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Page name: Canadian Concertmasters • Saturday, March 29, 2025 • 7:30pm
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<title>Canadian Concertmasters • Saturday, March 29, 2025 • 7:30pm</title>
<meta name="description" content="The Canadian Concertmasters features four of Canada’s leading symphony concertmasters – from the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, the Orchestre symphonique de Montréal, and the Toronto Symphony Orchestra. These extraordinary violinists unite to blend their expertise and passion with a program that includes Antonín Dvořák’s melodic "Terzetto in C major," Sergei Prokofiev’s dynamic "Sonata for Two Violins," Johan Halvorsen’s virtuosic "Passacaglia" on a theme by George Frideric Handel, Georg Philipp Telemann’s intricate "Concerto for 4 Violins," and unique arrangements of Wolfgang Amadeus Mozart’s whimsical "Magic Flute," Grażyna Bacewicz’s intense "Quartet for 4 Violins," and Camille Saint-Saëns' "Danse Macabre." Presented with the generous support of Musician-in-Residence Presenting Partner – Lang Optometry and Eyewear. Season Sponsor: Jules Chamberlain / Red Door Realty. Main Stage Concert Series Major Sponsor: Scotiabank.">
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<meta property="og:description" content="The Canadian Concertmasters features four of Canada’s leading symphony concertmasters – from the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, the Orchestre symphonique de Montréal, and the Toronto Symphony Orchestra. These extraordinary violinists unite to blend their expertise and passion with a program that includes Antonín Dvořák’s melodic "Terzetto in C major," Sergei Prokofiev’s dynamic "Sonata for Two Violins," Johan Halvorsen’s virtuosic "Passacaglia" on a theme by George Frideric Handel, Georg Philipp Telemann’s intricate "Concerto for 4 Violins," and unique arrangements of Wolfgang Amadeus Mozart’s whimsical "Magic Flute," Grażyna Bacewicz’s intense "Quartet for 4 Violins," and Camille Saint-Saëns' "Danse Macabre." Presented with the generous support of Musician-in-Residence Presenting Partner – Lang Optometry and Eyewear. Season Sponsor: Jules Chamberlain / Red Door Realty. Main Stage Concert Series Major Sponsor: Scotiabank.">
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<meta name="twitter:description" content="The Canadian Concertmasters features four of Canada’s leading symphony concertmasters – from the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, the Orchestre symphonique de Montréal, and the Toronto Symphony Orchestra. These extraordinary violinists unite to blend their expertise and passion with a program that includes Antonín Dvořák’s melodic "Terzetto in C major," Sergei Prokofiev’s dynamic "Sonata for Two Violins," Johan Halvorsen’s virtuosic "Passacaglia" on a theme by George Frideric Handel, Georg Philipp Telemann’s intricate "Concerto for 4 Violins," and unique arrangements of Wolfgang Amadeus Mozart’s whimsical "Magic Flute," Grażyna Bacewicz’s intense "Quartet for 4 Violins," and Camille Saint-Saëns' "Danse Macabre." Presented with the generous support of Musician-in-Residence Presenting Partner – Lang Optometry and Eyewear. Season Sponsor: Jules Chamberlain / Red Door Realty. Main Stage Concert Series Major Sponsor: Scotiabank.">
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padding-right: 1em;
}
#fooevents-event-listing-list .fooevents-event-listing-list-location {
margin: 0 0 0.5em;
padding: 0;
}
#fooevents-event-listing-list .fooevents-event-listing-list-stock {
margin: 0 0 1em;
padding: 0;
}
#fooevents-event-listing-list .fooevents-event-listing-list-book-now {
font-weight: bold;
}
#fooevents-event-listing-list .fooevents-event-listing-list-book-now a {
text-decoration: none;
}
/* Event Listing Block > Compact */
table#fooevents-event-listing-compact {
width: 100%;
}
table#fooevents-event-listing-compact th {
text-align: left;
}
#fooevents-event-listing-compact h3 {
margin-bottom: 0.5em;
padding: 0;
margin-block-start: 0;
font-size: 1.4em;
}
#fooevents-event-listing-compact ul {
list-style: none;
margin: 0;
padding: 0;
font-size: 0.9em;
}
table#fooevents-event-listing-compact td.date {
text-align: center;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-datetime {
padding: 0 0 0.5em;
margin: 0;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-excerpt {
margin-bottom: 1em;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-stock {
margin: 1em 0 0;
padding: 0;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-book-now {
padding: 0;
margin: 0 0em;
font-weight: bold;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-book-now a {
text-decoration: none;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-price {
font-weight: bold;
margin: 0;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-price {
font-weight: bold;
margin: 0;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-availability {
margin: 0;
}
#fooevents-event-listing-compact .fooevents-event-listing-compact-location {
margin: 0 0 0.5em;
padding: 0;
}
/* Event Listing Block > Tiled */
#fooevents-event-listing-tiles {
display: grid;
gap: 30px;
}
#fooevents-event-listing-tiles h3 {
margin-bottom: 0.5em;
padding: 0;
margin-block-start: 0;
font-size: 1.2em;
}
#fooevents-event-listing-tiles .event-thumbnail img {
width: 100%;
height: auto;
padding: 0;
margin: 0 0 1em;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-datetime {
padding: 0;
margin: 0 0 0.5em;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-location {
font-weight: bold;
margin: 0 0 0.5em;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-excerpt {
margin: 0 0 1em;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-stock {
margin: 0 0 1em;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-price {
font-weight: bold;
margin: 0;
}
#fooevents-event-listing-tiles .fooevents-event-listing-tiles-availability {
margin: 0;
}
#fooevents-event-listing-tiles .fooevents-event-listing-book-now {
font-weight: bold;
margin: 1em 0 0;
}
#fooevents-event-listing-tiles .fooevents-event-listing-book-now a {
text-decoration: none;
}
.fooevents-event-listing-tile-number-2 {
grid-template-columns: repeat(2, calc(50% - 15px));
}
.fooevents-event-listing-tile-number-3 {
grid-template-columns: repeat(3, calc(33.33% - 20px));
}
.fooevents-event-listing-tile-number-4 {
grid-template-columns: repeat(4, calc(25% - 22.5px));
}
.fooevents-event-listing-tile-number-5 {
grid-template-columns: repeat(5, calc(20% - 24px));
}
.fooevents-event-listing-tile-number-6 {
grid-template-columns: repeat(6, calc(16.66% - 25px));
}
/* Event Icon Styles */
.event-icon {
display: inline;
margin: 0.4em 0.4em 0 0;
padding: 0;
line-height: 0.8em;
}
.event-icon:before {
content: "\f469";
font-family: "dashicons";
font-size: 1em;
}
.event-icon-calendar:before {
content: "\f508";
}
@media screen and (max-width: 55em) {
.fooevents-event-listing-tile-number-5,
.fooevents-event-listing-tile-number-6 {
grid-template-columns: repeat(3, calc(33.33% - 20px));
}
#fooevents-event-listing-compact td {
display: block;
width: 100%;
}
table#fooevents-event-listing-compact td.date {
text-align: left;
}
}
@media screen and (max-width: 50em) {
.fooevents-event-listing-tile-number-2,
.fooevents-event-listing-tile-number-3,
.fooevents-event-listing-tile-number-4,
.fooevents-event-listing-tile-number-5,
.fooevents-event-listing-tile-number-6 {
grid-template-columns: repeat(3, calc(33.33% - 20px));
}
}
@media screen and (max-width: 40em) {
.fooevents-event-listing-tile-number-2,
.fooevents-event-listing-tile-number-3,
.fooevents-event-listing-tile-number-4,
.fooevents-event-listing-tile-number-5,
.fooevents-event-listing-tile-number-6 {
grid-template-columns: repeat(2, calc(50% - 15px));
}
.fooevents-event-listing-list-container {
grid-template-columns: repeat(1, 100%);
}
}
@media screen and (max-width: 30em) {
.fooevents-event-listing-tile-number-2,
.fooevents-event-listing-tile-number-3,
.fooevents-event-listing-tile-number-4,
.fooevents-event-listing-tile-number-5,
.fooevents-event-listing-tile-number-6 {
grid-template-columns: repeat(1, 100%);
}
}
/*# sourceMappingURL=style-index.css.map*/
</style>
<style id="woocommerce-events-fooevents-event-attendees-style-inline-css" type="text/css">
/*!*****************************************************************************************************************************************************************************************************************************************************************!*\
!*** css ./node_modules/css-loader/dist/cjs.js??ruleSet[1].rules[4].use[1]!./node_modules/postcss-loader/dist/cjs.js??ruleSet[1].rules[4].use[2]!./node_modules/sass-loader/dist/cjs.js??ruleSet[1].rules[4].use[3]!./src/fooevents-event-attendees/style.scss ***!
\*****************************************************************************************************************************************************************************************************************************************************************/
/**
* The following styles get applied both on the front of your site
* and in the editor.
*
* Replace them with your own styles or remove the file completely.
*/
/* Attendee Block Grid Styles */
.fooevents-attendees-grid {
display: grid;
gap: 30px;
}
.fooevents-attendee-list-grid-2 {
grid-template-columns: repeat(2, calc(50% - 15px));
}
.fooevents-attendee-list-grid-3 {
grid-template-columns: repeat(3, calc(33.33% - 20px));
}
.fooevents-attendee-list-grid-4 {
grid-template-columns: repeat(4, calc(25% - 22.5px));
}
.fooevents-attendee-list-grid-5 {
grid-template-columns: repeat(5, calc(20% - 24px));
}
.fooevents-attendee-list-grid-6 {
grid-template-columns: repeat(6, calc(16.66% - 25px));
}
.fooevents-attendee-list-grid-7 {
grid-template-columns: repeat(7, calc(14.28% - 25.7142857143px));
}
.fooevents-attendee-list-grid-8 {
grid-template-columns: repeat(8, calc(12.5% - 26.25px));
}
.fooevents-attendees-grid .fooevents-attendee {
margin-bottom: 1em;
text-align: center;
line-height: 1.3em;
}
.fooevents-attendees:after,
.fooevents-attendee-list-clear {
clear: both;
content: "";
display: block;
}
.fooevents-attendees-grid .fooevents-attendee img {
border-radius: 100%;
max-width: 90%;
margin: 0 0 0.5em;
display: inline-block;
}
.fooevents-attendees-grid .fooevents-attendee-info-name {
font-weight: bold;
}
.fooevents-attendees-grid .fooevents-attendee-info-designation,
.fooevents-attendees-grid .fooevents-attendee-info-company,
.fooevents-attendees-grid .fooevents-attendee-info-telephone,
.fooevents-attendees-grid .fooevents-attendee-info-email,
.fooevents-attendees-grid .fooevents-attendee-info-signup {
font-size: 0.8em;
}
.fooevents-attendees-grid .fooevents-attendee-info-designation {
font-weight: 600;
}
.fooevents-attendees-grid-total {
padding: 1em 0;
text-align: center;
}
/* Attendee Block Name Styles */
.fooevents-attendee strong {
font-size: 0.9em;
font-weight: 600;
}
/* Attendee Block Pictures Styles */
.fooevents-attendees-pictures .fooevents-attendee {
float: left;
text-align: center;
line-height: 1.3em;
margin: 0 0 0 -0.8em;
}
.fooevents-attendees-pictures .fooevents-attendee img {
max-width: 100%;
}
.fooevents-attendees-pictures .fooevents-attendee-size-large {
width: 6em;
}
.fooevents-attendees-pictures .fooevents-attendee-size-large img {
border: solid 4px #fff;
width: 6em;
}
.fooevents-attendees-pictures .fooevents-attendee-size-medium {
width: 3.5em;
}
.fooevents-attendees-pictures .fooevents-attendee-size-medium img {
border: solid 3px #fff;
width: 3.5em;
}
.fooevents-attendees-pictures .fooevents-attendee-size-small {
width: 2.5em;
}
.fooevents-attendees-pictures .fooevents-attendee-size-small img {
border: solid 2px #fff;
width: 2.5em;
}
#fooevents-attendee-list-compact .fooevents-attendee-large img {
max-width: 6em;
}
#fooevents-attendee-list-compact .fooevents-attendee-medium img {
max-width: 3.5em;
}
#fooevents-attendee-list-compact .fooevents-attendee-small img {
max-width: 2.5em;
}
.fooevents-attendees-pictures .fooevents-attendee-0 {
margin: 0;
}
/* Attendee Block List Styles */
.fooevents-attendees-list img {
border-radius: 100%;
max-width: 90%;
margin: 0 0 0.5em;
}
.fooevents-attendees-list-total {
padding: 1em 0;
text-align: left;
}
/* Attendee Block Image Styles */
.fooevents-attendees-pictures .fooevents-attendee img {
border-radius: 100%;
max-width: 100%;
margin: 0 0 0.5em;
}
/* Responsive Styles */
@media screen and (max-width: 55em) {
.fooevents-attendee-list-grid-5,
.fooevents-attendee-list-grid-6,
.fooevents-attendee-list-grid-7,
.fooevents-attendee-list-grid-8 {
grid-template-columns: repeat(5, calc(20% - 24px));
}
}
@media screen and (max-width: 50em) {
.fooevents-attendee-list-grid-5,
.fooevents-attendee-list-grid-6,
.fooevents-attendee-list-grid-7,
.fooevents-attendee-list-grid-8 {
grid-template-columns: repeat(4, calc(25% - 22.5px));
}
}
@media screen and (max-width: 40em) {
.fooevents-attendee-list-grid-4,
.fooevents-attendee-list-grid-5,
.fooevents-attendee-list-grid-6,
.fooevents-attendee-list-grid-7,
.fooevents-attendee-list-grid-8 {
grid-template-columns: repeat(3, calc(33.33% - 20px));
}
#fooevents-attendee-list-compact th {
display: none;
}
#fooevents-attendee-list-compact td {
display: block;
width: 100%;
}
}
@media screen and (max-width: 30em) {
.fooevents-attendee-list-grid-3,
.fooevents-attendee-list-grid-4,
.fooevents-attendee-list-grid-5,
.fooevents-attendee-list-grid-6,
.fooevents-attendee-list-grid-7,
.fooevents-attendee-list-grid-8 {
grid-template-columns: repeat(2, calc(50% - 15px));
}
}
/*# sourceMappingURL=style-index.css.map*/
</style>
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border-width: 1px;
border-color: #D3D3D3;
}
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background-color: #16517e; /* pick your color */
color: #fff; /* text color */
border: none;
}
/* Optional: hover effect */
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background-color: #486a8d;
}
/* External button for product 37179 */
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background-color: #db8d10; /* orange */
color: #fff;
}
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background-color: #db9628; /* l orange */
}
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background-color: #db8d10; /* orange */
color: #fff;
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background-color: #db9628; /* l orange */
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padding-top: 0px !important;
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display: none;
}
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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;
}
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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;
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padding-top: 0 !important
}
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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;
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h5 {
color: #000 !important;
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display: block;
background-color: #d6552d;
color: #fff;
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display: none;
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display: block;
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width: 100% !important;
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width: 100%;
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width: 100%;
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font-size: 9px!important;
color: #000000;
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display: none;
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margin-top: 0 !important;
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width: auto !important;
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float:none;
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padding-right: 10px;
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width:100%;
color: white;
background:#d6552d;
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background: #d7714a;
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.single_variation_wrap_kad .quantity {
display: block !important;
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#two-col-products .products .product {
width: 50%;
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}
#product_wrapper2 .details_product_item a.button {
background-color: #d6552d;
color: #FFF;
display: block;
}
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display: none;
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display: none;
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display: none;
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display: none;
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display: none;
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.is-sticky header#kad-banner {
height: 135px!important;
}
.container.virtue_sitewide_banner {
background: #FFF;
width: 100%;
}
.virtue_banner {
max-width: 300px;
margin: auto;
}
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font-size: 10px;
}
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width:100%;
border-radius: 160px !important;
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@media (max-width: 780px){
div#pg-w62e27cbe9972c-4 .textwidget > p > a.kad-btn{
width:75%
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}
@media (max-width: 599px){
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width:100%
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}
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border-radius: 160px !important;
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display: block;
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display: block;
background-color: #d6552d;
color: #fff;
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display: none;
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display: block;
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display: block;
background-color: #d6552d;
color: #fff;
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display: none;
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display: block;
background-color: #d6552d;
color: #fff;
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.home .product_item .details_product_item a.button {background-color:#d6552d;color:#FFF}
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.concerts .product_item .price {
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dt.tm-final-totals {
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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;
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color:#fff;
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left: 0;
top: 0;
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#containerfooter .menu li a {
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h1.product_title.entry-title {
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h1.product_title.entry-title {
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line-height: 15px;
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<meta name="pm-dataLayer-meta" content="33810" class="wpmProductId" data-id="33810">
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function gtag(){dataLayer.push(arguments);}
gtag('js', new Date());
gtag('config', 'UA-73427149-1');
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<style type="text/css" id="wp-custom-css">
.home .hide-footer-row {
display: none;
}
/* Center tabs and reset default floats */
.custom-tabs ul.nav.nav-tabs.sc_tabs {
display: flex !important;
justify-content: center !important;
flex-wrap: wrap;
gap: 12px;
}
.custom-tabs ul.nav.nav-tabs.sc_tabs li {
float: none !important;
}
/* General button style */
.custom-tabs ul.nav.nav-tabs.sc_tabs li a {
