\u2019tit bonheur d\u2019aujourd\u2019hui. Honor\u00e9 D\u2019Ambruis, dont la vie est peu connue, est un disciple de Lambert qui publie plusieurs recueils d\u2019airs. Le doux silence de nos bois est \u00e9galement un air tr\u00e8s connu \u00e0 l\u2019\u00e9poque ; on y retrouve des ingr\u00e9dients dont le public de la cour est friand : l\u2019arriv\u00e9e du printemps, les oiseaux, les fleurs, le z\u00e9phyr et une berg\u00e8re : \u00ab C\u2019est le temps des plaisirs et des tendres amours. \u00bb De plus, certains airs traditionnels ont surv\u00e9cu au temps, et parmi eux Une jeune fillette, supplication d\u2019une jeune fille pour \u00e9chapper au monast\u00e8reet au destin de religieuse, qui est ici arrang\u00e9e par Marie-Nadeau Tremblay dans une version \u00e9voquant l\u2019h\u00e9ritage du violon folklorique qu\u00e9b\u00e9cois.\nFran\u00e7ois Francoeur et Fran\u00e7ois Rebel s\u2019entendaient comme larrons en foire. Il faut dire qu\u2019on avait affaire \u00e0 deux ph\u00e9nom\u00e8nes musicaux : tous deux violonistes dans l\u2019Acad\u00e9mie royale de musique \u00e0 respectivement 12 et 13 ans, on les retrouve co- directeurs de l\u2019Op\u00e9ra de Paris entre1757 et 1767, ou encore co-compositeurs de nombreuses \u0153uvres. Il est donc tout naturel de les faire se c\u00f4toyer dans ce programme.L\u2019influence des grands ma\u00eetres italiens, notamment Corelli, est pr\u00e9sente dans la Sonate pour violon en sol mineur, opus 2, no 6 deFrancoeur, qui se d\u00e9ploie \u00e0 chaque mouvement de danse pour \u00e9clater en un ballet de virtuosit\u00e9 dans le Rondeau final. Le ballet \u00e9tait un genre tr\u00e8s appr\u00e9ci\u00e9 de son coll\u00e8gue Jean-F\u00e9ry Rebel, qui a beaucoup compos\u00e9 pour le genre. Sa Sonate pour violon et viole de gambe en mi mineur dresse un bel \u00e9quilibre de la sagesse et de la temp\u00e9rance propres \u00e0 l\u2019\u00e9cole fran\u00e7aise et du feu de l\u2019\u00e9cole italienne.\nVioloniste et compositeur de renom en son temps, Michel Farinel reprend ici un succ\u00e8s fracassant de l\u2019\u00e9poque baroque. Apparue pour la premi\u00e8re fois dans le Portugal du XVIe si\u00e8cle, La Folia gagne en popularit\u00e9 en France apr\u00e8s que Lully publie sa premi\u00e8re en 1672. Michel Farinel compose sa version qu\u2019il importera sous son nom en Angleterre. Au fil des ans, tous les grands compositeurs du Baroque donneront dans cette douce folie : Corelli, Marin Marais, Vivaldi, Scarlatti et m\u00eame Bach !\nC\u2019est avant tout dans le domaine de la musique sacr\u00e9e qu\u2019on conna\u00eet g\u00e9n\u00e9ralement Marc-Antoine Charpentier, compositeur prolifique de plus de 800 \u0153uvres \u00e0 travers sa vie. \u00c9tant lui-m\u00eame chanteur, il a compos\u00e9 plus d\u2019une cinquantaine de chansons profanes parmi lesquelles Tristes d\u00e9serts, sombre retraite, dont les notes tenues atteignent l\u2019\u00e2me et traduisent instantan\u00e9ment le d\u00e9sespoir amoureux du chanteur.