display: inline-block;
padding: 10px 18px;
color: #fff !important;
border-radius: 4px;
text-decoration: none;
transition: background-color 0.3s ease, color 0.3s ease;
}
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background-color: #d6552d;
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(1) a:hover,
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background-color: #d7714a;
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background-color: #16517e;
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(2) a:hover,
.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(2).active a {
background-color: #486a8d;
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/* Third tab */
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background-color: #db8d10;
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(3) a:hover,
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background-color: #db9628;
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/* Fourth tab */
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background-color: #000000; /* black */
color: #fff !important;
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(4).active a {
background-color: #444444; /* subtle gray hover */
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/* Active state highlight */
.custom-tabs ul.nav.nav-tabs.sc_tabs li.active a {
filter: brightness(1.05);
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@media (max-width: 640px) {
.custom-tabs ul.nav.nav-tabs.sc_tabs {
justify-content: center !important;
gap: 10px;
padding-left: 0 !important;
padding-right: 0 !important;
margin-left: 0 !important;
margin-right: 0 !important;
list-style: none;
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margin: 0 !important;
width: 100%;
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.custom-tabs ul.nav.nav-tabs.sc_tabs li a {
display: block;
width: 100%;
max-width: 340px; /* adjust for your design */
margin: 0 auto;
text-align: center;
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@media (min-width: 768px) {
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justify-content: center !important;
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flex-wrap: nowrap;
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display: flex !important;
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display: block !important;
width: 100% !important;
text-align: center;
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ul.nav.nav-tabs.sc_tabs {
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justify-content: center !important;
align-items: center !important;
flex-wrap: wrap !important;
gap: 12px !important;
list-style: none !important;
padding: 0 !important;
margin: 0 auto !important;
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body ul.nav.nav-tabs.sc_tabs,
body .custom-tabs ul.nav.nav-tabs.sc_tabs {
display: flex !important;
justify-content: center !important;
align-items: center !important;
flex-wrap: wrap !important;
gap: 12px !important;
list-style: none !important;
padding: 0 !important;
margin: 0 auto !important;
}
body ul.nav.nav-tabs.sc_tabs li a {
display: block !important;
width: 100% !important;
text-align: center !important;
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<style type="text/css" title="dynamic-css" class="options-output">
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<h3><strong>Canadian Concertmasters</strong></h3>
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<h5><strong> <i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
SATURDAY, MARCH 29, 2025</strong></h5>
<h5><strong> <i class="icon-clock " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
7:30PM</strong></h5>
<h5><strong> <i class="icon-tags " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
$18.00-$42.00/GENERAL SEATING<br>
</strong></h5>
<h5><strong> <i class="icon-mobile " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
ELECTRONIC TICKETS</strong></h5>
<h5><strong> <i class="icon-location " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
<h5><strong> <i class="icon-globe " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
K'JIPUKTUK/HALIFAX • MI’KMA’KI/NOVA SCOTIA</strong></h5>
<h5><strong> <i class="icon-accessibility2 " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
WHEELCHAIR ACCESSIBLE</strong></h5>
<h5><strong> <i class="icon-music " style="font-size:14px; display:inline-block; color:#0a0a0a; "></i>
MAIN STAGE CONCERTS SERIES</strong></h5>
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</div>
<h4>About this Concert</h4>
<h5><strong>ARTISTS</strong>: Andrew Wan, violin; Robert Uchida, violin, viola; Diana Cohen, violin; Jonathan Crow, violin</h5>
<h5><strong>COMPOSERS</strong>: Bacewicz, Dvorak, Handel-Halvorsen, Mozart, Prokofiev, Saint-Saëns, and Telemann</h5>
<p style="text-align: justify;"><b></b><span style="font-weight: 400;">The Canadian Concertmasters features four of Canada’s leading symphony concertmasters – from the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, the Orchestre symphonique de Montréal, and the Toronto Symphony Orchestra. These extraordinary violinists unite to blend their expertise and passion with a program that includes Antonín Dvořák’s melodic "Terzetto in C major," Sergei Prokofiev’s dynamic "Sonata for Two Violins," Johan Halvorsen’s virtuosic "Passacaglia" on a theme by George Frideric Handel, Georg Philipp Telemann’s intricate "Concerto for 4 Violins," and unique arrangements of selected arias from Wolfgang Amadeus Mozart’s whimsical "Magic Flute," Grażyna Bacewicz’s intense "Quartet for 4 Violins," and Camille Saint-Saëns' "Danse Macabre." Presented with the generous support of Musician-in-Residence Presenting Partner – <a href="https://www.langoptometry.com" target="_blank" rel="noopener">Lang Optometry and Eyewear.</a> Season Sponsor: <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Jules Chamberlain / Red Door Realty</a>.</span></p>
<p style="text-align: justify;"><i><strong>🎻 BONUS EVENT:</strong> This evening begins with a <strong>complimentary</strong> <strong>pre-concert talk</strong> feat<wbr>uring all four concertmasters.<span class="gmail_default"> </span>Often described as the "leader of the orchestra," the concertmaster plays a pivotal role in shaping the ensemble’s sound, bridging the gap between the conductor and the musicians, and setting the <span class="il">artistic</span> tone for performances. In this moderated discussion, these exceptional <span class="il">artists</span> will share their insights, experiences, and the unique responsibilities of their roles, offering a rare glimpse into the inner workings of an orchestra. </i><i>Open to the public and free of charge, this session takes place before the concert beginning at <strong>6:00pm at the Stage at St. Andrew's</strong>. </i><i>Don’t miss this opportunity to deepen your understanding of the orchestral world and connect with the <span class="il">artists</span> behind the music.</i></p>
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<h4>About this Program</h4>
<p> </p>
<p><strong>Antonin Dvorak (1841-1904)</strong></p>
<p style="font-weight: 400;"><em>Terzetto in C major, Op. 74 </em></p>
<p>i. Introduzioni: Allegro ma non troppo<br>
ii. Larghetto<br>
iii. Scherzo : Vivace – Trio: Poco meno mosso<br>
iv. Tema con Variazioni</p>
<p style="text-align: justify;">Antonin Dvorak was what might be called a late bloomer. The first public performances of his works took place in Prague in 1872. Dvorak was thirty-one. He was born near Prague to a middle-class family. He learned to play violin, organ and piano while at school and showed enough talent to play in church and in the village band. When he announced that he wished to become a musician, his father agreed on the condition that he focus on liturgical music and the organ so that he could make a secure living playing in churches. So he enrolled in the Prague Organ School, taking lessons in singing, organ, music theory and composition. He graduated in 1859 at the top of his class, but when no church positions materialized, he joined a local band that played in restaurants, at balls and for theatre productions. He supplemented his meagre earnings by teaching piano lessons. That was the extent of his career for more than a decade. His break came when, in 1874, he applied for The Austrian State Prize for composers. His application included fifteen compositions, including symphonies, all of them unpublished. One of the jurors was Johannes Brahms. Brahms was impressed and recommended Dvorak to his publisher. When Dvorak’s <em>Slavonic Dances</em> were published in 1878, his international reputation was made. He not only gained fame in Europe, but he was a major musical force in both England and America. Most of his best-known works were written when he was in his forties and fifties.</p>
<p style="text-align: justify;">Dvorak composed his four-movement <em>Terzetto in C major </em>for two violins and viola over the space of a week in January of 1887. It was originally a salon piece which Dvorak (playing viola) was to perform with a close friend and one of his students. It is clearly in the Romantic tradition of Beethoven, Schumann and Brahms, but it has a depth, complexity and virtuosity beyond mere salon music.</p>
<p> </p>
<p style="font-weight: 400;"><strong>Sergei Prokofiev (1891-1953)</strong></p>
<p style="font-weight: 400;"><em>Sonata for Two Violins</em></p>
<p>i. Andante cantabile<br>
ii. Allegro<br>
iii. Commodo (quasi allegretto)<br>
iv. Allegro con brio</p>
<p style="text-align: justify;">Sergei Prokofiev was born on a rural estate near Donetsk in the Ukraine where his father, originally from Moscow, was employed as a soil engineer. He was inspired by listening to his mother, a talented amateur musician, practice piano in the evenings. She taught him piano and notated his first composition, a dance when he was a five-year-old. He wrote his first opera, <em>The Giant, </em>when he was nine. While he composed in a wide variety of genres, ballet and opera were his favourite forms throughout his life. He studied piano, conducting and composition at the St. Petersburg Conservatory and while his experimentation with dissonance and polytonality did not sit well with some of his more conservative instructors, he began to make a name for himself beyond the Conservatory. Shortly after graduation, Prokofiev travelled to London where he met Sergei Diaghilev, the head of the internationally acclaimed Ballet Russes. Diaghilev commissioned him to write a ballet score and his career as a successful composer was underway. In 1918, he left Russia for America, where he received a commission from Chicago Opera. Unfortunately, the death of the music director there delayed the production and Prokofiev, in financial difficulties, left for Paris where he renewed his association with Diaghilev and the Ballet Russes as well as gained recognition for numerous other compositions. Throughout the 1920s, he travelled extensively throughout Europe, America and the Soviet Union. He finally settled in Moscow in 1936.</p>
<p style="text-align: justify;">Prokofiev composed the Sonata for Two Violins in 1932 while vacationing on the French Riviera. It was commissioned by Triton, a Paris concert society dedicated to new music. The piece follows the Baroque pattern of slow-fast-slow-fast movements and moves back and forth from song (slow movements) to dance (fast movements). The slow movements are quiet and restrained, while the fast movements are somewhat raucous with a more rustic feel. Within the “apparent limitations” of a violin duet, Prokofiev admirably succeeds in writing compelling and diverse music.</p>
<p> </p>
<p style="text-align: justify;"><strong>George Frideric Handel (1685–1759)<br>
Johan Halvorsen (1864-1935)</strong></p>
<p style="text-align: justify;"><em>Passacaglia arranged for two violins</em></p>
<p style="text-align: justify;">Johan Halvorsen was a celebrated Norwegian violinist, composer and conductor. He received his musical education in Kristiania (now Oslo) and Stockholm before launching a career that saw him performing in Helsinki, Leipzig, Berlin, St. Petersburg and Liege. He was concertmaster with orchestras in Aberdeen and Bergen, settling back in Norway to become conductor of the Bergen Philharmonic in 1893. Six years later he was appointed conductor of the orchestra at the newly opened National Theatre in Kristiania, a position he held for thirty years. At the National Theatre, he conducted over thirty operas and composed incidental music for thirty plays. However, he is best known today for his arrangement of the <em>Passacaglia </em>based on the finale movement from the <em>Harpsichord Suite in G minor</em> (HWV 432) by George Frederic Handel.</p>
<p style="text-align: justify;">The Passacaglia with its dual attribution to Handel and Halvorsen was composed for violin and cello (or violin and viola) and published in 1894. Handel composed numerous harpsichord suites comprising dance movements, sometimes concluding with the traditional Baroque passacaglia, a term originally designating a Spanish "street dance" though the earliest extant examples are Italian. Halvorsen’s re-imagining of Handel’s "theme" generates a series of thrilling variations in a tour de force of musical invention. The result is a scintillating dialogue for two master players frequently expanding to four and five simultaneous parts.</p>
<p> </p>
<p style="text-align: justify;"><strong>Georg Philipp Telemann (1681-1767)</strong></p>
<p style="text-align: justify;"><em>Concerto for 4 Violins, TWV 40:201</em></p>
<p style="text-align: justify;">i. Adagio<br>
ii. Allegro<br>
iii. Grave<br>
iv. Allegro</p>
<p style="text-align: justify;">Georg Philipp Telemann’s life overlapped that of Johann Sebastian Bach. He was born four years before Bach and he survived him by seventeen years, living to the age of 86. He was considered by his contemporaries to be one of the outstanding composers of his era, along with Bach (he was godfather to Bach’s son, Carl Philipp Emmanuel) and George Frederic Handel, whom he also knew. He was at the centre of German musical life, and was widely known throughout Europe; orders for editions of his music came from France, Italy, the Netherlands, Scandinavian countries, Belgium, Switzerland and Spain. He was extremely prolific, with over three thousand compositions, many of which are now lost, and most of which have not been performed since the 18<sup>th</sup> century. While much of his output was liturgical music composed for the services in the churches which employed him over the bulk of his career, there is hardly a musical genre of his time that he did not explore.</p>
<p style="text-align: justify;">Some of Telemann’s music, like the <em>Concerto for Four Violins</em>, was meant not for church or concert performances, but for social music-making. Telemann composed a set of four concertos for four violins around 1720. The functional purpose of the set was to provide a collection of pieces for four capable violinists to perform when a keyboard or orchestra might not be present, a condition not unheard of in modern times and perhaps more likely to be encountered in the 18th century. There are four brief movements following the standard Baroque pattern. The opening Largo tends towards lyricism; the second is an intricate fugue; and the third, a short Adagio interlude, leads to the finale, a sprightly, rustic dance, ending the concerto on a bright, sunny note.</p>
<p> </p>
<p style="text-align: justify;"><strong>Wolfgang Amadeus Mozart (1756-1791)</strong></p>
<p style="text-align: justify;">Selected arias from <em>The</em> <em>Magic Flute (arr. Anon)</em></p>
<p style="text-align: justify;">In <em>The Joy of Opera</em>, English tenor Nigel Douglas recalls hearing a fellow student at his school sing an aria from <em>The Magic Flute</em> in a vocal competition. He asked what the music was and when told, he went straight to a nearby record shop to buy a recording of what he called “one of the most sublime pieces of music ever written”. The experience set the stage for Douglas’ thirty-year career as an operatic tenor. <strong> </strong>Wolfgang Amadeus Mozart composed more than two dozen operas, a half dozen of which are still regularly performed by opera companies around the world. <em>The Magic Flute</em>, his last opera, has been a resounding success ever since its premiere in September of 1791.</p>
<p style="text-align: justify;">The music, while unmistakably classical, shows a wonderful variety. The rustic bird seller, Papageno has folksong-like arias built of simple melodies, while Sarastro’s music is deep, stately and almost hymn-like. The hero Tamino and the heroine Pamina have lyrical and romantic music that anticipates the Italian bel canto era. The Queen of the Night’s aria, which Mozart wrote for his sister-in-law who had a stratospheric range, has been a show stopper for over 225 years. The music has also been a staple of the concert stage with piano arrangements (both two and four hands), full orchestra, a variety of string combinations and, oh yes, for flute.</p>
<p> </p>
<p style="text-align: justify;"><strong>Grazyna Bacewicz (1909-1969)</strong></p>
<p style="text-align: justify;"><em>Quartet for 4 Violins (1949)</em></p>
<p>i. Moderato<br>
ii. Andante<br>
iii. Vivo</p>
<p style="text-align: justify;">“The first lady of Polish music”, Grazyna Bacewicz was born in Lodz in 1909 to a close-knit and musical family. As a child, she showed a talent for the violin and was encouraged to study music, often playing chamber music with her father and her two older brothers. By the time she was twelve, she was well on the way to fulfilling her childhood proclamation that she would be a composer. She studied violin, piano and composition at the Warsaw Conservatory, and after graduation in 1932, she studied composition with Nadia Boulanger in Paris. She toured France and Spain as a violinist before returning to Poland in 1936, where she joined the newly formed Polish Radio Orchestra as concertmaster. This allowed her to have many of her own compositions performed. However, the Second World War intervened. She and her family moved to Lublin where she continued to perform, often premiering her compositions in coffee houses or salons with her brother, Kiejstut at the piano. After the war, the family returned to a devastated Warsaw. She resumed her career as a concert violinist, based in Poland but touring throughout Europe. A serious automobile accident in the fall of 1954 led her to cut back on her performing, but she compensated by increasing her focus on composition. Before her premature death from a heart attack at the age of fifty-nine, she had completed over two hundred works, making her one of the most prolific female composers in musical history.</p>
<p style="text-align: justify;">Bacewicz composed the <em>Quartet for 4 Violins</em> in 1949, at a time when Polish music was expected to conform to principles of “social realism”, which meant writing music that would celebrate the struggles and triumphs of the working class, and have its basis in national folk tunes. Bacewicz uses the neoclassical three-movement structure (Allegretto – Andante tranquillo – Molto allegro), incorporating lyricism and dance-like intervals, yet still creates a soundscape that is distinctly modern.</p>
<p> </p>
<p style="text-align: justify;"><strong>Camille Saint-Saens (1835-1921) </strong></p>
<p style="font-weight: 400;"><em>Dance Macabre (arr. Girtain)</em></p>
<p style="font-weight: 400; text-align: justify;">Camille Saint-Saens was born in Paris. His father died when he was two months old and he was raised by his mother and her widowed aunt, who taught young Camille piano and recognized his precocious talent. He made his concert debut at the age of ten, and at thirteen, he began his studies at the Paris Conservatoire where, in 1851, he won top prize for organ performance. Upon graduation in 1853, Saint-Saens began a twenty-five-year career as an organist, first at Saint-Merri, a large church in central Paris, and later at La Madeleine, the official “church of the Empire”. His stipend, plus organist fees from over 200 weddings and funerals a year, gave him a comfortable living. Franz Liszt, who heard him play at La Madeleine, declared him the greatest organist in the world. But Saint-Saens also found time to compose. He produced symphonies, keyboard music for both piano and organ, concertos for a variety of instruments, operas and symphonic poems, the most popular of which is <em>Dance Macabre</em>.</p>
<p style="font-weight: 400; text-align: justify;"><em>Dance Macabre </em>began life as a setting of a poem by French poet, Henri Cazalis in 1872, but that version seems to have died on the drawing board.. An orchestral version was completed in 1874 and premiered in 1875. It is a programmatic piece, set in a cemetery on Halloween. At midnight, Death summons the dead from their graves to dance for him as he plays the fiddle. The skeletons dance energetically until, near the end, a cock crows signalling the approach of dawn and they must return to their graves until next Halloween.</p>
<p><em>Program notes by Larry Bent</em></p>
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<h4>About the Artists</h4>
<p> </p>
<p><strong>Diana Cohen</strong>, violin<strong><br>
</strong>Concertmaster of the Calgary Philharmonic Orchestra</p>
<p style="font-weight: 400; text-align: justify;">Praised for her “incredible flair, maturity and insight,” violinist Diana Cohen leads a multi-faceted career as a concertmaster, chamber musician, soloist, and arts administrator. Appointed concertmaster of the Calgary Philharmonic Orchestra in 2012, she previously served as concertmaster of the Richmond Symphony Orchestra and Kalamazoo Symphony Orchestra while maintaining an active freelance career in New York City. She has held the same position with Charleston Symphony (with which she performed numerous works as soloist), The National Repertory Orchestra, Iris Orchestra and Red {an orchestra}, and has been guest concertmaster with the Rochester Philharmonic and the Phoenix Symphony.</p>
<p style="font-weight: 400; text-align: justify;">Cohen has performed regularly in concerts in New York and across the globe with the Grammy-winning Orpheus Chamber Orchestra, The International Sejong Soloists, The Knights, and as a substitute at the New York Philharmonic and The Cleveland Orchestra. She has also appeared as a soloist with the Rochester Philharmonic, National Repertory Orchestra, Kalamazoo Symphony, Valdosta Symphony, Hilton Head Symphony and Red {an orchestra}. She was concertmaster of the Cleveland Institute of Music Orchestra, principal second of the New York String Orchestra at Carnegie Hall, and has been rotating principal of the Iris Orchestra since its inception. Cohen’s solo recital on the Dame Myra Hess Series was heard live on Chicago public radio.</p>
<p style="font-weight: 400; text-align: justify;">As a founding member of the piano trio Trio Terzetto, Cohen has toured and recorded in cities across the United States and Canada. Trio Terzetto has been presented on chamber music series in cities including New York, Cleveland, Ann Arbor, Memphis, Charleston, Lansing, Detroit, Augusta, Charlotte, South Bend, and Asheville. They recently made their solo debut with the Lansing Symphony, performing Beethoven’s “Triple Concerto.” Trio Terzetto is committed to outreach, and often organizes these projects around their performances.</p>
<p style="font-weight: 400; text-align: justify;">A passionate chamber musician, Cohen has performed at the Marlboro Music Festival, The Steans Institute at the Ravinia Festival, The Chamber Music Festival of Giverny, France, The Perlman Chamber Music Program, Aspen and Piccolo Spoleto as well as festivals in Maui, Dresden, Bennington, Saugatuck, Martha’s Vineyard and Gretna. She has also been a participant in The American String Project. Cohen has appeared in chamber concerts with members of the Cleveland Orchestra at Severance Hall and has performed on faculty concerts at the Cleveland Institute of Music. Cohen has regularly collaborated with members of the Guarneri, Juilliard, Cleveland, Miro and Parker Quartets, as well as with renowned artists including Mitsuko Uchida, Kim Kashkashian, Garrick Ohlsson and many others. She has also played regularly with her family; Cleveland Orchestra principal clarinetist Franklin Cohen, Alexander Cohen, principal timpanist of the Calgary Philharmonic, and her late mother, bassoonist Lynette Diers Cohen. Works have been commissioned for the Cohen family quartet. Cohen and her father released a CD of Osvoldo Golijov’s “Dreams and Prayers of Isaac the Blind” for clarinet and string quartet.</p>
<p style="font-weight: 400; text-align: justify;">Cohen is Executive and Co-Artistic Director of ChamberFest Cleveland (chamberfestcleveland.com), which features the world’s most sought-after chamber musicians, and has partnered with several of the most esteemed organizations in Cleveland.</p>
<p style="font-weight: 400; text-align: justify;">Cohen is an honors graduate of the Cleveland Institute of Music where she was the recipient of the 2000 Jerome Gross Prize in violin and a winner of the Darius Milhaud competition. Her principal teachers were Donald Weilerstein, William Preucil and Paul Kantor and Joel Smirnoff.</p>
<p style="font-weight: 400; text-align: justify;">Her solo and chamber performances have been heard on radio stations across the country. Many of her performances from the Marlboro Music Festival have been broadcast on New York’s WQXR. She can also be heard on recordings with the Orpheus Chamber Orchestra.</p>
<p style="font-weight: 400; text-align: justify;">In addition to her performance career, Cohen is a devoted teacher. Many of her students have won national awards. She has worked extensively in public schools and has served on the preparatory chamber music faculty of the Cleveland Institute of Music.</p>
<p style="font-weight: 400; text-align: justify;">Diana Cohen has a multifaceted career as a concertmaster, chamber musician and soloist. She is Concertmaster of the Calgary Philharmonic, and founder and Artistic Director of acclaimed music festival ChamberFest Cleveland. As soloist, she has appeared with numerous orchestras, including Holland Symphony, Rochester Symphony, Lansing, and Grand Rapids, among others. As a chamber musician, she has performed at some of the most prestigious festivals including Marlboro Music Festival and Ravinia Festival, and collaborated with renowned artists including Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss, and members of the Guarneri, Juilliard, Miro, Cleveland, and Parker Quartets.</p>
<p style="font-weight: 400; text-align: justify;">Cohen has toured and recorded with the Grammy-winning Orpheus Chamber Orchestra, and performed with the East Coast Chamber Orchestra, Sejong Soloists, The Knights, Cleveland Orchestra, and New York Philharmonic.</p>
<p style="font-weight: 400; text-align: justify;">Cohen lives in Calgary with her husband and daughter, Noa Lynette, who loves being danced to music. As a result of the pandemic, Cohen and her husband created a lauded concert series in their front yard, Garden Concerts YYC, performing weekly concerts to hundreds of music lovers from around Calgary.</p>
<p> </p>
<p style="font-weight: 400;"><strong>Jonathan Crow</strong>, violin<strong><br>
</strong>Concertmaster of the Toronto Symphony Orchestra</p>
<p style="font-weight: 400; text-align: justify;">Jonathan Crow has been Concertmaster of the Toronto Symphony Orchestra (TSO) since 2011. A native of Prince George, British Columbia, Jonathan earned his Bachelor of Music degree in honours performance from McGill University in 1998, at which time he joined the Orchestre symphonique de Montréal (OSM) as Associate Principal Second Violin. Between 2002 and 2006, Jonathan was the Concertmaster of the OSM; during this time, he was the youngest concertmaster of any major North American orchestra.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan continues to perform as guest concertmaster with orchestras around the world, including the National Arts Centre Orchestra (NACO), Pittsburgh Symphony, Mahler Chamber Orchestra, Filarmonia de Lanaudiere, and Pernambuco Festival Orchestra (Brazil). Jonathan has also performed as a soloist with most major Canadian orchestras, including the Montreal, Toronto, and Vancouver Symphony Orchestras; the National Arts Centre and Calgary Philharmonic Orchestras; the Victoria, Nova Scotia, and Kingston Symphonies; and Orchestra London, under the baton of such conductors as Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, João Carlos Martins, and Gustavo Gimeno.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan joined the Schulich School of Music at McGill University as an Assistant Professor of Violin and was appointed Associate Professor of Violin in 2010. His current and former students have received prizes at competitions around the world, including the Menuhin International Violin Competition, OSM Competition, Shean Competition, CBC Radio’s NEXT Competition, Eckhardt-Grammatté Competition, Canadian Music Competition, and Stulberg International String Competition, and work regularly with orchestras such as the NACO, TSO, OSM, Camerata Salzburg, Konzerthausorchester Berlin, Verbier Chamber Orchestra, Vienna Kammerphilharmonie, and Vienna Symphony Orchestra. Jonathan is currently Associate Professor of Violin at the University of Toronto.</p>
<p style="font-weight: 400; text-align: justify;">In 2016, Jonathan was named Artistic Director of Toronto Summer Music, which enjoyed record attendance and rave reviews in his first three seasons. An avid chamber musician, he has performed at chamber music festivals throughout North America, South America, and Europe, including the Banff, Ravinia, Orford, Domaine Forget, Seattle, Montreal, Ottawa, Incontri in Terra di Sienna, Alpenglow, Festival Vancouver, Pernambuco (Brazil), Giverny (France), and Strings in the Mountains festivals. He is a founding member of the JUNO Award–winning New Orford String Quartet, a project-based ensemble dedicated to the promotion of standard and Canadian string quartet repertoire throughout North America. As an advocate of contemporary music, he has premièred works by Canadian composers Michael Conway Baker, Eldon Rathburn, Barrie Cabena, Gary Kulesha, Tim Brady, François Dompierre, Vivian Fung, Ana Sokolovic, Marjan Mozetich, Christos Hatzis, Ernest MacMillan, and Healey Willan. He also includes in his repertoire major concerti by such modern composers as Ligeti, Schnittke, Bernstein, Brian Cherney, Rodney Sharman, Vivian Fung, and Cameron Wilson.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan has recorded for the ATMA, Bridge, CBC, Oxingale, Skylark, and XXI-21 labels, and is heard frequently on Chaîne Culturelle of Radio-Canada, CBC Radio Two, and National Public Radio, along with Radio France, Deutsche Welle, Hessischer Rundfunk, and the RAI in Europe.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan Crow was Musician-in-Residence for Cecilia Concerts from 2020 to 2022.</p>
<p> </p>
<p style="font-weight: 400;"><strong>Robert Uchida</strong>, violin and viola<strong><br>
</strong>Concertmaster of the Edmonton Symphony Orchestra</p>
<p style="font-weight: 400; text-align: justify;">Canadian violinist Robert Uchida, Concertmaster of the Edmonton Symphony Orchestra, enjoys a varied career as a soloist, orchestral and chamber musician, and educator. His debut recording of Andrew Violette’s Sonata for Unaccompanied Violin won international acclaim, with Strings Magazine praising his “ravishing sound, eloquence and hypnotic intensity.”</p>
<p style="font-weight: 400; text-align: justify;">Robert has been a soloist with orchestras including the Alberta Baroque Ensemble, Edmonton Symphony, Ottawa Symphony, Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, Orchestre de la Francophonie, and the National Arts Centre Orchestra of Canada. Robert has taught and performed at festivals throughout North America including the Arizona MusicFest, Banff International String Quartet Festival, Jackson Hole Chamber Music, Music by the Sea, National Academy Orchestra, National Arts Centre Young Artists Program, New Brunswick Summer Music Festival, Rosebud Chamber Music Festival, Scotia Festival, Sewanee Music Festival, Summer Solstice Music Festival, and was Artistic Director of the Acadia Summer Strings Festival from 2010-2013.</p>
<p style="font-weight: 400; text-align: justify;">Before joining the Edmonton Symphony Orchestra, Robert was Concertmaster of Symphony Nova Scotia in Halifax. He performed on a Juno-nominated recording with Sarah Slean, and recorded Requiem 21.5: Violin Concerto by Tim Brady, which won Classical Recording of the Year at the East Coast Music Awards. As a guest concertmaster, he has worked with the Kitchener-Waterloo Symphony, Netherlands Radio Chamber Philharmonic, Ottawa Symphony, Rotterdam Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra.</p>
<p style="font-weight: 400; text-align: justify;">A passionate teacher, Robert is a violin instructor at the University of Alberta, and has held teaching positions at Acadia University and the Manhattan School of Music Precollege. His students have continued their studies at the Juilliard School, Manhattan School of Music and Guildhall School in London, have won major international competitions, and perform in ensembles in North America and Europe.</p>
<p style="font-weight: 400; text-align: justify;">Robert holds a Master’s Degree in Violin Performance from the Manhattan School of Music in New York and a Bachelor’s Degree from the University of Ottawa. His teachers and mentors include Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart, and Pinchas Zukerman.</p>
<p style="font-weight: 400; text-align: justify;">Robert loves volunteering and is honoured to have been inducted into the Ronald McDonald House’s Character Club in Edmonton. He performs on a 1770 Guadagnini violin with Vision Solo Titanium strings by Thomastik-Infeld Vienna.</p>
<p> </p>
<p style="font-weight: 400;"><strong>Andrew Wan</strong>, violin<strong><br>
</strong>Concertmaster of the Orchestre symphonique de Montréal</p>
<p style="font-weight: 400; text-align: justify;">Andrew Wan was named concertmaster of the Orchestre symphonique de Montréal (OSM) in 2008. As soloist, he has performed worldwide under conductors such as Rafael Payare, Maxim Vengerov, Vasily Petrenko, Bernard Labadie, Carlo Rizzi, Peter Oundjian, Xian Zhang, Michael Stern and James DePreist, and has appeared in recitals with artists such as the Juilliard Quartet, Vadim Repin, Marc-André Hamelin, Daniil Trifonov, Menahem Pressler, Jörg Widmann, Emanuel Ax, James Ehnes, and Gil Shaham. His discography includes Grammy-nominated and Juno, Felix and Opus award-winning releases on the Onyx, Bridge, and Naxos labels with the Seattle Chamber Music Society, New York’s Metropolis Ensemble, and the New Orford String Quartet. In the fall of 2015, he released a live recording of all three Saint-Saëns violin concerti with the OSM and Kent Nagano under the Analekta label to wide critical acclaim. His recent live album of works for violin and orchestra by Bernstein, Moussa and Ginastera with Nagano and the OSM won a 2021 Juno award for Classical Album of the Year – Large Ensemble. He enjoys a close collaborative relationship with Charles Richard-Hamelin, with whom he has recorded the entire Beethoven piano and violin sonata cycle. Mr. Wan graduated from The Juilliard School with a Bachelor of Music, Master of Music and Artist Diploma degrees, is currently the Artistic Director of the Prince Edward County Chamber Music Festival and for the 2017-18 season was Artistic Partner of the Edmonton Symphony Orchestra. Associate Professor of Violin at the Schulich School of Music at McGill University, he was the recipient of the Part-Time Teaching Award at the Schulich School in 2019. He has sat as guest concertmaster for the Pittsburgh, Houston, Indianapolis, National Arts Centre, Toronto and Vancouver Symphony orchestras. Andrew Wan is the Cecilia Concerts 2024/25 Musician-in-Residence.</p>
<p style="font-weight: 400; text-align: justify;">Andrew performs on a 1744 Michel'Angelo Bergonzi violin, and gratefully acknowledges its loan from the David Sela Collection. He also enjoys the use of an 1860 Dominique Peccatte bow from Canimex.</p>
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<h3>Concertmasters canadiens</h3>
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SAMEDI 29 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> : Andrew Wan, violon ; Robert Uchida, violon, alto ; Diana Cohen, violon ; Jonathan Crow, violon</h5>
<h5><strong>COMPOSITEURS</strong> : Bacewicz, Dvorak, Handel-Halvorsen, Mozart, Prokofiev, Saint-Saëns et Telemann</h5>
<p style="text-align: justify;">The Canadian Concertmasters met en vedette quatre des plus grands violonistes symphoniques du Canada - de l'Orchestre symphonique d'Edmonton, de l'Orchestre philharmonique de Calgary, de l'Orchestre symphonique de Montréal et de l'Orchestre symphonique de Toronto. Ces violonistes extraordinaires unissent leur expertise et leur passion dans un programme qui comprend le mélodique « Terzetto en do majeur “ d'Antonín Dvořák, la dynamique ” Sonate pour deux violons “ de Sergei Prokofiev, la virtuose ” Passacaille » de Johan Halvorsen sur un thème de George Frideric Haendel, le complexe « Concerto pour 4 violons » de Georg Philipp Telemann, et des arrangements uniques d'airs sélectionnés de la fantasque « Flûte enchantée » de Wolfgang Amadeus Mozart, de l'intense « Quatuor pour 4 violons » de Grażyna Bacewicz et de la « Danse macabre » de Camille Saint-Saëns. » Présenté avec le soutien généreux de <a href="https://www.langoptometry.com" target="_blank" rel="noopener">Lang Optometry and Eyewear</a>, partenaire de présentation du musicien en résidence. <span style="text-align: justify;">Commanditaire de la saison : </span><a style="text-align: justify;" href="https://reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Jules Chamberlain / Red Door Realty</a><span style="text-align: justify;">.</span></p>
<p style="text-align: justify;"><em><strong>🎻 ÉVÉNEMENT EN PRIME</strong> : Cette soirée commence par une <strong>discussion gratuite d'avant-concert</strong> avec les quatre premiers violons. Souvent décrit comme le « chef d'orchestre », le violon solo joue un rôle essentiel en façonnant le son de l'ensemble, en comblant le fossé entre le chef d'orchestre et les musiciens et en donnant le ton artistique aux représentations. Au cours de cette discussion animée, ces artistes exceptionnels partageront leurs idées, leurs expériences et les responsabilités uniques de leur rôle, offrant ainsi un rare aperçu du fonctionnement interne d'un orchestre. Ouverte au public et gratuite, cette séance se déroulera avant le concert, <strong>à partir de 18 heures, sur la scène de St. Andrew's</strong>. Ne manquez pas cette occasion d'approfondir votre compréhension du monde de l'orchestre et d'entrer en contact avec les artistes qui se cachent derrière la musique.</em></p>
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<h4>À propos du programme</h4>
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<p><strong>Antonin Dvorak (1841-1904)</strong></p>
<p style="font-weight: 400;"><em>Terzetto en do majeur, op. 74</em></p>
<p>i. Introduzioni : Allegro ma non troppo<br>
ii. Larghetto<br>
iii. Scherzo : Vivace - Trio : Poco meno mosso<br>