\nTous les grands compositeurs \u00e9voqu\u00e9s plus t\u00f4t sont reli\u00e9s au nom de Christophe Ballard : \u00e0 cette \u00e9poque, la cl\u00e9 de la diffusion et donc de la c\u00e9l\u00e9brit\u00e9 passe n\u00e9ces- sairement par l\u2019\u00e9dition de partitions. \u00c0 Paris, c\u2019est la famille Ballard qui d\u00e9tient un monopole gr\u00e2ce \u00e0 la protection royale. Robert Ballard, puis Pierre Ballard, Robert Ballard, enfin Christophe Ballard d\u00e9fendent ch\u00e8rement ce privil\u00e8ge, contr\u00f4lent de pr\u00e8s les tentatives de publications dans le pays et n\u2019h\u00e9sitent pas \u00e0 intenter de nombreux proc\u00e8s \u00e0 leurs concurrents. Christophe sera le dernier decette dynas- tie, imprimant toute la musique fran\u00e7aise de son \u00e9poque (Lully, Campra, Couperin, Rameau, Marais\u2026). Il meurt en 1715, la m\u00eame ann\u00e9e que Louis XIV, mettant fin au monopole ; apr\u00e8s lui la gravure supplantera rapidement les imprimeries \u00e0 caract\u00e8res mobiles. D\u00e8s 1658, son p\u00e8re Robert a la brillante id\u00e9e de lancer un recueil annuel de chansons et d\u2019airs \u00e0 boire. C\u2019est un tel succ\u00e8s que la pratique perdurera jusqu\u2019au milieu du XVIIIe si\u00e8cle. La publication devient mensuelle avec Christophe, rien d\u2019\u00e9tonnant donc \u00e0 voir passer sous son r\u00e8gne typographique des perles comme J\u2019avois cru qu\u2019en vous aymant, jolie chanson o\u00f9 la peine amoureuse va, \u00e9vanes- cente, s\u2019\u00e9vanouissant peu \u00e0 peu comme un souvenir d\u00e9j\u00e0 pass\u00e9.\n\nNotes de programme de Benjamin Goron\n\n&nbsp;\nNote contextuelle\nCe programme offre un aper\u00e7u vivant du monde culturel et musical de la France de 1739, une \u00e9poque de raffinement artistique sous Louis XV. Pourtant, cette \u00e9poque d'\u00e9l\u00e9gance baroque contraste fortement avec les luttes des Mi'kmaq et des Acadiens de ce qui \u00e9tait encore largement connu sous le nom d'Acadie, bien qu'officiellement sous la domination britannique sous le nom de Nouvelle-\u00c9cosse, et qui \u00e9taient pris dans les rivalit\u00e9s imp\u00e9riales entre la France et la Grande-Bretagne. Alors que les aristocrates fran\u00e7ais se d\u00e9lectent des subtilit\u00e9s expressives de la musique de viole de Marin Marais et des innovations op\u00e9ratiques de Jean-Philippe Rameau, les Mi'kmaqs r\u00e9sistent aux empi\u00e8tements britanniques, d\u00e9fendant leurs terres et leur mode de vie par des alliances strat\u00e9giques avec les Fran\u00e7ais et des n\u00e9gociations diplomatiques. Les Acadiens, contraints de pr\u00eater serment d'all\u00e9geance \u00e0 la Couronne britannique, seront bient\u00f4t confront\u00e9s \u00e0 des restrictions croissantes et, finalement, \u00e0 la d\u00e9portation forc\u00e9e du Grand D\u00e9rangement dans les ann\u00e9es 1750.\nL'id\u00e9al baroque d'ordre et d'harmonie, si central dans la musique de cette \u00e9poque, contrastait fortement avec les bouleversements v\u00e9cus par ces communaut\u00e9s. Pourtant, les traditions folkloriques durables des Acadiens et la r\u00e9silience du peuple Mi'kmaq, qui a su pr\u00e9server sa langue et sa culture, nous rappellent la force qui a persist\u00e9 au milieu de la violence coloniale. Ce programme c\u00e9l\u00e8bre l'art baroque tout en invitant \u00e0 r\u00e9fl\u00e9chir \u00e0 la fa\u00e7on dont la grandeur de la musique europ\u00e9enne a coexist\u00e9 avec les dures r\u00e9alit\u00e9s du colonialisme, fa\u00e7onnant notre compr\u00e9hension de la culture, du pouvoir et de l'identit\u00e9.