iv. Tema con Variazioni</p>
<p style="font-weight: 400; text-align: justify;">Antonin Dvorak a été ce que l'on pourrait appeler un « enfant tardif ». Les premières exécutions publiques de ses œuvres ont eu lieu à Prague en 1872. Dvorak a alors trente et un ans. Il est né près de Prague dans une famille de la classe moyenne. Il apprend à jouer du violon, de l'orgue et du piano à l'école et fait preuve de suffisamment de talent pour jouer à l'église et dans la fanfare du village. Lorsqu'il a annoncé qu'il souhaitait devenir musicien, son père a accepté à condition qu'il se concentre sur la musique liturgique et l'orgue afin de pouvoir gagner sa vie en jouant dans les églises. Il s'inscrit donc à l'école d'orgue de Prague, où il suit des cours de chant, d'orgue, de théorie musicale et de composition. Il obtient son diplôme en 1859 en étant le premier de sa classe, mais comme aucun poste dans les églises ne se présente, il rejoint un groupe local qui joue dans les restaurants, les bals et les pièces de théâtre. Il complète ses maigres revenus en donnant des leçons de piano. C'est ainsi qu'il mène sa carrière pendant plus d'une décennie. Le déclic se produit lorsqu'en 1874, il pose sa candidature au « Prix de l'État autrichien » destiné aux compositeurs. Sa candidature comprend quinze compositions, dont des symphonies, toutes inédites. L'un des jurés était Johannes Brahms. Brahms est impressionné et recommande Dvorak à son éditeur. Lorsque les « Danses slaves » de Dvorak sont publiées en 1878, sa réputation internationale est faite. Non seulement il est devenu célèbre en Europe, mais il a également été une force musicale majeure en Angleterre et en Amérique. La plupart de ses œuvres les plus connues ont été écrites alors qu'il avait entre quarante et cinquante ans.</p>
<p style="font-weight: 400; text-align: justify;">Dvorak a composé son « Terzetto en do majeur » en quatre mouvements pour deux violons et alto en l'espace d'une semaine, en janvier 1887. Il s'agissait à l'origine d'une pièce de salon que Dvorak (jouant de l'alto) devait jouer avec un ami proche et l'un de ses élèves. Elle s'inscrit clairement dans la tradition romantique de Beethoven, Schumann et Brahms, mais elle est d'une profondeur, d'une complexité et d'une virtuosité qui dépassent la simple musique de salon.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>Sergueï Prokofiev (1891-1953)</strong></p>
<p style="font-weight: 400;"><em>Sonate pour deux violons</em></p>
<p style="font-weight: 400;">i. Andante cantabile<br>
ii. Allegro<br>
iii. Commodo (quasi allegretto)<br>
iv. Allegro con brio</p>
<p style="font-weight: 400; text-align: justify;">Sergueï Prokofiev est né dans une propriété rurale près de Donetsk, en Ukraine, où son père, originaire de Moscou, travaillait comme ingénieur des sols. C'est en écoutant sa mère, musicienne amateur de talent, jouer du piano le soir qu'il trouve l'inspiration. Elle lui apprend le piano et note sa première composition, une danse, alors qu'il a cinq ans. Il a écrit son premier opéra, « The Giant », à l'âge de neuf ans. Bien qu'il ait composé dans une grande variété de genres, le ballet et l'opéra ont été ses formes préférées tout au long de sa vie. Il a étudié le piano, la direction d'orchestre et la composition au Conservatoire de Saint-Pétersbourg et, bien que ses expérimentations en matière de dissonance et de polytonalité n'aient pas plu à certains de ses professeurs plus conservateurs, il a commencé à se faire un nom en dehors du Conservatoire. Peu après l'obtention de son diplôme, Prokofiev se rend à Londres où il rencontre Sergei Diaghilev, le chef des « Ballets russes », qui jouissent d'une renommée internationale. Diaghilev lui commande une partition de ballet et sa carrière de compositeur à succès est lancée. En 1918, il quitte la Russie pour l'Amérique, où il reçoit une commande de l'Opéra de Chicago. Malheureusement, le décès du directeur musical retarde la production et Prokofiev, en proie à des difficultés financières, part pour Paris où il renoue avec Diaghilev et les « Ballets russes », tout en se faisant connaître pour de nombreuses autres compositions. Tout au long des années 1920, il a beaucoup voyagé en Europe, en Amérique et en Union soviétique. Il s'installe finalement à Moscou en 1936.</p>
<p style="font-weight: 400; text-align: justify;">Prokofiev a composé la « Sonate pour deux violons » en 1932 lors de vacances sur la Côte d'Azur. Il s'agit d'une commande du « Triton », une société de concerts parisienne dédiée à la musique nouvelle. L'œuvre suit le schéma baroque des mouvements lents-vifs-lents-vifs et passe du chant (mouvements lents) à la danse (mouvements rapides). Les mouvements lents sont calmes et retenus, tandis que les mouvements rapides sont quelque peu bruyants et plus rustiques. Dans les « limites apparentes » d'un duo de violons, Prokofiev réussit admirablement à écrire une musique convaincante et variée.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>George Frideric Handel (1685–1759)<br>
Johan Halvorsen (1864-1935)</strong></p>
<p style="font-weight: 400;"><em>Passacaglia arrangée pour deux violons</em></p>
<p style="font-weight: 400; text-align: justify;">Johan Halvorsen était un célèbre violoniste, compositeur et chef d'orchestre norvégien. Il a reçu une éducation musicale à Kristiania (aujourd'hui Oslo) et à Stockholm avant d'entamer une carrière qui l'a vu se produire à Helsinki, Leipzig, Berlin, Saint-Pétersbourg et Liège. Il a été premier violon des orchestres d'Aberdeen et de Bergen, avant de revenir en Norvège pour devenir chef de l'orchestre philharmonique de Bergen en 1893. Six ans plus tard, il est nommé chef d'orchestre du tout nouveau Théâtre national de Kristiania, poste qu'il occupera pendant trente ans. Au Théâtre national, il a dirigé plus de trente opéras et composé la musique de scène de trente pièces de théâtre. Cependant, il est surtout connu aujourd'hui pour son arrangement de la « Passacaille », basé sur le mouvement final de la « Suite pour clavecin en sol mineur (HWV 432) » de George Frederic Handel.</p>
<p style="font-weight: 400; text-align: justify;">La « Passacaglia », qui est attribuée à la fois à Haendel et à Halvorsen, a été composée pour violon et violoncelle (ou violon et alto) et publiée en 1894. Haendel a composé de nombreuses suites pour clavecin comprenant des mouvements de danse, qui se terminaient parfois par la traditionnelle passacaille baroque, terme qui désignait à l'origine une « danse de rue » espagnole, bien que les premiers exemples qui nous soient parvenus soient italiens. La réimagination par Halvorsen du « thème » de Haendel génère une série de variations palpitantes dans un tour de force d'invention musicale. Le résultat est un dialogue scintillant pour deux maîtres interprètes qui s'étendent fréquemment à quatre et cinq parties simultanées.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>Georg Philipp Telemann (1681-1767)</strong></p>
<p style="font-weight: 400;"><em>Concerto pour 4 violons, TWV 40:201</em></p>
<p style="font-weight: 400;">i. Adagio<br>
ii. Allegro<br>
iii. Grave<br>
iv. Allegro</p>
<p style="font-weight: 400; text-align: justify;">La vie de Georg Philipp Telemann a chevauché celle de Jean-Sébastien Bach. Il est né quatre ans avant Bach et lui a survécu de dix-sept ans, jusqu'à l'âge de 86 ans. Il était considéré par ses contemporains comme l'un des plus grands compositeurs de son époque, aux côtés de Bach (il fut le parrain du fils de Bach, Carl Philipp Emmanuel) et de George Frederic Handel, qu'il connaissait également. Il était au centre de la vie musicale allemande et était largement connu dans toute l'Europe ; les commandes d'éditions de sa musique venaient de France, d'Italie, des Pays-Bas, des pays scandinaves, de Belgique, de Suisse et d'Espagne. Il était extrêmement prolifique, avec plus de trois mille compositions, dont beaucoup sont aujourd'hui perdues et dont la plupart n'ont pas été jouées depuis le XVIIIe siècle. Bien qu'une grande partie de sa production soit de la musique liturgique composée pour les offices dans les églises qui l'ont employé pendant la majeure partie de sa carrière, il n'y a guère de genre musical de son époque qu'il n'ait pas exploré.</p>
<p style="font-weight: 400; text-align: justify;">Certaines œuvres de Telemann, comme le « Concerto pour quatre violons », n'étaient pas destinées à être jouées à l'église ou en concert, mais à être jouées en société. Telemann a composé un ensemble de quatre concertos pour quatre violons vers 1720. L'objectif fonctionnel de cette série était de fournir une collection de pièces pour quatre violonistes capables de jouer en l'absence d'un clavier ou d'un orchestre, une situation qui n'était pas inconnue à l'époque moderne, mais qui était peut-être plus susceptible d'être rencontrée au XVIIIe siècle. L'œuvre se compose de quatre brefs mouvements qui suivent le schéma baroque habituel. Le Largo d'ouverture tend vers le lyrisme ; le deuxième est une fugue complexe ; et le troisième, un court interlude Adagio, mène au finale, une danse vive et rustique, qui conclut le concerto sur une note lumineuse et ensoleillée.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>Wolfgang Amadeus Mozart (1756-1791)</strong></p>
<p style="font-weight: 400;">Airs choisis de <em>La Flûte enchantée</em> (arr. Anon)</p>
<p style="font-weight: 400; text-align: justify;">Dans « The Joy of Opera », le ténor anglais Nigel Douglas se souvient d'avoir entendu un camarade de son école chanter un air de « La Flûte enchantée » lors d'un concours vocal. Il a demandé quelle était la musique et, lorsqu'on lui a répondu, il s'est rendu directement chez un disquaire voisin pour acheter un enregistrement de ce qu'il a appelé « l'un des morceaux de musique les plus sublimes jamais écrits ». Cette expérience a ouvert la voie à la carrière de Douglas, qui a duré trente ans, en tant que ténor d'opéra. Wolfgang Amadeus Mozart a composé plus de deux douzaines d'opéras, dont une demi-douzaine sont encore régulièrement joués par des compagnies d'opéra dans le monde entier. « La Flûte enchantée », son dernier opéra, a connu un succès retentissant depuis sa création en septembre 1791.</p>
<p style="font-weight: 400; text-align: justify;">La musique, bien qu'indéniablement classique, est d'une grande variété. Le rustique vendeur d'oiseaux, Papageno, a des arias de type folklorique construites sur des mélodies simples, tandis que la musique de Sarastro est profonde, majestueuse et presque hymnique. Le héros Tamino et l'héroïne Pamina ont une musique lyrique et romantique qui anticipe l'ère du bel canto italien. Et l'air de la Reine de la nuit, que Mozart a écrit pour sa belle-sœur qui avait une tessiture stratosphérique, est un spectacle à grand spectacle depuis plus de 225 ans. La musique est également un élément essentiel de la scène de concert, avec des arrangements pour piano (à deux ou quatre mains), pour orchestre complet, pour diverses combinaisons de cordes et, bien sûr, pour flûte.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>Grazyna Bacewicz (1909-1969)</strong></p>
<p style="font-weight: 400;"><em>Quatuor pour 4 violons</em> (1949)</p>
<p>i. Moderato<br>
ii. Andante<br>
iii. Vivo</p>
<p style="font-weight: 400; text-align: justify;">« Première dame de la musique polonaise », Grazyna Bacewicz est née à Lodz en 1909 dans une famille unie et musicienne. Enfant, elle se montre douée pour le violon et est encouragée à étudier la musique, jouant souvent de la musique de chambre avec son père et ses deux frères aînés. À l'âge de douze ans, elle est sur la bonne voie pour réaliser sa promesse d'enfant : elle sera compositrice. Elle étudie le violon, le piano et la composition au Conservatoire de Varsovie et, après avoir obtenu son diplôme en 1932, elle étudie la composition avec Nadia Boulanger à Paris. Elle effectue des tournées en France et en Espagne en tant que violoniste avant de retourner en Pologne en 1936, où elle rejoint l'Orchestre de la radio polonaise nouvellement créé en tant que premier violon. Elle a ainsi eu l'occasion de faire jouer plusieurs de ses compositions. Cependant, la Seconde Guerre mondiale survient. Elle s'installe avec sa famille à Lublin, où elle continue à se produire, créant souvent ses compositions dans des cafés ou des salons avec son frère, Kiejstut, au piano. Après la guerre, la famille retourne dans une Varsovie dévastée. Elle reprend sa carrière de violoniste de concert, basée en Pologne mais effectuant des tournées dans toute l'Europe. Un grave accident de voiture survenu à l'automne 1954 l'oblige à réduire son activité de concertiste, mais elle compense en se consacrant davantage à la composition. Avant de mourir prématurément d'une crise cardiaque à l'âge de 59 ans, elle avait achevé plus de 200 œuvres, ce qui fait d'elle l'une des compositrices les plus prolifiques de l'histoire de la musique.</p>
<p style="font-weight: 400; text-align: justify;">Bacewicz a composé le « Quatuor pour 4 violons » en 1949, à une époque où la musique polonaise devait se conformer aux principes du « réalisme social », ce qui signifiait écrire une musique qui célébrerait les luttes et les triomphes de la classe ouvrière et s'appuierait sur des airs folkloriques nationaux. Bacewicz utilise la structure néoclassique en trois mouvements (« Allegretto » - « Andante tranquillo » - « Molto allegro »), en y incorporant du lyrisme et des intervalles dansants, tout en créant un paysage sonore résolument moderne.</p>
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<p style="font-weight: 400; text-align: justify;"><strong>Camille Saint-Saëns (1835-1921)</strong></p>
<p style="font-weight: 400;"><em>Danse Macabre</em> (arr. Girtain)</p>
<p style="font-weight: 400; text-align: justify;">Camille Saint-Saëns est né à Paris. Son père meurt lorsqu'il a deux mois et il est élevé par sa mère et sa tante veuve, qui enseigne le piano au jeune Camille et reconnaît son talent précoce. Il fait ses débuts en concert à l'âge de dix ans et, à treize ans, il commence ses études au Conservatoire de Paris où, en 1851, il remporte le premier prix d'orgue. Après avoir obtenu son diplôme en 1853, Saint-Saëns entame une carrière d'organiste qui durera vingt-cinq ans, d'abord à Saint-Merri, une grande église du centre de Paris, puis à La Madeleine, l'« église officielle de l'Empire ». Ses appointements, auxquels s'ajoutent les honoraires d'organiste provenant de plus de 200 mariages et enterrements par an, lui permettent de vivre confortablement. Franz Liszt, qui l'a entendu jouer à La Madeleine, l'a déclaré le plus grand organiste du monde. Mais Saint-Saëns trouve aussi le temps de composer. Il a produit des symphonies, de la musique pour piano et orgue, des concertos pour divers instruments, des opéras et des poèmes symphoniques, dont le plus populaire est « Danse Macabre ».</p>
<p style="font-weight: 400; text-align: justify;">La « Danse Macabre » est née en 1872 d'un poème du poète français Henri Cazalis, mais cette version semble être restée lettre morte. Une version orchestrale a été achevée en 1874 et créée en 1875. Il s'agit d'une pièce programmatique, qui se déroule dans un cimetière le jour d'Halloween. À minuit, la Mort convoque les morts de leurs tombes pour qu'ils dansent pour elle en jouant du violon. Les squelettes dansent avec énergie jusqu'à ce que, vers la fin, un coq chante, signalant l'approche de l'aube, et ils doivent retourner dans leurs tombes jusqu'au prochain Halloween.</p>
<p><em>Notes de programme de Larry Bent</em></p>
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<h4>À propos des artistes</h4>
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<p><strong>Diana Cohen</strong>, violon<br>
Premier violon de l'Orchestre philharmonique de Calgary</p>
<p style="text-align: justify;">Louée pour son « incroyable flair, sa maturité et sa perspicacité », la violoniste Diana Cohen mène une carrière aux multiples facettes en tant que violon solo, chambriste, soliste et administratrice d'art. Nommée violon solo de l'Orchestre philharmonique de Calgary en 2012, elle a été auparavant violon solo de l'Orchestre symphonique de Richmond et de l'Orchestre symphonique de Kalamazoo, tout en menant une carrière active de pigiste à New York. Elle a occupé le même poste avec le Charleston Symphony (avec lequel elle a interprété de nombreuses œuvres en tant que soliste), le National Repertory Orchestra, l'Iris Orchestra et le Red {an orchestra}, et a été invitée comme premier violon solo par le Rochester Philharmonic et le Phoenix Symphony.</p>
<p style="text-align: justify;">Mme Cohen a participé régulièrement à des concerts à New York et dans le monde entier avec l'Orpheus Chamber Orchestra, lauréat d'un Grammy, l'International Sejong Soloists, The Knights, et en tant que remplaçante à l'Orchestre philharmonique de New York et à l'Orchestre de Cleveland. Elle s'est également produite en tant que soliste avec le Rochester Philharmonic, le National Repertory Orchestra, le Kalamazoo Symphony, le Valdosta Symphony, le Hilton Head Symphony et le Red {an orchestra}. Elle a été premier violon de l'orchestre du Cleveland Institute of Music, premier second du New York String Orchestra au Carnegie Hall, et a été premier violon tournant de l'Iris Orchestra depuis sa création. Le récital solo de Mme Cohen dans le cadre de la série Dame Myra Hess a été diffusé en direct sur la radio publique de Chicago.</p>
<p style="text-align: justify;">En tant que membre fondateur du trio de piano « Trio Terzetto », Cohen a effectué des tournées et des enregistrements dans plusieurs villes des États-Unis et du Canada. « Le Trio Terzetto a été présenté dans le cadre de séries de musique de chambre dans des villes telles que New York, Cleveland, Ann Arbor, Memphis, Charleston, Lansing, Detroit, Augusta, Charlotte, South Bend et Asheville. Ils ont récemment fait leurs débuts en solo avec l'orchestre symphonique de Lansing, en interprétant le « Triple Concerto » de Beethoven. « Le Trio Terzetto se consacre à la sensibilisation et organise souvent ces projets autour de ses concerts.</p>
<p style="text-align: justify;">Musicienne de chambre passionnée, Mme Cohen s'est produite au Marlboro Music Festival, au Steans Institute du Ravinia Festival, au Festival de musique de chambre de Giverny, en France, au Perlman Chamber Music Program, à Aspen, et au Piccolo Spoleto, ainsi qu'aux festivals de Maui, Dresden, Bennington, Saugatuck, Martha's Vineyard et Gretna. Elle a également participé à l'American String Project. Mme Cohen a participé à des concerts de chambre avec des membres du Cleveland Orchestra au Severance Hall et s'est produite dans le cadre de concerts de la faculté au Cleveland Institute of Music. Elle a régulièrement collaboré avec des membres des quatuors Guarneri, Juilliard, Cleveland, Miro et Parker, ainsi qu'avec des artistes de renom tels que Mitsuko Uchida, Kim Kashkashian, Garrick Ohlsson et bien d'autres. Elle a également joué régulièrement avec sa famille : Franklin Cohen, clarinettiste principal de l'Orchestre de Cleveland, Alexander Cohen, timbalier principal de l'Orchestre philharmonique de Calgary, et sa mère, la bassoniste Lynette Diers Cohen, aujourd'hui décédée. Des œuvres ont été commandées pour le quatuor de la famille Cohen. Mme Cohen et son père ont publié un CD de l'œuvre d'Osvaldo Golijov « Dreams and Prayers of Isaac the Blind » pour clarinette et quatuor à cordes.</p>
<p style="text-align: justify;">Mme Cohen est directrice exécutive et co-directrice artistique du ChamberFest Cleveland (chamberfestcleveland.com), qui présente les musiciens de chambre les plus recherchés au monde et s'est associé à plusieurs des organisations les plus estimées de Cleveland.</p>
<p style="text-align: justify;">Mme Cohen est diplômée avec mention du Cleveland Institute of Music, où elle a reçu en 2000 le prix Jerome Gross pour le violon et remporté le concours Darius Milhaud. Ses principaux professeurs ont été Donald Weilerstein, William Preucil, Paul Kantor et Joel Smirnoff.</p>
<p style="text-align: justify;">Ses interprétations en solo et en musique de chambre ont été entendues sur des stations de radio dans tout le pays. Plusieurs de ses prestations au Marlboro Music Festival ont été diffusées sur la chaîne new-yorkaise WQXR. On peut également l'entendre sur des enregistrements avec l'Orpheus Chamber Orchestra.</p>
<p style="text-align: justify;">Outre sa carrière de musicienne, Mme Cohen est une enseignante dévouée. Nombre de ses élèves ont remporté des prix nationaux. Elle a beaucoup travaillé dans les écoles publiques et a fait partie de la faculté préparatoire de musique de chambre du Cleveland Institute of Music.</p>
<p style="text-align: justify;">Diana Cohen mène une carrière à multiples facettes en tant que violon solo, chambriste et soliste. Elle est premier violon de l'Orchestre philharmonique de Calgary, et fondatrice et directrice artistique du célèbre festival de musique ChamberFest Cleveland. En tant que soliste, elle s'est produite avec de nombreux orchestres, dont le Holland Symphony, le Rochester Symphony, le Lansing et le Grand Rapids, entre autres. En tant que chambriste, elle s'est produite dans certains des festivals les plus prestigieux, dont le Marlboro Music Festival et le Ravinia Festival, et a collaboré avec des artistes de renom tels que Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss et des membres des quatuors Guarneri, Juilliard, Miro, Cleveland et Parker.</p>
<p style="text-align: justify;">Mme Cohen a effectué des tournées et des enregistrements avec l'Orpheus Chamber Orchestra, lauréat d'un Grammy, et s'est produite avec l'East Coast Chamber Orchestra, les Sejong Soloists, The Knights, le Cleveland Orchestra et le New York Philharmonic.</p>
<p style="text-align: justify;">Mme Cohen vit à Calgary avec son mari et sa fille, Noa Lynette, qui adore qu'on la fasse danser sur de la musique. À la suite de la pandémie, Mme Cohen et son mari ont créé une série de concerts très appréciés dans leur jardin, les « Garden Concerts YYC », qui donnent des concerts hebdomadaires à des centaines de mélomanes de la région de Calgary.</p>
<p> </p>
<p style="text-align: justify;"><strong>Jonathan Crow</strong>, violon<br>
Premier violon solo de l'Orchestre symphonique de Toronto</p>
<p style="font-weight: 400; text-align: justify;">Jonathan Crow est violon solo de l'Orchestre symphonique de Toronto (TSO) depuis 2011. Originaire de Prince George, en Colombie-Britannique, Jonathan a obtenu un baccalauréat en musique avec distinction de l'Université McGill en 1998, après quoi il s'est joint à l'Orchestre symphonique de Montréal (OSM) à titre de second violon solo associé. Entre 2002 et 2006, Jonathan a été premier violon solo de l'OSM ; durant cette période, il a été le plus jeune premier violon solo d'un grand orchestre nord-américain.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan continue de se produire en tant que violon solo invité avec des orchestres du monde entier, notamment l'Orchestre du Centre national des Arts (OCNA), l'Orchestre symphonique de Pittsburgh, l'Orchestre de chambre Mahler, la Filarmonia de Lanaudière et l'Orchestre du Festival de Pernambuco (Brésil). Jonathan s'est également produit en tant que soliste avec la plupart des grands orchestres canadiens, notamment les orchestres symphoniques de Montréal, Toronto et Vancouver, les orchestres philharmoniques du Centre national des Arts et de Calgary, les orchestres symphoniques de Victoria, de Nouvelle-Écosse et de Kingston, ainsi que l'Orchestra London, sous la direction de chefs d'orchestre tels que Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, João Carlos Martins et Gustavo Gimeno.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan s'est joint à l'École de musique Schulich de l'Université McGill à titre de professeur adjoint de violon et a été nommé professeur agrégé de violon en 2010. Ses élèves actuels et anciens ont reçu des prix lors de concours partout dans le monde, notamment le Concours international de violon Menuhin, le Concours OSM, le Concours Shean, le Concours NEXT de la radio de la CBC, le Concours Eckhardt-Grammatté, le Concours de musique du Canada et le Concours international de cordes Stulberg. Ils travaillent régulièrement avec des orchestres tels que l'OCNA, le TSO, l'OSM, la Camerata Salzburg, le Konzerthausorchester Berlin, l'Orchestre de chambre de Verbier, la Kammerphilharmonie de Vienne et l'Orchestre symphonique de Vienne. Jonathan est actuellement professeur associé de violon à l'Université de Toronto.</p>
<p style="font-weight: 400; text-align: justify;">En 2016, Jonathan a été nommé directeur artistique de « Toronto Summer Music », qui a connu une affluence record et des critiques dithyrambiques lors de ses trois premières saisons. Chambriste passionné, il a participé à des festivals de musique de chambre en Amérique du Nord, en Amérique du Sud et en Europe, notamment aux festivals de Banff, Ravinia, Orford, Domaine Forget, Seattle, Montréal, Ottawa, Incontri in Terra di Sienna, Alpenglow, Festival Vancouver, Pernambuco (Brésil), Giverny (France) et Strings in the Mountains. Il est l'un des membres fondateurs du New Orford String Quartet, lauréat d'un prix JUNO, un ensemble qui se consacre à la promotion du répertoire standard et canadien pour quatuor à cordes dans toute l'Amérique du Nord.</p>
<p style="font-weight: 400; text-align: justify;">Défenseur de la musique contemporaine, il a créé des œuvres des compositeurs canadiens Michael Conway Baker, Eldon Rathburn, Barrie Cabena, Gary Kulesha, Tim Brady, François Dompierre, Vivian Fung, Ana Sokolovic, Marjan Mozetich, Christos Hatzis, Ernest MacMillan et Healey Willan. Son répertoire comprend également des concertos majeurs de compositeurs modernes tels que Ligeti, Schnittke, Bernstein, Brian Cherney, Rodney Sharman, Vivian Fung et Cameron Wilson.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan a enregistré pour les labels ATMA, Bridge, CBC, Oxingale, Skylark et XXI-21 et on l'entend fréquemment sur les ondes de la Chaîne culturelle de Radio-Canada, de CBC Radio Two et de la National Public Radio, ainsi que sur les ondes de Radio France, Deutsche Welle, Hessischer Rundfunk et de la RAI en Europe.</p>
<p style="font-weight: 400; text-align: justify;">Jonathan Crow a été musicien en résidence pour les Concerts Cecilia de 2020 à 2022.</p>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Robert Uchida</strong>, violon et alto<br>
Premier violon de l'Orchestre symphonique d'Edmonton</p>
<p style="font-weight: 400; text-align: justify;">Le violoniste canadien Robert Uchida, violon solo de l'Orchestre symphonique d'Edmonton, mène une carrière variée en tant que soliste, musicien d'orchestre et de chambre, et pédagogue. Son premier enregistrement de la Sonate pour violon seul d'Andrew Violette a été acclamé dans le monde entier, le Strings Magazine saluant sa « sonorité ravissante, son éloquence et son intensité hypnotique ».</p>
<p style="font-weight: 400; text-align: justify;">Robert a été soliste avec des orchestres tels que l'Alberta Baroque Ensemble, l'Edmonton Symphony, l'Ottawa Symphony, le Red Deer Symphony, le Symphony New Brunswick, le Symphony Nova Scotia, l'Orchestre de la Francophonie et l'Orchestre du Centre national des Arts du Canada. Il a enseigné et s'est produit dans le cadre de festivals partout en Amérique du Nord, notamment l'Arizona MusicFest, le Banff International String Quartet Festival, le Jackson Hole Chamber Music, le Music by the Sea, le National Academy Orchestra, le Programme des jeunes artistes du Centre national des Arts, le Festival de musique d'été du Nouveau-Brunswick, le Rosebud Chamber Music Festival, le Scotia Festival, le Sewanee Music Festival et le Summer Solstice Music Festival, et il a été directeur artistique de l'Acadia Summer Strings Festival, de 2010 à 2013.</p>
<p style="font-weight: 400; text-align: justify;">Avant de se joindre à l'Orchestre symphonique d'Edmonton, Robert était premier violon de l'Orchestre symphonique de la Nouvelle-Écosse, à Halifax. Il a participé à un enregistrement avec Sarah Slean, qui a été mis en nomination pour un prix JUNO, et a enregistré le Requiem 21.5 : Concerto pour violon de Tim Brady, qui a remporté le prix de l'enregistrement classique de l'année aux East Coast Music Awards. En tant que violon solo invité, il a travaillé avec l'Orchestre symphonique de Kitchener-Waterloo, l'Orchestre philharmonique de chambre de la radio néerlandaise, l'Orchestre symphonique d'Ottawa, l'Orchestre philharmonique de Rotterdam, l'Orchestre philharmonique royal de Flandre et l'Orchestre symphonique de Vancouver.</p>
<p style="font-weight: 400; text-align: justify;">Enseignant passionné, Robert enseigne le violon à l'Université de l'Alberta et a occupé des postes d'enseignant à l'Université Acadia et à la Manhattan School of Music Precollege. Ses élèves ont poursuivi leurs études à la Juilliard School, à la Manhattan School of Music et à la Guildhall School de Londres, ont remporté d'importants concours internationaux et se produisent au sein d'ensembles partout en Amérique du Nord et en Europe.</p>
<p style="font-weight: 400; text-align: justify;">Robert est titulaire d'une maîtrise en interprétation du violon de la Manhattan School of Music de New York et d'un baccalauréat de l'Université d'Ottawa. Ses professeurs et mentors comprennent Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart et Pinchas Zukerman.</p>
<p style="font-weight: 400; text-align: justify;">Robert adore faire du bénévolat et est honoré d'avoir été intronisé au « Character Club » du Ronald McDonald House d'Edmonton. Il joue sur un violon Guadagnini de 1770 avec des cordes Vision Solo Titanium de Thomastik-Infeld Vienna.</p>
<p> </p>
<p style="font-weight: 400; text-align: justify;"><strong>Andrew Wan</strong>, violon<br>
Violon solo de l'Orchestre symphonique de Montréal</p>
<p style="font-weight: 400; text-align: justify;">Andrew Wan a été nommé violon solo de l'Orchestre symphonique de Montréal (OSM) en 2008. En tant que soliste, il s'est produit dans le monde entier sous la direction de chefs d'orchestre tels que Rafael Payare, Maxim Vengerov, Vasily Petrenko, Bernard Labadie, Carlo Rizzi, Peter Oundjian, Xian Zhang, Michael Stern et James DePreist, et a donné des récitals avec des artistes tels que le Quatuor Juilliard, Vadim Repin, Marc-André Hamelin, Daniil Trifonov, Menahem Pressler, Jörg Widmann, Emanuel Ax, James Ehnes et Gil Shaham.</p>
<p style="font-weight: 400; text-align: justify;">Sa discographie comprend des enregistrements nominés aux Grammy Awards et récompensés par des prix JUNO, Félix et Opus sur les labels Onyx, Bridge et Naxos avec la Seattle Chamber Music Society, le Metropolis Ensemble de New York et le New Orford String Quartet. À l'automne 2015, il a publié un enregistrement en direct des trois concertos pour violon de Saint-Saëns avec l'OSM et Kent Nagano sous l'étiquette Analekta, qui a été largement salué par la critique. Son récent album live d'œuvres pour violon et orchestre de Bernstein, Moussa et Ginastera avec Nagano et l'OSM a remporté un prix JUNO 2021 dans la catégorie « Album classique de l'année - grand ensemble ».</p>
<p style="font-weight: 400; text-align: justify;">Il entretient une étroite collaboration avec Charles Richard-Hamelin, avec qui il a enregistré le cycle complet des sonates pour piano et violon de Beethoven. M. Wan est diplômé de la Juilliard School, où il a obtenu une licence de musique, une maîtrise de musique et un diplôme d'artiste. Il est actuellement directeur artistique du « Prince Edward County Chamber Music Festival » et, pour la saison 2017-18, a été partenaire artistique de l'Orchestre symphonique d'Edmonton.</p>
<p style="font-weight: 400; text-align: justify;">Professeur agrégé de violon à l'École de musique Schulich de l'Université McGill, il a été lauréat du Part-Time Teaching Award de l'École Schulich en 2019. Il a été violon solo invité par les orchestres symphoniques de Pittsburgh, Houston, Indianapolis, du Centre national des arts, de Toronto et de Vancouver.</p>
<p style="font-weight: 400; text-align: justify;">Andrew Wan est le musicien en résidence des Cecilia Concerts 2024/25.</p>
<p style="font-weight: 400; text-align: justify;">Andrew joue sur un violon Michel'Angelo Bergonzi de 1744, qu'il remercie d'avoir été prêté par la collection David Sela. Il utilise également un archet Dominique Peccatte de 1860 provenant de Canimex.</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="http://musicnovascotia.ca/" target="_blank" rel="attachment wp-att-5400 noopener"><img class="aligncenter wp-image-5405 size-full" title="Cecilia Concerts | Halifax, Nova Scotia | Partner | Music Nova Scotia" src="https://ceciliaconcerts.ca/test/newstaging/wp-content/uploads/2015/05/Cecilia-Concerts-Halfiax-Nova-Scotia-Partner-Music-Nova-Scota.jpg" alt="Cecilia Concerts | Halifax, Nova Scotia | Partner | Music Nova Scotia" width="230" height="140" loading="lazy"></a></p>
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{"@context":"https:\/\/schema.org\/","@type":"Product","@id":"https:\/\/www.ceciliaconcerts.ca\/concert\/canadian-concertmasters\/#product","name":"Canadian Concertmasters","url":"https:\/\/www.ceciliaconcerts.ca\/concert\/canadian-concertmasters\/","description":"ABOUT-EN\nPROGRAM-EN\n\u00c0-PROPOS FR\nPROGRAMME-FR \nCanadian Concertmasters\n\n\n\t\t\t\n\t\t\t\tSATURDAY, MARCH 29, 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: Andrew Wan, violin; Robert Uchida, violin, viola; Diana Cohen, violin; Jonathan Crow, violin\nCOMPOSERS: Bacewicz, Dvorak, Handel-Halvorsen, Mozart, Prokofiev, Saint-Sa\u00ebns, and Telemann\nThe Canadian Concertmasters features four of Canada\u2019s leading symphony concertmasters \u2013 from the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, the Orchestre symphonique de Montr\u00e9al, and the Toronto Symphony Orchestra. These extraordinary violinists unite to blend their expertise and passion with a program that includes Anton\u00edn Dvo\u0159\u00e1k\u2019s melodic \"Terzetto in C major,\" Sergei Prokofiev\u2019s dynamic \"Sonata for Two Violins,\" Johan Halvorsen\u2019s virtuosic \"Passacaglia\" on a theme by George Frideric Handel, Georg Philipp Telemann\u2019s intricate \"Concerto for 4 Violins,\" and unique arrangements of selected arias from Wolfgang Amadeus Mozart\u2019s whimsical \"Magic Flute,\" Gra\u017cyna Bacewicz\u2019s intense \"Quartet for 4 Violins,\" and Camille Saint-Sa\u00ebns' \"Danse Macabre.\" Presented with the generous support of Musician-in-Residence Presenting Partner \u2013 Lang Optometry and Eyewear. Season Sponsor: Jules Chamberlain \/ Red Door Realty.\n\ud83c\udfbb BONUS EVENT: This evening begins with a complimentary pre-concert talk featuring all four concertmasters.\u00a0Often described as the \"leader of the orchestra,\" the concertmaster plays a pivotal role in shaping the ensemble\u2019s sound, bridging the gap between the conductor and the musicians, and setting the artistic tone for performances. In this moderated discussion, these exceptional artists will share their insights, experiences, and the unique responsibilities of their roles, offering a rare glimpse into the inner workings of an orchestra. Open to the public and free of charge, this session takes place before the concert beginning at 6:00pm at the Stage at St. Andrew's. Don\u2019t miss this opportunity to deepen your understanding of the orchestral world and connect with the artists behind the music.\n\n\n\nAbout this Program\n\u00a0\n\nAntonin Dvorak (1841-1904)\nTerzetto in C major, Op. 74 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\n\ni. Introduzioni: Allegro ma non troppo\nii. Larghetto\niii. Scherzo : Vivace \u2013 Trio: Poco meno mosso\niv. Tema con Variazioni\nAntonin Dvorak was what might be called a late bloomer. The first public performances of his works took place in Prague in 1872. Dvorak was thirty-one.\u00a0 He was born near Prague to a middle-class family.\u00a0 He learned to play violin, organ and piano while at school and showed enough talent to play in church and in the village band.\u00a0 When he announced that he wished to become a musician, his father agreed on the condition that he focus on liturgical music and the organ so that he could make a secure living playing in churches. So he enrolled in the Prague Organ School, taking lessons in singing, organ, music theory and composition.\u00a0 He graduated in 1859 at the top of his class, but when no church positions materialized, he joined a local band that played in restaurants, at balls and for theatre productions. He supplemented his meagre earnings by teaching piano lessons. That was the extent of his career for more than a decade.\u00a0 His break came when, in 1874, he applied for The Austrian State Prize for composers. His application included fifteen compositions, including symphonies, all of them unpublished. One of the jurors was Johannes Brahms.\u00a0 Brahms was impressed and recommended Dvorak to his publisher. When Dvorak\u2019s Slavonic Dances were published in 1878, his international reputation was made. He not only gained fame in Europe, but he was a major musical force in both England and America. Most of his best-known works were written when he was in his forties and fifties.\nDvorak composed his four-movement Terzetto in C major for two violins and viola over the space of a week in January of 1887. It was originally a salon piece which Dvorak (playing viola) was to perform with a close friend and one of his students. It is clearly in the Romantic tradition of Beethoven, Schumann and Brahms, but it has a depth, complexity and virtuosity beyond mere salon music.\n\n\u00a0\nSergei Prokofiev (1891-1953)\nSonata for Two Violins\n\ni. Andante cantabile\nii. Allegro\niii. Commodo (quasi allegretto)\niv. Allegro con brio\nSergei Prokofiev was born on a rural estate near Donetsk in the Ukraine where his father, originally from Moscow, was employed as a soil engineer. He was inspired by listening to his mother, a talented amateur musician, practice piano in the evenings. She taught him piano and notated his first composition, a dance when he was a five-year-old. He wrote his first opera, The Giant, when he was nine. While he composed in a wide variety of genres, ballet and opera were his favourite forms throughout his life.\u00a0 He studied piano, conducting and composition at the St. Petersburg Conservatory and while his experimentation with dissonance and polytonality did not sit well with some of his more conservative instructors, he began to make a name for himself beyond the Conservatory.\u00a0 Shortly after graduation, Prokofiev travelled to London where he met Sergei Diaghilev, the head of the internationally acclaimed Ballet Russes.\u00a0 Diaghilev commissioned him to write a ballet score and his career as a successful composer was underway.\u00a0 In 1918, he left Russia for America, where he received a commission from Chicago Opera. Unfortunately, the death of the music director there delayed the production and Prokofiev, in financial difficulties, left for Paris where he renewed his association with Diaghilev and the Ballet Russes as well as gained recognition for numerous other compositions.\u00a0 Throughout the 1920s, he travelled extensively throughout Europe, America and the Soviet Union. He finally settled in Moscow in 1936.\nProkofiev composed the Sonata for Two Violins in 1932 while vacationing on the French Riviera. It was commissioned by Triton, a Paris concert society dedicated to new music.\u00a0 The piece follows the Baroque pattern of slow-fast-slow-fast movements and moves back and forth from song (slow movements) to dance (fast movements).