\n\n\n\u00c0 propos des artistes\n&nbsp;\nMarie Nadeau-Tremblay, violon baroque\nMarie Nadeau-Tremblay est l\u2019une des jeunes violonistes baroque canadienne les plus en vue. Premier Prix 2019 au Concoursinternational de musique ancienne Mathieu Duguay, R\u00e9v\u00e9lation classique Radio-Canada 2021-2022, Opus 2022 d\u00e9couverte del\u2019ann\u00e9e du Conseil qu\u00e9b\u00e9cois de la musique, et r\u00e9cipiendaire du Prix Choquette-Symcox 2021 de la Fondation JM Canada. Son album, La Peste (2020), a \u00e9t\u00e9 en nominations aux Prix Junos et Opus ; son plus r\u00e9cent enregistrement, Pr\u00e9ludes et Solitudes (2021), Opus 2023 album de l\u2019ann\u00e9e, a \u00e9t\u00e9 salu\u00e9 par la critique, notamment par la CBC et Early Music America. Marie est aussi r\u00e9cipiendaire de la boursede d\u00e9veloppement de carri\u00e8re 2022 de la Fondation P\u00e8re Lindsay. Elle joue sur un violon Thomas Perry de 1750, ainsi qu\u2019un violon Amati de Timothy Johnson, g\u00e9n\u00e9reusement pr\u00eat\u00e9 par Jacques Marchand.\n\n&nbsp;\n\nTristan Best, viole\nGambiste originaire de New York et de la Nouvelle-\u00c9cosse, Tristan Best se retrouve par la suite \u00e0 Montr\u00e9al en 2016 pour l\u2019\u00e9tude de la viole de gambe \u00e0 l\u2019\u00c9cole de musique Schulich de l\u2019Universit\u00e9 McGill, o\u00f9 il obtient un Baccalaur\u00e9at, puis une Ma\u00eetrise sous lesdirections de Betsy MacMillan et d\u2019Elin Soderstrom. Souvent en concert avec l\u2019ensemble montr\u00e9alais Les Barocudas, il a particip\u00e9 au Festival baroque de Montr\u00e9al, en plus de re- cevoir le Prix du fondateur ainsi que la Deuxi\u00e8me place comme soliste au Concours demusique ancienne Mathieu-Duguay 2022. P\u00e9dagogue passionn\u00e9, Tristan donne en outre des ateliers et des conf\u00e9rences sur la viole de gambe au Canada et aux \u00c9tats-Unis.\n\n&nbsp;\nKerry Bursey, voix et luth\nT\u00e9nor, luthiste et guitariste montr\u00e9alais, Kerry Bursey est reconnu pour sa \u00ab voix claire faite de douceur troubadouresque r\u00eav\u00e9e \u00bb. Il s\u2019accompagne en chantant, dans le r\u00e9pertoire des lute songs de larenaissance, aux airs de cour baroques jusqu\u2019aux musiques traditionnelles occidentales. En 2023, il fait ses d\u00e9buts europ\u00e9enscomme soliste au Festival d\u2019Aix-en-Provence en France, au Festival international de Manchester au Royaume-Uni et au Festival de Bregenzer en Autriche.\nIl est r\u00e9guli\u00e8rement soliste avec des groupes de musique ancienne tels que l\u2019Harmonie des Saisons, le Studio de musiqueancienne de Montr\u00e9al (SMAM), les Id\u00e9es Heureuses, la Nef ainsi que son propre groupe M\u00e9nestrel, cofond\u00e9 avec la soprano Janelle Lucyk. Il participe \u00e0 l\u2019enregistrements d\u2019une douzaine d\u2019albums pour ATMA Classique, Leaf et Deutsche Grammophon. Kerry est titulaire d'une ma\u00eetrise en guitare classique du Conservatoire de musique de Montr\u00e9al. Il est l'un des laur\u00e9ats du Grand Prix de Guitare de Montr\u00e9al 2011.","image":"https://www.ceciliaconcerts.ca/wp-content/uploads/2025/01/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Main-Stage-Concerts-Ensemble-Francoeur-4.jpg","sku":33797,"offers":[{"@type":"Offer","priceSpecification":[{"@type":"UnitPriceSpecification","price":"0.00","priceCurrency":"CAD","valueAddedTaxIncluded":false,"validThrough":"2027-12-31"}],"priceValidUntil":"2027-12-31","availability":"https://schema.org/OutOfStock","url":"https://www.ceciliaconcerts.ca/concert/ensemble-francoeur/","seller":{"@type":"Organization","name":"Cecilia Concerts | Halifax, Nova Scotia","url":"https://www.ceciliaconcerts.ca"}}]}
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