\u00a0 The slow movements are quiet and restrained, while the fast movements are somewhat raucous with a more rustic feel. Within the \u201capparent limitations\u201d of a violin duet, Prokofiev admirably succeeds in writing compelling and diverse music.\n\n\u00a0\nGeorge Frideric Handel (1685\u20131759)\nJohan Halvorsen (1864-1935)\n\nPassacaglia arranged for two violins\nJohan Halvorsen was a celebrated Norwegian violinist, composer and conductor.\u00a0 He received his musical education in Kristiania (now Oslo) and Stockholm before launching a career that saw him performing in Helsinki, Leipzig, Berlin, St. Petersburg and Liege.\u00a0 He was concertmaster with orchestras in Aberdeen and Bergen, settling back in Norway to become conductor of the Bergen Philharmonic in 1893. Six years later he was appointed conductor of the orchestra at the newly opened National Theatre in Kristiania, a position he held for thirty years. At the National Theatre, he conducted over thirty operas and composed incidental music for thirty plays.\u00a0 However, he is best known today for his arrangement of the Passacaglia based on the finale movement from the Harpsichord Suite in G minor (HWV 432) by George Frederic Handel.\nThe Passacaglia with its dual attribution to Handel and Halvorsen was composed for violin and cello (or violin and viola) and published in 1894.\u00a0 Handel composed numerous harpsichord suites comprising dance movements, sometimes concluding with the traditional Baroque passacaglia, a term originally designating a Spanish \"street dance\" though the earliest extant examples are Italian.\u00a0 Halvorsen\u2019s re-imagining of Handel\u2019s \"theme\" generates a series of thrilling variations in a tour de force of musical invention. The result is a scintillating dialogue for two master players frequently expanding to four and five simultaneous parts.\n\n\u00a0\nGeorg Philipp Telemann (1681-1767)\nConcerto for 4 Violins, TWV 40:201\ni. Adagio\nii. Allegro\niii. Grave\niv. Allegro\n\nGeorg Philipp Telemann\u2019s life overlapped that of Johann Sebastian Bach.\u00a0 He was born four years before Bach and he survived him by seventeen years, living to the age of 86.\u00a0 He was considered by his contemporaries to be one of the outstanding composers of his era, along with Bach (he was godfather to Bach\u2019s son, Carl Philipp Emmanuel) and George Frederic Handel, whom he also knew.\u00a0 He was at the centre of German musical life, and was widely known throughout Europe; orders for editions of his music came from France, Italy, the Netherlands, Scandinavian countries, Belgium, Switzerland and Spain.\u00a0 He was extremely prolific, with over three thousand compositions, many of which are now lost, and most of which have not been performed since the 18th century. While much of his output was liturgical music composed for the services in the churches which employed him over the bulk of his career, there is hardly a musical genre of his time that he did not explore.\nSome of Telemann\u2019s music, like the Concerto for Four Violins, was meant not for church or concert performances, but for social music-making. Telemann composed a set of four concertos for four violins around 1720. The functional purpose of the set was to provide a collection of pieces for four capable violinists to perform when a keyboard or orchestra might not be present, a condition not unheard of in modern times and perhaps more likely to be encountered in the 18th century. There are four brief movements following the standard Baroque pattern. The opening Largo tends towards lyricism; the second is an intricate fugue; and the third, a short Adagio interlude, leads to the finale, a sprightly, rustic dance, ending the concerto on a bright, sunny note.\n\n\u00a0\nWolfgang Amadeus\u00a0Mozart (1756-1791)\nSelected arias from The Magic Flute (arr. Anon)\nIn The Joy of Opera, English tenor Nigel Douglas recalls hearing a fellow student at his school sing an aria from The Magic Flute in a vocal competition.\u00a0 He asked what the music was and when told, he went straight to a nearby record shop to buy a recording of what he called \u201cone of the most sublime pieces of music ever written\u201d. The experience set the stage for Douglas\u2019 thirty-year career as an operatic tenor. \u00a0Wolfgang Amadeus Mozart composed more than two dozen operas, a half dozen of which are still regularly performed by opera companies around the world.\u00a0 The Magic Flute, his last opera, has been a resounding success ever since its premiere in September of 1791.\nThe music, while unmistakably classical, shows a wonderful variety. The rustic bird seller, Papageno has folksong-like arias built of simple melodies, while Sarastro\u2019s music is deep, stately and almost hymn-like. The hero Tamino and the heroine Pamina have lyrical and romantic music that anticipates the Italian bel canto era. The Queen of the Night\u2019s aria, which Mozart wrote for his sister-in-law who had a stratospheric range, has been a show stopper for over 225 years. The music has also been a staple of the concert stage with piano arrangements (both two and four hands), full orchestra, a variety of string combinations and, oh yes, for flute.\n\n\u00a0\nGrazyna Bacewicz (1909-1969)\nQuartet for 4 Violins (1949)\n\ni. Moderato\nii. Andante\niii. Vivo\n\u201cThe first lady of Polish music\u201d, Grazyna Bacewicz was born in Lodz in 1909 to a close-knit and musical family. As a child, she showed a talent for the violin and was encouraged to study music, often playing chamber music with her father and her two older brothers.\u00a0 By the time she was twelve, she was well on the way to fulfilling her childhood proclamation that she would be a composer. She studied violin, piano and composition at the Warsaw Conservatory, and after graduation in 1932, she studied composition with Nadia Boulanger in Paris.\u00a0 She toured France and Spain as a violinist before returning to Poland in 1936, where she joined the newly formed Polish Radio Orchestra as concertmaster.\u00a0 This allowed her to have many of her own compositions performed.\u00a0 However, the Second World War intervened. She and her family moved to Lublin where she continued to perform, often premiering her compositions in coffee houses or salons with her brother, Kiejstut at the piano.\u00a0 After the war, the family returned to a devastated Warsaw. She resumed her career as a concert violinist, based in Poland but touring throughout Europe. A serious automobile accident in the fall of 1954 led her to cut back on her performing, but she compensated by increasing her focus on composition. Before her premature death from a heart attack at the age of fifty-nine, she had completed over two hundred works, making her one of the most prolific female composers in musical history.\nBacewicz composed the Quartet for 4 Violins in 1949, at a time when Polish music was expected to conform to principles of \u201csocial realism\u201d, which meant writing music that would celebrate the struggles and triumphs of the working class, and have its basis in national folk tunes.\u00a0 Bacewicz uses the neoclassical three-movement structure (Allegretto \u2013 Andante tranquillo \u2013 Molto allegro), incorporating lyricism and dance-like intervals, yet still creates a soundscape that is distinctly modern.\n\n\u00a0\nCamille Saint-Saens (1835-1921) \nDance Macabre (arr. Girtain)\nCamille Saint-Saens was born in Paris. His father died when he was two months old and he was raised by his mother and her widowed aunt, who taught young Camille piano and recognized his precocious talent.\u00a0 He made his concert debut at the age of ten, and at thirteen, he began his studies at the Paris Conservatoire where, in 1851, he won top prize for organ performance. Upon graduation in 1853, Saint-Saens began a twenty-five-year career as an organist, first at Saint-Merri, a large church in central Paris, and later at La Madeleine, the official \u201cchurch of the Empire\u201d. His stipend, plus organist fees from over 200 weddings and funerals a year, gave him a comfortable living.\u00a0 Franz Liszt, who heard him play at La Madeleine, declared him the greatest organist in the world. But Saint-Saens also found time to compose.\u00a0 He produced symphonies, keyboard music for both piano and organ, concertos for a variety of instruments, operas and symphonic poems, the most popular of which is Dance Macabre.\nDance Macabre began life as a setting of a poem by French poet, Henri Cazalis in 1872, but that version seems to have died on the drawing board.. An orchestral version was completed in 1874 and premiered in 1875.\u00a0 It is a programmatic piece, set in a cemetery on Halloween. At midnight, Death summons the dead from their graves to dance for him as he plays the fiddle. The skeletons dance energetically until, near the end, a cock crows signalling the approach of dawn and they must return to their graves until next Halloween.\n\nProgram notes by Larry Bent\n\n\nAbout the Artists\n\u00a0\n\nDiana Cohen, violin\nConcertmaster of the Calgary Philharmonic Orchestra\nPraised for her \u201cincredible flair, maturity and insight,\u201d violinist Diana Cohen leads a multi-faceted career as a concertmaster, chamber musician, soloist, and arts administrator. Appointed concertmaster of the Calgary Philharmonic Orchestra in 2012, she previously served as concertmaster of the Richmond Symphony Orchestra and Kalamazoo Symphony Orchestra while maintaining an active freelance career in New York City. She has held the same position with Charleston Symphony (with which she performed numerous works as soloist), The National Repertory Orchestra, Iris Orchestra and Red {an orchestra}, and has been guest concertmaster with the Rochester Philharmonic and the Phoenix Symphony.\nCohen has performed regularly in concerts in New York and across the globe with the Grammy-winning Orpheus Chamber Orchestra, The International Sejong Soloists, The Knights, and as a substitute at the New York Philharmonic and The Cleveland Orchestra. She has also appeared as a soloist with the Rochester Philharmonic, National Repertory Orchestra, Kalamazoo Symphony, Valdosta Symphony, Hilton Head Symphony and Red {an orchestra}. She was concertmaster of the Cleveland Institute of Music Orchestra, principal second of the New York String Orchestra at Carnegie Hall, and has been rotating principal of the Iris Orchestra since its inception. Cohen\u2019s solo recital on the Dame Myra Hess Series was heard live on Chicago public radio.\nAs a founding member of the piano trio Trio Terzetto, Cohen has toured and recorded in cities across the United States and Canada. Trio Terzetto has been presented on chamber music series in cities including New York, Cleveland, Ann Arbor, Memphis, Charleston, Lansing, Detroit, Augusta, Charlotte, South Bend, and Asheville. They recently made their solo debut with the Lansing Symphony, performing Beethoven\u2019s \u201cTriple Concerto.\u201d Trio Terzetto is committed to outreach, and often organizes these projects around their performances.\nA passionate chamber musician, Cohen has performed at the Marlboro Music Festival, The Steans Institute at the Ravinia Festival, The Chamber Music Festival of Giverny, France, The Perlman Chamber Music Program, Aspen and Piccolo Spoleto as well as festivals in Maui, Dresden, Bennington, Saugatuck, Martha\u2019s Vineyard and Gretna. She has also been a participant in The American String Project. Cohen has appeared in chamber concerts with members of the Cleveland Orchestra at Severance Hall and has performed on faculty concerts at the Cleveland Institute of Music.\u00a0 Cohen has regularly collaborated with members of the Guarneri, Juilliard, Cleveland, Miro and Parker Quartets, as well as with renowned artists including Mitsuko Uchida, Kim Kashkashian, Garrick Ohlsson and many others. She has also played regularly with her family; Cleveland Orchestra principal clarinetist Franklin Cohen, Alexander Cohen, principal timpanist of the Calgary Philharmonic, and her late mother, bassoonist Lynette Diers Cohen. Works have been commissioned for the Cohen family quartet. Cohen and her father released a CD of Osvoldo Golijov\u2019s \u201cDreams and Prayers of Isaac the Blind\u201d for clarinet and string quartet.\nCohen is Executive and Co-Artistic Director of ChamberFest Cleveland (chamberfestcleveland.com), which features the world\u2019s most sought-after chamber musicians, and has partnered with several of the most esteemed organizations in Cleveland.\nCohen is an honors graduate of the Cleveland Institute of Music where she was the recipient of the 2000 Jerome Gross Prize in violin and a winner of the Darius Milhaud competition. Her principal teachers were Donald Weilerstein, William Preucil and Paul Kantor and Joel Smirnoff.\nHer solo and chamber performances have been heard on radio stations across the country. Many of her performances from the Marlboro Music Festival have been broadcast on New York\u2019s WQXR. She can also be heard on recordings with the Orpheus Chamber Orchestra.\nIn addition to her performance career, Cohen is a devoted teacher. Many of her students have won national awards. She has worked extensively in public schools and has served on the preparatory chamber music faculty of the Cleveland Institute of Music.\nDiana Cohen has a multifaceted career as a concertmaster, chamber musician and soloist. She is Concertmaster of the Calgary Philharmonic, and founder and Artistic Director of acclaimed music festival ChamberFest Cleveland. As soloist, she has appeared with numerous orchestras, including Holland Symphony, Rochester Symphony, Lansing, and Grand Rapids, among others. As a chamber musician, she has performed at some of the most prestigious festivals including Marlboro Music Festival and Ravinia Festival, and collaborated with renowned artists including Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss, and members of the Guarneri, Juilliard, Miro, Cleveland, and Parker Quartets.\nCohen has toured and recorded with the Grammy-winning Orpheus Chamber Orchestra, and performed with the East Coast Chamber Orchestra, Sejong Soloists, The Knights, Cleveland Orchestra, and New York Philharmonic.\nCohen lives in Calgary with her husband and daughter, Noa Lynette, who loves being danced to music. As a result of the pandemic, Cohen and her husband created a lauded concert series in their front yard, Garden Concerts YYC, performing weekly concerts to hundreds of music lovers from around Calgary.\n\n\u00a0\nJonathan Crow, violin\nConcertmaster of the Toronto Symphony Orchestra\n\nJonathan Crow has been Concertmaster of the Toronto Symphony Orchestra (TSO) since 2011. A native of Prince George, British Columbia, Jonathan earned his Bachelor of Music degree in honours performance from McGill University in 1998, at which time he joined the Orchestre symphonique de Montr\u00e9al (OSM) as Associate Principal Second Violin. Between 2002 and 2006, Jonathan was the Concertmaster of the OSM; during this time, he was the youngest concertmaster of any major North American orchestra.\nJonathan continues to perform as guest concertmaster with orchestras around the world, including the National Arts Centre Orchestra (NACO), Pittsburgh Symphony, Mahler Chamber Orchestra, Filarmonia de Lanaudiere, and Pernambuco Festival Orchestra (Brazil). Jonathan has also performed as a soloist with most major Canadian orchestras, including the Montreal, Toronto, and Vancouver Symphony Orchestras; the National Arts Centre and Calgary Philharmonic Orchestras; the Victoria, Nova Scotia, and Kingston Symphonies; and Orchestra London, under the baton of such conductors as Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, Jo\u00e3o Carlos Martins, and Gustavo Gimeno.\nJonathan joined the Schulich School of Music at McGill University as an Assistant Professor of Violin and was appointed Associate Professor of Violin in 2010. His current and former students have received prizes at competitions around the world, including the Menuhin International Violin Competition, OSM Competition, Shean Competition, CBC Radio\u2019s NEXT Competition, Eckhardt-Grammatt\u00e9 Competition, Canadian Music Competition, and Stulberg International String Competition, and work regularly with orchestras such as the NACO, TSO, OSM, Camerata Salzburg, Konzerthausorchester Berlin, Verbier Chamber Orchestra, Vienna Kammerphilharmonie, and Vienna Symphony Orchestra. Jonathan is currently Associate Professor of Violin at the University of Toronto.\nIn 2016, Jonathan was named Artistic Director of Toronto Summer Music, which enjoyed record attendance and rave reviews in his first three seasons. An avid chamber musician, he has performed at chamber music festivals throughout North America, South America, and Europe, including the Banff, Ravinia, Orford, Domaine Forget, Seattle, Montreal, Ottawa, Incontri in Terra di Sienna, Alpenglow, Festival Vancouver, Pernambuco (Brazil), Giverny (France), and Strings in the Mountains festivals. He is a founding member of the JUNO Award\u2013winning New Orford String Quartet, a project-based ensemble dedicated to the promotion of standard and Canadian string quartet repertoire throughout North America. As an advocate of contemporary music, he has premi\u00e8red works by Canadian composers Michael Conway Baker, Eldon Rathburn, Barrie Cabena, Gary Kulesha, Tim Brady, Fran\u00e7ois Dompierre, Vivian Fung, Ana Sokolovic, Marjan Mozetich, Christos Hatzis, Ernest MacMillan, and Healey Willan. He also includes in his repertoire major concerti by such modern composers as Ligeti, Schnittke, Bernstein, Brian Cherney, Rodney Sharman, Vivian Fung, and Cameron Wilson.\nJonathan has recorded for the ATMA, Bridge, CBC, Oxingale, Skylark, and XXI-21 labels, and is heard frequently on Cha\u00eene Culturelle of Radio-Canada, CBC Radio Two, and National Public Radio, along with Radio France, Deutsche Welle, Hessischer Rundfunk, and the RAI in Europe.\nJonathan Crow was Musician-in-Residence for Cecilia Concerts from 2020 to 2022.\n\n\u00a0\nRobert Uchida, violin and viola\nConcertmaster of the Edmonton Symphony Orchestra\n\nCanadian violinist Robert Uchida, Concertmaster of the Edmonton Symphony Orchestra, enjoys a varied career as a soloist, orchestral and chamber musician, and educator. His debut recording of Andrew Violette\u2019s Sonata for Unaccompanied Violin won international acclaim, with Strings Magazine praising his \u201cravishing sound, eloquence and hypnotic intensity.\u201d\nRobert has been a soloist with orchestras including the Alberta Baroque Ensemble, Edmonton Symphony, Ottawa Symphony, Red Deer Symphony, Symphony New Brunswick, Symphony Nova Scotia, Orchestre de la Francophonie, and the National Arts Centre Orchestra of Canada. Robert has taught and performed at festivals throughout North America including the Arizona MusicFest, Banff International String Quartet Festival, Jackson Hole Chamber Music, Music by the Sea, National Academy Orchestra, National Arts Centre Young Artists Program, New Brunswick Summer Music Festival, Rosebud Chamber Music Festival, Scotia Festival, Sewanee Music Festival, Summer Solstice Music Festival, and was Artistic Director of the Acadia Summer Strings Festival from 2010-2013.\nBefore joining the Edmonton Symphony Orchestra, Robert was Concertmaster of Symphony Nova Scotia in Halifax. He performed on a Juno-nominated recording with Sarah Slean, and recorded Requiem 21.5: Violin Concerto by Tim Brady, which won Classical Recording of the Year at the East Coast Music Awards. As a guest concertmaster, he has worked with the Kitchener-Waterloo Symphony, Netherlands Radio Chamber Philharmonic, Ottawa Symphony, Rotterdam Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra.\nA passionate teacher, Robert is a violin instructor at the University of Alberta, and has held teaching positions at Acadia University and the Manhattan School of Music Precollege. His students have continued their studies at the Juilliard School, Manhattan School of Music and Guildhall School in London, have won major international competitions, and perform in ensembles in North America and Europe.\nRobert holds a Master\u2019s Degree in Violin Performance from the Manhattan School of Music in New York and a Bachelor\u2019s Degree from the University of Ottawa. His teachers and mentors include Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart, and Pinchas Zukerman.\nRobert loves volunteering and is honoured to have been inducted into the Ronald McDonald House\u2019s Character Club in Edmonton. He performs on a 1770 Guadagnini violin with Vision Solo Titanium strings by Thomastik-Infeld Vienna.\n\n\u00a0\nAndrew Wan, violin\nConcertmaster of the Orchestre symphonique de Montr\u00e9al\n\nAndrew Wan was named concertmaster of the Orchestre symphonique de Montr\u00e9al (OSM) in 2008. As soloist, he has performed worldwide under conductors such as Rafael Payare, Maxim Vengerov, Vasily Petrenko, Bernard Labadie, Carlo Rizzi, Peter Oundjian, Xian Zhang, Michael Stern and James DePreist, and has appeared in recitals with artists such as the Juilliard Quartet, Vadim Repin, Marc-Andr\u00e9 Hamelin, Daniil Trifonov, Menahem Pressler, J\u00f6rg Widmann, Emanuel Ax, James Ehnes, and Gil Shaham. His discography includes Grammy-nominated and Juno, Felix and Opus award-winning releases on the Onyx, Bridge, and Naxos labels with the Seattle Chamber Music Society, New York\u2019s Metropolis Ensemble, and the New Orford String Quartet. In the fall of 2015, he released a live recording of all three Saint-Sa\u00ebns violin concerti with the OSM and Kent Nagano under the Analekta label to wide critical acclaim. His recent live album of works for violin and orchestra by Bernstein, Moussa and Ginastera with Nagano and the OSM won a 2021 Juno award for Classical Album of the Year \u2013 Large Ensemble.\u00a0 He enjoys a close collaborative relationship with Charles Richard-Hamelin, with whom he has recorded the entire Beethoven piano and violin sonata cycle. Mr. Wan graduated from The Juilliard School with a Bachelor of Music, Master of Music and Artist Diploma degrees, is currently the Artistic Director of the Prince Edward County Chamber Music Festival and for the 2017-18 season was Artistic Partner of the Edmonton Symphony Orchestra. Associate Professor of Violin at the Schulich School of Music at McGill University, he was the recipient of the Part-Time Teaching Award at the Schulich School in 2019. He has sat as guest concertmaster for the Pittsburgh, Houston, Indianapolis, National Arts Centre, Toronto and Vancouver Symphony orchestras. Andrew Wan is the Cecilia Concerts 2024\/25 Musician-in-Residence.\nAndrew performs on a 1744 Michel'Angelo Bergonzi violin, and gratefully acknowledges its loan from the David Sela Collection.\u00a0 He also enjoys the use of an 1860 Dominique Peccatte bow from Canimex.\n\n\n\nConcertmasters canadiens\n\n\n\t\t\t\n\t\t\t\tSAMEDI 29 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 : Andrew Wan, violon ; Robert Uchida, violon, alto ; Diana Cohen, violon ; Jonathan Crow, violon\nCOMPOSITEURS : Bacewicz, Dvorak, Handel-Halvorsen, Mozart, Prokofiev, Saint-Sa\u00ebns et Telemann\nThe Canadian Concertmasters met en vedette quatre des plus grands violonistes symphoniques du Canada - de l'Orchestre symphonique d'Edmonton, de l'Orchestre philharmonique de Calgary, de l'Orchestre symphonique de Montr\u00e9al et de l'Orchestre symphonique de Toronto. Ces violonistes extraordinaires unissent leur expertise et leur passion dans un programme qui comprend le m\u00e9lodique \u00ab Terzetto en do majeur \u201c d'Anton\u00edn Dvo\u0159\u00e1k, la dynamique \u201d Sonate pour deux violons \u201c de Sergei Prokofiev, la virtuose \u201d Passacaille \u00bb de Johan Halvorsen sur un th\u00e8me de George Frideric Haendel, le complexe \u00ab Concerto pour 4 violons \u00bb de Georg Philipp Telemann, et des arrangements uniques d'airs s\u00e9lectionn\u00e9s de la fantasque \u00ab Fl\u00fbte enchant\u00e9e \u00bb de Wolfgang Amadeus Mozart, de l'intense \u00ab Quatuor pour 4 violons \u00bb de Gra\u017cyna Bacewicz et de la \u00ab Danse macabre \u00bb de Camille Saint-Sa\u00ebns. \u00bb Pr\u00e9sent\u00e9 avec le soutien g\u00e9n\u00e9reux de Lang Optometry and Eyewear, partenaire de pr\u00e9sentation du musicien en r\u00e9sidence. Commanditaire de la saison : Jules Chamberlain \/ Red Door Realty.\n\ud83c\udfbb \u00c9V\u00c9NEMENT EN PRIME : Cette soir\u00e9e commence par une discussion gratuite d'avant-concert avec les quatre premiers violons. Souvent d\u00e9crit comme le \u00ab chef d'orchestre \u00bb, le violon solo joue un r\u00f4le essentiel en fa\u00e7onnant le son de l'ensemble, en comblant le foss\u00e9 entre le chef d'orchestre et les musiciens et en donnant le ton artistique aux repr\u00e9sentations. Au cours de cette discussion anim\u00e9e, ces artistes exceptionnels partageront leurs id\u00e9es, leurs exp\u00e9riences et les responsabilit\u00e9s uniques de leur r\u00f4le, offrant ainsi un rare aper\u00e7u du fonctionnement interne d'un orchestre. Ouverte au public et gratuite, cette s\u00e9ance se d\u00e9roulera avant le concert, \u00e0 partir de 18 heures, sur la sc\u00e8ne de St. Andrew's. Ne manquez pas cette occasion d'approfondir votre compr\u00e9hension du monde de l'orchestre et d'entrer en contact avec les artistes qui se cachent derri\u00e8re la musique.\n\n\n\n\u00c0 propos du programme\n\u00a0\n\nAntonin Dvorak (1841-1904)\nTerzetto en do majeur, op. 74\n\ni. Introduzioni : Allegro ma non troppo\nii. Larghetto\niii. Scherzo : Vivace - Trio : Poco meno mosso\niv. Tema con Variazioni\nAntonin Dvorak a \u00e9t\u00e9 ce que l'on pourrait appeler un \u00ab enfant tardif \u00bb. Les premi\u00e8res ex\u00e9cutions publiques de ses \u0153uvres ont eu lieu \u00e0 Prague en 1872. Dvorak a alors trente et un ans. Il est n\u00e9 pr\u00e8s de Prague dans une famille de la classe moyenne. Il apprend \u00e0 jouer du violon, de l'orgue et du piano \u00e0 l'\u00e9cole et fait preuve de suffisamment de talent pour jouer \u00e0 l'\u00e9glise et dans la fanfare du village. Lorsqu'il a annonc\u00e9 qu'il souhaitait devenir musicien, son p\u00e8re a accept\u00e9 \u00e0 condition qu'il se concentre sur la musique liturgique et l'orgue afin de pouvoir gagner sa vie en jouant dans les \u00e9glises. Il s'inscrit donc \u00e0 l'\u00e9cole d'orgue de Prague, o\u00f9 il suit des cours de chant, d'orgue, de th\u00e9orie musicale et de composition. Il obtient son dipl\u00f4me en 1859 en \u00e9tant le premier de sa classe, mais comme aucun poste dans les \u00e9glises ne se pr\u00e9sente, il rejoint un groupe local qui joue dans les restaurants, les bals et les pi\u00e8ces de th\u00e9\u00e2tre. Il compl\u00e8te ses maigres revenus en donnant des le\u00e7ons de piano. C'est ainsi qu'il m\u00e8ne sa carri\u00e8re pendant plus d'une d\u00e9cennie. Le d\u00e9clic se produit lorsqu'en 1874, il pose sa candidature au \u00ab Prix de l'\u00c9tat autrichien \u00bb destin\u00e9 aux compositeurs. Sa candidature comprend quinze compositions, dont des symphonies, toutes in\u00e9dites. L'un des jur\u00e9s \u00e9tait Johannes Brahms. Brahms est impressionn\u00e9 et recommande Dvorak \u00e0 son \u00e9diteur. Lorsque les \u00ab Danses slaves \u00bb de Dvorak sont publi\u00e9es en 1878, sa r\u00e9putation internationale est faite. Non seulement il est devenu c\u00e9l\u00e8bre en Europe, mais il a \u00e9galement \u00e9t\u00e9 une force musicale majeure en Angleterre et en Am\u00e9rique. La plupart de ses \u0153uvres les plus connues ont \u00e9t\u00e9 \u00e9crites alors qu'il avait entre quarante et cinquante ans.\nDvorak a compos\u00e9 son \u00ab Terzetto en do majeur \u00bb en quatre mouvements pour deux violons et alto en l'espace d'une semaine, en janvier 1887. Il s'agissait \u00e0 l'origine d'une pi\u00e8ce de salon que Dvorak (jouant de l'alto) devait jouer avec un ami proche et l'un de ses \u00e9l\u00e8ves. Elle s'inscrit clairement dans la tradition romantique de Beethoven, Schumann et Brahms, mais elle est d'une profondeur, d'une complexit\u00e9 et d'une virtuosit\u00e9 qui d\u00e9passent la simple musique de salon.\n\n\u00a0\nSergue\u00ef Prokofiev (1891-1953)\nSonate pour deux violons\ni. Andante cantabile\nii. Allegro\niii. Commodo (quasi allegretto)\niv. Allegro con brio\n\nSergue\u00ef Prokofiev est n\u00e9 dans une propri\u00e9t\u00e9 rurale pr\u00e8s de Donetsk, en Ukraine, o\u00f9 son p\u00e8re, originaire de Moscou, travaillait comme ing\u00e9nieur des sols. C'est en \u00e9coutant sa m\u00e8re, musicienne amateur de talent, jouer du piano le soir qu'il trouve l'inspiration. Elle lui apprend le piano et note sa premi\u00e8re composition, une danse, alors qu'il a cinq ans. Il a \u00e9crit son premier op\u00e9ra, \u00ab The Giant \u00bb, \u00e0 l'\u00e2ge de neuf ans. Bien qu'il ait compos\u00e9 dans une grande vari\u00e9t\u00e9 de genres, le ballet et l'op\u00e9ra ont \u00e9t\u00e9 ses formes pr\u00e9f\u00e9r\u00e9es tout au long de sa vie. Il a \u00e9tudi\u00e9 le piano, la direction d'orchestre et la composition au Conservatoire de Saint-P\u00e9tersbourg et, bien que ses exp\u00e9rimentations en mati\u00e8re de dissonance et de polytonalit\u00e9 n'aient pas plu \u00e0 certains de ses professeurs plus conservateurs, il a commenc\u00e9 \u00e0 se faire un nom en dehors du Conservatoire. Peu apr\u00e8s l'obtention de son dipl\u00f4me, Prokofiev se rend \u00e0 Londres o\u00f9 il rencontre Sergei Diaghilev, le chef des \u00ab Ballets russes \u00bb, qui jouissent d'une renomm\u00e9e internationale. Diaghilev lui commande une partition de ballet et sa carri\u00e8re de compositeur \u00e0 succ\u00e8s est lanc\u00e9e. En 1918, il quitte la Russie pour l'Am\u00e9rique, o\u00f9 il re\u00e7oit une commande de l'Op\u00e9ra de Chicago. Malheureusement, le d\u00e9c\u00e8s du directeur musical retarde la production et Prokofiev, en proie \u00e0 des difficult\u00e9s financi\u00e8res, part pour Paris o\u00f9 il renoue avec Diaghilev et les \u00ab Ballets russes \u00bb, tout en se faisant conna\u00eetre pour de nombreuses autres compositions. Tout au long des ann\u00e9es 1920, il a beaucoup voyag\u00e9 en Europe, en Am\u00e9rique et en Union sovi\u00e9tique. Il s'installe finalement \u00e0 Moscou en 1936.\nProkofiev a compos\u00e9 la \u00ab Sonate pour deux violons \u00bb en 1932 lors de vacances sur la C\u00f4te d'Azur. Il s'agit d'une commande du \u00ab Triton \u00bb, une soci\u00e9t\u00e9 de concerts parisienne d\u00e9di\u00e9e \u00e0 la musique nouvelle. L'\u0153uvre suit le sch\u00e9ma baroque des mouvements lents-vifs-lents-vifs et passe du chant (mouvements lents) \u00e0 la danse (mouvements rapides). Les mouvements lents sont calmes et retenus, tandis que les mouvements rapides sont quelque peu bruyants et plus rustiques. Dans les \u00ab limites apparentes \u00bb d'un duo de violons, Prokofiev r\u00e9ussit admirablement \u00e0 \u00e9crire une musique convaincante et vari\u00e9e.\n\n\u00a0\nGeorge Frideric Handel (1685\u20131759)\nJohan Halvorsen (1864-1935)\n\nPassacaglia arrang\u00e9e pour deux violons\nJohan Halvorsen \u00e9tait un c\u00e9l\u00e8bre violoniste, compositeur et chef d'orchestre norv\u00e9gien. Il a re\u00e7u une \u00e9ducation musicale \u00e0 Kristiania (aujourd'hui Oslo) et \u00e0 Stockholm avant d'entamer une carri\u00e8re qui l'a vu se produire \u00e0 Helsinki, Leipzig, Berlin, Saint-P\u00e9tersbourg et Li\u00e8ge. Il a \u00e9t\u00e9 premier violon des orchestres d'Aberdeen et de Bergen, avant de revenir en Norv\u00e8ge pour devenir chef de l'orchestre philharmonique de Bergen en 1893. Six ans plus tard, il est nomm\u00e9 chef d'orchestre du tout nouveau Th\u00e9\u00e2tre national de Kristiania, poste qu'il occupera pendant trente ans. Au Th\u00e9\u00e2tre national, il a dirig\u00e9 plus de trente op\u00e9ras et compos\u00e9 la musique de sc\u00e8ne de trente pi\u00e8ces de th\u00e9\u00e2tre. Cependant, il est surtout connu aujourd'hui pour son arrangement de la \u00ab Passacaille \u00bb, bas\u00e9 sur le mouvement final de la \u00ab Suite pour clavecin en sol mineur (HWV 432) \u00bb de George Frederic Handel.\nLa \u00ab Passacaglia \u00bb, qui est attribu\u00e9e \u00e0 la fois \u00e0 Haendel et \u00e0 Halvorsen, a \u00e9t\u00e9 compos\u00e9e pour violon et violoncelle (ou violon et alto) et publi\u00e9e en 1894. Haendel a compos\u00e9 de nombreuses suites pour clavecin comprenant des mouvements de danse, qui se terminaient parfois par la traditionnelle passacaille baroque, terme qui d\u00e9signait \u00e0 l'origine une \u00ab danse de rue \u00bb espagnole, bien que les premiers exemples qui nous soient parvenus soient italiens. La r\u00e9imagination par Halvorsen du \u00ab th\u00e8me \u00bb de Haendel g\u00e9n\u00e8re une s\u00e9rie de variations palpitantes dans un tour de force d'invention musicale. Le r\u00e9sultat est un dialogue scintillant pour deux ma\u00eetres interpr\u00e8tes qui s'\u00e9tendent fr\u00e9quemment \u00e0 quatre et cinq parties simultan\u00e9es.\n\n\u00a0\nGeorg Philipp Telemann (1681-1767)\nConcerto pour 4 violons, TWV 40:201\ni. Adagio\nii. Allegro\niii. Grave\niv. Allegro\n\nLa vie de Georg Philipp Telemann a chevauch\u00e9 celle de Jean-S\u00e9bastien Bach. Il est n\u00e9 quatre ans avant Bach et lui a surv\u00e9cu de dix-sept ans, jusqu'\u00e0 l'\u00e2ge de 86 ans. Il \u00e9tait consid\u00e9r\u00e9 par ses contemporains comme l'un des plus grands compositeurs de son \u00e9poque, aux c\u00f4t\u00e9s de Bach (il fut le parrain du fils de Bach, Carl Philipp Emmanuel) et de George Frederic Handel, qu'il connaissait \u00e9galement. Il \u00e9tait au centre de la vie musicale allemande et \u00e9tait largement connu dans toute l'Europe ; les commandes d'\u00e9ditions de sa musique venaient de France, d'Italie, des Pays-Bas, des pays scandinaves, de Belgique, de Suisse et d'Espagne. Il \u00e9tait extr\u00eamement prolifique, avec plus de trois mille compositions, dont beaucoup sont aujourd'hui perdues et dont la plupart n'ont pas \u00e9t\u00e9 jou\u00e9es depuis le XVIIIe si\u00e8cle. Bien qu'une grande partie de sa production soit de la musique liturgique compos\u00e9e pour les offices dans les \u00e9glises qui l'ont employ\u00e9 pendant la majeure partie de sa carri\u00e8re, il n'y a gu\u00e8re de genre musical de son \u00e9poque qu'il n'ait pas explor\u00e9.\nCertaines \u0153uvres de Telemann, comme le \u00ab Concerto pour quatre violons \u00bb, n'\u00e9taient pas destin\u00e9es \u00e0 \u00eatre jou\u00e9es \u00e0 l'\u00e9glise ou en concert, mais \u00e0 \u00eatre jou\u00e9es en soci\u00e9t\u00e9. Telemann a compos\u00e9 un ensemble de quatre concertos pour quatre violons vers 1720. L'objectif fonctionnel de cette s\u00e9rie \u00e9tait de fournir une collection de pi\u00e8ces pour quatre violonistes capables de jouer en l'absence d'un clavier ou d'un orchestre, une situation qui n'\u00e9tait pas inconnue \u00e0 l'\u00e9poque moderne, mais qui \u00e9tait peut-\u00eatre plus susceptible d'\u00eatre rencontr\u00e9e au XVIIIe si\u00e8cle. L'\u0153uvre se compose de quatre brefs mouvements qui suivent le sch\u00e9ma baroque habituel. Le Largo d'ouverture tend vers le lyrisme ; le deuxi\u00e8me est une fugue complexe ; et le troisi\u00e8me, un court interlude Adagio, m\u00e8ne au finale, une danse vive et rustique, qui conclut le concerto sur une note lumineuse et ensoleill\u00e9e.\n\n\u00a0\nWolfgang Amadeus Mozart\u00a0(1756-1791)\nAirs choisis de La Fl\u00fbte enchant\u00e9e (arr. Anon)\nDans \u00ab The Joy of Opera \u00bb, le t\u00e9nor anglais Nigel Douglas se souvient d'avoir entendu un camarade de son \u00e9cole chanter un air de \u00ab La Fl\u00fbte enchant\u00e9e \u00bb lors d'un concours vocal. Il a demand\u00e9 quelle \u00e9tait la musique et, lorsqu'on lui a r\u00e9pondu, il s'est rendu directement chez un disquaire voisin pour acheter un enregistrement de ce qu'il a appel\u00e9 \u00ab l'un des morceaux de musique les plus sublimes jamais \u00e9crits \u00bb. Cette exp\u00e9rience a ouvert la voie \u00e0 la carri\u00e8re de Douglas, qui a dur\u00e9 trente ans, en tant que t\u00e9nor d'op\u00e9ra. Wolfgang Amadeus Mozart a compos\u00e9 plus de deux douzaines d'op\u00e9ras, dont une demi-douzaine sont encore r\u00e9guli\u00e8rement jou\u00e9s par des compagnies d'op\u00e9ra dans le monde entier. \u00ab La Fl\u00fbte enchant\u00e9e \u00bb, son dernier op\u00e9ra, a connu un succ\u00e8s retentissant depuis sa cr\u00e9ation en septembre 1791.\nLa musique, bien qu'ind\u00e9niablement classique, est d'une grande vari\u00e9t\u00e9. Le rustique vendeur d'oiseaux, Papageno, a des arias de type folklorique construites sur des m\u00e9lodies simples, tandis que la musique de Sarastro est profonde, majestueuse et presque hymnique. Le h\u00e9ros Tamino et l'h\u00e9ro\u00efne Pamina ont une musique lyrique et romantique qui anticipe l'\u00e8re du bel canto italien. Et l'air de la Reine de la nuit, que Mozart a \u00e9crit pour sa belle-s\u0153ur qui avait une tessiture stratosph\u00e9rique, est un spectacle \u00e0 grand spectacle depuis plus de 225 ans. La musique est \u00e9galement un \u00e9l\u00e9ment essentiel de la sc\u00e8ne de concert, avec des arrangements pour piano (\u00e0 deux ou quatre mains), pour orchestre complet, pour diverses combinaisons de cordes et, bien s\u00fbr, pour fl\u00fbte.\n\n\u00a0\nGrazyna Bacewicz (1909-1969)\nQuatuor pour 4 violons (1949)\n\ni. Moderato\nii. Andante\niii. Vivo\n\u00ab Premi\u00e8re dame de la musique polonaise \u00bb, Grazyna Bacewicz est n\u00e9e \u00e0 Lodz en 1909 dans une famille unie et musicienne. Enfant, elle se montre dou\u00e9e pour le violon et est encourag\u00e9e \u00e0 \u00e9tudier la musique, jouant souvent de la musique de chambre avec son p\u00e8re et ses deux fr\u00e8res a\u00een\u00e9s. \u00c0 l'\u00e2ge de douze ans, elle est sur la bonne voie pour r\u00e9aliser sa promesse d'enfant : elle sera compositrice. Elle \u00e9tudie le violon, le piano et la composition au Conservatoire de Varsovie et, apr\u00e8s avoir obtenu son dipl\u00f4me en 1932, elle \u00e9tudie la composition avec Nadia Boulanger \u00e0 Paris. Elle effectue des tourn\u00e9es en France et en Espagne en tant que violoniste avant de retourner en Pologne en 1936, o\u00f9 elle rejoint l'Orchestre de la radio polonaise nouvellement cr\u00e9\u00e9 en tant que premier violon. Elle a ainsi eu l'occasion de faire jouer plusieurs de ses compositions. Cependant, la Seconde Guerre mondiale survient. Elle s'installe avec sa famille \u00e0 Lublin, o\u00f9 elle continue \u00e0 se produire, cr\u00e9ant souvent ses compositions dans des caf\u00e9s ou des salons avec son fr\u00e8re, Kiejstut, au piano. Apr\u00e8s la guerre, la famille retourne dans une Varsovie d\u00e9vast\u00e9e. Elle reprend sa carri\u00e8re de violoniste de concert, bas\u00e9e en Pologne mais effectuant des tourn\u00e9es dans toute l'Europe. Un grave accident de voiture survenu \u00e0 l'automne 1954 l'oblige \u00e0 r\u00e9duire son activit\u00e9 de concertiste, mais elle compense en se consacrant davantage \u00e0 la composition. Avant de mourir pr\u00e9matur\u00e9ment d'une crise cardiaque \u00e0 l'\u00e2ge de 59 ans, elle avait achev\u00e9 plus de 200 \u0153uvres, ce qui fait d'elle l'une des compositrices les plus prolifiques de l'histoire de la musique.\nBacewicz a compos\u00e9 le \u00ab Quatuor pour 4 violons \u00bb en 1949, \u00e0 une \u00e9poque o\u00f9 la musique polonaise devait se conformer aux principes du \u00ab r\u00e9alisme social \u00bb, ce qui signifiait \u00e9crire une musique qui c\u00e9l\u00e9brerait les luttes et les triomphes de la classe ouvri\u00e8re et s'appuierait sur des airs folkloriques nationaux. Bacewicz utilise la structure n\u00e9oclassique en trois mouvements (\u00ab Allegretto \u00bb - \u00ab Andante tranquillo \u00bb - \u00ab Molto allegro \u00bb), en y incorporant du lyrisme et des intervalles dansants, tout en cr\u00e9ant un paysage sonore r\u00e9solument moderne.\n\n\u00a0\nCamille Saint-Sa\u00ebns (1835-1921)\nDanse Macabre (arr. Girtain)\nCamille Saint-Sa\u00ebns est n\u00e9 \u00e0 Paris. Son p\u00e8re meurt lorsqu'il a deux mois et il est \u00e9lev\u00e9 par sa m\u00e8re et sa tante veuve, qui enseigne le piano au jeune Camille et reconna\u00eet son talent pr\u00e9coce. Il fait ses d\u00e9buts en concert \u00e0 l'\u00e2ge de dix ans et, \u00e0 treize ans, il commence ses \u00e9tudes au Conservatoire de Paris o\u00f9, en 1851, il remporte le premier prix d'orgue. Apr\u00e8s avoir obtenu son dipl\u00f4me en 1853, Saint-Sa\u00ebns entame une carri\u00e8re d'organiste qui durera vingt-cinq ans, d'abord \u00e0 Saint-Merri, une grande \u00e9glise du centre de Paris, puis \u00e0 La Madeleine, l'\u00ab \u00e9glise officielle de l'Empire \u00bb. Ses appointements, auxquels s'ajoutent les honoraires d'organiste provenant de plus de 200 mariages et enterrements par an, lui permettent de vivre confortablement. Franz Liszt, qui l'a entendu jouer \u00e0 La Madeleine, l'a d\u00e9clar\u00e9 le plus grand organiste du monde. Mais Saint-Sa\u00ebns trouve aussi le temps de composer. Il a produit des symphonies, de la musique pour piano et orgue, des concertos pour divers instruments, des op\u00e9ras et des po\u00e8mes symphoniques, dont le plus populaire est \u00ab Danse Macabre \u00bb.\nLa \u00ab Danse Macabre \u00bb est n\u00e9e en 1872 d'un po\u00e8me du po\u00e8te fran\u00e7ais Henri Cazalis, mais cette version semble \u00eatre rest\u00e9e lettre morte. Une version orchestrale a \u00e9t\u00e9 achev\u00e9e en 1874 et cr\u00e9\u00e9e en 1875. Il s'agit d'une pi\u00e8ce programmatique, qui se d\u00e9roule dans un cimeti\u00e8re le jour d'Halloween. \u00c0 minuit, la Mort convoque les morts de leurs tombes pour qu'ils dansent pour elle en jouant du violon. Les squelettes dansent avec \u00e9nergie jusqu'\u00e0 ce que, vers la fin, un coq chante, signalant l'approche de l'aube, et ils doivent retourner dans leurs tombes jusqu'au prochain Halloween.\n\nNotes de programme de Larry Bent\n\n\n\u00c0 propos des artistes\n\u00a0\n\nDiana Cohen, violon\nPremier violon de l'Orchestre philharmonique de Calgary\nLou\u00e9e pour son \u00ab incroyable flair, sa maturit\u00e9 et sa perspicacit\u00e9 \u00bb, la violoniste Diana Cohen m\u00e8ne une carri\u00e8re aux multiples facettes en tant que violon solo, chambriste, soliste et administratrice d'art. Nomm\u00e9e violon solo de l'Orchestre philharmonique de Calgary en 2012, elle a \u00e9t\u00e9 auparavant violon solo de l'Orchestre symphonique de Richmond et de l'Orchestre symphonique de Kalamazoo, tout en menant une carri\u00e8re active de pigiste \u00e0 New York. Elle a occup\u00e9 le m\u00eame poste avec le Charleston Symphony (avec lequel elle a interpr\u00e9t\u00e9 de nombreuses \u0153uvres en tant que soliste), le National Repertory Orchestra, l'Iris Orchestra et le Red {an orchestra}, et a \u00e9t\u00e9 invit\u00e9e comme premier violon solo par le Rochester Philharmonic et le Phoenix Symphony.\nMme Cohen a particip\u00e9 r\u00e9guli\u00e8rement \u00e0 des concerts \u00e0 New York et dans le monde entier avec l'Orpheus Chamber Orchestra, laur\u00e9at d'un Grammy, l'International Sejong Soloists, The Knights, et en tant que rempla\u00e7ante \u00e0 l'Orchestre philharmonique de New York et \u00e0 l'Orchestre de Cleveland. Elle s'est \u00e9galement produite en tant que soliste avec le Rochester Philharmonic, le National Repertory Orchestra, le Kalamazoo Symphony, le Valdosta Symphony, le Hilton Head Symphony et le Red {an orchestra}. Elle a \u00e9t\u00e9 premier violon de l'orchestre du Cleveland Institute of Music, premier second du New York String Orchestra au Carnegie Hall, et a \u00e9t\u00e9 premier violon tournant de l'Iris Orchestra depuis sa cr\u00e9ation. Le r\u00e9cital solo de Mme Cohen dans le cadre de la s\u00e9rie Dame Myra Hess a \u00e9t\u00e9 diffus\u00e9 en direct sur la radio publique de Chicago.\nEn tant que membre fondateur du trio de piano \u00ab Trio Terzetto \u00bb, Cohen a effectu\u00e9 des tourn\u00e9es et des enregistrements dans plusieurs villes des \u00c9tats-Unis et du Canada. \u00ab Le Trio Terzetto a \u00e9t\u00e9 pr\u00e9sent\u00e9 dans le cadre de s\u00e9ries de musique de chambre dans des villes telles que New York, Cleveland, Ann Arbor, Memphis, Charleston, Lansing, Detroit, Augusta, Charlotte, South Bend et Asheville. Ils ont r\u00e9cemment fait leurs d\u00e9buts en solo avec l'orchestre symphonique de Lansing, en interpr\u00e9tant le \u00ab Triple Concerto \u00bb de Beethoven. \u00ab Le Trio Terzetto se consacre \u00e0 la sensibilisation et organise souvent ces projets autour de ses concerts.\nMusicienne de chambre passionn\u00e9e, Mme Cohen s'est produite au Marlboro Music Festival, au Steans Institute du Ravinia Festival, au Festival de musique de chambre de Giverny, en France, au Perlman Chamber Music Program, \u00e0 Aspen, et au Piccolo Spoleto, ainsi qu'aux festivals de Maui, Dresden, Bennington, Saugatuck, Martha's Vineyard et Gretna. Elle a \u00e9galement particip\u00e9 \u00e0 l'American String Project. Mme Cohen a particip\u00e9 \u00e0 des concerts de chambre avec des membres du Cleveland Orchestra au Severance Hall et s'est produite dans le cadre de concerts de la facult\u00e9 au Cleveland Institute of Music. Elle a r\u00e9guli\u00e8rement collabor\u00e9 avec des membres des quatuors Guarneri, Juilliard, Cleveland, Miro et Parker, ainsi qu'avec des artistes de renom tels que Mitsuko Uchida, Kim Kashkashian, Garrick Ohlsson et bien d'autres. Elle a \u00e9galement jou\u00e9 r\u00e9guli\u00e8rement avec sa famille : Franklin Cohen, clarinettiste principal de l'Orchestre de Cleveland, Alexander Cohen, timbalier principal de l'Orchestre philharmonique de Calgary, et sa m\u00e8re, la bassoniste Lynette Diers Cohen, aujourd'hui d\u00e9c\u00e9d\u00e9e. Des \u0153uvres ont \u00e9t\u00e9 command\u00e9es pour le quatuor de la famille Cohen. Mme Cohen et son p\u00e8re ont publi\u00e9 un CD de l'\u0153uvre d'Osvaldo Golijov \u00ab Dreams and Prayers of Isaac the Blind \u00bb pour clarinette et quatuor \u00e0 cordes.\nMme Cohen est directrice ex\u00e9cutive et co-directrice artistique du ChamberFest Cleveland (chamberfestcleveland.com), qui pr\u00e9sente les musiciens de chambre les plus recherch\u00e9s au monde et s'est associ\u00e9 \u00e0 plusieurs des organisations les plus estim\u00e9es de Cleveland.\nMme Cohen est dipl\u00f4m\u00e9e avec mention du Cleveland Institute of Music, o\u00f9 elle a re\u00e7u en 2000 le prix Jerome Gross pour le violon et remport\u00e9 le concours Darius Milhaud. Ses principaux professeurs ont \u00e9t\u00e9 Donald Weilerstein, William Preucil, Paul Kantor et Joel Smirnoff.\nSes interpr\u00e9tations en solo et en musique de chambre ont \u00e9t\u00e9 entendues sur des stations de radio dans tout le pays. Plusieurs de ses prestations au Marlboro Music Festival ont \u00e9t\u00e9 diffus\u00e9es sur la cha\u00eene new-yorkaise WQXR. On peut \u00e9galement l'entendre sur des enregistrements avec l'Orpheus Chamber Orchestra.\nOutre sa carri\u00e8re de musicienne, Mme Cohen est une enseignante d\u00e9vou\u00e9e. Nombre de ses \u00e9l\u00e8ves ont remport\u00e9 des prix nationaux. Elle a beaucoup travaill\u00e9 dans les \u00e9coles publiques et a fait partie de la facult\u00e9 pr\u00e9paratoire de musique de chambre du Cleveland Institute of Music.\nDiana Cohen m\u00e8ne une carri\u00e8re \u00e0 multiples facettes en tant que violon solo, chambriste et soliste. Elle est premier violon de l'Orchestre philharmonique de Calgary, et fondatrice et directrice artistique du c\u00e9l\u00e8bre festival de musique ChamberFest Cleveland. En tant que soliste, elle s'est produite avec de nombreux orchestres, dont le Holland Symphony, le Rochester Symphony, le Lansing et le Grand Rapids, entre autres. En tant que chambriste, elle s'est produite dans certains des festivals les plus prestigieux, dont le Marlboro Music Festival et le Ravinia Festival, et a collabor\u00e9 avec des artistes de renom tels que Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss et des membres des quatuors Guarneri, Juilliard, Miro, Cleveland et Parker.\nMme Cohen a effectu\u00e9 des tourn\u00e9es et des enregistrements avec l'Orpheus Chamber Orchestra, laur\u00e9at d'un Grammy, et s'est produite avec l'East Coast Chamber Orchestra, les Sejong Soloists, The Knights, le Cleveland Orchestra et le New York Philharmonic.\nMme Cohen vit \u00e0 Calgary avec son mari et sa fille, Noa Lynette, qui adore qu'on la fasse danser sur de la musique. \u00c0 la suite de la pand\u00e9mie, Mme Cohen et son mari ont cr\u00e9\u00e9 une s\u00e9rie de concerts tr\u00e8s appr\u00e9ci\u00e9s dans leur jardin, les \u00ab Garden Concerts YYC \u00bb, qui donnent des concerts hebdomadaires \u00e0 des centaines de m\u00e9lomanes de la r\u00e9gion de Calgary.\n\n\u00a0\nJonathan Crow, violon\nPremier violon solo de l'Orchestre symphonique de Toronto\n\nJonathan Crow est violon solo de l'Orchestre symphonique de Toronto (TSO) depuis 2011. Originaire de Prince George, en Colombie-Britannique, Jonathan a obtenu un baccalaur\u00e9at en musique avec distinction de l'Universit\u00e9 McGill en 1998, apr\u00e8s quoi il s'est joint \u00e0 l'Orchestre symphonique de Montr\u00e9al (OSM) \u00e0 titre de second violon solo associ\u00e9. Entre 2002 et 2006, Jonathan a \u00e9t\u00e9 premier violon solo de l'OSM ; durant cette p\u00e9riode, il a \u00e9t\u00e9 le plus jeune premier violon solo d'un grand orchestre nord-am\u00e9ricain.\nJonathan continue de se produire en tant que violon solo invit\u00e9 avec des orchestres du monde entier, notamment l'Orchestre du Centre national des Arts (OCNA), l'Orchestre symphonique de Pittsburgh, l'Orchestre de chambre Mahler, la Filarmonia de Lanaudi\u00e8re et l'Orchestre du Festival de Pernambuco (Br\u00e9sil). Jonathan s'est \u00e9galement produit en tant que soliste avec la plupart des grands orchestres canadiens, notamment les orchestres symphoniques de Montr\u00e9al, Toronto et Vancouver, les orchestres philharmoniques du Centre national des Arts et de Calgary, les orchestres symphoniques de Victoria, de Nouvelle-\u00c9cosse et de Kingston, ainsi que l'Orchestra London, sous la direction de chefs d'orchestre tels que Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, Jo\u00e3o Carlos Martins et Gustavo Gimeno.\nJonathan s'est joint \u00e0 l'\u00c9cole de musique Schulich de l'Universit\u00e9 McGill \u00e0 titre de professeur adjoint de violon et a \u00e9t\u00e9 nomm\u00e9 professeur agr\u00e9g\u00e9 de violon en 2010. Ses \u00e9l\u00e8ves actuels et anciens ont re\u00e7u des prix lors de concours partout dans le monde, notamment le Concours international de violon Menuhin, le Concours OSM, le Concours Shean, le Concours NEXT de la radio de la CBC, le Concours Eckhardt-Grammatt\u00e9, le Concours de musique du Canada et le Concours international de cordes Stulberg. Ils travaillent r\u00e9guli\u00e8rement avec des orchestres tels que l'OCNA, le TSO, l'OSM, la Camerata Salzburg, le Konzerthausorchester Berlin, l'Orchestre de chambre de Verbier, la Kammerphilharmonie de Vienne et l'Orchestre symphonique de Vienne. Jonathan est actuellement professeur associ\u00e9 de violon \u00e0 l'Universit\u00e9 de Toronto.\nEn 2016, Jonathan a \u00e9t\u00e9 nomm\u00e9 directeur artistique de \u00ab Toronto Summer Music \u00bb, qui a connu une affluence record et des critiques dithyrambiques lors de ses trois premi\u00e8res saisons. Chambriste passionn\u00e9, il a particip\u00e9 \u00e0 des festivals de musique de chambre en Am\u00e9rique du Nord, en Am\u00e9rique du Sud et en Europe, notamment aux festivals de Banff, Ravinia, Orford, Domaine Forget, Seattle, Montr\u00e9al, Ottawa, Incontri in Terra di Sienna, Alpenglow, Festival Vancouver, Pernambuco (Br\u00e9sil), Giverny (France) et Strings in the Mountains. Il est l'un des membres fondateurs du New Orford String Quartet, laur\u00e9at d'un prix JUNO, un ensemble qui se consacre \u00e0 la promotion du r\u00e9pertoire standard et canadien pour quatuor \u00e0 cordes dans toute l'Am\u00e9rique du Nord.\nD\u00e9fenseur de la musique contemporaine, il a cr\u00e9\u00e9 des \u0153uvres des compositeurs canadiens Michael Conway Baker, Eldon Rathburn, Barrie Cabena, Gary Kulesha, Tim Brady, Fran\u00e7ois Dompierre, Vivian Fung, Ana Sokolovic, Marjan Mozetich, Christos Hatzis, Ernest MacMillan et Healey Willan. Son r\u00e9pertoire comprend \u00e9galement des concertos majeurs de compositeurs modernes tels que Ligeti, Schnittke, Bernstein, Brian Cherney, Rodney Sharman, Vivian Fung et Cameron Wilson.\nJonathan a enregistr\u00e9 pour les labels ATMA, Bridge, CBC, Oxingale, Skylark et XXI-21 et on l'entend fr\u00e9quemment sur les ondes de la Cha\u00eene culturelle de Radio-Canada, de CBC Radio Two et de la National Public Radio, ainsi que sur les ondes de Radio France, Deutsche Welle, Hessischer Rundfunk et de la RAI en Europe.\nJonathan Crow a \u00e9t\u00e9 musicien en r\u00e9sidence pour les Concerts Cecilia de 2020 \u00e0 2022.\n\n\u00a0\nRobert Uchida, violon et alto\nPremier violon de l'Orchestre symphonique d'Edmonton\n\nLe violoniste canadien Robert Uchida, violon solo de l'Orchestre symphonique d'Edmonton, m\u00e8ne une carri\u00e8re vari\u00e9e en tant que soliste, musicien d'orchestre et de chambre, et p\u00e9dagogue. Son premier enregistrement de la Sonate pour violon seul d'Andrew Violette a \u00e9t\u00e9 acclam\u00e9 dans le monde entier, le Strings Magazine saluant sa \u00ab sonorit\u00e9 ravissante, son \u00e9loquence et son intensit\u00e9 hypnotique \u00bb.\nRobert a \u00e9t\u00e9 soliste avec des orchestres tels que l'Alberta Baroque Ensemble, l'Edmonton Symphony, l'Ottawa Symphony, le Red Deer Symphony, le Symphony New Brunswick, le Symphony Nova Scotia, l'Orchestre de la Francophonie et l'Orchestre du Centre national des Arts du Canada. Il a enseign\u00e9 et s'est produit dans le cadre de festivals partout en Am\u00e9rique du Nord, notamment l'Arizona MusicFest, le Banff International String Quartet Festival, le Jackson Hole Chamber Music, le Music by the Sea, le National Academy Orchestra, le Programme des jeunes artistes du Centre national des Arts, le Festival de musique d'\u00e9t\u00e9 du Nouveau-Brunswick, le Rosebud Chamber Music Festival, le Scotia Festival, le Sewanee Music Festival et le Summer Solstice Music Festival, et il a \u00e9t\u00e9 directeur artistique de l'Acadia Summer Strings Festival, de 2010 \u00e0 2013.\nAvant de se joindre \u00e0 l'Orchestre symphonique d'Edmonton, Robert \u00e9tait premier violon de l'Orchestre symphonique de la Nouvelle-\u00c9cosse, \u00e0 Halifax. Il a particip\u00e9 \u00e0 un enregistrement avec Sarah Slean, qui a \u00e9t\u00e9 mis en nomination pour un prix JUNO, et a enregistr\u00e9 le Requiem 21.5 : Concerto pour violon de Tim Brady, qui a remport\u00e9 le prix de l'enregistrement classique de l'ann\u00e9e aux East Coast Music Awards. En tant que violon solo invit\u00e9, il a travaill\u00e9 avec l'Orchestre symphonique de Kitchener-Waterloo, l'Orchestre philharmonique de chambre de la radio n\u00e9erlandaise, l'Orchestre symphonique d'Ottawa, l'Orchestre philharmonique de Rotterdam, l'Orchestre philharmonique royal de Flandre et l'Orchestre symphonique de Vancouver.\nEnseignant passionn\u00e9, Robert enseigne le violon \u00e0 l'Universit\u00e9 de l'Alberta et a occup\u00e9 des postes d'enseignant \u00e0 l'Universit\u00e9 Acadia et \u00e0 la Manhattan School of Music Precollege. Ses \u00e9l\u00e8ves ont poursuivi leurs \u00e9tudes \u00e0 la Juilliard School, \u00e0 la Manhattan School of Music et \u00e0 la Guildhall School de Londres, ont remport\u00e9 d'importants concours internationaux et se produisent au sein d'ensembles partout en Am\u00e9rique du Nord et en Europe.\nRobert est titulaire d'une ma\u00eetrise en interpr\u00e9tation du violon de la Manhattan School of Music de New York et d'un baccalaur\u00e9at de l'Universit\u00e9 d'Ottawa. Ses professeurs et mentors comprennent Andrew Dawes, Morry Kernerman, Patinka Kopec, Heratch Manoukian, David Stewart et Pinchas Zukerman.\nRobert adore faire du b\u00e9n\u00e9volat et est honor\u00e9 d'avoir \u00e9t\u00e9 intronis\u00e9 au \u00ab Character Club \u00bb du Ronald McDonald House d'Edmonton. Il joue sur un violon Guadagnini de 1770 avec des cordes Vision Solo Titanium de Thomastik-Infeld Vienna.\n\n\u00a0\nAndrew Wan, violon\nViolon solo de l'Orchestre symphonique de Montr\u00e9al\n\nAndrew Wan a \u00e9t\u00e9 nomm\u00e9 violon solo de l'Orchestre symphonique de Montr\u00e9al (OSM) en 2008. En tant que soliste, il s'est produit dans le monde entier sous la direction de chefs d'orchestre tels que Rafael Payare, Maxim Vengerov, Vasily Petrenko, Bernard Labadie, Carlo Rizzi, Peter Oundjian, Xian Zhang, Michael Stern et James DePreist, et a donn\u00e9 des r\u00e9citals avec des artistes tels que le Quatuor Juilliard, Vadim Repin, Marc-Andr\u00e9 Hamelin, Daniil Trifonov, Menahem Pressler, J\u00f6rg Widmann, Emanuel Ax, James Ehnes et Gil Shaham.\nSa discographie comprend des enregistrements nomin\u00e9s aux Grammy Awards et r\u00e9compens\u00e9s par des prix JUNO, F\u00e9lix et Opus sur les labels Onyx, Bridge et Naxos avec la Seattle Chamber Music Society, le Metropolis Ensemble de New York et le New Orford String Quartet. \u00c0 l'automne 2015, il a publi\u00e9 un enregistrement en direct des trois concertos pour violon de Saint-Sa\u00ebns avec l'OSM et Kent Nagano sous l'\u00e9tiquette Analekta, qui a \u00e9t\u00e9 largement salu\u00e9 par la critique. Son r\u00e9cent album live d'\u0153uvres pour violon et orchestre de Bernstein, Moussa et Ginastera avec Nagano et l'OSM a remport\u00e9 un prix JUNO 2021 dans la cat\u00e9gorie \u00ab Album classique de l'ann\u00e9e - grand ensemble \u00bb.\nIl entretient une \u00e9troite collaboration avec Charles Richard-Hamelin, avec qui il a enregistr\u00e9 le cycle complet des sonates pour piano et violon de Beethoven. M. Wan est dipl\u00f4m\u00e9 de la Juilliard School, o\u00f9 il a obtenu une licence de musique, une ma\u00eetrise de musique et un dipl\u00f4me d'artiste. Il est actuellement directeur artistique du \u00ab Prince Edward County Chamber Music Festival \u00bb et, pour la saison 2017-18, a \u00e9t\u00e9 partenaire artistique de l'Orchestre symphonique d'Edmonton.\nProfesseur agr\u00e9g\u00e9 de violon \u00e0 l'\u00c9cole de musique Schulich de l'Universit\u00e9 McGill, il a \u00e9t\u00e9 laur\u00e9at du Part-Time Teaching Award de l'\u00c9cole Schulich en 2019. 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Macor\\u00eds\",\"DO-24\":\"S\\u00e1nchez Ram\\u00edrez\",\"DO-25\":\"Santiago\",\"DO-26\":\"Santiago Rodr\\u00edguez\",\"DO-32\":\"Santo Domingo\",\"DO-41\":\"Valdesia\",\"DO-27\":\"Valverde\",\"DO-42\":\"Yuma\"},\"EC\":{\"EC-A\":\"Azuay\",\"EC-B\":\"Bol\\u00edvar\",\"EC-F\":\"Ca\\u00f1ar\",\"EC-C\":\"Carchi\",\"EC-H\":\"Chimborazo\",\"EC-X\":\"Cotopaxi\",\"EC-O\":\"El Oro\",\"EC-E\":\"Esmeraldas\",\"EC-W\":\"Gal\\u00e1pagos\",\"EC-G\":\"Guayas\",\"EC-I\":\"Imbabura\",\"EC-L\":\"Loja\",\"EC-R\":\"Los R\\u00edos\",\"EC-M\":\"Manab\\u00ed\",\"EC-S\":\"Morona-Santiago\",\"EC-N\":\"Napo\",\"EC-D\":\"Orellana\",\"EC-Y\":\"Pastaza\",\"EC-P\":\"Pichincha\",\"EC-SE\":\"Santa Elena\",\"EC-SD\":\"Santo Domingo de los Ts\\u00e1chilas\",\"EC-U\":\"Sucumb\\u00edos\",\"EC-T\":\"Tungurahua\",\"EC-Z\":\"Zamora-Chinchipe\"},\"EG\":{\"EGALX\":\"Alexandria\",\"EGASN\":\"Aswan\",\"EGAST\":\"Asyut\",\"EGBA\":\"Red Sea\",\"EGBH\":\"Beheira\",\"EGBNS\":\"Beni 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